Harrison's Reports (1944)

4 HARRISON'S REPORTS January 1, 1944 The pending tax bill provides that the new rates are temporary, and that they shall end "on the first day of the first month which begins six months or more after the date of the termination of hostilities in the present war." It is reasonable to assume that, so long as this war lasts, and assuredly six months after, the distributors will enjoy as great, and even greater, profits as they are enjoying today. And, mind you, these profits are the greatest in their history, even though their revenue from foreign markets has been reduced substantially. In addition, they have a large backlog of product, which, .after the war, will net them millions of dollars from the foreign markets they are not serving now. In the midst of all this plenty, why not look to the distributors to make up part of the losses the exhibitors will suffer during the period the emergency tax increase is in effect? For them to assume some of the exhibitors' burden would have little, if any, effect on their net profits. Moreover, by helping the small exhibitor now they help themselves, for when normalcy returns they will find the outlets for their product still intact. And in normal times the small independent exhibitor's business spells the difference between loss and profit. One method by which the distributors can make up an exhibitor's losses is to reduce in an equitable amount their film rental rates, whether on flat terms or on percentage. This reduction should, of course, be based on normal film rental rates and not on the inflated terms being demanded today because of an artificial product shortage. The distributors have an opportunity to do themselves and the industry in general a great service. Will they take advantage of it? * * * Assuming that the proposed tax of lc on each 5c or fraction is finally adopted, it would be foolhardy for an exhibitor to absorb any part of the tax increase in order to maintain his present level of admissions. Such a policy will create a competitive condition that may prove disastrous to the exhibitors. As pointed out by Mr. Myers recently, "the law not only does not contemplate absorption of the tax, it actually provides that it shall be paid by the public. In essence, the tax is an excise on the right to buy a ticket not to sell it." An exhibitor who attempts to absorb any part of the new tax would compel his competitor to do likewise. This vitally important matter requires the immediate attention of all exhibitor organizations, for a unified policy is essential if an admission war between competitors is to be averted. CAUSES OF THE CHRISTMAS WEEK SLUMP Here are some of the possible causes of the business slump during the days before Christmas: The payment December 15 of a second installment of the 1944 taxes; the influenza epidemic; the inability of people to make quick purchases as a result of the jam at the stores, leaving them little time for taking the family to the picture show; the high cost of everything, draining the family's pocket, and above all the poor quality of most pitcures. "Son of Russia" with Robert Taylor and Susan Peters (MGM, no release date set; time, 107 min.) Lavishly produced, "Song of Russia" is a sensitive and stirring account of Russia at peace and at war, told in terms of an appealing romance between a famed American symphony orchestra conductor and a cultured Russian peasant girl. It is the type of picture the masses should enjoy, for it deals with people whose actions and emotions they can understand. Music lovers should find the music by Tschaikowsky and by modern Russian composers a treat. The performances are exceptionally good, particularly that of Susan Peters; she makes the character of the peasant girl so real and so lovable that one's interest in her welfare is held throughout. The first half of the film concerns itself with the romance amid gay and charming surroundings. This m<xxJ serves to accentuate the inhumaness of the Nazi invasion, which takes place in the second half. Several of the situations will draw tears. One such situation is where a Russian youngster is strafed by a Nazi plane, dying in his father's arms; few patrons, after witnessing this, will remain with dry eyes: — Arriving in Russia for a symphonic tour, Robert Taylor, famed American conductor, is approached by Susan Peters, who unsuccessfully attempts to speak to him. Later, at a rehearsal, she sneaks on stage and attracts his attention by playing a brilliant piano solo. Speaking on behalf of music students in Tschaikovskoe, a tiny Russian village, which celebrated a music festival each year, Susan pleads with Taylor to include the festival on his tour. Both are drawn to one another, and together they see the sights of Moscow. Taylor declares his love for her, but Susan, believing that their different backgrounds would not make for an harmonious marriage, returns home. Several months later Taylor visits the village, and after a whirlwind courtship overrules Susan's objections and marries her. They spend their honeymoon on his concert tour. When the Nazis attack Russia, Susan expresses her desire to return to her family. Taylor, being in sympathy with her desire to help her people, agrees that she go while he completes the tour. At the conclusion of his final concert, Taylor learns that the Nazis are closing in on the village. Worried about Susan, he secures passage to Tschaikovskoe as a musician going to the front to entertain soldiers. Taylor manages to reach the village after a series of adventures, and finds it in ruins as the result of shelling and the scorchedearth policy. He searches frantically for Susan and finds her setting fire to the wheat fields. Angered by the Nazi's brutality, he determines to stay in Russia to fight the invaders. But a kindly priest points out that he and Susan can contribute more by returning to the United States. Back in America, Taylor, with Susan playing the piano, devotes himself to telling of Russia's great fight through his inspiring music. Paul Jarrico and Richard Collins wrote the screen play, Joseph Pasternak produced it, and Gregory Ratoff directed it. The cast includes Robert Benchley, John Hodiak, Felix Bressart, Michael Chekhov, Darryl Hickman, Jacqueline White and others. Morally suitable for all.