Independent Exhibitors Film Bulletin (1957)

Viewpoints FEBRUARY 4. 1957 * VOLUME 25. NO. 3 20th-Fox Rescue Team Twentieth Century-Fox' announced campaign to aid the smaller theatres and to reopen closed houses is an encouraging sign to the entire industry. Even if only to demonstrate that a major film company is aware of the important role the small town and sub-run theatres play in the distribution picture, the project announced by general sales manager Alex Harrison would be a welcome omen. In view of the callous disinterest in the fate of thousands of small theatres displayed by some of the film companies, it comes as a fresh breath of hope to little exhibition. Mr. Harrison spoke in constructive, albeit general, terms. The first move, he said, is a re-examination of every small town and subsequent run situation by the field sales force. This would be followed by local level sales-exhibition meetings to help solve individual problems and lend aid in generating public enthusiasm in moviegoing. With no intention to deprecate in any way the 20th-Fox drive, it should be noted that there have been several such gestures by other film companies in the past. Each was announced with trumpet blasts of great intentions, only to peter out in mute inaction. Having paid lipservice to their small-exhibitor customers, these distributors promptly disregarded the basic problems while theatres continued to succumb. On the basis of its past record of providing some of the most effective leadership in tackling and solving industry problems, however, 20thFox is likely to be the organization that will go beyond gestures and do something, if there is something that can be done. But whatever is planned to help the smaller theatres, it must take the form of a definitive program, specific in its purpose. And it must be backed by a determination to see it through. 20th Century's "rescue team" certainly should carry the fervent good wishes of the entire industry. The thousands of small theatres throughout the land are the way stations for millions of people in search of entertainment and relaxation. If these links no longer exist, countless potential moviegoers will seek other forms of diversion and, perhaps, forget the wonders of a visit to a movie. If 20th Century's mission is accomplished, the company will win its own reward, for a healthy theatre is a desirable customer. Let's Cut if AW*/ Bv One of the long, long pictures that have come out of late has been doing very well at the boxoffice. Another hasn't. The latter, as a matter of sad fact, has been laying an egg in direct epic proportion to its length. This pointedly gives evidence that extreme footage is not an evil per se. "Gone With the Wind" will remain a living testimonial to that. But what GWTW had, and what has made other big and long pictures boxoffice giants, are those qualities of entertainment — bearing no rela BULLETIN Film BULLETIN: Motion Picture Trade Pacer published every other Monday by Wax Publications, Inc. Mo Wax. Editor and Publisher. PUBLICATION-EDITORIAL OFFICES: 123? Vine Street, Philadelphia 7, Pa., LOcust 8-0950. 0951. Philip R. Ward. Associate Editor Leonard Coulter, New York Associate Editor; Duncan G. Steck, Business Manager; Marvin Schiller, Publication Manager; Rooert Heath, Circulation Manager. BUSINESS OFFICE: 522 Fifth Avenue, New York 36 N Y.. MUrray Hill 2-3631; Alf Dinhofer, Editorial Representative. Subscription Rates: ONE YEAR S3. 00 in the U. S.; Canada, S4.00; Europe, S5.00. TWO YEARS: S5.00 in the U. S.; Canada, $7.50; Europe, S9.00. tion to mere length — that provide constant emotional impact on the audience. When production opulence and length take precedence over the drama, however, much that was good in the picture is engulfed in the lavishness — and lost. This is inductive fact, proved time and again, over an era of epics. The poor showing of the royal egg-layer mentioned above has been considered by many theatremen a plain case of productionitis — an inflammation of the producer's ego. Having lavished such great prodigality on the production, he couldn't bear, it seemed, to chop off such portions of the footage that would bring the finished film into palatable proportions, even though it would result in a greater boxoffice return. A half to three quarters of an hour out of this film, exhibitors feel, could have meant millions at the boxoffice. Perhaps the next thought may be considered blasphemous by those who make movies, but, in view of the alleged objective of a commercial film to gain the greatest audience and make the most money — why couldn't each king-size film be submitted to a board of expert studio editors after the producer is done with it? Let them go to work with the scissors, unburdened by the anguish that must overcome the producer when he sees a minute of film representing thousands of dollars slide to the cutting room floor. Then let the full version and the edited, streamlined product be submitted to a group of test audiences. Their reaction would be a valuable guide in determining which will spell bigger boxoffice. It may not be the whole answer to bulky, overlong epics. But it could go a long way toward preserving that portion of the boxoffice that is lopped off because a thousand feet cf excess film was not. Film BULLETIN February 4, 1957 Page 3