Boxoffice (Jan-Mar 1962)

THE NATIONAL FILM WEEKLY Published in Nine Sectional Editions DATE BAIT 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 WILLIAM HEBERT. .Western Editor I. L. THATCHER .. Equipment Editor MORRIS SCHLOZMAN Business Mgr. Publication Offices: S2S Van Brunt Blvd. Kansas City 24, Mo. Nathan Cohen, Executive Editor; Jesse Shlyen, Managing Editor: Morris Schlozman, Business Manager; Hugh Fraze, Field Editor; I. L. Thatcher, Editor The Modem Theatre Section. Telephone CHestnut 1-7777. Editorial Offices: 1270 Sixth Ave., Rockefeller Center, New York 20, N. Y. Donald M. Mersereau, Associate Publisher & General Manager; A1 Steen, Eastern Editor. 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 Didier and Jack Broderick, Telephone LOngbeach 1-5284. Western Offices: Editorial and Film Advertising— 6404 Hollywood Blvd., Hollywood 28, Calif. William Hebert, manager, Telephone Hollywood 5-1186. Equipment and Non-Film Advertising — 672 S. Lafayette Park, Los Angeles, Calif. Bob VVettstein, manager. Telephone DUnkiik 8-2286. London Office: Anthony Gruner, 1 Woodberry Way, Finchley, No. 12. Telephone Hillside 6733. The MODERN THEATRE Section is included in the first issue of each month. Atlanta: Jean Mullis, P. 0. Box 1695. Albany: J. S. Conners, 140 State St. Baltimore: George Browning, 119 E. 25th St. Boston: Guy Livingston, 80 Boylston, Boston, Mass. Charlotte: Blanche Carr, 301 S. Church Cincinnati: Frances Hanford, UNiverslty 17180. Cleveland: W. Ward Marsh, Plain Dealer. Columbus: Fred Oestreicher, 52% W. North Broadway. Dallas: Mable Guinan, 5927 Winton. Denver: Bruce Marshall, 2881 S. Cherry Way. Des Moines: Pat Cooney, 2727 49th St. Detroit: H. F. Reves, 906 Fox Theatre Bldg., WOodward 2-1144. Hartford: Allen M. Widem, CH 9-8211. Indianapolis: Norma Geraghty, 436 N. Illinois St. 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. Philadelphia: A1 Zurawski, The Bulletin. Pittsburgh: R. F. Klingensmith, 516 Jeanette, Wilkinsburg, CHurchill 1-2809. Portland, Ore.: Arnold Marks, Journal. Providence: Guy Langley, 388 Sayles St. St. Louis: Joe & Joan Pollack, 7335 Shaftsbury, University City, PA 5-7181. Salt Lake City: H. Pearson, Deseret News. San Francisco: Dolores Bamsch, 25 Taylor St., ORdway 3-4813; Advertising: Jerry Nowell, 417 Market St., YUkon 29537. In Canada Montreal: Room 314, 625 Belmont St., Jules Larochelle. St. John: 43 Waterloo, Sam Babb. Toronto: 2675 Bayvicw Ave., Willowdale, Ont. W. Gladish. Vancouver: 411 Lyric Theatre Bldg. 751 Granville St.. Jack Droy. Winnipeg: 93 Albert St., Barney Brookler. Member Audit Bureau of Circulations Second Class postage paid at Kansas City, Mo. Sectional Edition, $3.00 per year. National Edition. $7.50. JANUARY 15, 1962 Vol. 80 No. 13 OVER the past several years, almost every survey made to determine from which age bracket motion picture theatres derived the greater part of their patronage showed it to be the 12-24 age group. Yet, while much lip-service has been given to the importance of catering to these young people, increased attention has been given to the making of pictures for adult audiences, with an overdoing of low-key, downbeat subject matter. What effect this has had or can have on the younger patrons may be gleaned from some data that has been brought to our attention. Dating couples are steady patrons of motion pictures, as exhibitors well know. Yet a recent personal survey among college and high school students shows that many of them are discontented with the type of entertainment offered them on their theatre dates. Questioning brought out the following comments: “Why don’t they have more romances and musicals? Who wants to take his best girl to see people suffer to the bitter end?” (Young man’s viewpoint). “No, sordid pictures don’t shock me though they’re a little embarrassing if I’m with a boy I don’t know very well. They just don’t entertain me — I guess you’d say they bore me. I’m getting tired of all that psychopathic stuff.” (Young girl’s viewpoint). “Seems to us the movie-makers are in a rut. They don’t have much variety in what they’re showing lots of the time. They’ve made some wonderful pictures recently but we’d like to see more comedies — and some love stories about young people, that have happy endings. We’re a little tired of these middle-aged affairs, too. Honestly, the way they carry on, why do they call our generation delinquent?” (Group opinion). All of which should be taken to heart by every branch of the industry. When dating couples make up such a large segment of the motion picture patronage, wouldn’t it be a good idea to consider their tastes before making product? Exhibitors have complained that, particularly on Friday nights, the young people practically take over their theatres and often make it hard for other customers to enjoy the show. Instead of paying attention to what is on the screen, they talk back and forth to each other and make general nuisances of themselves. Why? Wouldn’t it be wise to check what is playing and honestly evaluate its interest for those young people? Does it have any entertainment value for them? And if not, who is to blame for showing it on that particular night? Certainly, motion pictures have been suffering from growing-up pains lately and have gone from one extreme to the other in some instances. It may be that for a while certain young people got a kick out of going to see pictures classified as “adult.” But they are not naturally introspective nor are they generally inclined to be morbid. In fact, in spite of what some people say, young people have always been idealists and when they go out on dates with stardust in their eyes, they still like romance better than raw sex — the two are not synonymous. They still like heroes they can admire and heroines they can respect. Anything else sells them and their generation short. So let’s have a few more pictures geared to the couples who go to the theatre by choice on their dates and come out feeling at least as happy as they went in, not depressed by the social and political problems of the world. ★ ★ AlP's Fine Record No finer tribute could be paid to a producingdistributing company than to have its customers say that its product and service have been profitable to them — and indispensable to their needs. Such is the case in the instance of American International Pictures. Leading exhibitors, writing to congratulate the heads of this progressive young company on its Seventh Anniversary observance, have given expression to such phrases as “an inspiration to the entire industry” . . . “performed a great service to all of the exhibitors on a worldwide basis” . . . “have become an important source of supply for our theatres” . . . “made a most sizable contribution to the product voids with many profitable pictures” and other equally complimentary remarks. So the Messrs. Nicholson, Arkoff, Blender and company can well take pride in what they have accomplished since their very small beginning seven years ago. It seems that they came along with the “right idea at just the right time” and that they knew what to do with it and how to do it. In fact, it is that “how” — both in the product offered and in the merchandising ideas developed for it — that provided exhibitors with the means for profitable bookings. As will be noted from articles elsewhere in this issue, AIP is not resting on its oars, but is continuing its path of progress by further upgrading its product output, seeking to increase its grossing potential by putting more “wool into the cloth.” Good merchandise and good merchandising are recognized by AIP’s heads as an unbeatable combination. We add our congratulations to Jim, Sam and Leon, with a nod to Milton Moritz for his direction of AIP’s promotional work, and wish them many more years of continuing progress.