Harrison's Reports (1949)

180 HARRISON'S REPORTS November 5, 1949 Bill Rodgers, of MGM, was the next distribution leader to address the convention and, after restating his company's sales policy, assured the exhibitors that no changes were contemplated. Mr. Rodgers was followed by Ned Depinet, who took the floor to speak on public relations, but before doing so he assured the exhibitors that, so far as his company is concerned, beginning November 8 the RKO theatres will be treated the same as other theatres. Mr. Depinet's talk on public relations was sober and convincing. By this time a telegram was received from Abe Montague and read. The text of this telegram is printed elsewhere in this issue, with appropriate comments. The session was closed with the assurance from national president Bill Ainsworth of vigilance to the end that the exhibitors may enjoy the benefits of their long and vigorous fight. The gala closing banquet on Wednesday night was attended also by the following Hollywood personalities: George Murphy, Roy Rogers, Dale Evans, Susan Hayward, Jess Barker, Gloria Swanson and Chill Wills. Bennie Berger should feel proud of the success of the convention, for which he worked so hard. And great credit must be given to Stanley Kane, Berger's right-hand man and recording secretary of National Allied, for the business way in which he handled the convention arrangements. At no time was he seen running around like a chicken with its head cut off; he was always cool and composed, and transacted the convention business with speed and tact. COLUMBIA'S ATTITUDE ON "JOLSON SINGS AGAIN" The telegram that Abe Montague sent to Allied in Minneapolis on Wednesday, October 26, in reply to the one that had been sent to him regarding the terms on "Jolson Sings Again," is as follows: " 'Jolson Sings Again' has been offered to certain accounts on a basis of 60% and so far picture has been very successful financially for the exhibitors who have played it. We have never demanded nor have we ever authorized any employee of Columbia to even remotely suggest that an exhibitor advance his admission price and vigorously deny your insinuation and demand to know the basis of your information. We at all times have had excellent contact and successful business relations with 14,000 theatres and we intend to continue these pleasant relationships which we regard as one of our most valuable assets. In all negotiations we seek film rentals commensurate with the value of the picture. Seems to me that if Columbia can make a picture as great at the boxoffice as 'Jolson Sings Again' and as all theatres playing the picture to date are making substantial profits in these trying times there is no basis for any complaint." After the telegram had been read, John M. Wolfberg, a sober young man, president of Allied Rocky Mountain Theatres, leaped to his feet and denounced it as a "prevarication of the truth"— a lie. He then revealed the fact that he had been in Abe Montague's office when told by him that Columbia intended to get increased admissions on the picture. Mr. Abram F. Myers was asked to express his opinion on whether Columbia has or has not the right to ask for an increase in admission prices. After reading an excerpt of the U. S. Supreme Court's decision prohibiting a distributor from fixing admission prices, directly or indirectly, Mr. Myers pointed out that the high court had taken pains to make their meaning perfectly clear, and then charged that the "asking" terms on "Jolson Sings Again" was an attempt to force admission price fixing in violation of the decree. It seems as if Columbia, to avoid punishment, depends on the fact that there are no written communications from any of its representatives to prove that the company is trying to coerce the exhibitors into increasing their admission prices. But Mr. Myers pointed out that, if a large number of exhibitors report that an attempt has been made by the Columbia representatives to force them to advance admission prices, the Court will take cognizance of their complaints. But before any action may be taken each exhibitor so coerced must submit to the Committee headed by Col. H. A. Cole an affidavit sworn to before a notary public. One instance in which a Columbia salesman tried to compel an exhibitor to increase his admission prices, as brought out in Minneapolis and as previously reported by this paper, was as follows: The salesman told the exhibitor that he may charge any admission price that he wanted provided he gave Columbia fifty-four cents from each adult admission. Several months ago, Bill Rodgers, of MGM, addressing his salesmen at one of their sales conventions, admonished them to observe the Court's decision, with this reminder: Corporations cannot go to jail, but individuals can. It is too bad that Abe Montague has not heeded that admonition in giving instructions to the Columbia salesmen. If you are one of the exhibitors to whom it was intimated that your application for "Jolson Sings Again" will be approved only after you promise to increase your admission prices, make out an affidavit, swear to it before a notary public, and send it to Col. H. A. Cole, Allied Theatre Owners of Texas, 20 1 1 J/2 Jackson Street, Dallas, Texas. Allied will then take appropriate action. THE NATIONAL KIDS DAY National Kids Day, which is being sponsored by the Kiwanis, International, and which is to be held on November 19, is drawing whole-hearted support from exhibitors throughout the country, according to reports from the Kiwanis clubs. Members of Kiwanis and their families, numbering perhaps one million, have pledged themselves to bring to the theatres at least five iriends each on that day; and since the drive will be supported by the newspapers there is no question that many other patrons will be drawn to the theatres — enough, not only to make up the small percentage of the receipts contributed to the fund by the distributors and exhibitors, but also to leave them a considerable profit. If you have not yet been approached by a member of your local Kiwanis, offer your services at once. The good will your theatre will gain will be an additional profit. "The Big Wheel" with Mickey Rooney, Thomas Mitchell and Mary Hatcher (United Artists, T^ov. 8; time, 92 min.) This auto racing melodrama offers considerable excitement and suspense, but as entertainment its appeal will be directed mainly to the fanciers of the sport and the undiscriminating action fans. Others will probably find it wearisome, for the story is hackneyed and overlong, and the characterizations stereotyped. The best parts of the picture are the racing sequences, which have been presented in a fascinating manner and are made highly realistic by the clever way in which actual shots of race-track smash-ups and other hazards have been edited into the action, but even these tend to exhaust one because they are prolonged. Both the direction and the acting are no more than adequate. The backgrounds of different scenes show display signs of Firestone tires and batteries, Mobiloil and Mobilgas, and Champion spark plugs: — Son of a famous auto racer who had died in a smash-up, Mickey Rooney, a brash youngster, seeks to follow in his footsteps, despite the objections of his mother, Spring Byington. He obtains a job in the garage of Thomas Mitchell, who had been his father's mechanic, and who had been an old admirer of his mother. Through Mitchell, Rooney is given an opportunity to drive in his first midget car race, and soon establishes himself as a top winner. He becomes cocky, quits his job, and starts to live "high." One night, while driving with a hangover, he crashes into the stalled car of Steve Brodie, another driver, who dies as a result of the smash. Actually, Rooney had risked his own neck to warn Brodie that he was driving with a loose tire, but, because he had once threatened to ride over any driver who got in his way, he is blamed by every one for the killing and shunned. He goes East, where he gains a reputation driving bigger race cars, and eventually comes to Indianapolis for a chance to drive in the 500-mile classic. There Mitchell, who by this time had married Rooney's mother, engages Rooney to drive his car in the race, after revealing that he understood that Rooney had meant to save Brodie's life. In the lead and with but one more lap to go, Rooney's car catches fire. He courageously finishes the race, but comes in third. The third prize gives Mitchell and Rooney enough money to rebuild the car for next year's race. Rooney's happiness is complete when the first prize winner, in recognition of Rooney's daring and courage, awards to him the custody of the famous Borg-Warner trophy while the grandstand roars its approval. It is a Popkin-Stiefel-Dempsey production, produced by Samuel H. Sticfel and directed by Edward Ludwig from a screen play by Robert Smith. The cast includes Michael O'Shea, Lina Romay, Allen Jenkins, Richard Lane and others. Unobjectionable morally.