Independent Exhibitors Film Bulletin (1955)

Oh Ike Ait (Continued from Page 5) sure should gladden exhibitor hearts everywhere, for it brings back into harness one of the truly premier film makers of the industry, and concurrently establishes fast-learning Tom O'Neil as a man who knows what he's about. If any doubts existed before regarding Mr. O'Neil's films-for-theatre plans, they may now be put thoroughly to rout. As repeatedly predicted by Film BULLETIN, the new RKO management is discoverin? that theatres, not television, is the biggest, surest market for motion pictures. One more development in support of this thinking stems from reports placing Mr. O'Neil in Akron recently, home of the parent company General Tire & Rubber, in order to take back a bankroll of $15 to $20 million to start production humming at RKO studios. By utilizing his immense broadcasting and TV facilities to support his theatre production through publicity and exploitation, Mr. O'Neil has a powerful combination, and one that should help both exhibitors and RKO ring up some heavy coin. Congratulations to Mr. O'Neil for canny foresight in securing David O. Selznick, and good luck to Mr. Selznick, from whom theatremen and the public have come to expect nothing but the best. Ms A New Revolution Brewing ? Changes in motion picture technology are again brewing, a scant two years after the upheaval in projection and sound that stirred the industry into a prosperously new era. We are poised on the threshold of fresh advances as the eagerly awaited Todd-AO 70mm. version of "Oklahoma" is being readied for roadshow release October 13, and 20th Century-Fox's new 55mm. film was unveiled with scenes from "Carousel." Reports from Hollywood on both processes were glowing. The "Oklahoma" rough print screening brought enthusiastic response from spectators. Darryl F. Zanuck emerged from the first rushes of 55mm. "Carousel" with these words: "As revolutionary in definition and audience participation as the original CinemaScope" — and backed his words with an order for 25 more 55mm. cameras. If exhibitors are inclined to quail at the prospect of more outlays for installations of projectors and screens, let them pause and compare the public's attitude toward movies today with that of the lacklustre days of '52. Quick interest has replaced the dull apathy of the prebig screen days. The public has perked up because the movies has proved that it is again a living, growing thing, sprouting new branches fruitful with entertainment. The motion picture is a unique combination of art and technology. In this unusual field, the art alone is not enough. It must be augmented by the ultimate in technological presentation. Therefore, everything that enhances " the presentation of the medium should be encouraged, not feared. The bitter competitive battle going on today for the public's attention and dollars brooks no lapse into stagnation or a "good enough" attitude. The dynamics of this industry point only to a forward direction in its every facet. If we do not remain dynamic, we die. Just as Cinerama, CinemaScope, the big screen, and even the shortlived 3D, shot a new vitality into the motion picture industry, so will every progressive technological development redound to its benefit in the future. Stifling this growth in the name of standardization or economy can only mean regression. Encouraging it points the way to continued and improving prosperity. 'Plug for 'Hunter' NBC radio's "Biographies in Sound" (Tuesdays, 9-10 P.M.) remains, perhaps, the most consistently fine program that the sightless medium offers. And its standards weren't lowered last week when it presented an hour tribute to Charles Laughton, consisting mainly of some of that actor's inimitable readings. Of chief interest on the program was a forty-five minute reading of a commentary on the forthcoming Laughton-Gregory-UA production "The Night of the Hunter." It was indeed a treat (set against the Walter Schuman score from the film's soundtrack) and served as an excellent plug for the film. The reading, of course, failed to indicate just how good the picture is, because everything that is described visually in the film had to be put into words, and the translation was, of necessity, inadequate. But there can be no doubt that many in the listening audience will be inspired to see the film. The program could only have been of service from UA's point of view. Up against the problem of trying to sell an off-beat film of more subtlety than mass audiences usually go for, UA must employ a special kind of exploitation. And while the "Biographies" program obviously wasn't geared precisely to this end, it had the same effect. It was good radio and a good plug. "Night of the Hunter" will also get some TV treatment this week via a major Ed Sullivan show spot. Shelley Winters and Lillian Gish, stars of the film, will be on hand to act a live scene from it, and, probably, a great many more movie patrons will be picked up along the way. * * * 'Intrigue' Campaign United Artists is also in the news with an interesting TV campaign being prepared for the now-in-production "Foreign Intrigue", — based on the television series of the same name, which has the advantage of being filmed entirely in Europe. In addition to eleven TV trailers, there will be a 30-minute featurette designed for both TV and theatre presentation. It will be interesting to see the effect that the TV property has on the film when it appears. As TV, "Foreign Intrigue" has been a better-than-average entry in the adventure line. Considering the success of Jack Webb's films, the idea of bringing top TV people into the theatre-movie field is a good one. ^ — Dick Bretsteirij Film BULLETIN September 5, l?55 Page 17