The Exhibitor (Nov 1938-May 1939)

BM-20 BETTER MANAGEMENT Leader Sommerer (Continued fro-m page BM19) America, and the subsequent readjustment of the various company activities, the Pic-Tur-Music division was incorporated with the RCA Photophone Company, at that time a separate corporation with offices at 41 1 Fifth Avenue, New York. foreign Service Early in 193 0, Sommerer was requested to consider foreign service, as managing director of the Victor Talking Machine Company of Japan, and he resigned from Photophone in May of that year to assume his new post. This Japanese associatedcompany became the outstanding organization in the Orient in the home entertainment business, with a modern one-story, steel and concrete building of 167,000 square feet, equipped with the latest machinery and utilizing 700 employees in the manufacture of talking machines, records, and radio receivers. Sommerer’s interest in talking pictures continued in a somewhat limited form as the Japanese company was also the distributor for the Japanese empire for RCA Photophone. Appreciation of foreign language sound pictures came very slowly in Japan, and the introduction of good sound-reproducing apparatus was extremely difficult, as often the cost of equipment would equal or exceed the value of the theatre in which it was to be installed. It was even more difficult to interest Japanese motion picture producers in good sound-reproducing apparatus, and, after several years of unproductive effort in this direction, Sommerer imported the necessary RCA equipment and jointly engaged in the venture of producing a real quality sound picture in conjunction with J. O. Studios, at Kyoto, Japan. The first production, which was entitled "The Chorus of a Million,” was the first Japanese musical in which a score and several theme songs were written for the production by one of the composers regularly employed by the Victor company in its recording studios. The picture was created under difficulties, not the least of which was a typhoon on the day shooting was to start — which took off the roof and one side of the building and wound the principal set into a ball of paper, wood, and bamboo. In order to get under way after this catastrophe, in the absence of any supply of lumber, since all the meagre stocks were quickly absorbed for repairing houses, the expedient of buying failed telegraph poles and sawing them into lumber directly on the lot in order to repair the sound stage was resorted to. Since a Japanese super-feature at that time would cost somewhere between 21,000 and 3 5,000 yen, the final negative cost of "The Chorus of a Million” at 96,000 yen seemed to indicate a financial loss on the production. However, the reception accorded this picture wherever it played was so enthusiastic that despite its extreme cost, it proved its ability to make a margin of profit after all deductions for advertising and distribution. Sound Clicked As a result of this outstanding demonstration of quality sound in Japanese pictures, the J. O. Studios retained the recording apparatus and became a regular Photophone licensee. They have since ordered additional recording channels and have made a number of outstanding productions. Subsequently, the Asahai Shimbum, the largest newspaper in the Far East, and perhaps in the world, became an RCA Photophone licensee for newsreel production, and, with a portable RCA recording channel in a newsreel truck, made regular releases of news events of interest to the Japanese people. Sommerer left Japan in July, 1937, the RCA interests having been sold to Japanese, and, at the time of his leaving, 186 theatres throughout Japan had recognized the valu: of good equipment. After a trip around the world, Sommerer returned to Camden and, in view of his long association and experience in the talking motion picture field, it was quite natural and gratifying to resume his duties in connection with RCA Photophone activities. Booth Projection Record Tab-Keeper On Films Goat for most of the faults with the physical condition of motion picture film is the previous project'onist. While this variable person has damaged film — and distributors and film carriers are not, also, without blame on this score— the projectionist of Thelma DeBarry’s Alpine, Romney, West Virginia, has devised a record sheet the use of which reduced to a minimum the "stuff” he might be called upon to take. Besides being a record of the date all film enters and leaves the booth, the sheet also shows the date played, the title, exchange, running time, whether or not the particular film was used, the physical condition of the print, the recording thereon. For trailers, another sheet provides a record of title, exchange, dates received and returned, the carrier used in each case, and the trailer’s play date. Through such a system is the projectionist able to keep track of the condit on, movement of all prints, to determine, at least for himself, to what extent he and his machines may be responsible for damaged film. Is This YOUR THEATRE? Case No. 2 THE THEATRE: A fourth run in a large eastern city, operated by a large affiliated circuit. House seats about 1000, catering to an above middle class patronage, playing a split week policy or longer if the business warrants. No giveaways — no double features — no special Saturday play for the kiddies. REPORT: On the day the house was visited, the city was receiving its heaviest snowstorm. In the lobby, an usher was on hand with a whiskbroom, brushing the snow from the coats and hats of the patrons. Obviously, this made an excellent impression. Because of the storm, the mats were out, the sidewalk had been treated with a preparation to prevent ice from forming. The doorman greeted each patron with a smile on his face. Upon entering the theatre proper, no attempt was made by the usher to force the patron into any section of the house, even though business was rather good. Rather, the usher walked in front of the patron until the latter indicated just about where he would like to sit. The program was balanced, with either luck or good sense bringing a nice selection of shorts to the screen. Projection was good, the theatre was comfortably warm. Being a night show, there were no children in the house, with no trouble from that sector. Trailers were broken not into the news but between short subjects. SUMMARY: This might be termed good operation, indicative of circuit management at its best. ( Editor’s Note — This is the second of a series devoted to actual examination of house operation. If any theatre thinks it is the one mentioned, let it write in. Others may benefit by reading the series, gaining tips in house operation.) W'ujh trims ity Steady, brilliant, snow-white ... 2 to 3 times as much, at less cost per unit. Essential to satisfactory projection of color pictures. Write for catalog on the Strong Mogul and other unconditionally guaranteed products . . . your guide to better projection. Demonstration without obligation. “STRONG FOR SALE BY INDEPENDENT THEATRE SUPPLY DEALERS EVERYWHERE ELECTRIC CORPORATION 2501 LAGRANGE STREET • TOLEDO, OHIO Export Office: Room 2002, 220 W. 42nd St, New York City January IS, 19)9