The Exhibitor (1963)

NEWS CAPSULES FILM FAMILY ALBUM FORMS FOR THIS PACE CLOSED AT S P.M., ON MON., JUNE 3 BROADWAY GROSSES Obituaries John W. Collins, 67, veteran IATSE stagehand whose career dated back to vaudeville in the 1920’s, died at Binghamton, N.Y., General Hospital after a brief illness. He was employed by Comerford Theatres, Inc. He is survived by his wife, a daughter, six grandchildren, a sister, and a brother. Hassell A. Fagg, 57, co-owner, Walnut Cove Drive-In, Walnut Cove, N.C., died. He is survived by his wife, two daughters, two sons, nine grandchildren, a sister, and two brothers. James H. Nash, Pittsburgh, Pa., drive-in operator, died at West View, Pa. He was on the board of Pittsburgh Variety Club Tent One. Doris Seadler, wife of Si Seadler, eastern advertising manager of MGM, died at Doctors Hospital, New York City. She is survived by her husband, a son, two grandchildren, and a sister. Ralph Wiener, a director of Trans-Lux Corp¬ oration, died. Surviving are his wife and two children. Harry Segal, 75, pioneer distributor in New England, died at his Brookline, Mass., home. Formerly branch manager in Boston for United Artists, he was president of Second National Pictures, Inc., which he had formed several years ago for the release of MGM reissues at the time of his death. Surviving are his wife and two sons. Col. -Ransohoff Sign Liz HOLLYWOOD — Columbia Pictures and Martin Ransohoff announced that arrange¬ ments have been concluded to bring Eliza¬ beth Taylor back to Hollywood to star in “The Sandpiper” to be directed by William Wyler at the Columbia Studios in the fall of 1963. “The Sandpiper,” which will be produced by Ransohoff, will be distributed by Colum¬ bia as the first of a two-picture agreement between Ransohoff’s Filmways Co. and Columbia. The screenplay is by Irene and Louis Kamp. Boston Paper Blasts “Free, White and 21" Ban BOSTON — Drive-in theatres in Tewksbury and Lowell, Mass., were ordered not to show the film, “Free, White and 21,” by selectmen and licensing officials, and the Boston Herald promptly blasted the actions in an editorial May 29, entitled: “Censorship in the Raw.” The newspaper said in its editorial that the officials “have trampled upon the United States Consitution in using their licensing powers to prevent the showing . . .” The editorial stated: “The Tewksbury sel¬ ectmen and the Lowell Licensing Commission have trampled upon the United States Con¬ stitution in using their licensing powers to prevent the showing of the motion picture, ‘Free, White and Twenty-one,’ in local driveins. This picture can lawfully be suppressed if it is actually obscene. Obscenity, the U. S. Supreme Court had held, does not fall within the protection of the free speech and free guarantees of the First Amendment. But it is not the function of either selectmen or city licensing officials to draw what Justice Wil¬ liam J. Brennan of the Supreme Court has aptly described as the ‘dim and uncertain line’ between obscenity and constitutionally protected expression. This is a task for the courts under due process of law. “Chapter 140 of the Massachusetts General Laws gives local officials broad powers over theatrical performances in the interests of public safety and convenience. They may grant theatrical licenses ‘upon such terms and conditions as they deem reasonable’ and may revoke or suspend licenses ‘at their pleasure.’ “But in no sense is this law a license to practise motion picture censorship unchecked. The state cannot validly permit what the First Amendment condemns. “Justice William O. Douglas recently des¬ cribed as ‘censorship in the raw’ the activities of the Rhode Island Commission to Encour¬ age Morality in Youth in pressuring news Newcomers, Holiday Assist NEW YORK — The Memorial Day holiday plus some top new product sparked the Broad¬ way first-run boxoffices, with most of the long-run hard ticket engagements holding extra shows to swell the grosses. “Hud” (Paramount). Paramount had a great opening week, claiming $49,000. “Spencer’s Mountain” (WB). Radio City Music Hall, with stage show, reported $86,000 for Thursday through Sunday, with the third, and last, week going to $120,000. “The List Of Adrian Messenger” (U). War¬ ner had a very good opening week of $31,500. “How The West Was Won” (MGM-Cinerama). Loew’s Cinerama with extra shows did $46,000 cn the 10th week. “Mutiny On The Bounty” (MGM). Loew’s State had $12,000 for the 28th week. “Dr. No” (UA). Astor claimed the opening week at a fine $25,500. “Paranoiac” (U). Victoria reported $9,000 for the second, and last, week. “Lawrence Of Arabia” (Columbia). Criterion did $47,000 on the 24th week, with extra shows. “The Ugly American” (U). Rivoli had $8,000 for the eighth week. “55 Days At Peking” (Allied Artists). RKO Palace did $33,000 for a big opening week. Happy Birthday, WOMPIs NEW ORLEANS— The Local Women of the Motion Picture Industry were honored at their 10th anniversary celebration at their annual “bosses’ luncheon” held at the Tyro¬ lean Room of DeKolb’s Restaurant. Mayor Victor H. Schiro issued a proclama¬ tion declaring the day “Wompi Day in New Orleans” because “the women play an in¬ creasingly greater part in the industry throughout the city and because they have played a prominent part in the community in civic and service work. . .” dealers not to distribute publications consid¬ ered objectionable. “The phrase is apt indeed for what has been done in Tewksbury, and Lowell under Chap¬ ter 140.” Tribute To Pete The following quote is from the autobi¬ ography of the late Father Daniel A. Lord, author of the Motion Picture Production Code. To our mind, it is an accurate por¬ trayal of Pete Harrison by an unbiased but well-qualified observer of the industry scene: “A surprising little man got out a trade journal called Harrison’s Reports. He carried no advertising. He just reviewed the pictures for exhibitors and told them exactly what they were getting. Often, he described gutter events in the gutter lan¬ guage they rated. He called lust lust and not romance, and rape rape and not gentle dalliance. He was not deeply loved by the industry, but a great many exhibitors felt he was their good friend.” To which we add, Amen. For the first time a motion picture will have a complete advertising, exploitation, and pub¬ licity coordination from first day of filming right through its opening; and seen on the set of 20th-Fox's "Move Over, Darling" are producer Aaron Rosenberg, idea man William Sch¬ neider; co-stars Doris Day and James Garner; and co-producer Martin Melcher. June 5, 1963 MOTION PICTURE EXHIBITOR 5