The Canadian Independent (Feb 15, 1938)

Feb. 15, 1938 PATRONI “ame OSU D FOR THE BENEFIT OF & | ‘We NDEPENDENT THEATRE OWNERS Ce a eee een ee ZE THE ADVERTISERS WHO MAINTAIN IT. CANADIAN LICENSE AGREEMENT REVIEWED By Harold Kay, Ben Ulster and Harry Firestone (Press Com. ITA) FORCED OVER-BUYING OF SHORTS Duals vs Shorts The whole subject of shorts is inextricably bound up with the much-discussed and moot subject of duals. Polls conducted to determine the popularity of double bills have established two things, that a large section of the public is opposed to them, and that a large section favors them; also that the demand varies from country to country and from neighborhood to neighborhood. England and Canada are more favorable to duals than the U.S., and poorer neighborhoods want duals more than the more prosperous sections do. The independent exhibitor therefore has _ little choice in the matter of double billing. His custom ers are the keener shoppers. who wait for subsequent runs at bargain prices. They have also demonstrated an unmistakable demand _ for quantity. Therefore, duals, for the time being, are a foregone conclusion in subsequent-run theatres. No Room For Shorts That being so, there is little room on the program of these houses for shorts, unless refreshments and smelling salts were also add ed to revive failing appe| customers. tites and _ overburdened senses. Yet, an exhibitor is not free to buy his product in the light of his experience for his particular requirements. He is forced to buy a proportionate number of shorts even though he knows that he cannot make room for them on his programs and still turn over enough shows a day to keep solvent. Why should an exhibitor be forced to buy shorts, that he does not need, in order that he may get product that he does need? It isn’t altogether because production studios, in an effort to cover overhead, grind out this type of stuff and put pressure on the distributor to market it for them. For frequently exchanges buy shorts from ‘studios other than their own. Shorts for Previous Runs The answer is that first and second-run houses can and do run single-bill shows. This class of exhibitor needs a variety of shorts to fill in programs. Therefore, shorts are made and handled in large quantities to supply the need of previous-run U. A. BETTER BIZ. DRIVE (Continued from Page 1) lowing spots: It is in its 7th week at the Orpheum, Montreal, and booked for an indefinite run; its 7th week at the Plaza, Vancouver, expected to stay 10 weeks; its 6th week at the Garrick, Winnipeg; its 5th week at the Elgin, Ottawa. It broke all previous house records when it opened at the Lyric Theatre, Hamilton, last week.. The total grosses on U. A. sales for the season so far are the highest in the _history of the Company § said Mr. Haskell Masters, Canada’s District Manager, Toronto Boys and Girls Make Good Bobby Breen, one of Toronto’s outstanding contributions to screen and radio entertainment, now has a stand-in, who strangely enough also hails from the Queen City. Larry Harris will double for Bobby in his new _ picture “Hawaiian Hello.”’ Ann Rutherford, born in Toronto, eighteen years ago, and now working in Hollywood after a career in theatrical stock dating from the tender age of five years, has been named as first choice for 1938 stardom among a promising group of beautiful young Hollywood starlets, They are then forced on the independents, who do not need them, to help cover cost and ensure profits on this class of pro duct. Unused Shorts In spite of the independent exhibitor’s efforts to round out his contracts, frequently the short-subject product remains unused at the end of the contract period. This unused product has been the subject of many arbitrations. In every case the exhibitor has lost his case and been contrained to pay for this product because the license agree ment gives him no leeway | in the matter. If the exhibition situation remains what it is, and at present we see no possibility of subsequent houses being able to compete without dual programs, cognizance will have to be taken of this class of customer in the production and selling department of the industry. Indies Need Few Shorts Subsequent theatres do not need large quantities of | shorts as fillers. Some need, however, has been expressed for a different type of short. A three or four-reeler with at least one good comedy star whose name could be used for marquee purposes. Such shorts could be used with the longer feature or special pictures, to round out a program. This longshort could take the place of the second feature and in many cases make a more satisfactory combination as to both time and comedy re TORONTO THEATRES FIRST RUN | lief. Examples of this type of short, if made into a three or four-reeler, are the two Regal releases, ‘Buried Loot”? with Robert Taylor; and “Every Sunday” with Deanna Durbin. More Shorts Recently a notice was circulated among exhibitors, by the 20th Century-Fox Corporation, informing them that this company will release 52 single-reel subjects during the 1938-9 season, and asking the exhibitor to make provision for this unit. Exhibitors are asking themselves and each other, how in tarnation they can be expected to buy and make room for more and more units, or are they just expected to buy? Note: The press committee of the Independent Theatres Association, which is responsible for the preparation of this series of articles reviewing and analyzing the Canadian License Agreement wishes to state that it has no desire ‘to embarrass or injure any member of the industry by so doing. It seeks only to throw light on a complicated situation, and perhaps to achieve a more equitable basis for future contractual relationships between dis tributor and exhibitor. CANADIAN PLAY STRONG IN LONDON Mazo de la Roche’s play, ““Whiteoaks” is soon to pass the 850th performance mark in London, England. 4 IMPERIAL THEATRE — “BUCCANEER” — PARA. LOEW’S — “ROSALIE” — MGM. SHEAS — “EVERY DAY’S A HOLIDAY” — PARA. # “THRILL OF A LIFETIME” — PARAMOUNT. 6 UPTOWN — “HAPPY LANDING”’—20th CENTURY FOX pit sina ean aa