The Exhibitor (1966)

f tmimmi:' miiuiinii mini minim minimum: iniiiiiiiii iiiiiiiiuim iiiiiimmiiiiiiHiiiiiiiimii iiiiiiiiimimmmimiimmiimimmimimmimimimmimimmiimmimmimi^ LONDON Observations I 2 By Jock MacGngor THE UNITED ARTISTS EXECUTIVES MUST BE HIGHLY DELIGHTED THAT Kenneth Winckles has relinquished nis Rank Theatres managing directorship to become their top man in Britain. That a man of his standing can be released with congratulations and good wishes for his success in turn spotlights the strength of the Rank team that John Davis has built. Seemingly a poacher turning gamekeeper (or is it the other way round in this case?) with his deserting exhibition for distribution, it is not so much an about face. During his years with Rank, he has been well versed in all industry matters. Indeed, he may have peers, but there are no better informed or more respected film men; in city financial circles, his reputation is exceptionally high. The appointment has been extremely well received along Film Row. His past operations have given him an unrivalled knowledge of the potential of every town and theatre in the market, and through service on the Cinema Exhibitors Association general council, he will know most, if not all, his customers. Incidentally, it reflects working relationships here that a major circuit operator is welcomed as a sales chief by independent exhibitors. They know the man with whom they will be dealing and that he understands the problems prevailing. The news broke just before the opening of Rank’s Marble Arch Odeon with “Funny Thing Happened on the Way to the Forum.” Needless to add, it rivalled the splendor of the theatre as the topic of conversation in the foyers. There was general surprise. Ken’s was one of the few names which had not been bandied around for the job by speculators. When I met him at Mel Frank’s supper dance in the dawning and congratulated him, I was not too sure which hat he was wearing — if I should talk about the theatre or the movie! Particularly happy is UA sales chief Morris Young, who has been holding the fort so well since Dave Bickler’s tragic death on New Year’s Day. WHILE SOME NEW ARTISTS ARE FAR FROM COOPERATIVE WHEN IT comes to publicity, most old time stars are. Karl Malden could not have been more so at the morning suburban press show for “Murderers’ Row.” Supported by Slay Girls, of course, he posed with each manager who is playing the picture and his local press contacts. Nearly 100 photos were taken, and most will be published, not only plugging the booking but giving the manager an enormous prestige boost in the eyes of his patrons. It was Bob Beerman’s biggest promotion since taking over as Columbia’s exploitation chief, and he had all the display material — in particular the Pye Record Bar — set out in the Leicester Square Theatre lounge, where sandwiches and drinks were served. Each manager received a pack containing a specially recorded Dean Martin message for the non-sync, Dean Martin long player, paperback book of the film, Slay Girl calendar, etc. Highlighting the campaign will be “Dean Martin Weeks,” which Pye is sponsoring to coincide with local bookings. It was obvious managers were getting a terrific kick out of being able to take their press contacts to such an occasion “Up West,” and that having seen the film and the publicity material, they knew what they were selling and what was available to help. Though a Rank Theatres and Columbia event, I was surprised to see those ABC and independent managers who will also be showing the film. A Rank executive claimed it would be churlish to omit them, adding intelligently that the publicity they get would help them too. Most local papers cover several districts, and most theatres playing would be Rank. Such thinking can hurt no one. One day, a producer may hold a suburban press show at a studio and create even more interest and enthusiasm. All too few managers have ever visited a studio. Particularly appreciative of the effort and probably in slightly nostalgic mood was Euan Lloyd, associate producer, who had brought along Karl Malden. He started in show business as a theatre manager, turned to exploitation, and became Rank Distributors’ publicity chief when he would have promoted similar functions in that same lounge before going in to studio publicity and production inself. Any day now, he hopes to have finalised his own lineup of product, including a large scale western, and be able to talk, unlike some with different backgrounds, who announce projects first and then start thinking about the details like finding the finance. I SPENT AN INTERESTING AFTERNOON WITH NSS’s CHRIS BRUNEL WHEN he took three ABC assistant managers, A. V. John (Nottingham), J. F. Grice (Barnsley), and L. Newsome (Torquay) behind the scenes as part of their two week instruction course, which includes sessions at head office, sitting in on distributors’ publicity meetings, and visiting studios and suppliers. He showed examples of trailers, commercials, and main titles for movies (becoming an increasing NSS activity) and explained how they were created. Current publicity material was displayed, and a general discussion resulted. Some valid points were raised, and Chris promised to investigate. Most interesting was the query if the far from attractive censor’s certificate for trailers could be improved or incorporated in a main title card, as with advertising films. ... I am glad to report that Universal’s popular production publicity chief, Dave Golding, is recovering from minor surgery. ... A small exhibitor has asked me to flay Sir Tom O’Brien for his Union’s opposition to shows running after 1 1 p.m. On the other hand, his Union is the first in show business to appreciate how impractical a third cinema circuit would be. . . . The government, while hoping manage¬ ments will restrict smoking in theatres, are not banning it. . . . That Harry Palmer certainly gets around. Harry Saltzman’s first Michael Caine thriller, “Ipcress File,” went out thru Universal; the second, “Funeral in Berlin,” Paramount; and the third, now shooting at Pinewood, “Billion Dollar Brain,” is set for UA. . . . The 14th Screen Advertising World Associa¬ tion Festival will be at Cannes from June 19-24 to enable delegates also to attend the June 27-29 World Advertising Convention in London in one trip to Europe. Cinema and tv entries will be classified under product this year instead of by length and technique. A record attendance is expected. A IP, Brazil Firm Sign Pact For 16mm Distribution NEW YORK— American International Pic¬ tures has just completed a new and expanded distribution deal with Royal Filmes S.A., the company announced. In the absence from the country of Daniel P. Skouras, director of foreign sales and distribution for American International Pictures Export Corporation, contracts for AIP were signed by Louis Lagalante, assistant treasurer of the firm, and by Pedro Teitelbaum for Royal Filmes S.A. The principal expansion includes the sign¬ ing of an agreement wherein Royal Filmes S.A. will handle exclusive commercial and non¬ commercial 16mm distribution in Brazil of AIP films which have already exhausted their theatrical bookings, with rentals to be made to co-ops, social clubs and the like. Until now, with the exception of South Africa, AIP has not exploited the foreign 16mm market because such distribution did not appear to be profitable. Now, with a good and increasingly strong commercial library, the company believes the time has arrived to pursue this new source of income. Frank Circuit1 Adds One ATLANTIC CITY, N.J.— Frank Theatres has purchased the 700-seat Astor here from Saral Corporation in a transaction negotiated by the Atlantic City office of Albert M. Green¬ field & Co., Inc. The theatre property, which includes two stores and four apartment units, is situated near the Inlet section of the resort city. The purchaser will take over operation of the Astor Theatre on March 5. Frank Theatres presently owns and operates the Colony and Colonial on Long Beach Island; the Absecon Drive-In, Absecon; At¬ lantic Drive-In, Northfield; and Circus DriveIn, Hammondton, N.J. Zanuck Aids Variety HOLLYWOOD — Following representations by Jim Carreras, president of Variety Clubs International, Richard Zanuck, vice-president in charge of production at 20th Century-Fox,, has agreed to provide the decor at the Beverly Hilton Hotel, Los Angeles, for a dinner honouring Jack Benny on Feb. 18. Benny is to be given a Humanitarian Award by the Variety Club of Los Angeles for his exceptional services to children’s charities. Mike Frankovich, past chief barker of the Variety Club of Great Britain and currently a leading executive officer of Los Angeles Vari¬ ety, is helping to arrange the Benny dinner. The Duke of Marlborough (far left), and Senator Robert Kennedy made a surprise call on star Tommy Steele during the location shooting of Paramount's "Half A Sixpence." 14 MOTION PICTURE EXHIBITOR February 15, 1967