Independent Exhibitors Film Bulletin (1963)

u JUNE 24, 1963 lewpoints 1963 M VOLUME 31, NO. 13 The Impact af 'Cleopatra,9 an Film Making Is it too early to assess the impact of "Cleopatra" upon the standards of filmmaking? Unlike the cost accountants, who must wait until the receipts are well in hand, the policy-making executives and creative-minded people of the film industry seem to have made up their minds. They are not waiting for boxoffice figures. This is perhaps the most significant aspect of the reaction to "Cleopatra." Rarely has there been so much quiet unanimity apparent among the strongminded men who make movies. Whether "Cleopatra" turns out to be the greatest money-maker of all time or not, the general feeling seems to be that this unique film represents the climax of one production era and the beginning of another. They regard "Cleopatra" as a once-in-a-lifetime proposition. They are shocked by the toll this picture has taken — not the toll in dollars, but rather in the dislocation of a once sound organization. They are inclined to think that when the very existence of a vast, multi-million dollar corporate structure with enormous potential is imperiled by one project, things have gone too far. They believe a reappraisal of movie-making methods is in order. The reasoning behind this point of view is very hard-headed. If a picture which cost $38,000,000 or more ends up depending on the public interest in the romance of its two stars, rather than on its merits as a film, this is hardly justification for the whole undertaking. If "Cleopatra" makes a barrel of money, it will still do so the hard way. The question being asked is whether, even with a fancy profit, any picture is worth all this. And the softest answer to be heard is, "Maybe this one, but never again." This is not just a conclusion drawn from what the industry grapevine is saying. It is reflected in the announced plans and indicated budgets for the upcoming productions of the major companies and the leading independents. The era of the well-spent production dollar appears to be returning, and this, we say, is healthy for the business. What will be the impact of the "Cleopatra" experience on future planning? We do not agree with those who are jumping to the conclusion that "Cleopatra" is the spectacle to end all spectacles. There will be others, but they will be sensibly budgeted and they will be in the hands of efficient moviemakers like Spiegel and Bronston, who plan carefully in advance and hold a tight rein on their operations. But elsewhere we do find a growing conviction that it is becoming increasingly difficult to make blockbusters at the "right" price and to sell pictures on the strength of sheer size. With our most lavish Cadillac now on display, more film men are taking note that there is a vast market for the compacts still to be plumbed. This burgeoning sentiment, frequently expressed by theatre people but now being echoed in distribution circles, is that the best protection for the individual studios and for the industry at large lies in production in depth. Instead of putting ten million dollars into one production, wouldn't it be wiser to put that same amount into five films? This, of course, is not a new idea. It has been suggested more than once in these pages. And anyone who has his ear to the feeling of theatremen knows that the high cost blockbuster has not been the solution to exhibition's problems. Theatres must have more product BULLETIN Film BULLETIN: Motion Picture Trad* Papar published *v*ry other Monday by Wax Publications, Inc. Mo Wax, Editor and Publisher. PUBLICATION-EDITORIAL OFFICES: 123? Vine Street, Philadelphia 7, Pa., LOcutt 8-0950, 0951. Philip R. Ward, Associate Editor; Leonard Coulter, New York Associate Editor; Berne Schneyer, Publication Manager; Max Garellck, Business Manager Robert Heath, Circulation Manager. BUSINESS OFFICE: 550 Fifth Avenue, New York 34, N. T„ Circle 5-0124; Ernest Shapiro. N.Y. Editorial Representative. Subscription Rates: ONE YEAR, S3. 00 In the U. S.J Canada, $4.00; Europe, $5.00. TWO YEARS. $5.00 In the U. S.; Canada, Europe, $9.00. if they are to continue operating on a year-round basis. A "Cleopatra", aside from its stimulation of public interest in movies in a general way, offers no comfort to the exhibitor who is looking for next week's booking. And, has the blockbuster brought lasting prosperity to any film company? "The Ten Commandments" held Paramount in the black for two or three years, but without a DeMille to follow it up, Paramount slipped down and down, and finally went into the red last year. Less spectacular and more providently produced pictures will lift it back into the black this year. MetroGoldwyn-Mayer's "Ben-Hur" restored the fortunes of that company, but only temporarily. The over-expenditure on films like "Mutiny on the Bounty" and "The Four Horsemen of the Apocalyse" brought it fresh troubles, which president Robert H. O'Brien is now laboring to clear away. The most vital lesson to be drawn from 20th Century-Fox's ordeal is that pre-production planning is the key to a successful operation. With potential ticket buyers now one-half the size of the pre-TV audience, there is no room for the production profligacy that was once rampant and is still evident in some cases. The creative talents must be oriented away from "hang the expense" psychology, and this can be accomplished only by a display of a businesslike attitude on the management level. There is a call for budgetary sanity, astute blueprinting and a firm hand in the New York offices. We can no longer afford to produce pictures on the assumption that the exhibition market is a bottomless well; it has its limitations, although it can still provide plenty of profit indeed for the properly budgeted, smartly made, shrewdly exploited film. "Cleopatra" will win its share of awards, which it richly deserves, and is likely to make lots of money, ultimately, for 20th Century-Fox and for exhibitors. But it would not be surprising if this biggest blockbuster of them all will be remembered longest for another reason: it made the movie industry sit down and think. Film BULLETIN June 24, 1 963 Page 7