Independent Exhibitors Film Bulletin (1962)

*W&at t&e SJtMumw rfie 'Doom! MERCHANDISING EXPLOITATION DEPAR TMENT / J Switches 'Outsider' Ad Campaign I To Give Curtis Starrer B.O. Lift The business of planning campaigns far in dvance of a picture's release may not be as azardous as trying to pick the winner of the rish sweepstakes, but in the eyes of the men /ho people the cinema promotion departments, t least, it runs a close second. Often working rom little more than a look at some rushes or broadly-outlined idea, the admen must fashion n approach that will attract the largest possible udience for the film, creating all the while with le knowledge that early boxoffice results may rove them wrong and necessitate quick changes 3 keep apace of public taste. Universal, operating as it does on the theory iat pre-selling is the most effective method of aving the way for a picture, must, of necessity, e ready at the first sign of a turnstile lag to witch gears and re-design an entire drive, quite ften completely transforming the original merhandising concept. In fact, on some attractions, be U advertising department maps out two seprate and distinct campaigns even before playates have been set. It is no trade secret that "The Outsider", the 'ony Curtis starrer for Universal, was not perorming very well in early engagements. Movng quickly to scrap the initial class-oriented, restige campaign, which was not selling tickets, J's promotion department switched to an action□1 hard-sell line, and according to Philip Gerrd, Eastern advertising-publicity director, "Our usiness on 'The Outsider' has improved trelendously with this new approach:" As Gerard points out: "It's not unusual to come up with a new campaign, however, it does not work too often. Our new approach on 'The Outsider', which we always had in mind, once we gave the picture its prestige launching through its Academy Award qualifying engagement in Los Angeles, and its New York TransLux-52nd Street opening, has responded magnificently. The new campaign highlights the action and the drama of (the picture), whereas in the early campaign it was more of a prestige approach, and was devoted singly to the human drama pinpointing Tony as Ira Hayes." From moving, but highly reserved copy like — "Forever etched across our proudest history is the record of Ira Hayes' glory! — and a Tony Curtis profile as the central piece of art, Universal moved over to a bolder, harder-hitting drive. The new selling lines read thusly: "From the Bottom of Hell to the Top of Iwo Jima!" "It Plants a Glory-flag Atop All Battle Stories!" "The Guts 'n' Greatness Story of the Flag-Raising, Hell-raising Heroes of Mt. Surabachi!" And the illustrative attack is similarly lively, explosive war action and battle scenes abounding to breathe life into the leatherneck legend of that historic incident. The new ads have become the basis of the supplementary pressbook, promptly made available so that most of the theatres across the country might benefit from the fresh campaign. Switching promotional horses in mid-stream is not very often successful, but sometimes it is necessary to rescue a picture that is bucking the boxoffice tide. That seems to be the case with "The Outsider." Left: original prestige ad. Right: new action approach. Kinsey-like Case Histories Key Provocative 'Chapman' Push If you had any doubts that Warner Bros, would hide its daring, suburban sex-oriented "The Chapman Report" behind a facade of pseudo-scientific promotion, dispel them immediately. The firm has decided upon a no-holdsbarred, straightforward campaign that will get the full impact of the Kinsey-like message across to potential adult audiences throughout the country. In fact, in one of the central promotional pieces of the drive, Warners' is displaying its defiance of an anti-sex trend among many levels of the general patronage, aiming, instead, to capitalize on the tremendous interest in the subject matter evinced by the 3,000,000 sales racked up by the Irving Wallace novel on which the film is based. The WB showmen are dispatching to exhibitors, newspaper and magazine editors and radio and TV stations all across the land a unique portfolio with an equally provocative label: "Case Histories from 'The Chapman Report,' a Sex Survey of American Women." Each kit contains four "case histories," of the leading lady characters designed to represent actual files from sex survey studies. Stamped on manila envelopes is copy like the following: "Sarah Garnell (Shelley Winters). Married. Mother of two. No experience before marriage. Unsatisfactory relations with husband. Love fantasies. Clandestine affair with young stage director. Plans to desert husband and children." On the top left-hand corner of the cover is an official-looking snapshot of Miss Winters, and inside, a far more exciting photograph of the star and Ray Danton in a revealing bedroom scene. Also tailored to arouse plenty of interest — and controversy — among opinion-shapers are the other cases. Naomi Shields (Claire Bloom) is listed as "Divorced. Artist. Abnormal episodes in adolescence. Play girl for jazz musicians. Alcoholic. Chronically promiscuous. Acute guilt and remorse. Suicidal." For Teresa Harnish (Glynis Johns): "Married. Husband — wealthy art dealer. Obsessive interest in sex and romantic technique. Elaborate marital love play. Feelings of physical inadequacy. Sensual curiosity about strange men. Experimental intimacy with football player." Warners all-out push for "The Chapman Report" figures to incorporate this clinical, upclose look at sex in the suburbs, via a series of bold ads and widespread publicity and exploitation geared to <he confidential personalfiles approach. The campaign may very well incur bluenose resentment in areas where censorship laws are being pushed. But the firm is counting on the public's interest in matters of man-woman to overcome the opposition. Film BULLETIN April 16 1962 Page 21