Harrison's Reports (1958)

July 26, 1958 HARRISON'S REPORTS 119 "Wolf Dog" with Jim Davis, Allison Hayes and Tony Brown (20th Century-Fox, no rel. date set; time, 61 mm.) A fair outdoor action melodrama. Centering around the rehabilitation of a paroled ex -Marine, who settles down on a ranch with his wife and son after serving time in prison on a manslaughter charge, the simple story is a bit on the contrived side and is somewhat drawn out, despite the short running time. It is wholesome stuff, however, with enough viciousness on the part of a mean neighbor to draw sympathy to the hero, and as such should get by with undiscriminating family audiences on the lower half of a double bill. The direction and acting are adequate, and the photography, in Regalscope, good: — Released from prison after serving a term for manslaughter, the result of self defense in a fist fight, Jim Davis, a former Marine hero, starts life anew on a ranch with Allison Hayes, his wife, and Tony Brown, their young son. Austin Willis, a land-grabbing neighbor, offers to buy him out. When Davis refuses to sell, Willis makes trouble by killing little Tony's dog and by stampeding Davis' cattle. Tony finds a replacement for his dog when he discovers a puppy that seems to be half wolf. He trains the puppy and soon has a fine new pet who helps him to combat Willis' machinations. Meanwhile Davis refuses to be provoked into a fight with Willis lest he break his parole and land back in jail, but he is eventually goaded beyond endurance and gives Willis a severe beating. Later, Don Garrard and Juan Root, two convicts, escape from prison, rob a bank and force Davis to provide them with a hideout. When the law shows up, however, Davis is instrumental in their capture. Rewarded for his bravery, Davis looks forward to a bright and peaceful future with his family. It was produced and directed by Sam Newfield from a screenplay by Louis Stevens. Family. "Spy in the Sky" with Steve Brodie and Sandra Francis (Allied Artists, ]uly 20; time, 74 min.) An ordinary spy melodrama that might squeeze by on the lower half of a mid-week double bill. Centering around a captured scientist who escapes from Russia to the free world with a secret Communist code, the story is loaded with all sorts of chases and cloak-and-dagger activities involving American intelligence agents and their Russian counterparts. But all this is presented in so confusing a manner that one loses interest in the proceedings long before the final reel. Neither the direction nor the acting are anything to brag about: — Hans Tiemeyer, a captive German scientist who had been put to work by the Russians on their satellite program, escapes into the free world but is shadowed by Herbert Curiel, who wants to "sell" the scientist to the United States, and by George Coulouris, who wants to "sell" him to the highest bidder. Tiemeyer escapes from his pursuers momentarily, long enough to pawn a guitar, mail the pawn ticket to and telephone the United States Consulate to say that he alone holds the secret of the Sputnik beep signals. At this point he is abducted by Curiel, and Steve Brodie, an American intelligence officer, is assigned to find him. Brodie learns of Curiel's romantic interest in Sandra Francis, a night-club singer, and arrangements are made for Curiel and Brodie to meet. At the time of the rendezvous, however, Curiel and Tiemeyer are found dead. Brodie's trail next takes him to Coulouris' office. There he sees Tiemeyer's guitar, which had been redeemed. Attracted by the peculiarity of its tone, Brodie detects that it has a wire like those used in recording. He tests the wire and finds the secret code brought by Tiemeyer to the free world. It was produced and directed by W. Lee Wilder from a screenplay by Myles Wilder, based on the novel "Counterspy Express," by A. S. Fleischman. Family. NEW ENGLAND DRIVE-INS UNHAPPY (Continued from front page) in 5 days at Plaistow and $2300 at Middleboro. We cannot agree, Mr. Chumley, that those are big grosses at 60% — because on the week they are left with 40% of about $1800 and $2800 respectively. Ask the average drive-in operator — is $720 or $1100 left after film cover the overhead of a drive-in in July? We earnestly believe that these drive-ins lost money the first week of 'Ten Commandments.' "But, Mr. Chumley, what happened to the 2nd week in Plaistow and Middleboro? We hear that Wednesday, the 8th day, and Thursday, the 9th, were $64.56 and $74.50 respectively for Middleboro. What grosses do you have for this 2nd week? You kindly published the first five-day grosses in comparing them to puny Sunday, Monday, Tuesday or Wednesday, Thursday, Friday, Saturday for the most part on lesser pictures off-season. "I hope you publish the 2nd week grosses as readily and quickly as you did the 1st week's gross for all five drive-ins. "Recommendation : "1. If you are a distributor, let exhibitors operate their own theatres (as per the decress) at their own admission prices. "2. If you are a drive-in operator and have a competitor, hope and pray that the competitor plays 'Ten Commandments' at its present admission prices. "Any thinking business man wants to know what pro/it can be made in the height of the season — not what grosses can be racked up. And I contend that all 5 drive-ins lost money on 'Ten Commandments' in the 2 weeks and in the thousands of dollars, especially when you consider that regular customers were driven away to other entertainment both the first week and more the 2nd week; there is an incalculable loss here. All five drive-ins should have made money on any other pictures these two weeks. So the spread between profit and loss here is in the thousands of dollars. Now, these five must wean back their customers from the opposition and overcome the immeasurable resistance to the raise in prices for adults and the 50< for children." Upon receipt of the foregoing statement, this writer communicated with the Paramount home office and invited Mr. Chumley to comment on Mr. Lider's remarks, but up to press time Mr. Chumley maintained his silence. The facts and figures cited by Mr. Lider to show why the contrasting grosses cited by Paramount on other of its pictures make for odious comparisons, are indeed interesting and enlightening. There is much food for thought also in Mr. Lider's contention that the profits that might be realized during the first week of the compulsory two-week engagement are wiped out by a disappointing second week, in which case the exhibitor ends up with either nothing or a loss, while Paramount walks off with its assured royalties for every adult and child admitted. It may be that Paramount will come out with another statement to combat what Mr. Lider has brought out. No matter what the company says, however, the one thing that indicates that its drive-in policy on "Ten Commandments" is not the bonanza it is claimed to be is the fact that the five Massachusetts drive-in theatres attempted to withdraw the picture after the first week of the two-week engagements. After all, it is logical to assume that no exhibitor in his right mind would endeavor to pull a picture that continues to do outstanding, profitable business. In a letter sent to selected drive-in theatres offering the picture for special engagements, Paramount suggested that, in competitive bidding situations, "the terms you submit to us include a dollar guarantee to help us evaluate your offer and to help assure us of a fair return on this picture." In the light of what has happened on the first drive-in engagements in Massachusetts, and in view of the fact that the picture has been milked of potential patronage in the key indoor theatre engagements, it seems as if it would be more proper if Paramount, in demanding a minimum playing time of two weeks during the prime summer months, should give the outdoor operators a dollar guarantee to assure them of a fair profit on the picture.