Motion Picture Daily (Apr-Jun 1950)

6 Motion Picture Daily Wednesday, May 24, 1 Republic (Continued from /'age 1) that the only group who may have lost confidence in Hollywood is Hollywood itself. The letters pointed out that while grosses were down, the fault was not necessarily that of the creators of pictures but was due as much to general economic conditions, as well as to the inroads of television, night baseball "and the rest." Exhibitors expressed complete satisfaction with the quality of pictures that are now being delivered and said that the outlook for the last half of the year was considerably brighter than the first half, Yates reported. Stresses 'Blueprints' Based upon the encouraging exhibitor attitude, Yates told those assembled that while "there will be no reduction in budgets, we will press to be sure that more of the money will find its way to the screen." The Republic president warned that an actual working blue print of production details which every department head can read is necessary to achieve the ultimate results. He instructed his department heads that from this day forward no Republic picture will get the green light unless it is thoroughly and completely planned and organized. "This idea of rushing into production pellmell just because of a starting date is just not good business," Yates argued. "From now on every production at Republic will have a council made up of all those responsible for the success of the picture, and each will be given full opportunity to express his ideas," Yates said. » Reviews UK Pact Terms (Continued from page 1) vested either in 10-year British government bonds or in joint production in Britain. Companies electing the latter would be entitled to remit 1.4 dollars for every pound invested. American industry executives were almost unanimous in declaring the British proposals to be "wholly unacceptable and unreasonable." A new embargo on film shipments to Britain, they said, would result in complete closing of many British theatres and partial closing of three or four days per week of all other British theatres with a consequent heavy loss of tax revenue to the government. The closings would demoralize the already crippled British industry, they believe. If a British compromise is not forthcoming some home office executives see the possibility of the American delegation being called home for a report and, if negotiations are resumed thereafter, of a full American negotiating committee such as that already named by the Motion Picture Association being assigned to the London talks. The present remittance agreement expires on June 13. When the British government imposed its confiscatory ad valorem tax on American films in 1947, the American industry effected an immediate embargo on shipments of its films to Britain, which lasted until the tax was removed. 'David Harding, Counterspy*' (Columbia ) EXHIBITORS should be pleased with this entertaining and thoroughly exploitable picture based on the radio serial created by Phillips H. Lord. Using a lively, documentary style, producer Milton Feldman and director Ray Nazarro have created a believable film from a story and screenplay by Clint Johnston and Tom Reed. The picture opens during World War II with a radio commentator blasting the government for the ease with which a foreign power has been obtaining certain top-secret information. The commentator is brought to the secret headquarters of David Harding where he learns that the story of the information leak was deliberately planted to fool the enemy. At this point there is a flashback with Harding relating the story of a specific case to explain how counter-espionage works. Willard Parker, in the flashback, is a naval officer working for the secret Federal counter-espionage organization headed by Harding (Howard St. John). Parker is sent to a torpedo-manufacturing town to discover how information is leaking. It is subsequently discovered that his friend's widow, as well as some of her fellow-workers at the torpedo plant, is involved in espionage. The gang is rounded up and the war effort proceeds. St. John is brisk and credible as Harding. Parker, Audrey Long, the spy whom he loves, Raymond Greenleaf and the rest of the cast turn in credible performances. Running time, 71 minutes. General audience classification. For July release. Allied Board "Hostile Country (Lippcrt) Hollywood, May 23 IN this first of a new series of Lippert Westerns co-starring James Ellison and Russell Hayden as Shamrock and his pal, Lucky, there is plenty of what it takes to please the customers in the line of shooting, fighting and skullduggery. Throw in much hard riding and a large, capable cast and you have the ingredients for popularity with Western fans. Thomas Carr directed from a script by Maurice Tombragel and producer Ron Ormond. A gang of badmen attempts to beat a young lady rancher out of her property by blocking off a pass through which she must get her stock to market by a certain date. To achieve this, they have hidden Shamrock's stepfather, whom he has never met, and one of them has assumed his identity. Shamrock eliminates the whole gang by dynamiting a barrier at the canyon pass and he and Lucky wind up everything to a satisfactory conclusion. The excellent supporting cast includes Raymond Hatton and Fuzzy Knight, as well as many others. Running time, 60 minutes. General audience classification. ft West of the Brazos (Lippert) Hollywood, May 23 JIMMY ELLISON and Russell Hayden ride again as Shamrock and Lucky, partners in adventure, in this second of the new Lippert series. Written by producer Ron Ormond and Maurice Tombragel, the original screenplay provides plenty of riding and shooting and, like "Hostile Country," first in the series, involves the ownership of a ranch. Thomas Carr directed and Murray Lerner was associate producer. _ This time Lucky is a deaf veteran adept at lip-reading, a talent that stands him in good stead in the course of the picture. Naturally there is a romance in the story and wedding bells are imminent at the final fade-out. Raymond Hatton and Fuzzv Knight head the supporting cast. _ Running time, 58 minutes. General audience classification. Current release. Europe and TV (Continued from page 1) tor organizations in Europe and the U. S. have been invited to support the resolution. Moreover, delegates to the Paris meeting agreed to approach their respective governments with a request that a law "for the protection of cinema exhibitors against television" be enacted. The meeting was the first of its kind to give consideration to the television problem on such a scale. An international organization of film producers reportedly will make decisions on television at a meeting in June or September in Madrid or Venice. The European Exhibitors Association is understood to have taken its action with a view to producers' decisions. The Paris meeting went on record as "strongly opposed" to the "sale or hire to any television broadcasting concern of any cinematograph _ film produced for commercial exhibition, irrespective of the country of production or exhibition." A permanent "bureau of the European Union of Exhibitors Association" will be created. Spearhead UK Drive (Continued from page 1) Sparked by meetings held during the past few weeks, which were preceded by an outline of U. S. showmanship details by Charles Einfeld, vice-president of 20th Century-Fox, sub-committees are currently working on slogans similar to the "Movies Are Better Than Ever" watchword, now being used by the American industry. The British campaign will follow the lines of the "Showmanship" drive introduced by 20th Century-Fox in the U. S. during March. MPTOOG Re-elects (Continued from page 1) Greater United Theatres of Sydney, Australia, was among those who discussed film industry conditions at today's session. Evans is on a flying tour of the country. Other speakers included Henry Adams, Hallmark ; Frank Brady, Martin Theatres, and Rex Allen, new Republic Western player. A luncheon sponsored by Hallmark was addressed by Mrs. Cleo Dawson. (Continued from page 1) inally scheduled to end its two] day session at the Hotel Gay oso tonight, voted to met again tomorrow. General coun sel Abram F. Myers said n invitation was received by th Allied board to join Theatr Owners of America in an ir dustry-wide arbitration sX, >n The board authorized ira ' rii quarters to take up with distribul1 companies the problem of releasing many pictures containing the s; subject matter at the same time in same community. It cited "12 O'Cl High," "Battleground" and "Iwo Jii as "splendid war pictures" compel with each other. Myers was authorized to draf. resolution of protest to Paranx over the film rentals on "Samson Delilah." Members said they were fered the film for 50 per cent of gross or 70 per cent with a guai, teed 10 per cent profit. "Exhibitors not feel they can do business on per cent commission," Myers said; The report of H. A. Cole on ] centage selling policies was stui but it was decided not to release i, the present time. Trueman Rembui; president, suggested that all collect in theatre audiences be pooled one — like the Community Chests. Board members compared exp'[ ences in use of promotional televi trailers and decided they were short. A telegram of congratulat was sent to Marc J. Wolf, first AI member to be elected chief barke Variety International. Few Blame TV (Continued from page 1) owners on their current thinl about the state of the industry, covered Syracuse, Buffalo, Roche Cleveland and Detroit. Similar 1 will be made to other areas in near future. All five cities have television tions and numerous sets, the Mf official pointed out, but surprisij few exhibitors blamed television \ current box-office declines. '. critics and theatre owners feel people generally are getting selective in their entertainment Claggett said, and that films hav get better to keep up with this tij The exhibitors have high hopes' the Council of Motion Picture Org' zations, Claggett found. He said j| expected that COMPO would be[ instrument to win people back to r lar film-going, and that they I encouraged by the tax fight as an j cation of what the industry can d(> Max Hart, Agent, 76 Max Hart, 76, who as a vaudc[ agent served many personalities became film stars, died here yeste, at Jewish Sanatarium and Hos for Chronic Diseases after a long] ness. After losing an anti-trust against vaudeville booking agencii; 1926, Hart was an agent in Hl| wood. Joseph Gollomb, 68 Joseph Gollomb, 68, screen wi\A author and former newspaper cjitj died at his home here yesterday; pi lowing a heart attack. Surviving ;pl brother and sister. Gollomb wasjha uncle of Judy Holliday, the actre