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457
VIII
Film Showing
The film is complete. Here is a description of the
dealings that take place before it finally reaches the
screen — by a contributor who was president of the
Cinematograph Exhibitors' Association, 1931-32.
by Reginald Crow
LITTLE known to the cinema public, but enormously fascinating, is that side of the industry which deals with the sales and distribution of films. When a film is delivered from the production studios, there follows a spell of feverish activity on the part of the firm (known as the " renters ") who are to handle it.
It has to be determined, first of all, into what category the film falls. It may have had many thousands of pounds spent on it, yet may not be worthy to be labelled as a " super " production ; it may have begun as quite a modest little affair, and yet have turned out so well that it is put across as a picture above the average. The film is seen many times b}'' the firm's executives, but even then they are not always satisfied with their own judgment. So it is " tried on the dog." This means that the production is slipped into a programme in some outlying district. No preliminary boosting is given ; the audience that happens to be at the showing is just lucky. Unheralded this film is put on the screen ; but scattered throughout the theatre, sitting among the audience, are " scouts." Ever}' comment made by the people around them is noted, and in this way some idea of the
Eublic's appreciation, or criticism, can e gleaned.
Having decided that the film is a "'super," a " programme" (that is on the average level) or a " second feature " production, the trade shows are then held. These take place in each of the large towns, and of late years have assumed proportions
undreamed in the past. Some of the evening productions held in London, for instance, develop into events approaching theatrical first nights. Many stories could be told of the use and abuse of what is primarily a private unspooling, made compulsory by the Cinematograph Films Act.
At these trade shows the cinema proprietors (known as the exhibitors) form their opinions on the merits and demerits of the picture. They try to judge if it will suit the particular audiences for whom they cater. A film that would suit, say, a Golders Green audience may be received in stony silence — or worse — at Luton.
Presuming, then, that the film deals with a subject that appears to be generally popular, there follows a tussle to book it. This little battle goes on between the exhibitors in each area — sometimes circuit owned theatres versus independently-owned cinemas ; sometimes between independents alone. More often, indeed, it is a combination of both.
Cinemas owned by one of the large circuits would appear to stand the best chance of securing the best products. But they are, in many cases, affiliated to a producing concern and have to surrender a large proportion of their " play dates " to their company's own films. It is obvious, therefore, that this allows plenty of opportunity to the independents, and levels matters up considerablj' ; actually there is a chance for all the larger theatres to get a fair proportion of the " big pictures."
The smaller theatres in large centres