Harrison's Reports (1946)

192 November 30, 1946 REPUBLIC'S SILENCE WIDENING BREACH OF FAITH WITH ITS CUSTOMERS In its November 9 issue, this paper brought to the attention of its readers a telegram sent by Pete Wood, secretary of the Independent Theatre Owners of Ohio, to James R. Grainger, Republic's general sales manager, protesting against his company's treatment of the exhibitors in connection with the delivery of eight "Roy Rogers" westerns promised to the 1945-46 contract-holders. Having received no response from Grainger, Wood, in a recent bulletin to the members of his organization, had this to say : "A BOUQUET OF JIMSON (STINKWEED) TO REPUBLIC "Notwithstanding the fact that it had not delivered any of the eight Roy Rogers promised on their regular 1945-46 contract. Republic pictures in July of this year started selling 'My Pal Trigger' as a 'special.' As this production has identically the same cast as all the 'regular' Rogers pictures — Rogers, Gabby Hayes, Dale Evans and Trigger — the only reason for committing this breach of contract was to obtain more rental for an ordinary Rogers production. "The 1945-46 Rogers contract started to function with the delivery, in August, of 'Under Nevada Skies," followed by 'Roll on Texas Moon' in September. Then, still owing SIX Rogers to their 1945-46 contract-holders, this month Republic pulls another 'Capone,' (without benefit of tommygun), by designating 'Home in Oklahoma' as a 'special.' This, too, is cast with the same old stand-bys — Rogers, Hayes, Evans and Trigger. "Last week we wired Republic's General Sales Manager Grainger as follows, and to which we have had no response: " 'Many thousands of exhibitors who in good faith signed forty-five forty-six contracts upon your promise to deliver eight Roy Rogers, only two of which were delivered, are being deprived of their rights through your utter disregard of decent business ethics by your action in camouflaging "Home in Oklahoma" as a special. You pulled the same trick with "My Pal Trigger." It's no wonder that the courts and the Government are about to operate our business.' "We hope exhibitors will register an emphatic NO when they are asked to buy these 'regular' Rogers at special increased prices, thus condemning this shyster method of doing business. And remember — even when it's in writing you can't believe a Republic contract. "EXHIBITORS SHOULD ALSO WATCH FOR THIS "For 1946-47 Republic is trying to put itself in the 'quality' (quality rental, that is) class with the following: "2 Borzage Productions; 8 Roy Rogers Trucolor (See * below); 8 Special DeLuxe; 8 Red Rider; 4 Major Trucolor; 4 Gene Autry; 16 Variety; 6 Hale Trucolor. "*As of today Republic is indebted to their 1945-46 contract-holders to the extent of SIX Rogers, so a vast number of exhibitors are going to be deprived of several of these productions, no matter what contract they have signed in the past or will sign from now on. Therefore, in placing a value upon a Republic 1946-47 contract, exhibitors can forget these 8 Rogers. "As a stockholder in Confidential Reports, Inc., Republic has learned something about the exorbitant rentals which exhibitors are paying Paramount, Fox, United Artists, etc., and they will now find Republic demanding similar terms for their 1946-47 product. Of course they have no legitimate reason for doing so when we review the ten pictures Republic designated as 'specials' during 1945-46, most of which were usable only as 'seconds' on double bills. "If you must pay Metro prices, buy Metro — not Republic." Although several weeks have elapsed since Wood charged Republic with a "chiseling" sales policy, Grainger has elected to remain silent. By his silence, however, his company stands condemned, for his failure to come forth with a reasonable explanation of his company's action denotes to the exhibitors that Republic's position is indefensible and that it intends to squeeze its customers to the limit. Hence, on the face of the record, no exhibitor could be blamed for exercising extra caution in his future dealings with Republic. It is quite possible that Republic, in following a policy of worthless promises, is taking advantage of a contract clause that puts a stamp of legality on its actions. If such is the case, the company would do well to reconsider its sales methods lest exhibitor opinion prove so intensely adverse that it will require no further argument to bring it to a policy of fair dealing. GOLDWYN RIGHT THIS TIME As sure as day follows night, Samuel Goldwyn can always be depended on, at least once a year, to come forth with a statement about what is wrong with the motion picture industry in general. True to form, Goldwyn arrived in New York last week, prior to the opening of his latest picture, and, at a press interview, in which he accused Hollywood of being "rich and lazy," he found time to toss off a few remarks about how the exhibitors have ben having the time of their lives during the past five years, making money hand over fist and never giving a picture the run it ought to get. "Their main job," said Goldwyn, "is to buy a picture as cheap as possible and then go fishing." Mr. Goldwyn's criticism of the exhibitors comes under the heading of a repeat performance. He has expressed similar remarks in prior years, and this paper has taken him to task each time. To say any more would merely be to rehash what has already been said in these columns. But, discounting his annual "beef" about the exhibitors, Harrison's Reports is of the opinion that he made a sound statement when he said that Hollywood is "rich and lazy" and that it is living on "borrowed time." "Times have changed," Mr. Goldwyn said, "but Hollywood hasn't. Hollywood has run dry of ideas. It is living on borrowed time and borrowed ideas from the past, and that's why, with few exceptions, every picture reminds you of a hundred other pictures. . . ," Mr. Goldwyn is right when he says that, with few exceptions, one picture reminds one of many other pictures. Take for instance the musicals. The producers spend millions to make them the last word in production and color, but the stories follow almost the same formula: The hero becomes successful, marries for love, and then the glamour makes him neglect his wife and there is separation for the eventual reunion. Have they tried once to have the hero and heroine stick it out to the end, regardless of temptations? No! That would be contrary to the formula and few want to risk the innovation. Yet it would be a novelty, the kind that should make at least one producer risk getting away from the formula. The shelves of the editorial department of every studio are stacked with novels, stage plays, magazine stories and originals, and yet the producers take the most inane old pictures, most of which meant nothing to the box-office, and remake them. Why? Because, as Mr. Goldwyn says, they have grown fat with prosperity and have become lazy. They may get by with this fat-cat complacency as long as the lush times last, but the inevitable will happen: when money does not come in so easy and the cost of living keeps on mounting until it reaches a mountain top, the public will once again become fussy about their amusement desires and will shop around to see where and when they can get the best entertainment at the lowest cost. The producers then will become frantic and will try to recapture the business. But it will not be so easy then.