Independent Exhibitors Film Bulletin (1952)

1 off Agree*? The importance of keeping a theatre in good condition, making it an attractive place to "go out" to, cannot be emphasized enough. Almost every day we hear or read of theatres that are doing good business largely because of this factor. Typical of these never-say-die exhibitors is the statement by an Indiana theatreman in a town of less than 2500 population that is in the TV area: "The one thing that I have done in my situation is that I have kept my theatre far ahead of my town. I have complete air conditioning for winter and summer. I think winter air conditioning is almost as important as summer. My sound, projection and picture presentation are tops. Less than a year ago I remodelled the entire theatre with a new glass front, new drapes and complete painting. Believe it or not, business is good." It's like a breath of fresh air in the smoky atmosphere of theatremen crying the blues. 0 Howard Hughes' shut-down of the RKO studios, avowedly on the basis of cleaning out Communists on the lot, appears to have cost the company a pretty penny. The latest financial report for the first half of this year showed a whopping loss of $3,712,000. Last year, the company was also in the red for the first half, but only to the tune of $734,000. Indications of the financial damage wrought by the shutdown are apparent in the comparative second quarters of each year. During the 13 weeks in '52, RKO showed a loss of $1,756,000, while in the comparative period a year earlier, the company went into the black with a $351,000 profit. 0 Midwestern exhibitors really received an earful from Leo Wolcott, board chairman of Allied ITO of Iowa, Nebraska, S. Dakota and Mid-Central, in a twopronged blast against the admissions tax and the Government anti-trust suit on behalf of TV. Among the salient points he makes: where the admissions tax is concerned, don't count on the public's support "because we will keep the amount of the admission tax, when repealed, to help keep our theatres going and not pass it on to the public." "But," he adds, "we can interest our bankers and lawyers because of our business with them, our employees and landlords, if any; our city officials and Chambers of Commerce to keep( the theatre open, to help us get repeal." The same, he says, applies to the TV suit because the public won't pay for something they can get for nothing. Not enough attention, Wolcott declares, has been paid to the newspapers. "If our newspapers would go to bat for us, present our side of the story, elaborate on how much the theatre means to a town and community, our public relations would be much better and we wouldn't have to fight all our battles alone". o We couldn't think of a better Hollywood representative than Marjorie ("Ma Kettle") Main during the "Hollywood at the Fair" exhibit put on by Independent Theatre Owners of Ohio at the State Fair. The Kettle pictures, which have shown phenomenal grosses in the hinterlands, will be represented by Universal with costumes, props, sketches and other interesting material from the studio, including those from Miss Main's latest, "Ma and Pa Kettle at Waikiki". O Those drawn-out discussions between the American producers and the French Government appear to have been just a long — and expensive — waste of time. With France trying to build up its film industry by limiting imports, while at the same time, the French movie houses are starving for product, it seems the Gallic powers-that-be have cut off their nose to spite their face. The Motion Picture Export Association announced a "complete breakdown of current negotiations" for a new international film agreement, with Eric Johnston, MPEA head allocated "blanket authority" to take measures as he sees fit. Johnston is going to give it another try after negotiations with other governments for film agreements. But, meanwhile, that French film revenue counted upon by U. S. producers goes down the drain. And Marianne's exhibitors take a product shortage beating. o If you can't beat 'em, jine 'em. The mutual benefits to be derived from cooperation between the three principal sight-and-sound media — movies, television and radio — were pointed up most graphically when the powerful Organization of the Motion Picture Industry of the City of New York signed a reciprocal promotion project with the city's NBC radio and TV outlets. Chairman of the film organization Fred J. Schwartz and WNBC-WNBT vicepresident Ted Cott penned their signatures to the agreement, which calls for crosspromotion plans, including listings by the airwavers of current movies, as well as special programs highlighting various features of production and exhibition. Some 30 theatre chains totaling 500-plus theatres are involved. It's by far the biggest step toward converting TV from a competing medium to a major factor in promoting moviegoing and the experiment which runs for a trial period of 13 weeks, beinning Sept. 15 should offer plenty of food for thought by theatremen throughout the country. THE MIRACLE OF OUR LADY OF F ATI MA1 HAS WIDE APPEAL ates • + in Catholic areas; 'arner Bros. 1 minutes ilbert Roland, Angela Clarke, Frank lvera, Jay Novello, Richard Hale, Norman ce, Frances Morris, Carl Millitaire, Susan hitney, Sherry Jackson, Sammy Ogg rected by John Brahm Drawn from the miracle witnessed by tree children at Fatima, Portugal, in 1917, i lis Warner production will appeal most to Ltholics. However, despite its sectarian [feme, "The Miracle of Our Lady of lltima" has entertainment qualities that are Jiversally appealing and it should enjoy j jove-average boxoffice success outside of [|avily populated Catholic localities. Tastely done up in WarnerColor, the simple ry as scripted by Crane Wilbur and es O'Hanlon never attempts to go into h-sounding preaching, nor, as directed by n Brahm, does its religious impact PTEMBER 8, 1952 • + elsewhere weaken the film's simplicity and appeal. Rather, it merely presents a heartening story of faith that is rewarded. The color photography, under Edwin DuPar's guidance adds considerably to the visual attraction and Max Steiner's musical score additionally enhances the production. Since the cast has no marquee value, and the picture's appeal is strongest in predominantly Catholic areas, the religious angle in these territories is the one to concentrate for best returns. Elsewhere, the heartwarming tale can be plugged to attract the family trade. The only familiar name in the cast, Gilbert Roland does an exceptional job with his role as the likeable village ne'er-do-well whc tries to keep the story of the miracle from spreading lest the anti-Church forces in the Portugese government grab the opportunity to clamp down on the religious institutions. He adds touches of humor that aid the film's entertainment qualities considerably, STORY: Politically riddled by revolutions that have seen a succession of anti-Church forces in power, the people of Portugal in 1917 clung to their faith. In the village of Fatima, three children, tending a herd of sheep, see a vision in the treetops of a young woman who tells them to visit the spot on the 13th day of each of the next six months. Despite measures by the children's parerrts and the village philosopher-drunkard, Gilbert Roland, to keep the incident a secret, knowing that the Government will take the opportunity to stifle the Church, the news leaks out and thousands gather at Fatima to witness the miracle. Threats and punishment by the officials fail to shake the children's faith and at the end of the sixth month the miracle occurs as the sun suddenly plunges toward the earth. Scenes of the actual pilgrimage which saw more than a million people gather at Fatima on the 35th anniversary of the miracle last October highlight the climax which sees the now grown children reaffirming their faith. YORK 17