Independent Exhibitors Film Bulletin (1952)

te wool nts NOVEMBER 17, 1.9 52 # VOLUME 20. NO. 23 DN MEN AND MATTERS A I list's Tough M*rabt€*nt Allied States Association stands at the crossroads in its relations with the film distributors. The independent thcatremen's convention in Chicago this week faces some difficult decisions, but none is tougher, nor more vital, than the attitude it will adopt toward future intra-industry cooperation. To meet acute industrywide problems during the past two years, Allied put aside much of its militancy. Despite some opposition in the ranks (and some defections), the organization's leaders, acting in statesmanlike fashion to meet current exigencies, insisted that problems of general industry welfare take precedence over all other issues. Thus it was. We know that Allied's leaders have been subjected to steadily increasing pressure from the rank-and-file, who argue with their old belligerence that the distributors are "making hay" at their expense in this sunny atmosphere of cooperation. The tone of this attitude by the membership is set in the following remarks by Jack Kirsch, general convention chairman, in his welcoming address to the delegates: "The exhibitors have shown the utmost good will and good faith in cooperating with other industry branches in revitalizing COMPO, in fighting the admissions tax, in trying to set up arbitration machinery and in opposing censorship and adverse legislation. Their cooperation has been welcomed by the other branches on the timeworn theory that 'we are all in the same boat' and must 'unite in the common cause'. But when it comes to raising film rentals to theatres already in distress, when it comes to pre-release, must percentages, advanced admission prices, extended playing time and preferred playdate?, our friends, the. distributors, quickly leap from the common rowboat to the decks of the Queen Mary and refuse to throw the exhibitors a lifesaver. "We in Allied have known for some time what is going on in the minds of most of the exhibitors in this regard. We know that the exhibitors arc worked up about the terms now being demanded for pictures more than any other subject. We also know that some of them have been wondering what has become of the old militant, fighting Allied that used to fight ;;t the drop of the hat when the independent exhibitors were being hurl. "Now we know that no matter how 'constructive' we may be in regard to the problems of the producers and tin distributors, they are not interested in problems peculiar to the exhibitors and, very definitely, they are not interested in the exhibitors' welfare — not, at least, to the extent of exercising a little self-restraint in regard to pricing their products. "Well, you can stop worrying concerning Allied's altitude in this matter. Allied stands right where it has always stood— on the side of the independent exhibitor. Allied never has deviated one inch in its loyalty to those exhibitors. It may have changed its methods a little bit in order to arrive at the same results. In this it may have been premature because the millennial is not yet here. But Allied today is doing business at the same old stand." Allied has contributed real leadership to the industry's major problems. Myers' labors on arbitration; Cole in the tax fight; Rembusch on COMPO; Martin Smith in the censorship struggle — these stalwarts have been working for the industry as a whole and every segment of the industry will suffer if their services are lost. BULLETIN FILM BULLETIN: Motion Picture Trade Paper published every other Monday by Wax Publications Inc. Mo Wax, Editor and Publisher. PUBLICATION-EDITORIAL OFFICES: 1239 Vine Street, Philadelphia 7, Pa., Rlttenhouse 6-7424; Barney Stein, Managing Editor; Leonard Coulter, New York Editorial Representative; Richard N. Newton Publication Managsr; Robert Heath, Circulation Manager. BUSINESS OFFICE: 35 West 53rd Street New vork 19, N. Y., Circle 6-9159; HOLLYWOOD OFFICE: 659 Haverford Avenue, Pacific Palisades, Calif., Hillside 8183; Jay Allen, Hollywood Editor. Subscription Rates: ONE YEAR, S3. 00 in the United States; Canada, $4.00; Europe, $5.00. TWO YEARS: $5.00 in the United States; Canada, $7.50; Europe, $9.00. The distributors must realize that cooperation is a two-way street. Some of the film executives seem to be running down a blind alley. A Letter Front tPurryt Zatttteli For several months rumors hare persisted that alleged friction between Darryl F. Zanurk and home office executives of 20th CenturyFox might lead to the resignation of the studio boss. In our Studio SizeUps department. FILM BULLETIN issue of November 3, our Hollywood Editor. Jay Allen, stated: "Since 20th Century production has been in a slump for the past year, the rumors will continue to smolder until a couple more like 'Snows of Kilimanjaro' come along to prove Zanuck has his old touch. He would be a mighty tough man to replace." In the following letter. Mr. Zanuck i omments on Allen's observation and the various rumors: November 5, 1952 M y dear Allen: Many thinks, to a certain degree, for straightening out some of the rumors about the possibility of my "retirement" from Twentieth Century-Fox. I am sincerely pleased that you consider me "a tough man to replace". In all frankness and honesty I want you to know that the question of my quitting the studio has never at anytime come up for discussion before the Board of Directors. The minutes of the Board meetings are available in accordance with the law. So much for that. The Board of Directors has never instructed me at any time as to the type of picture I should make. My original contract signed in 1935 clearly defines my authority in this regard. I have always continually welcomed suggestions from the Board and from our Distribution and Exploitation Departments. More than this I have continually sought advice. I decided to cut down on the number of musicals due to the fact that they (Continued on Page 18) FILM BULLETIN November 17, 1952 Page 3