Motion Picture Herald (Jul-Aug 1943)

July 3 1, 1 943 MOTION PICTURE HERALD 31 BRITISH SHOWMEN PLAN FOR POST-WAR OPERATION Policy Committee Seen as Focal Point for Study of Theatre Problems by AUBREY FLANAGAN in London Although British picture house operators are no more unduly optimistic about the proximity of final military victory than any other section of the community, in the more enlightened reaches of the industry they have been giving some consideration to the post-war problem, seeking, in an admittedly rough way, to assess the shape of things to come and to formulate a program in regard to it. The recently mooted Policy Committee which has as yet not functioned, which is, in fact, at the moment of reporting not so far materialized, would seem to bear the advance signs of a post-war planning body, and already some ammunition is being prepared by exhibitor students of the industry scene in various parts of the country. When it meets, as it probably will, there can be little doubt that to it will come the views, ambitions, and fears of the picture house owner, together with appropriate panacea for industry ills, actual and potential. Rentals Among Pressing Problems of Industry Already, it would seem that the critical spotlight has focused on certain specific problems, and these are likely to be considered before the period of war gives place to that of post-war. Most dominant of these, it would seem, are the problems of rentals, particularly in regard to such irregularities as grading, the problem of overbuilding and cinema redundancy, the 16mm or non-commercial cinema, television, stereoscopy, and other technical developments, the insistent and aggravating tax on Sunday operations, and the whole problem of labor and its relationship with industry capital. In exhibitor councils and elsewhere these matters are being raised increasingly. Henry Simpson, president of the Cinematograph Exhibitors Association, has made it a presidential policy to discuss such matters on his travels, invoking his rank and file to seri-* ous consideration, particularly through the planned Policy Committee. Overbuilding Troubles Independent Theatres Redundancy has long been a bee in the independent bonnet, although naturally since the war, with restrictions on building, the condition has been deterred. In the immediate pre-war era it was increasingly provoking the protests of trade authorities and members. Thus it is not out of keeping with the generally antipathetic attitude, that the collaboration of the Kinematograph Renters Society should be anticipated, and that such authorities as Mr. Simpson should see a solution only in joint action between exhibitor and renter, envisaging, presumably, some form of withholding of product from offenders. It is not unlikely, however, that there will be Governmental control of building and no less so that the Board of Trade would see, and act in accordance with, the exhibitor's views. Rentals and the whole problem of film hire are, of course, a constant problem, and post-war problems in this connection will not be unprecedented. It is a widely held view, however, that exhibitors themselves, since the war, have become tolerant of irregularities and ills such as the grading of films, and have greatly themselves to blame for tacitly condoning the evils. Forms of Grading Used By Some Distributors The recent boom in business would seem to have captured the attention of the exhibitors and many of them have failed to see the perils in which they have been involved. Forms of grading", it is obvious, have been introduced by various distributors and in fact sponsored in one form or another by the K.R.S., who have used the contacts and experience of their sales managers to overhaul the whole exhibitor field in terms of potential returns and eventual categories of theatres. There is a growing realization that if such interventions are allowed now, the post-war situation will be doubly worse from the picture house viewpoint. Rentals thus will figure in the forefront of any post-war policy. It is expected that with the flow of money likely to follow the cessation of hostilities there will be a flow of investment to the motion picture industry, and exhibitors are alive to this, not only in regard to investment in cinemas, but no less investment in picture production. The grim lessons of the last financial boom, which did more to kill British films than anything else, including the war, are not lost on industry observers. Nor is there lost on them the increased capital which the U. S. companies have been taking out of the country since the war, capital provided by the British picture houses. This has risen, it was stated the other day by an exhibitor spokesman, from £11,500,000 to £17,000,000 in one year alone. Sunday Opening Certain To Receive Attention Sunday opening, which by virtue of the charity tax is one of the exhibitor's most persistent problems is likely, too, to be featured high by the reconstructionists and post-war planners. It is high time, it is claimed, that the whole position is overhauled, and not only the inequities and illogic of the charity tax be removed, but the licensing of Sunday cinemas be placed on a national basis instead of the present variegated and entangled whimsies of county councils, corporations and others all over the country. What will be the position and the development of the 16mm and non-commercial field after the war, what is going to happen with the innumerable sub-standard projectors currently being used for service training, propaganda, civic education and so forth, is another problem which exhibitors are thinking about today. There were dangers in the non-commercial field in the pre-war era. How much greater may they be after the war, with the tremendous impetus given to the field, the immense multiplication of projectors and apparatus, the stimulus to production of publicity and propaganda films ; in these terms is the trade student thinking. That there was a tremendous opportunity for educational films would seem to be certain. Whether the Government will avail itself of or assist that opportunity remains yet to be seen. Higher Admissions Appear Likely Industry Policy But exhibitors will keep their eye on those projectors, those films, and that greatly eased machinery of circulation and approach. Seat prices and admissions have been considered, too, and it would seem generally to be agreed, an agreement easier after the experience of the past 18 months, that the days of the toocheap seat is over, that the industry has entered an adult stage in its existence, enhanced its commercial prestige, and is not likely to go back to underselling its entertainment to the public. Even labour interests who have profited greatly from the higher cost of entertainment, in the form of increased wages and war bonuses seems aware of this, and Tom O'Brien, president of the National Association of Theatrical and Kine Employees, has publicly pleaded the cause. Labour, however, will be one of the post-war problems which the exhibitor will have to consider. Much has been achieved by collaboration and a spirit of give and take, but the spirit is far from general, and much is left to the whimsies or prejudices of local groups. A national settlement of problems, with a national agreement and arbitration board would be welcomed not only in labour circles. New Group Seeks Wage Standard for Manager There looms, for instance, the problem of the recently formed Cinema Managers Association, which has been cold-shouldered by the CEA, but which has the backing of the NATKE itself. At present the CMA aims at a standard wage for managers — ranging from £5 weekly for learners, to £9 a week with commission for others, a closed shop and a 50-hour week. Managers in British cinemas work very hard, over long hours and are not always well paid, it is agreed. The CEA attitude has been not merely to fail to recognize it, but to give its members a leading suggestion that when they employ managers it would be politic not to employ men who have an allegiance with a body like the CMA. It can hardly be the last word — if the exhibitors want peace within their domestic camp. Gaumont British Dissolved In Albany, Secretary of State Thomas J. Curran this week announced that papers of dissolution were filed for Gaumont British Picture Corporation of America, originally incorporated through Adolph Schimel, New York City. Matthew Fox Entering Army Matthew J. Fox, former vice-president of Universal Pictures, and recently with the War Production Board, will enter the Army August 1st, at Camp Dix, New Jersey, as a private. Robert Goldstein Resigns Robert Goldstein, last week resigned from the eastern talent department of Twentieth Century-Fox.