Boxoffice (Jan-Mar 1962)

Allied's Milton London Protests, So Billy Wilder Explains His Charge of Poor Theatre Operations DETROIT — A vigorous challenge to “the maliciously libelous statements against exhibitors" made by Billy Wilder, prominent independent producer, as reported in the tradepress at a recent press conference, was issued by Milton H. London, executive director of National Allied. Wilder in turn assured London that he had “been rudely misquoted or at least half-quoted" in the press report referred to, and that he was not attacking all exhibitors, as an earlier story appeared to have it, but only a certain type. GIVES BENEFIT OF THE DOUBT’ London in his statement to Wilder gave him the benefit of the doubt by suggesting misquotation, but said that if they were true, it revealed a disturbing ignorance of the industry which enables you to live rather well and of the men who represent 96 per cent of the invested capital in that industry. Granted that few if any exhibitors possess your creative ability, theatre men are no less necessary to the functioning of that industry.” London contended that the thousands of exhibitors he knows are “as individuals . . . men of intelligence and integrity. Without these qualifications a man does not survive long in this highly specialized, intensely competitive business.” He cited seeing Wilder’s own “One, Two, Three” the preceding weekend at the Mercury Theatre, and countered Wilder’s attack on theatre conditions, particularly in the area of poor housekeeping, with “The management and physical condition of the theatre, the presentation of your product could not possibly be criticized. This is the rule not the exception in today’s motion picture theatres.” Expressing a high regard for Wilder’s “unique creative talents,” London said in a personal interview that “Wilder is a genius. He creates the type of pictures we need in our business — they are successful, they are entertaining, they bring people into our theatres.” RECOGNIZE NEED TO IMPROVE “Exhibitors are not unmindful of the need to modernize their theatres,” London challenged. He cited in documentary proof the speech of National Allied president Marshall H. Fine to the Michigan Allied convention here on September 26, in which he discussed the checklist of operational details systematically used in his own theatres, and counseled on the opportunity to bring back the once “lost” audience — “The exhibitor doesn’t notice in his own theatre what the new customer coming back might notice — it may be bulbs out on the marquee, paint chipped in the lobby, or inadequate ventilation. When that new customer comes back, it is very important what he finds there.” Exhibition has been doing an aggressive job of stimulating theatres to keep up and upgrade their appearance, London stressed, emphasizing this by the strong attention given to this phase in the 1962 Merchandising Manual recently issued by Allied, keynoted by the article, “Brighten Your Future,” by Fine on page five. Wilder in reply to London’s challenge stated that his remarks were given at an informal dinner, and that “I had bitterly reiterated the complaints of many of my civilian friends who frequent neighborhood theatres and find sound and picture projection in an abominable state. Some of them had difficulty in locating the theatre manager to state their complaints and in some cases when they did find him they were told to mind their own business.” Citing examples right from the heart of the industry in Hollywood, Wilder said his collaborator, Mr. Diamond, recently went to the Paramount there and “they carelessly started with Reel 3” on “One, Two, Three. Again, his in-laws went to a neighborhood house for a Cinemascope picture, but the owner “did not even bother to install the correct size screen, so that the film spilled over the curtains on both sides.” STICKS TO BASIC CHARGE He stuck to his basic indictment, but explained that “It’s an outrage that so much sweat and money is expended on making a film when so many exhibitors evidently don’t give a hoot. So what I actually said was that it was this type of exhibitor who seems to have a license to steal.” Expressing an unwillingness to widen any rifts in the industry, Wilder concluded that “I have nothing but sincere admiration for the exhibitor who puts as much care into the showing of the picture as we do into the making of it.” 'Konga' Hits Worldwide Gross of $2 Million HOLLYWOOD — “Konga” has racked up a worldwide gross of over $2,000,000 in the first 24 weeks of release, according to Herman Cohen who produced the picture for release through American-International Pictures. And Cohen says it looks like “Konga” will reach a gross figure of close to $3,000,000, thus topping “I Was a Teenage Werewolf” and “Horrors of the Black Museum,” which he also produced. “Konga” was produced in Cohen’s new process of Spectamation and Eastman Color and took more than a year in shooting and working on the trick photography and special effects. Ingrid Bergman Is Signed To 20th-Fox Contract HOLLYWOOD — Twentieth Century-Fox has signed Ingrid Bergman to a two-picture contract, with “The Visit,” a novel by Frederick Duerrenmatt, set as the initial film to star the actress. Henry T. Weinstein will produce and J. Lee Thompson will direct. A September starting date has been slated for the vehicle. Second feature scheduled to star the actress is “First Love,” filmization of the Broadway play. Gala Films Completes U.S. Release Deals NEW YORK — Kenneth Rive, managing director of Gala Film Distributors of England, has returned to London after a series of conferences the first week of January with Columbia Pictures, for whom Gala sub-distributed all foreign-language product in the United Kingdom, and Gordon Films, which represents Gala in New York. Alan Vannier, manager of Gala’s Paris office, accompanied Rive to New York. Gala will start a new picture, tentatively titled “The Boys,” starring Richard Todd and Robert Morley, in England January 15. This will be directed by Sidney J. Furie, who directed Gala’s “During One Night,” which will be distributed in the U.S. and Canada by Astor Pictures. Gala will make two additional features during 1962 with the western hemisphere rights to be handled by Gordon Films. Among the pictures acquired by Gala for British distribution in 1962 are “Les Liaisons Dangereuses,” being distributed by Astor in the U.S., and “Girl in the Window,” an Italian film. Gala’s current releases for Columbia include “La Dolce Vita” and “The Truth,” being handled in the U.S. by Astor and Kingsley, respectively. Gala also released “Two Women” and “Mein Kampf” in England. In addition to production and distribution in England, Gala also operates England’s only national chain of art houses, seven of these in London, Rive said. Sam Boverman Joins WB Legal Department NEW YORK — Sam Boverman, attorney who represented the motion picture industry before the U.S. Renegotiation Board in Washington after World War II, has joined Warner Bros, legal department. Boverman, formerly general counsel and secretary of Cinerama, Inc., had also been associated with Paramount Pictures for more than 25 years. In 1954, Boverman went to the Paris ad interim committee meeting of the Universal Copyright Convention as the representative of the film industry. Lou Steisel Will Join Embassy Sales Staff NEW YORK — Lou Steisel has resigned as a New York branch salesman for Columbia Pictures and will join Embassy Pictures home office sales staff January 22, according to Leonard Lightstone, international sales director. Steisel had been with Columbia Pictures for 25 years, the last 11 in the New York branch. Jennifer Jones Will Fly To 'Tender' Premiere NEW YORK — Jennifer Jones, star of “Tender Is the Night,” and her husband, David O. Selznick, will charter a special plane to bring them and a group of Hollywood notables to New York for the world premiere of the picture at the Paramount Theatre January 18. The opening will benefit Medico, Inc., the non-profit organization that brings medical care to underprivileged areas of the world. 10 BOXOFFICE :: January 15, 1962