Boxoffice (Apr-Jun 1947)

Republic to Continue Bs Plus Big Budgets HOLLYWOOD — First suggestion of the line to be followed by Republic’s 1947-48 production program was given by President Herbert J. Yates upon his return to the studio from New York where he met with the company’s eastern interests. Calling an immediate conference of the studio’s production executives, the Republic head man told them that increased attention will be devoted to the policy which has been in formation during recent months and which provides for more concentration on high-budget pictures. The intimation was that a major source of the more costly features will be through pacts with established creative and star personalities similar to the so-called package deal recently signed with the Charles K. Feldman Group productions. Yates further informed his studio personnel that, following the assurance of many circuit operators and independent exhibitors that they are ready to give increased support to B pictures, the company has decided to make at least 16 B films for the coming season. He stated that he had received many favorable reports from theatre men as a result of the discussions of B product, which were a highlight of the company’s recent regional sales meetings. The B subjects on the coming schedule will rely heavily upon exploitation themes and titles, he said. The outdoor specials, starring Roy Rogers, will be produced on special budgets and will be given additional strength by utilization of established personalities to support Rogers. As an example, he pointed out that currently Tito Guizar is joining Rogers in the cast of “On the Old Spanish Trail.” Rogers’ pictures will all be filmed in Republic’s own color process, Yates said. The complete outline of the 1947-48 program is being determined during conferences with studio officials, with an announcement of the over-all program expected shortly. New Telenews Digest Issue Opens Throughout U.S. NEW YORK — The first issue of Telenews Digest, new newsreel produced by Telenews Productions, opened in various key cities throughout the country April 30-May 2. In New York, Philadelphia, Pittsburgh, Washington, Newark and Boston the reel opened Wednesday (April 30). It went into all Embassy and Trans-Lux houses and the Grand Central Newsreel Theatre in New York. Other openings include Chicago, Detroit, Cleveland, May 1, and Denver, Dallas, San Francisco, Oakland, Seattle, Portland and Los Angeles, May 2. The Digest will concentrate on exclusive news stories from abroad and is aimed to supplement regular newsreels. Hitchcock Due East Soon To Start New Company NEW YORK — Alfred Hitchcock is due in from Hollywood shortly to start organizing a new independent company, Transatlantic Pictures Corp. Sidney Bernstein, head of Granada Theatres, British circuit, will arrive from England shortly to join Hitchcock in the new company. The first picture to be made will be “Rope,” followed by “Under Capricorn,” to be filmed in England with Ingrid Bergman. Hitchcock and Bernstein will announce financial and distribution plans for the company following the latter’s arrival in this country. LETTERS Comedies Need Recognition TO BOXOFFICE: Your recent editorial, titled “Wanted: More Comedy,” concerning the dearth of comedies on the release schedules, should be called most strongly to the attention of those in Hollywood who are responsible for the making of motion pictures. As you say, “Comparatively few outright comedies have been released,” and "the comedy cycle, apparently, does not run as long a course as do the other cycles.” The blame lies fully upon those who have control of the creating of production schedules, as well as on the general industry attitude of giving but slight recognition to comedy as achievement. FEW AWARDS SINCE 1928 The latter is best illustrated in the records of the awards of the Academy of Motion Picture Arts and Sciences. In 1928, when the annual awards of merit were first given, the Academy created a special award for comedy direction. That went to Lewis Milestone for his “Two Arabian Knights.” Since then, the Academy, composed of various divisions of creators in the production side of the industry but whose final say in all major policies rests with the producers, has consistently ignored the making of comedies, except for the memorable “It Happened One Night” and “You Can’t Take It with You,” both of which were voted the outstanding production achievements of their respective years, their participants also getting awards in other divisions. The Academy has failed, since its first year, to give proper recognition to the art of comedy. Even in the short subjects competition, all two-reel short subjects, whether they be novelties, travelogs or the slapstick comedies which brighten so many theatre programs, are lumped together into one classification by length. This, despite the loud protests of the makers of comedy shorts. IDEA MUST BE STRESSED And stranger, too, is the fact that the early growth of the popularity of motion pictures is attributable in a large measure to the appeal of slapstick and other forms of comedy presented. Voting by the Academy members is cited only as an indication of what little respect for comedy is shown by the makers of motion pictures. Exhibitors can be crying for comedy stories but unless publications such as yours loudly point out the need of such type of entertainment, nothing may be done. Scofield-Taylor Productions, Inc., for its program of eight exploitation-type pictures, has scheduled four comedies, first of which will be “Las Vegas.” EDWARD SCOFIELD, Hollywood, Calif. Plea For Dignified Ads TO BOXOFFICE: All exhibitors will agree with me that the success or failure of a picture to be “top boxoffice” depends to a very great extent on the film’s advertising and exploitation in its first run showings. This should include proper handling and prudent judgment in making the film known in a particular area. True, long before its release, producers and advertisers are advertising their pictures through radio, national magazines and the like, but the real burden of “getting his house full” falls on the exhibitor. The advertising of a picture in its first run engagements, I repeat, can either make or break a movie, regardless of its high production qualities. May I cite an example of this. Recently at a large first run house, Republic’s “I’ve Always Loved You” was shown. Here, indeed, is a striking example of movie-making at its finest. In such a film, an opportunity presented itself to win the patronage of those highly cultured circles who look upon the screen with disgust because of its lavish, spectacular, sexy advertising. Instead of capitalizing on the fine color, story and marvelous recordings of the great masters, as played by Rubinstein, the first run theatre in question (which deserves to remain unmentioned) took the opposite course. Large gaudy layouts were used for newspaper advertising, disregarding any tone of refinement of which the picture had a great deal. Catchlines were: “A gay musical! The fun and excitement you’ve been waiting for!” Very little mention was made of Artur Rubinstein and on some large ads, none at all. The whole campaign lacked polish which the picture’s selling demanded As a result, the movie was not done justice and the run of the film in subsequent houses was impaired. FULL-SIDED COOPERATION Further, may I state an incident regarding this. Several people were looking at the theatre page of our local newspaper in which "IALY” was advertised. It was a large ad, using a great deal of black copy. Nowhere did it mention Rubinstein or the other fine qualities of the film. Instead it carried the copy described above. One lady said, “My heavens, I shouldn't like to see this picture. ’ The other agreed readily. They were surprised when I explained to them, the true value of the film in its endeavor to bring fine, cultural music to the screen. You see, through its poor advertising, many others, I am sure, would have by-passed the film. I assure you, I am in no way endeavoring to publicize “IALY.” There are many other examples to cite regarding other films — especially the J. Arthur Rank imports. These fine cinemas are being given the cheap Yankee “ballyhoo.” In closing, might I add that to be a success a picture must have cooperation from all sides, so all may reap a profit, and first run houses figure a great deal in this. Let’s avoid undignified, cheap advertising, let’s do away with vulgar catchlines such as “would you keep your mouth shut?” Let’s have the first run houses give subsequent runs a break. Let’s wake up and give the industry a new postwar streamlining! Very truly yours, RICHARD AVERSON, President, Averson International, Frankfort, N. Y. Toddy Gets Royal Picture NEW YORK — Toddy Pictures Co. has acquired distribution rights to the Negro cast 16mm film, “Going to Glory,” produced by Royal Gospel Productions. The picture has just completed a prerelease day and date run at three Alamo Theatre houses in Washington, D. C., including the Jewell, Strand and Mid-City. Technicolor Has Dividend NEW YORK— Technicolor Motion Picture Corp., Inc., has announced a dividend of 26 cents per share payable May 20, 1947, to stockholders of record May 9, according to Dr Herbert T. Kalmus, president and general manager of Technicolor, Inc. 26 BOXOFFICE : : May 3, 1947