Variety (January 1951)

Wec1ne0day9 January 3, 1951 Forly*fifth Anniversary pictures Testing, Is Ready to Roll By NATHAN L. HALPERN Theatre television was Just born during 1950. The year began with two permanent theatre television installations in the country, left over from the embryonic year before. The year is ending with 15 permaneht installations, nearly all completed in the fall. From two metropolitan areas, theatre televsion grew to 12. Scattered prograins— -about 25— had been carried via theatre television during the previous year, 1949, all borrowings from home television and available free of charge in homes. From the fall of 1950— in about three months--^75 programs have been oh theatre television. For the first time in theatre television history, exclusive television programs were presented; that is, television programs ayaila bl e only in theatres and not in liomes. Exclusive programs would have to become the main bill of faro in further television developinenls in theatres. As 1951 came into sight, theatre television seemed poised for its first year of. large scale growth, A“ minimum of 200 theatres appieared ready to enter the field. Ambitious theatre television projects were being cooked up, ready for ''serving to the public during the year; Alter: the intial hump was over, theatre television might move fast —as only a boxoffice medium could, once It hit the jackpot with a new 1 y pe of attraction, like the famous Jolson “Jazz Singer,” did for sound, after years of experimenting. . Meanwhile, progress on another theatre teleyision front took place. — the FCC t granted hearings on requests for air channels for the motion* picture industry. These hearings would take place during 1951, probably by spring. Important too, was the creation of a non-profit, , nationwide organization, National Exhibitors Theatre Television Committee, to promote and encburage..all exhibitors in theatre television progress. The past year’s practical experience in theatres before paying audiences has been valuable for the future Of theatre television. It has been demonstrated again and again that audiences are enthusiastic about theatre televised events. The audience reaction to the sports and news events shown on theatre television has revealed the solid basis for the growth of television attractions in theatres as supplements to the basic film product. The immediacy.: of events seems to be transmitted to theatre audiences so that their reaction is different than to films of such things. The audiences arc stimulated into the emotions of crowds present at the events thomselyes. It has been evident at this early stage that promotion and exploitation are too thin in theatre television today to make the medium a regular boxoffice item. 'This stems mainly from the few theatres involved. Considering the large budgets of home television manufacturers and broadcasters — the few sporadic theatre television events are well buried at present in a far portion of the peanut gallery. When enough theatres are in the swim, the shiashing Will cOme to the direct attention of the general public and stimulate interest and boxoffice on a large scale. So will more regularity of programming. E^or the interim, boxoffice tests on most theatre television today are not very'realistic because the mediurn cannot afford yet top attractions and promote them on a boxof-'J fice basis. Even then, most theatres 1 have done better than normal business on m o s t theatre television ! events. When gOpd exclusive the1 atre television attractiohs were f available -- the Chicago theatres ; I carrying top Big 10 football games j I sold out a: few weeks in a row, and j I turned away an estimated 7,000; people one week and 3,000 people the following week. The next step was to develop g 0 0 d television attractions for I j theatres to go alongside good film . attractions, and stimulate public ! interest in motion picture theatre i attendance lip and down the line. ! i The programming directions would ; have to be explored when suffi i cient theatres were installed, and based on public reactions, the theatre television program blueprint ! would emerge. | The ayailability of good attrac1 tions oh theatre television awaits i j, the development of purchasing' power by additional theatre instal-] lations, the imagination of creative ■ people and aggressive exploitation j by showmen. On the physical side ] there remain equipment improve! merit problems, material and facili j ties shortages caused by . defense ’ requirements, progress in techni!. cally better television pictures, arid incorporation of color television. | Through the fogs that enshroud all new fields at the start, theatre . television was being born. The , year 1951 promises that theatre television will take off its baby , blanket for its expected entrance I into the television sweepstakes. Two questions have popped up in my mind from time to time ever since 1 was a poster clerk in Australia. I have never been able to ansvver these questions to my own satisfaction, nor do I attempt now to answer thepi for the reader. The first question pertains to the ambivalence of Us movie folk, and the second relates to Alfred E, Pair bur fraternal attributes. Why is it, I have often asked, in time of crisis do we find burselves so closely bound together in one little family; and bri the Other hand, in the normal course of events, do we find ourselves sponsoring issues rather than unity. Why is it, also, that at all time!( we find affinity fOr everyone in our business whether he be in Brazil, B e l g I u m , Johannesburg, Des Moines or New Bedford, It has been my privilege tc know showmen in every part of the world, and fundamentally every showman manifests the same psychology. Perhaps this is why we can rightfully say that our business seems to be directed with the same dynamics wherever it is. On the other hand, despite this apparent kinship arid community of thinking there is much disparity apparently between the various branches of our business. Exhibitors all over the world nurture attitudes about distributors, and distributors in turn develop attitudes about exhibitors. Not until the Council of Motion Picture Organizations came along did We crystallize the long overdue matter of common interests which have to be cultivated if we are to meet the many problems confronting us with any degree bf success. The sooner pur Industry in this country realizes that Our welfare must be integrated with the welfare of the industry throughout the world, the sooner we will be able to aequire the type of stability that will insure us against inevitable crises. Now that I am actively engaged By ALFRED E. DAFF I in the distribution of pictures in j the entire world, I would like to I see the American industry through j GOMPO give thought to bringing into the fold our colleagues in all countries. I know that they are of the same 1 mind as we are and I know that their problems are the same as ours. I. know also that they are hop^tul that the future will see a closer coordination between their interj ests and our own, and that geographical remoteness will no longer be a hindrance to their active participation in the solution of our. ' common problems. The world is truly shrinking as : far as the distribution and exhibition of films is concerned. Recently, we at Universal had the benefit of a global conference in New York. This conference, which was attended by. our publicity repre' sentatives from all pyer the world, proved to us that American techniques are compatible with every; one who has anything to do with 'the promotibn of; films. ' ! We have to constantly remind our industry that as far as the j distribution and exhibition of i films are concerned, we are truly living in one world. Economically we can only move , ahead here if we maintain our i good health abroad as well as at home. .. ( Traffic Division) By MAC BENOFF ; Hollywood., .Right-of-ways being important in all Walks of Hollywood life, the writer hereby submits for consideration of the Greater Los Angeles City Council rules of etiquette to be obeyed by all members of the motion picture industry. In view of the fact that sportsmanship is of the highest drsirability, it is recommended that all industryites memorize the code below before leaving their barracks tomorrow morning. Low-priced cars may overtake medium-priced cars on main traffic arteries, but never on side streets. If medium or low priced car wishes to overtake high-priced car the horn must be honked gently, and the honker may proceed only upon a similar signal being returned. English cars may never be overtaken by any car, except Cadillac ambulances. Cadillac convertibles have right-of-way oyer English convertibles, but not Jaguar, Bentley, or Rolls Royce sedans. English Fords or Austins do not count as imports, but are regarded as medium priced, American manufacture. The following is an example of procedure from a standing start : red light has turned to green and 1949 Chevrolet, 1950 Mercury and 1942 Cadillac are abumper. The • r Acad Closes ^50 Rolls With 43 New Members Hollywood. Academy of Motion Picture Arts and Sciences closed its membership ranks for the year with the admis.sion of 43 new members. They are: . . Philip Dorn, Robert Brower> Jacques Mapes, Edward Colman, Allen E. Irving, Robert Wise, Ellis G. Arnall, Gunther R. Lessing, George D. Stephenson, Jack Ogilvie. Irving Aaronson, Saul Chaplin, Roy D; Croft, Gordon Gordori, S. A. Israel, Mark Kelly, Robert H. Rains, Julian Seltzer, Harry Tytle, Melville: Baker, Lou Breslow, Oscar Brodney, Warren Duff, Ken Englund, Devery Freeman, John Freeman, Everett Freeman, John Klempnor, Albert E. Lewin, Oscar E. Millard, N. Richard Nash, Frank .genfi' Liain O’Brien, Charles Palmer. Eijnest Pascal, Martin Rligaway, Robert Richards, Dwight Taylor, Virginia Van Gpp. Irlngarde Von Cube, Charles E. Goldie, Ben Nye, Rose Meltzer : nnd Alfred P. Chamie. War Stalls ‘Atom’ I Hollywood. Unsettled conditions in the Far prompted 20th-Fox to aban<Mn the filming of "‘Atom of Love,” ^iinounced as a sequel to “Come to Rio Stable,” co-starring Loretta doling and Celeste Holm. SiUdio aimed to shoot the film in "‘‘pan, currently out of bounds beoauso of the Korean .iluation. GEORGE SIDNEY • one of HoIlywoocVs outslandihg directors,. AVhp.se late.st release is “Annie Get Yolir Gun” Is currently directing “Showboat" for Metro-Goldwyn-Mayer where he is under contvnct Sidney’s first assignment of the new year Will be “Scararnouche.’* 1950 Mercury must take precedence, but any Cadillac entering the starting zone within five seconds must be given .fight-of-way, . Traffic takes this order: Mercury, backed by Cadillac, trailed by Chevrolet, unless the Chevrolet is a car belonging to a producer’s wife (major lots only), and the producer is using it that day. If this is the case the Chevrolet goes to the front, preceding the Gadillac,. even if driver is writer making $1,000 weekly. If writer makes more than $1,000 weekly, writer goes first, providing he is under term contract. If employed on flat deal, or be independent, Cadillac gets behind ’49 Mercury. In the event of accident, i.e. executive cars (major lot. producers, directors and Academy Award-winning writers) hitting cars of lesser standing ( independent producers, directors, writers and anyone else above assistant hairdressers ) , the executive remains seated in his car until other driver reaches him. If the other party has been hurt, It is permissible for stretcher-bearers to carry him to executive’s car* If unconscious, the other party must give written notice within 10 days after revival. If ei^ecutive hears nothing within that time he has right to sue. Lesser car being hit by executive car is not considered an “accident.” “ In event court action becomes necessary, lesser party cannot engage law firm with more than three names, hyphenated names counting as two; e.g.,^ Hinch, SmytlieTwombly & Bernstein (assuming, they take the case ) counting as four narhes. In the event executive wishes to settle out of court, lesser party is not allowed to accept more than value of his own automobile. This Is determined by taking to used car lot before repair work is done and asking “How much will you give me for it?” In the event that writer is working for producer with same color and same model car, writer must use another parking lot. Producer, if under contract, however, may force writer to repaint car. If producer is not under contract and writer is, producer may still enforce rule, but must pay half of paint job. The above rules shall apply to all zones in Los Angeles, including Gardena, where producers out of work who are acting as croupiers are moved down wo notches to top salaried writers. Infractions in . Beverly Hills count double. MGM is declared a free area. New rules are now being considered for RKO,: where cars of employees are not allowed in Airport area, Fox^ Paranaount arid Universal have been reported lax in the proper enforcement of traffic rules, but stringency continues, at Columbia, where, there is no court of appeal above the front office. Warners is te-‘ garded as no-man’s-land. Republic has never' stated willingness to enter into agreement. Everything in above also applies to Monogram except substitute for the word “automobile” the words “motor scooter.” Independent producers possessing cars with bank financing have major-lot director’s rating, but all others cannot bring court action against anyone without furnishing a completion bond for the case a month in advance.