The Exhibitor (1966)

nnnniiftiiiiiitsuitumi^ LONDON Observations by Jock MacGregor 1 LA. Plans Counter-Moves ( As N. Y. Lares Production I By MARK GIBBONS JOHN DAVIS OPENED THE RANK ORGANIZATION ANNUAL GENERAL meeting with a statement answering recent knockers of Rank Xerox and revealing the current trading position. Welcoming the new competition in the copier-duplicator field with feet firmly on the ground, he claimed that in the past six years Xerox had placed 58,000 machines and forecasted that the total would reach 90,000 by June, 1967. With aggressive selling in many countries backed by one of the world’s best servicing units with strategically placed stores to provide immediate assistance, he had no fears. He revealed that the factories were turning out 100 machines per working day and stressed that these were not going into stock. The meeting closed with the highest praise for his leadership from several speakers, including Lord Rank, who said that he never dreamed during their days together that Davis could have been so patient as he had been that day. He was re¬ ferring to his handling of the annual questioner (heckler would be a more apt descriptive), who was more vociferous and muddled than ever. His interruptions made this probably the longest Rank meeting ever, drew protests from other shareholders, and received scant press attention. To name him would only be to encourage him. JD acted with enormous dignity. In checking my notes, I realise there were really few trade questions, but this is to be expected with a well run film segment in so diversified an empire. NATIONAL SCREEN SERVICES’ BURTON E. ROBBINS AND PAUL N. Lazarus came to town to support Ed Smith in talks with the Cinema Exhibitor Association over alleged NSS price increases, and met Harry Roelick, J. W. Davies, and Robert Camplin, who from the outset had to admit that they had no substantiation of such complaints. Smith explained that some contracts had been renegotiated before the government freeze to take place later in the year. Now to conform with government regulations and to coop¬ erate with the CEA in its constructive aims, NSS will not invoke these increases during the standstill, though entitled to do so. NSS had already advised exhibitors with expiring con¬ tracts that existing rates would continue until at least the new year. When Burton and Paul met the trade press with Ed in his office, they revealed great admiration for the remarkably friendly and helpful manner in which the CEA representatives meet them. Burton said that though he had negotiated with many bodies many times, he could not recall a more under¬ standing and cooperative group. I suspect the CEA men may have similar thoughts. Discus¬ sion covered NSS’ many activities here, including the creating of some of the most intrigu¬ ing main titles gracing Anglo American productions today. If it were not for the effect of the new Selective Employment Tax which they have agreed to try to put off passing on in the way of extra charges until at least next year, NSS would seemingly have no worries here. It was nice seeing Burton and Paul again. I CAUGHT THE MORNING PRESS SHOW INSTEAD OF THE MIDNIGHT preview of “Georgy Girl,” one of the first registrations as “More Suitable for Mature Audi¬ ences” under Hollywood’s revised code, and met the principals at the ensuing buffet lunch. This with-it, outspoken comedy-drama of swinging London has been highly praised. While I recognise Lynn Redgrave’s fine performance as the plump, homely girl, dying to be loved, I do not think enough credit has been given to Charlotte Rampling, an actress whom I have seen around the night spots without previously knowing her name, for her study of a hard bitch, a tougher part to make convincing. Her maternity ward scene in which she proclaims to fawning, proud visiting fathers and friends that she wants her brat adopted, never to see it again, is classic cinema. ... At long last, “The Pawnbroker” — delayed through distribu¬ tion problems and the unexpectedly long run of “Othello” — has opened at the Haymarket Odeon to a laudatory press. PRODUCER DOUGLAS WARTH, MEETING ME IN THE STREET, SUGGESTED that it was high time I wrote again about “Pathe Pic,” the world’s oldest screen magazine — it has been in Technicolor for 11 years — and was shaken when I agreed to go immediately to watch a unit at work. The location was the new Playboy Club and the “story” was about “Bunnies” and the help they had given at the Variety Club’s charity race meeting. He was getting shots of the girls being trained and at work, but it was not long before I was press ganged, so to speak, into a shot playing roulette. My protests (for effect?) were ignored, and I was handed a fistful of fivers. I thought it was great gambling like a millionaire, but, alas, as soon as the sequence was shot, I was asked for the money back. Other shots followed. Next day, I saw rushes. My best must end on the cutting room floor. Regrettably, an unobserved ruck in a Bunny costume made the scene unsuitable for a “U” censor certificate — must be a moral there! Doug then asked me to return when he shot Dave Dee, Doxy, Beaky, Mich, and Tich playing their recording of “Bend It.” Never before had I dreamed of being a song and dance man for Pathe Pic. Now the record tops the hit parade, and the reel has been rushed into earlier release to cash in on this success. I have watched this reel at all stages. Even without my presence, it would be an excellent, colorful, and popular addition to any pro¬ gram. It is amazing how much resourcefulness and work that Doug and his small team put in to turn out a varied reel every week. STILL THE SUBJECT OF MUCH DISCUSSION IS THE WISDOM OF THE recently instituted Friday change of programs for London suburban theatres. While many feel that it is too early to form an opinion and point out that the product has not been all that good, others are violently opposed to it, claiming that it has confused moviegoers. Inde¬ pendent booker Frank Ledger, in the George, cracked, “Anyone who wants a market re¬ searcher to tell him it’s wrong needs a psychiatrist.” . . . Mike Frankovich has been looking over Columbia production activities. . . . Columbia specially screened Carl Foreman’s “Born Free” for the Crown Princess of Ethiopia. . . . Columbia’s “Goal, World Cup 1966” is prov¬ ing such a fantastic turnup that Technicolor has been working overtime printing extra copies for bookers who are sweeping their schedules to make room for early runs. . . . Managers have been told not to abbreviate “Doctor Zhivago” in adverts, and talking of names, there is a dispute over what to call the combined British Film Producers Association — Federation of British Film Makers. Neither party wants it suggested it has been taken over. HOLLYWOOD — New York City Mayor John Lindsay’s current campaign to lure the motion picture industry back to Manhattan has infected the local city fathers with more than a trivial case of the jitters. Fears that the movie business may leave Lotusland have gen¬ erated a special study by Los Angeles Mayor Sam Yorty’s Economic Development Board to determine the feasibility of establishing a major motion picture production center in the City of the Angels. Fantastic as it may appear on the surface, apprehension on the part of the city fathers here is not without a sound basis. There have been recurrent rumors that 20th Century-Fox and MGM are giving thought to transferring elsewhere. Both studios are bordered by highprice property, and both are caught in the residential squeeze; both studios have been battling zoning laws. The situation was ex¬ plained by Councilman Paul H. Lamport, chairman of the EDB, in making the announce¬ ment that a special committee has been formed to study a proposal to keep the veteran studios from seeking other locations. Lamport said : “Fox, for example, had difficulties recently securing a permit for a heliport on its West Los Angeles lot. The landing area was needed to rush film from outdoor sets in Malibu to studio headquarters. The permit was granted, but over strong protests from Beverly Hills residents who are appealing the decision.” Ruminating on the horrendous cud that moviedom might possibly vacate Lotusland, Councilman Lamport continued: “It would be a travesty if the pioneer industry that made this the second largest metropolis in the na¬ tion left Los Angeles because the city didn’t do all in its power to encourage it to stay.” The special EDB committee is arranging to meet with studio leaders shortly to determine if the industry is receptive to a motion picture industrial complex. The latter would be, Lam¬ port told MOTION PICTURE EXHIBI¬ TOR, a common facility owned and operated by several studios, much like a furniture mart with the various production companies “under one roof.” Lamport added with a note of nostalgia : “In Los Angeles’ early beginnings, our in¬ ducement was our beautiful weather. Then the movie industry moved in, followed by aircraft manufacturing, then electronics and space sci¬ ence. Losing the film industry would be like losing a finger on our economic hand by de¬ fault. You can’t eat weather.” Fox TV Reorganization NEW YORK — A major reorganization of the 20th Century-Fox Television, Inc., syndi¬ cation department was announced by Seymour Poe, executive vice-president of 20th CenturyFox. The reorganization which divides the de¬ partment into two divisions — domestic and in¬ ternational — is designed to give greater depth and concentration to this phase of tv distribu¬ tion. The domestic division will be directed by William L. Clark, who has been appointed domestic general sales manager. Clark was formerly eastern division manager. The international division will be coordi¬ nated by Bill Saunders, based in Paris, and Herbert Lazarus, in New York. 18 MOTION PICTURE EXHIBITOR October 26, 1966