Motion Picture Herald (Jan-Mar 1955)

An International Association of Motion Picture Showmen — Walter Brooks, Director “fo j/hiiuMftf Pulflic ^elathn^ Letters to the Editor of THE HERALD, in a recent issue, contain the good suggestion that groups on either side of the fence, in distribution or exhibition, acquire some small theatres to be used for research purposes. Not that we don’t have such theatres today, but they are not so identified, nor do they report their findings to the trade. The British, who do so many things first, and often better than we do, have such a test-tube theatre in the Gaumont, Finchley. It is not only a test-run, but also a training school for employees of the Circuits Management Association, Ltd. (CMA) who operate the Gaumont-British and Odeon circuits in England. We can’t deny that circuit managements in this country watch most carefully the trial runs and experimental campaigns, conducted by themselves in their own houses. That is their privilege, and the results obtained are their private business. Also, the national exhibitor associations. Allied and TO A, have ample opportunity to demonstrate in many types of theatres, and have done so, over the years, in such closed meetings as the Allied Caravan, and other forms of reporting. But, we believe there has been one ingredient missing in some of these instances — and that is showmanship. The contributing factor of showmanship is more vital than any other problem of the industry today. We have heard several voices raised in behalf of “The New Look’’ which is necessary if outmoded theatres are to stay in business; and we’ve been told that the “sub-sub-runs’’ will disappear, for lack of sufficient revenue to support them in this market. And nothing could be closer to the truth, for this is a New Film Industry, 1955, with 32,000,000 television sets in use. We quite agree with D. G. Rauenhorst, of the Murray theatre and Duffy’s Drive-In, Slayton, Minnesota, whose “Letter to the Editor” has inspired this discussion — that “a research project of this kind could be the seed to start a little harmony between exhibition and distribution in this industry.” HOLLYWOOD STARS The top-bracket stars in Hollywood are famous for the fact that they usually are in several other kinds of business in addition to their contract jobs with the studios. When your income runs into six figures, per picture or per year, you have a surplus to spend, and an opportunity tor investment that will either prolong your benefits Into retirement or, at least, give you a tax loss, which counts for cash. We have often said from this corner that we wish more stars would acquire small theatres, preferably in small towns, where they would establish a business and become part of the community. It would give them a stake, financially, but, better than that, it would create sustaining and comforting confidence in the industry. Walter Brennan is one who comes to mind, for he owns a nice little theatre in Susanville, California. While we haven't heard any reports on it recently, we think he must derive satisfaction from mixing with his fellow townsmen, knowing that he is part of community life. In fact, as well as theory. He has three "Oscars" — enough to make 1 1/2 sets of book-ends — and he is currently co-starring In "Bad Day At Black Rock" — and "The Far Country" — both coming up In the first-runs. He has accomplished much, and he enjoys all that Hollywood offers for success attained. But many of the basic facts of life are well known to both sides. There is too much management, and too many theatres, that have worn-out all original policies. Film industry, with its new dimensions has shown more aggressive, progressive, forward-looking development, than any other major industry, and non-conformists will be the first to be counted out. q WE’LL TAKE A CHANCE and answer the questions which D. J. Rauenhorst proposes in his “Letter to the Editor” in the issue of Jan. 15th. And we ll say, further. that the nearly 7,000 members of the Round Table find the answers in these showmanship pages, the year around. 1. What admission scale will give the highest income throughout the entire year? The scale that enables the family to come to the movies, whether there are three, or five, or seven of them, Dad can afford to buy tickets and be willing to go to the movies again — soon. 2. What effect do advanced admissions have on future business? You can’t expect the raise without taking the dip that follows. When the average patron spends much more than the regular scale, he may stay away for a while, to recoup. Peaks always make valleys between high points. 3. What day of the week should big pictures be opened? Preferably, Sunday, Monday and Tuesday, for average theatres. Followed by Wednesday and Thursday, for adult entertainment, and Friday and Saturday, for more juvenile trade. 4. How many changes a week should be used? Fewer and better than in previous years. Fewer changes will increase your potential audience factor. Too many changes reduce the potential audience numerically. 5. What effect does closing the theatre for one or more nights a week have on overall business? Sometimes, a good effect, for the theatre is missed on this one dark day, by merchants as well as movie-goers. But a regular day for a bargain price is even better practice, and builds new business. ^ AMERICAN LEGION magazine, for February, contains a by-line article by this writer, on the subject of drive-in theatres. It is entitled “The Movies Move Out” and is written in non-technical language to appeal to 2,900,000 subscribers to the Legion magazine, many of whom are in small towns. It is intended to be constructive and valuable in industry and public relations — and we think it will be read by many people who have wondered about some of the news stories that have been circulated concerning “your best entertainment.” — Walter Brooks MANAGERS' ROUND TABLE SECTION, FEBRUARY 5. 1955 37