Home of the Brave (United Artists) (1949)

ERICA HAIL 4 APicmemtuSw/ AN IMPORTANT STATEMENT OF POLICY "HOME OF THE BRAVE" was tested in ten widely separated situations with varying cam¬ paigns before its national release. The basic policy on handling this picture has clearly evolved from these test engagements — New York, Chicago, San Francisco, Los Angeles, Boston, Portland, Me., Dallas, Houston, Seattle and Denver. We urge that you give the following your most serious consideration before planning your own campaign. Results at the box-office have been sensational — including the terrific southern engagements in Dallas and Houston! Careful adherence to the campaign proven in these ten test runs will inevitably pay off in your town, too! 1. "HOME OF THE BRAVE" should be sold as entertainment plus! Stress should be placed primarily on its daring, that it is the first mo¬ tion picture of its kind, that "it's dynamite", that "It's a picture with Guts!" Avoid stamping the picture as a "message" film that is "good for you". In contacting editors or organizations — where the danger of such labeling is greatest — emphasize as convincingly as you can that the film will do the most good, by being seen by the most people, if its entertainment qualities and its plus values are stressed. Special groups will be interested in the theme of "HOME OF THE BRAVE" for their own special reasons. Encourage this enthusiasm and help channel the excitement to their memberships, their friends, their publica¬ tions, their newspaper, social and political contacts. This, however, should be done on the inside, pointing toward getting people to the box-office. BUT AVOID THE CAPTURE OR ADOPTION OF THIS PICTURE BY ANY ONE GROUP WITH ANY SPECIAL INTEREST! There will be many pressures upon you for the "adoption" of "HOME OF THE BRAVE". This enthusiasm is natural. It is valuable. But keep it within the sphere of your overall campaign. 4* The advertising campaign presented here has achieved tremendous results wherever it was used. We strongly urge that you start with the teasers on page 10 and follow through with the display ads as shown, limiting your¬ self only to the confines of your maximum ad budget. 5* The publicity material is designed to com¬ plement the widespread national newspaper publicity that has been appearing consistently for months. The daring, controversial nature of the picture sets this apart from the usual playdate and every effort should be made to get maximum space not only on the movie pages, but in columns, editorials and other sections of the daily press. 6 . The exploitation campaign has been care¬ fully edited to include only those approaches which have proven effective in the test en¬ gagements. Be sure to give your campaign an early start in order to get the fullest value of the exploitation devices suggested in this manual. 7 . Seemingly the most complex factor is your approach to the Negro sector of your patron¬ age. Actually, by experience, even in the Southern test runs, this question has been re¬ solved very simply and very effectively. Just follow these simple rules-of-thumb, applying your own specific knowledge of your own situation to each of them! IN NON-SEGREGATED SITUATIONS, the most intensive campaign should be directed to the Negro citizens in town since there is obviously a strong attraction in the picture for this specific group. As a result of such a campaign you can expect a tremendous increase in the proportion of Negro patrons, but in no in¬ stance has this developed any adverse com¬ ment or reaction among white audiences. Material and suggestions for such a campaign among your Negro population has been spe¬ cially prepared for you on page 8. IN SEGREGATED SITUATIONS the main em¬ phasis should be placed on the entertainment values as presented in the ad campaign. Spe¬ cial attention should also be given the Negro population in Negro newspapers and through window cards and handbills where the house policy provides for segregated house sections or special midnite showings. IN ALL-WHITE SITUATIONS the campaign as presented on these pages is self-explanatory. Here, again, the exhibitor's first-hand knowl¬ edge of his own area should be the dominat¬ ing factor in determining the scope of the campaign. We have attempted here to present honestly and forthrightly the methods and means where¬ by you can fulfill your primary function as an exhibitor — to make a maximum profit with your showing of "HOME OF THE BRAVE". We feel sure you will be eminently successful. Copyright MCMXLIX by United Artists Corp., New York, N. Y. Page Three