The Independent Film Journal (1954)

Editor: MORTON SUNSHINE FILM JOURNAL DEVOTED TO THE EEST INTERESTS OF THE MOTION PICTURE INDUSTRY The average theatre owner has always been aware bf special problems that arise with some companies some time or another. He has been willing to under¬ stand and recognize these special conditions. But he does have a right to feel resentment when virtually all the companies producing top features are unable to serve his situation on availability because of an un¬ availability of prints. The patience of these exhibitors is being sorely tried since they are struggling to stay in business. Understanding and cooperation go out the window when you are the scapegoat of a situation, be it innocent or by design. The print shortage is nationwide. Many national release theatres are not being served on availability land do not get a picture at its publicity peak. There |can be no doubt that the value of a film is depleted in Ithis manner. For instance, scores of summer resort theatres are presently unable to take full advantage of their runs. Usually, whatever prints are available are given to bigger theatres on a priority, thereby creating new clearances based on shortage of prints. The pos¬ sibility of clearance by equipment, to which we re¬ ferred some months ago, was not quite as serious. It is more than likely that some exhibitor will soon seek injunctive relief to prevent continuation of this practise. It is hard to understand how a film company can set up its first run and kick off with a picture and then suddenly discover an insufficient number of prints to I serve many of the following key runs. Invariably, the local exchange is in the dark and its sales personnel is precluded from intelligent explanation. They are just as confused as the exhibitor who clamors for the print. This is a problem that requires the earnest individ¬ ual attention of each sales manager. They should make separate surveys to ascertain exactly how much of what they are trying to build up is being torn down by the print shortage. With the tremendous waste in juggling prints from one exchange to another as a result of holdovers and curtailed allotments, many distribution executives will find that it would be much more advantageous to make up an additional number of prints to begin with. If this is a period which requires changes in the number of prints by virtue of variable sound tracks, distributors should still be more liberal if only to main¬ tain exhibitor good will and not give that extra push toward litigation. There can be no profit to distribution in a print shortage. The situation is crucial and something must be done about it. A Man Named Murphy George Murphy, that is. We have seen him in ac¬ tion in the field and want to report that here is a good-will ambassador worth his weight in uranium to the motion picture industry. Here is a man equally at home with John Q. Public or the President; a man who knows and commands the respect of every Governor, Democrat or Republican; a man who knows the industry story and tells it in a manner few others can ; a man who can prevent indus¬ try fires before they ignite. The entire industry owes a debt of gratitude to Nicholas M. Schenck and M-G-M, which pays Murphy’s salary, but public-relations-wise, his is an all-industry job. COMPO can make extraordinary use of such a man. THE INDEPENDENT FILM JOURNAL. Published every other week on Saturday by ITOA Independent, Inc. Editorial Offices: 1515 Broadway, New Yosk 36, N. Y. Telephone Circle 6-6460. Editor, Morton Sunshine; Business Manager, Herman Schleier; Associate Editor, Aaron Sloan; Circulation Manager, Charlotte Gross. Coast Bureau: Richard Bernstein, 4225'/2 Lockwood Ave., Hollywood 29, Calif., Normandie 2-6494. Chicago Bureau: R. L. Farnsworth, 307 N. Michigan Ave., Financial 6-2786. Washington, D. C. Bureau: A1 Goldsmith, 1365 National Press Bldg., Metropolitan 8-0001.