Showmen's Trade Review (Oct-Dec 1949)

16 SHOWMEN'S TRADE REVIEW, November 25, 1949 Confessions of An Advance Man "I Boosted the B.O. ^Take' With Action As My Keynote By E. M. MILBURN United Artists Representative The other day I wrote Julia "Dudzie" Smith, manager of the State Theatre, Waterbury, Conn., congratulating her on her 25th anniversary as the first woman manager of a theatre in Connecticut. In her reply she wrote, in part : "... it seems only yesterday we 'got together' on the picture, 'A Star Is Born' . . . and we did put it over . . . most of the young newcomers are disappointing when it comes to getting action . . . take it from one who knows." That word "action" intrigued me. I got to thinking : a banker gets action in his business, a farmer in his planting and a woman in her home. Then I wondered just how many people realize the action required to make a picture click at the box-office. How much action had I accomplished in the motion picture field? Large Clock Sign Let's go back several years to the opening of "A Star Is Born" in Waterbury, Conn. On my arrival ten days in advance of playdate I contacted the Waterbury Clock Co. and, with their cooperation, erected a large sign consisting of clocks showing the correct time in different time zones of the world. This was suspended under the theatre marquee. A "Beautiful Baby" contest was run in one of the daily papers. Both of these stunts helped to get box-office action. In other communities I specialized in private screenings several days in advance of the opening of "Rebecca," inviting a selected audience to see the picture. That got action — the "wordof-mouth" comment that benefits the box-office. Insured the Film While working on exi)loitation for "Hurricane" at some theatres I insured the film for $100,000 against a hurricane ruining the print during its run, and also flew above marquees C S. Government Storm Signal flags. ( )n my travels ahead of "Stagecoach" I ob QUITE A WINDOW is that shown above, promoted from the United Artists Music Shop in San Francisco on behalf of MGM's "Madame Bovary" at Loew's Warfield Theatre. Tiein, of course, was based on the MGM Records album of music from the picture. tained old stagecoaches to parade the streets and greet the mayors of the towns I visited. In Springfield, 111., I managed to obtain a miniature stagecoach which was drawn through the streets by six Shetland ponies. That got plenty of action. When "The Outlaw" opened in several situations the crowds were so large that the theatres were unable to seat all the patrons. This resulted from campaigns in which elaborate western parades were arranged, bathing suits signed "Jane Russell" given to winners in national contests, and theatre parties given for crippled soldiers. Two One-Dollar Bills for One Before the opening of "Strange Woman" I placed on the streets and in department stores women dressed a la Lamarr offering to exchange two one-dollars for only one dollar to anyone who would accept the ofTer. Full-page perfume advertisements also helped get action. New jeeps were placed on the streets in advance of "Carnegie Hall" with 12-foot signs over the tops reading "Official Car — Carnegie Hall." A national voice contest was also part <-f the exploitation program. A local man made up to resemble Groucho Marx rode a trick white mule through the business section for "Love Happy." He was interviewed for broadcasts in front of the theatre for several days in advance. Stunts Paid Off As advance man for "Champion" I arranged long-distance telephone calls between Kirk Douglas and local newspaper critics. Bannered Studebaker Champion automobiles were on the streets ahead of playdate. Over a thousand lines of cooperative advertising appeared in the newspapers of one city alone on "Black Magic." Hypnotist Howard Klein joined me on this picture and demonstrated his gift in store windows by hypnotizing people who came in off the street. Action was the keynote of all these stunts — and they paid off. The success of an advance n-an necessitates close application and study, plus quick action and footwork in orde to make important contacts. I work in close cooperation with the theatre manager and keep in close touch with my boss in New York. My first thought on a campaign is newspaper breaks and radio broadcasts, then ballyhoo and cooperative ads. In any case, the use of the press book is a "must." Catholic Group Sponsors 'M. Vincent' for LaFarr The possibilities of the French prize-winner "Monsieur Vincent" were demonstrated in Ogs(lensburg, N. Y., by Jim LaFarr of the Pontiac, who worked hard on the Catholic appeal of the film. The pastor of the French Church proved enthusiastic, promising to contact all other priests and nuns in the territory and urging members of his parish to see it. The church also got out a special mimeographed letter and furnished a mailing list of 500 persons. LaFarr further promoted special write-ups in the North Country Catholic, a newspaper. THE NEW PRESS BOOKS Hard-hitting sensationalism seems to keynote the press book advertising and exploitation campaign on MGM's "Border Incident." Such punchy catchlines as "Astounding Drama!" and "Bold! Breath-Taking" are in nearly every ad, and there are such other eye-catchers as "Dramatic Thunderbolt Strikes!" and "Exposed!" The Angry Uncensored Story!" Exploitation angles are designed to appeal to action lovers. Incidentally, the press book has been revised, and exhibitors are advised to destroy the earlier campaign manual issued on the picture. * * * Warners' press book on "Always Leave Them Laughing" is designed, in its ad and exploitation sections, to start them laughing. The catchlines in the ads are, in many instances, of the gag variety. For example: "Everybody Loves the Milton Berle Picture —Especially Mrs. Berle, N. Y. Daily Berle, Sat. Eve. Berle." Again: "Hey, Warner Bros. What Have You Done to Me? All My Best Gags! You Made Me Steal 'Em for My Own Picture." Needless, to say, Berle is outstanding in every ad layout, but there's also plenty of appeal in the bathing suit illustrations (in most cases) of his co-star, Vi.-ginia Mayo. In the exploitation department there's a gag caption contest, another contest for the best gag-lines, wanted posters, laugh-provoking lobby displays, etc. And there are also tieup stills and national tieups. * * * Having received much critical acclaim, "The Heiress" gets lots of review quotes in the Paramount press book — three pages of 'em. They're from New York critics, syndicated columnist, national magazines, film personalities, trade press, fan magazines and a stage star. Exhibitors would do well to sprinkle these quotes liberally in their advertising. "Greatness" is in large type in practically every ad layout, and one of the chief illustrations is that of a man pounding on a door — the dramatic climax of the picture. The stars and director are featured in an arresting series of teasers, while large "love scene" illustrations of Olivia de Havilland and Montgomery Clift may be found in other ads to excite feminine interest. There is a wide varietv of layouts to fit the needs of any situation. SWELL 'KISS' STUNT. I.M.P.S. Member Jialph G. Tiede, manager of the Palace Theatre, London, Ontario, had a himidinger on Warners' "Kiss in the Dark." Tiede promoted a mannequin and some candy kisses, then arranged the setup shown above. Patrons thought it was a live girl behind the curtain, and local wolves sheepishly took a candy kiss after pulling back the curtain. This ought to be good on other "Kiss" pictures, too.