Motion Picture Daily (Apr-Jun 1954)

6 Motion Picture Daily Friday, April 2. 1954 EXHIBITOR EXPERIENCE WITH CSCOPE Stereophonic Sound Aided Small Houses [The news columns of Motion Picture Daily for many months past have carried reports of. exhibitor criticism, organized and otherwise, of the CinemaScope process and the marketing policy applied to it, with particularly critical attention to stereophonic sound. It is reasonable to assume that many of the critics of CinemaScope and its components have not installed the equipment in their own theatres. Many have who have not been heard from in the industry press. Motion Picture Daily offers them this opportunity to telt-their side — the other side — of the CinemaScope and stereophonic sound story from their personal experiences. Following arc excerpts from typical messages received by 20th CenturyFox president Spyros Skouras from exhibitors in all parts of the country who have installed stereophonic sound in small as well as large theatres.— Ed. Note.] Isador M. Rappaport, Baltimore: "In my opinion, if we were to take away any one of the components of CinemaScope it would weaken the entire presentation. It's the combination .of the wonderful new sound and the large screen that makes CinemaScope — the customers love it and they are willing to pay for it — so why compromise! This new presentation is the first major development in our industry in twenty-five years." Trueman T. Rembusch, Syndicate Theatres, Indiana: "I am convinced because of the confidence the public has shown. ;i_at the box office that CinemaScope and stereophonic sound will bring to the motion picture industry new life as did the 45 rpm, 33^3 and Hi-Fi bring new life to the record industry." Harry Brandt, New York: "I now have CinemaScope equipment in some twenty installations and T am rapidly going forward with additional installations. I have undertaken this considerable expenditure because I am convinced that stereophonic sound is as essential to our future welfare as are the screens on which our films are shown. . . . Inferior presentation of a superior product causes damage to the whole industry and it is my belief that virtually any theatre with a future can profitably install CinemaScope equipment." Leo T. Jones, Upper Sandusky, O.: "I am now convinced that the only proper way to present CinemaScope is by utilizing all four sound tracks through auditorium speakers and three backstage speakers and am ready to admit I was wrong in asking for one channel sound. I could never present 'The Robe' as wonderful as I did or get such audience acclaim without the stereophonic sound. Business was 525% over normal the first week. Please accept my humble apology for wrongly The Value to Realism Of Stereophonic Sound By GEORGE SCHUTZ ■Excerpts from an article to appear in the April 10th issue of Better Theatres by its editor. We would like to believe that resistance to stereophonic sound is a natural reaction setting in after the first fever of "new techniques." What seized the industry last year was much too sudden and violent to avoid a relapse. Great expectations were bound to give way to dismay when projects were resolved into dollars. Perhaps the issue is no more than one of time to absorb this new pressure of technical progress. Quickly indeed has the industry accepted the larger, wider picture, and' that alone is calling for expenditures large enough to trouble many exhibitors after some five or six years of box-office drought. It is easily understandable that they should be in a mood to settle for less than the whole hog. We don't see that attitude, however, as one to discourage consistent pursuit of the objectives sketched out last year. Halfmeasures, temporary substitutes may be warranted by immediate conditions. The only unfortunate outcome of that would be to let them pull the business into the same kind of rut it has just climbed out of. You can reasonably say that you cannot find or risk the money necessary to equip for stereophonic sound, hut one is distorting the facts to suit one's convenience if it is added,1 "Besides, stereophonic sound doesn't mean anything anyway." Who said so, the public? We don't think the public has yet had much of a chance to experience it. The industry has but recently entered upon its use, experimenting, sometimes resorting to new and tentative tricks of pseudo-stereophonic, limiting its possibilities by sticking cautiously to familiar formats of cinematography. Give the creative fellows time and experience ! • • • The simple commercial fact of stereophonic sound is that it is better than one-channel sound. That fact can't be ignored. It could be rejected, but if it were, we are convinced that it would always be around to haunt the business. • • • In considering all of the devices by which the motion picture achieves its conviction, it is to be borne in mind that each operates with all the others to create an illusion. Let one thing be off key and the others lose some of their effect. Give the mind consistent stimulation without pronounced invasion of extraneous data and it will do a swell job of believing what you want it to. That is why a motion picture that pretty well fills the effective field of vision produces a sharper sense of perspective — three dimensions — than the postage-stamp variety sharing perception with a lot of architectural gimcracks. Any gain in the naturalism of sound helps to make the whole performance convincingly realistic. • • • What can be lost sight of, at a time of decision under urgent economic compulsion, is applications of a new technique which may not even be anticipated on the basis of established practice. By what are some of us judging the value of stereophonic sound? By its application to motion picture material and technique as we have had them. Give creators of motion pictures the larger performance area and deny them comparable scope in sound technique and they will of course gear their methods to those conditions. But what might they be able to produce if they were released from the old limitations in both directions ? Stereophonic recording adds to the chores of production, naturally, but to no 'comparable degree that simple sound did in the first place. insisting on single track sound even though I only have 540 seats." Moe Horwitz. Washington Theatre Circuit, Ohio: "My experience proves stereophonic sound very vital and necessary part for proper presentation CinemaScope pictures. My reason for sending this cable is somewhat selfish for it's my belief the more theatres go for stereophonic the better chance to revive our sick industry." Tommy James, St. Louis, Mo.: "Every theatre owner who wants to give his patrons the best should beg, borrow or steal to install stereophonic sound with CinemaScope." Jack Armstrong, Schwyn Circuit, Ohio: "We have completed the engagements of 'The Robe,' 'How to Marrv a Millionaire' and 'King of the Khyber Rifles' at our Paramount Theatre, Toledo. These Many Write To 20th-Fox In Gratitude three pictures have accounted for 10 weeks of playing time and exceptional grosses which were greater than in any similar period in the Paramount's 26 years of existence. CinemaScope and stereophonic sound are as necessary for the proper presentation as it was to have sound and light in our conventional way of presentation. Do not relax your requirements for CinemaScope. It must be maintained if this industry is again to fill our theatres with the masses. All of our theatres will be equipped with complete four channel stereophonic sound so our public will have the benefit of the greatest improvement in motion picture presentation in its history. Mr. Schwyn and I wish to express our appreciation and congratulations for your foresight, courage and determination to revive this great industry through CinemaScope and stereophonic sound. You have our 100% support." M. H. Chakeres, Chakeres Theatres, Ohio: "CinemaScope entertainment has brought back the lost audience. We are placing orders today to install CinemaScope equipment throughout our circuit." Meyer S. Fine, Associated Theatres, Ohio: "Public acclaim great for our five CinemaScope installations. More installations to be made immediately in other of our circuit of theatres." Ted Schlanger, StanleyWarner Theatres, Philadelphia: "Sound thinking exhibitors should encourage developments that incite public interest. Exhibitors throughout the world should be thankful for your boldness and courage in development of CinemaScope presentation which we in America hail as the greatest development since sound." Monty Gowthorpe, Butterfield Theatres, Michigan: "CinemaScope is greatest stimulant to business we have had in twenty-five years and in the interests of the whole industry we urge you and other producers of CinemaScope pictures not to serve theatres which are not fully equipped with stereophonic sound and suitable screens." Roy Gross, Stillwell Theatre, Bedford, Ohio: "Giving our patrons a new type of entertainment which is fully appreciated by them. We base our opinion on our box-office results." J. P. Essick, Modern Theatres, Ohio: "Have installed stereophonic sound in our circuit. Results are excellent and definitely enhance the value of CinemaScope." M. A. Lightman, President, Malco Theatres: "I am one exhibitor who firmly believes that stereophonic sound is one of fhe greatest achievements in motion picture history. Let me take this opportunity of thanking you for bringing the motion picture industry this wonderful and timelv life-saver."