Boxoffice (Jan-Mar 1963)

THE NATIONAL FILM WEEKLY Published in Nine Sectional Editions BEN SHLYEN Editor-in-Ohief and Publisher DONALD M. MERSEREAU, Associate Publisher & General Manager JESSE SHLYEN Managing Editor HUGH FRAZE Field Editor AL STEEN Eastern Editor I. L. THATCHER. . .Equipment Editor MORRIS SCHLOZMAN Business Mgr. Publication Offices: 825 Van Brunt Blvd. Kansas City 24, Mo. Jesse Shlyen. Managing likiitor; Morris Schlozman, Busings .Manager; Hugh Fraze, Field Editor; I. L. Thatcher, Editor ITie Modern Theatre Section. Telephone CUestnut 1-7777. Editorial Offices: 1270 Sisth Ave., Kockefeller Center, New York 20, N. Y. Donald M Slersereau, Associate Publisher & (jMeral .Manager; A1 Steen, Eastern Editor. Telephone COlumbus 5-6370. Central Offices: EMitorial — 920 N. Michigan Ave., Chicago 11, Ul., 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—6362 Hollywood Blvd., Hollywood 28, Cal.. Syd Cassyd. Telephone Hollywood 5-1186. Equipment and Non-Film .tdvertising — New York Life Bldg., 2801 West Sixth St., Los Angeles 57, Calif. Bob Wettstein, manager. Telephone Dunkirk 8-2286. London Office: Anthony Gruner, 1 Woodberry Way, Finchley, No. 12. Telephone Hillside 6733. The .MODBltN THEATUE 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. 25tb St. Boston: Guy Livingston, 80 Boylston, Boston, .Mass. Charlotte: Blanche Carr, 301 S. Church. CiiKlnnati: E'rances Hanford, UNiversity 17180. Cleveland: W. Waid 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 49tb St. Detroit: U. F. iteves, 906 Fox Theatre Bldg., woodward 2-1144. Hartford: Allen M. Wldem, CH. 9-8211. Indianapolis: Norma Gera^ty, 436 N. Illinois St. Jacksonville: Uobert Cornwall, 1199 Edgewood Ave. Memphis: Null Adams, 707 Spring St. Miami: Martha Lummus, 622 N.E. 98 St. Milwaukee: Wm. Nicbol, 2251 S. Layton. Minneapolis: Paul Nelson, 3220 Park Ave. 8. New Orleans: Mrs. Jack Auslet, 2268% Av<k Oklahoma City: Sam Brunk, 3416 N. Virginia. Omaha: Irving Baker, 5108 Izard St. Philadelphia: AI Zurawskl, The Bulletin. Pittsburgh: it. F. Kllngensinltb, 516 Jeanette, WUkinsburg. 412-241-2809. Portia^, Ore.: Arnold Marks, Journal. Manchester, N.H.: Guy Langley, 320 strict St. Louis: Joe k Joan Pollack, 7335 Shaftsbury, University City, PA 5-7181. Salt Lake City: H. Pearson, Deseret News. San Francisco: Dolores Baruscb, 25 Taylor St., ORdway 3-4813; Advertising: Jerry Nowell, 417 Market St., YUkon 29537. Washington: Virginia R. Collier, 2308 Ashmead Place, N. W., DUpont 7-0892. In Canada Montreal: Room 314, 625 Belmont St., Jules Larochelle. SL John: 43 Waterloo, Sam Babb. Toronto: 2675 Bayvlew Ave., WUlowdale, Ont. W. Gladisb. Vancouver: 411 Lyric Theatre Bldg. 751 Granville St., Jack Droy. Winnipeg: The Tribune, Jim Peters. Member Audit Bureau of Circulations Second Class postage paid at Kansas City, Mo. Sectional Bdltloo, $3.00 per year. National Edition, $7.50. FEBRUARY 18. 1963 Vol. 82 No. 17 THE LAST STRAW i I SEVERE enough competition was created for tlieatres by film company sales of pre-1948 product to television and when post-’48 pictures were added to the lists. The competition was increased when the cream of the latter product, much of which had strong value for reissue in theatres, began hitting TV screens. Then came what might be called “the last straw” — the breakover into post-1960 product shown on TV prime time on Saturdays, Sundays and Mondays. It may have been an “urgent economic necessity” at the first stage of picture companies selling their vintage films to television and when, at the same time, the promise was made that the funds thus derived would be used to increase theatrical product. Remember? But did that process of creating and increasing undue competition for their theatre customers have to be carried to the point where choice films began to be made available to TV? As letters from exhibitors, published in BoxOFFICE over a long period of time, and in this issue, have pointed out, this has had a disastrous effect on their abilities to stay in business. Hundreds of others have had to close their doors. Yet, instead of lessening this unorthodox practice, its severity has been increased by film companies permitting comparatively recent releases to be shown on TV at prime time — in direct conflict with the showtimes of the vast majority of theatres. John Stembler, president of Theatre Owners of America, has made an appeal, on behalf of exhibitors in general, to film company presidents asking them to review their present policies regarding the sale of films to television. He urges them, in their own self-interest, to immediately take appropriate steps, “before the industry reaches the point of no return.” That point may be closer than anyone may think. Witness, the hundreds of darkened theatres that stand as stark evidence ; and also the number of recent pictures that have failed to return their investments, let alone a profit, as a result of the decimation of theatre attendance by the showings of theatrical films on television. And, with the greater competition that, now, is being created by the prime time showing of newer pictures, as well as less recent ones, it requires no imagination to see how harmful this can be to all of the industry. In fact, this already has been proven by experience. Through the years, dating back to the very beginning of this industry, the weekends have provided it with its biggest volume of attendance. Usually, the best films are shown on those days and, often, at higher admission prices. That period of each and every week is of vital importance— to film companies, as well as to ex hibitors— more so now than ever before. In fact, for the past several years, a great number of theatres have been operating ONLY WEEKENDS. Should it, therefore, be necessary to ask: What will happen, not just to those theatres, but to the entire business — if film companies persist in supplying television with product for prime time on Saturdays, Sundays and Mondays? ^ ^ ParamounKs New Program The outlook for an increased output of quality product is considerably brightened by the recent announcement by Paramount Pictures that its production program for 1963-64 will be greatly accelerated. Thus, not only will the company have more pictures for the ensuing year, it is working to get them to the finish line and into release, also at a stepped-up rate. As an instance of this, Barney Balaban, president and Jack Karp, vice-president and studio head, have informed that 11 pictures, currently are in active stages of production, with five of major calibre to start filming during the first quarter of this year. This represents a substantial increase over Paramount’s production status in the same period of last year. While the company has concluded deals with Samuel Bronston and Joseph Levine for joint production of several outstanding properties, with negotiations underway for others, the brightened outlook is further underlined by the news that Paramount’s own studios will be more heavily engaged in filming activity than in the past several years. Further noteworthy is the company’s lineup of films based on best-seller novels, popular stage plays and original stories, all of which have been placed in such expert productional hands as those of Hal Wallis, John Ford, Melville Shavelson, Paul Jones, Jack Rose, among others. And featuring such topliners as John Wayne, Jerry Lewis, William Holden, Frank Sinatra, Dean Martin, Paul Newman, Audrey Hepburn, Natalie Wood, Shelley Winters and Janet Leigh. The combinations implicit therein augur well for the future. But Paramount is not overlooking the needs for the present and more immediate future, as indicated by Mr. Balaban’s statement that he was highly optimistic about the six pictures on which photography has been completed and are currently in preparation for early release. This all adds up to providing exhibitors with the prime essentials to business betterment — better pictures and more of them.