Motion Picture Herald (Nov-Dec 1947)

THE DRIVE-IN Boom Time for Motor Movies Across Nation DRIVE ALONG any one of the nation's many highways and, sooner or later, you will see, towering over the trees, a large sign reading: Drive-In Theatre. You will find it a graveled area, spread over anywhere from five to 15 acres, and dotted by rows of speaker pedestals or booths, used to pipe the sound into individual cars. Dominating the scene is the tall screen-tower with its weather-proofed screen and the aluminum shields that cut the glare of the headlights from vehicles passing on adjacent roads. Cars are accommodated on ramps. The ticket office, manager's office, the projection room and the concession stand, as well as the rest rooms, are situated in the few covered structures visible. Dates Back to 1930's The drive-in boom is on in earnest. The idea dates back to the 1930's. At that time, many believed it to be "just a fad." Others called it "a petter's paradise," but few foresaw that these open-air institutions eventually would develop into circuits and would be attended regularly by comfort-loving families. The drive-in boom dates from the end of the war, when some 100 theatres were operating. That total rose to 200 early this year, and it is estimated that by the summer of 1948 more than 500 drive-ins will be attracting a motorized audience. The advantages of the drive-in are manifold. They are comparatively easy to construct (but not as cheaply as the layman may believe). Taxes and insurance rates are low and there are no seating and ventilating problems. There is no need to dress up. The whole family can go and, should the baby start to cry, there'll be no comment from the back rows. Drive-in operators usually have mechanics on hand for emergency repairs, to fix flats and supply gasoline. The majority of the outdoor theatres are not open all year. At first many theatre men were pessimistic about the possibility for their success in areas with frequent fogs, rain or summer mists, but the rapid growth of the drive-ins in just such situations has answered that one. Rain does not seem to matter to the car-bound audiences and if it gets cold, the car-heater provides warmth. The 600-car Autovue near Spokane recorded an average weekly attendance of 2,000 automobiles for the 30-week season just closed. The Los Angeles area boasts the largest number of outdoor theatres, with 18 drive HEADUGHT5 and flood/ights, of ffce Skyway Drive-In Theatre, Louisville, Ky. ins operating, most of them on a year-'round basis. San Francisco ranks next with 17, and Seattle third with 15. Some nine theatres are operating around Salt Lake City. The exact figures are not obtainable since construction goes on constantly. In most areas theatres are open from May or April to October. Theatre men operating established houses in most cases do not welcome the drive-in. In some areas anti-drive-in campaigns have been carried on. Elsewhere, as in the case of Minneapolis, independent theatre owners, asserting that the field was being taken over by "fly-by-nights," have formed their own drive-in theatre circuits. In the case of the Twin Cities, they formed an ambitiouslybacked company called Minnesota Entertainment Enterprises, Inc., that plans to construct several large drive-in theatres. Other drive-in circuits formed within the past few months include Everett Enterprises Drive-In Theatre Corporation, which plans to operate in at least 28 cities in North and South Carolina. The incorporators are H. H. Everett, Worth Stewart and Hank D. Hearn. Robert L. Lippert is operating five drive-ins in northern and southern California, some in conjunction with Joseph Blumenfeld. The Dixie Drive-In Company has drive-ins throughout the south and recently opened one near Atlanta. The world's first exclusive Negro drive-in is operated by R. L. Dowling near Jacksonville, Fla. Purchases Circuit Early this month, Philip Smith, president and general manager of Midwest Drive-In Theatres, Inc., purchased a circuit of driveins from a Cleveland group. Mr. Smith also has under construction open air theatres in midwest cities like Chicago, Des Moines, Detroit and Lincoln. The Cleveland group's houses are located in Dayton, Toledo, Pittsburgh and Cleveland. The Fabian-Hellman Co. operates three houses in upstate New York and one outside Philadelphia. Most of the established drive-ins do not play new product. They have found that their attendance does not suffer when old films with star names are shown. As for the distributors — restrained by the anti-trust decree from building drive-ins themselves — they consider the open air theatres "just an other customer." They must adhere to established clearances and their film rentals vary accordingly with the kind of run they desire. Admission prices usually are at par with the equal-run city house. The cost of building a drive-in actually is not low. It varies, of course, with the capacity of the parking tract, but, on the whole the average expenditure for a small theatre may run up to about $125,000. The greatest expense for any modern drive-in is the grading and the construction of the ramps. Then there is the extensive underground wiring, the rest rooms, etc. Some Use "Drive-Over" Ramps Modern drive-ins, such as Mr. Lippert's Fresno theatre, for instance, employ "driveover ramps." The cars enter the theatre area from the right of the screen tower, turn left onto the ramp they choose. When they are ready to leave they drive ahead over the ramp, turn right and exit on the other side of the theatre. This "house" can be emptied in a very short time. The drive-in theatre, comparatively new and providing a special attraction for the family as a whole, lends itself very well to promotional efforts. One drive-in operator reported he had run an ad saying : "Children Under Ten Admitted Free — Bring a Carload." They took him up on that. People have actually filled trucks with kids and brought them to the show en masse. There is the special appeal to the invalids and the blind who, in the private comfort of the car, can be given a running commentary. The majority of the drive-ins are sound money-making propositions. The shows, especially in the early evening, usually see row after row of parked cars on the ramps. Opinion on the argument of whether a drive-in draws off patronage from the regular house is sharply divided. The argument most commonly brought forward is that the drive-in enjoys the kind of patronage that would not ordinarily visit a motion picture theatre anyhow and that, being an added convenience located on a "local" highway, where clusters of restaurants and bars usually can be found, it stimulates business. On the whole, the open air theatre seems destined to become a permanent part of the American scenery. MOTION PICTURE HERALD, NOVEMBER 22. 1947 21