Theatre Catalog (1949-50)

A Peek Into the Crystal Ball” Even in the midst of the holiday rush, when exhibitors are putting forth their best efforts to cash in on the entertainment needs of weary Christmas shopping crowds, it is worthwhile to pause a moment to consider the future. Just what will the cherub of 1950, at the moment strutting across theatre screens to extend the best wishes of the management to patrons for a happy und prosperous New Year, bring to the theatre itself? Aside from the omnipresent question of boxoffice grosses, will the theatre change appreciably in its physical character? The role of soothsayer is always an uncertain and dangerous one for even the most experienced and intuitive veteran showman to undertake, but, armed with careful studies of 1949 developments and an undying confidence in the Gods who govern the industry, we fling ourselves on the speculative treadmill. First of all, it is our belief that drive-in theatre construction has by no means yet reached the saturation point. A few crotchety prophets proclaimed with self-righteous assurance last year at this time that the drive-in boom would soon collapse. The flocks of new ozoners erected and successfully operated during 1949 and those still in the process, however, have proven them wrong beyond any shadow of doubt. Nor do we foresee the smouldering last embers of this entertainment wildfire in 1950, although its pace may slacken somewhat. The drive-in has woven itself securely into the American legend, and, while its numbers have multiplied in “rabbit-like” fashion, there are still many localities untouched where it can turn a good dollar. The 12 months ahead, we venture to say, will mother a host of new drive-ins with bigger and better landscaping, sign towers, screens, recreational facilities, etc. Secondly, since there appears to be no letup in the furious pace at which Detroit is turning out that beloved Nemesis of free and easy pedestrian movement, the automobile, it is more and more likely that theatres in relatively congested areas will either have to find larger accommodations for patrons vehicles or suffer mounting losses. This automotive tidal wave of constantly increasing proportions will, we predict, prompt more and more new theatres to be built with much larger parking areas or incorporated into community shopping centers, where ample space will be available for every potential theatre patron. It is not imprudent to say that the automobile is probably a far greater threat to boxoffice receipts than is television, so a vigorous campaign will be made to conquer it in the months which lie ahead. Thirdly, we predict that an increasing number of exhibitors will come to look upon television as an ally, rather than as a dreaded foe, and take steps to provide television lounges for its regular showings, as well as keeping abreast of technological developments which will enable them to follow the lead of others in presenting special events on their screens. Lastly, we expect to see more remodeling of older houses and greater concentration in new construction on providing the acme in luxurious appointments for the patron’s comfort and convenience, despite the high cost of materials. By this time even the most lackadaisical exhibitor has surely awakened to see the handwriting on the wall—the moviegoing public is becoming constantly more finicky about the physical assets, as well as the film fare, offered at the theatres it attends. Houses which persist in retaining secondrate equipment simply will become extinct in time. In short, theatres which have not already gotten on the modernistic “catering-to-the-patron” bandwagon must do so or perish by the wayside in the face of growing competition from sporting events and other forms of entertainment. Whatever expected developments or surprises 1950 will bring, our faith remains unshaken in the theatre’s ability to maintain its position as the favorite place of family entertainment attendance. Its future belongs to all of us, and its careful nurturing is the personal responsibility of every theatreman, be he architect, builder, or operator. “The above Editorial was originally carried in the PHYSICAL THEATRE DEPARTMENT of the weekly motion picture trade paper EXHIBITOR, in the issue of December 14, 1949; but as this annual edition of its sister publication THEATRE CATALOG renches final press date several months later, its views are still as pertinent and timely as they were then. This Editorial is reprinted with considerable pride. 164 KAPLAN and SPRACHMAN 305 Dundas Street, W., Toronto Founded: 1921. Member: Architects Assn. of Nova Scotia, New Brunswick Quebec, Ontario, British Columbia. Contributed: THEATRE CATALOG—1942 1945. Theatres: BIRCH CLIFF, Toronto, Ontario (1949); MOUNTAIN, Hamilton, Ontario (1949); TOWNE CINEMA, Toronto, Ontario (1949); DOWNTOWN, Toronto, Ontario (1948); ELGIN, Ottawa, Ontario (1948); ELMDALKE, Ottawa, Ontario (1948); ESPANOLA, Espanola, Ontario (1948); MINDEN, Ottawa, Ontario (1948); NORTH BAST DRIVE-IN, Toronto, Ontario (1948) ; NORTHWEST DRIVE-IN, Toronto, Ontario (1948); ODEON, Sturgeon Falls, Ontario (1948); PARAMOUNT, _ St. John, N. B. (1948); PARAMOUNT, Halifax, N.S. (1948); PARAMOUNT, Port Arthur, Ontario (1948); SKYWAY DRIVE-IN, London, Ontario (1948); SKYWAY DRIVE-IN, Windsor, Ontario (1948); VAUGHAN, Toronto, Ontario (1948); CENTURY, Sudbury, Ontario (1947); GLENDALRE, Toronto, Ontario (1947); NELSON, Ottawa, Ontario (1947); SKYWAY DRIVE-IN, Stoney Creek, Ontario (1946); CENTRE, Chatham, Ontario (1941); ODEON, Kingston, Ontario (1941); ODEON, Sarnia, OnGages VOGUE, Vancouver, B.C. SOC RSW CRITE, SECORD and SAYAGE 18 Toronto Street, Toronto 1 Founded: 1919. Member: R.A.I.C.; 0.A.A.; Toronto Chapter, O.A.A. Contributed: THEATRE CATALOG—194849. Theatres: ODEON, Newmarket, Ontario (under constr.); ODEON, Strat= ford, Ontario (1949); ROXY, West Hill, Ontario (1949); ROXY, Acton, Ontario (1948); ROXY, Brampton, Ontario (1948). POKORNY (See GIBSON and POKORNY) SAVAGE (See MOLESWORTH, SECORD and SAVAGE) SECORD (See MOLESWORTH, SECORD and SAVAGE) SPRACHMAN (See KAPLAN and SPRACHMAN) QUEBEC FREEDLANDER (See H. E. GREENSPOON and P. FREEDLANDER) GREENSPOON, H. E. and P. FREEDLANDER 4151 Sherbrooke Street, W., Westmont Associate: J. Dunne, Architect. Founded: 1933. Member: Province of Quebec Assn. of Architects; Ontario Assn. of Architects; New Brunswick Assn. of Architects. Contributed: Architecture; Painting and Decorating; Architectural Forum; THEATRE CATALOG—1948-49. Theatres: OTTAWAN,Hawkesbury, Quebee (1949); BIJOU, Montreal, Quebec (1948); CHAMPLAIN, Montreal, Quebee (1948); CREMAZIE, Montreal, Quebec (1948); MERCIER, Montreal, Quebec (1948); ELECTRA, Montreal, Quebee (1947); EMPIRE, Montreal, Quebec (1947); ROXY, Coaticook, Quebee (1947); ROXY, St. Agathe, Quebec (1947); VILLERAY, Montreal, Quebec (1942); KENT, Montreal, Quebec (1941); VERDUN PALACE, Montreal, Quebee (1941); CENTRE PALACE, St. Charles, Quebec (1940); SEVILLE, Montreal, Quebec (1940). THEATRE CATALOG 1949-50 ee