Variety (December 1954)

W^lneadaT. December 22 , 1954 23 This Is Small Town Shutdown Week Rather than buck the traditional pre-holiday business draught, hundreds perhaps thousands, of the nation’s smalltown and nabe theatres are closing their doors from two to five days this week. Theatre operators feel it’s cheaper to keep the house dark than run losing battle against no business. All the situations usually keep their staffers on the'payroll during the closing-down stanza. Many of the houses employ the period for necessary repairs, refurbishing, and paint jobs. They reopen big on Christmas Day with a top attraction set for the vacation week business. Majority of theatres have set special New' Year's Eve shows. The smalltown situations are offering five solid hours of motion picture entertainment starting at 7 p.m. and ending at midnight with the usual hoopla. A typical example of the programming is thal of the State Theatre, Boonton, N. J., which has set four com- plete features for the five-hour period. Pix include “Walking Mv Baby Back Home,” “Jalopy,” “Prisoners of Casbah,” and “Royal African Rifles.” Some theatres go the State one better and offer five complete features. Many of the houses are offering special kiddie matinees on New Year’s Day. The pitch to the kids is “celebrate just like your mom and dad.” Free noise makers and paper hats are provided for the moppets. PICTURES Allied Regaining Civil Tongue For Columbia, WB Allied States Assn.’a prime targets—Columbia and Warner Bros.—are winning their way back into the good graces of the exhibi- tor organization. This isn’t just a whim induced by the Christmas spirit, but is based, according to Allied, on concessions won after a hard-fought battle. The exhib org attributes the “giving in” to Al- lied’s recent threat to appeal to the Government for additional reg- ulation of the industry. Most sig- nificant of the changes in Allied’s eyes is the decision of the film companies to sell pictures flat to the smaller situations. Berger’s Promise Minneapolis, Dec. 21. North Central Allied and Bennie Perger and Martin Lebedoff, as members, have promised to be “good” and never again to cause the Co- lumbia exchange to be picket- ed “in any dispute between Columbia and Allied or mem- bers thereof concerning terms with respect to the licensing of its pictures for exhibition in the Minneapolis exchange area.” On that condition, Colum* bia, through Its attorney David Shearer, has joined S. D. Kane, NCA executive counsel, in a Federal district court stipula- tion for the dismissal without prejudice of its suit against the organization and two officers for a temporary injunction to restrain the picketing. IDZAL’S CAMPAIGN OF SUPERLATIVES FOR ‘BIZ’ Detroit, Dec. 21. In an all-out promotion cam- paign, David M. Idzal, managing director of the 5.000-seat Fox, is selling “There’s No* Business Like Show Business” on a money-back guarantee and has teed off a con- test to coin a new word or phrase because “superlatives and adjec- tives presently available are inade- quate to fully describe the grand entertainment contained” in pix. Large-size ad takes the form of an open-letter to Spyros P. Skou- ras and Darryl F. Zanuck, 20th top- pers. Idzal tells his reaction after seeing film three times and the reaction of film critics which he describes as “. .. at first spellbound and speechless with a hidden tear in their eye and a kerchief at their nose, slightly embarrassed, for they were at a loss for words to adequately express their praise and enthusiasm.” Idzal, who has built solid rep here in show biz, stated: “It’s a showman’s dream come true. . . It’s a movie patron's dream come true. . . . It’s the industry’s l. uch hoped- for miracle. . . . It’s got everything for everybody. “If ‘There’s No Show Business Like Show Busi- ness’ does not bring back our lost patronage, it’s because they are dead and cannot come back!” Pix is scheduled to open at the Fox Christmas Day.* Stage, Book Continued from page 3 Both WB and Col recently gave assurance that their pix would be available to the smaller situations at flat rentals. Allied has notified all its units that Ben Kalmenson, WB sales chief, “has given instruc- tions to his various branches that those theatres that have been buy- ing pictures on a flat basis pre- viously may still buy all pictures flat except ‘A Star Is Born’.” The new policy, it’s noted, includes all CinemaScope pictures except “Star.’’ The price, it’s pointed out, is subject to negotiation by the exhibitor. The belief is also expressed that it’s not Kalmen son’s “intent to make It impossi ble to buy through unreasonable increases, if any increase is war- ranted.” Earlier, Col agreed to sell all pictures flat in situations where the top is $100. The flat rental policy includes Col’s “The Caine Mutiny" and “On the Waterfront.” ( ol has also agreed to hear exhib complaints growing out of nego- tiations or on the returns of a specific picture. An important concession won from Col was the i ight of an Allied rep to sit in for a . member in a discussion of grievances. Metro and 20th-Fox are also selling flat to the smaller theatres. M-G will sell flat to any theatre which is paying under $200 top. ie difference in the top bracket set by the different film company has caused Allied to ask “what is a small situation?” However, the ha ? not ™ade a big thing ° u * of Jhe discrepancy and, at the luiment, is accepting whatever concessions it can obtain. Lniversal, according to Allied, the studios’ apparent reluctance to dramatize controversial subjects, he commented that “the thresh- hold of controversy nowadays is higher than in the past”; in other words that it was difficult to find a solid controversial subject outside the political arena. He pointed to the example of “The Blackboard Jungle,” dealing with juvenile de- linquency as an example of Holly- wood getting its teeth into an is- sue.” As for political themes, Brown agrees with a good many others in the industry that the public just doesn’t want to see them dramatized on the screen. 20th’s own contribution to the list of anti- Red pix, “Night People,” was a considerable disappointment, he acknowledged. Yanks Vs ANICA Continued from pgge 4 categories, are to be combined into one single group. And a one- third vote in the assembly can force any decision of the ANICA exec committee to be taken to the floor of the assembly for ratifica- tion. Combination of these three steps is seen giving the American dis- tribs a better break in ANICA where, in the past, they have found themselves frequently outvoted. ANICA votes are determined by the number of films handled multi- plied by the regional areas in which they’re released. It’s felt that, with any decision requiring a two-thirds majority, the Ameri- can group is in a better position to make its point-of-view heard. PUBLIC RELATIONS: SAD SAGA THEREOF Hollywood. Editor, Variety: In your current Issue of the Weekly, there appears a very inter- esting and, to me, amusing piece aptly headed “PR’s Same Song, New Words.” As far as I am con- cerned even the words are not new. I agree, wholeheartedly, when you say “The film industry, while the most active user of bally meth- ods to exploit pictures, are still ne- glectful In selling the industry as a whole ...” . The amusing part of the piece, to me, is where it calls attention to Metro’s announcement that it will spearhead a drive "to sell” the local theatre as a force in the com- munity. The reason I am amused by this is the following: A cooperative, industry-wide public relations plan was under- taken a few years back by United Paramount Theatres in conjunc- tion with the Motion Picture Indus- try Council of Hollywood, which made the exhibitor, at the local level, the representative of the mo- tion picture industry, and its spokesman. The plan, sponsored by Leonard Goldenson, was carried out by Earl Hudson, then presi- dent of the Paramount theatres in Detroit, on one end, and myself, here in Hollywood, working to- gether with the MPIC, on the other. This plan, which UPT and MPIC trail-blazed, received unquali- fied praise and commendation from the industry’s top publicity and ad- vertising chiefs as well as from amorfg the leading showmen of the 1 nation. They all expressed the hope 1 it would be a continuing program. It was, for almost two vears, thanks to the vision and courage of men like Goldenson who, smglchanded- ly, practically, carried the program along far beyond the call of duty. In essence, thee plan pointed the way in an attempt to stimulate and aggressively support all other pub- lic relations activities throughout the industry, including those of COMPO and TOA. Through MPIC making available its library of fac- tual information, the theatre mana- ger, at the local level, was pro- vided with a wide variety of mate- rial, including news stories, spe- cial features, speeches and radio and television material—all of it designed to earn greater public re- spect for the industry and greater public interest in the entertain- ment offered on the screens of the nation. The results of this program, af- ter 18 months, by far exceeded its nominal cost, yet, when this same format was officially presented by the MPIC to COMPO for adoption, it was turned down cold. The rea- son given by COMPO leaders was that nothing must interfere with the campaign then being waged to eliminate the admission tax. This is like a mother saying, I will not give nourishment to my child for fear it will stunt its growth. Sub- sequent events bore this out only too well. Even the ad series in Editor and Publisher instituted by COMPO to explain the industry came too late with too little and was originally suggested by the MPIC. Notwithstanding all this, I would like to stress the following point: I Conceding that COMPO and/or! TOA might get around to sponsor-i ing such a public relations program at some undetermined time, in the j future, the important question is— j are there sufficient industry lead- ers with sufficient industry inter- est at heart who would consider it worthwhile to support, even on a limited basis, such a program right now. When we have the answer to this question then will we have the answer to what’s wrong with the industry’s public relations. Lou Greensjxin, Motion Picture Industry Council, Inc. Reade Circuit HQ Functioning Smoothly in Oakhurst, N J., Mansion Hoary Ticket Takers Minneapolis, Dec. 21. Death last week of the loop Gopher theatre’s 82-year-old ticket taker sustains a local belief that local downtown film houses probably have the most elderly such employes any- where. These dpormen, mostly on matinee shifts, range in age from 70 to 80. Scarcity of younger people for such jobs mainly accounts for their em- ployment, it’s stated. As old as they are these men apparently have no difficulty in standing on their feet for the long periods required, ac- cording to house managers. Film Geography Changes in N.Y. Via Divorcement Newest step toward the com- plete separation of the production- distribution companies from their former theatre affiliates is taking place via the maintenance of home- office headquarters in separate office buildings. Stanley Warner, the offshoot of Warner Bros., exited the WB build- ing on W. 44th St., N.Y. Monday (20) and took up residence in its own building; the Warner (form- erly Strand) Theatre building on Broadway. RKO Theatres, which had its offices in the same Rocke- feller Center building as RKO Pic- tures, has shifted to the Mutual Life Building on Broadway. Paramount Pictures and ABC- Paramount Theatres still maintain separate office units in the Para- mount Building and Loow’s Inc. and Loew’s Theatre share the Loew’s Building. Latter recently separated operations so as to main- tain offices on different floors. Na- tional Theatres, which has its headquarters on the Coast, long ago closed down its skeleton office in the building of its former affili- ate, 20th-Fox. The move of Stanley Warner creates a real estate problem for Warner Bros. Company will have to find a new tenant for three floors, covering some 30,000 feet of space. WB, which has been con- solidating the office space at its own headquarters, has long been on the prowl for outside tenants. It’s even ready to lease a complete building unit with a separate en- trance and elevator service. At present, WB has one outside ten- ant, the Armed Forces Film Serv- ice, which occupies the ground floor of the 321 W. 44th St. build- ing, the main unit of the Warner holdings. Columbia, which never had any theatre ties, is nevertheless con- templating a move from its 729 Seventh Ave. headquarters. Com- pany is reportedly seeking more space at one of the newer east side of town edifices. United Artists also has its main headquarters in the 729 building. RKO Loss-Carry Continued from page 4 does not have a national sales pol- icy. How’ever, sales chief Charles Feldman said the company would sell flat but has refused to commit himself to any definite plan, giving the local branch manager auton- omy in setting flat deals. Kids’ Birthday Stunt Hartford, Dec. 21. A long-range public relations program, aimed primarily at young- ster trade, is under way at the Palace, Torrington, and Bristol, Bristol, both in Connecticut. David and Irving Jacobsen have requested youngster patrons—via newspaper ads and lobby displays— to register dates of their birth at the theatre boxoffices. During Saturday afternoon clos- est to actual date, children are called up on stage to receive sur- prise birthday gifts from manage- ment. at the same $6 price will not be extended. As of last Wednesday, the own- ership of the company conse- quently was split on this basis; Atlas, up to 1,000,000 shares; Hughes, 1.262,120 shares; about 4,500 individuals, between 700,000 and 800,000 shares. The puzzler now centers on who’s to take the helm and launch the company on some sort of busi- ness endeavor which, if successful, could put to use the tax benefits. Its assets are $17,671,556 in cash. Odium, who apparently is con- tinuing to buy up more stock on the open market, has said he hopes to have some agreement with Hughes on management control by the end of this year. In the event there’s no accord, differences can only be resolved at a meeting of all stockholders. By GEORGE GILBERT Oakhurst, N. J., Dec. 21. When Walter Reade Theatres moved its headquarters from New York’s film row to Oakhurst, N. J., some three months ago, industry observers were prone to comment that the circuit would find it diffi- cult to carry on business 55 miles from Broadway. But with all op- erations of the chain now consoli- dated under one roof, the switch has facilitated biz' instead of im- peding it. For, a Reade exec pointed out here last week, most of the com- pany’s 40 theatres are located in and around the Jersey shore area. “Moreover,” he added, “we have several tie-lines to N. Y. from our switchboard and a good part of our business is done by phone. When it’s necessary for someone to make the trek dow-n from N. Y.', his trip is bound to be essential. Thus we’re spared the annoyance of trivial calls.” Before moving to Mayfair House, a palatial 20-room, three-story mansion originally occupied by the late Walter Reade Sr., the cir- cuit’s administrative branches were spread in several cities. Conces- sions, for example, were handled out of Asbury Park and mainten- ance out of Red Bank. Buying and booking were done in N.Y. along with sundry other functions. These activities, along with advertising- publicity, accounting, legal dept., etc., are all centralized in Mayfair House. Setting up housekeeping in Oak- hurst, however, was not without its difficulties for reportedly a town zoning ordinance had to be revised to permit a commercial enterprise to be carried on in a residential area. This was accomplished, it’s understood, by turning a piece of property the Reade organization owned elsewhere in Oakhurst over to the town for the latter’s use. Shift obviously entailed a mass move on the part of most of the Reade personnel. Ip an inspection tour for the trade press held here last week it was explained that practically all Reade employes with the exception of some clerical workers left the N.Y. area and found new homes in the Asbury Park-Long Branch region. Ad-pub director A1 Floersheimer, among others, has moved from Queens to Asbury while film buyer Jack Har- ris also has found new quarters near Mayfair House. From a physical standpoint the new headquarters has been taste- fully and sumptuously redecorated. Former bedrooms, dining room and the like all have been converted to office • use. Even the mansion’s basement has a new decor with a recreation room and bar plus a “Cellarama.” A Reade-coined word for projection room, it contains some 24 seats and can handle all aspect ratios. Reade personnel, who say living expenses are less at “the shore,” toil in a pleasant atmosphere for Mayfair House is located on a landscaped six-acre site and faces the Hollywood Golf Club. While it's still 55 miles from Broadway, the distance is easily traversed by car via the Lincoln Tunnel, New Jersey Turifpike and the new Gar- den State Parkway. When traffic’s light the trip is no more than 70 minutes. New York Theatres RtOlO CUT MUSIC Htll Rockefeller Outer ‘‘DEEP IN MY HEART” In OI*rl«wt COLOR ttorlni WSt MERLE HELEN FERRER • 0BER0N • TRAUBH Am M-O-M Pktvra Mi Tlw Mask HaN's firtat Chrlrtiaa* Staff SM* V^WARNIM Mao*. 1 (ROBERT M itch U M Teresa Wright um i itu a tun • aaaai’C ’ .WILLIAM A. WELLMAN’S PARAMOUNT