Showmen's Trade Review (Oct-Dec 1948)

By Joch MacGreyor The British film industry will be pleased to see the end of 1948 — a frustrating twelve-month for producer, renter and exhibitor alike. Politics have played too great a part for healthy development. The ad valorem duty, unrealistic quota and rising costs have made planning nearly impossible. Put on as a panic move without consultation with the trade, or consideration of the consequences, the duty has had disastrous results and helped nobody. It retarded the development of the U. S. market for British films. The producer found himself faced with the conflicting tasks of cutting expenses and stepping up output to meet the requirements of the home market. Some top-budget offerings were too far advanced for economies to be effected. Several major American renters started the year without product. Others were rationing releases; some actually still had new pictures when the duty was lifted in June. Producers Ash For and Get Quota The bell ringing at the end of the duty was short lived and the argument whether Johnston or Wilson had won was settled conclusively by the terms of the new quota act. All sides of the industry had been asked for their suggestions, but the producers' plan formed the basis of the bill. For the first time, it was evident that Board of Trade President Harold Wilson was showing this body preference at the exhibitors' expense. The producers plugged for 50 per cent and promised to provide the films. The government leaped at the chance of saving dollars on films and exhibitors found themselves forced to show 45 per cent British while Rank volunteered to present 60-65 per cent. Only in highly competitive areas do independents get concessions. Showmen were worried. Box-office receipts had fallen and now they feared quantity would replace quality. They resented the producers telling them how to run their halls and being compelled to book arty pictures which their patrons disliked. Veteran exhibitors who have studied their customers for years, thereby building a solid business, did not see why they should help producers who were more interested in personal prestige than in mass entertainment. They need no law to book Herbert Wilcox's pictures but no quota act can mike patrons sample "Vice Versa." Rentals Become Bone of Contention Closely aligned with quota is the problem of rentals. For months, Rank's terms have been disputed. A very generous settlement was all but signed. At the last minute, however, pressure was brought on him and the problem handed to the producers' association. Rank's plan was far-sighted. His terms would have attracted exhibitors to play more than they need, thereby popularizing the product and stars. Already on his circuit, his own offerings take more money than any other. All this has put circuit dates at a premium. On the Rank group, they are hard to get. Co-billing was the best the majority could anticipate and prompted MPAA's Eric Johnston's "All American" decree which is not a complete success since all renters are not bound. Associated British Cinemas are pretty well dominated by Warners and MGM who share the dates not required for quota. In consequence, several renters are concentrating on secondary circuit houses and leading independents for an outlet rather than hold back product pending possible circuit deals in 1949. Rank is further tending to streamline his circuits with his top efforts going to both Gaumont and Odeon cinemas where they are not in direct competition. This further boosts his product's take. A proposed government scheme to divide the three circuits into Sir Ralph Richardson and Michele Morgan co-star in 'The Fallen Idol,' which is to be distributed in the U. S. under the title, 'The Eyewitness.' Fredric March plays the name role in 'Christopher Columbus,' the Sydney Box production in Technicolor for J. Arthur Rank's Gainsborough Pictures. Valerie Hobson and James Donald are the stars of Constellation's 'The Small Voice,' Anthony HavelockAllan's first independent production. A Section of SHOWMEN'S TRADE REVIEW 95