Harrison's Reports (1950)

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196 HARRISON'S REPORTS December 9, 1950 out any inequities and grievances that are revealed as com' mon. So we would first like to see what the facts are and then have an opportunity of a meeting with NSS to see if something can't be done before we think in terms of law suits. "But if any of our members do want to join in the Pennsylvania suit we at least think they should know exactly what they are signing. They had better inquire as to whether it might mean that they could be called to Philadelphia as a witness in the case. While the attorney's fees are contingent upon a successful case, we also wonder if, in the event of a decision in favor of NSS, those who joined in the litigation might be liable for court costs." Charles Niles, who heads the Caravan Committee of Allied Theatre Owners of Iowa and Nebraska, has cautioned his members against signing the agreement with the "Protective Committee," stating that he, too, was acting on the advice of Mr. Myers. The strongest condemnation of this anti-trust action, however, comes from the Independent Theatre Owners Association, headed by Harry Brandt, which, at a special meeting called to discuss the litigation, unanimously adopted the following resolution: "WHEREAS an anti-trust action has been instituted against National Screen Service in the United States District Court for the Eastern District of Pennsylvania (Civil Action 11540) by a group which has assumed the name of 'Na< tional Independent Motion Picture Exhibitors Protective Committee,' and "WHEREAS independent exhibitors all over the country are being solicited to join in this suit, which seeks to destroy National Screen Service, and "WHEREAS members of ITOA have enjoyed many years of amicable relations with National Screen Service, which company has performed and continues to perform necessary services of benefit to independent exhibition, and "WHEREAS the membership of ITOA believes this action to be harmful to the best interests of independent exhibitors, "NOW, THEREFORE, be it resolved that the ITOA go on record as disapproving of this action and that independent exhibitors be informed that the membership of ITOA will not participate in such suit, and "FURTHER, that counsel for the Association be authorized and empowered to explore all legal means for the protection of the best interests of the members of this Association and to take all the necessary steps to carry out the purposes of this resolution." Without meaning to prejudge the litigation, HARRISON'S REPORTS is in full accord with the feelings of the organized independent exhibitors that the aforementioned lawsuit against National Screen Service is a big mistake. That the organized independent exhibitors, who are always ready to battle against injustices, are not in sympathy with this action attests to the fact that, throughout its long and honorable history, National Screen Service, aside from the great work it has done for charitable and patriotic causes, has served the exhibitors and the industry well with progressively good screen advertising, and it has never failed to right a wrong to an exhibitor whenever its attention has been called to one. There is a good reason why the responsible exhibitors of this country hold NSS in such high esteem, for, instead of trying to get all it could from the exhibitors, it has always tried to adjust its charges on a reasonable basis so that its service will be within the reach of every exhibitor's pocketbook. HARRISON'S REPORTS has said it before and takes pleasure in saying it again: If there were not in existence a company such as National Screen Service, the industry should have created one, for through such a highly specialized company the concentration of trailers and accessories in one source has been productive of improved service and lesser cost to the exhibitor. The record shows that throughout the years National Screen Service has always given the exhibitors fair treat ment and, whenever the exhibitors had a complaint, Herman Robbins, president of the company, and George Dembow, vice-president, have always been ready and willing to sit down with the complainants to find a reasonable solution to their differences. In view of this fine record, HARRISON'S REPORTS feels confident that the responsible theatre owners of the country will see the wisdom of not lending their support to this suit. "The Sound of Fury" with Frank Lovejoy, Lloyd Bridges and Richard Carlson (United Artists. Jan. 15; time. 90 min.) This melodrama is a masterpiece insofar as story, direction and acting are concerned, but, not only is it an unpleasant and unhappy picture, but it may also do to the national interest great harm at this time, for the Communists may grasp at the opportunity to show the picture far and wide to discredit us. The Nazis used "Mr. Smith Goes to Washington" to show that our democratic system is corrupt; the Communists may use this picture to show how uncivilized we are. The story appeals to the passions of lawlessness and savagery. The action is so realistic that one feels as if being present in a real scene of mob rule and, even though the actual lynching of the two criminals is not shown, one feels the effect of it. The penitence of the newspaper columnist portrayed by Richard Carlson seems real, and one feels sorry for his inability to stop the lynching. The only false note seems to be the inability of the authorities to prevent the mob from breaking into the jail. In real life, the mob would have been dispersed by tear gas bombs and even by shooting and killing a few. The acting is excellent. Frank Lovejoy, the victim of circumstances, is convincing, as is Lloyd Bridges, as the nonchalant but vicious murderer: — Frank Lovejoy, an ex-GI, settles down in a California town with his wife and child (Kathleen Ryan and Donald Smelick), but though he tries hard he is unable to obtain a job. He has a chance meeting with Lloyd Bridges, a smug, well-dressed young man with plenty of money and, in a moment of weakness, agrees to drive Bridges' car while he holds up a gas station. One crime leads to another, but Lovejoy manages to keep his complicity from his wife. Art Smith, a local publisher, sees in the petty robberies an opportunity to boost his paper's circulation, and he assigns Richard Carlson, his ace columnist, to write a series of artw cles sensationalizing the robberies as a crime wave. Renzo Cesana, an Italian scientist and close friend of Carlson's, is disturbed by the tone of Carlson's articles, for he felt that they were an invitation to violence, an appeal to mob rule. Lovejoy, a misfit in his career of crime, wants to quit, but Bridges induces him to go along on a final job — the kidnapping of Carl Kent, scion of the town's wealthiest family. The kidnapping is successful, but Lovejoy is horrified when Bridges, in a moment of psychotic rage, brutally murders the young man. Suffering from shock, Lovejoy is unable to face his wife. Bridges, worried about him, takes him on a round of night-clubs with Adele Jergens and Katherine Locke. In the morning, Lovejoy, drunk and on the verge of nervous collapse, unwittinginly blurts out the part he played in the crime. Katherine notifies the police and, in short order, both Lovejoy and Bridges are apprehended. The brutal murder, coupled with Carlson's inflammatory articles, arouses the townspeople, and Lovejoy's wife, fearing for her husband's safety, appeals to Carlson to temper his writings. Her pathetic appeal moves Carlson, but before he can offset the damage the people, driven to violence, storm the jail, haul the two guilty men from their cells, and lynch them. When the fury of the mob is spent, Carlson, heavy with shame, vows that he will never let the people forget their vicious display of mob violence. It was produced by Robert Stillman (associates of Stanley Kramer in the production of "The Champion" and "Home of the Brave"), and directed by Cyril Endfield, from a screen play by Joe Pagano, based on his own novel, "The Condemned." Strictly an adult picture.