Independent Exhibitors Film Bulletin (1963)

tewpotnts SEPTEMBER 16, 1963 # VOLUME 31. NO. IS VOLUME 31, NO. 19 fhv Luxury of Two Exhibitor Orcjuni&utions Just five years ago, in the Film BULLETIN issue of September 29, 1958, a statement was made on this page that "disunity is a luxury exhibition can't afford." Today, five years later, we are more convinced than ever of the feasibility, the utility, the profitability, and the inevitability of one national theatremen's organization. John H. Stembler, president of the Theatre Owners of America, made the point most effectively in his message to the recent convention of New England theatremen, representing the combined TOA and Allied units in that area. He called for the joining together of exhibitors on a national scale because it is necessary and could be productive for all exhibition. Mr. Stembler said: "The problems that face us are so vast, so potentially dangerous that they minimize and make relatively insignificant what ever differences have existed in the past. "Large chain or small individual theatre operator — all of us alike are hurt by the showing of recent pictures on television during prime moviegoing hours. All of us feel the pinch of the product shortage. All of us are harassed by the same kind of legislation. All of us are threatened by pay television. There are no favored few who will escape. The example of the united New England theatre owners will be followed, I am sure, some time in the future. For the sake of all of us, I trust it will be soon." What is the stumbling block that forestalls the establishment of one national exhibitor body? It is the fears of the smaller, individual "independents"— as they wish to regard themselves— that the more powerful theatre entities in such an organization would not assist in solving the mounting costof-film problem. These "independents" refuse to face the issue squarely. Film rentals cannot be dealt with as a national problem; it is a local issue, and must be met on a local level. How? By organization of buying groups within compact, competitive areas, or by product-splitting deals between directly competitive theatres. Film producers and distributors contend that they have the privilege of pricing their product as they see fit. This is so; there are no laws in the land that deny them this right. The individual exhibitor can cope with the power of the seller only by utilizing what ever defenses are available to him, and the soundest defense has been the kind of local level collaboration mentioned above. Why, then, the need for a single national exhibition unit? Mr. Stembler has recited the many crucial issues faced by theatremen, to which a common defense might bring some solutions. On the more positive side, cooperation also could be highly productive for all exhibitors through the launching of such long-overdue projects as the national business-building campaign and the stimulation of more movie production. It is shortsighted and foolhearty to deny that unity in the ranks of exhibition would enhance the image of that BULLETIN Film BULLETIN: Motion Picture Trade Paper published every other Monday by Wax Publications, Inc. Mo Wax. Editor and Publisher. PUBLICATION-EDITORIAL OFFICES: 1239 Vine Street, Philadelphia 7, Pa., LOcust 8-09S0. 0951. Philip R. Ward, Associate Editor; Leonard Coulter, New York Associate Editor; Helen Perrone, Publication Manager; Norman Klinger, Business Manager; Robert Heath, Circulation Manager. BUSINESS OFFICE 550 Fifth Avenue, New York, 36, N. Y., Circle 5-0124; John Ano, N. Y. Editorial Representative. Subscription Rates: ONE YEAR, $3.00 in the U. 5,: $500 $4.00; Europe, $5.00. TWO YEARS, $5.00 in the U. S.; Canada, Europe, $9.00 vital branch of the industry in the eyes of government and in the estimation of the film companies. Standing as an aggregation of factions with seemingly divided interests and varying aims, the exhibition body lacks the stature and respect to which it is entitled. In other industries, far less affluent, groups of merchants merge their common interests in organizations that speak with a strong voice for the benefit of all. Even countries of different ethnic stripe and long-standing boundary conflicts are learning to combine their individual sovereignties in a United Nations. Efforts are being made to repair the ageold schism in Christianity. Throughout the world men are coming to realize that the phrase, in unity there is strength, is much more than a cliche. Is it too much to expect those engaged in a common industrial enterprise to put aside suspicions and dayby-day competitive differences, and look, rather, to their broad common interests? These are parlous times for many exhibitors who are having difficulty going it alone. Their troubles will not be erased by any magical formula, but their chances for survival might very well be enhanced in a community of mutual interests. The cures for the problems of theatre business can only be evolved through clear thinking and hard labor. Signs of gradual recovery are appearing, and the process can be speeded immeasurably if all the available brainpower and manpower in the whole exhibition field work together toward certain basic goals. Two separate national theatre organizations is a luxury we cannot afford today any more than we could five years ago. The leaders of TOA and Allied should get down to the serious business of finding their common ground and settling on it. Film BULLETIN September 14, 1963 Page 5