Motion Picture Herald (Nov-Dec 1939)

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jjy DECEMBER 9, 1939 MterJnedtm . . . a section of Motion Picture Herald devoted to the physical theatre, published by the Quigley Publishing Company, Inc., Rockefeller Center, New York, every fourth week. Martin Quigley, publisher and editor-in-chief. George Schutz, editor. Colvin Brown, general manager. Ray Gallo, advertising manager. C. B. O'Neill, Western advertising manager, 624 S. Michigan Ave., Chicago. London Bureau: No. 4, Golden Square, Wl. Consultants: J. T. Knight, Jr., physical operation; Ben Schlanger, architectural form; C. C. Potwin, acoustic design and treatment. ■ ■ ■ Regulators, Not Law, Seen Voltage Remedy something not quite according to Hoyle is indicated by the belief, notably among Hollywood engineers, that much of the fluctuation of sound volume which exhibitors have been complaining of, is due to local line voltage fluctuation. The complaints, filtering through to the studios, are reported to be coming from all sections of the country, whereas the utilities in about two-thirds of the States are commanded by law to keep voltage fluctuation within a certain limit, as low as 2% in some, 10% in some others, according to the Edison Electric Institute of New York. The complaints, that sound tracks are not uniform with respect to volume, arise at this late day in the brief but lively history of sound pictures as a result of controlling the sound in the track, rather than through the fader. It is pointed out that sound reproduction will not be appreciably affected by voltage ranges between 110 and 120. Above 120, tube life is severely shortened ; it is the dipping below 110 which affects sound quality. At 105 volts, this impairment of quality would be likely to become highly noticeable (equipment varies somewhat in this respect), which level would represent a fluctuation of 4^2% in a community where service is at 110. It appears, however, according to the findings of the Institute, that even where fluctuation limits are prescribed by law, it is difficult to enforce these restrictions — in fact, some laws, it is said, provide no penalties. ■ If the studio engineers are correct in their reply to exhibitors' complaints that sound tracks are not uniform, their diagnosis means the installation of voltage regulators as the general remedy, and their use in far greater number of theatres. Value of Inspection Cited in Liability Case A higher court decision in a liability case which contains valuable comment with respect to the responsibility of the theatre operator for the safety of his patrons is that recently handed down by the New York Court of Appeals in the case of Edith and Moe Nabson versus the Mordell Realty Corporation, New York City theatre operators. Edith was injured by a splinter from an auditorium chair. A lower court awarded her damages, but the appeal court reversed this decision, pointing out factors which often apply to various causes of injury in a theatre. "While the [theatre] seats are constructively in the possession and control of the theatre owner, they are in the temporary use and under the control of the patrons while being occupied during these performances and are subject to possible injury during such use. Reasonable opportunity to inspect them necessarily exists only during certain parts of each day." The italics are our own. Elsewhere : "If the defendant, as it did in this case, offered proof of systematic inspection and repair, the question would be for the jury to determine whether it had been negligent," and the jury, added the court, would have to decide if the defect could not have been discovered by such inspection. Referring to a case (Stelter vs. Cordes, 146 App. Div., 640) in which a patron of a bowling alley sued over an injury caused by a splinter, the court also said : "The court . . . held that because there was no proof of the existence of the splinter for any period of time before the accident, so that proper care might have afforded defendant an opportunity to remove it, or to show that it was of such probable origin that proper inspection could have discovered it, no negligence was shown." Disney Characters For Attraction Boards significant in the light of today's fuller use of the marquee as an advertising medium, with attraction boards adapted to "typographical" treatment comparable to that of printed advertising, is the anticipated acquisition by the Wagner Sign Service, Inc., of Chicago, of a license to reproduce for attraction boards, figures of Mickey Mouse, Donald Duck and any of the other Walt Disney cartoon characters. It is the intention, according to Ernest Wagner, head of the company, to make Mickey Mouse and Donald Duck figures first, and to follow with others as demand advises. The characters will be reproduced in cast metal in heights corresponding to 24-inch attraction board letters, for attachment to Wagner silhouette panels. The width of these characters will be approximately 15 inches. Still planning others. Officials and executives of the Interstate circuit (whose Austin theatre is featured in following pages) go over plans for yet another Houston theatre while in that booming city for the opening of the new Interstate Ala bama theatre. Shown on the site of the new project (obviously an outlying section!) are (left to right) R. J. O'Donnell, vice president and general manager; I. Adelman, an executive; Jake Elder, chief of construction and maintenance; Al Lever, Houston city for the opening of the new Interstate Alabama theatre. Shown on the site of the new project Raymond Willie of the executive staff. The new Houston project is one of five Interstate theatres being planned, while one other is under construction. The circuit has built twelve theatres during the past two years, and now is operating 147 houses. 5