Independent Exhibitors Film Bulletin (1956)

WHY THE CIRCUS FAILED. Everyone in every phase of showbusiness has been talking about the demise of the seemingly indestructible Ringling Brothers Circus. And everybody has his own version of what brought on the collapse of "The Greatest Show on Earth", with TV generally being regarded as the chief culprit. But John Kelley has a unique opinion. Mr. Kelley was counsel for the Ringling Brothers and trial lawyer for other circuses for some 30 vears. He is presently putting down his views in a book on the rise and fall of the Big Top, and it should make fascinating reading for leaders of the motion picture industry. What killed the circus? "It wasn't radio, television or anything of the sort," says Kelley. "The circus men spent more time trying to destroy each other than they did trying to preserve the circus. They lived a life of opposition." The movie business, which knows a thing or two about intra-industry strife, would do well to heed this. Once the circus men did agree to agree. Kelley says that in 1910, eighteen of the leading showmen held a peace meeting. "One of the principal objects was to agree not to cover each others posters. They weren't on the road three weeks when the agreement was broken — by all of them. The big ones were the first to violate the agreement," Kelley says. Now hear this: "The circuses should have organized like the theatre men did in their early days. All industries that progress have organized. As they organize, they effect economic advancement. The circus never organized and they spent 20 million dollars fighting each other." Twenty million dollars, Mr. Kelley? Why that's a mere pittance ! STAR'S OUTCRY. Judy Garland, fresh on the heels of a triumphant engagement at a Las Vegas night club, issued a sharp outcry against the sale of her films to television. She raised her voice in protest, joining Clark Gable, who is also reported to be "mad" over M-G-M's deal with TV. Said Judy to a columnist: "Seven of my pictures were listed in the ones that will be released on TV. I could be on the home screens every night, competing with myself in theatres. That doesn't seem fair to actors. It seems to me they ought to get together and do something about it. But of course they won't; they never have been able to stick together." Judy's pain at the prospect is accentuated by the fact that she is planning a new independent film for theatres with her producer-husband, Sid Luft. PRESSURE AGAINST MOVIE ADS. "The Pilot," official newspaper of the Catholic archdiocese of Boston, recently called on the movie industry to enforce its advertising code regulations "so that the highly offensive elements are removed at once". The church organ lashed out at what it called "the simple dishonesty of exploiting a tiny incident in a film through lurid advertising". The total What Jhey'te hiking About □ □ □ In the Movie Business □ □ □ effect of drawings and text, "The Pilot" said, "is a complete misrepresentation of the film, or at very best the exploitation of some incident in it for its own sinister effect". What excited the paper's ire were the ads appearing in Boston newspapers on United Artists' "A Kiss Before Dying". The campaign on this melodrama features illustrations and copy dealing with pregnancy and murder, both vital, frankly presented elements in the story. "The Pilot" editorial writer, apparently not having seen the film, incorrectly argues that the ads misrepresent the picture, closes with this harsh comment: "At the present time, the industry, not notably in good health since tv has become popular, is committing suicide in its advertising program. The usual presumption, when people attempt self-destruction, is mental unbalance. Is that the case here?" Well, some people are certainly going to say that better balance in editorial writing would serve the readers of "The Pilot" well. 0 GROSSES. The current Big Four— "King and I", "Moby Dick", "Trapeze", "Eddy Duchin Story" — continue to roll along and provide encouragement to the trade everywhere. Meanwhile, M-G-M has had two surprises: first, disappointing returns in test engagements of "Somebody Up There Likes Me", and, second, surprisingly good grosses on "The Fastest Gun Alive". Impression is held in some quarters that when the Rocky Graziano angle is dropped from the promotion campaign on "SUTLM" it will start to do the business it warrants. "Away All Boats" is rolling along at a rather good clip. "The Catered Affair" and "The Proud and the Profane" are limping. Despite a cool press, "Johnny Concho" figures to do well on the strength of the redoubtable Sinatra name. 0 BIG PAYCHECK. The length to which studios must go now to insure the presence of name stars in their pictures is illustrated by the recent I-promise-to-pay-you-$2 million deal between 20th-Fox and John Wayne. For only three films, the star will get the $2 million, plus additional money and a percentage from a fourth. Though there are very few stars who can command this healthy take, it's indicative of the present status of the studios in relation to the talent problem. The limited number of stars available rule the roost and make whatever demands they can conjure up — with studios struggling to grab them at any price. What is the answer? Only the substitution of story values or "gimmicks". f»q* I Flllll tULLETIN July 23 1 9SA