Independent Exhibitors Film Bulletin (1953)

Public Pulse Promotion You can't question the validity of theatremen's pleas for good pictures as a requisite for salvation of the movie industry. In any medium, quality is a prime factor in maintenance of prosperity. Too many, exhibitors, however, who weep about lack of product in these days of industry transformation are being blinded by their own tears to the grossing potentialities of the live product that is around. The real showmen, on the other hand, are making hay once they put their hand to it. Take, for instance, the "Vice Squad" campaign at the Goldman Theatre, a deluxe Philadelphia first-run house that has won fame for its public-pulse merchandising. Booking the United Artists picture too early for benefit of a pressbook. Goldman advertising head Ted Vanett worked up a campaign tailored to the mass of moviegoers it wanted to attract. Action, sex and the intimate workings of a police agency, the ingredients that have kept the tabloids in the top circulation .bracket, were incorporated into the advertising and exploitation. On opening night you ouldn't get into the theatre. The next few lays were little short of sensational. In its irst week, it more than doubled grosses of heatres with two and three times the seating apacity, playing high-priced, name value iroduct. No big names, no epic, no 3D or widecreen — just old-fashjoned, high-powered Tomotion practiced by theatre people who now how to draw the public. )o Gentlemen Prefer Blondes? The Great Decision will be left to the ublic by 20th Century-Fox. Originally, the ■mpany decided to station six models — two "iiiles, two brunettes and two redheads — the lobby of the Roxv to decide whether ientlemen Prefer Blondes", a 20th-Fox film hich opened at the theatre on July 16. The irth of the stunt suddenly took hold and tension of the poll had a sextet of glamor's pollsters touring tie Broadway area, icy invaded the Shriners convention in idison Square Garden, queried audience 'i'mbers of "A Night in Venice" at Jones l^ach, and otherwise made the public aware < the question. A great stunt, a natural and | if not limited to the big cities. We're will11 to wager our last pair of polaroids that ' ry town that has a theatre has at least 1 i each of pretty blondes, brunettes and "heads. And a lot more moviegoers ready al eager to vouchsafe their opinions. The hard-hitting display blasting away from the Goldman Theatre front is pictured above as drawn up by the theatre's own staff. Manager John Plunkett (right) had turnaway crowds lured by the display and the ads plugging the same theme and art. Millions See 'Charge' L. A. Bow A pair of Warner picture premieres spread their impact wholesale. In the first "Buckskin Premiere" in Hollywood history, a TV audience of some two million, as well as thousands jam-packing the curbs, launched the Los Angeles opening of "The Charge at Feather River" at the Hollywood and Downtown Paramount theatres July 16. KECATV brought the unique event — including a petition by an Indian princess to let the Indians "win just one movie" — to the millions who had never seen a premiere before. Cameras also focussed on the huge tepee atop the Downtown Paramount marquee and on the cashiers and parking lot attendants in full-scale reds'in regalia. And in Knoxville, Tenn., the world debut of "So This Is Love" was primed for a statewide celebration in tin home area of the famous Tennessee Thursh, the late Grace Moure, portrayed by Kathryn Grayson in the film. Surrounding southern states — Ala bama, Georgia, Kentuckv and Mississippi — were due to participate in the festivities climaxed by the premiere at the Tennessee Theatre, July 29. MGM Sets Color 8xl0's M-G-M has taken, finally, the long step in stills servicing — color stills for color films. Beginning with "Latin Lovers," all Metro features in color will have a set of 8-10 color scene stills and will be sold by National Screen Service at — now hear this — regular scene prices. The new service will have a selection of 12 flats, packaged in glassine envelopes, and will be known as "A Sets." The "B Sets," in black <\r white, will be adpublicity photos plus production stills for special types of promotion. Metro admits that this is sort of an experiment and exhibitors accustomed to receiving the b & w stills mi their standing orders are invited to give their reaction to the new color stills, ostens( Continued on Page IS) FILM BULLETIN July 27, 1953 Page 17