Boxoffice (Jan-Mar 1962)

THE NATIONAL FILM WEEKLY Published in Nine Sectional Editions A NEW PRODUCT PROMISE 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 Ai_ STEEN Eastern Editor WILLIAM HEBERT. .Western Editor I L THATCHER. .Equipment Editor MORRIS SCHLOZMAN Business Mgr. Publication Offices: 825 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, ill., Frances B. Clow, Telephone superior 7-3972. Advertising— 5809 North Lincoln, Louis Dldler 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 Wettstein, manager. Telephone DCnkiik 8-2286. London Office: Anthony Gruner, 1 Woodberry WTay, Finchley, No. 12. Telephone Hillside 6733. The MODERN THEATRE Section Is included In the first issue of each month. Atlanta: Jean Mullls, 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 1-7180. Cleveland: W. Ward Marsh, Plain Dealer. Columbus: Fred Oestreicher, 52% W. North Broadway. Dallas: Mable Gulnan, 5927 Wlnton. Denver: Bruce Marshall, 2881 S. Qierry Way. Des Moines: Pat Cooney, 2727 49th St. Detroit: H. F. lteves, 906 Fox Theatre Bldg., WOodward 2-1144. Hartford: Allen M. Wldem, 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% Of PloilHp A VP Oklahoma City: Sam Brunk. 3416 N. Virginia. Omaha: Irving Baker, 5108 Izard St. Philadelphia: A1 Zurawskl, The Bulletin. Pittsburgh: R. F. Kllngensmltb, 516 Jeanette, Wilklnsburg, CHurchill 1-2809. Portland, Ore.: Arnold Marks, Journal. Providence: Guy Langley, 388 8ayles St. 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. 417 Market St., YUkon 2-9537. In Canada Montreal: Room 314, 625 Belmont St., Jules Larochelle. St. John: 43 Waterloo, Sam Babb. Toronto: 2675 Bayview Ave., Willowdale, Ont. W. Gladlsh. 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. FEBRUARY 2 6, 1962 Vol. 80 No. 19 THE formal launching of A.C.E. Films, Inc., with the announcement of Sidney M. Markley as president, and a group of other officers and directors from among top theatre operators, brings to realization the long-pending plan for an exhibitor-operated production company. The prime mover in this setup is S. H. Fabian, head of Stanley Warner Theatres and the first chairman of the American Congress of Exhibitors, under whose aegis the film company was planned and implemented. In the background are other theatremen, many of whom are represented by their membership in the Theatre Owners of America, which had advocated such a move over many years. Holding that exhibitors’ requirements for both quantity and quality of product would not be met until the exhibitors themselves entered into the making of feature productions has been a spur in the constancy of the efforts to achieve this objective. Now that it’s set in motion, there is more than a promise that their hopes soon will be realized; that a steady flow of good new product will begin, perhaps no later than this coming Fall, and long continue. The first task that Mr. Markley will undertake will be to name a production head for A.C.E. Films and a team of co-workers, experienced and capable of fully carrying out the company’s plans. As Mr. Markley was long rumored as the choice to head the production organization, it may be that these arrangements will not be long in forthcoming. Where and how the company will produce its films may not present a very big problem, because there is much studio space available in existing plants. Other thoughts in connection with this project are that A.C.E.’s activity in the field of production will serve to step up the making of films by existing major and independent companies; that it will bring about more of the types of films that exhibitors have been demanding; that it will lead to the development of new and important new stars, as well as other talent. Mr. Markley’s long and successful career in exhibition in which he has served as a vice-president and board member of American Broadcasting-Paramount Theatres, should stand him in good stead. It is a reminder that the heads of some of the most successful production and distribution companies all came from the exhibition field. And the A.C.E. board, which is composed of men who are among the most successful independent circuit operators in the country, adds to the promise that is implicit in this organization’s plans. It must be a source of gratification to Mr. Fabian to see his long-cherished dream of an exhibitor production company become a reality. For the past 20 years, he has been an ardent and constant advocate of such a movement — in the old MPTOA and later in TOA, prior to the formation of ACE. There still are hurdles to be overcome before A.C.E. Films gets fully underway. But, with the proper support from the exhibitors, A.C.E. can accomplish all that is hoped for it and its success will redound to the benefit of the industry as a whole. ★ ★ "Guaranteed” Entertainment Earl Podolnick, president of the Trans-Texas Circuit of Dallas, solved a problem that has generally bothered exhibitors: What to do in the case of the patron who felt dissatisfied with a current picture offering? Taking a leaf out of the book of merchandisers in other businesses, Mr. Podolnick came up with a “ticket-back” offer to such patrons, which gained goodwill, increased frequency of attendance, induced additional patronage and, moreover, required no refunds. It’s a novel idea that offers “guaranteed” entertainment — if the current program offering disappoints, then in another for which the “return” ticket may be used. There are a number of good points to the plan, which are set forth in the Cover Story appearing in this issue of Boxoffice. However, Mr. Podolnick cites as of greatest special benefit “the return of the habit of going to the movies. We are getting patrons back into the seats and creating a cycle of seeing the trailers of coming attractions in color on a giant screen,” which, parenthetically, he says “is still the best form of advertising.” Trans-Texas has copyrighted all of the material used in its “ticket-back” plan. However, the fact that it has permitted a Minnesota circuit to use it, may indicate that others may also receive permission to adopt or adapt it. At any rate, the article is interesting reading, pointing up that ingenuity in picture merchandising still is very much alive in this business. Mr. Podolnick and his associates are to be congratulated on their unique example of business-building.