The Exhibitor (1966)

Film Maker Praises N. Y. Production Techniques NEW YORK — Paul Heller, president, MPO Pictures, returned after finishing the final underwater sequences of his latest project, “Red Over Red.” The film is the first in a series of projects between Heller’s company, MPO Pictures, and ABC Films, who will dis¬ tribute it for television after the theatrical run. “Red Over Red” is one of the few of the many “talked-about” projects produced with advance television distribution to come to fruition. Heller feels that the successful per¬ formance made by his company will stimulate much more activity and marks the first strong step in bringing together the elements required in producing films for both the theatrical and the television exhibition markets in a budget range that can offer strong boxoffice appeals and economic stability. Heller indicated that predictions of schedule and budget were maintained, and he attributes the achievement to the New York crews whose ingenuity and imagination in arduous location situations made it possible. The idea of making films with the highly trained people in the commercial field was the basis of his association with MPO, the largest single pro¬ ducer of commercials in the industry. “The concept has really paid off,” Heller states. The discipline of working on tight schedules and constantly striving to innovate and create new ideas is a basic one in the commercial world, and it is timely and right to apply this talent and energy to the feature film industry.” Commiti'ee For Polon Salufe NEW YORK — The formation of an honor¬ ary committee for the motion picture industry luncheon honoring Matthew Polon, president and general manager of RKO Theatres, was armounced by Charles Boasberg, D. J. “Bud” Edele, and Morey “Razz” Goldstein, co-chair¬ men of the event, which will be held May 25 at New York’s Americana Hotel. Honorary committee members include Leon Blender, Harry Brandt, Thomas J. Crehan, Edward Fabian, Nat Fellman, Leo Greenfield, Salah M. Hassanein, Fred Herkowitz, Norman Jacketer, Larry Leshansky. Paul Labarus, Mor¬ ris Lefko, Irving Ludwig, Henry H. “Hi” Mar¬ tin, Bernard Myerson, Nat Nathanson, James V. O’Gara, Martin Perlberg, Milton Samuels, Joseph Sugar, James Velde, and George Waldman. Jock MacGregor, London editor, MOTION PICTURE EXHIBITOR, recently received from Kathy Fitzgibbon his tickets for the world premiere of 20thFox's "Modesty Blaise" at the Odeon, Leicester Square, London. LONDON Observations by Jock MacGregor IT HAS BEEN “DOCTOR ZHIVAGO” WEEK. AT SUNDAY LUNCHTIME, COLumnists and photographers gathered at the Dorchester to meet David Lean, cameraman Freddie Young, writer Robert Bolt, Geraldine Chaplin, Tom Courtenay, and Rita Tushingham. On Monday, Julie Christie flew in with her Oscar to grab front page coverages, and in the evening the press had a preview. Tuesday morning saw the opening of an exhibition of the Mollo Historical Research Unit collection of uniforms, weapons, and other historical objects and documentary material used for the film at Gorringes Store. Princess Margaret and the Earl of Snowden attended the premiere at the Empire that night and met the stars and MGM executives headed by Robert H. O’Brien, Maurice Silverstein, and Mike Havas. For the first time, scenes of the foyer reception were transmitted by closed circuit large screen color tv to the waiting audience by the only Eidophor projector in Britain. Press reviews took much the same pattern as in America. Some were extremely enthusi¬ astic, but many had reservations, particularly regarding the length. Overall, they may have disappointed the creators a little. Instead of the usual day press show, “Zhivago” was previewed in the evening, and critics were asked to hold their notices 24 hours. This, I understand, was recommended by market researchers who claimed that the longer the time a critic had for reflection the better the review would be. Since it is customary for press shows to be held here in advance, the logic behind this research is hard to appreciate. It certainly rankled the Daily Express’ Leonard Moseley, who had seen the film in New York and saw it again. He admitted that it does improve by being seen more than once, but ended his second review, “And if British critics are going to need 24 hours to digest it, might not the public feel it is a dish too rich for their stomachs?” Initial audience reaction is outstanding. FROM A BIG PIGTURE TO A BIG MAN IN EVERY SENSE OF THE WORD— Alfred Hitchcock. Here to presell “Torn Gurtain,” he provided as invigorating a trade press conference (despite this being his 50th picture) as could be wished. Periodically, after a particularly apt but cutting observation, he would have second thoughts and, still chuck¬ ling at the implications, request that we forget it. Now 67, he is never lost for an idea — film or otherwise. Anticipating his reaction, I asked if he ever market researched a project before filming. There was a rude noise. He recalled that when “Rebecca” played the Radio City Music Hall in 1940, the producer hired a firm to find why those lining outside wanted to see it, and 93.7 per cent said because it was a David O. Selznick production. He felt that summed up MR. Obviously no great lover of the star system and pained by the enor¬ mous salaries paid to many — “It means a picture has to take all that more before it is in profit and my percentage participation becomes effective” — I suggested that since all his pictures are sold primarily on his name, he need not use them. He agreed and blamed tradition, front offices who dreamt of the added grosses stars might bring, and those many exhibitors who still never ash the salesman what a picture is about but only “WHO” is in it. DESPITE AN ENORMOUS NEWSPAPER AND TV ADVERTISING CAMPAIGN, the saturation release of “Stop the World — I Want To Get Off,” shot here in the Mitchell System 35 multi-camera color process, ground to a sudden halt. Some independents whipped it off mid-week. ABC let it complete the week but cancelled future dates. Scratch programs were rushed into South London theatres; and provincial bookings were brought forward to make a showman’s and despatch manager’s nightmare. The U.K. has not been a happy market for Bill Sargeant. Neither “Hamlet” nor his “Harlow” has opened here. An artist is reported as bemoaning the fact that “World,” which never had a West End run, played a circuit and was not shown in an art house. You can’t please all the people all the time. The producers of “The Uncle,” which has been completed about a year and is be¬ lieved to be of more specialised appeal, have been complaining that the Rank and ABC circuits have not booked it. I never understand people making such public utterances. Such publicity must create resistance among real moviegoers when a picture is ultimately shown. NINETY-FOUR PER CENT OF BRITISH CINEMAS ACHIEVED THEIR QUOTA last year, and most that failed did so by only a small margin. Overall, the average was well above the prescribed level of 30 per cent but the proportion for first features was down, from 42.6 per cent for 1964 to 39.1 per cent. ABC played 47 per cent British features and Rank 37 per cent. Protagonists for the creation of a third circuit out of the existing two, allegedly to encourage British production, are doing a vast amount of lobbying among government officials and newspapermen and suggesting that the Monopolies Commission will side with them. If this is so, I hate to think what will happen to production and exhibition here. RANK’S FRED THOMAS AND CATHAY CIRCLE’S JACK LEVINE WERE MUCH in evidence at the Savoy reception for the press to meet the personnel behind their co¬ production, “The Quiller Memorandum,” before the unit left for Berlin. Producer Ivan Foxwell and director Michael Anderson were supported by the stars, George Segal, Alec Guinness, Senta Berger, and Max Von Sydow. . . . Pathe News’ superb Technicolor cover¬ age of the state opening of Parliament by the Queen received an enormous unexpected news-radio-tv boost when members of Parliament complained they had been used as unpaid film extras. . . . Looking in for Sunday on his way back to Johannesburg after seeing “The Bible” in Rome, former Ranker Geoff Martin, now with 20th-Fox South Africa, phoned me for a drink. Publicising 104 theatres and drive-ins, productions, and other entertainment activities, he seemed remarkably happy. . . . “The Silencers” has given Columbia its best opening day on North London release in years, and the pre-release figures for Carl Fore¬ man’s “Born Free” are making many rub their hands in eager anticipation. . . . Sam Spiegel attended the opening of the White City Youth Club by Field Marshall Sir Richard Hull. Sponsored by the Variety Club, he had donated $28,000 towards the cost and has pledged an annual $2800 contribution towards upkeep. ... I wonder what that fully stamped but empty envelope bearing a Chelsea post mark should have contained? May 11, 1966 MOTION PICTURE EXHIBITOR 15 dJIilllltllllllllllllllllllllltlill