The Exhibitor (Nov 1941-May 1942)

EDITORIAL ExmeuoR Reg. U. S. Pat. Office Volume 27, No. 20 March 25, 1942 A Jay Emanuel Publication. Covering the film terri¬ tories in the Metropolitan East. Published weekly by Jay Emanuel Publications, Incorporated. Publishing office: 1225 Vine Street, Philadelphia, Pennsylvania. New York City office: 1600 Broadway. Representatives in Washington, D. C.; Albany, Buffalo, Boston, and New Haven. Jay Emanuel, publisher; Paul [. Greenhalgh , business manager; Herbert M. Miller, managing editor. Rates: Each edition, one year, $2; three years, $5. Address all communications to the publishing offices, 1225 Vine Street, Philadelphia, Pennsylvania. Jn Oil lA -^AAlie SECTION ONE Advance Shots 14 Arbitration Cases 13 Editorial Page 3 In the Newsreels 13 In the Spotlight 4, 15 Late News Highlights 7, 8 National Mirror 9, 12, 12b, 12c, 12d National Legion of Decency List 13 National Release Date Guide Inside Back Cover News of the Territory 5, 6, 17, et seq. Score Board 13 Territory Trade Screening Guide 14 Tip-Off 16 SECTION TWO Reviews (The Exhibitor Pink Section) SS-l-SS-12 “Canal Zone,” (Columbia) ; “Lawless Plains¬ men,” (Columbia) ; “North Of The Rockies,” (Columbia) ; “Tramp, Tramp, Tramp,” (Colum¬ bia) ; “Two Yanks In Trinidad,” (Columbia) ; "Fingers At The Window,” (Metro); “Rio Rita,” (Metro); “Klondike Fury,” (Monogram); “Man With Two Lives,” (Monogram); “Great Man’s Lady,” (Paramount) ; "Henry and Dizzy,” (Para¬ mount) ; “My Favorite Blonde,” (Paramount) ; “This Gun For Hire,” (Paramount); “True To The Army,” (Paramount) ; “Lone Rider In Chey¬ enne,” (PRC); “Panther's Claw,” (PRC); “Bash¬ ful Bachelor,” (RKO) ; “Mayor Of 44th St.,” (RKO) ; “Seattergood Rides High,” (RKO); “Tut¬ tles Of Tahiti,” (RKO) ; “Heart Of The Rio Grande,” (Republic) ; "Stagecoach Express,” (Re¬ public) ; “Yokel Boy,” (Republic) ; “Lone Star Ranger,” (20th Century-Fox) ; “Rings On Her Fingers,” (20th Century-Fox) ; “Sundown Jim,” (20th Century-Fox) ; “To The Shores Of Tripoli,” (20th Century-Fox) ; “Who Is Hope Schuyler?” (20th Century-Fox) ; “A Gentleman After Dark,” (UA) : "Mississippi Gambler,” (U) ; “Tough As They Come,” (U) ; “Tanya,” (Artkino) ; “Nar¬ cotic,” (Esper) ; “Reap The Wild Wind,” (Para¬ mount) . Material contained in the Late News Highlights section often represents new developments in stories to be found on other pages of this issue. If the reader will bear this in mind it will avoid possible confusion. This section of THE EXHIBI¬ TOR goes to press last, with latest developments within the industry, where available. The Signs Are More Encouraging Despite the generally pessimistic news, several encourag¬ ing signs have been noted on the exhibitor horizon. These are not the usual seasonal attempts on the part of theatremen in various areas to better their position. They are more than that. To begin with, from the Philadelphia independents has come a plan already being discussed throughout the country. Basically, it has been presented as a method for determining a ceiling for 40 per cent pictures, where such terms have to be paid (and there are plenty of such spots), with a reversion clause, but there is no reason why it could not be used as a basis for buying all percentage pictures. Details were published in The Exhibitor last issue, but reviewing the highlights it might be said that the factors determin¬ ing the percentage or price to be paid are the unit system of playing time, playing unit overhead, and exhibitor profit. A chart has been prepared from 40 per cent down to 25 per cent, and it can go even lower. The purpose of the plan, naturally, is to give the exhibitor a counter offer to that presented by the salesman. Generally, the exhibitor has been in the position where, in replying to high terms, he can only say that he doesn’t think the picture is worth it, but has little or nothing on which to gauge his opinion, in most cases. Con¬ fronting a salesman with a workable plan puts the distributor on the defensive. Naturally, there are exhibitors who do not like to buy on percentage, but the plan can be adapted for flat deals. And again there are exhibitors who are not paying as much as their brother theatremen do. They are in the driver’s seat, and they do not need any help. The second encouraging sign is the growth of booking combines. These are not new to the industry, and some are func¬ tioning well, but generally distributors have opposed them. Now, their growth in key population areas means that the exhibitors are thinking in distributors’ terms, that buying power is a wedge that should be used to good effect. These two indications, the sales plan and the booking com¬ bine, prove that exhibitors are beginning to think of throwing their two out-dated methods of protest, letters to the home office and passing resolutions, out of the window. It appears as if for the first time the exhibitor is going to fight the distributor with weapons that not only make a big noise but which may hit the target. QUAD