Boxoffice (Jul-Sep 1939)

N. Y. IND'P'TS RESENTFUL OVER DRIVE FOR HIGHER PRICES; MAY HGHT RY GOING SINGLE Plan Already Gets Test xjj^ Lfnes Up Nine Attractions In Scattered Spots; Vodvil Included In Its Top 1939-40 Division New York — Independent exhibitors in this territory are resentful over the drive of major distributors to increase rentals for the new season and say they are going to retaliate. There is a plan afoot to toss out second features, either replacing them with flesh attractions, or making a go of it with one film and shorts. The plan is now in the whispering stage. Tete-a-tetes over luncheon tables, casual conversations in exchange corridors and pointed remarks during otherwise normal business calls are pointing the way. The film-vaudeville approach is already getting experimental treatment in isolated spots. Operators who have tried it are reporting to others the exact cost of the venture. In one instance, this report is supposed to have divulged that five acts, including one fairly well-known “name,” as well as five musicians and a licensed stage hand cost the theatre as little as $65 for a one-night stand and $115 for two nights. Along with the report went the hint the musicians and stagehands unions are more than anxious to “play ball” to get some of their men back to work, if for no other reason than to “take a poke” at major circuits for spurning all attempts at conciliating the unions’ demands for relieving unemployment. Boost Tops 200% Although this particular operator admitted the cost of the vaudeville, music and stagehand totaled more than that of an “ordinary” second feature, boxoffice returns were more than 200 per cent above the usual two-picture program take. He attributes the increase directly to the stage venture. The attitude of the musicians and stagehands unions in offering “fullest cooperation,” according to this exhibitor, even embraced the offer of three musicians instead of the customary five and one stagehand instead of the usual two-man minimum. There appears to be no fear over any dire results should independents resort to wholesale cancelling of second features. In order to foster a single picture policy, which would naturally call for top attractions only, operators know they would have no cause to ask for an adjustment of the payoff on the lone attraction. In other words, if an exhibitor books a 35 per cent picture to head his dual show, and couples it with a second feature, usually flat, this procedure, as a matter of course, it is pointed out, invariably brings the cost of the top film below the 35 per cent allocation. In order to pursue a single film policy, the exhibitor knows he is going to have to pay the full 35 per cent. But, the New York — UA is offering a minimum of nine in its top bracket for the new season. Among them are “They Shall Have Music” and “The Real Glory” from Samuel Goldwyn; “Intermezzo,” “Rebecca” and one untitled from David O. Selznick; “The Californian” from Douglas Fairbanks sr., and one each from Walter Wanger, Edward Small and Hal Roach. The two Goldwyns, originally on the current season schedule, already have been sold in approximately 8,000 accounts. Deals for percentages and flat rentals vary with the circuits, independent operators and other situations involved, it is pointed out, with flexibility of policy favored as negotiations are carried on. In some situations, it is understood exhibitors are asking that the Goldwyns and Selznicks only be listed in the top bracket and the Fairbanks, Wanger, Small and Roach specials in the next highest bracket. Im all, the distributor is offering a total of 36, with each producer’s output for the new season being made available along with pictures promised for the current season and not either produced or released. The breakdown of each producer and the pictures to be made available are as follows: Charles Chaplin — “The Dictators.” argument runs, the exhibitor is going to be more than willing to pay the full percentage if he gets product commensurate with percentage allocations. The independent exhibitor says he is willing to pay any reasonable figure if the picture earns its rental. And he sees himself getting a more selective choice, if, by halving the number of pictures necessary on a single bill policy, he can eliminate two or three companies entirely. The view of an independent operator who has been experimenting with singles and who declares he will need but four companies’ nroduct rather than six, is that 90 per cent of pictures now released are suitable for no other than secondary positions anyv.-ay and that with switching going on indiscriminately he is actually being charged for first class attractions while getting the reverse. “Cost of film alone runs between 40 and 50 per cent,” another independent exhibitor complains. “With other normal expenses the cost to operate my house today is about 60 per cent. And now distributors are telling us they are being forced to ask higher prices for next season due to increased budgets. They must be siUy to think we will stand for it.” His view continues: “If all independents joined in adopting a single feature policy David O. Selznick — “Rebecca,” “Intermezzo” and a third unnamed film. Alexander Korda — “Sinner” and “Jungle Boy,” which are new, and “Over the Moon,” “Thief of Bagdad” and “Four Feathers,” which appeared on the current schedule. Samuel Goldwyn — “They Shall Have Music” and “The Real Glory,” scheduled for this season. Walter Wanger — “The House Across the Bay,” “My Personal Life,” “Whose Wife” and “Send Another Coffin,” new productions, and “Winter Carnival,” on the current program. Edward Small — “My Son, My Son,” “Two Years Before the Mast,” “Quantrill, the Raider,” “Valentino,” and “Food for the Gods,” new films, and “Kit Carson, Avenger,” “South of Pago Pago” and “Man in the Iron Mask” on this season’s schedule. Hal Roach — “The Housekeeper’s Daughter,” “Of Mice and Men,” “Turnabout,” “Captain Caution” and “1,000,000 B. C.,” new productions, and four Laurel and Hardy four-reelers, the first of which will be “A Chump at Oxford,” sold on the current program. Douglas Fairbanks sr. — “Californian.” Sol Lesser — “Ovu Town.” Ernst Lubitsch — An unnamed picture. one thing would surely happen to distributors to bring them aroimd. They would be faced with a terrific oversupply of pictures. Perhaps, then, they would adopt a more liberal attitude.” But, as in past years when independent operators have found themselves in the same boat, they again appear to be without a pilot to navigate them around the shoals. There seems to be substantial individual resentment toward sales policies, yet nothing like a mass movement to break them down is in sight. Acting individually, however, indei>endent operators say they still have a weapon and, although it may not resolve itself to larger bank accounts, it may prove costly to some distributors. The theory here is that by buying fewer contracts the company that finally run; up the least sales may capitulate and lorget about asking increases. Here is the gist of the point as presented by an independent exhibitor: “I’ve watched the announcements of those companies that have held sales conventions and each has hoisted the cost of film. M-G-M is selling 10 at 35 per cent and 10 at 30 per cent, whereas there were only eight in each of these brackets this season. Herman Wotaber made no bones (Continued on page 15) 10 BOXOFFICE :: July 8, 1939