The Canadian Independent (Oct 15, 1936)

THE « CANADIAN mm /SCUFD FOR THE BENEFIT OF =e INDEPENDENT THEATRE OWNERS | eee THE Gane an an NDEDENDENT VOL. I., No. 5 — Oct. 15, 1936 THEO. L. J. GREENSLADE, Managing Editor Published Semi-Monthly by The INDEPENDENT THEATRES . ASSOCIATION 511 Hermant Building ‘21 Dundas Square, Set earinere fe Toronto, Canada _ Subscription Rates: Canada U.S., $5.00 Per Annum ‘and Address all communications to The Managing Editor The CANADIAN INDEPENDENT 21 Dundas Square, _. Toronto, Canada XO : \\\ ae N at \\ By calmly ignoring the world 2 in general and the League of. Nations in particular Mussolini for once and all time successfuly showed the world how a small but united force eould slay havoe with a loosely knit Ey far more majestic ~ body. The Weaitions of Mussolini and the League of Nations are comparable in Canada to the differences of the members of the combines and the Independent Theatres. It is really a startling picture. Here on one side stand approximately 700 or more theatres, individually owned and in the main providing incomes to private persons, who in turn are a worthwhile percentage of diversified body known as the People of Canada. On the other hand are ranged some two hundred houses, members of huge combines, powerfully woven together and at present keeping upon the Independent, what in_ reality amounts to a strangle hold. Through the length and breadth of Canada, Independent Theatres have felt the paralyzing blows of ‘‘hard times’ and have done everything to keep their heads above water. Everything? No! That is incorrect. They have done everything but the one thing that can bring permanent salvation. '"Whey have done everything but make a whole hearted effort to unite and form a mutual alliance, strong in its loyalties and broad in its individuality. | Thousands of dollars have | been spent on advertising, on ie pppaut attractions, on attend Se \ I LULL BEFORE STORM IN MOVIE BATTLE Reports from reliable sources indicate that West Coast Motion Picture inter est are girding their loins for what mav prove to be the battle of the century. It is expected that the Government vs. Motion Picture conflict will take place shortly | after the opening of the next congress. At present there are several anti-trust bills ready -both in the House and in the Senate, which although not directly aimed, cannot help but affect the West Coast interests. These bills, together with unfinished film business’ pertaining to patent pooling, block booking, copyright and proposed Federal Commission control of movies, as well as the present Administrations efforts to produce motion pictures of its own give practically a united front to the Govern‘ment. ance boosting schemes and though’ each has brought its results, there has ben through it all an obvious lack of sincerely and tensely combined effort. Good business is not simply meeting to-day’s problems with to-day's effort or surmounting the obstacle which it is impossible to overlook. Good business is to meet to-day’s hazard with a plan which is tomorrow’s surety. And such a plan can only exist when Independent Theatre Owners forget personal differences. willing to make small sacrifices, and are ready to stand together under one banner, the banner of unity. Petty squabbles must be a thing of the past. If the Theatre owner accross the street is an Independent it is not going to do you one bit of good eventually, to attempt to foree him to close his doors. Your job (and job is the only term that can be used for it) is to get together, with your eyes set on the goal of a living for both of you and in your minds and your hearts the thought of Your Duty to Your Patrons, Your Duty to Each Other and your Responsibilities to the other Independent throughout Canada for whom your actions should be a Business, a Social, and a Moral Example. ATE. Letters to Editor ‘‘Dear Sirs; ‘“We have received one or two copies of the Canadian Independent and have read same with interest. ‘‘In the Far West we have our problems too, as we are so far from the centre of the Motion Picture Distribution and Government regulation ‘of Performing Rights ete; that the information we get on many matters is very meagre and at times very unreliable. ‘““We understand that your organization is ready and willing to keep its subscribers advised as fully as possible on matters pertaining to the industry. “We also trust that your organization will grow and prosper; as we have had several independent organizations started in the est; but they all died out on account of not having sufficient scope and no affiliation with the bigger Eastern Independent Organizations; with the result that they were practically smothered by the Distributors opposition before they got well started. ‘‘Yours very truly, Star Theatre A. C. Blaine.’’ Editorial Note; We have replied by letter to Mr. Blaine but take this opportunity of thanking him publically for his interest and expressing the hope that in the future there will be a strong organization of the independent theatres of the West. “Oct. 15, 1936 PATRONIZE THE ADVERTISERS WHO MAINTAIN IT. PUBLIC SEEK ATMOSPHERE One of the greatest assets of a theatre is that intangible something known as ‘‘atmos-— phere’’ which gives it a distinetion, often a charm, that sets it apart from other. ‘theatres. Many of older generation of theatregoers will remember it as being associated with the _ ‘‘legitimate’’ theatre, not only | in the big cities but in smaller towns. The type of production had much to do with it, of course, but there were physical elements that bore decisively on it. Motion picture theatres, part-. icularly those in the small towns and neighbourhood houses, have definitely lacked ‘‘atmosphere,’’ mainly through hasty and skimpy construction, the conversion of an old building erected for some other purpose into a theatre, through ignorance and carelessness. But — now that there are several pic _ ture houses in eities of but moderate size, when patrons are ‘“shopping’”’ tures but for theatres that exerrcise some special distinctive attraction for them. The matter of creating an ‘‘atmosphere’’ that will draw patrons to the theatre is becoming increasingly important. The type and quality of pictures shown gives an atmos-— phere to a cinema when the exhibitor is able to pick and choose the fare he offers his (Continued on page 3) Quit Crying For Reductions! You won’t need them... and they’ll give you the secret of success . just drop a line to-these boys, . they’re Independents and have the same troubles you have... . ‘‘MISH’’ TRILLER—FURBY THEATRE—Winnipeg, Man. GEORGE PEACOCK—ISIS THEATRE—Calgary, Alta. CHAS. STEVENSON—COLLEGE THEATRE— Kitchener JOE LIGHTSTONE—ORPHEUM THEATRE— Montreal or if you prefer, drop a line to Johnny Cohn of CANADIAN PREMIUM DISTRIBUTORS 277 Victoria St., Toronto, Ont. 2 A not only for pic ns i 4 t x re See, A yi ‘ : 4 ay Ps it Pa A Be | 3 aia ee ers,