The Independent Film Journal (1954)

Restraints Of Trade ( Continued from cover page) tion deal arranged between Trans-Lux Theatres and Renown Pictures which was announced this week. The attempts by some of the smaller film companies to raise their sights and make and distribute increasingly im¬ portant pictures must likewise be supported. Then too, it is no secret that former affiliated thea¬ tre circuits are giving serious consideration to plans calling for financial assistance to independent pro¬ ducers and are even mulling direct entry into produc¬ tion to alleviate the situation. These exhibitors, still bound by the consent decrees in the industry anti-trust suit, will not be permitted to engage in these activities unless they secure the approval of the Statutory Court and the position of the Justice Department would weigh heavily in this decision. According to reports from Washington, there are indications that the Attorney General has not yet shown any particular enthusiasm to these proposals despite changed conditions in the industry. What ex¬ hibitor would not welcome the financing of production or actual entry into production of National Theatres or any other group of theatres having former produc¬ tion ties? If these companies were free of production restrictions, they could go ahead like anybody else and it would be a good thing for the business. Actually, the existence of the present requirements serve to restrain trade rather than promote much-needed com¬ petition. It must not be forgotten that divorcement did not accelerate the production tempo. With no necessity to provide grist for the mill, the film companies have con¬ centrated on fewer but better pictures and the percent¬ age of money-making attractions in relation to overall production has increased sharply. But this has not solved the exhibitors’ dilemma. There is a need for more producers making more top level attractions. This is a dynamic industry — not static and it will not permit a vacuum to exist for any ex¬ tended period of time. Filling the void is the most con¬ structive way of combatting a sellers’ market and it deserves the utmost support of theatre owners all over the nation. Federal regulation could never provide the answer and it is in the best interests of the industry that the National Allied proposal to “sell” Congress on control of film rentals by the Federal Trade Commission is being held in abeyance. Such a measure would have a disastrous effect on independent production and also serve as a trade restraint. We hope that it will be shelved and that there will be a continued and accel¬ erated pattern of exhibitor-sponsored production. One Hour's Pay The 1954 Variety Clubs International “Christmas Salue” on behalf of the Will Rogers Memorial Hospi¬ tal is seeking $250,000 and 200,000 signatures in its current drive, scheduled to last until Jan. 15. That’s an impressive figure, but it can be more than easily met if every industry worker answers the “Salute” plea for a donation equivalent to one hour’s wages. The motion picture industry is noted for its gen¬ erosity towards others, but there’s an old saying that “charity begins at home.” Industryites some times need help, too, and for those of them inflicted with tuberculosis the Will Rogers Hospital stands ready to care for them free of charge. A donation to the “Salute” is really a form of insurance for every donor, because no one can know whether he will ever have to seek its aid. THE INDEPENDENT FILM JOURNAL. Published every other week on Saturday by ITOA Independent, Inc. Editorial Offices: 1515 Broadway, New York 36, N. Y. Telephone Circle 6-6460. Editor, Morton Sunshine; Business Manager, Herman Schleier; Associate Editor, Aaron Sloan; Circulation Manager, Charlotte Gross. Coajrt Bureau: Richard Bernstein, 4225V2 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.