The Exhibitor (1966)

. . . . . . . Observations De CANNES I by Jock MacGregor | TO BE SEEN RATHER THAN TO SEE HAS BECOME THE OBJECT OE MOST attending the Cannes Eilm Festival, which has been celebrating its 20th anniversaiy. Nowhere else can so many trade personalities from so many countries be met in so short a time with such ease. I renewed acquaintance with Nagamasa Kawakita (Japan), Robert Haggiag (Italy), Harry Shaw (Malaya), Adriana Pina (Argentine), P. G. Linden (Sweden), Jack Bernstein (Canada), Alfred Bauer (Germany), Leo Ward (Ireland), Edmund Greville (France), and many Americans, headed by David Picker, among others, in a morning stroll. I lost count of the British, who have by far the largest representation. I was able to meet for the first time faces which go with familiar signatures. I am not sure from a prestige view¬ point if film leaders in the international field can afford not to go to Cannes! The artistic film in competition may have been the original reason for this gathering, but it now takes second place to the commercial. The “Marche du Film,” virtually an interna¬ tional trade fair, plays an ever increasing part. Three theatres each preview four features daily, and many other screenings are fixed for groups and individuals. Product, mainly independent, from all over the world is shown for prospective buyers, and it is quite a job thinking up excuses for not attending some during a brief visit. WHILE THE MAJOR DISTRIBUTORS WERE MAINLY REPRESENTED BY local men, Maurice Silverstein and Mike Havas were watching MGM interests in general, and in particular, the out of competition screening of “Doctor Zhivago”; Russell Hadley and Luigi Luraschi lead the Paramount team supporting “Alfie”; and UA’s David Picker was in constant confabs with international producers. The international independent groups were strongly represented, and several maintained suites as offices. Embassy Pictures had a large contingent, headed by Lenny Lightstone, who hailed me as a member of the family and extended to me the hospitality and facilities of Embassy, looking after Joe Levine’s ever increasing film empire. He was supported by Ed Rosenkraut from New York, Joe Goltz from South America, and Ricardo Whitby and Harvey Matofsky from Rome. I would say that the acquiring and selling of territorial rights was decidedly brisk. That the Russians require and take 900 prints off a single negative amazed him. Norman Katz, Bill Levy, and Robert Kroenberg were keeping the Seven Arts flag flying. American International Pictures were the only Hollywood company with its own stand in the Carlton foyer. This was being mounted for the third time, and David Home tells me that it has gained considerable attention and has added tremendously to their sales in many territories. He claims that Cannes proves invaluable for their purpose as he can meet buyers from virtually every market in the world. Always prominent was Sam Arkoff, and his cocktail party was among the more delightful interludes during the festival. I FLEW DOWN WITH MR. AND MRS. MIKE HAVAS AND WAS DELIGHTED to observe that he had taken the latest MPE for reading matter. Producer Jim Ward and his overseas sales chief, Leslie Greenspan, took Puck’s latest, “Run With The Wind,” for screening privately. We arrived in time for the Scottish night which the British producers staged to celebrate the 20th anniversary. Sir Charles and Lady Evans and Andrew Filson greeted the guests and the Scots Greys pipers traveled specially from Germany to provide a background accompaniment to the consumption of Ed hate to venture how many bottles of whisky. Here indeed was a star celebrity-studded gathering, and with Jim and Vera Carreras and so many British and American barkers much in evidence, it could have been a Variety Club function. The following night, the Japanese, who did not consider any of their current product suit¬ able festival fare though certain pictures were shown independently, hosted a champagne supper dance. Dancers and musicians were fiown from Tokyo with their traditional costumes. While there were many poster displays and large portraits of Michael Caine as “Alfie” were everywhere, there was little exploitation as such. No one, however, missed those ex¬ tremely shapely girls in tight fitting slacks with such slogans as “Alfie is sexy” emprinted on their seats. Indeed, they were the best lookers around. It was certainly not a vintage year for starlets, but what they may have lacked in looks they certainly made up for in push. Their antics around the Carlton were better to watch than any cabaret. CHAOS STILL DOMINATES MUCH OF THE FESTIVAL. MAJOR PROBLEMS are the allocation of tickets and invitations going astray. There are just not enough for all present. Everyone is issued with an accreditation card bearing one’s photo, but it is little more than worthless. The British were only given 17 tickets for “Alfie.” I was among those who, having seen it, cooperated by giving theirs up to those who had not. Then there were many empty seats. Many are issued apparently to locals who subsidize the festival in a big way and either give them to the cook or do not bother to use them. Comment on the film was mixed. Some very critical remarks were made about the British way of sex, and the abortion sequence proved too strong for many. With the American majors giving scant support to festivals and Britain’s recent successes, national jealousies are suspected. Additionally, there is growing resentment among continental producers who have not studied market trends on the decreasing returns from the U.K. and reluctance of British distributors to accept unrealistic terms. American and British buyers were in turn pretty shaken by the sex content of some films shown. One was termed “positively blue.” Overall, there was criticism of the festival tempered with resignation. Some tried to excuse this on the mistral gale force winds and showers (Jay Emanuel, note that it does not only rain in London), but others openly blamed the organizers for many of the ills and attacked the heavy costs of attending. Though staged out of season, hotel, restaurant, and other charges are ridiculous and were more discussed than the competing films. Cannes could price itself out of existence. I should hate to try to estimate how much the industry spends there mainly to boost tourist trade or how few of the deals discussed ever materialize. The whole setup is likely to be severely censured at the next International Federation of Film Producers Associations meeting. Yes, it was less important to see the official festival films than to be seen personally. THIS AD AND A CALL TO YOUR UA EXCHANGE WILL GET YOU THE RIGHT NUMBER FOR YOUR PRIME SUMMER PLAYING TIME! 6 MOTION PICTURE EXHIBITOR May 25, 1966