Boxoffice (Apr-Jun 1961)

THE NATIONAL FILM WEEKLY Published in Nine Sectional Editions BEN SHLYEN Editor-in-Chief and Publisher DONALD M. MERSEREAU, Associate Publisher & General Manager NATHAN COHEN .. Executive Editor JESSE SHLYEN .... Managing Editor HUGH FRAZE Field Editor AL STEEN Eastern Editor IVAN SPEAR Western Editor I. L. THATCHER .. Equipment Editor MORRIS SCHLOZMAN Business Mgr. Publication Offices: 825 Van Brunt Bird. Kansas City 24, Mo. Nathan Cohen, Executive Editor; Jesse Shl.ven, Managing Editor; Morris Schlozman, Business Manager; Hugh Fraze, Field Editor ; I. L. Thatcher, Editor The Modem Theatre Section. Telephone CHestnut 1-7777. Editorial Offices: 45 Rockefeller Plaza, New York 20, N. Y. Donald M. Mersereau. Associate Publisher & General Manager; A1 Steen, Eastern Editor; Carl Mos, Equipment Advertising. Telephone COlumbus 5-6370. Central Offices: Editorial — 920 N. Michigan Ave.. Chicago 11, 111., Frances B. Clow. Telephone Superior 7-3972. Advertising— 5809 North Lincoln, Louis Didler and Jack Broderick, Telephone LOngbeacb 1-5284. Wostem Offices: Editorial and Film Advertising— 6404 Hollywood Blvd., Hollywood 28, Calif. Ivan Spear, manager. Telephone HOUywood 5-1186. Equipment and Non-Film Advertising — 672 S. Lafayette Park. Los Angeles, Calif. Bob Wettstein, manager. Telephone DUnklrk 8-2286. London Office: Anthony Gruner, 1 Woodberry Way, Finchley, No. 12. Mephone Hillside 6733. The MODERN THEATRE Section is Included in the first Issue of each month. Atlanta: Martha Chandler, 191 Walton NW Albany: J. S. Conners, 140 State St. Baltimore: Charles Browning, 119 E. 25th St. Charlotte: Blanche Carr, 301 S. Church Cincinnati: Frances Hanford, UNniversity 17180. Cleveland: W. Ward Marsh, Plain Dealer. Columbss: Fred Oestreicher, 52% W. North Broadway. Dallas: Mable Gulnan, 5927 Winton. Denver: Bruce Marshall. 2881 S. Cherry Way. Des Moines: Russ Schoch, Register-Tribune Detroit: H. F. Reves, 906 Fox Theatre Bldg., WOodward 2-1144. Hartford: Allen M. Widem. CH 9-8211. Jacksonville: Robert Cornwall, 1199 Edgewood Ave. Memphis: Null Adams, 707 Spring St. Miami: Martha Lummus, 622 N.E. 98 St. Milwaukee. Wm. Nichol, 2251 S. Layton. Minneapolis: Don Lyons, 72 Glenwood New Orleans: Mrs. Jack Auslet, 2268% St. Claude Ave. Oklahoma City: Sam Brunk, 3416 N. Virginia. Omaha: Irving Baker, 911 N. 51st St. Pittsburgh: R. F. Kllngensmith, 516 Jeanette, Wilkinsburg, CHurchill 1-2809. Portland. Ore. : Arnold Marks, Journal. Providence: Wm. Trambukis, Loew’s State. St. Louis: Joe & Joan Pollack, 7335 Shaftsbury, University City, PA 5-7181. Salt Lake City: H. Pearson, Deseret News. San Francisco: Dolores Barusch, 25 Taylor St., ORdway 3-4813; Advertising: Jerry Nowell, 355 Stockton St.. YUkon 29537. Washington: Charles Hurley, 306 H. St. N. W. In Canada Montreal: Room 314, 625 Belmont St., Jules Larochelle. St. John: 43 Waterloo, Sam Babb. Toronto: 2675 Bayview Ave. Wlllowdale, Ont. W. Gladlsh. Vancouver: 411 Lyric Theatre Bldg. 751 Granville St., Jack Droy. Winnipeg: 300 New Hargraves Bldg., Kenneth Beach. Member Audit Bureau of Circulations Second Class postage paid at Kansas City, Mo. Sectional Edition, $3.00 per year. National Edition, $7.50. 19, 19 6 1 No. 9 OPERATION LEGISLATION THAT HARDY perennial, taxes, has become an increasingly difficult problem year by year, and 1961 has been no exception, only that new tax legislation has been harder to fend. While many other businesses are affected by state and municipal governments seeking increased revenues with which to meet their increasing operation-costs, the motion picture industry seems to be a more constant target for many new proposals. It is, therefore, included in tax measures that have no sound reason being extended to any part of this industry. Nevertheless, it is up to the industry to prove that it should be “included out.” That was accomplished in a number of the state legislatures during the current sessions, in which those of 47 states met. Of this total, about 20 have adjourned, and the rest are expected to wind up their sessions shortly. Tax measures were not the only legislation aimed at the industry; many bills advocating censorship, classification or combinations of both were introduced. And, doubtless, the efforts to put such legislation through will continue, especially if the trend in motion picture production so much complained of is not diminished. One of the outstanding exhibitor victories in combatting unfair and discriminatory tax legislation is a so-called Use Tax bill in the Missouri legislature which sought to impose a “use” tax on the rental of films, records or any type of sound or picture transcriptions. Such a bill was passed, but an amendment thereto, won by a hard fight on the part of Missouri exhibitors, exempted this industry from such a tax, which it was estimated would have cost theatremen in this state about $150,000 annually. On top of that there was a “stinger” in that the tax, with interest and accrued penalties would have been retroactive to August 29, 1959. Defeat of this measure is but another proof of the worth of an organized and united exhibitor effort in the common interest. Here, two exhibitor organizations — the United Theatre Owners of the Heart of America in Kansas City, representing the western half of the state, and the Missouri-Illinois Theatre Owners in St. Louis, representing the eastern half — combined forces and their members worked hard in contacting their representatives in the legislature. The victory, not only was one for the Missouri exhibitors, it is regarded as being of national importance, for had the bill passed as originally written, it, doubtless, would have had a bearing on similar legislation being enacted in other states at the next sessions of their legislatures. There are other good examples of a similar nature which have been reported in Boxoffice’s news columns. And we hope to be able to add more such good reports by the time the 27 legislatures still in session adjourn. The temper of the times makes it implicit for exhibitors in every state and in every big city to be well prepared for future tax and other legislative fights, that they hold their strength where they have it and that they build it up where it is lacking or non-existent. Indeed, in unity there is strength — and it is needed especially in the legislative halls. ★ * Food for Thought Noteworthy is the comment made by Robert Benjamin, chairman of the board of United Artists, at that company’s annual stockholder’s meeting held last Tuesday with reference to “The Alamo.” He said that the picture’s initial roadshow results were "not as exciting by a large measure as we had hoped, but served a purpose. When it w7ent into regular release it was a tremendous success, here and abroad.” And it is significant that Mr. Benjamin predicted that the picture will gross $16,000,000 in distribution. “The Alamo” has, indeed, been an extraordinary success in its continuous-run policy at regular or slightly advanced admission prices. It is, in fact, one of the three top hits in the last quarter period, as reported in this issue. That it can earn $16,000,000 in film rentals at scales well below those of roadshow runs, gives one food for thought. How much more patronage and how much more money could big attractions draw, if they were marketed right from the start on a massaudience basis? How7 much more quickly would the industry regain and hold its mass appeal, at the same time reviving the moviegoing habit, if this were done? Would this promote the volume in dollar take as well as volume in attendance and eliminate the losses on so-called “in-between” pictures? There are other questions, to be sure, and thinking them through and trying to answer them would, we feel, be fruitful — if something is done to give substance to the answers. Grosses for single attractions that run high into the millions are fine to have. But it’s a pretty risky business — for this or any other — that has to depend on one or two “articles” to produce its profit, to cover its losses on all else it has to sell. JUNE Vol. 79