The Exhibitor (1957)

TALKIN' TURKEY ABOUT CROSS-PLUGS Several weeks ago on this page, we took occasion to point to the way in which jointly owned TV stations, radio stations, and newspapers, in any one market area, played pat-a-eake with one another with cross-plugs to their mutual advantage (“ON THE VALUE OF CROSSPLUGS” — May 9). And we ventured to suggest that, while theatremen mightn’t possess the same powerful media, they did have some very important salesmen in their own, and in their neighboring, theatre screens. Regardless of competition, shouldn’t theatremen with the same “run,” and in the same market area, cooperate to focus theatre patron attention on motion pictures, by cross-plugs on their screens of one another’s current offerings? While we received some comments for and against such cooperation, it remained for “Mister Trailer ( Herman Robbins of National Screen Service, for those newcomers who miss on that title) to give us one of the most powerful reasons why such theatre cross-plugs should become a fixture in our business. This is the way Mr. Robbins puts it: “ After all, it is no novelty today for Macy to tell (Umbels, and for Gimbels to tell Maey. Therefore, for exhibitors — and I am not thinking only of multiple theatres in one town under a single ownership — to exchange the courtesy and sell each other s shows, would be beneficial and effective both ways. “We have trailerettes that run approximately 20 sec¬ onds. A substantial number of theatres today use them to stir up interest a week or so in advance of the show¬ ing of regular trailers. At no added expense, a theatre running such a trailerette coidd turn it over to a neigh¬ boring theatre, once the regular one is on its own screen. “The neighboring theatre could show the trailerette immediately as an advance-plug, or could hold it until the particular picture is actually playing as a cross-plug. At the same time, the theatre that is benefiting from the advance-plug, or from the cross-plug, exchanges the courtesy through equal treatment of a trailerette on the show at the neighboring theatre. Both are bound to gain through this cooperation. And I refer not only to occasional boxoffice attractions, but to all regular good pictures in which added interest could be stimulated. “We, at National Screen Service, tvould be willing to lend ourselves in every way toward promoting such a fruitful cooperative practice throughout the industry So there it is, executive showmen of America! The implements are at hand if you will use them. And, in some cases at least, you can use them at no added expense. If you aren't familiar with these trailerettes, find out their cost on a regular basis, and make a date for “a cup of coffee” with the executive of your neighboring theatre. He’ll have some ideas, too! And, between you. you could come up with some true cooperation that will give both of your businesses a lift. Don’t forget, there is no waste circulation in those trailerettes. Everyone looking at one is a movie patron, and therefore a potential purchaser of a movie ticket. They have already bought a ticket for your show, or for the neighboring theatre’s show. Keep selling them on current good movies in theatres — any good movies in theatres— and they’ll stay movie patrons. And some of the tickets they continue to buy will be yours! MAN FOR We can’t help but grin at the usual verbose and seemingly know-it-all comments of William H. Mooring, the west coast columnist, about “BOY ON A DOLPHIN.” Here goes: “More deft integration of story with back¬ ground and less dalliance with the physical attributes of Sophia Loren might have ensured a moraUy-acceptable, completely delightful and vividly informative movie." As a theatreman. and we think every other theatreman who has seen this show will agree, we believe all the insurance this one needed was a Rock Hudson as the "A DOLPHIN" male lead instead of an Alan Ladd. Scenery, story, and support are all excellent. And that Loren girl fairly shoots off sparks, so that she still may be able to carry the picture into a top gross all by herself. But, can you imagine the blockbuster you would have had if she had been matched with a hunk-of-man with sparks of his own? More and more, we keep agreeing with the comment about critics attributed to Harry Colin. Only eunuchs might tell you in less words! And make more sense! Jay Emanuel A JAY EMANUEL PUBLICATION. Founded in 1918. Published weekly by Jay Emanuel Publications, Incorporated. Publishing office: 246-248 North Clarion Street, Philadelphia 7, Pennsylvania. New York: 229 West 42nd Street, New York 36. West Coast: Paul Manning, 8141 Blackburn Avenue, Los Angeles 48, Cal. Jay Emanuel, publisher; Paul J. Greenhalqh, general manager: Albert Erlick, editor; George Frees Nonamaker, feature editor; Mel Konecoflf, New York editor; William Haddock, Physical Theatre and Extra Profits aepartmental editor Albert J. Martin, aavertisina manager; Max Cades, business manager. Subscriptions: $2 per year (52 issues); and outside of the United States, Canada, and Pan-American countries, $5 per year (52 issues). Special rates for two and three years on application. Entered as second clast matter at the Philadelphia, Pennsylvania, post office. Address letters to 246-48 North Clarion Street. Philadelphia 7. Pennsylvania.