Variety (Dec 1939)

Record Details:

Something wrong or inaccurate about this page? Let us Know!

Thanks for helping us continually improve the quality of the Lantern search engine for all of our users! We have millions of scanned pages, so user reports are incredibly helpful for us to identify places where we can improve and update the metadata.

Please describe the issue below, and click "Submit" to send your comments to our team! If you'd prefer, you can also send us an email to mhdl@commarts.wisc.edu with your comments.




We use Optical Character Recognition (OCR) during our scanning and processing workflow to make the content of each page searchable. You can view the automatically generated text below as well as copy and paste individual pieces of text to quote in your own work.

Text recognition is never 100% accurate. Many parts of the scanned page may not be reflected in the OCR text output, including: images, page layout, certain fonts or handwriting.

VARIETY EXPLOITATION Wednesday, December 27, I939 FILM SHOWMANSHIP 'BagdaiT Also Have a Commercial Licensing Hookup Commercial licensing field on pic- tures, originally developed by Kay Kamen and Walt Disney, grows more competitive with Bud Fox En- • terprisea reported planning the sale of licenses to manufacturers on Thief of Bagdad,' Alexander Korda production for release through United ArUsts. the Kamen-Disney organization is presently In the .field on 'Pinnochio,' while. Paramount set up a department for licensing six months ago on 'Gulliver's Travels,' followed by Metro for 'Wizard of Oz' •nd 'Gone With Wind.* 'Gulliver' will return in commer- cials a net of at least $100,000, it is estimated. Picture cost $1,400,000, Including prints, and a budget of $225,000 for advertising has been set up. On 'Snow White,' Kamen-Disney netted a total of $498,000 on manu- facturing licenses. Split is 50-50 be- tween Kamen and Disney. Out of deference to Paramount •nd its release at this time of 'GuUi- ■ver's Travels,' Arthur Mayer and Joe Burstyn, who distribute foreign- mades in this country, have with- drawn The New Gulliver,' from cir- culation in the domestic market. This is the Russian version of 'Gulliver.' Their U. S. rights to this foreign- made expire In 1942. Par has warned Pocket Books, Inc.. publishing company, that it must cease all reference to Para- mount and Max Fleischer in its edi- tions of 'GuUiyer's Travels,' which Is In the public domain. Although any mention of Par and Fleischer might be regarded as of publicity value, Par takes the position that the Pocket Books people are trading upon the picture, version of 'GulU- ver.' -By JoIm C. Flmn ORPH., OMAHA, GOES TO YAUDFnJ«;PARSTR.PlX Omaha, Dec. 26. Trl-States Theatres have switched Paramount, 3,000-seater, from stage- ■creen policy to 'big pictures' policy •nd will keep house open for the liext few months at least, according to R R. Cummlngs, district manager. An acknowledged white elephant because it Is off the beaten, path, the Paramount has been open inter- mittently for the past several years. Trl-States recently unshuttered on a ■tage policy with so-so results. Idea is to play best pix there at 40c top for a week and then move product to the Tri-States' Omaha in heart of main business section for another week. Stage shows will be booked to the Orpheum, another 3,000-seater also operated by Tri. States. New lineup of managers moves Don Allen, Omaha manager, to the Paramount. Don Shane, formerly assistant at the Orpheum, goes to the Omaha, and Bill Miskcll, Or- pheum manager who has been doub- ling at the Par, will return to his regular post. Sprinkled through the holiday mail expressing good cheer, encourageme.it and gratitude for the national blessings of peace and good will on part of the earth, anyway, there have been letters from theaH-e operators who have taken time oft to discuss angles of film show- manship. The fact that these communications bear postal can- cellations from nearly every state in the union gives their contents imique value. In a day and age when Business leans heavily on national surveys,.ballots and polls, percentages of those who do and those who don't, those'who are for and those who are against, there is something refreshing in the informal replies to a brief, but earnest, recent letter of inquiry as to what was going on in the far-flung film industry. 'As I understand It,' declares one correspondent, *I am Just blowing off, steam and not writing for publi- cation. You are responsible for any printed articles, and not I.' That seems a reasonably accurate state- ment of the case. Thereupon the writer launches ' Into discussion of various phases of current trade practices, or clearance and admission price protection. The subject never was handled with clearer analysis. From another theatre- man comes an expression of deepest concern as to the ability of Hollywood producers to adjust their budgeU to cope with shrinking film rentals from Europe and, at the same tim'e, preserve entertainment quality which will keep American boxoffices at the peak demands. Another writer declares that unless exhibitors prompt- ly abolish the abuses of giveaways and premiums and re-emphasize the film end of their programs as most important and essential, the next move will be to offer the theatres themselves as bingo prizes. And from the west comes the plea for fewer and better pictures, and quick, too, because so many well known film stars have ruined themselves with the public through radio appearances in which they have shown so little talent that their drawing values are fast disappearing. And in the midst of dire misgivings and distraught expressions ccmes also from the head of a large and expanding circuit a statement of bright optimism as follows: 'So confident am I that the Industry will continue to go forward and will continue that growth which has marked it up to the present time, that my company is now committed to an extensive building program—In fact, the largest in its history. My associates and I could exhibit no more convincing proof of our confi- dence as to the future of motion pictures.' From such a widespread source of film topics, ably discussed, outstanding conclusion of theatre operators .is.. the conviction, almost unanimous, that the time is at hand for drastic revision of distributor-exhibitor rela- tions. The issues no longer are confined to methods of sharing the public's boxoffice dollar. It goes deeper than that, to the problem of retaining public interest in films. CHOICE FLAmG-TDIE FBOBLEU *At present the situation is very unhealthy,' a promi- nent exhibitor writes. 'With the picture costs mount- ing, the distributors keep increasing the number of pictures to be played on percentage, and turning out a lot of quickies that exhibitors have to absorb some- how or other. The result is that they (exhibs) have to use their good playing time to exhibit mediocre product, as well as poor product, and drive the patrons from their theatres. 'If an exhibitor could only play the type of picture that his patrons want he would be in a position to pay more for the product and even give it a longer run so. that he would benefit as well as the distributor. This means, as you can readily see, the voluntary or com- pulsory adoption of the Neely bill prohibiting block booking. This is not purely theoreticaL I am encoun- tering the same difficulties in my own operations daily. Only recently we had to play pictures like 'Fifth Ave- nue Girl,' 'In Name Only' and 'When Tomorrow Comes,' and give them preferred playing time because we had committed ourselves to playing a certain number of percentage pictures. The result was an economic loss for us. The Industry as a whole would be belter off had 1 been able to use that playing time for some other pictures that were not under contract and the receipts would have been better. There would have been more money after paying for the pictures than was left where I played the others, and the film company would have received more money for the rental of the pictures that would have played In place of these. 'Of course, with the system of selling Individually, there would be the Inducement to make more worth- while productions to gross more at the boxoffice and a penalty imposed on poor productions because they would not be bought by the exhibitor. The result would be greater interest In motion pictures by the public and more of its entertainment dollar spent for motion pictures than Is at present 'If the entertainment value of pictures Is increased as above stated, in my opinion there would be no ne- cessity for changing the scale of admissions, but If the present practice continues and the Industry continues to give the poor quality of pictures that is being deliv- ered now, there Is nothing left for the exhibitor to do but reduce the admission scale in order to tempt the public to go to the boxoffice.' CLEAllAIICES Typical of numerous expressions on the problems of clearances between first and subsequent runs (a sub- ject soon to be revived for discussion when the U. S. Government anti-trust suits go to trial In the spring. Is the following: 'Outside of the fact that the exhibitor Is In for a bit of intensive selling, merchandising his feature, serving the community, providing comfort, security and con- venience, as well as escape into the land of make- believe, there is a situation In selling and distribution which is being consistently neglected by the producers and distributors, and that is the lack of pride In' their product—and I don't mean that part of their product which is machined out for the second half of a double bill progran^. 'The out-moded method of selling all the contracts In a territory over a period of 90 days is responsible for a practice which ia surely but steadily undermining the admission price structure of the flrst-run theatres. "There is no rhyme or reason for a picture deserving of 'A' house 'A' time to be released to a second run In any situation under BO days, and the third, subsequent and suburban runs in proportion. 'Consider, for instance, the engagement of a top- bracket picture for a week's run In the key town of a territory. _From $700 to $l,50b Is sperjt on exploitation, 'niis'is done 52'tirnes" tf yearr90% of the" selling goes to the star, title and producer; a single- salvo with very little cumulative beneAt. How can there be cumulative benefit when by Thursday of the playing week they are already loading the exploitation guns for the fol- lowing week's broadside? "The producer-distributor accepts this exploitation imbllnkingly,. perhaps here and there offering a co- operative campaign if the original budget Is hiked up 507o or doubled. He repays the first run campaign, expenditures by dropping these same pictures into Inferior theatres at admission prices not half that of the first run houses anywhere from 20 to 45 days, • period in which a second run downtown and several suburban runs will have played the picture two days only, possibly three, with the selling expense one-tenth that of the first , run and mostly of indexical character. 'From there It goes on to the dumps, and in most territories within a period of 90 days of release, all runs have been satisfied, with a couple of campus the- atres and non-theatrical institutions thrown In for good measure. The producers want more money. Let them take their million or $2,000,000 productions and handle them Intelligently without seeing how many nickels and dimes they can get in before the prints wear out or notes fall due. 'And speaking of prints, their present allotment would be cut 25% by using horse-sense in regulating the release and booking of top bracket product.' W«isfeldF« Theatre h Close Tieup With Radio Station WEM? Milwaukee, Dec. 29. A tie-up between a radio s'.atl'on and a film theatre prevails here that may be unique In the nation for Itj closeness and many-sided character. Relationship In question exists bc< tween the Riverside theatre, man. aged by Ed. J. Weisfeldt, ,ind ."station WEMP, managed by C. J. (Chuck) Lanprier. Both the show shop and the kilocycle cabin are situated In the same building in downtown Mil* waukee. Amateur shows In the theatre art broadcast on Monday nights. 'What'i the Answer?' a quiz show in tht theatre, goes on the ether Thurs- day nights from 9 to 9:30. 'Stag* Door Charley* Is a WEMP program' consisting of Interviews with newly arrived actors on Fridays (the day the theatre week begins) and thea« tre organ is used for daily recitals from 10:30 to 10:45 a.m. Whenever the theatre has a band attraction tht music Is broadcast over WEMP, Talent from the theatre Is frequently taken to Charlie La Force's Radio Theatre In the Boston Store wheit the daily (11:45 to 12) man-on-the* street type of show attracts an csU* mated 8,000 persons per month. TEXAS PLAYS UP MARY MARTIN'S HOMECOMING DEL MGR. CASHES IN ON A MISTAKE Shirley Temple's First Personal; With'Bluebird' Hollywood, Dec. 26. Shirley Temple makes her first personal appearance in connection With a picture when 'The Bluebird' opens In San Francisco, Feb. 1. Mop- pet has attended banquets and other Hollywood functions, but never walked on the stage to plug a film. In addition to Shirley, Don Ameche, Alice Faye, Henry Fonda, Brenda Joyce, Linda Darnell and Eddie Collins are slated to appear at the Frisco preem. ♦COIOIAIID'S' 75G BALLY Hollywood, Dec. 26. Exploitation budget of $75,000, ex- clusive of advertising, is allotted 'Dark Command,' the Civil War pic- ture at Republic. Idea is to cash in the public interest •roused by 'CJone With the Wind.' Detroit, Dee. 26. After cashing In on poor opening of new nabe here by staging the gala opening all over again, manager Joe LaRose comes up with another nifty. Near his New Harper theatre was the dedication of Detroit's new Denby highschool, a million-dollar structure. So energetic LaRose hustled over cameras to take news- reels and let it be known to the 14,- 000 citizens assembled for the affair that he was going to run the pictures in his house. Plenty of film was ground out with most of the 14,000 pretty sure they were in the newsreels. When films were printed up; however, it was found that the camera was shooting at pace of 16 frames a sec- ond instead of normal 20. Every- body in the film when" it was pro- jected look like halfbacks bound for a touchdown. There was no way of slowing up his projection machines, so LaRose decided to gag the newsreel. He shot in such captions as. ''Vou never- saw so many people in a hurry to get to school.' 'They must be giving away something inside.' The folks who came to see themselves in pic- tures took it big, laughed plenty and never knew that a blunder was be- ing covered up. Free Eats Minneapolis, Dec. 26. giveaways are gaining in local neighborhood Eats ground houses. On heels of free cornbeef sand- wiches for Homewood patrons and free coffee in St Louis Park lobby, the Franklin, another up- town spot, passes out free ham- burgers and coffee to the first SOO customers on Friday nights. House admission is 20c. NSS Will Distribute Par Accessories, Trailers; Losing$25,000 a Yr. Hollywood, Dec. 26. ' National Screen Service will dis- tribute Paramount trailers under deal closed over weekend, and Is taking over nationwide distribution of Paramount sales accessories. Don Velde, who has been in charge of Par accessories, moves over to Na- tional Screen and wherever possible Par personnel in the field accessories departments will be absorbed. Par has been reported losing as high as $25,000 a year on its acces- sories sales. Studio will continue making Its own trailers, National Screen func- tioning only In the distribution. $200,000 DAMAGES IN 2 THEATRE HRES Lake Charles, La., Dec. 26, The Paramount, second largest cinema here, was destroyed by fire Sunday (24), with loss estimated at $50,000 to $60,000. A small afternoon audience left the building quietly after the flames broke out. Origin of the blaze, which began near tWe street en- trance, undetermined'. George Bail- lio, official of the Southern Amus, Co., operators of . theatre, carried to safety the ticket girl who had faint ed In her glass cage outside the blaz- ing foyer. $150,000 Fire Loss Kansas City, Dec. 26, Orpheum theatre building at Par- sons, Kans., destroyed by fire last Tuesday (19). Theatre was part of three-story structure which also in> eluded shops, and entire loss is esti- mated at $150,000. Fire Takes an Encore North Baltimore, O., Dec. 26. For the second time during 1939, fire broke out in the 'Virginia theatre on Dec. 20. Ernest Walters, manager, was trimming a Christmas tree in the lobby when informed of the blaze by the arrival of firemen. Smoke caused minor damage,' The building was damaged to the extent of $30,000 by • fir* last May. Ft Worth, Dec. 26. Mary Martin's heart belonged to Weatherford and ylie versa over thi Christmas weekend. Her home* coming Friday (22) was a p.nrad* ol welcome banners and highjlnki^ hypoing- her preem here In 'Victoi Herbert' (Par).- Photographers from nearby n Worth and Dallas appeared to havt snapped hundreds of pictures of her, and the proudest person in town wal Billy Jones, Negro mammy who helped raise Mary, and has been with the Martin family for 35 years. Sbt posed for a picture, too, with Mary on her lap singing 'My Heart B«- longs to Mammy.' Miss Martin sang at three showl in Weatherford Friday, four in Sau Antonio Saturday (23), and four in Ft Worth Sunday. She sings In Dallas today (Tuesday), then IcavH for Chicago. 101,300 Seats Pledged To Tot of Gold' Campaign Columbus, Dec. VI. P. J. Wood, secretary of the Ohio ITO, announced that a total of 104,300 seats was pledged last week to tho Tums 'Pot of Gold' campaign. MaM meetings were conducted by Wood In Columbus, Cleveland and Cincin* natL A total of 200,000 seats is neces- sary before the campaign can gti under way. Each theatre owner Is to be «• sessed 3c. per seat, a total of $6,00(\ to guarantee payment of double tho Tum's award. It Is understood tbw the campaign wlU commence Jan. ft 'Gnlliver's'Break Detroit, Dec. 29. Sick and crippled children here got the beat on the rest of the town in seeing 'Gulliver's Travels.' Ma« Fleischer gave -the okay to have 0 special, print of film flown into town for showing In seven hospitals to the kids. Showings came a few hours ahead of opening at Michigan, which wasn't bad, since kid parties got plenty newspaper space. Local Variety club loaned its pro- jection machinery for the charity shows and the Motion Picture Oper- ators Union furnished the projec- tionists. WB'S DE. EHRLICH BALLY Groundwork to crash editoriJ pages throughout the country wltn comments on Ita new Edward O- Robinson starrer, 'Magic BulleU, » being laid by Warner praiscry. Picture, based on life of Dr. Enr- llch, Will be given special preview m 30 key cities during January, cyenv being staged principally for those who cuide editorial policies of pr^s*