Motion Picture Herald (Mar-Apr 1947)

COLUMBIA HISTORY MADE BY "JOLSON" Picture's Record Climax of Extensive Promotion and Sales Campaign " 'The Jolson Story' is a show that can't miss. It's a special kind of picture with the widest kind of appeal." That's what Motion Picture Herald said in reviewing the Columbia film in mid-September of last year. Today this prediction has come true and the Sidney Skolsky production has surpassed all expectations at the box office and has set many records of its own. The history of "The Jolson Story" is unusual in more than one way. From the exhibitors' point of view the Technicolor musical was top box office wherever it played, with runs extending from one and two weeks to as much as 126 days beyond the original schedule. Proved a Point For Columbia the success of "The Jolson Story" meant the re-affirmation of an old truth — "Give 'em good product and you can't fail." Also it was the climax of one of the most extensive advertising efforts. At the same time the film literally "made" a new star, Larry Parks, and proved once more the value of "word of mouth" advertising. "When 'The Jolson Story' was finished we were a little worried about finding the right advertising and publicity approach," a Columbia home office spokesman said this week. "After all, most of the younger generation had not had a chance to hear or see Jolson ; his songs were 'out-of-date' and Larry Parks up to then had been confined to bit parts." Next there was the question of the famed Jolson "blackface" characterizations which, the company felt, might not be acceptable in some parts of the country. Advertising consequently took account of this fact. The first ads showed a silhouette in a typical Jolson gesture rather than a definite star. Later, when Park's popularity had become nationwide, his face was inserted. Issued Two Pressbooks To help the exhibitor get the most out of the promotional possibilities of "The Jolson Story," Columbia took the unusual step of issuing two pressbooks. Volume I told the facts about the film. Volume II contained material assembled after the picture had opened. The books were sent out together. All advertising w&s pre-tested during the summer of 1946. The initial phases of the distribution plan were announced in fullpage trade press ads. The national ad campaign got under way November 15 and ran through January 1. It took in such widely-read magazines as the Saturday Evening Post, Ladies Home Journal, Life, Look and Colliers. In some cities papers carried three-color ads during the week — another "first" established by "The Jolson Story." Radio spots and the sale of records played an important part in making the public Jolson conscious. Decca Records, which brought out an album of Jolson records, reports the biggest sale in its history and its officials say that, up to now, the supply has not kept up with the demand. As the picture opened, "Jolson weeks" were promoted all over the nation. Publicity concentration too, was intensive both before the release of the film and through the early playdates. National magazines, newspaper supplements and the local press were all enlisted in creating a desire to see the film. Eight Weeks at Music Hall The picture opened October 10 at the Radio City Music Hall in New York and stayed eight weeks. Soon after that it opened day and date at the United Artists, Esquire and Tivoli theatres in San Francisco, at the Roxy in Oakland, the Palace, Cincinnati ; the Lafayette, Buffalo, and the Hillstreet and Pantages, Los Angeles. The result was extended runs which set house records. According to home office figures, as of March 3, the picture was still going strong at Oakland and in San Francisco, 126 days after the originally scheduled seven-day runs. In Detroit it had played 63 extra days ; in San Diego, 49 ; Long Beach, 56; Toledo, 28; Providence, 35; Springfield, 48 ; Brooklyn, 35 ; Los Angeles, 82; Oklahoma City, 23, and Chicago, 70. Loew's circuit in New York, for the first time in their history, booked the picture for nine days into their de luxe theatres and later reported that it had broken many records. Exhibitor reaction to "The Jolson Story" was exemplified by V. C. Weschler of the Colonial theatre in Erie, Pennsylvan, who, in a letter to Columbia, said : "We have just completed the run of 'The Jolson Story' with such amazing results that it seems a fictitious happening. It is like waking up after a magnificent Technicolor dream, wishing it were true; only in this case it is." "Jolson Story" Sets Seattle Record Ending its eleventh week March 7 at the Liberty theatre, Seattle, Columbia's "The Jolson Story," has set an all-time box office record for Seattle. According to Clinton Wineholt, Liberty manager, the picture has played to approximately 240,000 patrons, or nearly half the entire population of Seattle. Leroy V. Johnson, general manager of Jensen and Von Herberg Theatres, reports that no feature has displayed the staying quality of "The Jolson Story." The musical has grossed a weekly average of $13,000. British Theatres Open Full Time As Crisis Ends by PETER BURNUP in London All theatres resumed full-time operations here Monday. The openings were brought about as a result of continuous and excellent work by the Cinematograph Exhibitors As-sociation, which led the all-industry deputation to the Board of Trade and brought to the attention of officials the real facts of the industry's relation to the coal crisis. In permitting the theatres to reopen, the Government stipulated that the houses must save one-third of the electric power which they consumed prior to the coal crisis. Exhibitors have agreed to cut all auxiliary lighting and concentrate power on projection. By common consent, Fred A. Prior and W. R. Fuller, CEA president and secretary, respectively, have shown consummate strength throughout the crisis. Without them and their colleagues on the CEA executive board, it is generally agreed, Britain's film industry might well have floundered into a worse morass than that in which it found itself. The outlook here is still pretty bleak. Studios and laboratories, in common with other factories in the London area, have been permitted to switch on their electric power, but that dispensation is not of much avail to the Eastman Kodak plant, makers of up to 80 per cent of the raw stock consumed this side. Outstanding circumstance in the fuel emergency palaver has been the fashion in which the independent exhibitor, through the agency of his CEA, has asserted himself as the ultimate arbiter of motion picture business. As head of that organization, Mr. Prior has had ecomiums lavished on him by all sections of the industry. Rank Reorganizing Odeon Financial Structure The reorganization of J. Arthur Rank's Odeon Theatres, Ltd., will be complete on the conclusion of an offer of redemption made last week to the holders of Odeon five per cent first mortgage debenture stock. Holders have been invited to exchange their stock for an equivalent nominal amount of three and three-quarters per cent second mortgage debenture stock of Odeon Associated Theatres, Ltd. "Best Years" Foreign Opening London Benefit The foreign premiere of Samuel Goldwyn's "The Best Years of Our Lives" was held March 5 at the Leicester Square theatre, London. It was a benefit performance for the Victory Ex-Service Club. Mrs. Clement Attlee, wife of the Prime Minister, was chairman of the benefit committee. 26 MOTION PICTURE HERALD, MARCH 15, 1947