The Exhibitor (1966)

The Trade Paper Read by Choice— Not by Chance Founded in 1918. Published weekly except first issue in January and first issue in September by Jay Emonuei Publications, Incorporated. General offices at 317 North Broad Street, Philadelphia, Pennsylvania 19107. Publishing office at 10 McGovern Ave., Lancaster, Pa. 17604. New York field office: 1600 Broadway, Suite 604, New York 10019, West Coast field office: William M. Schary, 818 S. Curson Ave., Los Angeles, Calif., 90036, London Bureau: Jock MacGregor, 16 Leinster Mews, London, W. 2, England. Jay Emanuel, publisher and gen. mgr.: Albert Erlick, editor; George Frees Nonamaker, feature editor; Mel Konecoff, New York editor; Albert J. Martin, advertising manager; Max Cades, business manager. Subscriptions: $2 per year (50 issues); and outside of the United States, Canada and Pan-American countries, $5 per year (50 issues). Special rates for two and three years on application. Singie copy 25^. Second class postage paid at Lancaster, Pennsylvania. Ad¬ dress all official communications to the Philadelphia offices. Telephone: Area Code 215, WAInut 2-1860. CHANGING ADDRESS? Please send old and new address. If possible include address portion of old mailing wrapper. Volume 75 • No. 15 May 18, 1966 Our 48th Year RESPECT FOR THE LAW Harry Shargel is national chairman of the American Bar Association’s law observance committee. The title is a mouth¬ ful, and the job he is trying to do is a handful. Mr. Shargel, along with millions of other Americans, is deeply concerned about the increasing crime rate and disrespect for the law that make our streets unsafe and turn our cities into jungles. We wondered, as you might, just what this had to do with the motion picture industry. He convinced us, and hopefully we can convince you, that we all have a large stake in this fight and that the industry can play an important role. Let’s face it, many people are reluctant to leave their homes after dark. We have heard exhibitors comment that this is one big reason for the decline in attendance at many theatres. Any industry that depends for its existence on people leaving their homes must be affected. Mr. Shargel is well aware of the power possessed by the mass media of communications. The American Bar Associa¬ tion has received the support of many radio stations, television stations, and newspapers willing to carry short messages and special programming designed to make the public more aware of the problems of law enforcement and stir public interest in law observance. It is no secret that motion pictures are the most powerful tools of information and education in existence today. The industry has always been quick to support a worthwhile cause. This campaign for law observance can be greatly aided if some of our film-makers and top executives would take an active interest. It isn’t only a job for the big-wigs either. Ever)^ exhibitor can play an important role in his own community. Perhaps his theatre could be the scene of an amateur contest sponsored by the local police department. Perhaps the exhibitor can join with other merchants in sponsoring supervised athletic activity in which healthy competition can breed a respect for fair play. The possibilities are unlimited, and Mr. Shargel assures us that branches of the American Bar Association in every locale will stand ready to assist in the creation and maintenance of any worthwhile endeavor. Yes indeed, this campaign to instill respect for the law is important — even vital — if this country is to achieve the great¬ ness that is its hope. For a variety of reasons, selfish and altru¬ istic, the motion picture industry should participate. For a change, we find ourselves on the side of the lawyers. Mr. Shargel asked us, and we in turn ask you the same question : How can moviemen help increase public respect and ob¬ servance of the law? BITS AND PIECES It’s time again to clean out the editorial drawer and stick our neck out on a host of unrelated but hopefully interesting topics. We’ll kick off by saying that it’s time some of these so-called “do-gooders” took the same pains to support a theatreman trying to run his house constructively as they take to attack those who show questionable product. Only recently, a theatre in a town of 100,000 booked United Artists’ fine adult drama, “THE GROUP.” Being of a cooperative nature and realizing that the film was not for the youngsters, the exhibitor asked and received permission not to play it Saturday and Sunday matinees. He booked two excellent family features for these matinee showings and backed them with more advertising space than is generally accorded many first-run films. The re¬ sult was total disaster — the floppiest flop ever at his theatre. This exhibitor is cooperative but not suicidal — so he killed the second show of the family matinee (since the theatre was empty) and started playing “THE GROUP” at 3 p.m. in¬ stead of 5:30 p.m. The result was sensational business. Mr. Exhibitor, while still agreeing that certain pictures are better suited to adult audiences, has a fist-full of records to show any¬ one asking why he shows films not recommended for children. There is a new sales gimmick spreading throughout areas caught in the bidding wars. When a theatre wants to move up its run and join the bidders, it is told by distributors to get “a track record.” This means the exhibitor should bid and put up a guarantee (probably more money than the picture could possibly earn). In effect, the exhibitor is told the only way he can prove he’s entitled to bid is to go out and lose money. That’s a great way to get into the race, provided you can stay alive until you reach the finish line. Hollywood columnist Sidney Skolsky reprints a letter from a Mrs. Beatrice Easton, who can’t understand why film¬ makers don’t advise audiences before or after a film of the identity of the actors. She adds that movies will truly be better than ever when ‘‘motion picture companies realize that movie¬ goers want to know who played whom/’ We couldn’t agree more heartily. If this industry is serious about developing new stars, there is no better way to do it than by introducing the actors at the end of a feature so audiences can associate names with faces. It is done occasionally, but it should be common practice. We received a telegram the other day that brought a tear to the eye. It was from a gentleman who complimented us highly on a recent cover photo depicting United Artists’ branch manager in Philadelphia Robert Friedman riding a skate¬ board. The telegram read, “Let me be among the first to congratulate you on what must surely be the most handsome and eye-catching cover MOTION PICTURE EXHIBITOR has ever displayed in its long and glorious career. Bravo!” By the way, the tender missive was signed “Subscriber Robert Friedman.” Modesty becomes him, doesn’t it?