Sheldon v. Metro-Goldwyn Pictures Corp.

309 U.S. 390, 60 S. Ct. 681, 84 L. Ed. 825, 1940 U.S. LEXIS 1246, 44 U.S.P.Q. (BNA) 607
CourtSupreme Court of the United States
DecidedMarch 25, 1940
Docket482
StatusPublished
Cited by265 cases

This text of 309 U.S. 390 (Sheldon v. Metro-Goldwyn Pictures Corp.) is published on Counsel Stack Legal Research, covering Supreme Court of the United States primary law. Counsel Stack provides free access to over 12 million legal documents including statutes, case law, regulations, and constitutions.

Bluebook
Sheldon v. Metro-Goldwyn Pictures Corp., 309 U.S. 390, 60 S. Ct. 681, 84 L. Ed. 825, 1940 U.S. LEXIS 1246, 44 U.S.P.Q. (BNA) 607 (1940).

Opinion

Mr. Chief Justice Hughes

delivered the opinion of the Court.

The questions presented are whether, in computing an award of profits against an infringer of a copyright, there may be an apportionment so as to give to the owner of the copyright only that part of the profits found to be attributable to the use of the copyrighted material as distinguished from what the infringer himself has supplied, and, if so, whether the evidence affords a proper basis for the apportionment decreed in this case.

Petitioners’ complaint charged infringement of their play “Dishonored Lady” by respondents’ motion picture “Letty Lynton,” and sought an injunction and an accounting of profits. The Circuit Court of Appeals, reversing the District Court, found and enjoined the infringement and directed an accounting. 81 F. 2d 49. Thereupon the District Court confirmed with slight modifications the report of a -special master which awarded to petitioners all the nef profits made by respondents from their exhibitions of the motion picture, amounting to $587,604.37. 26 F. Supp. 134, 136. The Circuit Court of Appeals reversed, holding that there should be an apportionment and fixing petitioners’ share of the net profits at one-fifth. 106 F. 2d 45, 51. In view of the importance of the question, which appears *397 to be one of first impression in the application of the copyright law, we granted certiorari. December 4, 1930.

Petitioners’ play “Dishonored Lady” was based upon the trial in Scotland, in 1857, of Madeleine Smith for the murder of her lover, — a came célebre included in the series of “Notable British Trials” which was published in 1927. The play was copyrighted as an unpublished work in 1930, and was produced here and abroad. Respondents took the title of their motion picture “Letty Lynton” from a novel of that name written by an English author, Mrs. Belloc Lowndes, and published in 1930. 'That novel was also based upon the story of Madeleine Smith and the motion picture rights were bought by respondents. There had been negotiations for the motion picture rights in petitioners’ play, and the price had been fixed at $30,000, but these negotiations fell through.

As the Court of Appeals found, respondents in producing the motion picture in question worked over old má-terial; “the general skeleton was already in the public demense. A wanton girl kills her lover to free herself for a better match; she is brought to trial for the murder and escapes.” But not content with the mere use of that basic plot, respondents resorted to petitioners’ copyrighted play. They were not innocent offenders. From comparison and analysis, the Court of Appeals concluded that they had “deliberately lifted the play”; their “borrowing was a deliberate plagiarism.” It is from that standpoint that we approach the questions now raised.

Respondents contend that the material taken by infringement contributed in but a small measure to the production and success of the motion picture. They say that they themselves contributed the main factors in producing the large net profits; that is, the popular actors, the seen- *398 ery, and the expert producers and directors. Both courts below have sustained this contention.

The District Court thought it “punitive and unjust” to award all the net profits to petitioners. The court said that, if that were done, petitioners would receive the profits that the “motion picture stars” had made for the picture “by their dramatic talent and the drawing power of their reputations.” “The directors who supervised the production of the picture and the experts who filmed it also contributed in piling up these tremendous net profits.” The court thought an allowance to petitioners of 25 per cent, of these profits “could be justly fixed as a limit beyond which complainants would be receiving profits in no way attributable to the use of their play in the production of the picture.” But, though holding these views, the District Court awarded all the net profits to petitioners, feeling bound by the decision of the Court of Appeals in Dam v. Kirk La Shelle Co., 175 F. 902, 903, a decision which the Court of Appeals has now overruled.

The Court of Appeals was satisfied that but a small part of the net profits was attributable to the infringement, and, fully recognizing the difficulty in finding a satisfactory standard, the court decided that there should be an apportionment and that it could fairly be made. The court .was resolved “to avoid the one certainly unjust course of giving the plaintiffs everything, because the defendants cannot with certainty compute their own share.” The court would not deny “the one fact that stands undoubted,” and, making the best estimate it could, it fixed petitioners’ share at one-fifth of the net profits, considering that to be a figure “which will favor the plaintiffs in every reasonable chance of error.”

First. Petitioners insist fundamentally that there can be no apportionment of profits in a suit for a copyright infringement; that it is forbidden both by the statute and the decisions of this Court. We find this basic argument to be untenable.

*399 The Copyright Act in § 25 (b) 1 provides that an in-fringer shall be liable—

“(b) To pay to the copyright proprietor such damages as the copyright proprietor may have suffered due to the infringement, as well as all the profits which the infringer shall have made from such infringement, ... or in lieu of actual damages and profits, such damages as to the court shall appear to be just, . . .”

We agree with petitioners that the “in lieu” clause is not applicable here, as the profits have been proved and the only question is as to their apportionment.

Petitioners stress the provision for recovery of “all” the profits, but this is plainly qualified by the words “which the infringer shall have made from such infringement.” This provision in purpose is cognate to that for the recovery of “such damages as the copyright proprietor may have suffered due to the infringement.” The purpose is thus to provide just compensation for the wrong, not to impose a penalty by giving to the copyright proprietor profits which are not attributable to the infringement.

Prior to the Copyright Act of 1909, there had been nó statutory provision for the recovery of profits, but that recovery had been allowed in equity both in copyright and patent cases asi appropriate equitable relief incident to a decree- for an injunction. Stevens v. Gladding, 17 How. 447, 455. That relief had been given in accordance with the principles governing equity jurisdiction, not to inflict punishment but to prevent an unjust "enrichment by allowing injured complainants to claim “that which, ex aequo et bono, is theirs, and nothing beyond this.” Livingston v. Woodworth, 15 How. 546, 560. See Root v. Railway Co., 105 U. S. 189, 194, 195. Statutory provision for the recovery of profits in patent cases was en *400

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Bluebook (online)
309 U.S. 390, 60 S. Ct. 681, 84 L. Ed. 825, 1940 U.S. LEXIS 1246, 44 U.S.P.Q. (BNA) 607, Counsel Stack Legal Research, https://law.counselstack.com/opinion/sheldon-v-metro-goldwyn-pictures-corp-scotus-1940.