Showmen's Trade Review (Oct-Dec 1943)

10 SHOWMEN'S TRADE REVIEW October 9, 1943 Film Cans Shortage Critical A critical shortage of tins has developed at the Dallas office of National Screen Service, according to Doc Allen, assistant manager. Tins in which trailer services are shipped no longer are available, and exhibitors have held up the present stocks. Allen says that when a theatre receives a tiailer in a single can and then returns two or more in one can, the supply is further shortened. He found one theatre which had a stock of 150 cans, all from National, and got them back. Don Douglas, in his R & R "24 Sheeter" house organ, has asked all managers to return promptly all such tins found in the theatre. Allen says the condition is national and that theatre managers everywhere should look for and return these tins at once. The tins are the property of National Screen and the present shortage is critical. Contrasts 'A' Time with Package Deals for Sales Results in Theatre Radio Advertising By Franc Arnold In view of the growing importance of radio for theatre advertising due to dulling of the value of outdoor displays because of gas rationing and cuts in newspaper lineage because of newsprint scarcity, many showmen who have used radio for considerable periods of time claim that there is considerable confusion on the part of some theatre advertisers with regard to the alphabetical classification of "preferred" time on the air. The showman thinks of the letter "B" in comparison to "B" pictures, therefore of little value, where in truth the "A" rating in radio, which may be preferred time for commodity advertisers, becomes only a matter of time location to the theatre advertiser. For example: Class "A" in most stations means 6 p.m. to 10 p.m., class "B" 9 a.m. to 6 p.m., class "C" 10 p.m. to 9 a.m. To complete the picture, we must consider the vast difference of this medium to that of the newspaper. First we must associate the A B & C time locations of radio with the newspaper's Home, City, and Final Editions, remembering that our ad running in the newspaper automatically purchases all three editions, whereas on the radio each time-group reaches different audiences and we are only in that group for which we purchase time. So where identical ads running day after day in the newspaper become not only repetitious but monotonous, in radio, repetition guarantees all editions. So it is of importance to the showman to decide whether he wants or needs all time groups offered by radio. For example : Some showmen feel that "A" and "C" time, could be eliminated, using only the "B" time, and gives as his psychological reason, that women being of an orderly disposition, like to decide early in the day their plans for the evening, and feel that while they are doing the housework, with the radio going full blase (and all radio surveys attest to this fact) a suggestion to them that they visit your theatre that night, falls on very responsive ears. So the theatreman argues that radio time after 8 p.m. in the evening becomes only institutional advertising; as a decision to visit a theatre is seldom maue at night for a later date. If these opinions were correct, it would make the radio "A" or so-called "cream" time the Endorses Special Rate 1. W. Lyon, of Doremus & Company, advertising agency, endorses the idea advanced in STR last week by Franc Arnold for a special cheaper rate for theatres using radio time. "From the agency standpoint," Mr. Lyon writes, "we are heartily in accord with the views of the writer. From the radio standpoint, we most certainly agree with him that the larger (radio) chains are overlooking a large source of additional revenue. The results of such a rate structure wculd undoubtedly be of tremendous benefit to everyone directly, or indirectly, connected with the theatre." least desirable for the theatre. However, a combination of opinions points to the "package" deal under a mocion picture rate, mentioned in a previous article, as the logical means of a theatre advertiser gaining the advantage of all three times on the radio station. It gives him complete coverage for all "editions," and although this is known as the "shot-gun" method, the cost would probably be less than selected time with a smaller amount of coverage (due to the fact that the station has difficulty selling "B" & "C" time to other advertisers). With a customer who is willing to buy "B" & "C" time as well as "A" time, the radio station should be open for a "deal" and "strike while the iron is hot" to build up a consistent customer for tomorrow as well as today. UA Foreign Head Voices Open-door Film Policy An open-door policy for the film product of other nations — wun special reference to British output — was voiced tnis week by Arthur Kelly, vice presiaent m cnarge of foreign distribution for bnited Artists, on his return trom a Hollywood directors' meeting. Kelly expects to leave for London soon. Kelly's thesis was that an increased interchange of proauct throughout the world is inevuaoie, and. tnat althougn Hollywood will continue to dominate the world market, other countries in Europe and Latin America will offer real competition. "So tar as United Artists is concerned," said Kelly, "we intend in the future, as in the past, to maintain our traditional open-door policy. We welcome producers of outstanding entertainment regardless of the country of origin." Southeastern TOA Sends Clark Brief on Consent Decree Views The Southeastern Theatre Owners Association, headquarters in Atlanta, this week sent a brief recommending changes in the consent decree to assistant Attorney General Tom C. Clark as added evidence for his dossier. The Southeastern organization attacked especially section VI, dealing with licensing rights ; section VII, on refusals to play for moral and other grounds; and section X, concerning arbitration. No suggestions were contained in the brief on such recent controversies as tradeshows, product limitation for the distributor, and regional appeal boards. United Operators' Disbands The United Motion Picture Operators' Union this week notified all exhibitors on its books that the members had voted to disband the union at a general meeting of the organization. The union, wnich was an independent labor group, had been active for eleven years, with offices at 690 Eighth Avenue, New York. JOY ON THE U LOT. Everyone from the topmost executives to grips and laborers turned out the other day to welcome Lou Costello on his first visit to Universal since he was stricken with rheumatic fever last March. Above, Lou receives a hearty handshake from Universal's president, Nate Blumberg. FILM TRAVEL LOG In from Indianapolis : W. C. Gehring, western sales manager of 2{)th Century-Fox, who has completed a swing around his exchanges. From Ebbets Field to Hollywood: Not a baseball player, but S. Sylvan Simon, of MGM, who made those Red Skelton location shots for "Whistling in Brooklyn," sat up late in the cutting room, and saw his film trade-shown. Ann Sheridan in from the coast for her second visit to Manhattan. Staying until latter part of next week. John Balaban, of B & K, is a well known visitor from Chicago. Ted Lloyd, of 20th-Fox's radio department arriving in Nezv York front Hollywood, following liaison role in Bond Drive. John Harkins, for six years a member of Warner's New York publicity staff, reaching the Coast for new duties in the studio. Max Milder, Warner managing director in London, noiv on way there, after a month in Burbank and New York. John J. Payette and George Crouch, zone manager and assistant zone manager for Warner Theatres in Washington, on to New York to close product deals. Gate-Crashing Youth Wounded As He Runs From Detroit Cop A police bullet finally stopped the gate-crashing activities of a youth who had been crowding into the Bijou, Detroit, regularly without benefit of tickets, according to Henry Parker, the doorman. Seeing the youth — who later identified himself to police as Carmello Serra, 19 years old — slide into the door along with a crowd of paying customers, Parker called Patrolman Daniel Shimel, who started after the youth. Seraf fled out of the theatre with the patrolman close behind. When the youth failed to halt Patrolman Shimel fired a warning shot. The youth ignored this. Patrolman William Newton, who was off duty and sitting in a parked car, saw the chase and got out of the car. He fired one shot, which pierced the youth's abdomen.