Boxoffice (Jul-Sep 1961)

THE NATIONAL FILM WEEKLY Published in Nine Sectional Editions 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 AL STEEN Eastern Editor IVAN SPEAR Western Editor I. L. THATCHER .. Equipment Editor MORRIS SCHLOZMAN Business Mgr. j m Publication Offices: 825 Van Brunt Bird. W; Kansas City 24, Mo. Nathan Cohen, Executive Editor; Jesse Shlyen, Managing Editor; Morris Schlozraan, Business Manager; Hugh Froze, Field Editor; I. L. Thatcher, Editor The Modern ITieatre „ Section. Telephone CHestnut 1-7777. ;$?: Editorial Offices: 1270 Sixth Ave., Rockefeller Center, New York 20, N. Y. Donald M. Mersereau, Associate Publisher & Si; General Manager; A1 Steen. Eastern Edi tor. Telephone COUmibus 5-6370. Central Offices: Editorial — 920 N. Michigan Ave.. Chicago 11, III., Frances B Clow. Telephone SCperlor 7-3972. Advertising— 5809 North Lincoln, Louis Dldler and Jack Broderick, Telephone LOngbeacb 1-5284. |i Western Offices: Editorial and Film Advertising— 6404 Hollywood Blvd., Hollywood l;!?; 28, Calif. Ivan Spear, manager, Tele ;;|; phone Hollywood 5-1186 Equipment and Si; Non-Film Advertising — 672 S. Lafayette Park. Los Angeles. Calif. Bob Wett l;l;l; stein, manager. Telephone DUnkirk 8-2286. London Office: Anthony Gruner, 1 Woodberry Way, Finchley, No. 12. Telephone Hillside 6733. || The MODERN THEATRE Section Is Included In the first Issue of each month. ;§;; Atlanta: Martha Chandler, 191 Walton NW Albany: .1. S Conners. 140 State St Baltimore: George Browning, 119 E. Ss 25th St I;;;;; Boston: Guy Livingston, 80 Boylston, si; Boston, Mass. Ijj; Charlotte: Blanche Carr, 301 S Church ;!;!;: Cincinnati: Frances nanford, UNnlversity 17180. Cleveland: W Ward Marsh, Plain Dealer. Columbus: Fred Oestrelcher. 52% W. I;!;;; North Broadway. Dallas: Mable Gulnan, 5927 Wlnton. !;i;j Denver. Bruce Marshall. 2881 S. Cherry i!*i Way. Des Moines Russ Schoch. Register-Tribune Detroit: H. F. Reves, 906 Fox Theatre jig Bldg., WOndward 2-1144. Hartford: Allen M. Wldem. Cn 9-8211. ;!;| Jacksonville: Robert Cornwall. 1199 Edgewood Ave. I;:;;: Memphis: Null Adams. 707 Spring St. ;$ Miami: Martha Ltimmus, 622 N.E. 99 St. !;S Milwaukee: Wm. Nlchol, 2251 S. Layton. Minneapolis: Don Lyons, 72 Glenwood New Orleans: Mrs. Jack Auslet, 2268% St. Claude Ave. Oklahoma City: Sam Brunk, 3416 N. Virginia. !;;;!; Omaha: Irving Raker. 911 N. 51st St. Pittsburgh: R. F. Klingensmlth. 516 Jeanette. Wllklnsburg, Cnurchill 1-2809. Portland Ore.: Arnold Marks, Journal. Providence: Wm. Trambukis, LoeWs State. Si St. Louis: Joe & Joan Pollack, 7335 Shaftsbury, University City. PA 5-7181. SS Salt Igtke City: H. Pearson, Deseret News. SS Ban Francisco: Dolores Barusch, 25 Tay i| lor St., ORdway 3-4813; Advertising: Jerry Nowell, 417 Market St., Yukon SS 29537. i;;i Washington: Charles Hurley. 306 H St. Si? N. W. |l In Canada §;;; Montreal: Room 314, 625 Belmont St., Jules Larochelle. St. John: 43 Waterloo, Sam Babb. SS Toronto: 2675 Bayvlew Ave. Wlllowdale, Ont. W. Gladisb. Vancouver: 411 Lyric Theatre Bldg. 751 Granville St., jack Droy. Winnipeg: 300 New Hargraves Bldg., Kenneth Beach. Member Audit Bureau of Circulations Second Class postage paid at Kansas City, SI Mo. Sectional Edition, $3.00 per year. National Edition. $7.50 SEPTEMBER 4, 1961 Vol. 79 No. 20 DOUBLE OPPORTUNITY IN SINGLE BILLS EVERY so often, someone has come forward with the prediction that “doublebills are on the way out.” But, thus far, this has appeared to be only wishful thinking. Currently, Robert M. Sternburg, president of New England Theatres, Inc., as well as of Allied Theatres of New England, has made the prediction that “95 per cent of our theatres will be giving a single-feature program before the year is out” and that “soon all theatres will abandon the double feature.” Mr. Sternburg was, of course, speaking only for the New England territory, where, he says, only Boston holds to the doublefeature policy. It would, perhaps, be in the nature of completing a circle, if New England entirely dropped double-bills, for it was there, at the old Beacon Theatre in Boston, where this doubtful practice originated. If New England showed the rest of the industry that dual-featuring was a relic of the past — and held firmly to single-feature programs— it could have a salutary effect on exhibition policies throughout the country. Texas exhibitors long have proved that singlefeature showings, coupled with a variety of short subjects, attract patronage in profitable volume. Until comparatively recently the double-bill was a rarity in that state. But, several years ago, when the supply of quality product was at very low ebb, the “bargain bills” got started down there and, as a “defensive” measure, they began to spread. In Texas, as well as in other states, drive-ins extended the practice and, with many of them offering triple and quadruple-bills, the insidious practice was compounded. There is no denying that there are some areas and some particular situations where patrons will accept quantity, with little regard for quality. But the evidence inherent in the much greater crowds that are attending the showings of single, quality features should stand out as a beacon guiding exhibitors more and more in this direction. One of the drawbacks to improving the situation and the condition in the larger cities usually has been the fear on the part of those, who could see the light, that those who did not go along would have an advantage. Too, when the switch from the double-bill practice was made, it was not continued long enough; and, perhaps, the programs were not well enough planned. Those who persisted, who got solidly behind each single-feature and shorts-unit program and stressed quality and variety, made it a paying policy. In fact, we know of a number of instances where double-bills, coupled with low prices, were replaced by single features sold at higher admissions, which turned the tide of those houses from also-rans into good and consistent money-makers. Another drawback to change from double bills in many situations is the booking practice that is becoming more restricting with each passing week — the multiple day-and-date runs of the same two features in ten or more theatres. More often than not, the two pictures are of “A” caliber, which, as we have pointed out many times before, is a foolhardy waste of good product. But the exhibitors are not always at fault in these instances. These bookings, often are “locked in” and the theatre man is given little choice in the matter. Too, exhibitors in the subsequent-run situations feel that they must follow the pairing example that is established in the earlier runs or lose prestige in the eyes of their patrons. Thus, the insidious practice is further compounded. As many times as someone has said that double-features were on the way out, it also has been said that this would prove a boon to the industry. We heartily agree! To many people, the double-bill is a deterrent, rather than an attraction. The single-bill would permit of better scheduling of the feature; it would make good attractions available more frequently and more regularly; supplemented with good short subjects, it would add to the variety and enjoyment of each program. And, as Mr. Sternburg so aptly put it, “there’ll be better value for every dollar spent at the boxoffice.” ★ ★ State Fair Exhibits Gaining ground as a means of bringing the motion picture industry and its product to the attention of large segments of the public is the participation by exhibitor organizations in state fairs. Since 1952, when the Independent Theatre Owners of Ohio sponsored the first exhibit at its state’s fair on behalf of the industry, Indiana, Texas, Michigan, Missouri and Kansas, among others, have joined in this type of activity. Thus, at the exhibits, displays of historic interest from past movies and the showings of clips from forthcoming films have stimulated new interest in motion pictures and in the industry. The state fair at Sedalia, Mo., annually attracts more than 500,000 people. In the other states, the attendance also runs into the hundreds of thousands. And it is gratifying that a substantial portion of these people visit this industry’s exhibits. This is a highly worthwhile public relations activity that should be extended to every state in the Union.