The Exhibitor (1966)

The Trade Paper Read by Choke— Not by Chance Founded in 1918. Published weekly except first issue in January and first issue in September by Jay Emanuel 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. Single copy 250. 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? Volume 76 • No. 4 Please send old and new address. If possible include address portion of old mailing wrapper. August 31, 1966 Our 48th Year THE INMATES MAKE THE RULES “There is nothing wrong with the motion picture busi¬ ness that good pictures can’t cure.” That’s as true today as it was when an industry pioneer first said it. However, it could stand a slight alteration. It would be more accurate to say, “There is nothing wrong with the motion picture business that good pictures sold and played off intelligently can’t cure.” We are fortunate enough to have our share of good pictures these days, but a greedy chase for a fast buck on the part of some distributors and some exhibitors is seriously hurting their potential. In many key areas, the motion picture industry has been referred to as a “first-run jungle.” Established patterns of clearance and playoff are crumbling, and confusion and chaos are taking their place. Philadelphia must rank high on any¬ body’s list of territories in which business is conducted in a “dog-eat-dog” manner. The way in which top product is de¬ voured is nothing short of suicidal. Currently, Warner Bros.’ blockbuster, “WHO’S AFRAID OF VIRGINIA WOOFF?” is enjoying exceptional business at the downtown Stanley Theatre as elsewhere. At the same time, the new Eric Theatre in Pennsauken, N.J., two miles from Philadelphia, is advertising “VIRGINIA WOOFF” and Universal’s “TORN CURTAIN,” another top downtown film, as a double bill. Reliable reports indicate that “TORN CURTAIN” was booked for three weeks on a bid of $16,500, against top percentage terms. “VIRGINIA WOOFF” was obtained on a bid of $65,000, it is rumored. When the theatre tried to take “CURTAIN” off and replace it with “WOOFF,” Universal went to court and obtained an injunction against such a move. The exhibitor, determined to get a jump on his opposition, advertised the astounding double bill. The madness doesn’t end there. The nearby Quakertown Drive-In advertises “VIRGINIA WOOFF” and Paramount’s “THIS PROPERTY IS CONDEMNED” as a double feature. Drive-ins understandably desire a natural break to permit maximum expenditures in the concession area, but such a policy remains a shameful waste of top film product. Drive-ins started years ago playing last run features and offering double bills and free admission for children as under¬ standable inducements to patrons. Their status has changed to a point where they compete for first-run top product. Per¬ haps a re-evaluation of some of their policies would be in order. In a few isolated cases, drive-ins playing top product have shown single bills and charged for children, but the percentage is very small indeed. United Artists’ crowd-pleasing comedy, “THE RUSSIANS ARE COMING THE RUSSIANS ARE COMING” is another example of a top film playing downtown and outlying engagements simultaneously. Many theatres were booked to play the film 30 days after opening in downtown Philadelphia. It is rumored that there was some kind of gentlemen’s agree¬ ment that these theatres would not jump the gun in advertising the attraction so that some measure of protection would be afforded the downtown house charging $2.50 admission. How¬ ever, the Fawrence Park and Merben Theatres in the Phila¬ delphia area couldn’t wait. On Aug. 24, they announced in local newspapers that “RUSSIANS” would open on Aug. 31. The playoff of top films is thus accomplished in a hap¬ hazard, crazy-quilt manner that must in the end harm the entire industry. If there existed any understanding of the other fellow’s problems, such actions would be impossible. However, too many industryites act as if they were in a fly-by-night business and had to grab the loot and run for the hills. The result is bitterness, confusion, spiraling film costs, and law suits. The answers, however, will never be found in the courts. They will only be found when distributors and ex¬ hibitors learn to treat each other like businessmen instead of enemies. In most instances, the “right” thing is also the “businesslike” thing. Without some sense of ethical behavior and fair play, the industry will remain a “first-run jungle,” and asylum in which the inmates make the rules. EDITOR’S NOTE: As this issue went to press, the Eric, Penn¬ sauken, was still playing the “VIRGINIA WOOLF” -“TORN CURTAIN” combination. Terms for “TORN CURTAIN” were 60 per cent the first week and 50 per cent the second week, according to Film Row gossip. Terms for “VIRGINIA WOOLF” were rumored to be 60 per cent for the first two weeks. This means that the theatre is contractually obligated to pay 110 per cent of its gross as film rental, and at those prices it’s mighty hard to show a profit. That’s what we mean by a “first-run jungle.” SALUTE TO WARNER BROS. Approximately four decades ago, Warner Bros, introduced Vitaphone in John Barrymore’s “DON JUAN.” Accompanying shorts featured musical stars Giovanni Martinelli, Marian Talley, and Mischa Elman, and film czar Will Hays addressed the audi¬ ence from the screen. The sound was on records, and the difficult synchronization task made it necessary to have two men in the booth for the first time. It was a triumph for Jack L. Warner. Warner Bros, made the big sound breakthrough with A1 Jolson’s “THE JAZZ SINGER.” The industry would never again be the same. We remember breaking all attendance records with these pic¬ tures at the old Jackson Theatre, Philadelphia. Warner Bros, is still furnishing boxoffice hits and theatrical excitement for exhibi¬ tors and the public. As the company approaches a golden anni¬ versary, we’d like to salute Jack Warner and all his troops. Warner Bros, happily is still coming up with young and exciting new ideas for the motion picture industry. Their eyes are on the future.