The Exhibitor (Nov 1938-May 1939)

10 UNITED ARTISTS HAS $10,000,000 PRODUCT READY Company Announcement Indicates Optimism —Gold Reviews Business and New Shows United Artists has $10,000,000 in finished and playing roadshow calibre productions, a statement from eastern general sales manager Harry Gold said last fortnight following the inauguration of a new bonus plan announced by Maurice Silverstone in Hollywood. It is one of the largest schedules of big time pictures ever assembled in the history of United Artists or any other company, Gold says. An announcement from the company regarding future pictures and business follows: Heading the list of current product is "Made For Each Other,” the new David O. Selznick production starring Carole Lombard and James Stewart. Murray Silverstone described it to the Board of Directors of United Artists as "One of the greatest pictures ever made.” Its premiere will take place at the Radio City Music Hall, New York, February 9. Equally important is the Walter Wanger production of "Stagecoach,” directed by John Ford. It was shown in its entirety to the board of directors in Hollywood. There is a possibility that it may be road-shown before its regular release. Pictures which are currently being shown throughout country with top box-office receipts include Walter Wanger’s "Trade Winds,” "Topper Takes a Trip,” "The Cowboy and the Lady,” "The Duke of West Point.” Using the business registered by three of its releases— "Trade Winds,” "Topper Takes a Trip,” and "The Duke of West Point” — as an index, Gold observed that the picture business recently marked a tremendous pick-up through out the country. "Trade Winds” ran for three smash weeks at the Roosevelt, Chicago, with its second week $2000 larger than its first. At the Cincinnati, Ohio, Palace it was the biggest United Artists grosser in recent years. The picture was allotted continuous first-run at the Denver, Rialto, Aladdin theatres, Denver, Colorado. It ran up 13 8% of average business at the Strand, Hartford Connecticut. At Loew’s, Syracuse, New York, it was 154% of average biggest United Artists opening of the current season. And in Philadelphia, it played 23 days continuous first-run at the Aldine, Keith’s. "Topper Takes a Trip” grossed the biggest receipts at the Aldine, Philadelphia, since the house reopened in August and was held-over. In Binghamton, New York, the picture set a new high for the season for any United Artists release. At the Strand, Hartford, Connecticut, and at the Roger Sherman, New Haven, Connecticut, its receipts totalled 50% over the house average. "The Duke of West Point” played two weeks at the Orpheum, Montreal, Canada, and at the Aldine, Philadelphia. At the Warner, Milwaukee, Wisconsin, it grossed $5 000 in two days. At the Loew’s State, Providence, Rhode Island, the picture built to tremendous proportions, the second day’s receipts being $1000 more than opening day, and the third, $1 500 greater. In Richmond, Virginia, the picture grossed $4700 in its first three days. Among the other United Artists releases which are being cut and edited for early showing from the studios are Edward Small’s "King of the Turf,” starring Adolpe Menjou; "It’s Spring Again,” Hal Roach romantic comedy with June Lang, Jean Parker, Oliver Hardy, Billie Burke, Alice Brady and Harry Langdon; Alexander Korda’s "Prison Without Bars,” with Corinne Luchaire; "Captain Fury,” Hal Roach production starring Brian Aherne, June Lang, and Victor McLaglen in an epic adventure of Pioneer Australia: Samuel Goldwyn’s production of “Wuthering Heights,” the Emily Bronte classic, starring Merle Oberon and Laurence Olivier; Alexander Korda’s technicolor production of "Four Feathers,” filmed in the Sudan. Announcement was made recently by Murray Silverstone, chief executive officer, that Alexander Korda will make six pictures, two of them in Hollywood, during 1939. After Korda’s and Silverstone’s meeting, first of a series of production conferences on United Artists 193 9-40 product, it was further stated that at least four of the six will be in technicolor, entailing a production budget for the season of $7,2 5 0,000. Currently in production, Korda is completing "Four Feathers” in London, after sending a troupe to the Anglo-Egyptian Sudan for exteriors. When this picture is completed, work will begin on "Thief of Bagdad,” Korda’s first production of the 1939-40 schedule. It will feature Sabu, boy star of "Elephant Boy” and "Drums,” and Jon Hall, sensational discovery of "The Hurricane.” This technicolor film will be followed by another based on the spectacular military exploits of Colonel Lawrence as revealed in "With Lawrence in Arabia.” Maurice Silverstone Harry Gold L. J. Schlaifer SPECIAL FEATURES LETTERS TO THE EDITOR Wants News of Jitterbugs Utica, New York. Gentlemen: Just a line letting you know that I had just finished reading your January 18 issue of The New York State Exhibitor, and I want to go on record to say that I can’t get to the theatre early enough to read cover to cover of your book. It keeps one really informed of the different situations and good thoughts of others’ workings. I would like to say I am running a Jitterbug Dance Contest on my stage for the past 1 1 weeks, I would like to find out if any theatre had reached that mark. To put this over I had found out one thing, that these days a manager has to do a jitterbug to keep his game on this contest going. Believe me, I could do a jitterbug after being a theatre manager for the past 18 years and that’s saying something. I would gladly give any manager the correct information how to put this over. Here’s hoping I could send you more news on my goings on. Respectfully yours, George Seed, Manager, Colonial Theatre. (Editor’s Note: Exhibitor readers are urged to contact Mr. Seed regarding his jitterburg contest in case they equal his record. While jitterbugs have been used in many parts of the country, there may be some areas which might find box office value in the idea.) Hints on National Anthem Gentlemen: New York City. You may be interested in my observations regarding playing the national anthem in my theatre. There are some specific suggestions which I would like to pass on where they can do the most good. 1. Don’t play the anthem at each performance. The anthem should be played at the best show of the day, usually at night, and the best show of the afternoon. In my theatre, it is obvious that patrons prefer not having to stand twice every time they come in. Don’t play the anthem as an exit march, as people want to get home and usually will not wait. 2. Put on the house lights when the anthem is played. This will cause everyone to stand up. 3. If anyone wants to know why it is being played, tell them this. It is a good explanation. The very fact that people are startled by the public playing of our national anthem is reason enough to play it. We are all Americans. We are all enjoying the benefits and privileges of the most lasting and kindly democratic form of government known to man. But we are all too apt to take our nation and our heritage and our bless February 1, 19)9