Independent Exhibitors Film Bulletin (1959)

Viewpoints AUGUST 3, 1959 * VOLUME 27, NO. 16 l#o#*#> I*nniuv1 !#«>## # is Survival — «/©c* Exhihitvr Mr. Mo Wax, Publisher Film BULLETIN Dear Sir: Several items that have appeared in the press recently prompt me to express some thoughts, which I hope you will find cogent, on the increasingly critical product shortage that plagues a large number of theatremen. If you feel my remarks are of interest to your readers and will be useful to the industry at large, feel free to use all or any part of this letter in your fine magazine. The items I have reference to are (1) the article that appeared in the Wall Street Journal of July 29, reporting that movie business is on the rise this summer; (2) the remarks by producer Jerry Wald about the effect on production of the star shortage; (3) the editorial, "Who's Really on the Spot?" in Film BULLETIN of July 20. In each instance reference was made to the product shortage. I would like to recapitulate and give you my views on that vital subject — one that supercedes everything else, I believe, for maybe 10,000 theatres in this country. The Wall Street Journal article reported, via TOA, that there are going to be fewer pictures produced next year than in either 1958 or '59, and quoted three well-known exhibitors who disagreed with the theory that fewer pictures will make us a more prosperous industry. Milton London of Detroit said that the reduction in production has cut down drastically the number of potential customers per week for neighborhood theatres. Walter Reade made the good point that a bigger volume of pictures is bound to result in more hits. And Trueman Rembusch of Indiana cites "Shaggy Dog" as an example of a non-blockbuster picture that broke many house records. In contrast to the appeals from these theatremen, the Journal reported what we all know: "A number of movie makers are pulling in larger grosses this year over 1958 even though they are turning out fewer movies." No sensible exhibitor squawks about the film companies making money; we know that if they stopped showing profits our sources of supply would really vanish. But there are cases of distributors milking the (exhibition) market dry, and that isn't sensible on their part. One major company, in particular, has been guilty in the past year of the most flagrant and highhanded selling policies I've ever witnessed in my thirty-five years in this business. Playing the product shortage to the hilt, this outfit rarely offers any of its films for under 40 percent, and anything that is worthwhile can't be bought for under 50 percent. They recently picked up a cheap Japanese science fiction picture and had the gall to demand 40 percent for it in many situations. Whether it is meant to or not, that kind of distribution can only result in the destruction of a large part of the subsequent run theatre market. One of the worst aspects of the idea of cutting down production with the thought of making only "bestsellers" is that our talent is getting scarcer and older and tougher to handle BULLETIN Film BULLETIN: Molion Picture Trade Paper published every other Monday by Wax Publications, Inc. Mo Wax. Editor and Publisher. PUBLICATIONEDITORIAL OFFICES: 1239 Vine Sfreet, Philadelphia 7, Pa., LOcust 8-0950, 0951. Philip R. Ward. Associate Editor: Leonard Coulter, New York Associate Editor; Berne Schneyer, Publication Manager; Max Garelick, Business Manager' Robert Heath. Circulation Manager. BUSINESS OFFICE: 550 Fifth Avenue, New York 34, N. Y., Circle 5-0124; David Martin, N. Y. Editorial Representative. Subscription Rates: ONE YEAR, $3 00 in the U. S.; Canada, $4 00; Europe, $5.00. TWO YEARS: $5.00 in the U. S.J Canada, Europe, $9.00. with each passing year. For the most part, the producers act like they are too tired, too old or too scared to cope with this situation. They are in the grip of a monopoly of talent — and I'm referring specifically to stars. The fact that we get our share of flops with the big names in them doesn't seem to impress most of the producers; they still sit and wait for the precious few and aging stars to become available. It's refreshing to read what Jerry Wald had to say recently. I haven't the paper before me, but, as I recall it, he said that he refuses to wait for particular stars when he has a film to make. He finds the best people for the roles and goes ahead with his production, because he is in the business of making films for a waiting market. Look over the most successful pictures of the last few seasons and you will find that they had good stories or some outstanding promotion angle. The pictures that were supposed to be "big" just because they had big stars in them were disappointments. Now, just a few words on the editorial in your July 20 issue. You said the film companies cannot be expected to turn out more pictures just to maintain the small exhibitor in business. I agree. My only contention is that they owe it to themselves and their stockholders to produce more pictures, that in the long run the film companies will survive only by keeping thousands of theatres in operation. The economics of this business makes it feasible and practical and essential that each reel of film play the maximum number of engagements it can withstand before it is scratched or dried up. Anything less is dissipation of the original investment that went into the production. Yours sincerely, JOI EXHIBITOR film BULLETIN August 3, 1959 Page 7