Boxoffice (Jul-Sep 1938)

Theatre Becomes Museum This demonstrates how M-G-M converted the orchestra of the Astor Theatre into a museum for “Marie Antoinette” which opens at that house on a roadshow basis on August 16. Discovers New Way to Utilize A House Between Its Runs Probe of Monopoly Grows More Likely By EARLE A. DYER Washington — Investigation of monopoly in the motion picture industry along lines suggested in 1936 was seen in Washington this week as probable with the appointment of Daniel Bertrand as administrative assistant to Leon Henderson, executive secretary of the CongressionalExecutive monopoly committee. Placed in a key position on that committee, Bertrand, who authored a report on the film industry and the picture code which was issued by the research division of the NRA in February, 1936, may see the suggestions he then made carried into effect. In his 225-page report, he suggested the enactment by Congress of legislation prohibiting block booking, regulating zoning and clearance schedules and forbidding exhibitors to overbuy or distributors to oversell. But beyond this, he said, there should be a federal investigation of monopoly in the industry. Bertrand’s comments on conditions in the industry are as pertinent today as they were in early 1936. A few follow: “Exhibitors in general favor complete abolition of block booking,” he said. “Distributors, on the other hand, oppose any such steps. “Overbuying of film with intent to deprive a competitor of sufficient product with which to operate his theatre on a reasonable basis is considered an indefensible practice throughout the industry.” His discussion of monopoly, however, is seen as a possible basis for the O’Mahoney committee’s study of the motion picture industry. “Claim and counter-claim with regard to the charges that the major motion picture companies are really monopolistic have been advanced for years,” he said. “An atmosphere of suspicion and distrust has existed between the affiliated and unaffiliated groups. Such monopolistic tendencies as are inherent in operation under the copyright laws do exist in the motion picture industry. “The growth of trade practices such as block booking, forcing of short subjects, and designation of playdates, have tended to create a protected market for the large companies. Competition from independent producers is restricted since absorption of a large portion of an exhibitor’s total playing time and preferred playing time limits the licensing of independent product. “The affiliated companies are often in direct competition with the exhibitor who must license their pi'oduct in order to secure a sufficient supply of suitable films. While it is not incumbent on these large units individually to conduct their business so that competitors may have an equal degree of opportunity, the existence of reciprocal agreements between these greater corporations frequently intensifies the hardships of independent interests.” By LEONARD WEISBERG New York — At a little past noon on Thursday, a Metro messenger dashed into Howard Dietz’s office and boomed: “The 400th person has just entered the Astor.” The figure was significant. It represented the largest crowd that has passed the boxoffice in months. Hanging over the lobby the sign read: “Museum and Exhibit. Now Open. Free.” Dietz’s dream child had come true. He was giving New York, Winktoe, Mo., and Applecart, Ark., an idea of what the vast M-G-M enterprises had gone through to produce “Marie Antoinette.” The picture doesn’t open until August 16, but the World’s Fair doesn’t open until May 30, 1939. Sometimes publicity begets cash for admission tickets. That was the general idea. Partaking in the idea were Billy Ferguson and Si Seadler and their respective staffs in the east, and Howard Strickling and Frank Whitbeck on the coast. The groundwork has been fashioned for close to three months. The foundation was built at a cost of about $30,000. The finished product was unveiled to an invited audience made up of newspaper, fan magazine and trade press representatives. Here and there, during the preview performance, the fascinating trill of a Frenchman could be heard. Someone thought it was a publicity stunt. It turned out to be Oscar Doob. trying to read the descriptive matter in the ofifcial display catalogue. There were 113 individual articles on display, not including scotch, soda, sandwiches and cigarettes. About 111 articles bore cards: “Please do not handle.” An unidentified woman surreptitiously tried to finger one (1) figure seated at harpsi chord wearing the costume of “Princess de Lambelle” . . . peach crinkle taffeta basque dress . . . with blue ribbon and French flower trim . . . over a large white hooped petticoat. C. C. Moskowitz saw this and immediately covered up his white carnation. The display simply reeked with authenticity. Many of the objects were either purchased or rented from collectors. “From the estate of Count Riviere of the Court of Louis XVI of France . . . and inherited by his great granddaughter Louise C. Vogel, of St. Augustine, Fla., comes this magnificent royal purple Court and Coronation Robe of Marie Antoinette,” says the official catalogue. Joe Vogel tarried here at length. A display card caught his eye: “Insured value: $20,000.” Vogel borrowed a cigarette from Johnny Murphy and moved on. On the stage there was a lot of carefree banter anent the whole scheme. Between scotch and sodas and sandwiches the press was reacting most favorably. "Impressive.” "Unique.” “Awe inspiring.” “So enthusiastic.” Someone passed Seadler a sandwich. He fingered it, handed it back, and said: “A lox sandwich at a Marie Antoinette party. Is it authentic?” Ritz Bros, to Chicago Hollywood — The Ritz Bros, will open at B&K’s Chicago, Chicago, August 5, getting $15,000 for a week’s engagement. It is said to be the highest price paid a single vaudeville act at that house in the last ten years. Lou Irwin handled the deal for the Ritz trio. 24-D BOXOFFICE :: July 16, 1938