Harrison's Reports (1951)

64 HARRISON’S REPORTS April 21, 1951 price charged by all the theatres in a particular block. From past experience on top allocation pictures the distributor would next determine what percentage of the total gross was represented by his film rental. This percentage would then become a flat per admission charge for all theatres within a block. For example, if the average return was 33% and the average admission charge was 36 cents the flat charge per customer for all theatres within the block would be “Now in the immediate future after such a plan was initiated, we can assume that the distributor would maintain his present revenue on a picture. Some theatres would profit more and some less. The real advantages would come as time oroeressed. Here is how in some hypothetical cases. “1. Exhibitor A normally grosses $600 on our picture in question. He has poor light and sound, inadequate air con' ditioning and uncomfortable seats. Most people come to his theatre because they really want to see this picture very much. He charges 30 cents admission which means that the distributor, at 12 cents, gets 40%. Because the picture in his particular theatre is relatively a bigger reason why people attend at all, the distributor is probably entitled to a higher percentaghibitor gg reinvests a g00d share of his profits back in the theatre. He has the best light and sound, up to date air conditioning, comfortable seats and luxunous surround^ ings. Because he offers so much more than Exhibitor A he can ask and get a 40 cent admission. At 12 cents per admission cost the percentage is 30%. Because the physical facilities he offers are more important in bringing people to the theatre than in the case of Exhibitor A, he is entitled to receive the film for a somewhat lower percentage. “3. Back to Exhibitor A. He has realized that by improving his theatre he could increase the number of his customers. Under the present plan of selling he has hesitated to do so because he must amortize his expense with a smaller per customer profit than he is now getting— not only on the additional customers but on the old customers as well How, ever, under our plan if he increased the number of his cus tomers by 500 and was able to increase his admission price to 35 cents he would not only pay off his investment wit more business but also with a greater profit per customer on the old as well as the new. His share of receipts on a picture climbs from $360 to $575. With this prospect a great many exhibitors who would not otherwise do so will be impelled not only to modernize but also to give greater selling effort to a picture in every way. A “4 Although the distributor s return from Exhibitor A has now declined from 40% to 34% of the gross, his dollar and cent return has increased 25%. “These things are true unless you beheve that all the potentialities of a picture are now being exhausted and that there are no new patrons who can be sold. The plan has many other advantages such as encouraging a raise in admission prices to more nearly what a movie is worth, providing an answer for some clearance and availability problems, etc. Of course, it would have to be approached honestly by the distributor and not with purpose of gimmicking it up to take more of the increased business than that to which they are entitled.” _ . , Ever since the decline at the box-office started several years ago, the distributors have been urging the exhibitors to assume a more aggressive attitude in their exploitation of pictures to the public. The fact remains, however, that these pleadings for greater showmanship efforts will continue to fall on many deaf ears until the distributors provide the exhibitor with the proper incentive — an opportunity to earn a fair share of the extra profits that may result from his willingness to invest his time and money to get more dollars into the box-office. The ATOI’s proposed selling plan is indeed a novel one, and there is considerable merit in the reasoning behind it. Whether it would work out as well in practice as in theory cannot be foretold, but it does seem to be worthy of a trial to test its feasibility. What distribution company will be farsighted enough to put it to the test? A DESERVING HUMANITARIAN CAMPAIGN During the month of May, the United Cerebral Palsy Associations will conduct its second nation-wide campaign for funds to combat the human misery caused to sufferers of cerebral palsy, and to endow facilities fos the care, treatment and rehabilitation of those who have been laid low by this crippling malady. The major contribution that the motion picture industry is being asked to make is the distribution and exhibition of the campaign trailer, a three-minute Technicolor short titled “The House On Any Street,” which was made at the Paramount studio with a cast of young Paramount players and child cerebral palsy patients from the Orthopedic Hospital in Los Angeles, where the youngsters are receiving treatment. Cecil B. de Mille is the narrator. Of the many worthwhile campaigns that the exhibitors are asked to support, the Cerebral Palsy drive is second to none in the important role it plays for the relief of human suffering. As was the case in last year's campaign, the appeal for funds is not unduly emphasized in the film, and the matter of audience collections is left to the exhibitor's discretion. The important thing is that the campaign trailer be exhibited on the widest possible scale so that the public will be made fully aware of the great work that is being done by the UCPA, and of the need for its support. “Cavalry Scout” with Rod Cameron and Audrey Long ( Monogram , May 13; time, 78 min.) A pretty good melodrama of the old Indian days, photographed by the Cinecolor process. As anticipated in a picture of this type, the action is fast and exciting, and the life of the hero is put in jeopardy frequently. This naturally causes the spectator to be held in pretty tense suspense. The color photography enhances the outdoor backgrounds, and it ought to help please those who will see the picture. The action takes place on the Montana frontier in 1876: — Rod Cameron, an army civilian scout, is assigned to trace two Gatling guns stolen from an arsenal. His clues lead him to Red Bluff, where he meets Cliff Clark, a colonel; Jim Davis, a lieutenant; Audrey Long, a saloon, hotel and store proprietess, whom Davis loved; and James Millican, who traded illegally with two Indian chiefs. Cameron suspects the shipments made over Millican’s freight lines, and Millie can, sensing his suspicions, orders a henchman to kill him. The henchman fails and loses his life in the attempt. Millican still tries to smuggle the Gatling guns to the Indians, concealing them among legitimate merchandise. When the guns are discovered in one of the wagons by three soldiers, they are murdered before they can arrest the smugglers. Fleeing Red Bluff, Millican forces Audrey to accompany him as a hostage. Cameron learns that Audrey has been taken as hostage, and he, accompanied by Clark and Davis, pursues Millican and finds him at the Indian camp. Open warfare breaks out and Cameron and Millican meet in combat after Clark and Davis are killed. Cameron wins the fight and orders Millican held for subsequent punishment. He then orders the destruction of the Gatling guns lest they fall in the hands of the Indians and cause the death of many soldiers. Explaining to the Indians that the white men did not intend to kill them but to bring about peace so that the frontier country may be built up to the benefit of both whites and Indians, Cameron succeeds in inducing the Indian chiefs to agree to a peace treaty. Audrey and he, now in love, decide to face the future together. Walter Mirisch produced it, and Lesley Selander directed it, from a story and screenplay by Dan Ullman. Suitable for the family.