Harrison's Reports (1946)

68 HARRISON'S REPORTS April 27, 1946 IS YOUR FIRE INSURANCE WRITTEN AT TODAY'S REPLACEMENT VALUE? In a recent service bulletin, under the above heading, Pete Wood, secretary of the Independent Theatre Owners of Ohio, offers to his members sound advice, which should be of interest to all exhibitors. This is what he has to say: "It has recently been called to our attention that many fire insurance policies are in effect today on theatre properties which were written at low replacement values. If your insurance falls into this category it will be worth your effort to give some time to the study of the situation. "Let's assume that a theatre property in 1936 cost $100,000 — today the same building would cost nearer $150,000. Figuring normal depreciation on today's cost, you would have a valuation of $127,500 in your present building. In contracting for insurance you agree, in most instances, to the co-insurance clause, which means that you agree to carry fire insurance up to 80% of the value of the building. For instance, if your policy has been written for the same amount for the past ten years and the cost of your building was $100,000, you probably carry $80,000 worth of fire insurance, which was 80% of the value of the building ten years ago. "However, if you were faced with a fire loss today, let's see what you would collect on this $80,000 policy. The value of your building today is $127,500 — you agree to carry 80% of the value of the building or $102,000 worth of insurance. If you carry only $80,000 worth of insurance, based upon your 1936 valuation of $100,000 — you have not lived up to your contractual obligation with the insurance company. On a $50,000 loss you would be able to collect only 40/51st ($80,000 over $102,000) of the loss or $39,215.68. It would make you a co-insurer in the amount of $10,784.32, this amount being what you would pay because under present conditions of replacement cost your building was under-valuated. "Better get together with an appraiser and your insurance agent and check up on your fire insurance policies." "Her Kind of Man" with Zachary Scott, Faye Emerson, Dane Clark and Janis Paige (Warner Bros., May 11; time, 78 min.) Although considerable money has been spent on its production, this melodrama has not turned out to be more than a fairly good, well-dressed program picture. But it is an unpleasant entertainment, for its lurid tale about the rise and fall of a cold-blooded gambler is completely lacking in human appeal. The story is not always plausible, and there is nothing in it that has not been shown in pictures of this type before. Moreover, it has the drawback of a hero who remains a cad from start to finish. The heroine does not awaken sympathy either, for she is presented as a woman of weak character, even though of not despicable character; she takes up with the gambler after seeing him commit a murder, then, after leaving him, willingly casts aside the true love of another man to wed him, remaining loyal to him even after he kills his own sister. But because there is movement all the time one's interest in the proceedings is held pretty well. Some of the situations are quite exciting: — Zachary Scott, a calloused small-time gambler, murders Sheldon Leonard, another gambler, when he tries to recoup his losses at the point of a gun. The killing is witnessed by Janis Paige, Scott's girl-friend, and by George Tobias, his brother-in-law, who operated the night club in which Janis was a featured singer. The body is hidden by Scott and by Harry Lewis, a youthful gunman, Scott's bodyguard. Scott hides out in Florida but he soon becomes lonely for Janis and returns to New York. There he finds that Dane Clark, a Broadway columnist had fallen in love with her. To get her away from Clark, Scott takes Janis to Saratoga to work in a new gambling joint that he and Tobias had opened. Meanwhile Clark and detective Howard Smith come across evidence linking Scott with Leonard's murder. Both go to Saratoga, where Scott's bodyguard takes Clark for a "ride" and gives him a brutal beating. Janis, angered, breaks with Scott. Months later, Scott, learning of Jams' engagement to Clark, goes to New York and, in a whirlwind courtship, sweeps Janis off her feet and marries her. Shortly thereafter he opens a fashionable gambling club. Smith, having accumulated sufficient evidence to convict Scott of Leonard's murder, stages a raid on the club to arrest him. In the altercation that follows, Scott accidentally shoots to death Faye Emerson, his sister (Tobias' wife), and makes a getaway. Janis persuades Lewis to take her to Scott's hiding place, and Scott, angered, punches the bodyguard. To avenge himself, Lewis informs Tobias of the hideout's location, then telephones the policy about the anticipated tussle. By the time the police arrive, the gunbattle is over, with Tobias dead and Scott dying. He passes away in Janis' arms, and it ends with Clark taking Jane with him to start a new life. Gordon Kahn and Leopold Atlas wrote the screen play, Alex Gottlieb produced it, and Frederick de Cordova directed it. Adult entertainment. "Henry V" with Laurence Olivier (United Artists, no release date set; time, 134 mm.) Technically, this lavish production of Shakespeare's historical drama is an artistic masterpiece, an achievement the British motion picture industry may well be proud of. Its appeal, however, will be directed to the very, very few — the students and lovers of Shakespeare who can really appreciate an artistic interpretation of his works. Other than to small houses that cater to "arty" patrons, the picture has no place in the average theatre catering to mixed audiences, for unless one is thoroughly familiar with Shakespeare's writings, and is mentally equipped to understand his blank verse, the dialogue will have no meaning for him, meaningful as it is. As a matter of fact, United Artists, aware of the picture's limited appeal, is giving it a roadshow treatment and plans to restrict its exhibition to small theatres and halls that are in a position to cater to special audiences. Briefly, the story, which takes place in 1415, revolves around the attempt of Henry V to seize the throne of France because of an ancestral claim. With an army of thirty thousand men he sails for France and, after laying siege to Harfleur, takes the town but at great cost. His army thinned and weakened by sickness, Henry turns back to Calais, but a great French army blocks his way at Agincourt, jubilantly confident of victory because of its overwhelming numbers and superior arms. Henry, undaunted, rallies and encourages his men, and, leading them on the field of battle, defeats the French. Later, when Henry comes triumphantly to the French court, he woos the Princess Katharine with a gallant ardour and wins her hand. Their marriage unites the French and English royal houses. The settings and costumes, enhanced by the Technicolor photography, are a delight to the eye. The outstanding scenes are numerous, but the most memorable and exciting one is the clash of the two armies on the field of Agincourt; it is a spectacle that gives one an inspiring thrill. Laurence Olivier, who produced and directed the picture, and also plays the leading role of Henry V, has done a superb job in each department. Renee Asherson, as the Princess Katharine, is delightfully piquant; her love scenes with the monarch, and the sequence in which she endeavors to learn English, are humorous, warm, and completely captivating. With the exception of Olivier, none of the other players are known in this country, but each one is excellent and, no matter how small his role, is absolutely in the spirit of the play. The background music, played by the London Symphony Orchestra, is distinguished. Alan Dent, Reginald Beck, and Mr. Olivier adapted the screen play.