Harrison's Reports (1949)

IN TWO SECTIONS— SECTION ONE Entered as second-class matter January 4, 1921, at the post office at New York, New York, under the act of March 3, 1879. Harrison's Reports Yearly Subscription Rates: 1270 AVENUE OF THE AMERICAS Published Weekly by United States $15.00 (Formerly Sixth Avenue) Harrison s Reports, Inc., U. S. Insular Possessions. 16.50 N v , „ M v Publisher Canada 16.50 Wew 1 ork zu' " P. S. HARRISON, Editor Mexico, Cuba, Spain 16.50 A Motion Picture Reviewing Service Great Britain 17.50 Devoted Chiefly to the Interests of the Exhibitors Established July 1 1919 Australia, New Zealand, India, Europe, Asia .... 17.60 Jtg Editoria, Poiicy: No Problem Too Big for Its Editorial Circle 7-4622 35c a Copy Columns, if It is to Benefit the Exhibitor. A REVIEWING SERVICE FREE FROM THE INFLUENCE OF FILM ADVERTISING Vol. XXXI SATURDAY, FEBRUARY 19, 1949 No. 8 THE PROBLEM OF REISSUES In talking to the trade press in Hollywood recently, Steve Broidy, president of Monogram and Allied Artists, criticized the practice of reissuing pictures as being one that will eventually prove harmful to the industry. Mr. Broidy did not criticise the exhibitors for playing the reissues, pointing out that an exhibitor, rather than play a new picture that will draw nobody, prefers to play a reissue of an old success, feeling sure that the returns will be satisfactory. Mr. Broidy blames the distributors for forcing these pictures on the exhibitors, stating that, although they are making profits from the practice, it is not progress. He pointed out also that when old pictures are not clearly advertised as reissues they mislead and antagonize movie patrons. Mr. Broidy 's argument is just what Harrison's Reports has been saying right along : the majority of the picture-goers do not remember whether they had seen an old picture or not, and they often go into the theatre without even examining the advertising in the lobby. You may imagine, then, their chagrin when they discover that they had seen the picture. And in the event the reissue is shown under a new title, with the old title listed in such fine print as to go unnoticed, the disappointed patron's chagrin knows no bounds. Most movie-goers, after discovering that they had already seen a picture, feel too proud to go to the theatre manager and demand their money back, with the result that they are left resentful against, not only the theatre, but also the entire industry. He then asks his friends: "What is the matter with the picture business? Don't they know how to make good pictures any more?" Before playing a reissue, the exhibitor, for his own good, should ask himself: (1) Is the picture a firstclass entertainment? (2) Is it so outstanding that no patron will fail to recognize it as an old picture? (3) If the title has been changed, is the old title displayed in the new posters and other advertisements large enough to be noticed without the aid of a magnifying glass? (4) Have I played too many reissues, leading my patrons to believe that I am reluctant to buy the latest product? (?) Have I made it clear, in all advertising matter that the picture is either a reissue or a repeat engagement? The answer to the first question is that, if the exhibitor should play a reissue, not because it is a fine entertainment, but because one or more of the stars will draw business owing to a front-page scandal, he will pay dearly in the end. The answers to the other questions are self-evident. It is far better for an exhibitor to play new pictures with no stars but good entertainment values, thus maintaining the reputation of his theatre, even if it means less profit, than to cash in on an old picture that will net him a good profit but will injure his theatre's reputation. After all, the exhibitor must have in mind at all times the interests of his patrons. Keeping customers contented is how successful businesses are built. A RETURN TO OLDTIME SHOWMANSHIP Charles Einfeld, 20th Century-Fox's new head of publicity, advertising and exploitation, and his alert staff of publicists, deserve to take a bow for a job well done in connection with their spectacular promotion this week of the three-theatre world premiere of "Down to the Sea in Ships," held in New Bedford, Mass., the historic whaling port. Lack of space prevents this writer from giving a detailed account of the colorful premiere, which no doubt was one of the biggest events ever to be held in the New England territory. Suffice it to say that many thousands of people turned out to greet Richard Widmark and Cesar Romero, who headed a contingent of some fifty representatives of newspapers, magazines, news service syndicates and national radio networks, attending the gala festivities. If one is to judge by the extensive newspaper and radio coverage given the event, it was no less than a tremendous success, and the benefits of the vast nationwide publicity should accrue equally to the exhibitors and the film company. Mr. Einfeld, who is an old hand at the business of rousing public interest in a picture, laid out an effective campaign that produced results, but he is not resting on his laurels: On Washington's Birthday, when the picture opens at the Roxy Theatre in New York City, a huge whale will be used to commemorate the opening. The whale will wind its way up and down Broadway, actually spouting water in a towering stream. Later it will be taken to Philadelphia, with stops at many New Jersey towns. The events 20th Century-Fox has staged and will stage to ballyhoo "Down to the Sea in Ships" marks a return of oldtime showmanship, the sort that creates a strong desire among the public to see the show. The industry could use more of it. But what is most important is that the picture be worthwhile exploiting, for if it isn't the public will soon lose faith in exploitation campaigns to the detriment of the industry as a whole. Fortunately, 20th Century-Fox has something to shout about in "Down to the Sea in Ships" — it is a great sea drama.