Boxoffice (Oct-Dec 1962)

THE NATIONAL FILM WEEKLY Published in Nine Sectional Editions BEN SHLYEN PLUS AND MINUS Editor-in-Chief and Publisher CX)NALD M. MERSEREAU, Associate Publisher 8. General Manager JESSE SHLYEN Managing Editor HUGH FRAZE Field Editor AL STEEN Eastern Editor CHRIS DUTRA Western Editor I. L. THATCHER. . .Equipment Editor MORRIS SCHLOZMAN Business Mgr. Publication Offices: 825 Van Biunt Blvd. Kiiiisus City 24, Mo. Jesse Slnyen, Maiiiiging liMUur; Morris Seiiloanian, Business .MiiiuiRer; lliicli Kraze. Field Editor; I. U Itiatdier, Editor 'JTie Modern Theatre Section. Telephone CHcstnut 1-7777. Editorial Offices: 1270 Sixth Are., Rockefeller Center, New York 20, N. Y. Donald M. Meisereaii, Associate I’uhlisher & (Icneral .Manager; A1 Steen, Elastern Editor. Telephone COliinihus 5-6370. Central Offices: Editorial — 920 N. Michigan Ave., Chicago 11, III., Frances B Clow. Telephone SUperior 7-3972. Advertising — 5809 N'oilh Lincoln, Louis Didier and Jack Broderick, Telephone LOngheacIi 1-5284. Western Offices: Editorial and Film Advertising—6362 Hollywood Bird., Hollywood 28. Cal., Chris Dutra, manager. Telephone Hollywood 5-1186. Equipment and Non-Film Advertising — New York Life Bldg.. 2801 West Siilh St., Los Angeles 57, Calif. Boh Wettstcin, manager. Teleidione Dunkirk 8-2286. London Office: Anthony Gruner, 1 Woodherry Way, Finchley, No. 12. Telephone Hillside 6733. Hie MODEHtN THEATRE Section is included in the first issue of each montli. Atlanta: Jean Mullis, 1*. 0. Box 1695. Albany: J. S. Conners, 140 State St. UolUmore: George Browning, 119 E. 25th St. AS 1962 draws to a close, it is the time, once again, for taking stock of the past twelvemonth and of doing some crystal gazing into the year ahead. As always, there have been gains to compensate for the inevitable shortcomings. And, since the shortcomings often serve as paths for avoidance in the future, they, too, can add up on the plus side of the ledger, if these warning signs are heeded. The past year has seen the continuance of the “shaking down” process which the industry has been undergoing these last five years. It was a period of transition, almost ending an era and introducing a new' one, as has happened before in this industry’s history. But this time, the changes required were not made as smoothly as in previous such instances. As a result, there were many false starts and sudden policy shifts, indicating unsureness of which way the business was heading or should head. This took its toll in overall product supply, which was further lessened, and in heavy financial losses because of extraordinary production costs. Needless to say, these effects were felt by exhibitors, as well as in distribution. business sections and new residential areas that never before had a theatre is further widening the industry’s horizons. As this opens up new outlets for pictures and new sources of patronage, it emphasizes the need for stepping up the quantity and quality of product. This has not been overlooked, either by the major companies or by the smaller firms. Judging by the announcements thus far made, the product outlook is better than it was a year ago. And there is a feeling that it will be enhanced as the new year progresses. One contributing factor to this optimistic view, again checks back to “lessons learned” by the filmmakers during the past several years, not just in 1962. New patterns of distribution and exhibition were developed in the past year. That is another good sign, evidencing the industry’s flexibility and willingness to meet new conditions with new methods. Some of these have yet to prove themselves beyond their limited initial applications, but they are moves in the right direction. On the whole, the industry made noteworthy progress in 1962, the sum total of which augurs Boston: Guy Livingston, 80 Boylston, Boston, Mass. Charlotte: Blanche Carr, 301 S. Church. Cincinnati; Frances Hatiford, UNiversity 17180. Cleveland: W. Ward Marsh, Plain Dealer. Columbus: Fred Ocstreiclicr, 52% W. North Broadway. Dallas: Mable Giiinan. 5927 Winton. Denver: Bruce Marshall, 2881 S. Cherry Way. Des Moines: Pat Oooney, 2727 49th St. Detroit: II. F. Reves, 906 Fox Theatre Bldg., woodward 2-1144. Hartford: Allen M. Wldem, CH. 9-8211. Indianapolis: Norma Geraghty, 436 N. Illinois St. Jacksonville: Robert Coinwall, 1199 Edgewood i\ve. Memphis: Null Adams, 707 Spring St. Miami: Martha Lummiis, 622 N.E. 98 St. Milwaukee; Wm. Nichol, 2251 S. laiylon. .Minneapolis: Paul Nelson. 3220 Park Ave. 8. New Orleans: Mrs. Jack Auslet, 2268% St. Claude Ave. Oklahoma City: Sam Brunk, 3416 N. Virginia. Omaha: Irving Baker. 5108 Izard St. Philadelphia: AI Zurawski, The Bulletin. Pittsburgh: R. F. Kllngensmith, 516 Je:uiette, WllUnsbiirg. CHurchUI 1-2809. Portland, Ore.: Arnold Marks, Journal. Providence: Guy Langley, 388 Sayles 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 29537. Washington; Virginia R. Collier. 2308 Ashmead Place, N. W.. DUpont 7-0892. In Canada .Montreal; Room 314, 625 Belmont St., Jules Larochelle. St. John: 43 Waterloo, Sam Babb. Toronto: 2675 Bayiiew Ave., Willowdale. Ont. W. Gladlsh. Vancouver: 411 Lyric Theatre Bldg. 751 OranvUle St.. Jack Droy. Winnipeg: The Tribune, Jim Peters. Member Audit Bureau of Circulations Second Class postage paid at Kansas City, Mo. Sectional Edition. $3.00 per year. National Edition, $7.50. DECEMBER 24, 1962 Vol. 82 No. 10 What earlier began to look like a burgeoning trend of going “too far, too soon,” the filming of so-called “mature” story material was moderated in 1962, thus leading to a resumption of catering to the film tastes of ALL classes of audiences, and with a wider range in types of stories. This is not to say that some of the “strong” themes, for whieh the industry was criticized, will be completely dropped. But that this type of product will become less in number and will be made much more acceptable to a wider audience seems assured. This is the result of one lesson learned in 1962. And there were others. Among them: That every so-called blockbuster isn’t of roadshow caliber; that they cannot all succeed just because they cost umpteen millions of dollars to produce; that there is a limit to the number of roadshow pictures at roadshow prices that the public can or will support; that this industry’s overall success still depends on being able to attract the greatest number of people to the greatest number of theatres over the widest possible area — up and down the land. Not exactly a lesson, but a gain from experience is the big increase in theatre modernization and new building that took place in 1962 — the biggest in 11 years. This was one of the brightest signs of the year, for it showed a widespread renewal of confidence in the future of the industry, to which the public gave support by increased attendance at these new and revitalized show houses. The construction of new theatres in well indeed for 1963. ★ ★ UA's Three-Year Program If anyone needs reassurance that the industry not only has a future, but a bright one, he can get it from the announcement made last week by Arthur Krim, president of United Artists, that this company has definitely set a basic minimum of 70 major productions for release in the next three years, with other projects to be added. Thirty of the big features are already completed or in the final stages of shooting, with the balance in advanced stages of production. That, certainly, is a heartening sign of confidence. And the list of top name stars, producers and directors set for this program is further encouraging. As Mr. Krim aptly stated, “This is an industry in which progress is measured by product.” Hence, he underscored the fact that the UA program is “based on best-sellers, international stage hits and original stories by some of the leading screen writers of the day,” offering a wide variety of story material “to meet exhibitor requirements.”