Canadian Film Weekly (May 8, 1970)

Page 2 CANADIAN FILM WEEKLY May 8, 1970 There are perhaps more small, independently owned theatres in operation across the country than there are powerful, circuit-owned showcases. And yet, these small theatres find it extremely difficult to book a worthwhile picture at terms which will assure their survival. | In Greater Amusements magazine, an editorial reads, “the film distributors say that some are not worth going after for solo booking unless the exhibitor “comes and gets it’ and then it’s at a flat rate after the picture has been “milked dry” in the area by larger and more powerful theatres. This of course would seem to mean that only the circuit type of theatre exhibition, whether a conventional or a driveIn, is all the industry is really concerned about. On the face of it, one assumes this to be true, since it’s the way most major film distributors today aim their selling dollars only to those specific outlets. Being able to gross more from such an exhibition without spreading their sales cost to them is one argument given and the other is that, that is where the real cream of dollar returns comes from fast.” Since I’ve been with Canadian Film Weekly, I’ve met _ several small-theatre owners who have described their serious problems — problems which tend to take root at the distribution stage of the motion picture industry. The operators feel that they are being shortchanged, feel that they are taking on the role of the second-class underdog. Small business practice is, and always has been, as much a part of our economy as the large ventures, and as in any business, the paying public deserves the best that money can buy. If distributors want the movie-goers to keep returning to the theatres, then the best possible product must be supplied — the same product that is creating box-office triumphs at the larger, more powerful theatres. And if distributors wish to make as much money as possible, then they should attempt to understand the predicament which faces the smaller theatres. They, too, can be beneficial to the distritbutors’ pocketbooks. * * * A beautiful little short film, Afrodisiak by Canadian André Gagnon is having its distribution problems. What can be significantly developed with only a bit of light and a woman as a theme is the basis of a Afrodisiak, and Gagnon, in what I think is his first major film, jumps his hurdles admirably. He is very aware of the objective but subtle play of dark and light on the female form under examination, and he works in a series, view from the topp By GARY TOPP endlessly studying and exploiting his subject. Seen through the very limiting frame of his viewfinder, Gagnon’s selective vision has produced a remarkable variety of inspired photographs whose classic simplicity has culminated in a moving series of metaphors depicting the goddess of love — an experience of beauty, pleasure, love and joy. (16mm and 35mm with exceptionally stereo sound). Any parties interested in contacting Gagnon with regards to distribution or exhibition can reach him at Film Canada. ' * * * David Cronenberg, a 27-year-old University of Toronto graduate, has just completed his second feature film entitled Crimes Of The Future (35mm/colour). Crimes is a science-fiction type movie concerning the House of Skin, an institute which appears to concern itself with research into skin diseases, but which actually concerns itself with some very different practices. Although Crimes has what you might call an all-star cast, the real attraction of the film is the ‘fu CINEMATION What's it to you? Your projectionist freed safely for other duties. Your total presentation programmed in advance. Your audience enjoys a better overall performance. You get a more economical, efficient theatre operation. How's that for starters? RANK AUTOMATION EQUIPMENT has proved a profitmaker in hundreds of theatres since 1954. Installing RANK could prove profitable for you. Get the details from: Canada’s Theatre Supply House turistic’ architecture of Toronto’s McLaughlin Planetarium, The Ontario Science Centre, various new development sites of The University Of Toronto, The Clarke Institute, and The St. Lawrence Centre, all perfectly blended to form the most exciting sci-fi asylum you ever saw. I understand that Cronenberg is also seeking Canadian distribution. It disturbs me that he, Gagnon and several other filmmakers from Canada have produced some exciting works which nobody wants to touch,_ As this is my last column for Film Weekly, I wanted to thank all the people with whom I have had a very delightful and rewarding association. I also wanted to give my final impressions of the industry as it presently stands. But reading in Today’s Cinema, columnist David Lewin had two extremely timely articles on the present state of the movie business. Tl quote him: “Otto Preminger, beaming and benevolent, has been in London on his way to Cannes where his film Tell Me That You Love Me, Junie Moon is the offi General Sound AND THEATRE EQUIPMENT LIMITED Branches across Canada cial American entry. Mr. Preminger is always a pleasure: although this time he has some sharp words to say about some of the current film industry executives: “They are so busy retrenching that they don’t see that some of the trenches they are digging may become graves.’ He sees the time when the traditional distributor will disappear and producers, raising money themselves for each film, will sell directly to the cinema owner. ‘There could be perhaps four showings a year of new films in New York and other key cities — like the fashion collections which are held now in the garment trade. The exhibitors would come up, see the films, and bid for them. In some cases the cinema owners will back films themselves together with the producer, thus saving the 30 per cent which the distributor charges.’ It is an interesting theory which Mr. Preminger rounds off sharply with this comment: ‘The present problems are being brought about by the ineptness of most film companies’ management.’ ” In an article in the Daily Express analysing the current crisis, Victor Davis writes: “Too many good films lose money because they are shown to the wrong audiences in the wrong places at the wrong time.’ It is always instructive to consider the film industry as others see it, and although it may occur to many within the industry that they are making changes and becoming more flexible and realistic, in fact the public is still ahead of the industry in many of its attitudes and opinions.” . Warner Bros. sales meet for Woodstock & Chisum Warner Bros. recently held a division managers sales meeting in New York under the leadership of Leo Greenfield, the company’s vice-president and general sales manager. The meeting was devoted to discussions of the distribution of Woodstock, the record breaking Warner Bros. hit which is only at the beginning of its national release, and Chisum. Vol. 35, No. 17 May 8, 1970 Editor: ED HOCURA CANADIAN FILM WEEKLY 175 Bloor St. East, Toronto 5, Ont. Published by Motion Picture Institute of Canada, 175 Bloor St. East, Toronto 5, Ontario Canada ° Phone 924-1757 Price $7.50 per year a