Publix Opinion (Aug 17, 1929)

By HAL HALPERIN Vice President and General Manager of “Variety” Re-printed by Courtesy of ‘Variety’ EDITORS NOTE: Since the organization of Publix nearly four years ago, one definite policy outlinfed by its president, Sam Katz, was k Lilt should be no boasting, no so-called “trade-paper publicity,” no catering to any portion of vanity that might justifiably be present among th highly successful organization. 4 Publix never sent a story to the trade papers, or his cabinet. But now, for the first time, the story is told. development of so great'an American institution never authorized any statements in regard to its business or permitted personal “publieity’ Variety has been successful in pointing out to Publix the business and human interest the And so the story of Publix, based on actual facts'as Variety has found and carefully authenticated is, for the first time, here told. ESS than four years ago, “Publix” was just a newly coined trade-name for a scattered group of theatres. ? y loday, Publix is the pride of the amusement industry, and the guarantee to the public of the world’s highest standards in ente zation of future hope for an industry that progressed from a disreputable gypsy origin, into an honored and civilizing force tl from the tiniest Crossroads hamlet theatre to the splendor-castles of the mightiest metropolis. a a Publix, today, is the leading theatre-operating organization in the world. The public esteem and industrial prestige it holds, has High ideals of showmanship, untiring labor, and a huge investment in the confidence of the public brought it about. ae For all this, one man is responsible. That man is Sam Katz. Appearing on the national scene of show business when it was in the in operation of theatres, he’supplied the dominant force and imaginative lea economic status and high public prestige the industry enjoys today. Because Publix is the flower of the industry as the public knows it, and supports it, the industry precarious stage of its first development, both in prod: dership that carried his associates, and even some of hi So de now turns to Publix for gui ia! re] The organization he leads is made up of men who have modeled themsélves after him, and who have become prototypes by the logic of a man whose habit is suc-}| cess. Rubbeéer-stamp management) and yes-men are conspicuous by | their absence in Publix—a con| dition. which stands unparalleled | in the amusement industry. His associates love him. His business operates in appearance and in effect, like a bank. There is none of the flamboyant atmosphere of Broadway or hysterical show-business temperament in his make-up, and there is none in his! organization. He is quiet, orderly, | and systematic, dependable, and his business is that way. A business district grows up and town booms where he puts a Publix theatre. The character of Sam Katz, so deeply implanted in Publix, has won the publie confidence. | All of this reduces itself to eco nomic soundness for Publix, and likewise for all that touches Publix in civic or national activities. } The Herculean task of accomplishment that today is summarized in the word “Publix” will doubtless go down in history as a five year labor. However, Publix’ intimate group of associates know it to be a task that ante-dates its official be ginning by at least twenty years, What Publix is today had its real beginning in Chicago nearly twenty years ago, when Sam Katz and his father, Morris Katz, first investigated the possibilities of the motion picture, and, after varied experiences that were successful’ by comparison with what others had achieved, joined hands and operations a year later with the Balaban brothers who operated similar theatres. Ghetto “Nickelodeons” The struggling firm of Balaban & Katz was obscurely active with its pow: 2 tiny group of “nickelo-deons” in the ghetto district of ' Chicago, just as were thousands of similar theatres in that ¢ity and elsewhere. The others, though, were barely able to do more than make a scant livelihood for their owners. The waste and duplicated effort of those days, due to experimentation and ignorance, was appalling, and a constant menace to theatres, producers and distributors alike. Carl Laemmle had a few theatres, as did William Fox, Adolph Zukor, and others. In those days of camp chair seats and converted store-theatres, cinema theatre operation was a precarious business that required boundless energy and unremitting effort. Small wonder that Messrs. Zukor, Lasky, Fox, Laemmle and others seized the opportunity to create entertainment, rather than retail it, when the opportunity came to Katz, and hie partners, Barney, LLL LNT narnia iitiatn cette Abe, Max and John Balaban, however, were firm in their conviction that theatre operation could some day hold a higher place in the confidence and support of the public, and that the countless obstacles that all but overwhelmed it, could | and would be surmounted. ; The influence of the Balaban | Brothers in the partnership of | Balaban & Katz was one of tre-| mendous power that was fore-| ordained to work for progress in the development of a great! theatre company. Through the! intervening years this influence | has been strengthened. It was! Barney Balaban who, in the early days of the organization, by his work on theatre refinements, refrigeration, organization of construction work, meticulous knowledge of every detail of theatre construction and operation, was able to bring to Publix an ability that could not have been secured elsewhere in the world. It was A. J. Balaban, known as the “master showman,” probably the most acute mind in the industry today in the kniowledge of show values, who was able to build up the entertainment that by its appeal to the public taste spelled success for the firm of Balaban & Katz. His recent entry into the scene in New York as an associate of Mr. Katz in the Publix operation is one of the many progressive steps that is characteristic of Publix. To that end they labored to give their patrons the utmost in entertainment. They were also willing to add as much luxury and convenience as that period could afford. It seemed ages, however, before they found Chicago even mildly interested in their crowded little nickelodeons. They did succeed, though, in creating a public confidence to such an extent that those people who could be induced at all to go to the movies, were favorably disposed toward Balaban & Katz. Cleanliness of physical property, truth in advertising, ethical conduct in public and private, and ceaseless vigilance and ingenuity to insure the best possible entertainment, brought it about. Long before hesitant bankers advanced the unheard of sums} that were later to build their gorgeous “Central Park Theatre,” their reputations were firmly fixed as exponents of a new and desirable school of reliable tive showmanship. ey Eiht Pe: fand ettec-| | Overcame Hazards It was Katz who first proceeded ‘upon the principle that show busi ness could be so institutionalized, as to overcome many of its hazards, such as uncertain entertainment quality, unpleasant environments and ‘the taint of carnival showmanship. His long hours as an intensive observer of audiences taught him also that showmen generally were largely incorrect in the belief that the business was entirely dependent upon indefinite psychological whims. As long ago as 1914, he was firm in the conviction that a square deal to the public was the only sound economic basis for progress. This he interpreted as recreation, combining physical comfort during the entertainment, with excellence of the entertainment itself. He was! always careful to provide both and was likewise vigorous and intelligent in telling the public of his ogy Pong please them. ¢ Oentral Park Theatre built in 1917, was America's first de luxe theatre—plushseats, refrigerating plant phony orchestra, elaborate stage shows and screen entertain. ment. Also it was the first large capacity theatre. It had 2400 seats against the 1200 rickety its Jargest rival could ter, constructed with a the future, is | | still a de luxe theatre of beauty, charm, and modern equipment that compares profitably with even its newest rivals. The Central Park Theatre was followed by the “Riviera” two years later. Then the “Tivoli” a year after that. The “Chicago,” “The Uptown,” “Norshore,” “Orjental” and others of huge and splendid proportion followed in almost annual succession. Balaban & Katz name was the established guarantee that brought high popularity to each project. The public had been convinced by continuous demonstrations that whatever choice offerings the entertainment world afforded, could be had at a Balaban & Katz theatre. In addition, they enjoyed at the popular pricea huge seating capacity made possible, all the courtesy, convenience and beauty that a thoughtful and well trained organization could provide. Small wonder theatredom turned towards Chicago and asked the why and wherefore, Film Production To safeguard the investments of his organization, Mr. Katz had already turned his attention towards film production and distribution. He had to be sure of a steady flow of high standard film produc. tion, made under normal) circumstances that would hot impose a prohibitive: cost upon the theatre. Thus he became a guiding spirit in organizing and administrating the affairs of First National Pictures, Second National Pictures, Educational Films, and other product. His success here brought other forward looking theatre operators to him for counsel, advice and cooperation, This rapidly gave birth to a theatre ~ service organization known as Balaban & Katz-Midwest Company, also under the leadership of Mr. Kats. Its spectacular rise to recognition advantages Operations chasing power resulted, with higher entertainment. . The | & Ww tres ip public and Ge in D ary s