The Exhibitor (1966)

Britain— An Air of Uncertainty Hits Are Bigger Than Ever- But So Are Failures By Jock MacGregor The British industry should be bursting with enthusiasm and confidence. Its pictures have been shining internationally, and production, with all the American majors participating, has been riding high — at one time, no less than 80 features, including 67 in color, were in various stages of production or awaiting re¬ lease. Regrettably, due to government policy — some might say “lack of policy” — a numbing air of uncertainty prevails. The authorities seem to refuse to recognise that more than 50 percent of British film earnings now come from overseas, and do not give the pro¬ ducers the encouragement to which they are entitled. The extent of the Wilson squeeze on production remains hard to assess. It is known that some last minute financial rearranging has been necessary and that the National Film Finance Corpora¬ tion has had to mark time on loans. How many pictures have been delayed or cancelled is a tricky question. Many producers would loathe to admit being affected for fear of hurting future financing, but some are suspect of blam¬ ing conditions to cover their inability to get projects moving. The classifying of production as a service under the Selective Employment Tax so that it does not qualify for the refunds made to exporting industries is an enormous irritant. The rub is that the manufacturer of the film and the processor of the exposed stock do qualify, and it is considered ridiculous that the man who converts it into something exportable is ignored. The added cost is considerably more than the actual tax on those working on a picture (stars and typists cost the same) as surcharges are being put on many goods and services by companies to cover their own SET. Here is a new overhead which in no way enhances what is seen on the screen. After months of uncertainty, the Monopolies Commission Re¬ port on the film industry has been published and makes planning far easier. While a monopoly situation has been established, it is generally considered that the status quo will continue with but the smallest changes. The majority of the trade approve of this. They realise that without Rank and Associated British with their production, dis¬ tribution, and exhibition interests and leadership, the industry would be the poorer. The groups are out to make money and are hard but fair bargainers. Much they achieve is inherited by inde¬ pendents. Exhibitors in particular are far better off than their cousins in America. They do not have bidding, tough rentals, and disorderly release of product to face. Envy is the industry’s worst malady. This creates knockers among those whom success generally eludes and who have the time to do their damndest. Regrettably, all too often, their slanted statements are never challenged and are accepted as fact, particu¬ larly by the politically minded, many of whom would like to see a nationalized film industry. The ever increasing success of Anglo-American production is especially hateful to them. They talk cosily about the fate of in¬ digenous British films, few of which really succeeded overseas, and express fears about what would happen if American finance was withdrawn at some future time. They carefully ignore what would be happening in the studios with the squeeze and SET hanging over them if it were not for American finance TODAY. Financiers are certainly not going to waver while the talents of both countries work together, mutually respecting each other so successfully to produce such basically British international hits as UA’s “Thunderball,” Columbia’s “Born Free,” 20th-Fox’s “Mag¬ nificent Men in Their Flying Machines,” or Paramount’s “Alfie” — which must be as indigenous as you can get! Less happy have been those American producers who have known it all, and worked here solely to take advantage of lower costs — some hotly claim that this is no longer so — and collect the Eady money. Their pictures seem to please few anywhere — have sunk in mid-Atlantic, so to speak. The most pressing problem facing the industry is the rebuilding of attendances which reportedly have taken a worse knock here than anywhere else. While the hits are doing better than ever despite the number of theatre closures, the flops are reaching new lows. Many feel that something could be done about the middle and better pictures, which really are entitled to do bigger business. Already launched is the UPTAKE campaign to recreate the regular movie going habit, and the trade must get behind this in every way possible. Initially, the lead is being left purposely to the provincials, who originally inspired it, rather than for Londoners to take over and dampen their enthusiasm. ( Continued on page 26) December 28, 1966 MOTION PICTURE EXHIBITOR 23