Boxoffice (May 17, 1952)

Record Details:

Something wrong or inaccurate about this page? Let us Know!

Thanks for helping us continually improve the quality of the Lantern search engine for all of our users! We have millions of scanned pages, so user reports are incredibly helpful for us to identify places where we can improve and update the metadata.

Please describe the issue below, and click "Submit" to send your comments to our team! If you'd prefer, you can also send us an email to mhdl@commarts.wisc.edu with your comments.




We use Optical Character Recognition (OCR) during our scanning and processing workflow to make the content of each page searchable. You can view the automatically generated text below as well as copy and paste individual pieces of text to quote in your own work.

Text recognition is never 100% accurate. Many parts of the scanned page may not be reflected in the OCR text output, including: images, page layout, certain fonts or handwriting.

qs THE NATIONAL FILM WEEKLY Published in Nine Sectional Editions Bae NS Eel Yor N Editor-in-Chief and Publisher JAMES M. JERAULD........... Editor NATHAN COHEN...Executive Editor IESSE SHLYEW...... Managing Editor IVAN SPEAR...........Western Editor I. L. THATCHER... Equipment Editor JOHN G. TINSLEY. Advertising Mgr. Published Every Saturday b ASSOCIATED UBLICATIONS Publication Offices: 825 Van Brunt Blvd, Kansas City 1, Mo. Nathan Cohen, Exeeutive Editor; Jesse Shlyen, Managing Ediltor; Morrls Sehlozman, Business Manager. 1. L. Thatcher, Editor The Modern Theatre Fectlon: Werhert Roush, Sales Manager. Telephone Cllestnut 7777. Editorial Offices: 9 lockefeller Vlaza, New York 20, N. Y. Jolin G. Tinsley, AdvertlsIng Manager; James M. Jeranld, Editor: Chester Friedman, Editor Showmandiser Section; Lou W. Gerard, Editor Promotion Section: A. J. Stocker, Equipment Adver. (ising. Telephone COlumbus 5-6270. Central Offices: Editorlal—624 8. Miehivan Ave., Chicago 5, Tl. Jonas Perlberg, Telephone Wkhbster 09-4745. Advertising— M8 East Wacker Drive, Chicago 1, Il Ewing Mutehlson and BE. EL Yeek, Televhone ANdover 83-3042. Western Offices: dllorial and Film Adver(sIng—G404 Hollywood Ulvd., Wollywood 28, (Callf. ivan Spear, manager. Teleplone Gladstone 1186. Equipment and Non-lilm Advertising—672 8. LaFayette Park nee, Los Angeles, Callf. Boh Wettsteln, manager. Telephone DUnkirk 8-2286. Washington Offices: Al Goldsmith, 1365 Natlonal Press Bldg. Vhone Metropolitan 0001. Sara Young, 415 Third St.. NW. London Offices: Sunnybrook Farm, Coleman’s Hatch, Sussex. Telephone Coleman’s Hatel 95, Joh Sullivan, manager. The MODERN THEATRE Section ts tn cluded Jn the (rst Issue of each month The PROMOTION Section Js tneluded in the third Issne of each month. Albany: 21-25% Walter Ave, J. S. Conners Birmingham: The News, Eddle Radger. Boston: Frances W. Harding, Lib. 2-9505. Charlotte: Emory Wister, Charlotte News. ClneInnath: 4029 Reading, Lillian Lazarus Cleveland: Elste Loeb, Falrmount 1-0046 Dallas: 61244 EB. Jefferson, Frank Bradley. Denver; 1645 Tanfnyette, Jack Rose, Des Molnes: Negister-Tribune, ttuss Schoch. Vetrolt: Fox Theatre Bldg., U1. F. Neves. Indlanapolls: Route &. Rox 770, Howard M. Rudeaux, GA 3339, Memphiy: 707 Spring St., Nall Adams Minneapolis: 2123 Fremont, 80., Les Rees. New aren: 42 Chureh, Gertrude Lander. New Orleans: Frances Jordan, N.0 States. Okla. City: 1740 NW, 17th, Polly Trindle. Omalia: O11 Gist St, Teving Baker. Philadelphia: 5363 Rerks, Norman Shion Pittsburgh: R. FP. Kiingensmith, 516 Jeannette, Wilkinsburg, Churehill 1-2809, Portland, Ore.: Arnold Marks, Oregon Journal, Rt. Louls: 5140 Rosa. David Barrett. Salt Lake City: Deseret News, IH. Vearsan. fan Antonlo: 326 San Pedro, B-29280, L. J. DB. Ketner. fan Vranelseo: Gall Lipman, 25 Taylor At., Ordway 38-4812. Advertising: Jerry Nowell, UWoward Bldg., 209 fast &t., YUkon 6-2522. Beattle: 1303 Campus Pkwy, Dave Ballard In Canada Calgary: The Uerald, Myron Laka. Montreal: 464 St. Francofs Xavier St., Room 10, Roy Carmichael. St. Jotun: 116 Prince Rilward, W. MeNully Toronto: H.R. 1, York Mills, M. Galbraith Vancouver: Lyrle Theatre Ridz., Jack Dray. Winnipeg: 282 Rupertsland, Ben Sommers. Member Audit Bureau of Circulations Eutered as Second Class matter at Past Offlee, Kansas Clty, Mo. Sectional Edition, $3.00 per, year; National Edition, $7.50. MAY 1 7, 1952 Vol. 61 No. 3 e Pithse of the Motion Fielure THEY SAW—AND BELIEVED T was -an inspiring experience to spend three days with 100 leading showmen and to observe their enthusiastic reactions to a viewing of six feature productions of definitely outstanding quality. It was encouraging to hear their expressions of renewed confidence in the future of their industry as a result of their believing in what they saw and feeling that it had what it takes to bring about a resurgence of theatre attendance. Moreover, it was reassuring that this could and would be achieved, when one after another of these exhibitors arose to tell of his plans to transmit this enthusiasm and confidence to fellow showmen and to the public on return home. This reaction is what MGM executives hoped would be the result of their “Seeing Is Believing” enterprise, the success of which should have a long-time value to the industry as a whole. To be sure, MGM would not have undertaken such a costly project, if it did not feel it had the product to come through the “acid test” of a viewing by so large and important a group of hardened film buyers. It must, therefore, be gratifying that the enthusiasm openly evidenced and privately expressed by the exhibitors was engendered by what they saw, not what they may have heard. It was the quality of the product alone that gave them that feeling of optimism about the future that has been so noticeably absent in recent months. There was, of course, recognition of the fact that even good pictures will not sell themselves. For that reason promotion, advertising and merchandising of the films was discussed and exhibitors were asked, additionally, to submit ideas that could be incorporated into this planning. Dore Schary, MGM production head, made the observation that, “A good picture well made and well sold will do good business. A great picture well made and well sold will do great business.” Significant was the comment by Howard Dietz, director of advertising, who cited the previews and merchandising discussions as extending beyond unilateral interest, rather, being for the industry as a whole. “These are samples of pictures,” he said, “that must attract patrons. We want them to serve as an upbeat for the industry. If all*companies can make fine pictures and if it were possible to get them into release all together for a year, we shall enjoy great business.” This, incidentally, looks fair to being realized, which still further brightens the outlook for the future. Among other noteworthy aspects that made a favorable impression was the introduction to the gathering of so many young men among MGM's production executives. This was viewed as another plus for the industry's future. Indeed, there is nothing like good product— coupled with good showmanship—to instill confidence in this business, on the part of people of the industry as well as the general public. * * Good Insurance! Every right-thinking individual in this business wants not only to keep COMPO alive but to see it strengthened to the fullest measure. This is evidenced in almost every meeting with producers, distributors and exhibitors. Even the smallest of the latter, who have seen the good accomplished by COMPO’s conduct of the Movietime U.S.A. campaign, feel the industry would suffer a great loss, if COMPO should be allowed to wither and fade out. It is, therefore, good to see that the Motion Picture Ass’n of America is doing its share on behalf of producers and distributors to provide financial support to COMPO at this particular time. We know from discussions with the heads of circuits that they, too, will come through with payment of dues. But there remains a large segment that, for some reason, is holding back. That should not be. COMPO proved its worth as a coordinating factor, giving strength to the industry's efforts against unfair taxation and legislation and in other ways creating a better climate for the industry as a whole. In COMPO the industry has an instrument that not only can serve well in effecting better public relations, it can also promote harmonious cooperation among discordant elements within the industry, as it already has proved. The industry is faced with many problems, It can best meet and overcome them unitedly. COMPO should be kept alive and strong at all costs. It will be cheap “insurance” in the long run.