The Exhibitor (1953)

8 EXHIBITOR New York News Letter By Mel Konecoff THE OTHER DAY, we saw a minor program picture, and thought it was one of the finest films we had seen in some time. Wanna know why? It was because it was the first ordi¬ nary dimension film that we had seen fol¬ lowing viewing of both the Stereo-Techniques show at the Globe and the Bolex Stereo hodge podge at the Rialto, both on Broadway. This program melo¬ drama was really won¬ derful by comparison. No squinting was Konecoff necessary, there was no lifting of glasses to compare the pic¬ ture with and without, no loss in light, no sudden lens adjustments from the booth, no fear of eye strain, no amateurish sub¬ ject matter to contend with, and no try¬ ing to find something novel and unique in a lengthy operation that only provided attractive moments here and there. If you think we’re down on 3-D, you’re right, at least until something better comes along because it was actually a relief to see an ordinary flat feature as per above. Both the Broadway aforementioned operations were doing okeh from a gross standpoint, but we don’t think that they were making any friends among the movie-going public. The Rialto, showing its four subjects, lasting incidentally 36 minutes, calls its presentation “Triorama”. This uses a process known as Bolex Stereo developed by the Bolex Company. It differs from other systems in that only one projection machine is used since both the right and left eye images are both on the same film. The program demonstrated was shown in 16mm. A blow-up to 35mm. not be¬ ing ready in time, it was said, this was projected on a long thin screen which tended to give us claustrophobia horizont¬ ally if such a thing is possible. The names of the shorts were “Sunday In Stereo”, “Indian Summer”, “American Life”, and “This Is Bolex Stereo.” Polaroid glasses were necessary. Incidentally, while we think of it, there’s a liquor store next to the Broadway, which started the whole routine with its Cinerama, which now calls itself “Liquorama.” We haven’t as yet found out if you must drink the stuff sideways, from three glasses at a time, or whether the bottles leap out at you from behind the counter when you make your selection. All the above is purely personal ram¬ bling. BOOK NOTE: Arthur Mayer, exhibitor, distributor, consultant, and teller of tales, has finally gone, and done it. Yessir, he’s Seen at the first round-table luncheon of the Screen Producers Guild held recently in Holly¬ wood to promote better understanding of prob¬ lems between the producers and the press were, left to right, Joel Preston, SPG public relations counsel; Mel Epstein, Paramount; Frank Rosen¬ berg, 20th-Fox; Julian Blaustein, 20th-Fox; Albert J. Cohen, U-l; Lewis J. Rachmil, Columbia; Wil¬ liam H. Wright, MGM, and Sol Lesser, independent. written an expose not only of Mayer but of the industry dating back to the time before Adolph Zukor was counting his first $10. The work, “Merely Colossal”, subtitled, “The story of the movies from the long chase to the chaise lounge”, is illustrated by drawings by George Price. The book has particular interest for the trade because Mayer names names and places, and reveals some backgrounds which may prove interesting as well as illuminating to the youngsters in the busi¬ ness like ourselves. It deals more with intra-industry people, events, policies, etc., than with actual glamour and gossip, al¬ though he does get out on the fringe once in a while. Mayer, in setting down his experiences and recollections during his 30 years in the business is hilarious at times, and merely funny other times, while often he gets downright historical or is it hysteri¬ cal? No, guess it’s historical. At any rate, it’s fun, it’s informative, and it’s about the business you’re in. Simon and Schuster is the publisher. It’ll cost you $3.50 to purchase the thing which counts 264 pages, and we’re sure if you want it autographed, Mayer will be more than glad to accommodate. Any¬ way, it’s another way of making a buck. CALENDAR NOTE: The other day we received a “Salome” calendar, and to all you people who visualize Rita Hayworth scantily clad just resting about somewhere, you’re wrong. This gimmick is about three feet long, and it contains dates on which various ads, meetings, the sending out of doodads, special stories, etc., are to take place. It’s an effective, unusual stunt, one worthy of note, and the cam¬ paign outlined is a comprehensive job that should do much to put it across. MORE ON 3-D: So, Milton Gunzberg, president, Natural Vision, and a prime mover in 3-D, came in to say that tele¬ vision can have its programs in three dimension any time it feels like doing so. Gunzberg stated that Natural Vision is applicable for TV use, and it can be viewed at home either with or without glasses, although the latter is not quite as good as the former, although it would probably be more desirable. He didn’t think that this should affect motion pic Holiday Weekend Aids B'way Grosses New York — Helped by Lincoln’s Birth¬ day, most Broadway first-runs, led by the Paramount, Radio City Music Hall, Roxy, and Capitol, had above average business over the weekend. According to usually reliable sources reaching Exhibitor, the break-down was as follows: “THE STOOGE” (Para.). Paramount, with stage show, bettered its first week by heading toward a sure $113,000 on the second stanza. “PETER PAN” (Disney-RKO). Roxy, with ice show, garnered $90,000 on the first five days, and was sure to top $130,000 on the opening session. “TONIGHT WE SING” (20th-Fox). Radio City Music Hall, with stage show, claimed $89,000 for Thursday through Sun¬ day with the opening week estimated at $139,000. “HANS CHRISTIAN ANDERSEN” (Goldwyn-RKO) . Criterion claimed $24,000 for the 12th week. “THE STAR” (20th-Fox). Rivoli antici¬ pated the third week at $26,000. “STEREO -TECHNIQUES SHOW NUM¬ BER ONE’’ (3-D) (Lesser). Globe was down to $14,000 on second, and last, week. “ABOVE AND BEYOND” (MGM). Mayfair reported that the third week would tally $32,000. “ROAD TO BALI” (Para.). Astor ex¬ pected the third week to reach $30,000. “THE MISSISSIPPI GAMBLER” (U-I). Loew’s State reported $21,000 for the third, and last, week. “MOULIN ROUGE” (UA). Capitol opened to a tremendous $110,000 on the week. “COME BACK, LITTLE SHEBA” (Para.). Victoria claimed $16,000 on the eighth week. ture business, and he also was not quite sure whether or not the TV industry was ready for the medium at the present moment. The only changes necessary on existing home TV sets to present every¬ thing in 3-D form is the addition of an adapter costing between $15 and $25, he said. While in town, he expected to discuss 3-D with TV executives, set manufactur¬ ing heads, etc. He assured his listeners that there would be no increase in TV production costs, and that 3-D can be sent over existing channels and equipment just using Natural Vision lenses on the cameras. Of course, there is the problem, he admitted, of which comes first, the attachment on the TV sets or the programs by TV stations. Gunzberg, also in to confer with Pola¬ roid Company execs on production of glasses for use in theatres, reported that he was delighted with CinemaScope be¬ cause that medium could be coupled with Natural Vision to present large screen three-dimension, and really give the public a treat. He estimated that Natural Vision can enlarge its image four times at present, if so desired. Large screens as such, he declared, are not the answer to anything, but rather much depends on the entertainment content of any film. In the matter of Polaroid glasses, Gunz¬ berg reported that three million pairs have already been delivered to theatres, another 20 million have been ordered by United Artists alone in conjunction with ( Continued on page 16) February 18, 1953