The Exhibitor (1966)

(lintttiiMiiiiiiiiiiiiitiiiiiiite LONDON Observations By Jock MacGregor “THE NAME OF THE GAME IS ‘MONEY’,” PRODUCER IRVING ALLEN ALL but snapped after telling trade pressmen that good films are those that make money, and bad ones are those which lose. This was the living of old speaking. Otherwise, during his short visit home after completing the second Matt Helm special agent adventure for Colum¬ bia., “Murderers’ Row,” in Hollywood, he seemed more relaxed and mellower. He was de¬ lighted about American exhibitors’ reaction to the new picture, which is getting the Christmas dates instead of the delayed “Casino Royale.” Not only are the bids for the first 500 theatres for longer playing time, but they are 30 per cent above “The Silencers,” which he proudly stresses comes only after “Bridge on the River Kwai,” “Guns of Navarone,” and “Lawrence of Arabia” as Columbia’s all time top grosser. The conversation naturally got around to the future of Columbia, and Irving was adamant that there should be no changes at the top. In his opinion, the current lineup, if not the best ever, is certainly the best in a long while. His one regret was that the improved product could not have started to flow six months earlier as it would have strengthened the company’s position. He felt that Mike Frankovich’s achievement in so short a time in Hollywood had been remarkable. living is now back in Hollywood supervising the final points on “Murderers’ Row” and setting up a third Matt Helm before returning home — he stressed that his home is here and that he loathes long stays in hotels — as soon as he can to concentrate on his first British pic¬ ture for two and a half years, “The Kill.” However, there are two factors here which disturb him considerably. He is sorry that the excellent Columbia backroom production team which Mike built up has dispersed, and he is shaken by the increased production costs. He spent $500,000 on his first British picture, “The Red Beret” with Alan Ladd, 15 years ago and grossed some $6,000,000. He reckons that today it would cost $3,000,000. Neverthe¬ less, he feels that it is still cheaper here though Hollywood still has some advantages balanc¬ ing the benefits of making a quota picture. Actually, Irving has a. certain contempt for the Eady Levy, which he feels prompts and keeps mediocrity going. He has not bothered about it with some pictures, yet he is equally opposed to those who suggest there should be a ceiling on how much a production can take from the fund. While agreeing that most of the rising costs are due to the exhorbitant demands of agents for stars, he tosses the blame squarely back to exhibitors and Americans in particular. He claims that whenever he mentions a picture to them, their first question is “who’s in it?”— never “what’s it about?” And Irving had been visiting the NATO convention in New York with his Slaygirls, who he claims stopped the show. The rising costs have caused him considerable embarrassment. “The Kill,” which stars Ingrid Bergman, will be his first away from Columbia, and after agreeing on a budget with Warners, he has had to ask for more. He had not allowed for the iniquitous Selective Employment Tax, which allows refunds to those who make and process the film but not to those converting it to something exportable. Production will start in January at the MGM British Studios with William N. Graf and Adrian Scott producing and Jack Smight directing. Negotiations are pending for two top male stars. Asked if the picture would be in ’scope, Irving made a characteristic grunt and added that he saw no point in adding to costs by paying heavy royalties when with new film stocks and projection equipment, exhibitors can pretty well get any picture they want on their screens with standard wide screen framing. It was an interesting and constructive session, and before we broke up, Martin Jurrow, Warners’ new British production chief, paid the trade press a compliment by asking if we could clear some points for him. THOUGH PRINCIPALS INVOLVED IN THE MONOPOLIES REPORT ON films have yet to comment, the air has been cleared considerably, and plans can again be made. The thought the commission gave to every facet is illustrated in its observations that should a circuit increase a bid in an individual situation over an independent, terms for the rest of the circuit should be raised in relation for it to succeed. Regrettably, some film men have not read the report carefully or at all, with resulting misconceptions. In conse¬ quence, I am never without a copy to settle arguments. UA’S YVONNE HEARN POSITIVELY PURRED INTO THE PHONE: “WOULD I spend Sunday afternoon with a vestal virgin?” Realising she was only procuring publicity for “Funny Thing Happened on the Way to the Forum,” soon to open the new Marble Arch Odeon as a road show, I accepted, and once again, a report on the Leatherhead Arts Centre must wait. Among the neo-Roman columns of the Villa dei Cesare, the shapely Annette Andre was posing for photographers in mini-toga — “nothing like the demure creation worn in the film,” she assured me. It was, she claimed, her first press “do,” and she was scared. Beyond ordering “Cleopatra’s Blush” cocktails, despite Mike Hutner’s biography allegation that she would sooner forget her first film, she was relaxed and bubbling with fun. Having seen her on the large and small screens, I suspect she will be an MPE Laurel Award Top Liner New Face ere long. Thanks, Charles Berman, for brightening a gloomy Sabbath — hope you feel your extra trip from Brighton was worthwhile. JIM CARRERAS IS MAKING GOOD PROGRESS AFTER HIS KNEE OPERAtion at King Edward Hospital for Officers. So many gifts were sent that there was hardly room for the patient. . . . Max Rosenberg and Milton Subotsky have started their ninth Amicus feature in 27 months and their first for Columbia, “Torture Garden,” with Jack Palance. . . . The Federation of British Film Makers recorded its appreciation of the way Jack Valenti and Louis Nizer helped them with an undisclosed problem. . . . Joan Crawford, starring in Columbia’s “Circus of Blood,” asks why they don’t make films for women any more though women have been the mainstay of the business. “Today,” she complains, “neither writers nor producers seem to care a damn for the woman’s angle.” . . . Geraldine Chaplin acted as hostess for the press reception for Bobby Darin when he joined James Mason and her in Anatole de Grunwald’s “Stranger in the House.” Retailer Turns Producer; Finds Movies "Saleable" BOSTON— Producer Bert Caudle, whose film, “The Gentle Rain,” is playing the Mayflower Theatre and day and date in 20 neighborhood theatres and drive-ins in the territory, in town for promotion and publicity, believes that films are “mighty saleable merchandise.” Caudle, who retired from Sears Roebuck where he was vice-president in charge of mer¬ chandising for the firm’s 16-store chain in Brazil, has also produced two films for Brazil¬ ian distribution, and plans three more for U.S. audiences. Caudle feels that “American film exhibitors haven’t kept up with the times.” He said, “Other industries subsidize youngsters just out of college, paying them good salaries while they learn the business. That way they get top young minds and creative energies, which is just what the film industry needs.” He also said he feels the film business “is a sick business. It’s too inbred. It doesn’t have enough imaginative blood. These film boys think their industry is something special, but it’s not. It’s just like the retail business. You buy merchandise and you sell it, but the mer¬ chandise must be good. I’m following the example of Joe Levine. He’s good at buying and selling things, and after 23 years in the retail business, so am I.” Next territory for “The Gentle Rain” will be North Carolina. Regarding the film, he said: “This is a sensitive, beautiful love story. If we had Taylor and Burton, we wouldn’t have to work so hard to fill theatres. But I made this picture on a limited budget; couldn’t afford stars with their high priced tags. My leads are two exciting newcomers, Christopher George, who’s making a name for himself in the tv series, ‘Rat Patrol,’ and Lynda Day, who was on Broadway in ‘The Devils,’ and is a tv actress also.” The picture was filmed in Brazil, directed by the late Burt Balaban, and was the first film made there with direct sound. Caudle, who has homes in North Carolina, Florida, and Brazil, says he’s in the film business to stay and has already planned three more films and se¬ lected scripts for them. Summing up, he said, “There’s plenty wrong with the film business including the fact that exhibitors, distributors, and producers don’t trust each other, but people love to be entertained, and a good film shown in a good clean theatre is mighty sale¬ able merchandise.” American International Pictures' president James H. Nicholson, left, recently announced the appoint¬ ment of Daniel P. Skouras as head of foreign dis¬ tribution for AIP Export Corporation. Skouras was formerly European sales supervisor for the company. Plans were revealed for the shifting of AIP European headquarters from London to Rome. 16 MOTION PICTURE EXHIBITOR November 16, 1966