Motion Picture Herald (Oct-Dec 1951)

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jft PatfJ Tc ^ecPfHije the Value 0^ News of the purchase of stock in Universal Pictures by Decca Records should be hailed by theatre managfers, because — for the most part — the more interlock there is between these two Helds of invention, the better for the exploitation of motion pictures. MGM records are doing a good job, tieing in with playdates at the point of sale. We sometimes wonder if theatre managers quite realize how effective this tieup is, or can be, with proper understanding. Maybe you don't know how completely this merger of interests really is ? Records sell films, and vice versa, without subtracting from either, and that’s where the accomplishment lies. If one took a loss at the expense of the other, we wouldn’t write this editorial note, for your attention. But actually, there is growth on both sides, when films and recordings play together. They say that when Jose Iturbi signed for one of his early pictures, he agreed to take the recording rights as his fee, and has since collected $265,000. They say that the sale of record albums for “South Pacific’’ has grossed five times as much as the stage play. They say that Mario Lanza has made more money from the sale of his record albums than he has as an MGM star. Today’s New York papers carry large ads for Columbia Records album of music from “An American in Paris,” which we predict will outgross the New York runs. We believe that the interlock between films and recordings should be further strengthened, by proper advertising approach in both fields, to contact the opposite number. Theatre managers should be sent to their music dealers, and vice versa. It takes some pushing on both fronts, and neither can depend on gravity. Major film companies have found out that there is a merchandising dividend waiting, on Main Street, through cooperation, but record companies apparently still believe they are in a separate business. The sooner they wake up, the better for both parties. We can’t do all the bell-ringing, to sound the alarm on both sides of the street. CARUSO THE GREAT When "The Great Caruso" opened at the Radio City Music Hall early in the summer, not many in film industry, nor even those directly concerned, knew in advance that it would break all box office records in New York's largest and finest theatre, or roll up a gross of $1,300,000 in this one engagement. And a lot of people were also surprised when "The Great Caruso" was great, in box office appeal, in small situations from coast to coast, and continued to break records in every kind and type of theatre. And it did the same thing overseas, from Johannesburg, South Africa, throughout Europe and across the world. People hadn't forgotten Enrico Caruso, after all. Now, Arthur Pincus of Loew's International, tells us of the sensational showmanship contest for the picture, conducted in 15 South American countries, with 45 firstrun theatres competing. The prize winner, selected by theatre audiences, wins "the Mario Lanza Scholarship" at the famed La Scala Opera in Milan, Italy. South America went wild; it was the greatest thing of its kind in history. The prize-winning campaigns will arrive as entries for the Quigley awards, and the whole story will be told in the Round Table. Incidentally, MGM has five current pictures that will gross fifty million dollars. Loew's, Inc., has paid its I 18th consecutive dividend, and a marketwise person told us that security holders who owned Loew's stock have done better, over the years, than with equivalent shares of U. S. Steel, which proves something in favor of amusement stocks. ]Ve like those teaser ads for “Hotel Sahara" which are clearly labeled “This is a Teaser” by the bright young men in Max E. Yoimgstein’s advertising department at United Artists. That really sets it off, to explain the teaser idea and sell the picture. C There’s a nice glow of satisfaction in Universal’s spread in last week’s Herald, the invitation to “look ahead with U-I” at upcoming product. It takes us back to older days of showmanship, when theatre managers found enthusiasm and inspiration in the anticipation of new product, from trade-press inserts of this character. We believe that the germ of showmanship must be planted in advance knowledge of new pictures, and for your audience, too, for they like to know what’s coming, with the information keyed directly to their home theatre and its playdates. If you would sell, then sell ahead, and don’t risk the too-short approach, or the too-fast playoff. A clear demonstration of genius •1 comes from Detroit, where such phenomena have been observed in the past, what with the cooperative movie contest of last year and some others of note. But now Irving Goldberg, Detroit chairman for the continuing Movietime campaign, comes up with a swell idea, a citywide, cooperative theatre gift ticket book, containing admission coupons good in any Detroit theatre, anytime. Folks can buy such books as gifts for others, or for their own pleasure, and not feel tied down or committed to any particular blind choice. It’s late in the season, but perhaps not too late, for COMPO to design and have available coupon ticket books for all future Movietime benefits, that could be sold in small lots or in larger, specially printed quantities, for use in cities and towns where there were any number of competitive, but cooperative theatres. The old notion of dogeat-dog competition is going out the window, and it’s good for motion picture business at the point of sale. Our name-calling and intra-industry troubles have done more to drive people away from theatres than all the “B” pictures or double-bills. The public wants to think we’re in a nice business of selling the best entertainment in the world. — Walter Brooks MOTION PICTURE HERALD. NOVEMBER 3. 1951 41