Canadian Film Weekly (Mar 18, 1942)

HYE BOSSIN, Managing Editor Address all communications to—The Managing Editor, Canadian Film Weekly, 21 Dundas Square, Toronto, Canada. Published by Film Publications of Canada, Ltd., Sth Floor, 21 Dundas Square, Toronto, Ont., Canada, Phone ADelaide 4310. Price 5 cents each or $2.00 per year. How About This? The current controversy with regard to unequal representation of Independent exhibitors on the Advisory Council is attracting atention beyond the ranks of those concerned. Mr. Stewart has not yet replied to the resolution sent him by the ITA, calling his attention to heavy representation from one group of Independents, supposedly for all Independents. As Mr. H. Freedman said: “Two of the four Independent representatives are interested in the same firm, which holds two theatres. Three belong to the same exhibitor body. All would have the same point of view. For whom do they speak? Let's find out who speaks for whom and why—and if they have the right.” A very interesting paper, one that bears on the dispute in an unusual way, has just reached our desk. It was the first move towards the formation of an Advisory Council and was, we presume, issued through the Board of Trade. Section A suggests a committee of eight to be drawn from the distributors. Section B, headed “Exhibitor’s Committee” reads: “Exhibitors shall form a committee, the number of members of which shall be decided later, which shall represent as great a proportion of the exhibiting branch of the industry as possible... .” Section C reads: “An Advisory Council shall be formed to consist of an equal number of members of the distributors’ and exhibitors’ committees .. .” Lost—One Committee The distributors have their committee as suggested and it meets regularly with its delegates in the Advisory Council. The exhibitors’ committee seems to have gotten lost in the shuffle. Such a committee might solve the problem, being large enough to include all and choosing its Council delegates from this wider assortment of representatives. It is no doubt difficult to maintain such a committee. That difficulty seems to have given rise to the larger one of proper representation. Worth Noting Did you read our recent editorial, “In the Middle’? It dealt with the plight of the poor theatre manager who, caught between the pro-Sunday patriotic concert crowd and the antis, feels harrassed and hounded. Both groups, made up of worthy ‘citizens, must be respected. So, no matter which side wins the point, the manager loses. The St. Thomas Times-Journal, a wide-awake newspaper, reprinted our editorial under the head: “Theatre Manager Takes the Clouts.”” Which expresses it very well. The editorial ran down the end column of the editorial page. It gave St. Thomas people some idea of the smallest problem of wartime theatre operation. Perhaps if managers in other towns showed the editorial to newspapers it might reach the attention of the general public and smooth touchy situations. At least, the public would know that being good to the war effort doesn’t always win unreserved good will. We thank the St. Thomas Times-Journal for its broadness and Manager Les Preston of the Capitol Theatre of that town for sending us a copy. Canadian FILM WEEKLY Vol. 8, No. 12 March 18th, 1942/ ITA Blast Met With Silence (Continued from Page 1) is Tom Walton. B. C. Salamis of the Allied Theatrical Industries of Quebec, the fourth Independent exhibitor representative on the Board, is not connected with the same business or exhibitor organization as the others. The Independent Theatres Assotiation forwarded a resolution to James Stewart, head of the Services Administration Board of the Wartime Prices and Trade Board protesting against the current personnel of Independents on the Council. R. C. McMullen, as head of the Film and Theatre section of Mr. Stewart’s jurisdiction, is in direct contact with the Council. The Board originally suggested that an Advisory Council be formed to facilitate its service to the motion picture industry. The mineman Council was to have contained three representatives each of Independent exhibitors, circuits and distributors. After several days of wrangling the Council was constituted as it is at present— three distributor men, two circuit delegates and four from the Independents. This seemed to be something in favor of the Independent exhibitors until the original differences, not having been smoothed over to the satisfaction of all, broke out again. In the pre-Council sessions it was the contention of IMPEA spokesmen that an exhibitor with a circuit deal, or one who belonged to the same organization with him, no matter what his business status was, is not a true Independent. The contention was disputed but the eventual personnel of the Council Independents would seem to verify the IMPEA’S interpretation. No member of the ITA, which has served Independents for seven years, sits on the Council. H. Freedman, vice-president of the ITA and chairman of its executive board, stated last week that the selections took place in his absence and without his knowledge. Many Independents resent the IMPEA classification of their status. Members of the ITA pointed out that they have long experience in the theatre business and they don’t wish to be represented on the Council by any person with but slight knowledge of exhibitor problems throughout the country. The original call to form an Advisory Council requested that distributors and exhibitors each form committees. From each committee would come the members of the Advisory Council. The Distributors have such a committee, which advises it representatives on the Council, But the exhibitors March 18th, 1942. (Theatre Break-ins More Frequent (Continued from Page 1) some years back, when matters of that sort were a real problem. During the depression break-ins and vandalism were so frequent that they were treated as a special problem and ways and means of combatting them worked out. Theatres, being completely empty after film hours, were targets for thieves. Often the police made it their business to warn managers whenever robberies have occurred in their particular areas, feeling that the theatres might suffer in the same way. Thieves of theatres seem to fall into separate classes. The cleverest are those who hide somewhere in the building, avoiding the routine checkup after the audience has left, and remaining to do their dirty work. Backstage, rest rooms and air conditioning plants are favorite hideaways. The fact that sleepers wake up locked in an empty theatre is no longer a joke but evidence that the staff hasn’t been vigilant enough. The less clever operators have jimmied exit doors and skylights and once in find plenty of time to do their work. The setting off of the burglary alarm frightens them away and only more frequent checking by the police provides a fairly good chance of arrest. Exit doors and skylights, especially the latter, should be locked as tightly as possible. Most theatres today have alarms and burglary-proof safes. The lessening of crimes against theatres is thought to have resulted from non-profitable experiences by thieves. It is felt that the occasional recurrence is due to the fact that apprehended thieves have served their terms and retunned to their field. The juvenile break-ins are easiest to spot. They usually go after the candy-vending machine, cause loose damage and leave everything wide open. Current experiences are being watched closely to judge if present lawlessness is the beginning of a wave. haven’t. Opinion has been expressed that, had the original suggestion to form a tommittee been followed through by exhibitors, it would be Jarge enough to include all and choose and advise dele° gates to the Council. Complete Theatre Equipment and Supplies COLEMAN ELECTRIC CoO. 258 VICTORIA ST., Toronto, Ont. @