Motion Picture Herald (Jul-Aug 1943)

MOTION PICTURE HERALD OA THE MARCH August 7, I 9'43 by RED ICANN HOLLYWOOD FOR the historical accuracy of it, and proper sequence as well, an added chapter must pile on two recorded earlier on this page. Subject: Metro, sliding scales, communities thrown askew by the war. In April, William F. Rodgers was here discussing his sales policy with Southern California exhibitors. It was an argument for the slide rule method quite naturally. Points registered then were (1) a public declaration Metro wanted no one's eye teeth; (2) the sliding formula rated pictures on their drawing power so that a fixed forty per center under inflexible methods might cost the theatre operator only twenty-five; (3) injustices, admittedly developing from time to time, were adjustable if the facts proved the injustice. In May, he addressed the ITO of Ohio where he uttered a large mouthful, returned to New York, set it all down in writing and thereafter relayed the broad fundamentals of the policy to branch managers in order to eliminate doubts or misquotes. It has been our thought, more or less conveyed here at the time, that Metro either was fortifying its future with blue chips and dividends or extending itself on a precarious limb. Knowing Rodgers, we conclude it's no limb he's on. In his letter, which established the clearest sort of relationship between buyer and seller, those perennial industry scowlers, Rodgers went as high as thirteen different points. He sounded and reiterated the company's desire and intention to be fair. Where allocations have been miscalculated, supporting facts supplied by the exhibitor will be sufficient to place the attraction (s) in a lower bracket. In other words, pictures do not have to be frozen in their allotted slot merely because they were assigned there in the first place. It depends on what the theatre specifically concerned can demonstrate to be the facts, determined by the results. So policy declaration went. Point 6 of particular interest dealt with shifting populations, industrial doldrums in some small communities and with some subsequent runs — factors bundled together as wartime reverberations. In those instances, Metro openly stated it would forego preferred playing time for mid-week equivalents. Finally, all adjustments may be handled in the field without need to unburden in New York. New Moves Are On the Wing IT reaches further. With Cincinnati as a jumping off place, Metro is busy on a re-canvass of all of its accounts, about 12,000 of them in the home market. The purpose is to find out where new terms seem reasonable and feasible. It ought to be observed that this is not a commitment to unwind; it could be one to rewind as well. Importantly, however, is the possibility and the expectancy, that situations requiring help will reveal themselves. Here is one step, at least, in the direction of practical aid. Now. Metro is not running a charitable institution. It intends getting all the traffic can bear, but first there has to be traffic. Thus, while the company has documented its willingness to assist where the facts convince assistance is necessary, it is also resolved to transform negative into positive, if it can, by seeking to make adjustments and reduced terms unnecessary. This is the purpose behind the appropriation of $125,000 which marks the beginning of exploitation and promotional aids to small town theatre men in war-affected areas. By official ukase, it ties to the unchallenged belief this type of showman is an integral and vital part of the community life of the country, and of the nation's prosperity as well. It has been published in the news columns, of course, but worthy of repetition is the policy statement about this made by Howard Dictz in Chicago: "To M-G-M every customer represents a decided entity regardless of the sice of his operation. We intend to stimulate trade in every section of the country that has suffered from the shifting of population during these abnormal times. We zvelcome communications from all exhibitors as to their problems, however small. We are prepared to give the same attention to the small theatres proportionately that zve give to the big key city first runs. This additional aid in the form of advertising, exploitation and promotional help is definite evidence of the determination of this company to leave no stone unturned to give every aid to deserving situations." A separate move further out front takes form in abandonment of the weekly shorts payment plan over which exhibitors once protested loudly and long, then quieted down when they discovered their steam letting did them no good. Rodgers gives three reasons for this decision : "Irregularity of delivery, unforeseen delays in production and our healthy short subject circulation." All of them grace the upper, not the under side, of the table. These undertakings in the cause of better relationships are likewise in the cause of good business. One follows the other, and that's a simple enough observation which will now be glossed over on the theory it is so self-evident it requires no amplification. New Drift New Day, Or What? IN fact, there is reason to conjecture if another day entirely is not bursting upon the industry. While Metro has made its position consistently clear and in terms more direct than other distributors, evidence is around tending to indicate a new drift is at hand. Interesting, too. Very interesting, for instance, are letters in possession of the MPTOA's Committee on Product, Prices and Policies, new child born of the directors' meeting in New York in early May. E. L. Kuykendall tells about them in one of his bulletins. Neil F. Agnew, telling it for Paramount: "... I cannot believe that a fair complaint cannot get proper attention in the field either from the branch manager or the district manager in that territory. ... If instances develop wherein the exhibitor feels that he is, nevertheless, not getting fair consideration he may at any time communicate with either of our sales managers here in New York . . or with me." Tom J. Connors, telling it for Twentieth Century-Fox: "We have recognized the fact that there has been a shift in population and that, while many theatres are enjoying an upsurge in business, other theatres have shown a decrease in business. . . . Our policy is based upon the individual theatre's ability to pay and, since our policy has been in effect, I have not received any complaints. . . . We have further stated, and repeat, that if proper consideration, time and attention is not received from that source (branch and district managers), the doors in New York are open for a review of the facts." Robert Mochrie, telling it for RKO : ". . . it has for many years been RKO's established policy to grant equitable relief to every exhibitor having a just complaint. We have found the men in the field . . . are in a better position to intelligently and fairly discuss grievances. . . . While it is true any action that the men in the field propose to take ... is subject to home office approval, this approval, in a majority of instances, has been readily forthcoming. ... If the exhibitor shall be of .the opinion that neither the branch nor the district manager has satisfactorily dealt with his problem, he may communicate with me 'ahd L ean assure you that his complaint shall receive my individual attention and serious consideration." William A. Scully for Universal : "We do not market our pictures through local exhibitor's associations and neither do we settle any of our disputes through local exhibitor's associations. However, if any exhibitor . . . cares to discuss any inequities . . . and cannot receive the proper satisfaction from our local representatives, we will be glad at all times to personally receive any exhibitor who has a justified complaint, but we do not care to deal with any exhibitor's representative." At bulletin time, yet to be heard from were Ben Kalmenson for Warners, Abe Montague for Columbia and Carl Leserman for United Artists. A door, bolted tight for years, with suddeness seems to have found its key. Or have we been out in the sun too long? ■ Hollywood knew what Marcia Winn, representing the Chicago Tribune, was after and is neither surprised nor shocked at the smear. Peashooters don't bruise.