a. vsrcraa uwr TO INDOOR THEATRE RENOVATION LOANS CECIL fi. DeMILL ‘ The Ten Commandments’' A Commentary by Martin Quiglev A Review bv Charles S. Aaronson REVtEWS - ;aof riger ' THE SEARCH FOR 8RIDEY MURPHY JULIE, REPRISAL, MIDNIGHT EPISODE, MEN OP SHERWOOD FOREST. FLIGHT TO HONG KONG. SPIN A DARK WEB, MAN FROM DEL RIO,. TENSION AT TA8LE ROCK, THE WHITE SOUAW. THE GAMMA PEOPLE FRONTIER WOMAN THE GRAND MANEUVER cond-elass matter January 12, 1931 at the Post Office Sew York City, U. S. A., under the act of March 3. 1879 Pub- Hi Qutgley Publishimff Co., Inc., 1270 Sixth Avenue, Rockefeller Center, New York 20, .V, Y. Subscription prices ’ $5 00 Americas $10.00 e year Foreign. Single copy, 25 cents. All contents copyrighted 1956 by Quigley Publishing Company fnc Entered as second-class matter Jan litk&d &atfkly ss year in She Extra Performances For The Big New HIT! M-G-M's drama ot Van Gogh. In Cinemascope and Metrocolor, starring Kirk Douglas With thanks to our patrons for their patience, we are happy to announce extra showings. Doors open daily at 11 A.M., feature at 12, 2, 4, 6, 8 & 10 P.M. Every record in the 26 year history of this theatre has been broken. We are grateful to the N. Y. critics for their unanimous acclaim. AIR-CONDITIONED PLAZA 58th St. near Madison DOORS OPEN TODAY AT NOON Newspaper ads run by the Plaza , N. Y. Note the) had to add MIDNIGHT shows It Praise — unanimous 1 “Truly distinguished" — Crowfher, Times “Wonderful to see" —Zinsser, Herald Tribune “Highest rating" —Cameron, Daily News “See it again and again" —Pelswick, Journal American “A great picture" -wmaen, Post “Worthy of acclaim" — Gilbert, Daily Mirror “All can take pride” —Cook, World-Telegram “Superb drama" -z0nser,cUe Performance — for your convenience! Today and Saturday Doors open at 11 A.M. Feature at 12, 2. 4, 6:10, 8:15 & 10:15 P.M. Extra shows at midnight Today and Tomorrow BIGGEST HIT IN OUR 26 YEARS LirSTbUEE' KIRK DOUGLAS as VAN GOGH From M-G-M • Cinemascope • Metrocolor PLAZA 58th Street near Madison Avenue VARIETY HEADLINES TELL THE STORY! “LUST” RECORD, N. Y.! “LUST” LOUD, L. A.! “LUST” RECORD, PITTSBURGH! “LUST” LOUD, DETROIT! “LUST” WHAM, FRISCO! “LUST” TERRIF, WASH., D. C.! HAPPY SHOWMEN! "Biggest in our 26 years." — Leo Brecher, Plaza , N. Y. "Biggest in our 15 years." — Green Bros., Guild , Pittsburgh "Will positively break all gross- ing and long run records." — Sol Krim, Krim Theatre , Detroit "A triumph. One of our most successful pictures." — Gerald G. Wagner , Gen. Mgr., Lopert Theatres, Washington, D. C. "Up there with the biggest in years at Fine Arts, Beverly Hills." —Edwin F. Zabel, Gen. Mgr., Fox West Coast Theatres "Top business in 10 years." —Irving Ackerman, Stage Door, San Francisco ★ M-G-M presents In CINEMASCOPE and METROCOLOR KIRK DOUGLAS LUST FOR LIFE Co-Starring ANTHONY QUINN JAMES PAMELA DONALD ' BROWN With EVE RETT SLOANE Screen Play by NORMAN CORWIN Bated an the Navel by IRVING STONE Directed by VINCENTE MINNELLI Produced by JOHN HOUSEMAN ( Available in Magnetic Stereophonic , Perspecta Stereophonic or 1 -Channel Sound) THE TIME HAS COME FOR PRODUCTION f FROM THE NOVEL BY EDNA FERBER PRESENTED BY Warner Bros. in WARNERCOLOR starring ELIZABETH TAYLOR ROCK HUDSON AS LESLIE LYNNTON AS BICK BENEDICT SCREEN PLAY BY FRED GUIOL AND IVAN MOFFAT • MUSIC composed and conducted by Dimitri tiomkin • PRODUCED BY ,x3" -k -sV ,r\ "tOr ■Qr October It n ml at the Roxy, N.Y. October 17 at Grauman’s Chinese L.A. October 25 at the Chicago, Chicago Novemb^” 7 at the Metropolitan, Boston * JAMES DEAN ALSO STARRING PRESENTING CARROLL BAKER -JANE WITHERS • CHILL WILLS MERCEDES McCAMBRIDGE • SAL MINEO . itM DENNIS HOPPER AS JETT RINK JUDITH EVELYN • PAUL FIX • RODNEY TAYLOR • EARL HOLLIMAN ROBERT NICHOLS • ALEXANDER SCOURBY GEORGE STEVENS and HENRY GINSBERG • directed by GEORGE STEVENS presented by WARNER BROS. DON'T TALK about "Teenage Rebel" IN FRONT OF TEENAGERS! There are some things better left unsaid . . . others that can be spoken of in whispers only! 24 hours after you see it WE CHALLENGE YOU TO STOP TALKING ABOUT IT! SOON... FROM 20TH...THE NEXT SENSATION OF THE INDUSTRY! i. * t IN MOTION PICTURE HERALD MARTIN QUIGLEY, Editor-in-Chief and Publisher Vol. 205, No. I MARTIN QUIGLEY, JR., Editor October 6, 1956 Dollars for Refurbishing THE decision of the Small Business Administration to make conventional theatres eligible for U.S. Govern- ment loans is welcome news. It is important not only for exhibitors but also for producers and distributors that any local barriers to remodeling and reequipping of the- atres be eliminated in this fashion. Now monies are available, even up to $250,000, for rea- sonable loans either directly from the Small Business Ad- ministration or with the joint financing of a bank and the SBA. It is anticipated that most theatre loan applications will be for relatively small amounts. The loans may run for a maximum of 10 years and the interest rate is six per cent on direct SBA loans. On those in which a bank participates the bank sets the length of the loan and the interest but those maximums prevail. In order to be eligible for a SBA loan a theatre must prove that it makes a substantial contribution to the econ- omy of its community. Statements from spokesmen of the SBA have made it clear that they believe most theatres will qualify without difficulty under that test. Theatres employ local people and they bring into business areas cus- tomers for local merchants. The location of a drive-in, out- side the community and often away from business districts, is one of the factors that continues to make drive-in the- atres ineligible for SBA loans. IT is impossible to know how many theatres recently have sought loans for equipping and refurbishing and have had the requests rejected by local banks. Fi- nancial writers have reported that money is “tight” and bank interest rates high. It is good for the industry that theatres are now placed on a par with other small busi- nesses so far as access to loans is concerned. This action of the SBA, which resulted from the prodding of the Senate Small Business Committee, should stimulate exhibitors into reexamining their physical plants. In order to compete in today’s leisure time market the theatre must be an attractive and comfortable place. It must also have excellent equipment. This includes seats, screen, projection, sound and everything else necessary for picture enjoyment. Producers and distributors have a substantial stake in this matter. If pictures are not exhibited under the best circumstances possible in each community, grosses are bound to suffer and the necessary increase in attendance will be difficult to achieve. Therefore, it is strongly recom- mended that distributors take into account amortization of remodeling, reequipping and redecorating expenses in set- ting rental deals. In the long run it is the producer-distrib- utor who has most to gain by helping the theatres keep up with the times. At present in some places multi-million dollar films are being exhibited under deplorable conditions. And it is not always the exhibitor who is to blame. Both producer-distributors and exhibitors share the responsibil- ity. Where film rentals are so high that theatres are de- teriorating physically, everyone is a loser. ■ ■ ■ Decree Revision IT IS inevitable that the cries which have arisen sug- gesting amendments of the consent decrees in the Paramount Case will increase in intensity. Many do not agree that the standards of industry practice established by those decrees were the best ones for the welfare of all branches of the industry. But whether those standards were the correct ones or not now is largely an academic issue. Con- ditions have altered substantially since the decrees were signed. Revision, sooner or later, is in the best interest of both exhibitors and producer-distributors. By revision is not meant attempts of the Department of Justice to make provisions ever stricter. It borders on the ridiculous for the Department of Justice to be considering seeking amendment barring feature film production by the American Broadcasting-Paramount Theatres company. Ex- hibitors have long looked for additional sources of features. The revisions which should be studied include the IATSE resolution unanimously passed at its convention that pro- ducers be allowed to have an interest in exhibition; the elimination of the ban on block booking and the encourage- ment of practices which have decreased clearances and multiplied simultaneous runs to the economic disadvantage of the exhibitor and to the inconvenience of the public. ■ ■ ■ Rank Operating Statistics THE Rank Organization’s 1956 annual report is one of the most interesting and most attractively presented publications issued by a film company on either side of the Atlantic. It gives statistics not only on the various components of the Rank Organization but also on the Brit- ish industry as a whole. Some of the charts in the 90-page booklet are of great value to exhibitors everywhere. Many will like to compare their increases in theatre operating costs with those of the Rank group: With 1939 as 100 on the scale, in 1956 costs rose to a record 310 — up 24 points in a year. The comparison of the split in box office receipts be- tween 1939 and 1956 is revealing: the entertainment tax is up from 2s. 8d. to 6s. 4d; the producer-distributor’s share is down from 6s7d. to 4s. 8d. and the exhibitor’s share dropped from 10s. 9d. to 8s. 6d. This shows conclusively the importance of admission tax relief. Another group illus- trates that the cost of building a theatre in 1939 was the equivalent of $64 a seat and now is $294. The cost of furnishing a theatre has risen from $11 a seat in 1939 to $42. — Martin Quigley, Jr. cjCetterd to the ^J^lercilcl On " Disjointed Presentation ” The editorial viewpoint expressed by Martin Quigley relative to the impor- tance of audiences seeing pictures from the beginning, titled “Disjointed Pres- entation,” as published in The HERALD September 22, elicited immediate com- ment from a number of industry leaders. Several were published last week. Reactions of other readers are presented herewith: To the Editor: When I read the editorial, “Disjointed Presentation,” in The HERALD of Sep- tember 22, I was wondering whether I had had a dream about the subject mat- ter or whether someone had been making notes of a conversation I had only the other day with Red Silverstein. Your editorial is almost a literal duplication of a speech I made to Red, including the reference to the nickelodeon days. It is therefore needless for me to say that I agree with it wholeheartedly. I believe there is only one additional point I made and that is with reference to television competition today. I pointed out to Red that in order to wean people away from their television sets it was necessary to make movie-going a “night- out.” Dropping in to a movie theatre any time at all, I noted, was like passing a shooting gallery and taking a few shots at the clay pipes. If the motion picture theatres were able to run their shows more like legitimate theatres, i.e., fixed performances and per- haps even reserved seats, I believe the public would be more likely to get the “night out” feeling. There are some countries in the world where this is done. South Africa, Australia, Uruguay, and I know from my own experience that mo- tion pictures in these countries are of far more importance in the minds of the public than in those countries which run continuous performances. I think your editorial touches upon a most important idea for improvement in our industry. — ARTHUR M. LOEW, Pres- ident, Loew’s, Inc., New York. To the Editor: I read with great interest your editorial, “Disjointed Presentation.” It is a most con- structive and informative article. In my opinion a start in the right direc- tion would be for the exhibitors to at least put in the time or times the feature pic- ture or pictures are presented on their screen. I know from personal experience that I must telephone the theatre to secure this information, which should be avail- able in my local newspapers. You have made a very salient point. Let’s hope that the industry will give all- out support to such a necessary, progres- sive reform. — HERBERT J. YATES, Presi- dent, Repu,blic Pictures Corporation, New York. • To the Editor: The editorial, “Disjointed Presentation,” is excellent and makes a lot of good sense. Hope we can somehow, some way, find a practical solution to have patrons view motion pictures from the beginning. — MITCHELL WOLFSON, Wometco Tele- vision and Theatre Company, Miami, Fla. To the Editor: It is a provocative and stimulating arti- cle and I intend to discuss it with my people at an early date. — WALTER READE, JR., President, Walter Reade Theatres, Oakhurst, N. J. • To the Editor: I think the producers in Hollywood, in- dividually and collectively, would kiss you, if they had the chance, for such a fine constructive piece of criticism. (Edi- torial in The HERALD September 22, on “Disjointed Presentation”). I go to the movies for entertainment — I pay to go. I always like to see what time the feature starts; sometimes I can find it, sometimes I cannot. I think that’s the answer you would get from a very large percentage of the audiences. — A. E. DAFF, Executive Vice-President, Universal Pic- tures Co., Inc., New York. • To the Editor: In answer to your letter of September 18 respecting an advance proof of the edi- torial to appear in the September 22 issue of Motion Picture Herald, I must report AN OPEN FORUM The Letters to the Herald col- umns are always open to our readers , whose opinions relative to the industry and its problems are welcome at all times. This is an open forum for anyone who has the interests of the industry at heart. that the economics of continuous perform- ances or “grind” operating policy seems to argue against what certainly is an ex- perienced and well presented case. We generally advertise the schedule of performances and do what we can to recommend patronage attendance for com- plete features but this business of making money, especially these days, would ap- pear to take precedence of necessity. — GERALD SHEA, Jamestown Amusement Co., Inc., M. A. Shea Theatrical Enter- prises, New York. To the Editor: In these days of stringency nothing would be more salutary than a return to old-fashioned showmanship on the part of the exhibitor. The distributor can break his back raising the quality of the pictures and spend enormous sums in advertising, but when you get down to basic facts, it is the exhibitor who has primary contact with the public and it is his show window that makes the product attractive to them. — GEORGE WELTNER, Paramount Film Distributing Corp., New York: To the Editor: You raise a point which I doubt many exhibitors, myself included, have given thought to. It has become a habit over the years both to ourselves and our audi- ences that we took it for granted coming into a continuous show at any time was completely acceptable to the public. Per- haps in view of the many present com- petitive factors for the public’s time and particularly the popularity of television, the point you raise is a good one. I should like to study it, talk to my various execu- tives including my men in the field, man- agers and advertising men and then form some conclusions on the subject. In the meantime, you have brought up something provocative and that is good. — SAMUEL ROSEN, Stanley Warner, New York. • To the Editor: We have been giving this considerable thought in the past few years, and have not been able as yet to find an answer to the problem. In any event, I want you to know that I entirely agree with you that something should be done. — J. R. VOGEL, Loew’s Theatres, New York. MOTION PICTURE HERALD, Marlin Quigley, Editor-in-Chiel and Publisher; Martin Quigley, Jr., Editor; Charles S. Aaronson, Managing Editor; Floyd E. Stone, Photo Editor; Vincent Canby, News Editor; Ray Gallagher, Advertising Manager; Gus H. Fausel, Production Manager. Bureaus: Hollywood, Samuel D. Berns, Manager,- William R. Weaver, Editor, Yucca-Vine Build- ing, Telephone HOIlywood 7-2145; Washington, J. A. Often, National Press Club; London, Hope Williams Burnup, Manager; Peter Burnup, Editor; William Pay, News Editor, 4 Bear St., Leicester Sq. Correspondents in principal capitals of the world. Member Audit Bureau of Circulation. Motion Picture Herald is published every Saturday by Quigley Publishing Company, Inc., Rockefeller Center, New York City 20. Telephone Circle 7-3100; Cable address: “Quigpubco, New York", Martin Quigley, Presi- dent; Martin Quigley, Jr., Vice-President; Theo. J. Sullivan, Vice-President and Treasurer; Leo J. Brady, Secretary. Other Quigley Publications: Better Theatres and Better Refreshment Merchandising, each published thirteen times a year as a section of Motion Picture Herald; Motion Picture Daily, Television Today, Motion Picture Almanac, Television Almanac, Fame. 8 MOTION PICTURE HERALD. OCTOBER 6. 1956 On the Ort onzon AMENDMENT The Justice Department has considered-with absolutely no decision — the possibility of asking the New'York statutory court to amend the Paramount consent decree to bar American Broadcasting - Paramount Thea- tres from entering into film production without specific court approval. This has been one result of the recent an- nouncement of AB-PT president Leonard Goldenson that the com- pany plans to enter film pro- duction. The Paramount and RKO Consent Decrees contain no pro- visions barring the divorced circuits from entering produc- tion. The decrees covering War- ner Brothers, 20th-Fox and Loews do have such provisions. SURVEY The management survey firm of Booz, Allen and Hamilton has been retained by the Motion Pic- ture Association of America on a per diem basis to make a six- month survey of the industry with a view to streamlining film WHEN and WHERE October 7-12: 80th semi-annual conven- tion of the Society of Motion Picture and Television Engineers, scheduled to be in Los Angeles. October 9-10: Montana Theatre Associa- tion, regular Fall meeting, Finlen Hotel, Buttle. October 15-16: Annual regional conven- tion of Independent exhibitors of New England and The Drive-In Theatre Asso- ciation of New England, Winchendon, Mass. October 22-23: Annual convention of Theatre Owners of Arkansas, Missis- sippi and Tennessee, Hotel Sayoso, Memphis. October 22-24: Allied Theatre Owners of Indiana, meeting at the Marott Hotel, Indianapolis. October 27: Annual dinner dance of the -Los Angeles Motion Picture Salesmen, Ambassador Hotel, Los Angeles. October 28-30: Annual convention of the Motion Picture Theatre Exhibitors of Florida, to be held at Roosevelt Hotel, Jacksonville. company operations. The con- cern was employed by the MPAA subcommittee which was author- ized to proceed with its work following a meeting of the MPAA board of directors. "COMMANDMENTS" Paramount Pictures will handle showings of Cecil B. De- Mille's "The Ten Commandments" as if it were a property of the legitimate theatre, according to Jerome Pickman, Paramount's national director of advertis- ing, publicity and exploita- tion. "We will present two-a- day shows around the country, a ten-minute intermission dur- ing the picture, reserved seats —and here in New York we're of- fering blocks of tickets to brokers, at full price, if they're interested," Mr. Pick- man said. The film opens at the Criterion theatre. New York, November 9. TEMPEST AT SEA Paris newspapers are mad. They have just gotten wind of the fact that French Line pas- senger vessels in the lucrative and deluxe North Atlantic trade show more American, English and Italian films to their passen- gers than French films. The newspapers point out that Amer- ican, English and Italian ships concentrate on films of their own nationality, and only the French Line is without a na- tionalistic film policy. The French Line answers officially that since most of its passen- gers are American, they natu- rally prefer to see American films. The newspapers say this is absurd. The passenger wants to feel he is in France as soon as he steps abroad ship, and the best way to help him out, say the newspapers, is to show him some French f ilms-pref er- ably good French films of recent vintage. "BORDERLINE" Film makers have been en- couraged by the breakdown of censorship "to skate closer and closer to the line of de- cency," said the Columbus, Ohio MOTION PICTURE HERALD October 6, 1956 ARTHUR LOEW resigns as president of Loew's 1 2 MPAA would expand appeals board of Production Code 12 GOVERNMENT to make theatre loans through SBA I 3 AN OUTLINE of SBA loan procedure I 3 THE TEN COMMANDMENTS— a film review 1 8 A COMMENTARY on "Command- ments"— by Martin Quigley 19 MEETING of AB-PT stresses showmanship 24 RHODEN keynotes National Theatres convention 24 NEW TECHNIQUES featured at SMPTE cnvention 26 LONDON ponders "King and I" release pattern 28 VARIETY CLUB inaugurates new membership drive 30 SERVICE DEPARTMENTS Film Buyers' Rating 3rd Cover Hollywood Scene 31 Managers' Round Table 37 The Winners' Circle 30 National Spotlight 33 IN PRODUCT DIGEST SECTION Showmen's Reviews 97 Short Subjects Chart 99 The Release Chart 100 Dispatch in an editorial titled "Problem of Delinquency." The Dispatch said: "Young movie- goers, as a result, routinely see pictures from which chil- dren, a few years ago, would have been barred. Anyone who goes to the movies or watches television-and what youngster doesn't?-is continuously ex- posed to entertainment drench- ed with the atmosphere of ro- mance, not to mention frank and open sexuality in a good many instances. " MOTION PICTURE HERALD, OCTOBER 6, 1956 9 THE NUMBER ONE STAR OF TOMOR- ROW (as defined in our annual poll) in aetion. On location for Sam Fuller’s ‘’Run of the Arrow”: Rod Steiger in shirtless conversation with Mr. Fuller. The picture, touted interestingly as a “controversial adventure drama,” now is in the RKO cutting room. Mr. Steiger has begun work, on the same lot, for “The Lady and the Prowler.” ictured DR. ALFRED N. GOLDSMITH, below, to get the Society of Motion Picture and Television Engineers Progress Medal October 9 at the Ambassador Hotel, Los Angeles, at ceremonies dur- ing the organization’s 80th convention. He is a film and television consultant and his contributions in sound and in color kinescopy earned him his award. AT THE DETROIT luncheon for UA sales manager James Velde: manager Syd Bowman, United Detroit head Harold Brown, Butter- field Theatres buyer E. H. Stuckey, UA division manager Milton Cohen, Cooperative Theatres buyer Daniel Lewis, and UA district manager Sidney Cooper. LASLO BENEDEK, director, said in New York last week if it’s new faces the theatre owner wants, he’d bet- ter support independent producers. They’re the ones gambling on new talent. Mr. Benedek just completed “The Fever Tree” in Cuba for Dudley International. is wee L HERALD picture HERALD picture OPEN FOR BUSI- NESS: the princi- pals, at the Saxon, Boston, formerly Majestic: designer Louis Chairmonte, owner Benjamin Sack, Mrs. Sack, and manager Samuel Richmond. THE WILL means more than and must support the ges- ture, Harry Arthur, Southern California exhibitor leader, said in New York the other day discussing a “round ta- ble.” Mr. Arthur stressed the interdependence of industry- segments and that there are no “victories.” See page . . . . t HERALD picture GUESTS. With a special interest. In the lob- by of Loew’s 72nd Street, New York, where MGM last week showed its “Tea and Sym- pathy’ to a qualified and appreciative audi- ence, producer Jack Cummings, center, chats with author and playwright John Pat- rick, right, and actor Paul Ford. HEHALD picture HE’S READY TO GO ALONG with the trend, especially important these days, to sell your own picture. Albert Lewin, who recently finished “The Living Idol’’ for MGM, said in New York Tuesday he will tour key cities and help MGM. Mr. Lewin opines “the formula market is in trouble today”; also, that he has an unusual “high class suspense and horror” picture. THE EXECUTIVE LOOK, these being the heads of National Theatres, in con- vention at Phoenix. First row, vice-presi- dent John Bertero, general manager Frank Ricketson, Jr., president Elmer Rhoden, western manager Edwin Zabel, and treasurer Alan May. Second row, Richard Brous, Fox Midwest; M. Spencer Leve, Fox West Coast; Robert Selig, Fox Intermountain; William Thedford, FWC northern California; and A1 Frank, Fox Wisconsin. See page 24. THEY CAME TO PLAY. Scenes significant of the good time for all at New York’s Variety Club tournament, last week, at the Vernon Hills club. The foursome is Phil Fliashnick, Morton Holland, George Dembow, and Murray Strausberg. The card game, kibitzers included, shows Joe Rosen, Bernie Kleid, Alex Arnswalder, Lou Fischler, Saul Trauner, Herb Richek, and Bernie Kranze. And, at the banquet, Alan Robbins, Ed Fabian, and story teller Eddie Dowling. JOHN SPIRES, Universal’s Con- tinental Europe supervisor, in New York for home office confer- ences till November 2, told trade writers over the luncheon table Tuesday television so far and foreseeably is no threat: Euro- pean movie habits are fixed and favorable; the industry and its stars continue to have glamour and command loyalty and attract talent; and that exhibitors the world over are the same: “they are under the impression all they need is the key to the door.” They also, he said, have stand- ardized equipment to the extent of resisting magnetic sound. HERALD picture WILLIAM HOLDEN arrives in Pitts- burgh for the opening of “Toward the Unknown” at the Stanley, and receives at the right a greeting from manager Rodney Collier. With them at the air- port are Police Commissioner James Hepbron, left, and acting Mayor Leon Abramson, right. Arthur M. Loew Resigns as President of Loew#s; No Successor Named as Yet Arthur M. Loew, who has been active in the Metro-Goldwyn-Mayer organization for 35 years, has resigned as president of Loew’s, Inc., effective November 15, it was announced in New York Tuesday by the production-distribution company. Mr. Loew, who assumed the presidency December 14, 1955, will remain as presi- dent of Loew’s International, supervising the company’s film distribution and thea- tres in all countries outside the United States and Canada. According to a high ranking Loew’s executive, no successor to Mr. Loew has been named thus far. However, he said that a number of highly qualified persons within and without the company and in- dustry and a few entertainment industry figures are under consideration for the high post by the Loew’s board of directors, who may meet next week on this matter. The next regular scheduled meeting of the Loew’s board is set for October 17. Mr. Loew, who will remain a member of the Loew’s board of directors, succeeded Arthur M. Loew as president Nicholas M. Schenck, who was elevated to the post of board chairman. The management engineering firm of Booz, Allen & Hamilton has been retained by Loew’s Inc., to conduct a four-week survey at the studio to effect production economies and will recommend a man to succeed Mr. Loew. MPA Board Would Expand PCA Appeals The board of directors of the Motion Picture Association of America “approved in principle to enlarge the Appeals Board of the Production Code Administration to include exhibitors and independent pro- ducers,” it was announced Tuesday fol- lowing a meeting of the group. It was presided over by Eric Johnston, president, who left at the weekend for Europe. Kenneth Clark, vice-president of the MPAA, said following the meeting, the board also recommended its self-regula- tion study subcommittee study further the details of expanding the Appeals Board. Mr. Clark indicated the subcom- mittee, which includes himself, Barney Balaban of Paramount, A. Schneider of Columbia, and Daniel T. O’Shea of RKO Radio, will continue its weekly meetings so that an operational program for the Appeals Board expansion could perhaps be ready by the next meeting of the MPAA board, scheduled for November when Mr. Johnston returns. The COMPO request for annual dues increases was disapproved. The MPAA directors also heard prog- ress reports from two of its committees— the advertising and publicity directors group’s report on ways and means of re- vitalizing the box office, and the sub- committee report on a business manage- ment survey of the industry. Advertising- publicity chairman Jerry Pickman, sup- ported by Si Seadler, Paul N. Lazarus, Jr., Rodney Bush, Alfred Tamarin and Phil Gerard, presented the group’s re- port, which detailed such proposals as an industry survey, a Hollywood press junket, executive field trips, advertising, merchandising and promotion. It was so extensive that Mr. Pickman asked the board to further discuss the report again at their next meeting. The MPAA board was also told by Mr. Pickman that a preliminary industry mar- ket research study is currently taking place on a national scale to determine the problems concerning motion pictures. The MPAA directors also authorized its subcommittee to proceed with plans for a business management survey. The pro- posals is in line with streamlining film company operations. The committee is composed of John J. O’Connor of Uni- versal, Charles Reagan of Loew’s, and A. Schneider of Columbia. Republic Pictures Net $946,595 in 39 Weeks For the 39 weeks ended July 28, 1956, Republic Pictures Corporation and its subsidiaries report a net profit of $1,431,- 595 before Federal Tax provision, esti- mated Federal, normal and surtax of $485,000 or a net after taxes of $946,595. For the 39 weeks ended July 30, 1955, Republic and its subsidiaries reported a net profit of $2,833,168 before taxes. Study TO A as Liaison for Production A Theatre Owners of America com- mittee has announced it is studying a plan under which TOA would act “as a clearance house and liaison” between independent producers and TOA’s mem- bers. The exhibitor group, which was said to have an “unofficial status” was formed at the recent TOA convention in New York. The “clearance house” plan, as it was explained last week, is similar to the Makelim plan which Allied States As- sociation tried to promote. This plan, he said, was discussed at the TOA convention but was “sidestepped” as most members felt that it was something for TOA’s future and not a present need. In outlining the plan, the TOA exhibitor said, “Most of the guys are in favor of supporting the independent producer who could turn out exploitable pictures at a low cost. We realize that these small films in many cases enable the producer to receive a little revenue which is stretched over a long period when the picture is put into the normal distribution pattern. “Our proposal is to have TOA act as a liaison between the small independent producer and the exhibitor. The producer would advise TOA of his production plans and what films he currently has available to theatres. TOA would then tell its membership of these pictures and forward a playdate contract along with the film data. If the exhibitor wants the film, he would sign the contract guaranteeing the booking and forward to TOA a fee which would bind the pact. “If the producer is satisfied with the contract terms, then he would arrange with a film carrier to ship a print to the TOA exhibitors. If not, he would notify TOA, which would return the guarantee,” the exhibitor stated. It was pointed out that the proposal “while quite sketchy now” is expected to be worked out thor- oughly by the next meeting of the board of directors of TOA, which usually takes place during the Winter. Declining to dis- close the identity of the exhibitors on this “unofficial committee,” the TOA member said the plan “may be one solution for getting us more product at lower film rentals.” He said this proposal is sup- ported by many small theatre men. Film Center Started HAMDEN, CONN.: Construction of Con- necticut’s new film center building has been started here by the All-State Realty Corp. of New York. According to Samuel H. Faiman, of the Faiman Agency, about 11 major film distributors will be tenants. 12 MOTION PICTURE HERALD, OCTOBER 6, 1956 Government to Make Loans to Indoor Theatres Through SBA SBA Form 4 (11-55) Part I UNITED STATES OF AMERICA Small Business Administration APPLICATION FOR LOAN Under Section 207 (a) Small Business Act of 1953 As Amended NAME AND ADDRESS OF APPLICANT ( Street , city, zone, and State) GENERAL— A; or Branch Offic after called “S question or tc INAPPLICA1 TO INCLUD OR BY AT' WHERE A OF INFOF PLICATIC DIRECT Regional PARTIC to the r the Ap' and Ira priate Part ' Exhibitors who want to take advantage of last week's ruling by the Small Business Administration will become more than a little familiar with the above. It is the top of SBA Form 4, by which the exhibitor-applicant makes his request for SBA aid. . . . U. S. unit follows suggestion of Senate Small Business group to aid exhibitors needing money to modernize properties WASHINGTON: The Small Business Ad- ministration announced here late last week that conventional — or four-wall — theatres (as opposed to drive-ins) will now be eligible for Government loans and that interested theatre owners may start filing loan applications with the SBA immediately. The SBA decision was said to have been made at the September 17 meeting of its Loan Policy Board, which gave careful consideration to the recommendation of the Senate Small Business Committee that small theatres be made eligible for loans in cases where regular lending institutions would not grant credit. Brief Filed by TO A The Senate committee recommendation had been inoerporated in a brief filed with the SBA by A. Julian Brylawski for the Theatre Owners of America, urging the SBA to extend its loan policy to include small theatres in need of modernization. Allied States Association, through its gen- eral counsel, Abram F. Myers, had also made the same request of the SBA. Top theatre men in the country were enthusiastic about the new policy. Ernest Stellings, president of TOA, said in Char- lotte, N. C., that it “should open the doors for much modernization and refurbishing” and that it would afford theatres, espe- cially the small ones, “a new lease on life.” He also noted that “it is a step forward in getting the motion picture theatre out of a classification which also includes cab- arets, saloons, etc.” Applications for loans can be filed in any of the 25 SBA branch offices or 15 SBA regional offices around the country. One of the key pieces of evidence a thea- tre owner needs to have when he files an SBA loan is proof that he has been un- able to get private financing. Make Contribution Spokesmen for the SBA said they did not feel that theatre owners had to worry too much about proving the contribution their theatres were making to the locai economy. The SBA said that theatres were being made eligible for loans in part because they make a substantial contribution to the economy of their communities. Agency officials said they felt this statement was included by the SBA in order to justify the decision to make theatres eligible for loans and to confine the loans to conven- tional theatres. They added that the fact that the theatres employed local people and brought business to the area where they were would probably be sufficient proof of the contribution being made to the local economy. “We have no standards in mind for testing this,” one official de- clared. “We realize it would be a very diffi- cult thing to prove one way or the other.” The agency last Friday announced that it would accept and consider loan appli- cations from owners of conventional thea- tres interested in installing new equip- ment, remodeling, renovating or otherwise modernizing their theatres. Previously, the agency had refused to accept loans for theatres or other entertainment enter- prises. TOA’s Mr. Brylawski, when the decision was announced, said here he thought TOA would shortly issue a bulletin instructing its members how to go about applying for a loan and meeting the “contribution to the local economy” criterion. SBA officials said that theatre owners did not need legal help of their own to apply for SBA loans. Applications must be made on SBA Form 4, available at branch and regional offices, and local SBA per- sonnel will help applicants fill out the form if desired, it was stated. If the applicant is in a community of 200,000 or fewer persons, he must produce a letter or other evidence that he was turned down by one bank for a private loan. If the applicant is from a larger community, he must have a turndown from at least two banks. Loans can be obtained either entirely from SBA or partly from SBA and partly from a local bank — a so-called participa- tion loan. SBA officials said that in the case of participation loans, the local banks will frequently file the SBA loan applica- tion for the applicant. Once an application is made, an answer is given in about 30 days on the average. Some applications take longer, some less, depending on the complexity and other factors. If the loan sought from SBA is for $20,- 000 or less, or if it is a participation loan of $50,000 or less with the local bank put- ting up at least 25 per cent, the application can be passed on by the branch or regional office. Larger loan applications must be processed by the Administration’s officials in Washington. SBA loans can run as high as $250,000. However, TOA in its application some weeks ago said it felt the average loan sought by theatre owners would be under $25,000. SBA loans run a maximum of 10 years and bear six per cent. On a partici- pating loan, the bank sets the interest rate and maturity, but the rate can’t be more than six per cent. Loans that are granted, SBA said, can be paid out as desired by the applicant — all at once or in small amounts from time to time. Procedure on SBA Loans To obtain financial aid from the Small Business Administration in either a direct loan from the SBA or a participating loan with a private lending institution joining the SBA, the theatre owner must fill out ( Continued on page 16, col. 3) MOTION PICTURE HERALD, OCTOBER 6, 1956 13 RKO Set to Go On Production Of 15 Films HOLLYWOOD: A total of 15 major proj- ects for filming at RKO during the latter part of 1956 and the year 1957 are now in preparation, it was said this week by William Dozier, vice-president in charge of production. Five are from novels; 10 will be in color, and all will have top stats. This is the most ambitious program RKO has had in work since the peak production days of 1946, according to the company. Coincidentally, three other top-budget features in color will continue before the cameras through the month of October and into November. These are: “The Lady and the Prowler,” co-starring Diana Dors and Rod Steiger, produced and directed by John Farrow; “The Girl Most Likely,” co-starring Jane Powell and Cliff Robert- son, with Stanley Rubin producing and Mitchell Leisen directing, and “Escapade in Japan,” now filming in Tokyo, with Teresa Wright and Cameron Mitchell and with Arthur Lubin producing and di- recting. The 15 projects now in preparation are: “Stage Struck,” starring Henry Fonda and Susan Strasberg, produced by Stuart Millar and directed by Sidney Lumet; “Bangkok,” produced by Paul Gregory; “Ten Days in August,” produced by Ed- mund Grainger with screenplay by Em- met Lavery; “Three Empty Rooms,” with Sidney Lumet directing; “Affair in Porto- fino,” with John Farrow producing and directing; “Sex and Miss McAdoo,” with Arthur Lubin producing and directing; “Rachel Cade,” with Stanley Rubin pro- ducing; “Galveston,” with Edmund Grain- ger producing and Niven Busch writing the screenplay; “On My Honor,” with Paul Gregory producing from MacKinlay Kantor’s novel; “The Naked and the Dead,” from the novel by Norman Mailer, produced by Paul Gregory. Also “Cash McCall,” the Cameron Haw- ley novel with William Bloom producing; “Far Alert,” with Richard Sokolove pro- ducing; “Journey to the Center of the Earth” with Stanley Rubin producing and Eugene Lourie directing, and “Stage Door,” with Harry Tugend producing and directing. New Atlanta Operator ATLANTA. GA.: H. B. Meiselman, North Carolina exhibitor, is the new owner of the Miracle theatre. A 1200-seat house, the theatre has all-modern features, smoking and lounge rooms, a nursery and a large parking area. 16 Allied Artists Acquires 4 Southern Exchanges Allied Artists Pictures Corp. has pur- chased four southern exchanges — in At- lanta, Memphis, New Orleans and Char- lotte— formerly owned and operated by the late Arthur Bromberg, according to an announcement by Steve Broidy, A. A. pres- ident. Effective at the close of business September 28, the exchanges came under Allied control. Mr. Broidy said there will be no change in personnel. He pointed out that, based on performance to date this year, the four exchanges represent 16.58 per cent of the company’s domestic gross. Mr. Broidy also revealed that Allied would survey the advisability of opening an ex- change in Jacksonville, Fla. Name Two as Warner Sales Executives Ed Williamson, Warner southwest dis- trict manager, has been promoted to mid- west division sales manager, with head- quarters in New York, and Grover Living- ston, southeast district manager, is pro- moted to southern district manager, with hedaquarters in Dallas, it was announced last week by Roy Haines, Warner general sales manager. In his new post Mr. Wil- liamson will have supervision over the following offices: Chicago, Detroit, Mil- waukee, Des Moines, Minneapolis, Omaha, Kansas City and St. Louis. In addition to continuing supervision of the southeast district offices of Atlanta, Charlotte, Jacksonville and New Orleans, Mr. Livingston will also have supervision over Dallas, Memphis and Oklahoma City as southern district manager. Mr. Wil- liamson joined Warners in 1939 as a sales- man in the Memphis exchange; was pro- moted to branch manager, Memphis, in 1942; to branch manager in Dallas in 1950, and was named southwest district man- ager in 1952. Mr. Livingston joined Warners in 1946 as salesman in Oklahoma City; was pro- moted to manager of that office in 1948; to branch manager in Charlotte in 1950; to become branch manager of the Atlanta office in July, 1955, and was named south- east district manager in October 1955. Joy Houck to Produce HOLLYWOOD: Joy Houck, president of Joy’s Theatres, Inc., New Orleans, and Howco, Inc., exchanges, accompanied by Robert Hargrove, Dallas, has arrived here for the purpose of setting up an indepen- dent producing company with producer- director Roger Corman, to make five films the first year. Procedure on SBA Loans ( Continued from page 13) the SBA’s four-page Form 4 comprising 14 different categories of information. Among the requested points of informa- tion are the following: The names and addresses of all concerns “that may be regarded as subsidiaries of the applicant” and of all other concerns “in any way affiliated, by stock ownership or otherwise, with applicant”; whether or not the applicant buys from, sells to, or uses the services of any concern in which “an officer, director, large stockholder or partner of the applicant has a substantial interest”; purposes of the loan and a spe- cific dollar breakdown on how loan will be used. Also, a history of recent efforts to obtain credit; names, addresses and financial statements of guarantors; complete finan- cial statement of applicant, dated within 60 days of the filing of application; com- parative statement of sales, profit or loss, etc.; names of all officers, directors or part- ners and their annual compensation, in- cluding salaries, bonuses, fees and with- drawals; and names of all employees re- ceiving more than $7,500 annually. The following are the locations and ad- dresses of the 15 SBA regional offices and the cities in which the 25 branch offices are located: Region I, Boston, Mass. (131 State Street, Boston 9). Region II, New York City (1790 ‘Broadway, New York 19) — branch offices, Syracuse, N. Y., and Hartford, Conn. Re- gion III, Philadelphia, Pa. (Jefferson Building, 1015 Chestnut Street, Philadel- phia 7)- — branch offices, Pittsburgh, Pa. Region IV, Richmond, Va. (900 North Lom- bardy Street, Richmond 20) — branch of- fices, Baltimore, Md., Charleston, W. Va., and Charlotte, Va. Region V, Atlanta, Ga. (Peachtree-Seventh Building, 50 Seventh Street, NE, Atlanta 23) — branch offices, Birmingham, Ala., Memphis, Tenn., and Miami, Fla. Region VI, Cleveland, O. (Federal Re- serve Bank Building, 713 Superior Avenue, Cleveland 1) — branch office, Louisville, Ky. Region VII, Chicago, 111. (226 West Jackson Blvd., Chicago 6) — branch offices, Indianapolis, Ind., Madisorf, Wis., and Davenport, la. Region VIII, Minneapolis, Minn. (Metropolitan Building, Second Avenue at Third Street, Minneapolis 1). Region IX, Kansas City, Mo. (Federal Of- fice Building, 911 Wainut Street, Kansas City 6) — branch offices, Omaha, Neb., St. Louis, Mo., and Wichita, Kans. Region X, Dallas, Tex. (1114 Commerce Street, Dallas 2) — branch offices, Houston, Tex., New Orleans, La., Oklahoma City, Okla., and Little Rock, Ark. Region XI, Denver, Colo. (New Custom- house, 19th and Stout Streets. Denver 2). Region XII, San Francisco, Calif. (Flood Building, 870 Market Street, San Fran- cisco 2). Region XIII, Seattle, Wash. (Burke Building, 905 Second Avenue, Se- attle)— branch offices, Helena, Mont., and Portland. Ore. Region XIV, Los Angeles, Calif. (Western Pacific Building, 1031 South Broadway, Los Angeles 15). Region XV, Detroit, Mich. (U. S. Post Office and Courthouse, 231 West Lafayette Blvd.. De- MOTION PICTURE HERALD, OCTOBER 6, 1956 ONLY DAYS (a+^c{ yuqkti) till MATURE an q ti\DbKb play the hottest love scenes in history I GnemaScoPE: COLOR BY TECHNICOLOR A WARWICK PRODUCTION Reserve It Now for New Year’s Eve.,, from COLUMBIA! The Ten Commandments Paramount-DeMille — At the pinnacle ( Color by Technicolor) Cecil Blount DeMille, surely one of thepfreat figures of the motion picture for a longer activeijeriod than almost any other man alive, in this latest and^freatest of his works has erected a monument to himself y(nd his genius. It is altogether fitting that th worked so well all these years, their ultimate, should here ser From the dawning years of this ing of which he has played s with the memorable and histo far back in 1913, down throug a pace few have found it p approach. For in the handling of the c' within it, the materials which a unbounded sweeping imaginatl power to turn the imaginative living screen entertainment. In ments” of the scientific and tech has without question in this vie screen achievement climaxing a b Down through the years DeMill in the stories of the ancient civi today’s and that interest has give pictures of the past. There have b “The Sign of the Cross” “Cleopatra^ and of course “The Ten Commandin' the fine pictures of the sere ols with which he has w developed perhaps to im so well once again, ’t-lndustry, in the fashion- aguiificent a part, starting awing “The Squaw Man,” taeming years, he has set., ble\ to match or even to t, the artisans who work its screes, he is or ques at'*'" ' is. logical- yeefrj recKijred jfr illiant career, s found a\ions wh rise to real? jmmj 195p (he maefe oi able ascination eded motior ‘The of Kins ‘lSar Fhich pne of It was perhaps inevitable that he should go back to' that period in biblical history for. this work, bj^kto the sTHTy of Moses and the deliverance of a people fr^»the bondage of dictatorial slavery. It is a theme as unhapm^alive, perti- nent and tragically true in today’s “advar£ecT^«&^ilization_ as it was in the time of the pharaohs of /ncier*E!gYpt DeMille points out in a “curtain” speech or/the screen jpfore the film begins. But we are concerned herein with th(/moti0ii prfturA as a piece of entertainment merchandise \W you wfch/lesigmed^ to appeal to the many who seek momentary fese fror their labors. Let it be said at once, then, thaUn^els one of the potentially most successful items of itp^fnd ever to be offered, one to which the public in its rruiltitudes will flock for a long time, one which should establish box office records in all climes, in all areas, appealing to all people. For here is entertainment of the highest order. The authenticity of the source materials which DeMille utilized in the fashioning of the script is in itself of interest. Scientific researchers into ancient times were his guides, and historical works by lay historians and members of the clergy are cited. From all of these sources a superb script was fashioned by Aeneas MacKenzie, Jesse L. Lasky, Jr., Jack Gariss and Fredric M. Frank. The generalship which has come to be known as a hall- mark of DeMille’s ability in the handling of masses of people, fashioning his pictures on broad and sweeping canvases come full play here. The movements of hordes of people agaif?S^ast backgrounds, of soldiers and chariots, of pulsat- ing cro^s torn by the stress of mass hysteria are handled with consi\amate skill and breath-taking effect. And today DeMille haoS^iis command the newest techniques of sci- ence in the the screen, and he has used Technicolor and VistaVi^ioV^^add immeasurably to the effectiveness of the whole. \ctfloil it may be said that the technical fabri- liraVles attributed biblically to Moses in the ?livelance and in his “hearing” the word of !*cea of theatrical presentation, and are so tfe viewer slightly breathless — and per- is due those technically responsible ^oyal Griggs was director of photog- in, J. Peverall Marley and Wallace [al Pereira, Walter Tyler and Albert for the art direction, while special ted to John P. Fulton, Paul Lerpae In this coni eating of thos^ course of the God are mast^ effective as to haps convinced^ jr these achie\ raphy, with Jof likewise 11 ..were resi ^phy is ' ibt Edol In the selefctiorfcfiiis enormous cast, DeMille, as producer- director, apa his J^fiociate producer, Henry Wilcoxon, chose wisely and wellMmr here are as fine a set of performances as we beligve w§«creen has seen. Considering the tre- mendous n/mbl-tfl^ers who might be said to have major roles, the leveWcJ perfH^aceis extremely high. CharltonHa^t/on, in theroi^^i^|es, without question has fashioned t^^reatest performance of^f splendid career and it is ventu»jrhere that the Heston performance will stand as one otMme finest in screen history. He brings to the role of MosejFa quality of calm sincerity, of superb dignity and restrajMu power which is the mark of greatness. fefretiri, beloved of Moses but by stricture the be- fed of the next pharaoh, Anne Baxter is beautiful and fuctive. Yul Brynner, who claims new triumphs as his ireer goes forward, makes of Rameses, first a rival to Moses 'as prince, then Pharaoh as Moses becomes the deliverer, a magnificent dictator, wholly lacking in the spark of human kindness, caring only for his son, and finally cowed by the power that is God’s, with Moses the medium. Brynner’s per- formance is brilliant. Of the highest order is the work of Edward G. Robinson, as Dathan the renegade Hebrew who is overseer of the slave laborers; Sir Cedric Hardwicke as Sethi, Pharaoh and father of Rameses, a monarch, yet with some touch of justice; Yvonne de Carlo, as the shepherdess wife of Moses when he finds momentary peace among the flocks; Nina Foch, as the “mother” of Moses who finds him an infant among the bull- ( Continued on opposite page ) 18 MOTION PICTURE HERALD, OCTOBER 6, 1956 "THE TEN COMMANDMENTS" A Commentary ... by Martin Quigley In "The Ten Commandments" C. B. DeMille has brought to the screen a pro- duction of massive proportions — in theme and execution. It will establish the whole world over not only attendance records but, more importantly, it will bring to vast millions of people as a living reality an un- derstanding of human destiny and pur- poses without which humanity must inevit- ably wander aimlessly in a morass of con- fusion and disappointment. This production is the master-work of a long career of preparation and experi- ence. It is hardly conceivable that it should have come from any source other than C. B. DeMille because probably no other person has been in a position to exert the free and untrammeled hand without which "The Ten Commandments" in its present chcracter and scope could not have been realized. It is a presentation of heroic mold — in characterization, drama, movement and spectacle. It is overwhelming in its histri- onic impact. Its three hours and thirty-nine minutes of screen time constitute a vivid and enduring experience. As a motion pic- ture it is in that rcrefied area of the strato- sphere of the screen where its companions are exceedingly few. And even in that superlative company it has attributes that give it a very special place and signifi- cance. "The Ten Commandments," while being a motion picture attraction, is at the same time something very much more than a motion picture attraction. This unique achievement has been wrought by the sagacious showmanship of DeMille, who set out to bring to mankind that message which transcends all others in its signifi- cance: It is that mankind faces inexorably the alternative of a good life under the laws of God or tyranny and oppression. Lest anyone jump to the conclusion that "The Ten Commandments" is a preach- ment, he is to be reminded that despite whatever ultimate purpose and intentions were in the mind of DeMille in making this picture he is and has been all of his working life a showman — a showman superlatively equipped with an understanding that when the public comes to a theatre it is seeking to be interested and entertained. His new- est production is no less an exemplification of this kind of showmanship than those that have gone before. This production comprises a notable in- ventory of dramatic and pictorial values. An impressive list of personalities find themselves in an arena of competition which summons them to give the best they have. Intimate and poignant scenes are in- termingled with broad and awesome sweeps of action and spectacle. It is, on the whole, a production which in all of the elements of popular entertainment may only rightly be discussed in superlatives. rushes and adopts him as a Pharaoh’s son, a fact known only by Judith Anderson, as the embittered servant; John Derek, as Joshua, who stood by Moses’ side in the deliverance, offer- ing the strong right hand of reality to Moses’ visionary lead- ership; John Carradine, as Aaron, Moses’ brother; Debra Paget, as Lilia, pawn of Dathan, who sacrifices herself that Joshua may live; Vincent Price, as the master-builder for Pharaoh, heartless, vicious; Martha Scott, as Moses’ real mother; Olive Deering, as Moses’ sister. The listing could, and should, go on, down to the bit played emotionally dur- ing the exodus by H. B. Warner of warm memory. All merit praise. With occasional moments of narrative which are delivered in the sure, strong voice of DeMille and which serve to tie together some threads which otherwise might go astray in this vast tapestry, the chronicle opens with the decree of the first Rameses that the first born of the Children of Israel shall perish by the sword of his soldiers. To save him, a child’s mother sets him adrift on the Nile in a covered basket, while his sister watches. The basket drifts to the feet of the Pharaoh’s daughter, she takes it as her own, seeing in it an answer to her own widow’s sorrow. She names the child Moses. The story moves now to the young manhood of Moses, Prince of Egypt, and favored of Sethi, the Pharaoh, even over the latter’s real son, Rameses. And here is told in mag- nificent picturization, and splendid color, the story of the Hebrew slaves, who toil to death to build by hand the treas- ure city which Pharaoh desires. Rameses cannot succeed in the building, since his inhuman treatment brings death, not work, but Moses succeeds despite Rameses’ attempt to mark him a traitor in the eyes of his father. But eventually Moses’ true origin is revealed, first by Nefretiri, from whom Moses forces the truth, then to the court, by Rameses, after the treacherous Dathan has used the accidentally-won knowledge to make himself governor over Goshen, where the Hebrew slaves toil. So Rameses sets Moses out on the desert to die, rather than make him a martyr to Nefretiri’s love. Then begins the wandering of Moses, seeking the word of God, now feeling he is the “deliverer” for whom the slaves have long prayed. He comes to the well of Jethro, a sheik, and among his seven daughters he finds Sephora, whom he marries. She tells him that the mountain high above their pasture, Mount Sinai, is the Holy Tabernacle of their God of Abraham. When Joshua, escaped from the mines, finds him, what he had sought to forget returns, and Moses climbs to the mountain top, where the voice of God, in his mind’s ear, comes to him, urging his direction. From that point is told the story of Moses’ titanic struggle with Rameses, now Pharaoh, for the deliverance of the People of Israel. Moses’ ringing cry: “Let my People go!” is answered with scorn and oppression by Rameses. It is a struggle of might and right, a struggle of the oppressed and the oppressor, but through the hand of Moses, God .brings down upon the Egyptians the plagues of which the Scriptures speak. But Nefretiri, incensed as Moses spurns her, hardens Rameses in his arrogant, stubborn refusal to accede, until the first born of the Egyptians are smitten in the night, and with them the Pharaoh’s son. Seeking to save the child, Rameses lets the Hrebrews go, but when the boy dies, he calls for his soldiers and goes in headlong pursuit, vowing vengeance. And here are two of the outstanding scenes of motion picture history, first the marshalling of the great horde of slaves as they prepare to make their exodus, and seen as they stream across the desert, and then the parting of the Red Sea as the pursuing chariots are halted by a pillar of fire, while the slaves pass through. Here is a triumph of motion picture technical achievement, which must draw gasps from any audience. And as the chariots resume the pursuit, the sea closes over them and Rameses, watching from the far shore, knows he is beaten. The freed slaves, when Moses does not return from Mount Sinai, where he had gone to seek God’s word, corrupted by Dathan, make a golden calf which is their idol, forsake God and Moses and are goaded into wild and sinful revelry, with ( Continued on jollowing page) MOTION PICTURE HERALD, OCTOBER 6, 1956 19 DeMille's "Commandments" Profit Share To Go to DeMille Trust for Charity The Magic DeMille Blend Still There by WILLIAM R. WEAVER HERALD picture The producer's share of the profits from "The Ten Commandments" will go to the DeMille Trust, a foundation set up for char- itable and educational purposes. Cecil B. DeMille, producer-director of the Paramount release, said in New York last week. Speak- ing at a press conference at the Hotel Plaza. Mr. DeMille said, "I do not get one dollar from the profits or gross of the picture. All I got was a salary to cover my expenses during the course of the production of the picture." He said the DeMille Trust was set up by his wife and himself two or three years ago and that the courts in Los Angeles approved it six months ago. Mr. DeMille, commenting on the three hour and 39 minute film, said, "it is the greatest human story which I have seen in my 43 years in motion pictures." The film opens at the Criterion theatre, New York, November 9 on a roadshow policy- two shows a day. Mr. DeMille added "The cost of 'The Ten Commandments' is $13,500,000, but its value is far greater. I hope that the picture can be shown behind the Iron Curtain as it is a picture which may be able to bring about an understanding among all peo- ples." Booking of "The Ten Commandments" by three theatres for late December openings brings to 14 the number of U. S. and Can- At top: Cecil B. DeMille talks to the trade press in New York. Above, Mr. DeMille, left, talks to Barney Balaban, center. Paramount president, and Martin Quigley. adian situations that will have the DeMille film before the end of this year. Charles Boasberg, supervisor of world wide sales for the film, said there would be no additional openings until after January 1, 1957. HOLLYWOOD: Four times before now in as many distinguished decades Cecil Blount DeMille has blent scripture and spectacle magnificently. There were the first “Ten Commandments,” “The King of Kings,” “The Sign of the Cross” and “Sam- son and Delilah.” It has proved in all times a magic blend, wondrously received and richly rewarded by the multitude, world around. Monday night in Hollywood, un- der the severest test it will encounter, it proved its magic again. Monday night the new “Ten Commandments” was screened for trade press reviewers at the Paramount studio in the projection room where, in long months of closeted consideration, its original 1,000,000 feet had been trimmed to 19,710. By explicit instruction of the producer-director, who had spent more than $13,500,000 to make his production perfect, a studio that commonly surrounds with showmanly ceremonies a film costing 10 per cent as much was required to screen this one cold. It had been made, its makers said, to stand alone before all audiences every- where, the high and the mighty, the lowly and the meek, in luxurious lounge seat and a-squat on bare heels in jungle clear- ing. He wanted to know if it could stand alone before the hard eyes of these trade- seasoned men and women, not unanimous- ly DeMille-minded, and he found out that it could. They told him so in the language of sheer silence — 219 minutes of total, rapt silence — the sincerest applause of all. As the great story of Moses began to unfold on the familiar studio screen, for the second time in the lives of most jour- nalists in attendance, there came into rec- ognition an awareness of things that time hath wrought. Time has given VistaVision and Technicolor as new and superior tools for the hand of a DeMille whose first “Ten Commandments” is made now to seem merely to have forecast his second. And time has given the DeMille of the two “Ten Commandments” a firmer hold, a broader concept, a far deeper fervor. ( Continued from preceding page ) the things they had brought from Egypt. Here DeMille falls into the pattern of the DeMille tradition, and it becomes less credible for a brief space. But Moses meanwhile has witnessed the incredible flashes of fire with which God sears the Ten Commandments into the face of the rock. These tablets he takes with him, and with them crashes the revelers to destruction. As penance the Lord makes the people wander for forty years in the wilderness. And in the closing sequence Moses is seen turn- ing over his staff and his robe to Joshua, telling him to pro- claim liberty to the people and to lead them across the River Jordan to the Land of Promise, while he goes alone up Mount Nebo to seek his God. The earlier portions of the picture strike with a telling emotional impact, the latter sections (and an intermission divides the film) appeal more deeply perhaps to the more superficial senses, but for all and throughout, there is appeal in unbelievable degree. Here, indeed, is magnificent use of the medium of the motion picture. Here, indeed, DeMille has built a fitting capstone to a monumental career. Reviewed at a screening in New York’s Criterion theatre, where a largely professional audience was held captive, and moved to applause several times and at the conclusion. Re- v'ewer’s Rating: Superior. — Charles S. Aaronson. Release date, not set. Running time, 219 minutes. PCA No. 18021. General audience classification. Moses Charlton Heston Nefretiri Anne Baxter Sephora Yvonne De Carlo Joshua John Derek Bithiah Nina Foch Memnet Judith Anderson Aaron . John Carradine Jannes Douglass Dumbrille Pentaur Henry Wilcoxon Mered Donald Curtis Amminadab H. B. Warner Rameses Yul Brynner Dathan Edward G. Robinson Lilia Debra Paget Sethi Sir Cedric Hardwicke Yochabel Martha Scott Baka Vincent Price Miriam Olive Deering A’biram . Frank DeKova Jethro Eduard Franz Ben Caleb Lawrence Dobkill Elisheba Julia Faye 20 MOTION PICTURE HERALD, OCTOBER 6, 1956 What The New RKO RADIO PROMISES.. The New RKO RADIO GINGER ROGERS BARRY NELSON CAROL CHANNING The First Traveling Saleslady Co-starring DAVID BRIAN • JAMES ARNESS TECHNICOLOR® , Produced and Directed by ARTHUR LUBIN Screen Play by DEVERY FREEMAN From original story by STEPHEN LONGSTREET BEYOND A REASONABLE DOUBT ROBERT RYAN ANITA EKBERG ROD STEIGER Starling DANA ANDREWS JOAN FONTAINE Produced by BERT FRIEDLOB in BACK FROM ETERNITY Directed by FRITZ LANG Screen Play by DOUGLAS'MORROW Produced and Directed by JOHN FARROW Screen Play by JONATHAN LATIMER DOROTHY MALONE CAMERON MITCHELL TiHSioK aTIabII RocK. TECHNICOLOR ' Produced by SAM WIESENTHAL Directed by CHARLES MARQUIS WARREN Screen Play by WINSTON MILLER ALL THESE ROFIT SHOWS FROM THE NEW R K O . IN RELEASE, OR PRODUCTION COM D... DEAN JAGGER Xthe unknown Screen Play by JIMMY SANGSTER Produced by ANTHONY HINDS Directed by LESLIE NORMAN THE KING BROTHERS Present the brave one MICHEL RAY Introducing TECHNICOLORS Filmed in CINEMASCOPE® ^Produced by the KING BROTHERS • Directed by IRVING RAPPER Screen Play by HARRY S FRANKLIN and MERRILL G WHITE Based on an original slory by ROBERT RICH DEATH OF A SCOUNDREL Stamng GEORGE SANDERS - YVONNE DeCARLO ZSA ZSA GABOR • VICTOR JORY NANCY GATES • COLEEN GRAY Written, Directed and Produced by CHARLES MARTIN JAMES MacARTHUR THE YOUNG STRANGER Co-starring KIM HUNTER JAMES DALY Produced by STUART MILLAR Oirected by JOHN FRANKENHEIMER Screen Play by ROBERT DOZIER Pi^Z/iC*^iGj:ojsr jsroa Starring “RED” SKELTON • VIVIAN BLAINE Co-starring JANET BLAIR TECHNICOLOR “ Produced by HARRY TUGEND Directed by NORMAN Z, McLEOD Screen Play by HARRY TUGEND, from original story by LARRY BERNS and DON QUINN EDDIE FISHER* DEBBIE REYNOLDS in BUNDLE OF e JOY Co-starring ADOLPHE MENJOU • TOMMY NOONAN TECHNICOLORS Produced bv EDMUND GRAINGER • Screen Plav by NORMAN KRASNA, ROBERT CARSON and ARTHUR SHEEKMAN • Story by»FELIX JACKSON • Directed by NORMAN TAUROG • Musical Numbers and Dances Staged by NICK CASTLE • Lvrics by MACK GORDON Music by JOSEF MYROW i\uu o I ciucix SARITA MONTIEL Y BRIAN KEITH and RALPH MEEKER in SAMUEL FULLER'S ARROW TECHNICOLOR® GEORGE GOBEL DIANA DORS in I MARRIED A woman Co-starring ADOLPHE MENJOU Produced by WILLIAM BLOOM Directed by HAL KANTER Original Screen Play by GOODMAN ACE THE DAY THEY GAVE BABIES AWAY Starring GLYNIS JOHNS CAMERON MITCHELL REX THOMPSON PATTY MCCORMACK TECHNICOLOR® Produced by SAM WIESENTHAL Directed by ALLEN REISNER JOHN JUSTIN BARBARA LAAGE DONALD WOLFIT RICHARD BASEHART MARY MURPHY in MAN IN THE VAULT Starring F/*fGER. orGUitf Produced and Directed by ALEC. C. SNOWDEN Screen Play by PETER HOWARD Executive Producer. TONY OWEN in Screen Play by MAURICE J. WILSON Produced by CHARLES LEEDS Directed by EDMOND GREVILLE WILLIAM CAMPBELL KAREN SHARPE ANITA EKBERG Screen Play by BURT KENNEDY Produced by ROBERT E. MORRISON Directed by ANDREW V McLAGLEN JAMES CRAIG The CYCLOPS Written. Produced and Directed by BERT I. GORDON imo RADIO "Revive Showmanship" AB-PT Meeting Urged Rhoden Urges Emphasis on Showmanship . . . Goldenson and Hyman tell of importance of local level selling to stimulate box office; cite value of "bread and butter" films, too HARRISON, N. Y.: The three-day annual meeting of American Broadcasting-Para- mount Theatres associates, held at the Westchester Country Club here Monday through Wednesday, heard both Leonard Goldenson, president, and Edward L. Hy- man, vice-president, make strong pleas for a “rebirth of showmanship,” with special attention to showmanship on the local level. “There must be an all-out effort by all exhibitors for every picture of quality, both from an individual and industry standpoint,” Mr. Goldenson said. “Every major distributor has promised to get be- hind the drive with campaigns custom- designed to bring out the best box office potential.” Open Bag of Tricks Mr. Hyman urged “the reopening of the apparently long-forgotten showman’s bag of tricks.” “It’s not only vital,” he said, “for dis- tributors and exhibitors to give quality pictures quality attention, but they must not neglect the bread and butter pictures if we are to stay open 52 weeks a year. We’ve got to keep our showmanship on the go throughout the year and not relax once we have the big ones out of the way.” The 10-point program, promulgated by Mr. Goldenson and Mr. Hyman last Janu- ary, was one of the major topics at the AB-PT meeting. Since the origin of the program, with its resultant heavy pub- licity, both AB-PT executives have been on a continuous campaign of missionary work among the presidents and upper echelon of the distributing companies to make the plan a reality. Mr. Hyman told the meeting that “the experience we have gained in our follow- through attempts has made it clear that the 10 points can be boiled down to two which are really vital.” The first, he said, calls for “an orderly distribution of qual- ity product throughout the year” and the second is “the rebirth of showmanship.” The other eight points, he explained, “are really phases of these two points and we earnestly feel that the orderly distribution of quality product throughout the year, coupled with the rebirth of showmanship, would go a long way toward curing our box office ills.” The AB-PT vice-president said that as a result of the “missionary work” done on the 10-point program, Warner Brothers had released “The Searchers” and Para- mount “The Man Who Knew Too Much” in the past May-June “orphan period” and that despite the old-fashioned fears for business in this period, both pictures gave excellent accounts of themselves. Expressing the realization that distrib- utors should not be asked to take the en- tire risk without the cooperation of ex- hibitors, both Mr. Goldenson and Mr. Hy- man urged their associates to “conceive and consummate advertising and exploita- tion campaigns beyond normal,” as they did with “The Searchers” and “The Man Who Knew Too Much.” Copies of these ex- tra special campaigns were supplied to dis- tributors as visual proof of the promo- tional activity behind the imposing box office figures. The AB-PT associates were urged fur- ther to continue this practice for all qual- ity pictures during the four-quarter drives as evidence of their continued cooperation. “With this proof of accomplishment star- ing the distributors in the face, we hope,” said Mr. Hyman, “that they will be con- vinced of the advisability of making qual- ity pictures available to the exhibitor for the Thanksgiving-to-Christmas period and the orderly distribution of quality prod- uct ... a permanent fixture of our busi- ness.” In this further report on the 10-point program, Mr. Goldenson and Mr. Hyman urged in addition “custom built advertis- ing and exploitation campaign planned by distributors far in advance of release dates,” complete cooperation of the ex- hibitor on the local level “as far in ad- vance as possible,” cooperation of local ex- hibitors to work together “to build up mo- tion picture entertainment generally in every area” and that “the potentials of lo- cal exhibitor organizations and their rela- tionships with newspapers, radio, TV and local business people not be minimized.” Enthusiastic Letters Included in the report on the 10-point program were copies of enthusiastic letters supporting the program from Jerome Pick- man, Paramount Pictures; Larry Golob, Warners; Max Youngstein, United Artists; Charles Einfeld, 20th-Fox; Silas Seadler, Loew’s; Paul N. Lazarus, Jr., Columbia; Charles Simonelli, Universal; Ben H. Grim, RKO Radio; Albert Margolies, Buena Vista; Martin Davis, Allied Artists, and Bea Ross, Republic. The associates also were provided with a showmanship “checklist” of ideas to pro- mote attendance, and a list of forthcom- ing product from the studios. PHOENIX, Ariz.: Elmer C. Rhoden, president of National Theatres, Inc., told 100 delegates who convened here for the company’s annual convention he does not expect the number of new pictures this year to increase. In view of this he asked the theatre executives to use the princi- ples of great showmanship to attract the public to the box office. Mr. Rhoden out- lined a four-point program aimed at in- creasing attendance in film theatres. In addition to the plea for showmanship he further advocated that the delegates take immediate steps to reduce wasteful ex- penses, make better use of valuable man- power, and develop more aggressive mental attitudes. National Theatres has achieved much in the last 12 months, including conver- sion of unproductive assets, reduction of taxes, and improvement of the company’s financial position, he said. In an optimistic tone, Mr. Rhoden announced the board of directors has decided to meet next week for final approval of the budget and story for the company’s Cinemiracle, which he said, “we believe to be a valu- able asset. It represents a forward step in photography and audience participa- tion” and added: “We contemplate equip- ping 20 theatres in the principal cities of the country for Cinemiracle and to de- velop two traveling units with portable equipment to serve spots of intermediate size.” Mr. Rhoden blasted the theory that theatre men know nothing about produc- tion and therefore should not turn to producing pictures. He reminded the dele- gates that many pioneers now in pro- duction were exhibitors first. The convention approved a move to change the circuit’s official name to Fox National Theatres and concluded Wednes- day. Coyne Urges Tax Fight at Allied Pittsburgh Meet PITTSBURGH: Exhibitors attending the convention of Allied Motion Picture Thea- tre Owners of Western Pennsylvania in the Hotel Roosevelt here last week were urged by Robert W. Coyne, special coun- sel of the Council of Motion Picture Or- ganizations, to map a concentrated cam- paign to reduce local taxes on admisson tickets. He told the 250 exhibitors that “even if you fail this year, there is good therapy in action and intelligent effort. If you can make your representatives the same type of zealots we had in Wash- ington to repeal the national taxes, you can’t lose in the long run.” 24 MOTION PICTURE HERALD, OCTOBER 6, 1956 New Zealand Plans Circuit Of Drive-ins WELLINGTON: Work is expected to begin soon on the first of a circuit of drive-in theatres in New Zealand. Authority for the project is sought from the Capital Issues Committee. Plans are under way to build seven drive-ins, the controlling company to be known as Skyline Drive Ins (N.Z., Ltd.) a joint venture of the ;i Kerridge-Odeon (J. Arthur Rank As- sociate) and Amalgamated Theatres, Ltd. (20th Century-Fox Associate). Three of the drive-ins will be in Auck- } land — one on the North Shore — one at Hamilton, two. at Wellington and one at Christchurch. The cost is expected to be £1,000,000 sterling. A statement issued by the two companies says that all sections of the community have benefited by the operation of drive-in cinemas overseas. Kerridge-Odeon and Amalgamated have found it desirable to work together on this project because of the high con- struction cost and the complexity of the technical requirements, but more im- portantly because of the need to secure adequate film supplies, having regard to the needs also of the conventional theatres. Through the association of the two major organizations, films will be available from all British, American and Continental sources. Each drive-in is planned to occupy about 25 acres and accommodate 700 cars or about 2,500 people. Italian-Spanish Pact Effective to February ROME: A new Italian-Spanish co-produc- tion agreement, signed in Venice during the film festival in that city, is effective until February 28, 1957, and will be ex- tended automatically year by year. By its terms there is no limit on the number of co-productions which can be made with the participation of companies of the two countries. Among the conditions are: the pictures’ directors must be either Italian or Spanish; stories chosen must have “an international value.” File Anti-Trust Suits Two anti-trust suits were filed against seven major distributors by the Atlantic Theatres circuit in U.S. District Court here in behalf of their Laurel theatre, Bridgeton, N.J., and their Grove theatre, Pennsgrove, N.J. A run on national release date and treble damages to be specified by the court are asked. Named as de- fendants are Columbia, MGM, Paramount, RKO, Universal, United Artists and Warner Bros. Charles Moss Named Drive Division Head Charles B. Moss, president of the B. S. Moss Corp., New York, has been named chairman of the Movie and Amusement Division drive for the Federation of Jew- ish Philanthropies, it was announced by Adolph Schimel, vice-president and gen- eral counsel of Universal Pictures and general chairman of the division. In an- nouncing the appointment, Mr. Schimel urged the entire industry to cooperate fully with Mr. Moss, declaring the Federa- tion’s network of hospitals and social wel- fare institutions will need all-out support to continue and expand the high level of service established. Mr. Schimel urged overflow attendance at the division or- ganization meeting which is set for the Hotel Astor on Monday. The 1956-1957 campaign of the Federation is seeking $18,100,000 to maintain a network of 116 hospitals, childcare and family agencies, homes for the aged, community centers and camps that annually serve more than 620,000 New Yorkers of all races and creeds. Electronicam Seen on Coast HOLLYWOOD: Upward of 400 producers, directors, production personnel and press representatives who witnessed the first demonstration of the DuMont Electroni- cam System last week at Paramount’s Sunset Studio were expressing pre- dominantly favorable reactions. Frank Ross, producer of “The Robe,” said, “There are features I like very much. The finder and focusing system can be exceptionally helpful in deriving the full value from the rehearsal period.” Irvin N. Clary, executive vice-president of City National Bank, Beverly Hills, said “A new process in any industry which in- creases production and saves time and money is interesting to a banker and has his support. I was impressed with Electronicam and am hopeful that this merging of electronics with photography for the first time will be adopted for use in future production.” Producer Stanley Donen said, “It is a very interesting de- velopment and I hope to be able to use it.” Actor-producer Jerry Lewis said it was “a truly great advance, and I’d like to use it in my own production activity.” Electronicam was demonstrated several nights last week for cameramen, direc- tors, television producers, unit managers and film editors. Among those attending last Monday’s demonstration were Frank Capra, Jesse L. Lasky, Charles Brackett, Robert Fellows, Fredric Brisson, Frank Rosenberg, Harry Tugend, Paul Jones, Charles Glett, Harriet Parsons, George Bagnall and Ben Bogeaus. Arthur Asks Production by Circuits Now “There is no need for a roundtable conference unless all segments of the motion picture industry have an honest desire to work together for a better in- dustry,” in the opinion of Harry C. Arthur, Jr., president of the Southern California Theatre Owners Association. Mr. Arthur, in New York last week for conferences with the production-distribution com- panies, also said that his organization is “in favor of divorced theatre circuits going into production and distribution of motion pictures with proper safeguards as a means of making more product available.” Commenting on the Allied States As- sociation bid for a roundtable meeting, the SCTOA president declared that a “rapprochement among all facets of the industry could be brought about if all segments come to a realization that we are dependent on one another for a liveli- hood. There should be a change in the thinking between distribution and ex- hibition. There is no victory or defeat in the report by the Senate Small Business Committee on industry trade practices. Mr. Arthur indicated that his organiza- tion would have something to say about the SSBC report, specifically arbitration and reconciliation, in the near future. In discussing the announcements by American Broadcasting-Paramount Thea- tres and Stanley Warner Corp. concerning going into production and distribution, Mr. Arthur said, “Proper safeguards should be entailed in these ventures or we are likely to return to the days prior to the consent decree.” The SCTOA head explained that he favors “pre-emptive rights as it is logical that the guy who puts up the money should have first call on the films, es- pecially in territories where he currently operates theatres. However,” he said, “caution should be exercised with ‘pre- emptive’ rights in territories where these exhibitor-producers do not operate thea- tres now.” Mexico Producers Vote Suspension MEXICO CITY: Forty-five of the 61 members of the Producers Association recently voted here unanimously at an emergency meeting to suspend their operations indefinitely if the Picture Pro- duction Workers Union (STPC) persists in its decision to limit to two pictures yearly those which foreigners can direct. The producers’ decision would stop 90 per cent of picture production in Mexico. They regard the union demand as limit- ing their contracting rights. MOTION PICTURE HERALD, OCTOBER 6, 1956 25 New Techniques Will Feature SMPTE Meet United Artists To Emphasize TV Promotion . . . Five-day convention to be held in Los Angeles will have 15 techni- cal sessions, see award of Society's annual honors Demonstrations of the new MGM 65mm system, 20th Century-Fox’s CinemaScope 55, and six-channel stereophonic sound will be among the feature attractions at the 80th convention of the Society of Motion Picture and Television Engineers, which opens at the Los Angeles Ambas- sador Monday, October 8. Fifteen technical sessions, an equipment exhibit, committee meetings and the presentation of Society awards will occupy delegates attending the five-day meeting. Discuss T ransistors The technical program contains papers on television, motion pictures, instru- mentation and high-speed photography subjects. Of unusual interest, and never before featured in an SMPTE convention program, are papers on the principles and applications of transistors in motion picture and television equipment use. Motion picture sessions will cover motion picture and laboratory practice, sound recording, and projection and viewing. There will also be a demonstration of the Dumont Electronicam Film System re- cently delivered to Paramount Studios. Highlights of the television sessions will be the first technical papers on the Ampex Videotape Recorder, and a tour and de- scription of the NBC Color TV Studios in Burbank. A full-day field trip to the U.S. Navy Electroncis Laboratory at San Diego has also been arranged for a limited group interested in instrumentation and high- speed photography. Presentation of 1956 Society awards will take place Tuesday evening, October 9. At that time Dr. William H. Pickering, director of the jet propulsion laboratory at the California Institute of Technology, will discuss the earth satellite, the major contribution of the United States to the 1957-1958 International Geophysical Year. Dr. Pickering is a member of the United States National Committee Technical Panel on the Earth Satellite Program and is chairman of its working group on Track- ing and Computation. The get-together luncheon will be held in the Embassy Room of the Ambassador on Monday at 12:30 P.M. Dr. John G. Frayne, president of the Society, will discuss the current status of motion picture technology and will introduce George Sidney, president of the Screen Directors Guild, guest speaker. The results of the elections will be announced at that time. The traditional cocktail party and banquet will be held Wednesday evening and will include the added attractions of an aquacade and Hawaiian Luau. The equipment exhibit in the Ambassador’s Sunset Room will include displays of latest film laboratory and motion picture and TV studio equipment. The Magnasync Manufacturing Company will unveil its new Marx IX Safari Console, a combina- tion self-blimped studio console, magnetic film, sound channel which can be secured to a single-wheel trailer for mobile field operation. Also in the sound equipment line, the Cinema Audio Products display will feature custom designed special input consoles, pre-amplifiers, attenuators and equalizers. Other manufacturers and distributors participating in the exhibit are: Andre Debrie of America, Inc.; Animation Equip- ment Corporation; Bell & Howell Com- pany; Berndt-Bach, Inc.; Fonda Corpora- tion; Houston Fearless Division; Kiing Photo Corporation; Miller Precision Equip- ment, Inc.; Mole Richardson Company; Motion Picture Printing Equipment Com- pany; Moviola Manufacturing Company; Neumade Products Corporation; Radio Corporation of America; Unicorn Engi- neering; W. M. Welch Manufacturing Company; and Westrex Corporation. Program for Ladies A program has been planned for the ladies by a committee co-chairmanned by Mrs. John G. Frayne and Mrs. Norwood L. Simmons. 'It includes an all-day trip to Disneyland, afternoon tea at the Beverly Hills Hotel, and luncheon at Warner Bros, followed by a tour of the studio. The registration desk in the Ambassador Lobby will open at 2 P.M. on Sunday, Monday at 9 A.M. and a half hour before each session. Fanchon & Marco Circuit Will Be Reorganized The Fanchon & Marco Theatre Circuit will be reorganized with the stock of Marco Wolff and his sister, Fanchon Simon and their families to be acquired by the corporation, it is announced by Harry C. Arthur, Jr., president. The exhibitor said the name of the corporation, which oper- ates 50 theatres, will probably be changed to Arthur Enterprises, Inc., comprising the brothers and sons of Harry C. Arthur. The names of Fanchon & Marco will be re- leased to Mr. Wolff and Miss Simon, he added, as these are their given names. United Artists will stress exploitation by television in promoting its product for the next 12 months and will hold a series of home office planning sessions to blue- print more effective ways of employing the TV medium, it was announced last week by Roger H. Lewis, national director of advertising, publicity and exploitation. The meetings, to be led by Mr. Lewis, will involve participation by Alfred H. Tamar- in, assistant national director of advertis- ing, publicity and exploitation; Mort Na- thanson, publicity manager, and Joseph Gould, advertising manager. The full staffs of the various departments will take part in the October sessions. The subject of TV promotion will also be discussed in the field at meetings attended by U.A. ex- ploitation men. A release schedule of about 48 pictures for the coming 12 months was announced recently by vice-president Max E. Young- stein. The U.A. emphasis on video ex- ploitation as a mean of stimulating the box office runs counter to the policy of some other major distributors which have curtailed some phases of their television activity. “Let’s face the facts,” Mr. Lewis said. “In TV we have a medium that reaches a huge mass audience. The problem is sim- ply developing a technique that will best point up the entertainment values of the product we have to sell. By ignoring or downgrading television, we would be wasting a major weapon in the continuing battle for the entertainment audience.” Noting the success U.A. already has en- joyed with its own application of video promotion, Mr. Lewis added the company’s practice of distributing special TV fea- turettes, planned before production and shot while the picture was in work, has met with wide acceptance by stations throughout the country. “We have checked the audience response to features of this sort,” Mr. Lewis added, “and, with very few exceptions, the results have been very good.” Jury Verdict to Stand In West Virginia Suit The motion to set aside the jury’s ver- dict in the case of Columbia Pictures Corp. et al, versus Rogers and Shore has been denied by the U.S. District Court of Southern West Virginia. A jury two months ago acquitted Lloyd E. Rogers and Mannie Shore, West Virginia theatre owners, of charges of “fraud” brought against them by the major motion picture companies. The plaintiffs had moved for a new trial. 26 MOTION PICTURE HERALD, OCTOBER 6, 1956 Ictua''y fii™d^ m Spectacular , Eastman CO£OP/ JOHN BROMFIELD BEVERLY GARLAND ™LARRI THOMAS TOM PAYNE HARVEY CHALK JOHN AGAR * CYNTHIA PATRICK HUGH BEAUMONT- NESTOR PAIVA ALAN NAPIER starring f TERRIFIC SINCIY...0 r DOUBLE-TERRIFIC as a DOUBLE BILL! More BOX-OFFICE Power Horn Universe!/ CEA-KRS Hold Action On “King” Release . . . British trade groups await rul- ing of Board of Trade on “revolu- tionary" 20th-Fox plan for "King and I" ‘ by WILLIAM PAY LONDON: The joint CEA-KRS committee has deferred taking any action on 20th Century-Fox’s “revolutionary” distribution pattern for “The King and I,” pending a Board of Trade ruling. Independent ex- hibitors had protested that the Fox plan, for the film to be released in 25 London zones for a minimum of two weeks prior to its normal release, disturbed the long established trading pattern. It was pointed out by members of the committee thaj; while the major circuits had given an undertaking not to modify their standard booking practices, here was a case of the small circuits, Granada and Essoldo, themselves disturbing trading arrangements. A clarification of this point, it was decided, should be sought from the Board of Trade. As things stand at this moment, however, there is little likelihood of the committee taking joint action. The KRS has always been reluctant to interfere with its mem- bers distribution policy. On the other hand, the CEA has religiously advocated “individual trading” between renters and exhibitors. Meanwhile, James Pattinson, managing director for 20th Century-Fox here, sticks by his plan to break with tradition. He maintains that changing trade conditions demand a more flexible release system. “The King and I” starts its special release October 7 and goes into the con- ventional release pattern of North-West, East and South-East London November 12. It has already run for three record-break- ing weeks at the Carlton theatre in London’s West End and continues to capacity business. Fox have to move it out to make way for “Bus Stop” around mid-October when they will again break with tradition and open with a Saturday premiere with Marilyn Monroe in at- tendance. PRODUCERS, UNION CHIEFS AVERT STUDIO SHUT-DOWN A degree of psychology and “get tough” attitude on behalf of producers and union chiefs has averted a shut-down of Britain’s major studios. Virtually a hundred per cent of the studios’ carpenters, some 300-odd, had given a week’s notice and production at M.G.M. Elstree, Pinewood, Shepperton, Nettleford, Beaconsfield and ABPC Elstree, was threatened. The “chippies” claim was for a wage differential and 30 per cent increase. They had nursed this grievance for several months and complained of long drawn-out negotiations with the producers. Sir Tom O’Brien, general secretary of N.A.T.K.E., who represent the carpenters, repeatedly appealed to the rebels not to act in defiance of union policy. But this time his advice was ignored. He promptly accused them of being led by a caucus of irresponsible men, hell-bent on destroying their own livelihood and that of every- body else in the industry. Sir Tom then called a meeting of all other unions representing carpenters and a firm stand was agreed against this unofficial action — instigated by a group of film studio carpenters to promote a cam- paign for preferential rates. No dispute, it was stated, existed be- tween the producers and the unions so the defiant carpenters were told they could be replaced by others outside the industry. At the same time the B.F.P.A. adver- tised for carpenters in the London Evening News. Within 48 hours the majority had withdrawn their notices and the threatened stoppage, that would have hit the production of 19 films, was averted. In some instances, however, the studios refused to allow some of the men to with- draw their notices. They wanted to be rid of the trouble-makers. AGREEMENT IS REACHED ON ANGLO-ITALIAN FILM PACT A new three-year agreement has been reached — subject to approval — by British film producers and the Italian industry governing the exhibition of British films in Italy and Italian films in the U.K. This follows talks between representatives of B.F.P.A. (British Film Producers Associa- tion) and A.N.I.C.A. (Associazione Na- zionale Industrie Cinematografiche Ed Affini) in Rome consequent on the passing of the new Italian film law which es- tablishes a compulsory deposit of 5,500,000 lire for the circulation of foreign films in Italy. Under the agreement total exemption from the “compulsory deposit for dubbing” is granted to: two British films for every Italian film given a major circuit release in the U.K. Companies which are registered in Britain by a subsidiary of, or controlled by, an American company are excluded from the agreement. The B.F.P.A.- A.N.I.C.A. agreement also provides for 16 British films nominated by the B.F.P.A. to be granted exemption each year subject to payment of £1,100 for each film into a London “pool” which is administered by the two associations. An uptrend in admission is indicated in the latest Levy collection and rental figures issued by the British Film Produc- tion Fund. For the four weeks ended August 25, 1956, rentals were £402,782 for features and £40,438 in respect of shorts (this is after multiplying 2V2 times). Total rentals for the four weeks is there- fore £443,220 as compared with £346,698 for the corresponding period in 1955. Levy collections amounted to £236,288 compared with £ 193,727 for the same period last year. • The C.E.A.’s Finance and Management Committee reports that its newly-ap- pointed advertising contractors have made some headway in the securing of adver- tisements for its fortnightly Film Report. Further orders are anticipated in the Autumn and 1957. Arrangements have also been made to print in colour. The Report is widely-read amongst exhibitors and its assessments of films carries considerable weight. C.E.A. mem- bers are now asked to give any informa- tion that might lead to further advertising. It is authoritatively understood here that America’s N.B.C. plans to move in on Britain’s commercial TV. It has applied for a share in the running of the Welsh I.T.A. station. The I.T.A. is currently considering this station’s allotment and will make its de- cision in November. Several other groups have applied as programme contractors. They include impressarios Jack Hylton and Tom Arnold, Lord Derby, Lord Aber- dare, Archibald Weir, Monty Bailey- Watson, the “News of the World” and the four contractors already operating the English stations. The Television Act stipulates that a programme contractor should not be under the control of anyone residing outside the U.K. There is, however, nothing stopping an American company buying an interest in a British contracting company. • William Cecil Jeapes, 84, a pioneer of the industry, died here at his home, September 21, following a heart attack. He originated one of the earliest news- reels, Animated Graphic, in 1903 which later developed into Topical Budget. In the 1920s he introduced automatic film processing into his own laboratories and was founder of Universal News. Peru will be the sixth country in Latin America to have active distribution of Rank Organisation films following an agreement just made with Films Inter- national S.A. Peru. Rank product is al- ready in active distribution in Argentina, Venezuela, Brazil and Uruguay. Opera- tions will begin very soon in Chile. 28 MOTION PICTURE HERALD, OCTOBER 6, 1956 Hue way the fans love m THE WINNERS CIRCLE Pictures which were reported as doing above average business in key theatres of the cities of the nation for the week ended September 29 were: Variety Club Membership Drive Is Set DENVER: At a two-day International Variety meeting, with 19 attending, it was decided to inaugurate an intensive mem- bership drive in each of the seven inter- national districts. The drive will embrace all facets of show business. The district showing the largest percentage of increase will get the international representative a plaque, while the tent showing the largest increase will receive a special prize. The group hopes to boost last year’s $2,750,000 charity donations to more than $3,000,000 the coming year, with more than 95 per cent of it going toward relief of children’s diseases. The group also voted to provide closer cooperation between the International Variety and local tents, by providing more information concerning charity drives, and the international group also plans to issue a manual for the use of local officers. Re- ports of international representatives indi- cate the need for such activities. Attending the meeting, held at the Cos- mopolitan Hotel, included Marc J. Wolf, main guy; John H. Rowley, international chief barker; George W. Eby, first assistant international chief barker; Edward Eman- uel, second assistant chief barker; J. B. Dumestre, Jr., international dough guy; Rotus Harvey, international property master; George C. Hoover, international executive director; Nathan D. Golden, in- ternational heart chairman; Edward Shaf- ton, international fixer; Ezra E. Stern, in- ternational fixer, and these international directors: R. L. Bostick, Paul M. Bruun, C. A. Dolsen, A1 Grubstick, J. Robert Hoff, Norman B. Mervis and Ralph W. Pries. Alliance Theatres Holds 21st Annual Meeting The 21st annual Fall meeting of Alliance Theatres was held last week in Fort Wayne, Indiana, with all managers, assist- ant managers, vending personnel, asso- ciates and home office personnel in attend- ance. The meeting, which was preceded by a day and a half of individual business sessions, was called to distribute awards for the 18-week drive which is held an- nually. This year the Alliance drive was scheduled from April 15 through August 18. Winner this year was Morris Kahn, manager of the North drive-in theatre, Anderson, Indiana. The meeting was open- ed by S. J. Papas, who expressed his con- fidence in the future of the industry. Mr. Papas then introduced S. J. Gregory, gen- eral manager of Alliance Theatres, who gave a report on the annual drive and dis- tributed the awards. Atlanta: The Bad Seed (W.B.) 2nd week; Pillars of the Sky (U-I); Tea and Sym- pathy (MGM) ; These Wilder Years (MGM). Boston: Oklahoma! (Magna) 2nd week. Buffalo: The Best Things in Life Are Free (20th-Fox); Oklahoma! (Magna) 7th week; Tea and Sympathy (MGM); Toward the Unknown (W.B.); Walk the Proud Land (U-I). Chicago: Crime in the Streets (A.A.); High Society (MGM) 5th week; Rififi (UMPO) 9th week; Tea and Sympathy (MGM). Cleveland: The Best Things in Life Are Free (20th-Fox); Run for the Sun (U.A.); Tea and Sympathy (MGM); War and Peace (Par.). Columbus: The Bad Seed (W.B.) 2nd week; Walk the Proud Land (U-I). Denver: The Bad Seed (W.B.) 2nd week; Bus Stop (20th-Fox) ; Cry in the Night (W.B.); My Seven Little Sins (Kingsley) 2nd week; Seven Men from Now (W.B.). Des Moines: Tea and Sympathy (MGM). Detroit': High Society (MGM) 6th week; War and Peace (Par.). Hartford: The Bad Seed (W.B.) 2nd week; Beyond a Reasonable Doubt (RKO); The Last Wagon (20th-Fox); Madame Butterfly (IFE) 2nd week; Miami Expose (Col.); Samurai (Jacon); These Wilder Years (MGM). Indianapolis: The Bad Seed (W.B.); Okla- homa! (Magna) 5th week; Tea and Sym- pathy (MGM). Jacksonville: A Cry in the Night (WB.); Francis in the Haunted House (U-I); A Kiss Before Dying (U.A.) ; Tea and Sym- pathy (MGM). Kansas City: Umberto D (Harrison) 2nd week. WOMPI Elect Stella Poulnot ATLANTA: Mrs. Stella Poulnot of this city was elected national president of the WOMPI (Women of the Motion Picture Industry) at the organization’s third an- nual convention held here at the Dinkier Plaza Hotel September 28-30. Mrs. Poulnot succeeds Mrs. Lorraine Cass of the New Orleans Club. Other new national officers include: Miss Jean Gerbase, Denver, vice-presi- dent; Miss Mildred Castleberry, Atlanta, corresponding secretary; Mrs. Anna Oliphant, New Orleans, treasurer; Mrs. Olive Copeton, Toronto, Canada, regional director; Mrs. Lorena Cullimore, Dallas, recording secretary, and Mrs. Lloyd Evans, Memphis, Eastern regional direc- tor. Among the 200 WOMPIs on hand were delegates from Canada, Colorado, Florida, Washington, D.C., Atlanta, Memphis, Charlotte, Des Moines and other spots. After a schedule of receptions, luncheons Miami: Oklahoma! (Magna) 31st week; Tea and Sympathy (MGM). Milwaukee: Bus Stop <20th-Fox) 3rd week; Tea and Sympathy (MGM). Minneapolis: Attack! (U.A.); The Bad Seed (W.B.) 3rd week; The King and I (20th- Fox) 11th week. New Orleans: High Society (MGM) 4th week; The Last Wagon (20th-Fox); Oklahoma! (Magna) 14th week. Oklahoma City: The Bad Seed (W.B.) 2nd week; Bandido (U.A.); The Last Wagon (20th-Fox) 2nd week; Oklahoma! (Magna) 6th week. Philadelphia: Back from Eternity (RKO); The Bad Seed (W.B.) 4th week; High So- ciety (MGM) 5th week; Oklahoma! (Mag- na) 4th week; War and Peace (Par.). Pittsburg: The Burning Hills (W.B.); Lust for Life (MGM); Madame Butterfly (IFE); Oklahoma! (Magna) 16th week; Tea and Sympathy (MGM). Portland: The Bad Seed (W.B.); Diabolique (UMPO) 6th week; Moby Dick (W.B.). Providence: The Bad Seed (W.B.). San Francisco: The Bad Seed (W.B.); The Best Things in Life Are Free (20th-Fox); The Last Wagon (20th-Fox); Tea and Sym- pathy (MGM). Toronto: The Ambassador’s Daughter (U.A.) 2nd week; The Catered Affair (MGM); The King and I (20th-Fox) 9th week; Oklaho- ma! (Magna) 23rd week. Vancouver: The Ambassador’s Daughter (U. A.); High Society (MGM) 4th week; The King and I (20th-Fox). Washington: Bigger Than Life (20th-Fox); Bus Stop (20th-Fox) 4th week; The Eddy Duchin Story. (Col.) 10th week; Johnny Concho (U.A.); Kid for Two Farthings (Lopert) 4th week; Lust for Life (MGM); Run for the Sun (U.A.). and a fashion show, the events wound up with a banquet at which Edward J. Forio, vice-president of Coca Cola, was guest speaker. Allied Meeting to Get Film Rental Formula A film rental formula designed to elimi- nate “many of the problems arising from methods used today in film buying” will be presented to the annual convention of Allied States Association in late Novem- ber, it was learned this week. The plan, in work for some time, suggests a ceiling on film rentals and it is hoped that this formula “would be adopted and put in use by exhibitors on a national exchange area or state operational level.” According to a prominent Allied representative, the plan provides for a “50 per cent top rental in first run theatres, 35 per cent top in second runs, 25 per cent in sub runs, and a flat rental in all theatres grossing $1,000 per week or less. A sliding scale would also be used.” He did not say whether there were any legal hindrances to the suggested plan. 30 MOTION PICTURE HERALD, OCTOBER 6, 1956 J^ofiuwoocl Si » cene HOLLYWOOD AS SEEN BY TV New Subject A Directors Trial: Sidney HOLLYWOOD: “It’s like going back to college to learn a new profession,” de- clares George Sidney, “When a director undertakes to film an important picture on a new subject. And it’s a great educa- tional experience. “This also applies to biographical productions, particularly those which deal with modern-day person- alities, on which relatively little subject- matter has been published.” Mr. Sidney, after 24 years under con- tract at MGM, now heads his own inde- pendent company, with a releasing con- tract at Columbia, where he is starting a new program of pictures with “The Jeanne Eagles Story,” starring Kim Novak. “A director who can choose a variety of subjects derives the most personal sat- isfaction,” continued Mr. Sidney, now serving his sixth consecutive term as pres- ident of the Screen Directors Guild. “And by varying his material, picture to picture, he makes his job more interesting, as well as enlightening.” U-l Ad Conference Held in Hollywood Universal-International advertising, pub- licity and exploitation executives will hold a week-long conference at the Uni- versal-International studios Monday, Octo- ber 8, it was announced last week by David A. Lipton, Universal vice-president, who will preside. The purpose of the week-long series of meetings will be to develop and implement promotional plans on U-I’s forthcoming films. Attending from New York will be Charles Simonelli, eastern advertising and publicity mana- ger; Philip Gerard, eastern publicity man- ager; Jeff Livingston, eastern advertising manager; Herman Kass, eastern exploita- tion manager, and Robert Gilham, of Cunningham and Walsh, Universal’s ad- vertising agency. Also Ben Katz, midwest advertising and publicity, Chicago. From the studio will be Clark Ramsay, executive assistant to Mr. Lipton; Jack Diamond, studio publicity director; Archie Herzoff, studio advertising and promotion mana- ger; James Raker, studio advertising de- partment head, and George Lait, assistant studio publicity director. " Karamazov " Planned MGM announces that it has started pre-production preparations on the filmi- zation of Feodor Dostoevski’s novel, “The Brothers Karamazov.” Millard Kaufman is writing the screenplay and Pandro S. Berman has been assigned as producer. Hollywood, Monday Esteemed Editor: Folks around here are wondering today what folks around New York and the na- tion thought of the Hollywood they saw yesterday on NBC’s Wide Wide World telecast. Because most folks around here think the motion picture capital of the world has been given a far more accurate representation in a good many of its own motion pictures filmed for exhibition on theatre screens than it got at the hands of General Motors’ videographers in Sun- day’s 90 minutes of smog-free sunshine. It is realized, of course, that prejudice may figure to some extent in the com- munity thinking on the subject, but it’s in the nature of a consensus that TV took professional pains to make sure the minor medium didn’t suffer by comparison with the major medium it explored. Expectation had been higher than it might have been if Art Linkletter, in an- other 90-minute telecast over the same network last year, hadn’t shown TV-sitters a Beverly Hills that nobody, including the citizens of that proud place, could com- plain of in any particular. It was reason- able to expect that, this many months later, the network’s craftsmen, enriched by that experience, would contrive a be- glamorization of Hollywood beyond dra- matic precedent. Instead, they chose to go literal, businesslike, documentary, and these were never Hollywood’s best holds. Lean, Hungry Look Although the trade here understands why several of the great studios didn’t show, nor their head men or top players, the wide, wide world to which the telecast was beamed did not, properly, and to the millions of plain box office customers in viewing range of TV receivers the Holly- wood that NBC showed them must have had a lean and hungry look. And Holly- wood is neither lean nor hungry. Until the news from outside the Holly- wood hills filters back to the townspeople, folks around here will be wondering whether they were done right by. • The Academy of Motion Picture Arts and Sciences, which last week declared its bold intention of building a motion pic- ture museum in Hollywood, is in the news again this week with announcement of a new rule under which Academy members will have a voice, hereafter, in the award- ing of the Oscar for the Best Foreign Language Film. Most people who read about the Oscar awardings each year never knew until now, of course, that the Acad- emy board of governors took care of this matter without the aid of the Academy members, and maybe that would have been a good way to leave the thing. Now that announcement’s been made about a rule taking this voting power out of chambers, so to speak, and handing it over to the membership, it’s more or less imperative to make it known widely that none of the other major awards are de- cided upon privately by the board of governors. Under the new rule there’s a lot more work for everybody to do, without much visible gain in result. Formerly the award has been honorary, and there was no necessity for giving one in a year when no foreign-language film of distinction happened to be in evidence. Hereafter the award must be made each year, whether or no, and naturally there will be none of those “no” years. Wondrous Procedure To be eligible a film must have been produced by a foreign company within certain dates and must have a non-English sound track. It must be accompanied by a story synopsis written in English, but not necessarily in a dubbed version, and there’s to be a committee that will look at the submitted films and select five of them to be shown the Academy members. The Academy has come up with some pretty wondrous procedures in its long and troubled career, but surely none more wondrous than this. Nevertheless, the Academy’s executive director set off at weekend on a month’s tour of Europe, to explain the new rule to organizations over there, and it is dis- closed that the Academy’s president did some globe-trotting in its behalf earlier in the year. Altogether, in whatever lan- guage, the Academy appears to have waxed world-minded with a bang. — William R. Weaver Film Stars Aid U.S. Bond Sale Campaign WASHINGTON : Several film stars are taking part in a Treasury Department “Freedom Fair” this week in Arlington, Va., just across the Potomac River. The Fair, which will continue through Octo- ber 8, has as its theme the continuing im- portance of Government savings bonds. Leading Government agencies had ex- hibits at the Fair, showing the way sav- ings bond money is put to use by the Gov- ernment. MOTION PICTURE HERALD, OCTOBER 6, 1956 31 Laud Theatre Help in South Hurricane NEW ORLEANS: Theatre owners and managers were declared town heroes here last week, winning favorable notice for their aid to townspeople driven from their homes and seriously inconvenienced by Hurricane Flossie. The hurricane struck this area and southeastern and south- western Louisiana, lashing the localities with gusts and fierce gales which at times reached 75 miles per hour. Among the theatre owners mentioned on the radio for their helpful services was Richard Guidry, owner of the Star theatre in Galliano and co-owner of the Jet drive- in. Cut Off, La. In turn, six other members of the industry were high in praise of the U.S. Navy and Coast Guard, which rescued them when they were caught by the storm while on a fishing excursion. The six included Mr. and Mrs. Ed Ortte, Clermont Harbor, Miss., operators of theatres in Gulfport, Mississippi City, and Bay St. Louis; Gerald Kennedy, 20th Century- Fox office manager, and his wife, Wave- land, Miss., and Milton Aufdemorte, Paramount’s office manager and his wife, who reside here. Theatre business in the area, of course, fell off badly, the mayor having warned people to remain in their homes. The Airline drive-in and the Kenner drive-in will be closed temporarily due to the storm damage. Fox Orders 500 Prints On "Love Me Tender" One of the highest print orders for a 20th Century-Fox CinemaScope produc- tion— 500 — has been placed with De Luxe Laboratories for “Love Me Tender,” the Elvis Presley film, which will be released during the Thanksgiving holiday period, the company has disclosed. Exceeding by 150 the number of prints usually ordered on a major attraction, the record number will be processed on a nine-day, including Saturday and Sunday, around-the-clock “crash” program to meet playdates of the film, which also stars Richard Egan and Debra Paget. The film opens November 15 at the New York Paramount theatre and will have a national saturation campaign. Paramount Holds 3-Day Talks on Film Sales PARIS: Charles Boasberg, Paramount’s supervisor of worldwide sales on “War and Peace” and “The Ten Command- Benjamin Kalmenson, executive vice- president of Warner Bros. Pictures, was elected a member of the board and a member of the executive committee of the MPAA, it was announced following the MPAA directors’ meeting this week. He succeeds Samuel Schneider, who recently resigned as vice-president and treasurer ’of Warners. Samuel J. Friedman has resigned as di- rector of amusement publicity for Cecil B. DeMille’s production of “The Ten Commandments.” William Goldman, president of William Goldman Theatres, Philadelphia, has been named a director of the board of the Philadelphia Central City Rede- velopment Corporation. At the same time Mr. Goldman was named chair- man of the Mayor’s board of theatre control. Sonya Levien, screen writer, joined ments,” held a three-day discussion of sales policies and distribution plans for the two productions at a full-scale meet- ing here of the company’s Continental managers called by James E. Perkins, executive vice-president of Paramount International Films. John Nathan, division manager for Continental Europe, and Henri Klarsfeld, general manager, both of whom headquarter here, attended. Euro- pean managers participating included: Richard Edelstein, Spain; Emilio Prister, Portugal; Jules A. Gendre, Switzerland; Paul Flodin, Sweden; S. A. Henriksen, Denmark; Kristian Torp, Norway; Kurt Troup, Finland; Richard Menasche, Bel- gium; Louis Kanturek, Austria; Boris ■Tankolovics, Germany, and K. F. J. Wijs- muller, Holland. Will Honor German at Joint Appeal Dinner William J. German will be guest of honor at the motion picture industry’s dinner in behalf of Joint Defense Appeal at the Hotel Astor, New York, October 24, it is announced by Robert S. Benjamin, board chairman of United Artists, JDA chairman for the motion picture industry. Joint Defense Appeal is the fund-raising arm of the American Jewish Committee and the Anti-Defamation League of B’nai B’rith. JDA’s 1956 goal is $5,600,000. Mr. German has taken a leading part in the work of JDA and has been closely identi- fied with many civic and philanthropic en- deavors in the industry and the commu- nity. He also has been active in industry- sponsored drives of UJA. Columbia Pictures this week in an ex- ecutive capacity, it was announced by Harry Cohn, president. Leland B. Prentice has been named act- ing director of research of Technicolor Corporation, it was announced by Dr. Herbert T. Kalmus, president and gen- eral manager. Ernest T. Conlon, for the past six years executive secretary of Allied Theatres of Michigan, recently resigned. Milton London, president, announced the re- signation with a tribute to Mr. Conlon. John I. Crabtree of Kodak Research Laboratories last week was presented with the Progress Medal, the highest award of the Photographic Society of America, at the society’s annual ban- quet at the Shirley-Savoy Hotel in Den- ver. The medal is awarded annually for a major contribution to the prog- ress of photography. Goldwyn-Fox West Coast Trial Now January 7 SAN FRANCISCO: Trial of the Samuel Goldwyn Productions’ anti-trust suit against Fox West Coast Theatres, original- ly filed more than six years ago and scheduled to start here October 1 in U.S. District Court before Judge Edward P. Murphy, has again been postponed, this time until January 7. On Judge Murphy’s motion, counsel for both sides agreed to the continuance when Judge Murphy ex- plained his services were needed in Alas- ka to help clear up a congested court calendar. Mr. Goldwyn recently cut short a European tour to be on hand next week for the start of the long-awaited trial. 'Oklahoma!' to San Antonio Interstate Circuit, Inc., has announced that Rodgers & Hammerstein’s “Okla- homa!” produced in Todd-AO, will soon be seen at the Broadway theatre, San Antonio, Texas. The premiere is scheduled for on or about Thursday, October 18. Urge St. Louis Board Consideration of the creation of a local Motion Picture Board of Review was sug- gested to the St. Louis Board of Aider- men September 28 by its legislative re- view committee. Purpose of the proposed board would be to view motion pictures and “grade them according to standards.” 32 MOTION PICTURE HERALD, OCTOBER 6, 1956 ^Jhe ijatlonai SpotiiaLt Albany Unfavorable weather and accompanying poor attendance are hastening weekend operation at drive-ins and may bring an earlier closing by some. . . . Future TOA conventions should be held in hotels “where everything and everyone are under one roof,” commented Harry Lamont upon his return from the as- semblage at the Coliseum in New York. . . . Howard Goldstein is back selling for 20th-Fox, succeeding Alvin Kosoff, who resigned. With RKO for years, first as booker and then salesman, Goldstein had recently been supervisor of Jules Perl- mutter’s theatres. . . . Ben Smith, one- time branch manager for old British- Gaumont and former salesman here with other companies renewed friendships during a visit from St. John N. B. . . . Callers included: Jim Tobin Stanley Warner district manager; Bill Shirley, ex-Schenectady theatre operator and now an exploiteer; A1 La Flamme, Unadilla drive-in. . . . Warren Schermerhorn is now assistant booker for Columbia. Atlanta The Florida theatre, Sarasota, Fla., is being remodeled. New seats will be in- stalled in the balcony and loge and new restrooms will be put on the first floor. . . . E. D. Strange, Jewell theatre, Gordon, Ga., has entered the hopsital in Macon, Ga., for an operation. . . . Mrs. Laura Kenny, secretary to branch manager Bryan Adams, United Artists Jacksonville, Fla., was in for the WOMPI convention. . . . Bobby Cobb, owner of the Cobb theatre, Fayette, Ala., and his wife are back after vacation spent in Memphis, Chicago and Milwaukee. . . . Scott Lett, Howco manager of branch operations, was in Atlanta on a visit. . . . Johnnie Harwell, buyer, Martin Theatres, checked in at his Atlanta office after visiting Jackson- ville. . . . Charlie Touchon, office manager for U. A. in Atlanta, back at his desk after a two-week stay in Jacksonville at the new branch there. . . . Jack Dumestre, Jr., Southeastern Theatre Supply Co., back at his desk after a trip to Florida. Boston William G. Gehring, vice-president of 20th-Fox and assistant to president Spyros Skouras, will address the 25th annual convention of Independent Exhibitors Inc. of New England. ... A $20,000 fire de- stroyed the Strand theatre, Rockland, Mass., shortly after- 10 P.M. Sept. 24. About 60 patrons were in the theatre at the time. The theatre was a complete loss. It is operated by B & Q Theatres. . . . The property housing the Lincoln theatre, Quincy Point, Mass., has been sold to George Abdullah who operates the Tyngs- boro drive-in, Tyngsboro, Mass Theatre was owned by A1 Baumiere who was killed in an auto accident early this summer. . . . Harry Kirschgessner, branch manager of National Screen Service, is retiring due to ill health. He’ll move to Florida. Maynard Sickels is replacement. . . . Louis Richmond of the Kenmore theatre, turned over the entire receipts of Thursday night’s benefit performance of “La Strada,” Oct. 4, to Multiple Scle- rosis. . . . John Anthony has closed the Modern theatre, Manchester, N. H., due to lack of business. . . . E. M. Loew Theatres has given up their lease on the Center theatre, Pawtuckett, R. I. . . . Loew’s Auburn drive-in, Auburn, Mass., now under construction, will not open this season as anticipated. Dick Rubin is handling the engineering. The circuit has closed its two summer operations, the Casino, Wells Beach, Maine, and the Casina, Falmouth. . . . Joseph G. Cohen, independent buyer and booker, is now handling buying and booking for the two Fitchburg theatres owned by Benjamin Sack, the Saxon and Fitchburg. Nunzio and Sarah Tantillo of Mount Morris have leased the Auditorium theatre in the town hall, Perry, N. Y. The lease follows cancellation of an existing agree- ment between the town and the Herz- berger Amusement Company, Inc. of Gloversville, which had operated the theatre since 1935. About three months ago, the theatre closed its doors and no word was forthcoming from the manage- ment as to when, if ever, the doors would be re-opened. The company gladly ac- cepted a release from its lease which called for an annual rental of $3,600 until termination date in 1963. . . . Dave Rogers is the new managing director of the Teck theatre, home of Cinerama. In show business 40 years, Rogers was associated with Walter Reade circuit in managerial capacities for 10 years. He later handled legitimate shows on the road and managed theatres for the RKO circuit. . . . Robin Hood and Maid Marian, who are Richard Greene and Bernadette O’Farrell in real life, flew into Buffalo the other day to aid the Community Chest-Red Cross Appeal. . . . Lester Pollock, manager of Loew’s, Rochester, again this year is in charge of the program end of the big Firemen’s Benefit Fund in Rochester Oct. 12-14 in the Eastman theatre. . . . Gerald R. George, for 18 years a member of the sales staff, has succeeded the late V. G. Sandford as manager of the Buffalo branch of National Theatre Supply at 500 Pearl street. . . . Michael Martin is the new manager of the Varsity theatre, a Basil circuit community house. Martin, formerly at the Colvin, succeeds Kenneth Mohr, who has returned to college. Charlotte Mrs. Viola Wister, the club president; Mrs. Myrtle Parker, ex-president, and Mrs. Gladys Hawkins, national secretary, head the Charlotte Wompis who were attend- ing the WOMPI convention in Atlanta the weekend of Sept. 29-30. Approximately 25 Wompis, many of them accompanied by their husbands, planned to make the trip. . . . Tom Baldridge, MGM exploiteer, came here to arrange advertising programs on “Tea and Sympathy” and “Opposite Sex.” . . . Screen star Rita Gam came here to attend a fashion show given by the Junior Woman’s Club of Charlotte. She also attended a breakfast given by Capital Airlines celebrating the landing of the first jet-powered Viscounts here. . . . The Plaza theatre held a screening of “Tea and Sympathy” prior to the film’s opening. Chicago The biggest Film Row event here recently was the farewell luncheon given Walter Hyland by his co-workers in the offices of Universal-International. Mr. Hyland, retiring after 42 years with U-I in Chicago, will reside in California right after his retirement. . . . David Lipton, U-I vice-president of advertising and publicity, stopped off here on his return to Hollywood from the East Coast. . . . Ray Axelrod, of Warner Brothers, has been re-elected president of the Coliseum of Motion Picture Salesmen for a second term. . . . When “Giant” opens at the Chicago for an extended run on October 25, the theatre will return to a single feature basis. . . . The Ridge, formerly a Bartelstein property, was sold for $75,000 and on October 6 was to open as the Capri Ballroom. . . . Pat Cascio, head cameraman at Filmack, left for a short vacation. Joe Mack will take over during his absence. Dan Ruffo has joined the Filmack TV sales staff, and on the clerical side, Helen Turner is a newcomer at Filmack. . . . The B&K Lakeside theatre has had its entire interior renovated and equipped with special screen and projection for the showing of all kinds of motion pictures. . . . Adolph Linick, one of the founders of Jones, Linick and Schaeffer, plans to arrive here from Hollywood soon„ to celebrate his 87th birthday and the 51st anniversary of Jones, Linick & Schaeffer. Cleveland “High Society” ended its run at Loew’s Stillman with a record of seven above- average-week grosses. Only picture so far this year with a longer run is “Guys and Dolls”, which played 13 continuous weeks. . . . Death was in bold headlines in the industry this week. Tom Alley, longtime film salesman and more recently booker for Ohio Theatre Management Company, died suddenly of a heart attack. . . . Mrs. Helen Halter Smith Russell, 56, wife of Holmes County Probate Judge Hoy L. Russell owner of the Russell theatre in Millersburg, O., died in St. Thomas Hospital, Akron where she had been a patient for five weeks. She owned the Majestic theatre (now closed) in Akron. ... A third death within the ( Continued on following page ) MOTION PICTURE HERALD, OCTOBER 6, 1956 33 ( Continued from preceding page ) industry this week was that of 84-year-old James A. Beidler of Toledo, one of the founders of the Smith and Beidler circuit. Inactive many years, his son, James A. Beidler. Jr., took over operation of the theatres in association with his partner, Martin G. Smith. . . . Henry Hellriegel, theatre building contractor, and Mrs. Hellriegel this week celebrated their 25th wedding anniversary. . . . Sam Schultz, local Allied Artists branch manager, has been named a member of the board of directors of the American Cancer Society in appreciation of his efforts in behalf of the Society. Columbus William Petrakis has re-opened the Rivoli, West Side neighborhood, after extensiive repair and remodeling. The Rivoli was heavily damaged by vandals earlier this year. . . . Workmen are com- pleting remodeling the entrance of the Hartman legitimate theatre. New illumi- nated attraction boards will be installed. . . . Bob Hope attending the wedding of his niece, Avis Hope, at Mt. Gilead, Ohio, to William Truska at Trinity Methodist Church. Hope’s five brothers, two from Columbus, also attended the nuptials. . . . Robert Zanger, exploitation representative of Columbia Pictures, was in town in advance of “Port Afrique” and “The Solid Gold Cadillac”. . . . Sam Hart, Columbia exploitation representative, passed through Columbus on his way to Minneapolis for a campaign on “The Solid Gold Cadillac.” Hart brought his son Donald here to enter Ohio State University graduate school. . . . Governor Lausche has proclaimed “Doris Day Week” in honor of the star of Metro- Goldwyn-Mayer’s “Julie” which will have its world premiere at RKO Albee in Cincinnati Oct. 10. Plans are under way for a big opening. Denver Ed Nelson, city manager for Fox Inter- Mountain Theatres, Montrose, Colo., for many years, has resigned to become manager of the Montrose Chamber of Commerce. Nelson was mayor of the city for two terms. Succeeding him is Melvin McLean, city manager at Delta, Colo. McLean has just been released from General Rose hospital, Denver, following two operations. Getting the Delta city managership is John Mazanis, assistant city manager at Great Falls, Mont. . . . Jack Pattison, Allied Artists shipper, father to new son, Paul. . . . Henry Friedel, MGM branch manager, recuperat- ing from minor surgery. . . . James Ellis, manager of the West, Gunnison, Colo., resigning to go into air force. No re- placement as yet. . . . The Tabor closes Oct. 8 for intensive booth and other altera- tions necessary for showing of “Okla- homa!” in Todd-AO starting Oct. 17. . . . Harold Rice, Fox Inter-Mountain district manager, and wife Lucile, went east as far as Boston on vacation. . . . Chick Lloyd, Apex Films, flies to Los Angeles on business. . . . Kar-Vu drive-in, Brighton, Colo., closing Tuesday and Wednesdays. . . . Mr. and Mrs. Robt. Smith, of the Chief, Steamboat Springs, Colo., travelled to Milwaukee and Indiana on their recent vacation. Des Moines Harry O. Huddleston, 66, widely-known former Iowa exhibitor, is dead. Services were in Des Moines, burial was at Monroe. Mr. Huddleston, who had not been ill long, once owned and operated theatres at Dows, Jewell, Gilmore City and Earl- ham. He was born at Monroe and had lived in Des Moines 51 years. . . . W. J. Towey of Des Moines has been named manager of the Strand theatre in Waterloo. Towey, a Tri-States employee for about 5 years, has been manager of the Des Moines Ingersoll. He succeeds Bill Gardner at Waterloo. . . . Ken Prickett of Omaha has become manager of the Waterloo theatre at Waterloo. In Omaha, he managed the State. . . . Simultaneous showings at theatres in both Council Bluffs and Omaha have been tried and found to be successful, according to Darrell Shelton, manager of the Strand in Council Bluffs, which has embraced the idea. Universal-International is co-operat- ing in the simultaneous showing plan which is still in the testing stage, accord- ing to Shelton, who said Fox also will join in. Simultaneous showings have been the goal of theatre operators in the two cities for years. . . . Variety women are hard at work on plans for their Oct. 9 rummage sale. Iola West is chairman. The ladies announced that their recent style show brought in more than $300 for the heart fund. Detroit Theatre Equipment Co., Toledo, Ohio, has closed their Detroit office in the Film Exchange Building. All shipments and inquiries are to be sent to the main office, 1206 Cherry Streets, Toledo. . . . Jam Handy’s AI Light has suffered a heart attack and is recovering in Ford Hospital. . . . Charles Lenenschmidt, Cheboygan, has sold the Cheboygan drive-in to John McClelland. . . . Because “continued ex- istence of an all-inclusive top-level or- ganization could accomplish much for our industry,” the board of directors of Michigan Allied voted to continue to sup- port COMPO. The board is against the collection of COMPO dues by film sales- men and requested exhibitors to turn dues over to Allied. One third is hoped to be retained in this area to combat daylight savings movements and in addition taxes. The post of executive secretary has been abolished and Ernest Conlon’s many years of service ended September 30. Conlon will continue in an advisory capacity as needed. Hartford Construction of Connecticut’s new film center building has been started at a site at Dixwell Ave. and Benham St., Hamden, by the All-State Realty Corporation, New York. Completion date is slated for Jan. 1. Samuel H. Faiman of the Faiman Agency, serving as renting and leasing agent, said that most of the major film distributors — about 11 concerns — will be tenants. They will occupy first floor of the two-story structure. Many of them are presently located in the Meadow St. area of down- town New Haven, which has been ear- marked for demolishment as part of a huge highway development program. . . . Walter Dinsmore has been named assistant manager, E. M. Loew’s theatre, Hartford, replacing George Hudak, resigned. . . . Henry L. Needles, formerly Hartford district manager, Warner Bros. Theatres, and a half-century veteran in the industry, has been recuperating at his Wethersfield, Conn., home from his third Hartford Hospital surgical visit of 1956. . . . Smith Management Company has dropped first run policy at the 2,070-car capacity Meadows drive-in, apparently for Fall and Winter. At the same time, the theatre has dropped admission charge from 80 to 75 cents. Indianapolis Spiro Papas, vice-president of Alliance, will lead a panel discussion on theatre concessions at the Indiana Allied state convention here Oct. 23-24. . . . Mrs. Robert V. Jones, Mrs. Dale McFarland, Mrs. Ted Mendelssohn and Mrs. Manny Marcus, all wives of leading exhibitors, are the ladies’ committee for the annual meeting. . . . Projectionist Joe Smith greeted Adlai E. Stevenson at municipal airport when he arrived for a speech Friday. “I’ve been looking for you,” said Stevenson, playing on the name of the fictitious Joe Smith presented for nomi- nation at the GOP national convention. . . . Johnny Stearns, manager of Keith’s will leave Wednesday for two weeks in Florida. “The Bad Seed” gave Keith’s its biggest opening since “Moby Dick” last week. . . . Margie Richter, head booker, has succeeded Val Klaiber as office manager at MGM. Jacksonville Carl Carter bolstered his screen fare at the Ribault drive-in with the added at- traction of a horseman riding his mount through a wall of fire. . . . The Florida premiere of Warner’s “Toward the Un- known” is set for Sheldon Mandell’s St. Johns theatre. . . . J. H. Robinson’s Arling- ton theatre has the only local children’s matinee policy on Saturday mornings. . . . The following FST officials were in New York for business sessions at Paramount offices: president Louis J. Finske, Mark DuPree, Bob Harris and Harvey Garland. . . . FST vice-president LaMar Sarra has been named a director of the newly-or- ganized Northside Bank. . . . Thirty-nine French owners, headed by Thierry Dela- fon, general delegate of the La Federation Nationale des Cinemas Francais, visited here, Tampa and Miami. Kansas City Edward V. Long, owner of the Orpheum theatre, Elsberry, Mo., and the Trojan at Troy, is a candidate for state senator of Missouri, and Hank Doering, Kansas thea- tre owner, is a candidate for Senator from the eighth district in Kansas. . . . Brooks Noah and Dick Wiles, owner of the Heart drive-in at 6400 East-U. S. 40 near Kansas City, installed a 90-by-145-feet screen to replace the old one, which was damaged by a June storm. It is being advertised as a half acre of screen as high as an eight- story building. . . . The Nelson Gallery of Art in Kansas City will sponsor its annual showing of famous films. This year’s series was selected for their value in interpre- tation of the cultures of various peoples. (Continued on opposite page ) 34 MOTION PICTURE HERALD, OCTOBER 6, 1956 Los Angeles Art Gordon, Southside Theatres booker, has resigned his post to enter another field. He will be succeeded by Bob Wolfe . . . Elaborate plans are being made for the Los Angeles Motion Picture Sales- men’s annual dinner dance at the Ambas- sador Hotel on October 27, with actress Jane Powell reigning as Lamps Queen . . . The RKO exchange has discontinued its inspection and shipping rooms and will henceforth be serviced in these depart- ments by Gilboy Co. . . . Bill Walsh, U.A. head booker, resigned to go into business for himself . . . U.A. salesman Jack Findley has been transferred from the San Fran- cisco branch to the Los Angeles office . . . Judy Poynter, head of Film Booking Serv- ice, flew to New York on business and also to attend the Theatre Owners of America convention . . . Ben Goldberg, of the Film Transport Co., is head of the committee of the Westwood Shrine Club which is planning a four-day conference for 250 Shriners at Murietta Hot Springs . . . Off on a vacation was Harry Novak, RKO head booker . . . After vacationing in San Francisco, Lloyd Katz of the Ne- vada Theatre Corp. in Las Vegas, was buying and booking on Film Row. Memphis The Northgate theatre, a new $165,000 building in the Northgate Shopping Cen- ter, with 1,000 seats and 1,200 parking spaces, was opened to the public by Au- gustine Cianciolo, who operates the Plaza, Rosemary, Luciann and Rosewood thea- tres in Memphis. Cianciolo is now plan- ning to build another theatre, the Plaza, in the new Whitehaven Shopping Center . . . C. E. Sumner, salesman, National Theatre Supply Co., underwent surgery at Atlanta. The operation was a success . . . W. P. Cates, National refrigeration engi- neer, is seriously ill at St. Joseph’s Hospital in Memphis . . . W. F. Ruffin, Jr., Ruffin Amusements Co., Covington, Tenn., and H. G. Walden, Bay theatre, Red Bay, Ala., were in Memphis on business . . . Leon Roundtree, Holly Springs, Miss., exhibitor, and Charles Eudy, president of Tri-States Theatre Owners, TOA affiliate, were hold- ing committee meetings this week to plan the 47th annual Tri-States convention at Hotel Gayoso in Memphis Oct. 22-23. Miami Van Myers, confections head of Womet- co, brought back a touch of virus from the TOA convention in New York. Van re- turned a day earlier than planned but did address the PCA as scheduled. . . . Van Praag Productions, which makes tele- vision commercials for General Motors, Ballantines, Bulova, Westinghouse and others, has leased quarters in Coral Gables. Harry Walsh will be director of photography for the firm. . . . Tom Ray- field, manager of the Carib, was justifiably proud of the compliment of the Carerras of Havana, who said of the six-year-old theatre, “We’ve never seen a theatre bet- ter maintained.” The senior and junior Carerras, who own a theatre chain In Havana, were studying the Carib for pos- sible construction of a similar house in Cuba. . . . Earl Potter, of the Tivoli, re- ports the theatre has again returned to daily matinees after a summer respite. . . . Martin Caplan, manager of the Roosevelt on Miami Beach, was off to Mexico on a honeymoon with his recent bride, the former Beverly Lynne Brenner. Milwaukee Eddie Vollendorf, formerly with Theatre Service here, has returned to Milwaukee from Florida to see his doctor and to sell his home. His doctor reports he is in good health, so as soon as the home is sold the family will move to Florida permanently . . . In a letter to its members, Wisconsin Allied stated that the forthcoming session of the State Legislature, will be the tough- est year for theatre legislation in the his- tory of their business. It was noted that there is a possibility of four bills that will be objectionable to theatre operation if they are brought up . . . Mayor Zeidler does not favor any major change in the present Motion Picture Commission here with the exception of an “adult only” clas- sification for certain films. Only the stand- ard of obscenity would be considered in approving a film restricted to adults. Adults would be permitted to see movies which have presently been banned to the community at large only because of their effect on youth. The recommendations are to go to the Commission for consideration on October 9. Minneapolis The Berger circuit has taken over oper- ation of the loop Aster, which until re- cently was operated by Minnesota Amuse- ment Co. House temporarily will continue on its present late-run policy, but $50,000- $75,000 will be spent to remodel the thea- tre, according to Lowell Kaplan, buyer- booker for the circuit. It then may be used as a moveover house . . . “Fantasia” has been set for a re-release run at the World theatres in both Minneapolis and St. Paul, according to Avron Rosen, sales represent- ative of Buena Vista here. Another Buena Vista release, “Secrets of Life,” also has been set for both Worlds with a November opening . . . Eddie Stoller, United Artists city salesman, is recuperating from a re- cent operation . . . M. A. Levy, 20th-Fox midwest district manager, is on a two- week trip through his division. Harold Lundquist, assistant to Levy, was in Kan- sas City and Omaha . . . Mathias Sem- bauer, former operator of the Monty theatre, Montgomery, Minn., died at Uni- versity hospital, Minneapolis, following surgery ... A suit brought by Minnesota Amusement Co. to. regain possession of the Towne, Fargo, N. D., from a corpora- tion headed by Gordon S. Aamoth, has been settled out of court . . . Bob Berger, son of Ben Berger, president of Berger Amusement Co., Minneapolis, was married to Jacqueline McGinnis in Chicago. They will reside in Los Angeles . . . S. B. Rahn, former manager of the Grand, Mankato, Minn., has been named manager of the Chief, Welworth circuit house, at Red Wing. Minn. New Orleans B. J. Marcantel closed the Pat, Lafa- yette, La. . . . McElroy Theatres, Shreve- port, La., closed the sub Centenary in that city . . . Maurice M. Barr, executive vice- president, Paramount Gulf Theatres, and chairman of the motion picture committee of the Greater New Orleans United Fund Drive, said that motion picture exhibitors of Orleans, Jefferson and St. Bernard Parishes are showing United Fund cam- paign trailers featuring Raymond Massey. . . . John Waterall closed the Citronelle, Citronelle, Ala. . . . Actress Terry Moore will arrive in town on October 15 to plug her latest picture “Between Heaven and Hell” . . . Carolyn Kearney, native Orlean- ian who started her stage career here with Circle theatre, is the girl friend of a hot rodder in “Hot Rod,” now showing at the RKO Orpheum. . . . Billy Fox Johnson closed the Fox drive-in, Bunkie, La. . . . J. M. Alford, McComb, Miss., purchased the Park theatre, Raymond, Miss., from Willard Kaminer. . . . The Dixie, Ruston, La., a unit of Slidell Thea- tre Corp., headed by John Richards, was reopened recently after extensive renova- tions. Oklahoma City John V. Summers, has been named man- ager of the Redskin theatre here. . . . Mr. and Mrs. R. Lewis Barton and Mr. and Mrs. Harold Combs, and sons Hal and Kent, attended the football game at Dallas last weekend. Mr. Combs is head of the concessions department of Barton Thea- tres. . . . Mrs. Coxie, manager of the Sky- train theatre, returned from a visit with her son in Denver. . . . Kathryn Grant, Hollywood starlet, was in Oklahoma City this week for advance promotion of “Re- prisal” in which she stars. Before she returns to Hollywood she will also visit Tulsa, Bartlesville and Enid. . . . The Lakeside, suburban theatre, has gift draw- ing each Thursday night. . . . Burglars bat- tered open a safe at the Rialto theatre, Tulsa, Okla., Sept. 23, but got less than $200 in small change from the safe and the theatre’s concession stand. ... A new policy of the Warner theatre, is a chil- dren’s Saturday morning and school-holi- day showing of “This Is Cinerama” at reduced prices. Philadelphia A special benefit premiere for the Art- ists Equity Fund, Inc., recently formed guild of artists, marked the opening of “Lust for Life” at the Studio Oct. 3, with the proceeds going into a fund to assist artists in emergencies. . . . William Gold- man, who heads the William Goldman Theatres, announced that his suburban Bryn Mawr has been sublet to Stephen Stiefel, who operates the nearby Narberth in suburban Narberth, Pa. The policy of the house has been changed to feature art and foreign films. . . . The Ida Kapner estate sold its Park, one of the first thea- tres in the city to incorporate sound movies, to Major Theatres, Inc., for $150,- 000. Built by the Kapner family about the time silent films were replaced by talkies, the key neighborhood house has a capacity of more than 1,500. David Mil- gram, who heads the independent Milgram Theatres, is head of the newly-formed Major Theatres corporation. . . . Harold Brason, manager of the Fox, became the father of a girl born last week at the Lankenau Hospital. . . . The Plaza, Read- ing, Pa., once home of burlesque and later of stock and film shows, is being adver- tised for rent for the coming season. . . . (Continued on following page) MOTION PICTURE HERALD, OCTOBER 6, 1956 35 (. Continued from preceding page ) Tri-State Buying and Booking Service is now handling B. Wiest’s Hollywood, Eliza- bethville. Pa., and Vincent Tate’s Orient, Dunmore, Pa. ... A $50,000 improvement program for the Capitol, Lancaster, Pa., is now under way, with the lobby and box office being rebuilt, a new front con- structed, and a new marquee erected. The house will continue operations during the improvements, according to manager Ray O’Connell. Pittsburgh The local booking situation is so jammed that Paramount is sending two of its big ones “The Vagabond King” and “The Leather Saint” first run into 20 neighbor- hood houses. . . . Nancy McCarthy, a 19- year-old Carnegie Tech drama student, is the only local candidate tested by Otto Preminger for his “Saint Joan” movie. . . . "Tea and Sympathy” is doing huge busi- ness on the strength of rave reviews. It will be followed by “War and Peace.” . . . Critics Karl Krug, Kaspar Monahan and Harold Cohen heading to New York for the world premiere of “Giant” at the Roxy Oct. 10. They had to turn down MGM’s invitation to Cincinnati to meet Doris Day whose “Julie” premieres the same day in that city. “Giant” goes into the local Stanley Oct. 31. . . . “Bigger Than Life” which has been on and off the Har- ris booking chart for two months finally got a date in that house, to be followed by “These Wilder Years.” . . . “Lust For Life,” helped by a big ad campaign and fine notices, gave the Guild theatre art house a new house record. Portland Paramount theatre executive M. M. Mesher and Mrs. Mesher were in New York for the TOA meet. . . . Guild thea- tre director Marty Foster is back at his San Francisco office after working with house manager Nancy Welch for a week. ... Fox theatre manager Dean Mathews is out of the hospital after having a throat operation. . . . Helen Rose, MGM designer, and Marjorie Helen, Theona Bryant, and Betty Uitti, MGM starlets, were in town to promote “The Opposite Sex.” . . . Evergreen officials are off to Phoenix for the National Theatres meet. Jim Runte, John Beall, Frank Christy and G. S. G. Patterson are going from the Seat- tle office. Oregon district manager Oscar Nyberg also went. Four house managers attended as winners of the annual show- manship award — Murt Makins, Bremer- ton; John Bretz, Winatchee; Jack Dudman, Seattle; and Dean Mathews, Portland. Eugene City manager Alton Robins takes over the Portland area temporarily. Providence The Quidnessett Church, through the courtesy of the theatre, has been using the facilities of the Quonset drive-in for its Sunday morning services, making it Rhode Island’s first and only drive-in church. . . . Members of the press, radio and tele- vision stations, and other dignitaries were guests of the Loew’s State management at a special private pre-screening of “Tea and Sympathy.” ... So popular was the Rhode Island premiere showing of “Ma- dame Butterfly” at the Avon Cinema, that it held for a second week. . . . The Strand management brought back “Two Years Before The Mast,” and “The Virginian,” two Paramount re-issues. . . . With sur- rounding amusement parks operating only weekends, from now until October, and auto race tracks, and other forms of com- mercial amusements, concluded for the season, there is a marked trend back to the motion picture theatres. San Francisco Mervyn LeRoy, who produced and di- rected Warner’s “The Bad Seed,” was a recent visitor to San Francisco. “We need new talent,” he told reporters, “the talent which hasn’t been worn out by TV.” . . . Rosaleen (Pat) McGuinness, secretary to Bill Elder, manager of Loew’s Warfield, is in New York spending a well earned two weeks vacation. . . . Plans are under- way for Elisabeth Mueller, co-star with Robert Taylor in “The Power and the Prize,” to visit the city for purposes of exploiting her first. American film, made for MGM. St . Louis Teamsters Local 618 removed its pickets from the Missouri theatre and five adja- cent parking lots when Adlai Stevenson, Democratic candidate, spoke at the theatre. The teamsters local has been picketing the Missouri, Fox and St. Louis theatres in a strike to obtain a new contract for park- ing lot attendants. . . . The All-Star drive- in theatre, located a short distance from Holcomb, Mo., in the southeastern part of the state, now has inside seating with air contioning and/or heat. . . . Bill Spicer, operator of a Fort Smith, Ark., drive-in theatre, is the Republican candidate for the United States Congress from the Third Arkansas District. . . . C. L. Pittman of Perryville, Ark., a retired U. S. Army captain, has been appointed manager of the Logan theatre in Paris, Ark., succeed- ing Hugh Johnson. Toronto In the admissions war in Winnipeg, H. Silverberg’s Northmain drive-in offered free admissions any time any hour to all cars and occupants, plus one gallon of free gas to each car. . . . The annual meeting of the Alberta Theatres Association was held in Red Deer, Alta., this year. Wives and members saw a screening first. . . . Fred Leavens, named supervisor of Re- gional Theatres Circuit of Odeon Theatres (Canada) Ltd., took up his residence in Toronto. . . . Paramount Pictures Ltd. is back in its old but refurbished quarters on Bond St., after being ensconced in the Film Exchange Building on Victoria St., nearly six months. . . . Ben Sommers, vet- eran Winnipeg exhibitor who recently closed his State in that city, moved to Los Angeles. The former president of the Mani- toba Exhibitors’ Association was tendered a luncheon by members before he left. . . . Park, Windsor, previously specializing in action pictures, on a third and fourth run policy, has become a first run house, for “art” and specialized films. . . . Bill Smith, until recently Vancouver branch manager for RKO, has been appointed general sales manager of the 16mm division of Inter- national Film Distributors, Toronto. He succeeds Sam Lambert, who resigned. . . . Bill Foreman has resigned from Astral Films. . . . Tom McKnight, London man- ager relieving in Welland, Ont., was in hospital after being hit by a car. Vancouver Dolly Inkster, on the Odeon-Plaza staff here for several years, was married re- cently to James Woodcock, of the Can- adian Navy. They will live at the Victoria naval base after the honeymoon. . . . Les Walker, business agent of projectionists local 348, was elected a member of the IATSE advisory board for district No. 1. Former president of 348, Bill McCartney, Jr., is a member of the district legislative committee. The local projectionist union is the largest in the Pacific northwest. . . . With the closing of the 974-seat Atlas in Victoria, Famous Players will re-open the 1312-seat Capitol in Victoria. . . . The Ode- on circuit is still trying to unload five small-seat theatres in B.C., located in the Fraser Valley and on Vancouver Island. . . . Saskatchewan Court of Appeals has ruled that Foto-Nite is legal and dismissed an appeal by the Crown against a police magistrate’s acquittal of a Saskatoon thea- tre. The same verdict was given in a Vancouver Court case two years ago. . . . John Franko, former manager of the Dreamland, Edmonton, was moved to the Strand in the same capacity. He succeeds the late manager Roly Keil, who died re- cently. Washington Sam Galanty, Columbia Pictures divi- sional sales manager, attended meetings in Cleveland. . . . Robert J. D. Johnson, and Walter R. Saunders, partners in Johnson- Saunders Theatres, a chain of drive-ins, were mentioned in an article in the Satur- day Evening Post, as among those who achieved outstanding success in this field. . . . Abbott & Costello, Jeanne Crain, Vir- ginia Mayo, Michael O’Shea, Esther Wil- liams and 45 political and comic-strip cartoonists were scheduled to be in Wa- shington for the Treasury Department’s Freedom Fair from October 1 through 8. The celebration marks the 15th anniver- sary of the Series E Bond program. . . . “Invitation to the Dance,” was given “The Golden Bear,” by German Ambassador Hein Krekeler. This is equivalent to our Oscar. . . . Eddie Fisher and Helen Hayes were added to the “Youth Salutes the President” party to be given by the Young Republican National Federation and the National Youth for Eisenhover on October 13 at the Statler Hotel. Photo-Cinema Exhibit Held in Germany The “Fotokina,” a photographic and cinematographic exhibition, will be held for the fifth time in Cologne, Germany, from September 29 to October 7. This trade fair presents to dealers and others interested everything within the wide range of photographic and cinematograph- ic apparatus and accessories recently developed. 36 MOTION PICTURE HERALD, OCTOBER 6, 1956 An International Association of Motion Picture Showmen — Walter Brooks , Director NEW PRODUCT -Will Be More Plentiful GOOD news for theatre managers, reported by the Herald two weeks ago, in Bill Weaver’s listing of 300 new films from 165 independent producers in the next 12 months, is no more than can be seen on the western horizon, by today’s light. There are more and better pictures coming into the market — and from more directions and sources than ever before. As our Hollywood editor puts it “Nowa- days nearly everybody is an independent producer — at least, part-time, which many feel is the best way.” If we had a product shortage it was be- cause of the separation of the run-of-the- mine “B” pictures, which have been sold down the river to television, and which we don’t need any more, anyway. The days of just running picture after picture, as they do it on TV, are gone for the film theatres, who must now provide some- thing more professional and desirable — from every branch of motion picture in- dustry. Production and exhibition must step up their standards of quality — for folks can get all the ordinary they want, at home. We advise you to study Mr. Weaver’s list, and read his complete story on pro- duction, which runs more than four pages in the Herald of September 22nd. It’s far too much to recite here, and frankly, it takes a while, to let the full import of this piece, sink in. Soon, we’ll be getting a kind and quality of films that are just what are needed, in this emergency. Then, there is heartening news in the booking of Allied Artists’ new picture, “Friendly Persuasion” in Radio City Music Hall. From one of our newest major com- panies, comes one of the most wonderful family films you’ve ever seen. The Music Hall, largest of the showcase theatres, also has the largest “family” audience, with an average of more than 18,000 people buying tickets, every day in the year. That means all the family, and it poses a problem to find pictures that are worthy of this family patronage. You’ll be hearing a great deal more about the next picture in the Music Hall — and you’ll find that “Friendly Per- ASK THE QUESTIONS And get your own answers! Jack Brunagle, executive in charge of theatre advertising for United Theatres Corporation, with head- quarters at Little Rock, Ark., showed us his own "Questionnaire"— a two-part, reply- card, which he is mailing out to 200 patrons on his list, every week, to get their own response, in their own words, to a series of questions about "going out to the movies." He says— these are coming in good, and he showed us a deck of samples. The fact is— your loyal and regular pa- trons like to answer such questions, and they will do so, no matter how you approach them— just so long as you do. They write long comments, and like it. Jack says he learns a lot every week, with this sample batch of 200 selected at random, and he can even picture the writers themselves, from the writing and the responses, as to ages, sex, habits and habitation. Any good show- man can do the same thing. There are many ways to accomplish this same result. You can send out reply-cards, or you can conduct your own poll, in your own area. Hire students who want to earn a few dollars to go from door-to-door, to tell your story and ask questions. Ask teach- ers, who are never over paid, to do the same thing with their pupils or their parents. Ask the opinion-makers, who are fluent without knowledge, to fortify their belief in motion pictures by asking questions. suasion” will make new friends for motion pictures in your theatre. Also, in this week’s “Selling Approach” we pick-up the review of a couple of press- books on re-issues, two of the really great films of our times — “Rebecca” and “The 3rd Man” — produced by David O. Selznick and re-released by 20th Century-Fox. In the years since these pictures were first seen, a whole new audience has come up. CITIZENS of Danville, Kentucky, sent 312 telegrams to Dore Schary, asking for the world premiere of “Raintree County” in their town of 8,500. The MGM picture was made there, and the town prospered, and thrilled, with the influx of Holly- wood, which was the crowning event in its 70-year history. According to the Chamber of Commerce, there was an average of 6,000 tourists coming into town each day during the production period. Every motel, hotel and restaurant for miles around was crowded to capacity. Business jumped 400% above normal, and every person in town took on extra work for extra pay. Now, they want the world premiere, and they should have it — with so many of the local population really thinking in terms of how very good the movies are — and should be, at the local level. We’ve always believed in small- town premieres, which are much better public relations and publicity than the big-city stuff that may saturate, but seldom penetrates. Danville, Ky., is a small town, and they have a million peo- ple in the trading area, amply covered by newspaper, radio and TV. Ill PRESENTATION of the Quigley Grand Award plaque to John McKim, young showman who won this honor in small situations as manager of the Odeon thea- tre, Ladysmith, B. C., will take place at the annual convention of the Motion Pic- ture Theatres Association of Ontario, at the King Edward Hotel, in Toronto, at the invitation of Mr. Leonard W. Brocking- tno, president of the Odeon Theatres (Canada) Ltd. Martin Quigley, Jr., Editor of the Herald, will make the presentation at an all-industry luncheon, at which the various branches of motion picture pro- duction, distribution and exhibition will be represented. Our sincere compliments to John McKim, and we look forward to his visit to New York in the near future, when we may meet him at the Round Table desk, and introduce him to other Grand Award winners. — Walter Brooks MANAGERS' ROUND TABLE SECTION, OCTOBER 6, 1956 37 Harry Margolsky, manager of the Beach theatre, Miami Beach, presents a trophy to a youngster who caught a 450-pound shark as a newspicture promotion for "Moby Dick." All you need is a mountain, and strong young people to race up the climb, as promotion for Paramount's "The Mountain" — which is playing early dates. Here manager Joseph Shea, of the Palace theatre, Pittsfield, Mass., launches his outdoor ballyhoo in the Berkshires. News- papers certainly went for the action photographs. Getting In The Act Max Cooper, manager of the Skouras Cove theatre, at Glen Gove, is one of those who are definitely planning to win a big money prize for showmanship in UA's big "Trapeze" contest. Fred Jackson, manager of Loew's theatre, London, Ontario, with Gerry Collins and Chet Friedman assisting, had this street broadcast ballyhoo for "High Society" comments. This was for "High Society" in St. Louis, set up by Frank Henson, manager of Loew's State theatre, and Bernie Evens, MGM field man, at the main entrance of the Mid-American Jubilee, with the sound track from the picture as musical accompaniment. Ray Light, manager of the Maryland theatre, Cumberland, Md., had a piano marathon in a music store window as promotion for "The Eddie Duchin Story" — and here's the tireless pianist, finishing his 73rd hour of continuous playing, with a radio audience listening, and the whole town watching. 38 MOTION PICTURE HERALD, OCTOBER 6, 1956 SI owmen in on Bernie Brooks, whom we’ve affection- ately hailed as “Cousin” for the past fifteen years on Broadway, has been appointed assistant zone manager and film buyer for Stanley-Warner Theatres in Philadelphia, with Ted Schlanger, zone manager, and Sam Rosen providing the welcome on his new beat. Bernie has come up fast, and will go far in this business, if we know our Cousin. ▼ And Birk Binnard, advertising and pub- licity manager for Stanley-Warner’s Phila- delphia zone, sends us in a tear-sheet of a wonderful full-page pictorial review of “War and Peace” which appeared in the Philadelphia Daily News the day after the picture opened at the Stanley theatre. It is most exceptional to land a full pictorial page, for a review, but highly complimen- tary. Birk says “this is something that could easily be duplicated across the coun- try”— but we are laying bets, the other way. It isn’t easy — and it never happens casually, just by accident! ▼ Philadelphia is coming in strong on our showmanship beam, and also in the mail is a report from Sid Poppay, manager of the S-W Strand theatre, York, Pa., who had a complete campaign on “Tea and Sympathy” in one of the early-run, test spots. Radio and TV, book tieups, store displays and special lobby, placed the at- traction as a Broadway stage success with Deborah Kerr, and others of the original cast, all for film prices! ▼ William Anelante, who has been for 23 years a manager with Loew’s Theatres, has resigned his post at the 83rd St. theatre to transfer to NBC-TV, where he will be in Plant Operations as a studio manager. More and more this is becoming a business of allied interests, materials and man power. ▼ Eddie Hood, manager of the Valencia theatre, Macon, Missouri, has his campaign on “The Great Locomotive Chase” as an entry for the Quigley Awards, and we are pleased with his comment that the picture more than doubled the average child at- tendance, and brought out the adults, too. He had good merchandising tieups. T Having a drink with Henry Plitt, presi- dent of the Paramount-Gulf theatres, and wishing it were a Sazarac at the Roose- velt. The bartender at the Coliseum looks and acts like hot-dog vendor from a ball park or fight arena, who inherited one of the concessions at the Coliseum and brought his manners with him. Nice way to make friends for New York City. Charlie Smakwitz, zone manager for Stanley Warner in Newark, was on hand, with Edgar Goth, his advertising and pub- licity director, to hear Si Fabian, Sam Rosen, and Harry Goldberg as speakers in keynote and follow-up address to the members assembled. Charlie says, roughly, "We gotta work, or else” — of course, his quote was in better, and more, words, but that’s what he meant. ▼ A lot of exhibitors present, from key speakers down to visiting firemen, all said, as they believed — that divorcement has created more chaos in this industry than it has solved problems. We will agree with that policy, because there’s no such thing as “exhibitor’s gains” under divorcement and bidding decrees ordered by the Gov- ernment. It may take us a few years longer to find out — so that all segments of this industry will agree on the harm that has been done. It’s too far-reaching to measure in a short talk. T And if J. H. “Tommy” Thompson was here, or Nat Williams, again, we missed, but with several hundred milling around and so many to talk to, it’s no wonder. Some of our friends from Atlanta were present, but not all of them, and it will take us a while to recall and recount just who were among the absent. Managers Try For " Trapeze ' Money Prizes With the inauguration of 33 more pro- motions this week, the total of theatres in the United States and Canada partic- ipating in the huge “Trapeze” — Miss Ex- quisite Form contest has passed 1,100, it was announced today by Roger H. Lewis, United Artists National Director of ad- vertising, publicity and exploitation. On the basis of campaigns to date, it is estimated that over 2,000 theatres in the 32 exchanges areas will have taken part in the international beauty contest before it closes next February. Theatre managers staging the best Ex- quisite Form promotions in conjunction with their engagement of the record- grossing “Trapeze” will share a prize pool of $5,000 in United States Savings Bonds donated by Exquisite Form Bra, sponsor of the contest. The hunt for the shapeliest girl in all of North America is backed by $500,000 worth of co-op advertising and intensive support at 18,000 Exquisite Form outlets in major market areas throughout the United States and Canada. The panel of judges includes Burt Lan- caster, Tony Curtis and Gina Lollobri- gida, who are starred in Hecht and Lan- caster’s “Trapeze.” Showmen in Action — just behind the firing line! MGM's strategic promotion meeting for the world premiere of "Julie" at the RKO Albee theatre in Cincinnati, had these home office and field exploita- tion specialists huddled in consultation. From left to right, Arthur Canton, MGM; Joe Alexander, RKO circuit division manager; Emery Austin, MGM exploitation head; Andy Neidenthal, promotion man for WLW, Cincinnati; in rear: Manny Pearson, MGM field man, Cleveland; and J. E. "Watty" Watson, Cincinnati field man, all gathered at the good old Netherland Plaza — ah! what memories! MANAGERS' ROUND TABLE SECTION, OCTOBER 6, 1956 39 CONTENDERS FOR QU1GLE 1 A WARDS Finalists at the end of the Third Quarter , September 30 , 1956 Be Optimistic- If You Want To Build Business JIMMY BARNETT Olympia, Miami, Fla. W. H. BELLE Laurelton Laurelton, N. Y. SAM J. BERMAN Drive-In St. Thomas, Can. MERLE R. BLAIR Regent Cedar Falls, la. BILL BLAKE Warfield San Francisco, Cal. W. BLONDELL Capitol Niagara Falls, Can. FRANK BUDD Odeon Melbourne, Aust. BARRY CARNON Hyland, Toronto, Can. RODNEY COLLIER Stanley Baltimore, Md. J. J. COLLINS State, Melbourne, Aust. BOB COX Strand, Lexington, Ky. R. J. CRABB Lyric Wellingborough, Eng. RAY E. DAVID Star-Lite Drive-In Chadron, Nebr. BERNIE DE PA Savannah Savannah, Ga. ELMER N. DE WITT Valentine, Defiance, O. J. Dl BENEDETTO Poli, Worcester, Mass. BOB DIEM Colonial, Reading, Pa. MAURICE DRUKER Midland Kansas City, Mo. W. V. DWORSKI Harris, Findlay, O. BILL ELDER Warfield San Francisco, Cal. H. N. EVERHART State, Walker, Mi nn. ED FORCE RKO Brandeis Omaha, Nebr. LEE E. FRASER Bloomfield Birmingham, Mich. MEL GAITSKILL Paris, Paris, Ky. J. A. GALLACHER Regal Kilmarneck, Scot. ARNOLD GATES State, Cleveland, O. CHARLES GAUDINO Poli, Springfield, Mass. ELAINE S. GEORGE Star, Heppner, Ore. GERRY GERMAINE Capitol Steubenville, O. SAM GILMAN State, Syracuse, N. Y. E. L. GROVES Gaumont Finsbury Park, Eng. EARL HALLFORD Crisp, Cordele, Ga. ARTHUR HALLOCK Paramount Baltimore, Md. JAY HANDELMAN Rio, Detroit, Mich. JIM C. HAWKINS State, Columbia, S. C. BILL HENDLEY Majestic Gettysburg, Pa. FRANK HENSON State, St. Louis, Mo. W. A. HOFFMAN Dade Lincoln Theatres Miami Beach, N. Y. EDDIE HOOD Valencia, Macon, Mo. RIC JAVIER Parament Films Manila, P. I. GEOFF JONES Roxy, Newmarket, Can. DAVID KAPLAN Trans Lux, Boston, Mass. MELVIN KATZ Embassy, Johnstown, Pa. JAY KING Yorktown, Elkins Pk., Pa. SID KLEPER College New Haven, Conn. FRANK LAWSON Danforth Toronto, Can. MEL G. LAWTON Prince Edward Sydney, Aust. FOSTER LEIDERBACH Strand Cumberland, Md. JOHN LONG BOTTOM Odeon Middlesbrough, Eng. DOMINICK LUCENTE Broadway Philadelphia, Pa. ABE LUDACER Valentine, Toledo, O. A. MC CLELLAND Majestic Launceston, Aust. FRANK MANENTE Stillman, Cleveland, O. CECILIA MANTUS Paramount Films Barcelona, Spain J. R. MARONEY His Majesty's Hobart, Australia TONY MASELLA Palace, Meriden, Conn. VIC NOWE Odeon, Toronto, Can. MILLARD OCHS Strand, Akron, O. FRANK OSTEROTH Tri City Drive-In Iron Mt., Mich. GEORGE PETERS Loew's, Richmond, Va. CHARLEY PINCUS Esquire, Stockton, Cal. SID POPPAY Strand, York, Pa. GEORGE W. PUGH Rialto Glens Falls, N. Y. WILLIAM QUEST Odeon, London, Eng. C. E. RAINEY Odeon, Norwich, Eng. MARVIN REED Riviera Coral Gables, Fla. D. C. REES Odeon, Sketty, Eng. R. M. RICHARDS Majestic Melbourne, Aust. ALBERT ROLSTON Princess Little Current, Can. ROBERT E. ROSEN Dakota Bismarck, N. Dak. MORRIS ROSENTHAL Poli, New Haven, Conn. FRED ROSS Dixie Drive-In Sequin, Texas HERBERT ROYSTER Broadway Portland, Ore. MAX RUBIN Paramount Syracuse, N. Y. R. M. SAVAGE Gaumont Chichester, Eng. J. A. SCARDIFIELD Odeon, Dover, Eng. F. B. SC H LAX Kenosha, Kenosha, Wis. N. SCOTT- BUCCLEUCH Longdale, Carlisle, Eng. FARRIS SHANBOUR Criterion Oklahoma City, Okla. DELMAR SHERRILL Otis Air Force Base Falmouth, Mass. S. L. SORKIN RKO Keith's Syracuse, N. Y. MURRAY SPECTOR Central Jersey City, N. J. NEVILLE SPRIGGS Southern Cross Salisbury, Africa JOHN STEARNS Keith's, Indianapolis CHRISTINE SUTTON Metro, Abilene, Texas MYRON TALMAN Ritz, Los Angeles, Cal. W. J. TRAMBUKIS State, Providence, R. I. BOB WALKER Uintah, Fruita, Colo. H. P. WALSHAW Odeon, Plymouth, Eng. H. W. WATSON Odeon Peterborough, Can. F. A. WIGGINS State, Minneapolis G. WILLIAMS Regent, Chatham, Eng. WILLIAM H. WILSON Paramount Edmonton, Can. SAM WORMUS Rialto, Loveland, Colo. AL W. YAHRAUS Bryan, Bryan, Ohio ZEVA YOVAN Palace, Memphis, Tenn. CHICAGO: A week to week check among exhibitors in every area of the city would present a discouraging picture of theatre business — if it were not for the optimistic reports from some who are thinking along practical “business building’’ lines, ac- cording to a story we have received from showmen. Every week some managers give out gloomy reports, about business getting worse and worse, and they just don’t see how they are going to survive. At the same time, other managers in charge of the same type theatres, and in the same sort of neighborhoods, say that in addition to good product, it is show- manship that pays off. By this, they mean such tried and true schemes as commu- nity tie-ins, “gimmick” ideas, and a re- vival of stunts which have aided the thea- tre in years past. Balaban and Katz, for example, have started a Mickey Mouse Club in eleven theatres, with the program living up to all expectations, for pepping up business and setting a precedent of “going to the movies” among the children. It follows the pattern of the well-known Mickey Mouse shows, long popular in mo- tion picture theatres. You can’t very well congregate so many cheering kids around a television set. Features To Build lip Interest in Movies To augment the “good citizenship” theme, there are educational and con- structive short films slanted for the chil- dren’s interest, and worthwhile prizes are promoted from merchant sponsors on a city-wide basis. One of the top prizes fea- tured is a trip to Disneyland in Cali- fornia. The Beverly, a neighborhood house that reports optimistically every week, is reviving its “Fall Book Review” series, which are held every Tuesday during the Autumn months. A counter of premium merchandise at the Belmont theatre, call- ing for coupon points and cash, is work- ing advantageously at all performances. Permitting children under 12 for free, when accompanied by their parents, has increased business 22 per cent. These activities form but a small segment of the business building program in theatres which state there is no reason to com- plain about results at the box office. This same attitude was expressed fre- quently at the TOA convention in New York, when some managers took a de- featist attitude, and talked down their own business, while others had an ex- actly opposite point of view, and told of how well they were doing with good old- fashioned showmanship, in the face of new competition. 40 MOTION PICTURE HERALD, OCTOBER 6, 1956 Medina MCf ^/rrpproac l THE AMBASSADOR’S DAUGHTER — United Artists. CinemaScope, in color by Technicolor. The freshest comedy in years. She’s even more fun than the farm- er’s daughter. Olivia de Havilland, John Forsythe, Myrna Loy, Adolphe Menjou, in a version of the “most scandalous for- eign affair” in laugh history, written, produced and directed by Norman Krasna. The magic that makes comedy great — this one has great magic. Strange- ly enough, no poster larger than the 6- sheet, which must imply that the pro- ducers aim this picture at the art thea- tres. But the posters that are here, will sell comedy, and make good display mate- rial in whatever forms you prefer. The flash 2-color herald keys the campaign, and there’s a smash standee, from Na- tional Screen. Newspaper ad mats are especially light and frolicsome, as they should be, beginning with a set of teasers and extending through a good assortment, including the excellent special campaign mat which sells for 35 at National Screen and supplies seven ad mats and slugs and 2 publicity mats. An ad mat supplement contains some additional styles developed in the early runs. You can find anything and everything you need in the pressbook to advertise or promote this picture. Among national promotions are two fly- ing round trips to Paris, in a contest which closes January 1, 1957, and in which your patrons are eligible. Special one-sheet available from United Artists Special Events Dept., 729 Seventh Avenue, New York. The French National Tourist Bureau ties-in with 2500 travel agencies for cooperative advertising in newspapers and radio. Good commercial tieups in- dicates the pressbook makers have worked this angle to obtain results. BACK FROM ETERNITY— RKO Rad Pictures. Ooh, that Ekberg! Robert Rya Anita Ekberg, Rod Steiger in what loo: like exciting stuff in the showmansh piessbook. They say the picture has s« appeal, sex appeal and adventure appe; It all happened when a plane crashed a South American jungle— the cruel hea< hunter country along the Amazon. 2 sheet and all advertising features Ani Ekberg, with her hair down and her d tenses up! The pressbook says, “the f S klck up a hurricane in yoi • H' But there’s nothing offensive < misleading or that can cause criticis from opinion makers. We are in tl i usiness of selling adventure— and th looks real. Newspaper ad mats follow tl ™ Sloafnt and there is a very generoi fl an 1 S1fS and shapes- sufficient vour ^™Uatl0nS- They say> and this your bargain page-to offer the 35tf con bination mat at National Screen, whic as eight small ads and three publicii mats, for the price of one. Buy the who mat and take it intact to your newspap< man or printer, to get the benefit of sorn thmg new and different in your shov manship methods. BEYOND A REASONABLE DOUBT — RKO Radio Pictures. What kind of a man would frame himself for murder? A jig- saw puzzle of suspense — put the pieces together, and they spell — MURDER. Chal- lenge your customers to guess the ending — and plead with them not to reveal it! Exceptional pressbook from RKO — the Showmanship Company — who excel in such preparation. 24-sheet and other posters have all the pictorial art for bet- ter marquee and lobby displays. The 6- sheet and 1-sheet have the jig-saw puzzle effect, which can be an advertising and display theme. Put them all together and they spell box office! Newspaper ad mats are fine, and in the proper theme. You can find a choice of styles as well as every size and shape. The 35tf mat is a real bargain, with six one and two-column ad mats, plus two publicity mats, to prove that you should always have this special mat on your standing order at National Screen. Good retail clothing store and other commercial tieups are suggested and other ideas for your own promotion. REBECCA — Selznick — 20th Century-Fox. Directed by Alfred Hitchcock, from the famous novel by Daphne du Maurier. The master of suspense, and the story of the most glamorous woman of all time. A re-issue that well deserves return-dates, and a whole new generation of movie goers have never seen it! All new posters — the largest the 6-sheet, but fine pic- torial art — all new accessories right down the line. Newspaper ad mats follow the new and different theme, to remind old patrons and make new ones. Picture stars Laurence Olivier and Joan Fontaine, and those who saw it before will want to see it again, for their great performances. Special small-town and drive-in ad mat at 5'ntitled: "A Great New Advertising Medium That Rides for You Free!” PEREL PROCESS PRINT CO., 1831 N. 77th St., Phila., 31, Pa. POSITIONS WANTED MANAGER OR CIRCUIT EXECUTIVE ASSIST- ant. Experienced, age 38, family man. Excellent civic and fraternal affiliations. Prefer South or Southwest, consider anywhere two weeks notice. BOX 2936, MO- TION PICTURE HERALD. TOP GRADE MANAGER. EXCELS PUBLIC relations. Excellent references. BOX 2933, MOTION PICTURE HERALD. STUDIO EQUIPMENT MAURER 16MM STUDIO CAMERAS, $6000 VAL- ue, $1995; Eyemo 35mm Newsreel Cameras, from $99.50; Mitchell 35mm Standard Tracking Camera, $995; Houston 16mm K-3 negative/positive/reveraal Automatic Film Processors, unused, $5,460 value, $2595; Moviolas from $196; Hallen synchronous mag- netic 17%mm recorder, B22, $1950 value, $495 ; Neu- made RK-102 Film Racks hold 102-1000' reels, orig- inally $165, new $87.50; American Cinematographer’s Handbooks, % price, $2.60. S. O. S. CINEMA SUP- PLY CORP., 602 W. 52nd St., New York 19. Legion Aproves 14 Of 20 New Films Of the 20 productions reviewed last week by the National Legion of Decency, seven have been put in Class A, Sec- tion I, morally unobjectionable for adults; seven in Class A, Section II, morally unobjectionable for adults; and six in Class B, morally objectionable in part for all. In Section I are: “The Best Things in Life Are Free,” “Canyon River,” “The Last Wagon,” “Mole People,” “Peacemak- er,” “Yank Kwei Fei” and “Yaqui Drums.” In Class A, Section II, are “Chain of Evidence,” “Death of a Scoundrel,” “Hold Back the Night,” “Man from Del Rio,” “Operation Murder,” “Stagecoach to Fury” and “Tension at Table Rock.” In Class B are “Search for Bridey Murphy,” because of “undue emphasis on the power and ef- fect of hypnotism as presented in this pic- ture, without clearly establishing the necessary moral precautions, can lead to serious misrepresentation. Inferentially it tends to create belief in the erroneous doctrine of reincarnation”; “Tea and Sym- pathy” because “this film, based on a stage play of the same name which was highly controvertible because of theme and treatment, has been adapted to the screen with certain changes that repair in a lim- ited manner the original moral offenses. However, the solution of the plot still tends to arouse undue sympathy for, and to condone, immoral actions. In addition it contains suggestive sequences”; “Cha Cha Cha Boom” because of “suggestive dancing and costuming”; “Fighting Trou- ble” because of “suggestive costuming and situations”; “Grand Maneuver” because of “light treatment of marriage; low moral tone” and “The Opposite Sex” because it “reflects the acceptability of divorce to- gether with a light treatment of marriage; suggestive costuming, dialogue and situa- tions.” Helen Russell, 56, Exhibitor, Dies AKRON, OHIO: Mrs. Helen Halter Smith Russell, 56, well known exhibitor, died here recently. She had been hospitalized for five weeks. She was the wife of Judge Roy Russell of Millersburg, theatre man and probate judge. After the death of her former husband, Wilfred Smith, Mrs. Rus- sell continued to operate the former Ma- jestic theatre in South Akron. She was a past president of the Akron Theatre Own- ers and Managers Association. James A. Beidler TOLEDO: James A. Beidler, Sr., 87, one of the country’s oldest exhibitors, died here recently. He was for many years as- sociated with Martin Smith in the opera- tion of several Toledo theatres. Condon Coordinator For New U.A. Film Richard Condon, European production publicity coordinator for United Artists from 1953 to this year, has been named campaign coordinator for Russ-Field’s “The King and Four Queens,” it is an- nounced by Roger H. Lewis, U.A. national director of advertising, publicity and ex- ploitation. Mr. Condon previously headed the advertising-publicity-exploitation de- partment for RKO and handled special promotional assignments for Cecil B. DeMille and Walt Disney. He has just re- turned from Spain, where he supervised the international production publicity campaign for Stanley Kramer’s Vista- Vision Technicolor spectacle, “The Pride and Passion,” to be released by U.A. “The King and Four Queens,” also to be re- leased by U.A., stars Clark Gable and Eleanor Parker. Art Siteman HOLLYWOOD: Art Siteman, 46, veteran Hollywood production manager, died sud- denly October 2 in Kyoto, Japan, of a heart attack, according to information received by the RKO studio. He left in August as production and location man- ager for RKO to arrange the filming of “Escapade in Japan,” “Pakistan” and “Bangkok” in the Far East. 42 MOTION PICTURE HERALD, OCTOBER 6, 1956 FILM BUYERS RATING Film buyers of independent circuits in the U. S. rate current product on the basis of its performance in their theatres. This report covers 120 attractions, 3,890 play dates. Titles run alphabetically. Numerals refer to the number of engagements on each attraction reported. The tabulation is cumulative. Dagger (f) denotes attractions published for the first time. Asterisk (*) indicates attractions which are listed for the last time. EX means Excellent; AA — Above Average; AV — Average; BA — Below Average; PR — Poor. Alexander the Great (U.A.) EX 2 AA AV 8 BA II PR 8 Ambassador's Daughter, The (U.A.) — 3 3 3 — Animal World, The (W.B.) — 5 8 17 3 Anything Goes (Par.) 3 3 4 14 16 Autumn Leaves (Col.) — 2 6 2 2 Away All Boats (U-l) 1 21 10 1 1 Backlash (U-l) 18 4 23 7 Bandido (U.A.) — — 3 1 2 ‘Battle Stations (Col.) — 3 9 2 4 ‘Be.-.ny Goodman Story, The (U-l) 1 12 17 30 19 Bhowani Junction (MGM) 1 6 6 13 6 Birds and the Bees (Par.) 2 12 19 5 9 Blackjack Ketchum Desperado (Col.) — 3 1 1 5 Bold and the Brave (RKO) 1 15 3 1 1 1 ‘Bottom of the Bottle (20th-Fox) — 3 15 17 27 (Burning Hills, The (W.B.) — — 2 8 — Bus Stop ( 20th- Fox ) 12 6 3 — — Carousel ( 20th- Fox ) 1 17 5 31 22 Catered Affair, The (MGM) — 10 3 9 8 Cockleshell Heroes (Col.) — 1 5 7 — Comanche ( U.A.) — 1 7 14 21 Come Next Spring (Rep.) — 1 5 27 5 Come On, The (A. A.) — — — 1 4 Congo Crossing (U-l) — — 12 4 4 Conqueror, The (RKO) 17 13 14 13 10 Court Jester, The (Par.) — 10 9 13 10 Crashing Las Vegas (A. A.) 1 3 1 1 — Creature Walks Among Us (U-l) 1 5 5 3 1 Crime in the Streets (A. A.) — 3 9 2 1 D-Day the Sixth of June (20th-Fox) 9 21 2 3 Davy Crockett and the River Pirates (B.V.) — — 3 6 7 Day of Fury (U-l) — — 5 1 1 5 Earth vs. Flying Saucers (Col.) 17 8 3 Eddy Duchin Story, The (Col.) 2 18 21 1 — Fastest Gun Alive (MGM) 3 14 7 3 First Texan, The (A. A.) — 2 3 3 1 Forbidden Planet (MGM) 1 18 15 4 6 Foreign Intrigue (U.A.) — — 3 1 3 ‘Forever Darling (MGM) 7 31 33 12 8 Francis in the Haunted House (U-l) — 1 1 13 3 2 ‘Fury at Gunsight Pass (Col.) — 1 3 2 2 Gaby (MGM) 1 13 15 5 Girls in Prison (A.I.P.) 4 1 Godzilla King of the Monsters (Trans.) — 1 4 5 1 Goodbye, My Lady (W.B.) — 4 II 1 1 4 Great Day in the Morning (RKO) — — 8 5 2 Great Locomotive Chase, The (B.V.) — 14 13 10 5 Guys and Dolls (MGM) 20 1 1 9 6 9 Harder They Fall, The (Col.) 5 4 26 21 ‘Helen of Troy (W.B.) 12 33 1 1 14 ‘Hell on Frisco Bay (W.B.) 1 8 14 12 26 High Society (MGM) 13 2 1 Hilda Crane ( 20th- Fox ) 9 9 8 Hot Blood (Col.) 5 13 14 7 Hot Rod Girl (A.I.P.) — 5 1 — — I'll Cry Tomorrow (MGM) . II 37 1 1 1 1 ‘Invasion of the Body Snatchers (A. A.) — 1 3 1 1 19 Johnny Concho (U.A.) EX 1 AA 4 AV 2 BA 14 PR Jubal (Col.) 1 21 3 30 2 Kettles in the Ozarks (U-l) 2 18 12 16 3 ‘Killer Is Loose (U.A.) 1 — — 7 1 King and 1, The (20th-Fox) 22 10 14 7 1 ‘Last Hunt, The (MGM) 3 24 24 7 Leather Saint (Par.) — 3 3 4 5 t Lisbon (Rep.) — 1 — 20 1 * Littl est Outlaw, The (B.V.) 7 20 14 9 23 ‘Lone Ranger, The (W.B.) 10 28 12 7 2 fLovers and Lollipops (Trans.) — 1 1 5 — Man in the Gray Flannel Suit ( 20+h- Fox ) 21 29 13 5 8 Man Who Knew Too Much (Par.) 1 13 19 3 2 Man Who Never Was (20th-Fox.) — 2 20 15 15 Maverick Queen, The (Rep.) . . — 4 1 7 2 Meet Me In Las Vegas (MGM) 6 9 23 17 16 Miracle in the Rain (W.B.) — 6 9 20 26 Moby Dick (W.B.) 5 3 7 7 — Mohawk ( 20th- Fox ) — 3 6 4 1 Never Say Goodbye (U-l) — 12 27 23 16 On the Threshold of Space (20th-Fox) 9 7 13 16 Our Miss Brooks (W.B.) — — 9 1 1 12 Pardners (Par.) 7 23 9 1 — Patterns (U.A.) — — — — 10 Picnic (Col.) 24 45 14 2 — Price of Fear (U-l) — — — 1 6 Proud and Profane, The (Par.) — 1 1 10 — — Proud Ones, The (20th-Fox) — 10 16 13 10 Quincannon, Frontier Scout (U.A.) — 2 2 6 2 Rawhide Years, The (U-l) 4 16 5 7 Red Sundown (U-l) — 10 8 9 5 Revolt of Mamie Stover ( 20th- Fox ) — 20 1 1 10 1 Rock Around the Clock (Col.) 21 13 16 1 1 ‘Rose Tattoo, The (Par.) 1 1 9 16 9 4 (Run for the Sun (U.A.) — 2 1 2 — Safari (Col.) — 6 18 9 — Santiago (W.B.) — — 14 7 9 Scarlet Hour (Par.) — — — — 7 Screaming Eagles (A. A.) — 2 5 6 3 Searchers, The (W.B.) 6 16 1 1 1 — Serenade (W.B.) — 1 4 8 18 Seven Men From Now (W.B.) — 3 4 1 — ‘Slightly Scarlet (RKO) — 3 9 9 7 Somebody Up There Likes Me (MGM) 2 2 4 17 1 Star in the Dust (U-l) — 1 6 16 — (Star of India (U.A.) — — 1 5 — Storm Over the Nile (Col.) — — 2 4 3 Stranger at My Door (Rep.) — 2 2 2 3 Swan, The (MGM) 3 1 1 17 14 7 That Certain Feeling (Par.) — 1 1 8 20 7 ‘There's Always Tomorrow (U-l) — — 11 8 25 These Wilder Years (MGM) — 3 1 2 — Timetable (U.A.) — — — 3 4 Toy Tiger (U-l) 1 10 17 9 1 Trapeze (U.A.) 7 19 31 2 — Tribute to a Bad Man (MGM) — 2 13 14 14 23 Paces to Baker Street ( 20th- Fox ) 1 3 12 6 17 Uranium Boom (Col.) — — — 4 5 (Vagabond King, The (Par.) .... — — 4 2 2 Werewolf, The (Col.) 1 1 5 1 While the City Sleeps (RKO) . — 1 3 18 3 World in My Corner (U-l) — — 5 15 29 World Without End (A. A.) 1 — 4 1 2 WOMAN’S HOME COMPANION Survey showed 31 per cent went to the movies because off TRAILERS! Average daily cost less than one admission ticket ! SINDLINGER Survey showed 34>2 per cent went to the movies because of TRAILERS! Average daily cost less than one admission ticket! NATIONAL THEATRES CIRCUIT IN 21 STATES Survey showed 43 per cent went to the movies because of TRAILERS! Average daily cost less than one admission ticket! MOTION PICTURE / «* BETTER REFRESHMENT MERCHANDISING: Special Promotion Exalts Even King Popcorn! • it the Post Office. Scu' York t ity. V. S l. . under rhe act of March .? 270 Sixth Avenue. Rockefeller Center, Xeu* York 20. \ Ym Subscription Single cop v >5 ce&tf- All contents copyrighted !<>5^ by Quigley Publishing O' m i hi II Anxious To Find New Ways To Better Operations -r- The HERALD INSTITUTE of Industry ‘ Opinion ;GIANT’ — A Review by William R. Weaver for OCTOBER Better Screen Technique with Basic Industry Standards The Little Things That Give Theatregoers a Big Welcome A 30-Year-Old Theatre Salvaged by "Cinema Fan" Policy TENSION • • • from beginning to end! — Film Daily ACTION . . . hair-raising con- * elusion!” — A1. P. Herald CHILLING... nail-biting climax!” — Boxoffice GRIPPING... most hair-raising climax ever filmed!” —Showmen's T, R. THRILLER. .. (guaranteed for | edge-of-seat atten- tion!” -M.P. Daily "SUSPENSE... any picture you can think of would be hard put to match 'Julie’s’ 95 minutes of sus- pense.” —Philip K. Scheuer , L . A. Times frightened JULIE who discovers on her honeymoon that her husband is a killer— and SHE is the next victim! M-G-M presents DORIS DAY • LOUIS JOURDAN BARRY SULLIVAN • FRANK LOVEJOY A MASTERPIECE OF SUSPENSE! An ARWIN Production •Written and Directed by ANDREW L. STONE Produced by MARTIN MELCHER-An M-G-M RELEASE 1 t l FROM THE NOVEL BY EDNA FERBER PRESENTED BY WARNER BROS. IN WARNERCOLOR starring ELIZABETH TAYLOR - ROCK HUDSON • with DENNIS HOPPER • JUDITH EVELYN • PAUL FIX . SCREEN PLAY BY FRED GUIOL AND IVAN MOFFAT • MUS>C COMPOSED AND CONDUCTED BY DIMITRI TIOMKIN 0 THIS IS ONE OF THE ADS IN THE SWEEPING GIANT CAMPAIGN. IT APPEARS IN LIFE ON STANDS OCT. 18 AND IN LOOK ON STANDS OCT. 30. Hi you loved her open inside JETT RINK .was made of laughs and lies and loving looks, he was * made to get to the l|j top --so he could have the fun of falling all the way LESLIE LYNNTON --whether you --you hungered A picture of proud people, a love story, a cavalcade -- a conflict of creeds--a personal drama of strong longings-- a big story of big things and big feelings - - This is GIANT ! CARROLL BAKER AS LUZ BENEDICT II JANE WITHERS AS VASHTI SNYTHE •c* :\ BICK BENEDICT was big : enough to stand up and take what he wanted — and biggest one day when he crawled . . . MERCEDES McCAMBRIDGE DENNIS HOPPER AS SAL MINEO AS AS LUZ BENEDICT JORDAN BENEDICT III ANGEL OBREGON III anl JAMES DEAN AND PRESENTING ALSO STARRING CARROLL BAKER • JANE WITHERS • CHILL WILLS MERCEDES McCAMBRIDGE • SAL MINEO produced by GEORGE STEVENS and HENRY GINSBERG* directed by GEORGE STEVENS presented by WARNER BROS. 4- + THE TIME HAS COME FOR GIANT. IT HAS JUST OPENED AT THE ROXY, N. Y. NEXT WEDNESDAY GRAUMAN’S CHINESE, I A. THE CHICAGO, CHICAGO, OCTOBER 25 AND THE METROPOLITAN, BOSTON, NOVEMBER 1. — Mff ARe F COLOR by D£ LUXE CTlKie- s,arring GORDON 0AN Ne,v,aScOP£ - ^J^JBoSne • NORTH c»tw Ky OE tuxe QNemaScopP Co-starring FELICIA FARR »« -e- — - «7Sd S'««o«» ro>T/»r barring F0RRf-A ^ EGALSC0PE Picture Tlirurn r> * Eiv,aScop£ wtroducing SSSiSXJSm mm . _ ^uced by CHARLeTbrTckETT^1^ ' °mmENS &£B£CCA Produced ^0/^ ft® ‘ J0AN FONTAINE - - - Hitchcock 8^ i®” 4fc ^Of#? emaSco p£ i'“e r,ch/ird kan • DfBRA paget and introducing ELVIS PRESLEY m- Dar»:z:oezr JOSEPH COTTFN-VAl 1 1 s,amne ph- Released br ?0lh Century fox * It’s every citizen’s duty to register and vote! MOTION PICTURE HERALD MARTIN QUIGLEY, Editor -in-Cbie] and Publisher Vol. 205, No. 2 MARTIN QUIGLEY, ]R., Editor October 13, 1956 Abuses of Bidding FROM the very first time bids were asked on a picture down to the present there have been many complaints about alleged abuses. Most of the criticism has come from exhibitors who felt that for one reason or another they were not receiving equal treatment with their com- petitors. The distributors for their part have surrounded bidding procedures with as many reasonable safeguards as possible in order to insure that their customers all get a fair deal. There have been some charges in the past that bidding has been abused; that it has been imposed without neces- sity and that it has created booking uncertainties that in- terfere with proper local advertising. However, little attention has been given to what may prove to be the most serious problem connected with bid- ding, namely that it often results in the best pictures play- ing mediocre theatres. This is something that needs care- ful studying, situation by situation. In these days, when there is so much competition for the public’s leisure time, motion pictures need to be pre- sented in the best possible circumstances. An outstanding theatre operator has written inviting attention to the problem in these words: “Under present bidding terms, a fine theatre lo- cated in a convenient location, properly staffed, with perfect air conditioning, luxurious seats, ample ca- pacity, plenty of parking facilities — in fact every- thing necessary for the patrons’ enjoyment of motion pictures — does not stand much chance of obtaining the outstanding pictures. “These so-called ‘block busters’ are usually award- ed on the basis of the dollar film rental bid alone. In other words, a small low-cost theatre usually obtains the picture under competitive bidding. “I’m sure that the industry has lost a lot of revenue because the local public, who knows their theatres, pass up good product thinking that ‘The picture can’t be much if it’s played in that theatre.’ By the same token, the public will soon be re-educated to the fact that the better pictures don’t play in the better theatres. It’s a sad day for our industry when the public comes to expect part of their experience with it to be shoddy — either the play or the playhouse.” The condition cited by this exhibitor is one that easily results where terms are such that the theatre owner can- not maintain a first class operation. Just how much leeway a distributor has in accepting bids is a matter for the lawyers, and perhaps the courts, to decide. The simplest procedure, of course, is to accept the highest bid, irrespective of the type of theatres in- volved. Whether this is the best policy for the distributor or the industry as a whole may be debatable. In general the strong box office attractions should play first in the finest theatres. Certainly in these times of rela- tive product shortage the good theatres need all the good pictures they can get. Outstanding pictures likewise may be expected to benefit by being shown in the most com- fortable surroundings. No film rental deal which deprives a theatre of necessary maintenance and operation funds is a good deal for a distributor or an exhibitor. The industry cannot survive without well-equipped theatres. Bests of All Time A MORE forceful demonstration of the vitality of the motion picture industry was the presentation for ■ trade review within a period of five weeks of three magnificent attractions: “Giant,” “The Ten Command- ments” and “War and Peace.” Each of these multi-million dollar productions was made expressly for theatrical au- diences of today, tomorrow and the years ahead. None of them would be anything but a pale shadow of themselves in a home television presentation. They are for the theatres and theatres alone into the indefinite future. A lively topic of conversation among critics, within and without the industry, who have seen these three “super block buster” attractions, is the relative rank of each. Interestingly enough there is a wide diversity of opinion, based on individual, personal preferences and tastes. On the other hand, and much more important, there is com- plete unanimity on the fact that each of these three great pictures should rank within the first ten top grossing films of all time. It is remarkable that within a period of little more than a month there should be screened three motion pictures destined to rank in the first ten grossers of the whole sixty years of the theatrical film industry. If anyone needed proof that “movies are better than ever,” here it is. It is a safe prediction that more people will see — in theatres — in the next few years (and pay more money to do so) “Giant,” “The Ten Commandments” and “War and Peace” than any other three pictures ever made. Despite whatever problems an industry can have, it certainly is indestructible when it produces theatrical at- tractions of prime magnitude. Quotable quote: “Methods may become obsolete — good ideas never grow old,” a basic engineering principle and one with wide applications in all branches of the motion picture industry. - — Martin Ouigley, Jr. oLetterd to the ^Jheralci MOTION PICTURE HERALD October 13, 1956 Keep Pounding To the Editor: Please follow through and keep pound- ing on the subject covered in your edi- torial entitled ‘'Disjointed Presentation.” [The HERALD, September 22.] On a film like “War and Peace”, perhaps 10 per cent of the people will see it from the beginning; the rest will walk in on the picture and for the next three hours be wondering what it’s all about. We're in a new business today. Many stage shows are being produced into pic- tures. I’m thinking of “The Bad Seed”, “Tea and Sympathy”, etc. There are many pictures, the little musical without much plot, or I presume the run-of-mine Western and action pic- tures, which can be presented on a grind policy. It seems to me that you’re on the right track. I feel you can render a great ser- vice. Follow it up.— E. C. PRINSEN, Palace Theatre, Youngstown, Ohio. • From Beginning To the Editor: Theoretically, you are undoubtedly right that a fine motion picture should be seen from the beginning, and I think that there are certain houses that can ac- complish this object. However, I think that in the type of houses that we operate to try to work on any basis where the customer would be refused admission at any time during the performance would be suicide.— JULIUS M. GORDON, Jeffer- son Amusement Co., Inc., Beaumont, Texas. Vidor Comments To the Editor: Upon return to California in July, I found your note accompanying the edi- torial from Motion Picture Herald of May 26, 1956. In your note you say you would be very glad to have my comments on the editorial. I am sorry I cannot be more helpful to you in this regard as this is the first and only time that I have heard of the meeting to which you referred. In making “War and Peace” I was in Italy for a year and a half, during which time I made three trips to London. Just before returning to America I was in Switzerland for two weeks. As far as Paris is concerned I only stopped over there for two hours between trains on one visit, and another time for one hour between planes. It would seem more than ridiculous to me to participate in, or take part in such a fantastic proposal while directing the film “War and Peace” which is laid, as you know, in Russia. While visiting the Cannes Festival early this year I remem- ber being invited to some sort of writers’ or directors’ conference in Paris, but inas- much as it was necessary for me to return directly to Rome and complete my work on “War and Peace,” I declined the in- vitation. This is all I am able to report on your editorial, which I am sorry errone- ously connected me with such a pre- posterous proposal as is outlined in the editorial. — KING VIDOR, Beverly Hills. Editors Note: The editorial referred to cited a reported meeting of some 60 film directors in Paris, at which a proposal was “accepted in principle” that “great national subjects should remain the property of the nation concerned.” The editorial took issue with the basic premise involved. Film Festivals To the Editor: May I suggest to the Theatre Owners of America that if they plan any more Film Festivals in the near future, that they plan them well, and in advance. The se- lection of films should be in the hands of a non-political group, and the film selec- tors should be qualified people, such as film critics of the trade press or news- papers who have no axes to grind, and that each film be selected on its merit, not pull! Such a festival should have the addi- tion of the presence of film stars, film personalities and be well exploited be- fore its opening. The Cannes Film Festival might be a good classroom to learn the “know how” of putting over a film show so that it becomes an international affair instead of a local event, unsupported by the film trade, and this one wasn’t sup- ported, if we are to believe reports. — Nathan Cy Braunstein, Screen Art Sales Company, New York. Comedies Needed To the Editor: The producers are finally making better pictures. They must continue to do so if we are to stay in business. Wish Holly- wood would come out with some real good comedies with a lot of real belly laughs. I hope the producers forget the spec- tacles and costume movies for a while and for heaven’s sake when they make a good picture give it a decent title — a poor title spells disaster for even a good movie. We exhibitors must really get on the ball and help exploit the good films. — KEN BRECH- LER, Town Theatre, Darlington, Wis. Page EXHIBITION anxious to improve its operation, Institute finds 12 MPAA calls top level conference to plan box office stimulants 13 SAG to negotiate terms of new pact on late films for TV 13 "GIANT" — A review from Hollywood by William R. Weaver 16 SMPTE ready to aid search for better presentation of films 20 20TH-FOX and Republic conclude dis- tribution deal in England 22 GERMAN exposition called avenue for better understanding 24 SERVICE DEPARTMENTS Refreshment Merchandising 36-42 Film Buyers’ Rating 3rd Cover Hollywood Scene 23 Managers' Round Table 31 The Winners’ Circle 29 National Spotlight 25 In for OCTOBER Section begins opposite 42 STANDARDIZING Better Techniques BIG WELCOME for Patrons DRIVE-IN POLICY that Built Appeal IN PRODUCT DIGEST SECTION REVIEWS (In Product Digest): Between Heaven and Hell, You Can't Run Away from It, Wee Geordie, It Conquered the World, The She-Creature, Yang Kwei Fei. Showmen’s Reviews 105 Short Subjects 107 The Release Chart 108 MOTION PICTURE HERALD, Marlin Quigley. Editor-in-Chief and Publisher; Martin Quigley, Jr., Editor; Charles S Aaronson, Managing Editor; Floyd E. Stone, Photo Editor; Vincent Canby, News Editor; Ray Gallagher, Advertising Manager; Gus H. Fausel, Production Manager. Bureaus: Hollywood, Samuel D. Berns, Manager; William R. Weaver, Editor, Yucca-Vine Build- ing, Telephone HOIlywood 7-2145; Washington, J. A. Otten, National Press Club; London, Hope Williams Burnup, Manager; Peter Burnup, Editor; William Pay, News Editor, 4 Bear St., Leicester Sq. Correspondents in principal capitals of the world. Member Audit Bureau of Circulation. Motion Picture Herald is published every Saturday by Quigley Publishing Company, Inc., Rockefeller Center, New York City 20. Telephone Circle 7-3100; Cable address: “Quigpubco, New York”, Martin Quigley, Presi- dent; Martin Quigley, Jr., Vice-President; Theo. J. Sullivan, Vice-President and Treasurer; Leo J. Brady, Secretary. Other Quigley Publications: Better Theatres and Better Refreshment Merchandising, each published thirteen times a year os a section of Motion Picture Herald; Motion Picture Daily, Television Today, Motion Picture Almanac, Television Almanac, Fame. 8 MOTION PICTURE HERALD, OCTOBER 13, 1956 On the Oli onzon SUCCESSOR? Report and counter-report flowed through the industry the past week, stemming from New York and Hollywood, relative to a successor for Arthur M. Loew as president of Loew's, Inc. With Mr. Loew's recent unex- pected resignation effective November 15, and the board meeting October 17 expected to result in a successor, reports gave two men the inside track as of HERALD press time. One was Sol C. Siegel, MGM producer, who confirmed that talks have been held, and whose name ap- parently was suggested by Nich- olas M. Schenck, Loew's board chairman. The other was Lew Wasserman, quiet president of the widespread Music Corpora- tion of America. Problems of his own independent producing situ- ation color any Siegel de- cision, he said. The board meeting also will act on resig- nations submitted by Paul D. Mannheim and Charles J. Stew- art, reportedly because of the Loew policy on the rental of its films to TV. FOREIGN DEAL Justice Department officials said there "might be an anti- trust problem" in reported plans of two major film com- panies to merge overseas film distribution systems. There have been reports that Warner Brothers and 20th Century-Fox have been holding informal talks on pooling studio produc- tion facilities and merging picture distribution systems overseas. Justice Department spokesmen said that so far the Department has not been con- tacted on the matter. OPTIMISTIC Executives of Perakos Theatre Associates, one of the largest independent circuits in the east , were told by circuit pres- ident Peter Perakos, Sr., at their annual managers' Fall meeting that "certainly televi- sion and other entertainment media have made inroads on thea- tre attendance , but I still have tremendous faith in the exhibi- tion of motion pictures and be- lieve that the coming years will bring the industry's greatest era. " At the meeting Mr. Perakos also outlined coming major re- leases and noted a need for fresh faces in front of the camera. LONG PICTURES Arthur Mayer has come out in defense of three-hour films. Replying to an editorial in a New York paper decrying long films, he took note of "Gone With the Wind" which in spite of its length was one of the most popular films ever made, and added that very few long films have been made. "Double features run three and one-half hours. Surely it is more inter- esting to see one great picture than two of moderate merit." DRIVE-IN QUOTA Italy could not have more than three drive-ins, even if they should prove successful, ac- cording to the new regulations on the opening of new theatres there. A recent bill of the Cabinet Council states that the permit for drive-in theatres can be granted only "in the maximum number of one theatre only for each city with a popu- lation of more than 1,000,000 habitants, and also provided the spot be "outside the toll- gates." Only Rome, Milan and Naples are over 1,000,000 popu- lation. No drive-ins have been opened in Italy up to now. OPEN AND SHUT Management of a western cir- cuit of considerable size is prepared to cope with any Win- ter shortage of product, such as could be brought about by an Autumnal shortage of attend- ance, by converting to what might be called an open-and- shut policy. That is, the cir- cuit's theatres will forsake the standard open-every-day system of operation in favor of opening up when appropriate product is available, and clos- ing down when it isn't. Fluc- tuating prices, going up for the good and down for the other kind, are a fixture of the con- templated policy, as it was way-back-when legitimate thea- tres across the land played touring road companies that WHEN and WHERE October 15-16: Annual regional conven- tion of Independent exhibitors of New England and The Drive-In Theatre Asso- ciation of New England, Winchendon, Mass. October 22-23: Annual convention of Theatre Owners of Arkansas, Missis- sippi and Tennessee, Hotel Gayosa, Memphis. October 22-24: Allied Theatre Owners of Indiana, meeting at the Marott Hotel, Indianapolis. October 27: Annual dinner dance of the Los Angeles Motion Picture Salesmen, Ambassador Hotel, Los Angeles. October 28-30: Annual convention of the Motion Picture Theatre Exhibitors of Florida, to be held at Roosevelt Hotel, Jacksonville. November 13-14: Annual convention of the Independent Theatre Owners of Ohio, Deshler-Hilton Hotel, Columbus. November 19: Annual convention of the Motion Picture Theatres Association of Ontario, King Edward Hotel, Toronto. November 20: Annual convention, National Committee of Motion Picture Exhibitor Associations, King Edward Hotel, Toronto. November 21: Annual meeting of the Motion Picture Industry Council of Canada, King Edward Hotel, Toronto. November 22: Annual dinner of the Ca- nadian Motion Picture Pioneers, King Edward Hotel, Toronto. November 25-27: 44th annual convention of the Theatre Owners of North and South Carolina, Hotel Charlotte, Char- lotte, N.C. November 27-29: Allied' States Association, Fall board meeting and annual conven- tion, to be held at Statler Hotel, Dallas. November 30: Eighteenth annual dinner of the Motion Picture Pioneers honoring Robert J. O'Donnell as Pioneer of the Year, Waldorf-Astoria Hotel, New York. January 29-31: Allied States Association, national drive-in convention, Nether- lands-Plaza Hotel, Cincinnati, Ohio. February 26-27: Annual convention of the Kansas-Missouri Theatre Association, Pickwick Hotel, Kansas City, Mo. varied, even as pictures do, from excellent to acceptable and netherwards from there. The heads of the circuit in mention consider the projected policy far more manipulable than the open-every-day system. MOTION PICTURE HERALD, OCTOBER 13, 1956 • 9 wee L in pictures CONGRATULATION, admiration, and affec- tion. the scroll said it. ao to circuit founder \dolph Linick at lunch- eon in Chicago marking his 87th birthday anti the 51st anniversary of Jones, Linick, a n d Schaefer. 'W it h him, Aaron Jones and John- ny Jones. IN NEW YORK, left, seeing “Giant” at the special press preview: co-producer Henry Gins- berg, Warner eastern and Canadian manager Jules Lapidus, Minne- sota Amusement’s John Branton, Warner sales manager Roy Haines, a nd Ch aides Winchell, also of Minnesota. HE RETIRES after 42 years*. Walter Hyland, Universal Chi- cago hooker, right center, re- ceives a sendoff from western manager Foster Blake. With them at the luncheon, exhibi- tor Arthur Sclioenstadt, dis- trict manager Manie Goltlieh, exhibitor Frank Smitha, and branch manager Lou Berman. HE’S CONVINCED after four weeks in Europe, England, and South Af- rica that despite set- backs in Spain anil Den- mark Universal’s for- eign business this year will be a bright black in the hooks being closed October 80. He is espe- cially keen on newsreels abroad, and acquired Warner’s Japanese li- cense, he said. At the right, Americo Aboaf, foreign distribution vice-president. PLANNING A MAJOR PIECE. C. V. Whitney and Martha Reben, whose two books, “The Way of the Wilderness” and “The Healing ^ oods” he w ill make under the latter title. He wTill work on the pic- ture a full year and re- lease it in 1958. FRIENDLY COOPERATION from United Church Women for “Friend- ly Persuasion” was reciprocated by Allied Artists last week at luncheon in New York. In array, right, east- ern publicity director Martin Davis, vice-president Edward Morey, Ella Harlee, producer-director William Wyler, UCW president Mrs. T. O. Wedel, and MPA community rela- tions director Arthur DeBra. THE SEASON HAS BEGUN, for drives; and in New York this week and last certain campaigns had industry leaders as usual giving time, energy, and money. At the right, Spyros S. Skouras during luncheon Tuesday again accepts co-chairmanship (along with William Heineman) of the National Conference campaign. With him, John O'Connor, Eugene Picker, J. Robert Rubin, and Leslie Schwartz. Below, at luncheon plan- ning a Federation fund raising dinner, retiring chair- man Adolph Schimel, and new chairman Charles Moss, film industry co-chairman Barney Balaban, and Irving Greenfield, William Brenner, and Bernard Goodman. And, below, right, as Joint Defense Appeal leaders planned a luncheon at which William German will receive the industry's second annual Human Relations Award: Samuel Rinzler, Louis Phillips, Jack Lewin, Mr. Schimel, and Harry Brandt. HERALD picture HERALD picture HERALD picture JEFFREY HUNTER, one of the “Stars of Tomorrow” in our poll of exhibitors, re- ceives the congratu- lations of Nicholas Ray, director of 20tli Fox’s “The True Story of Jesse James.” Mr. Hunter plays Frank James. FARE^ ELI. to retiring Loew’s Theatres divi- sion manager Bill Downs finds a group outside a New York restaurant, and in array thus: Har- old Graff, Orpheum; Seymour Brond, National; Allan Isaacs, Olympia; Joe McCoy, Boro Park; A1 Weiss, Pitkin: James Napoli, Coney Island; Bob Solomon, Victoria; Mr. Downs; Irving Gross, 116th Street; Ben Newman, 83rd Street; and Morris Tanney, Alpine. MONEY, upper left, goes from Walter Reade, Jr., right, to usher Louis B. Youmans of Reade The- atres’ Lyric, Asbury Park, for suggesting vaudeville, and kiddie matinees. THAT’S A STUDIO, below, for Waikiki— Henry J. Kaiser’s project, to be called Ha- waiian Village Studios. It will have two stages and (naturally) have a “revolution- ary Aluminum dome.” The HERALD INSTITUTE of Industry. Opinion Exhibition Is Anxious to Experiment in Order to Get Improved Operation by JAMES D. IVERS Exhibition is eager to experiment with operation and to change standard and traditional operating procedures if it can be shown that such experimen- tation, or change, will build audiences. A majority of exhibitors have modern- ized their houses or intend to do so as soon as it is economically possible. Almost half of them believe that a study should be made of the relation of admission prices to attendance but an equal number say that by no means should prices be generally lowered. Almost half of the indoor theatres be- lieve the parking problem is an important factor in reducing attendance. About 60 per cent of exhibitors find the timing of the main feature at night shows a ticklish problem. These are the conclusions of Part II of a study conducted by The Herald Institute of Industry Opinion of factors affecting at- tendance today. Part I, published in The Herald September 8, covered the types of product most needed at the box office. The present section covers theatre operation factors, and Part III to be published next week will cover general proposals for stim- ulating attendance and interest. On the question of modernization a ma- jority of the members of the Institute’s exhibition panel said that their theatres were “sufficiently modern in appearance, comfort and equipment” to insure that they were not losing patronage on that ac- count. Only a small minority admitted that this was not so, most of them on the grounds that they could not afford it un- der present economic conditions and an- other small minority were not certain that this was a factor in attendance. Conversely, of course, those who said they had modernized argued that mod- ernization was a potent factor in build- ing attendance. Of those, however, who have not mod- ernized in any degree or who are not certain of its affect, a majority said they intended to modernize as soon as they are able. Economics, of course, were most often voiced as the reason for not modernizing. A Colorado exhibitor said “We should have new seats but business does not jus- tify the expense at this time.” A Florida circuit owner said, “Our theatres are at the point where we can’t afford to modernize. Our film rent is still too high for the re- duced gross, even though several of the HOW PANELISTS VIEW OPERATING PROBLEMS Question: What is your opinion of experimenting with admission prices in order to increase attendance? Up to 7,500- 30,000- Over Total A study should be made of 7,500 30,000 700,000 700,000 Exhibition the effect Lowered prices would bring 41 60.8 34.1 39.6 43.9 in more patrons Any decrease in price would 5.4 8.7 17.8 17.7 12.4 be inadvisable 53.6 30.5 48.1 42.7 43.7 Question: Does the problem of parking space limit your patronage? Yes 19.5 36.8 50 64 42.6 No 61 21.1 II. 1 28 30.3 Sometimes ... 19.5 42.1 38.9 8 21 A Question: Is the timing of ing patronage? the main feature on week nights a probl em affect- Yes 45.6 61.9 61.1 73 60.4 No 19.7 14.3 1 l.l — 1 1.3 Not sure 34.7 23.8 28.8 27 28.6 companies have made reductions in the past year. Our overhead is down to rock bottom, but with the film rent added we have quite a few marginal operations.” A vehement word in defense of the ex- hibitor came from Rotus Harvey of San Francisco. “I am sick and tired,” he said, “of reading about lazy theatre managers, worn out and dirty theatres. We have the proper theatres and the right kind of per- sonnel and we prove it every time we have a good picture to sell. Merchandise is what counts. If you haven’t got it you can’t sell it. We must have merchandise better than they give away on TV and to com- pete with the producers who are on the air against us at the same time we are trying to sell their product.” Exhibitor panel members in both large and small situations favored, in varying degrees, a study of admission price scales in relation to falling attendance. Reserved Seat Plan Leo Schuessler of Sheboygan, Wis., sug- gested on admissions, “Snob appeal could be utilized to advantage by inaugurating a system of reserving a limited number of choice seats at premium prices. This could be extended beyond the loge seats of the big first runs. The balance of the house would be on an open basis.” Indicative of the changing problems of exhibition in a traffic bound world, over 42 per cent of the panel members said that parking is a major factor in lower attendance at indoor theatres. The figure, of course, rises steeply from the small town to the heavily urbanized areas. Thirty per cent said it did not constitute a problem and another 27 per cent said it only occasionally affected them. The matter of timing of the main fea- ture on week nights to please a majority of patrons is apparently a tough one to solve. Over 60 per cent of the panelists said it required further study. On this subject Frank Fitzpatrick of Clinton, Mich., had a proposal. “We would like to see all small town theatres,” he said, “start showing the feature only once on Monday, Tuesday, Wednesday and Thursday between September 15 and June 1. Start with shorts and previews a half- hour later than the normal starting time,” he suggested, “and then show the shorts again after the main feature for the late- comers. This would bring a big savings in labor, heat, and electricity and still have the bulk of your audience satisfied, even though a few 9 o’clock stragglers might be disappointed at first.” 12 MOTION PICTURE HERALD, OCTOBER 13, 1956 Top Level Conference Called by MPAA to Devise Definite Plan to Boost Box Office A top-level meeting of all company pres- idents, sales and advertising and publicity chiefs will take place October 18 at the Motion Picture Association of America to formulate a definite program, based on the recommendations of the Advertising and Publicity Directors Committee, for revital- izing the box office. This was announced following a meeting of the MPAA board of directors in New York last week. At- tending the meeting will be the heads of the MPAA member companies, their for- eign and domestic advertising and publi- city heads. According to an MPAA representative, the board of directors has decided to get the approval of all companies on the re- port presented to the board by the adver- tising and publicity group. The committee, headed by Jerry Pickman of Paramount, last week presented to the directors an extensive report on the committee’s rec- ommendations for boosting the box office through various promotional and merchan- dising means. The report includes such SAG Studies Pact Terms on Late TV Films The Screen Actors Guild will appoint an executive committee to negotiate con- tracts with producers who are contemplat- ing the sale of post-1948 motion pictures to television, according to SAG treasurer George Chandler, who last week said that preliminary talks on the matter already have taken place. Mr. Chandler said that he and John L. Dales, national executive secretary of SAG, have met with Arthur Krim and Seymour Peyser of United Artists and with Matthew Fox of C&C Television Corp., concerning what rights the Actors Guild has in selling post-1948 films to TV. The SAG committee said that “nothing definite has been formulated, but we will return to Hollywood and present our find- ings to the SAG board next week.” It is expected they will appoint an executive committee to deal with Mr. Fox. Mr. Chan- dler said that Mr. Fox and C&C TV have acquired 74 post-1948 features in the RKO Radio library of 742 films and that Mr. Fox wants to sell the rights to these films for immediate Fall telecasting but is holding back pending a study of union rights in- volved. United Artists has a package of 39 fea- tures, a majority produced after 1948, avail- able to television, Mr. Chandler said. He proposals as immediate and drastic revi- sion in advertising billings, a Hollywood press conference, executive field tours, market analysis, advertising campaigns and contest giveaways. The MPAA directors decided to have at least five men from each company attend the “summit” conference to discuss the ad- vertising-publicity report in more detail, to discuss other suggestions pertaining to the report and its basis, and to formulate a definite program which would have pro- duction and distribution support through- out the industry. Once this is attained, it is expected that the MPAA will seek Holly- wood approval along with approval and participation in the program by exhibitors and their national associations and from COMPO. Last week the MPAA’s subcommittee on industry self-regulation met with Geof- frey Shurlock, vice-president and director of the Production Code Administration, to discuss the expansion of the PCA appeals board. added that “the situations between both Mr. Fox and U.A. are totally different.” Mr. Chandler went on to explain that C&C TV product was produced by a company still considered a major firm in the indus- try, while the U.A. product was turned out by many independent producers, a majority of whom are no longer active in production. Mr. Chandler said the formula which will be worked out between SAG and Mr. Fox “will most likely be used as the basis for other post-1948 film sales to television for the whole industry.” German Group Shoots Scenes in New York Berolina Film, German production com- pany, has completed two weeks in New York shooting exteriors and 24 local land- marks for a semi-documentary spy feature, “The Gimpel Story.” Kurt Ulrich, top Ger- man producer, and his director, Werner Klingler, brought two of their stars to the U. S. for the brief shooting. Agreements were made with the Screen Actors Guild and other film employee unions for local supporting actors and technical crews to be used. Ernst Jaeger, former editor of the Berlin Film-Kurier, is handling public re- lations for the company. Columbia Votes Dividend Columbia Pictures Corporation board of directors has declared a quarterly dividend of $1.06% per share on the $4.25 cumulative preferred stock, payable November 15, 1956/ to stock of record November 1. Groups Study Loan Rules For Theatres Theatre Owners of America and the In- dependent Theatre Owners Association, New York, are currently studying the rules and directives of the Small Business Ad- ministration and how they could be ap- plied for theatres seeking governmental loans for mortgage purposes, it was re- ported last week. The study is taking place because the SBA authorization of loans to theatres “for modernization, equipment, repair or operation” does not provide for lending money for mortgage purposes. Once the consideration is completed, ITOA and TOA “will seek to educate the SBA as to the needs of the motion picture exhibition industry,” it was stated. The ex- hibition leader, who last week disclosed that the study has been launched by both theatre groups, said the results may also be presented to SBA so that “they could issue directives pertaining to exhibition solely.” He also indicated that Congressional legis- lation on this matter may be sought. The exhibition figure pointed out that while the SBA ruling “took theatres off the blacklist,” it “did not go far enough. If we could open the doors to small theatres who seek to receive governmental loans for all legitimate purposes, then perhaps pri- vate lending institutions would also be- come more lenient in their dealings with theatremen.” The SBA ruling in regard to theatre loans is just the same as that for loans to other small businesses, according to an SBA official here. He pointed out that the only additional requirements are that thea- tres must be “four-wall” and must con- tribute to the “economic health of their community.” The SBA official also said that theatre owners seeking small business loans for modernizing purposes can still be eligible for those loans, in many cases where there is already a mortgage on their theatres. Nick Pery Resigns Post at Columbia Nick Pery, vice-president and European managing director of Columbia Pictures International, has resigned effective No- vember 9, to go into independent produc- tion, it was announced this week by Lacy W. Kastner, president of Columbia Interna- tional. Mr. Pery has been with Columbia 22 years in various executive positions. Mr. Pery said that it “is with a deep sense of regret” that he will leave Columbia, explaining that “my reasons are so com- pelling that I cannot do otherwise.” MOTION PICTURE HERALD, OCTOBER 13, 1956 13 YOUR ADVERTISING HERE! COMPLETE! THEN RUN TEASER #2 A GROWN-UP MOTION PICTURE lor grown-up emotions! If you’re sixteen, you’re old enough to understand it. If you’re a parent with a guilty conscience, you’d better stay away. 24 hours after you see it WE CHALLENGE YOU TO STOP TALKING ABOUT IT! START WITH TEASER #7 DON'T TALK about "Teenage Rebel" IN FRONT OF TEENAGERS! There are some things better left unsaid . . . others that can be spoken of in whispers only! 24 hours after you see it WE CHALLENGE YOU TO STOP TALKING ABOUT IT! THEN RUN TEASER #3 EVERY DAUGHTER should see "Teenage Rebel"- Every parent must! Its story is so completely personal- it belongs to you intimately. It hits so close to home- WE DO NOT RECOMMEND IT FOR PARENTS WITH A GUILTY CONSCIENCE. THEN RUN TEASER #4 WE CHALLENGE YOU to stop talking about "Teenage Rebel" 24 hours alter you see it! It is not easy to forget the things this grown-up motion picture says and shows. IT’S RECOMMENDED FOR EVERYBODY- except parents with a guilty conscience! CAMPAIGN FOR • These are the powerful ads to pre-sell THE NEXT SENSATION OF THE INDUSTRY! EACH OF THE TEASER ADS IS , AVAILABLE IN BOTH 3-COLUMN AND 2-COLUMN SIZE: 3 cals, x 9 inches 2 cols, x 9V2 inches FOLLOW WITH YOUR OPENING-DAY AD: 7 MY MOTHER - ‘I call her Mother only because I don’t know what else to call her.” MY FATHER - ‘Now there's always some woman at the house-he says they ‘just drop in’!” MYSELF - ‘All I know is-no matter what I do it’s wrong!” See these ads actual size and the other great ads in the Press Boole ... order mats from NSS! with and three stars of the future Mildred Natwick • BETTY LOU KEIM * WARREN BERLINGER - DIANE JERGENS Produced b, CHARLES BRACKETT • Directed b, EDMUND GOULDING • t, WALLER REISCH * CHARLES BRACKETT • Cl N EIVI aScoPE GIANT Warners-George Stevens — Bigger than Texas ( Color by WarnerColor ) George Stevens7 production of the famous novel, “Giant77 by Edna Ferber, in the production of which Henry Ginsberg was associated, is far and away the best and the biggest of all the George Stevens productions that have dis- tinguished the motion picture medium That is saying a very great deal, and It is saying that "Giant" is far better than the great producer-director's intimate biography on the family, in "I Remember Mama," and that is so because in "Giant" he performs that unmatched wizardry again and much more. It is saying also that "Giant" is far better than the Stevens production, "Shane", widely regarded as the definitive Western, and this is so, too, for in "Giant" he defines quite as in- cisively and sometimes by the same potent methods that extensive portion of the American West that is Texas. And although comparisons as such are perhaps generally invalid, in this special and particular instance the comparisons are rather internal in that they serve here to measure by his own highly developed standards the heights of producer-director greatness to which Stevens has carried "Giant." In rich, warm, human terms, in its mag- nificent sweep and scope, in its tremendous utilization of the new technical capabilities of the screen, in its almost startling color this bids fair to shatter box office records here, there and everywhere. "Giant" is also the biggest, as well as the best, of the George Stevens produc- tions that, collectively, earned for him, in 1953, the supreme honor in the power of the Academy of Motion Picture Arts and Sciences to bestow, the Irving G. Thalberg Memorial Award. No man earns this award with one picture. It is reserved for persons whose work over a period of years has contributed substantially to the advancement of the art and science of the over the long years, it is thus meant, in unmistakable terms. motion picture. In some of its years the Academy has found no worthy receiver for this award. A few have received it twice. "Giant" may add its producer- director's name to this rare category. "Giant" is big in many important re- spects other than its 197 minutes of run- ning time. It is big in theme, in cast, in the sweep of its 30-year story, and in setting. The setting is Texas, the Texas of half- million-acre cattle ranches, the Texas of tax-favored oil barons, the Texas of in- tolerance and of tolerance, of 1923 and of 1956, not all good, not all bad, but all intensely human, the strong and the weak alike, as caught in the searching glare of the Ferber pen and the Stevens camera. The Ferber pen and the Stevens camera un- cover a good deal of Texas that isn't referred to in the Texas song hits and by Texas orators, but they also find for the defense in a considerable quota of instances. The decidedly best-selling Ferber novel of several years ago, but of recent patron recollection, is brought to the screen by way of a splendidly organized screenplay by Fred Guoil, who was assistant director of "Shane", and Ivan Moffat. It covers some 30 years in the lives of Rock Hudson, owner by right of inheritance of a half- million-acre Texas ranch, and Elizabeth Taylor, socialite daughter of a Maryland aristocrat, and of their children and chil- dren's children. Like all of the Ferber novels, and most of the Stevens films, the story travels in Elizabeth Taylor, Rock Hudson and Mercedes McCambridge in a scene from "Giant." GEORGE STEVENS, producer-director many channels, carrying sub-themes and secondary plots along as it makes its measured way from carefully background- ed beginning to a reasoned, plausible, sat- isfying finish. It is for a Ferber book and a Stevens film to detail the story, and for no synopsist with a proper respect for their craftsmanship to undertake it. The production by George Stevens and Henry Ginsberg presents a numerically tremendous cast headed by Elizabeth Taylor, Rock Hudson and the late James Dean. It asks much of each and each delivers. Miss Taylor, required by her role to age 30 years, gives her usual alert, ef- fectual performance in the earlier years of her role, and then displays a new artistry in meeting the sterner demands of parent- hood and grandparenthood. Hudson, called upon for the first time to handle a role flecked with fault as well as valor, lays firm hold on a top rung in the ladder of fame. Dean, whose presence in the cast doubt- less will account for a great turnout of young folks, lives up to his past perform- ances in the youthful phase of his por- trayal, but is less convincing, later on, as a drunken oil king. Possibly the most memorable of the ( Continued on -page 18) 16 MOTION PICTURE HERALD, OCTOBER 13, 1956 RocWeo r V\eVf*w9 ns . of tne fcexe — - |I|-1> J or key Alan Freed of ORIGINATOR I New \ork s W INS, lias fans »ilh leUeiedjaekr re ro<*'- ttWR*1?* \t& tW°’ are®- rg alter e and director theatre. Just feast your peepers on the way this hit is rockin’ 'em around the globe! ENGLAND: Command performance for the Queen, plus the most sensa- tional business in London history! HOLLAND: Tops all Columbia grosses! NORWAY: Biggest business in Columbia history! IRELAND: Smashes every record! INDONESIA: Longest run and biggest gross in history of country! INDIA: Tremendous record-breaking grosses! AUSTRALIA: All- time house records smashed! HONG KONG: Police battalions needed to keep crowds in line at two theatres! PHILIPPINES: Every house record smashed everywhere! U.S.A.: ‘ROCK AROUND THECLOCK’IS THE MOST- FROM COAST TO COAST! RKO Radio, Mutual System To Coordinate RKO Radio Pictures and the Mutual Broadcasting System will coordinate their related activities more closely, it is an- nounced by Thomas F. O’Neil, president and board chairman of RKO Teleradio Pictures, Inc., the parent company. Mr. O’Neil said that the more closely knit relationships will extend to every facet of the motion picture and radio activities of both subsidiaries, with primary em- phasis placed on programming, sales and client services, promotion, exploitation, and publicity. The coordination plan, as outlined by Mr. O’Neil, MBS and RKO Radio Pictures presidents John B. Poor and Daniel O'Shea, will have RKO stars and contract personnel available for MBS program- ming appearances. It will also permit MBS broadcast adaptations of vast amounts of story material on RKO library shelves, make RKO’s 32 branch office managers and its 109 overseas office facilities avail- able to MBS for station relations, sales, sales service, news and program liaison purposes and permit closer promotional and exploitational tie-ins between RKO and the Mutual network. Mr. O’Neil cited the fact that RKO Radio Pictures’ field managers already function as liaison contacts for RKO Tele- vision’s rapidly expanding activities. “We know,” he said, “that these people are fully aware of the problems unique to supplying films-for-tv and had experiences with network radio when we introduced “The Conqueror” last winter. To integrate them even more closely into our family of allied entertainment companies and divisions is, accordingly, a logical further- ance of already proved capabilities.” Mr. O’Neil said the field representatives are located in the country’s primary market areas and are continually in touch with MBS station owners and managers in their respective districts. Mutual’s seven owned radio and its five tv stations, operated by General Teleradio, are also to be integrated into this plan. RKO Radio Steps Up Trade Paper Ads An accelerated program calling for 17 major productions from late 1956 to early 1957 from RKO Radio Pictures has re- sulted in a stepping up of its trade paper advertising, Walter Branson, vice-presi- dent in charge of world wide distribution, has announced. The increased schedule was led off by a three-page, two-color in- stitutional product ad currently running in all the daily and weekly trade publi- cations, he said. High Court Meets, Acts On Two Industry Cases WASHINGTON: The Supreme Court re- fused to reconsider its June decision that children are equally entitled with the wid- ow of a copyright owner to renew the copyright and grant licenses and share in the proceeds under a copyright. The court’s June ruling in the copyright case upheld a decision of the Ninth Circuit Court of Appeals in a case involving the ownership of the song copyrights of the late George C. DeSylva. Columbia Nef $2,670,000 Columbia Pictures last week reported consolidated earnings for the year ended June 30, 1956, of $2,670,000. This com- pares with $4,949,000 for the year ended June 25, 1955, according to the report by Harry Cohn, president. Earnings per share of common stock were $2.28 for the period ended June 30, 1956, as compared with $4.40 for the previous period. The earnings per share of common stock after preferred stock dividends, for both the cur- rent year and the prior year, are based on the 1,067,327 shares outstanding on June 30, 1956. The company provided no explanatory information, limiting itself to the foregoing only. Gross business for the past fiscal year was not disclosed nor were Federal taxes or other data. German Set for Award At JDA Event Oct. 24 The motion picture industry will pre- sent its second Annual Human Relations Award to William J. German, president of William J. German, Inc., and prom- inent philanthropic leader, at a luncheon sponsored by the Joint Defense Appeal October 24 at the Hotel Astor, New York. The announcement of the award was made by Robert S. Benjamin, board chairman of United Artists and JDA chairman for the motion picture industry, who will make the presentation to Mr. German. The Award is presented annually to the member of the industry whose distinguished con- tributions to the cause of community wel- fare and human rights are in line with the goals of the Joint Defense Appeal. First winner, last year, was Danny Kaye. Harry Brandt, president of the Independent The- atre Owners Association, and Barney Balaban, president of Paramount Pictures Corp., are honorary chairmen of JDA in the Motion Picture Industry. Adolph Schimel is treasurer. Joint Defense Appeal is the fund-raising agency of the American Jewish Committee and the Anti-Defama- tion League of B’nai B’rith. Zabel Retires From Circuit LOS ANGELES: Elmer C. Rhoden, presi- dent of National Theatres, last week dis- closed that Edwin F. Zabel, vice-president and general manager of the Fox West Coast Theatres division, will retire Novem- ber 1 after 31 years with the company. Like George Bowser, who retired some years ago after an extended tenure, Mr. Zabel will receive a lifetime retirement salary from the corporation. Mr. Zabel joined the company in 1925 as a theatre doorman. National Theatres, it was reported is continuing the circuit’s corporate title, de- spite the announcement made in Phoenix that the theatre advertising copy in all of the circuit’s divisions will be signed “Fox National Theatres” until further notice. The word “Fox” will be dropped from the advertising signature in a year or so, it was stated, when the present public confusion is dissipated, leaving “National Theatres” as the nationally recognized identity. "GIANT" ( Continued from page 16) many excellent supporting performances is supplied by Mercedes McCambridge, headstrong sister of the ranch owner, who dies early in the story in consequence of shocking abuse of her sister-in-law's horse. Chill Wills, present throughout in a role that illuminates by reference the Hudson and Taylor characterizations, looks like the year's likeliest candidate so far for the Academy's best-supporting-perform- ance award for 1956. The Texas setting is conveyed strikingly to the screen by the talented William C. Mellor, A.S.C., in warm WarnerColor. The songs used in the picture are by Dimitri Tiomkin and Paul Francis Webster, fre- quent sharers of Academy awards for best-song-of-the-year. The box office future of the production is guaranteed beyond question by that best of all box office assets — sheer merit. Previewed at the Screen Directors Play- house, Hollywood, to an audience made up of press and profession. This is pos- sibly the most exacting place of exhibition, and the severest audience the picture will ever encounter. The production played like the giant it is, and the audience cheered it. Reviewer’s Rating: Superior. — William R. Weaver. Release date, not set. Running time, 197 minutes. PCA No. 17675. General audience classification. Leslie Benedict Elizabeth Taylor Bick Benedict Rock Hudson Jett Rink James Dean Carroll Baker, Jane Withers, Chill Wills, Mercedes McCambridge, Sal Mineo, Dennis Hopper, Judith Evelyn, Paul Fix, Rodney Taylor, Earl Holliman, Robert Nichols, Alexander Scourby, Fran Bennett, Charles Watts, Eliza Cardenas, Carolyn Craig, Monty Hale, Mary Ann Edwards, Sheb Wooley, Victor Millan, Mickey Simpson, Pilar Del Rey, Maurice Jara, Noreen Nash, Napoleon Whiting, Ray Whitley, Tina Menard 18 MOTION PICTURE HERALD, OCTOBER 13, 1956 clam or SasncM T >22° J s y SYMBOLS IN DL-D»t Letter NL=Ni«Kt Letter I (06h LT=lnt l Letter Tele*r«m VLT= Int’l Victory Ltr ^ '-**• OCT ? PM 8 o5 / £7 v . .CT pr i nAY AT OUR PARAMOUNT THEATER ,tt tru WHICH OPENED LAST FRIUfti «' 'J-n ’is CERTAINLY THE SENSATIONAL SURPRISE OF THE YEAR WE WERE VERY ENTHUSIASTIC ABOUT THE PICTURE AFTER SCREENING HOWEVER TREAT EXPLOITATION CAMPAIGN NATURALLY WE ARE GOING TO HOLD :J0M smiley wolfberg theaters AND IN ALL OTHER OPENING ENGAGEMENTS - THROUGHOUT THE COUNTRY- BUSINESS IS TERRIFIC: NEW YORK - Mayfair; SAN FRANCISCO - United Artists; NEW HAVEN - Loew’s Poli; BRIDGEPORT - Loew’s Poli; BERKELEY - Oaks; MINNEAPOLIS - State; ST. PAUL - Riviera; OAKLAND - T & D; PHILADELPHIA - Viking; SEATTLE - Music Box; TACOMA - Rialto; STOCKTON - Esquire; MEMPHIS - Loew’s Palace; STAMFORD - Palace; SACRAMENTO - Tower, Del Paso, Esquire. ...WITH MORE TO COME! SMP 1 E Ready to Ever Better Screen Aid Search for Presentation BARTON KREUZER, SMPTE PRESIDENT Offers Suggestions across all lines of motion picture technolo- gy regardless of rigid departmental boun- daries. ...” * And, “engineering in the studios should be divorced from opportunism and expedi- ency that govern the conduct of many of our studios in their continued search for new and novel means of entertaining the public.” Sidney on Production Screen Directors Guild president George Sidney, at the suggestion of Dr. Frayne, gave the delegates seven suggestions for improving production facilities, and one more suggestion pertaining to exhibition. To save time and money in production, he called for (1) a reduction in size of all studio equipment, (2) practical directional sound equipment for production, (3) a de- vice to reduce or minimize cable from shooting stages, (4) smaller stage lights, (5) improvements that would reduce heat levels from present high levels, (6) intra- studio standardization of production proce- dures, and (7) settlement on a uniform method for looping dialogue, now done dif- ferently in each studio. Pertaining to exhibition, he asked the engineers to devise something that is ca- pable of making projection uniformly good so that good product will look its best in all exhibition areas. The presentations of the Society’s awards were made Tuesday evening. Dr. Alfred N. Goldsmith, consulting engineer and a television pioneer, received the 1956 Progress Medal. Also cited by the Soci- ety were Charles C. Davis, sound engineer, Westrex Corp., the Samuel Warner Awards; Robert E. Shelby, vice-president and chief engineer, NBC, (posthumously) the David Sarnoff Award; Dr. Wesley T. Hanson, Jr., color research, Eastman Ko- v dak, the first annual Herbert Kalmus Me- dal, and Donald G. Fink, director of re- search, Philco, the Journal Award. Dr. Alexander Ernemann, of Zeiss Ikon, Ger- many, designer of the Ernemann projec- tors, was awarded honorary membership in the Society. Officers Named . . . Frayne, retiring as president, tells coast convention society is constantly alert; Kreuzer elected new president of organization LOS ANGELES: A pledge that the Society of Motion Picture & Television Engineers “stands ready now, as it has always since its founding, to aid the (motion picture) industry in its search for improved means of presenting its product to audiences throughout the world,” was given here Monday by retiring president John G. Frayne, speaking at the first luncheon ses- sion of the Society’s semi-annual conven- tion at the Ambassador Hotel. An Officer Previously Another feature of the luncheon was the announcement that Barton Kreuzer, direc- tor of product planning for the Radio Cor- poration of America, Camden, N. J., has been elected president of the Society to succeed Dr. Frayne January 1, 1957. Mr. Kreuzer, a Fellow of the SMPTE, has pre- viously served the Society as treasurer, 1952-53; financial vice-president, 1954, and executive vice-president and chairman of the executive committee, 1955-56. He also is a member of the Institute of Radio En- gineers. The five-day convention, the Society’s 80th, had as feature attractions the demon- stration of MGM’s 65mm system, 20th- Fox’s CinemaScope 55 and six channel stereophonic sound. Fifteen technical ses- sions were held besides the equipment ex- hibits and the presentation of papers on the principles and applications of transis- tors in motion picture and television. Other highlights of the technical meet- ings were the first reports on the Ampex Videotape Recorder, a tour of the NBC color television studios in Burbank, and a field trip to the U. S. Navy Electronics la- boratory at San Diego. George Sidney, president of the Screen Directors Guild, was guest speaker at the Monday luncheon at which Dr. Frayne gave his keynote address. Sees Interest Waning The retiring SMPTE chief devoted his remarks to a review of the technological “revolution” in the motion picture indus- try and said that today “interest in experi- menting with radically new motion pic- ture systems appears to be waning.” “Instead,” he said, “there seems to be a period of critical evaluation of the many innovations of the past three years. There is ample evidence of a tendency to reduce the number of different types of prints for the theatre.” Pointing out that many of the new systems under discussion two years ago had not lived up to advance re- ports, he said the “salvage value” of many of those proposals “has been discovered a posteriori to be in the effectiveness of the larger negative area available in the cam- era with resulting higher picture defini- tion on the 35mm print.” The industry is showing less interest in developing new innovations in wide film systems, said Dr. Frayne, and is tending to instead “to reemphasize the standard 35mm medium with whatever embellish- ments can be retained without adding fur- ther to ultimate print and projection costs.” The reasons for “this period of technological self-analysis,” he continued, are primarily economic and in the fact that the engineers and executives of the indus- try failed to evaluate the long range ef- fects of the various new systems. Dr. Frayne offered three suggestions to aid in the orderly technological progress of the industry: Engineering “should have a greater voice and influence in studio management circles. This might prevent the hasty adoption of new and untried ideas without first subjecting them to rigorous test and field trial.” “Encourage and extend the practice of having a competent and experienced mo- tion picture engineer direct and coordinate all technical developments in every motion picture studio ... he should be responsible for the development and testing of all new integrated motion picture systems that cut Elected with Mr. Kreuzer to serve two- year terms beginning January 1, 1957, were Norwood L. Simmons, chief engineer, west coast division, Eastman Kodak — ex- ecutive vice-president; Glenn E. Matthews, research Eastman Kodak, Rochester — edi- torial vice-president; G. Carlton Hunt, president General Film Laboratories, Hol- lywood— convention vice-president ; and Wilton R. Holm, technical associate, E. I. duPont de Nemours; secretary. 20 MOTION PICTURE HERALD, OCTOBER 13, 1956 W RADIO ji ^PICTURES*! RKO RADIO PICTURES PRESENTS < The story of a man like SHANE with the suspense of HIGH NOON with real plot, real dialogue and real people... A new and different kind of motion picture attraction for any theatre's best playing time ioK atTabIe K2c STARRING I Screen Play by WINSTON MILLER Produced by SAM WIESENTHAL Directed by CHARLES MARQUIS WARREN Music by DIMITRI TIOMKIN TECHNICOLOR ANOTHER PROFIT SHOW FROM THE NEW RKO 20th -Fox, Republic In Distribution Deal . . . Extending earlier agreement, 20th-Fox will handle distribution of all Republic 35mm product in Britain, effective Oct. 15 by PETER BURNUP LONDON: Under a long-term agreement reported here this week all Republic Pic- tures 35mm product will be distributed in Great Britain “in association with 20th Century-Fox” effective October 15. The new arrangement is, in effect, an extension of the long standing agreement under which 20th-Fox handles the distri- bution of Republic product in Australia, New Zealand and South Africa — which agreement also has been renewed. To Maintain Identity It is reported further that Republic has agreed to produce all of its future product in CinemaScope. The Republic product, however, will maintain its own identity, that is, the films will not carry the 20th- Fox trademark. London executives believe that Herbert J. Yates, Republic president, will probably produce 17 pictures in the next 12 months. Affected by this latest Republic-20th-Fox deal are the 131 employees in Republic’s London office. 20th-Fox is expected to ab- sorb about 50 per cent of the Republic staff while Victor Green, Republic’s Lon- don chief, has been pestering other dis- tributors to absorb the remainder. Mr. Green himself probably will sit in at the 20th-Fox office as Mr. Yates’ representative. All the distributors here including the majors, are laboring under the burden of increased costs, due to the sharp rise in wages in the course of the last six months and to the increase in the costs of colour prints. The “big five” American distrib- utors are cutting costs in all directions and currently are considering the amalgama- tion of their provincial branches. DAVIS ON "FLYING VISIT" TO CANADA AND U S. John Davis managing director of the Rank Organisation, left London this week on what he described as a “flying visit” to Canada and the U. S. He will visit Mon- treal, Toronto, Chicago and New York. He is due back in London on October 23. The Rank chief declines to say whether or to what degree his visit is related to the intensive survey of the American market, so far as British pictures are concerned, which is known to be in progress. Mr. Davis will be accompanied on his Canadian-U. S. tour by Kenneth Winckles, joint assistant managing director of the Rank Organisation, and in New York, Oc- tober 15-22 will be joined by Harry Norris, joint managing director of Rank Overseas Distributors. BFPA AND KRS CONTINUE BBC TALKS WITHOUT CEA A showdown is clearly indicated in re- gard to our recently reported CEA’s re- fusal to cooperate with the Trade’s other three associations in their negotiations with the BBC. In spite of the exhibitors’ claim that pro- ducers and distributors cannot now go ahead with their TV plans BFPA serve emphatic notice that producers and dis- tributors will do precisely that. At its meeting this week, the Producers’ Asso- ciation’s executive council decided unani- mously to join with KRS in an endeavour to conclude an agreement with the BBC for the controlled supply of a limited num- ber of feature films; whether CEA ap- proves or not. Announcing the decision, BFPA’s direc- tor-general, Sir Henry French, said: “We are thoroughly convinced that this is the right thing to do; that it is not only a question of principle at stake but that the industry has got to make up its mind whether some understanding with the BBC would be better for the industry as a whole — all parts of it — than something which is entirely uncontrolled and which would be carried on by the BBC without any reference to the film industry at all.” Sir Henry did not agree with those who thought that once having established the principle there would be nothing to pre- vent the BBC wanting more. “There is no reason why the film industry should not be just as strong negotiators as anybody else,” he maintained. Indications mount that CEA must some- how or other promptly find convenient means of climbing out of the unhappy im- passe in which it finds itself in consequence of the surprise resolution its General Council recently adopted. CEA’s policy, by reason of the resolution, is currently reg- ulated by the now notorious Llandudno resolution which binds exhibitors virtually to boycott producers and distributors who trade with TV. But, it is now asked, how can such a resolution have effect when both BFPA and KRS have declared their intention to deal with the BBC? LATTA STILLS RUMORS OF WARNER A.B.P.C. SALE Despite Jack L. Warner’s categorical statement that Warner Bros, had no in- tention of selling the company’s holding in A.B.P.C., rumours persisted here to the effect that take-over bids were still being made. They were effectively stilled when C. J. Latta, ABPC managing director, call a special conference of trade press editors. Mr. Latta told the newsmen that he had further talks in Paris with Serge Semen- enko who had asked him to confirm -em- phatically Mr. Warner’s earlier declaration. The ABPC chief added: “Mr. Semenenko expressed himself as being very pleased with the progress made by ABPC, and it is his wish that we continue to follow a very progressive policy in the operation of our studios, theatres, distribution and tele- vision companies. “He confirmed that Warners has the greatest confidence in the future of our organization.” ANGEL RETURNS WITH ROSEATE REPORTS Immediately following the return here of Daniel M. Angel with roseate reports of the reception his picture — “Reach for the Sky” — received at TOA’s New York convention, it was disclosed that Harry Norris, joint managing director of J. Arthur Rank Overseas Film Distributors Ltd., was joining his chief, John Davis, on the latter’s arrival in New York. Mr. Norris will be taking with him to America prints of three top J. Arthur Rank pictures “Reach for the Sky,” “A Town Like Alice,” “The Battle of the River Plate.” He plans making a package distri- bution deal for the three films. Some American exhibitors, said Mr. An- gel, had reported to him that distributors in some cases lost interest in a picture if it didn’t catch on at the outset. “That is why I think it is imperative that there should be fewer distributors handling our top product,” said the British producer. Points to Big Houses Mr. Angel counsels that the distributor of a top subject should go out forthwith after the circuits. “If you have faith in a big picture, go out for the big houses. You can always get the art houses on the way,” is what Angel says. His reading of the situation is that things improve every day for good British product in America. He estimates that a successful British subject can now gross $700,000 to $800,000 in art houses alone, against the $200,000 to $400,- 000 which prevailed a year or so ago. But Mr. Angel is playing for big time. Twenty-eight British, American. Can- adian, Australian and European news film organisations are to boycott the Olympic Games in Melbourne because of restric- tions imposed by the Olympic Committee. A statement issued by the Newsreel Asso- ciation of Great Britain and Ireland says: “These news film organizations have been denied the right freely to cover the Games themselves. After more than a year of ne- gotiation it was clear that the film news pool would not be able to provide the minimum proper news service. 22 MOTION PICTURE HERALD, OCTOBER 13, 1956 Mo ((ij wood 'cene U-l Plan Big Promotion on Coming Films HOLLYWOOD : Utilizing every promo- tional facet designed to stimulate at- tendance, Universal-International’s “Writ- ten on the Wind,” scheduled for release early next year following a series of special pre-release Christmas engage- ments, will receive one of the most in- tensive campaigns in the history of the company, David A. Lipton, vice-president, told the company’s advertising, publicity and exploitation executives at a conference at the U-I studios. The same type of concentrated pro- motion is planned also for “Battle Hymn,” the CinemaScope and Technicolor film biography of Dean Hess, starring Rock Hudson, Martha Hyer and Dan Duryea; “The Great Man,” starring Jose Ferrer, Dean Jagger and Keenan Wynn; “Four Girls in Town,” Technicolor and Cinema- Scope, “Istanbul,” Technicolor, co-starring Errol Flynn and Cornell Borchers, and other releases scheduled for the early months of 1957. One of the highlights of the “Written on the Wind” promotion will be an ex- tensive national television spot campaign, with more than 400 television spot an- nouncements used in 35 markets starting the first week in November with a view- ing range of over 16,000,000 television sets. A record national magazine and Sunday supplement ad campaign, three Technicolor teaser trailers and other promotional means will be extensively employed, it was said. HOLLYWOOD BUREAU Production continued steady through World Series week, with five new pictures starting and five others finishing. The week ended with 41 pictures shooting. Sal Mineo, a young man from TV who’s been doing well enough in Hollywood to be named among the Top Ten new- comers in QP’s Stars-of-Tomorrow poll of exhibitors, is the top name in “The Cunning and the Haunted,” for Columbia release, which started in Georgia with James Whitmore and E. G. Marshall also in the cast. Philip Waxman is the pro- ducer. Alfred Werker is directing. “The Bridge on the River Kwai” is a Horizon-American production for Co- lumbia distribution, produced by Sam Spiegel and directed by David Lean. Jack Hawkins and Alec Guinness are in the film, which is being made in Ceylon. Jerold Zukor Productions, a new in- dependent producing organization, began filming “Gun for a Town” for Allied Artists release. Dale Robertson, Brian Keith, Rossana Rory and Buddy Baer are among the principals. Frank Woods is the producer. Max Glandbard directs. Amalgamated Productions, Inc., shoot- ing in London, started two pictures. Richard Gordon and Charles F. Vedder, Jr., are executive producers of both. “Kill Me Tomorrow,” which has Pat O’Brien, Lois Maxwell, George Coulouris and Freddie Mills as principals, is produced by Francis Searle and directed by Terence Fisher. “One Man’s Secret” has Zachary Scott and Faith Domergue. Alec C. Snowden is producer, Montgomery Tully is directing. THIS WEEK in PRODUCTION . . . Started — 5 Allied Artists — Gun for a Town (Jerold Zukor Prod.) Columbia — The Cunning and the Haunted; The Bridge on the River Kwai (Horizon-American). Independent — Kill Me Tomorrow (Amalgamated Prod.); One Man's Secret (Amalgamated Prod.) . . . Completed — 5 Columbia — Don't Knock the Rock. Independent — Man on a Motorcycle (Jana Film En- terprises); Shark Reef (James O. Bradford). Metro-Goldwyn-Mayer — The Wings of Eagles. 20th Century-Fox — Love Me Tender. . . . Shooting — 41 Allied Artists — Love in the Afternoon; Jeannie (CinemaScope; Color). Columbia — The Admirable Crichton (London Films); Fortune Is a Woman; The Story of Esther Costello (Valiant Films); Interpol (Warwick Prods.); A Town on Trial (Marksman Films). Independent — Pawnee (Gross-Krasne; Eastman color). Metro-Goldwyn-Mayer — Designing Woman (Cinema- Scope; Color); Harvest Thunder (CinemaScope; MetrcColor); Lizzie (Bryna Prod.); Ten Thousand Bedrooms (CinemaScope; Color); Something of Value; Raintree County (65mm; Color). Paramount — The Delicate Delinquent (VistaVision); Flamenca (VistaVision; Color). RKO Radio — The Girl Most Likely (Eastman color); The Lady and the Prowler (color). 20th Century-Fox — Boy on a Dolphin (CinemaScope; Color); The Girl Can't Help It (CinemaScope); Fury at Rock River (Regal Films; Regalscope); The True Story of Jesse James (CinemaScope; DeLuxe color); Three Brave Men (CinemaScope); The Restless Breed (National Pictures; Eastman color); Heaven Kn ws, Mr. Allison (CinemaScope; DeLuxe color). United Artists — Bail Out at 43 000 (Pine-Thomas); The Ride Back (Associates & Aldrich); Trooper Hook (Fielding Prod.); The Kraken (Levy-Gardner- Leven); The Bia Caper (Pine-Thomas); Gambling Man (Bel-Air Prod.). Universal-International — The Land Unknown (Cine- maScope); Night Passage (Technirama); Man Afraid (CinemaScope). Warner Brothers — Melville Goodwin, U.S.A.; A Face in the Crowd (Newton Prods.); The Sleeping Prince (LOP Prods.). To Honor Wyler at "Friendly" Opening HOLLYWOOD: Motion picture person- alities who have won Academy Award recognition through their work in William Wyler productions will honor the pro- ducer-director October 30 at the Hollywood premiere of his Allied Artists film, “Friendly Persuasion,” which stars Gary Cooper, Dorothy McGuire, Marjorie Main and Anthony Perkins. Included are a cross-section of some of the outstanding talent in Hollywood. MORE NEW FACES ... 11 of the 13 Deb Stars of 1956 chosen by Hollywood Makeup Artists and Hair Stylists at the fourth annual Deb Star Ball. Front, Dani Crayne, Joanna Barnes, Stephanie Griffin, Venetia Stevenson, Anna Novarro, Carol Nugent; rear, Roxanne Arlen, Elaine Aiken, Nicola Michaels, Autumn Russell, Gloria McGhee. MOTION PICTURE HERALD, OCTOBER 13, 1956 23 German Photo Exposition Is Described as An Avenue of Understanding and Peace by VOLKMAR VON ZUEHLSDORFF BAD GODESBERG, GERMANY : “Foto- kina,” a comprehensive photo and cine- technical exposition held this year for the fifth time in Cologne, Germany, from Sep- tember 29 to October 7 was described by President Eisenhower who sent a special message for its opening as “an avenue to- ward world understanding and peaceful interchange of knowledge.” Combining the features of a trade fair and an exhibition, “Fotokina” took on an international look, with almost 500 firms, 139 of them from abroad, exhibiting in eight large halls covering 66,000 square meters. The United States was represented by 20 exhibitors, taking third place after Germany (311) and France (47). Except for the collective displays of some coun- tries such as France, exhibitors were grouped without regard to nationality, thus affording a good general survey. Firms from all countries had access on equal terms. Most of the cinetechnical products were assembled in the largest hall, among them RCA, Ampro, Neuert Wilton and the Da- "jite Screen Company from the United Itates. Trades people were attracted from ome 70 countries including 22 North and South American nations. About 70 per cent of business contracted this year by the German exhibitors was for export, with similar figures among the other nationali- ties. While in the cinetechnical field there OPENING the Photokina: German president Theodor Heuss, right. were no sensational features and methods of a basically novel nature, many interest- ing improvements and new developments of established ones were offered. Among the demonstrations were those of the Todd- AO process; Eugene Bauer’s new B-14, 35 mm projector for large and medium thea- tres; Siemens & Halske’s system of adapt- able amplifiers based on exchangeable ele- ments, now extended for studio use; Isco’s adaptation of an anamorphic lens for 8 mm amateur motion picture cameras; Bell & Howell’s electric eye model 200 EE, and many others. Win Point in Goldwyn Suit SAN FRANCISCO: Fox West Coast Thea- tres scored a major victory last week in its defense of the multi-million dollar anti-trust suit filed more than six years ago by Samuel Goldwyn Productions. United States District Judge Edward P. Murphy granted a defense motion for a partial summary judgment, which reduces from 26 to six the number of films on which Mr. Goldwyn may seek damages. The court further held that whereas the original suit sought damages for films made as far back as 1937, the statute of limitations eliminates all disputed motion pictures made prior to May 16, 1947. After many delays over the past six years, the case will go to trial here January 7. In his ruling Judge Murphy held that the statute of limitations was not suspended as the result of the Gov- ernment suit against Paramount which was tried in New York. In effect the court ruled that most of the Goldwyn claims do not fall within the illegalities which were established in the Paramount case. Arguments in the summary judgment on which today’s ruling was based were made before the judge last July. The sucessful Fox motion was argued by attorney Arthur Dunne while Joseph L. Allioto represented the Goldwyn firm. Among the disputed films was “The Best Years of Our Lives.” Schwartz Chairman of Pioneers' Dinner Sol Schwartz, president of RKO Thea- tres Corp., was selected general chairman of the dinner committee for the Motion Picture Pioneers’ 18th annual dinner to be held November 30 in honor of veteran showman R. J. O’Donnell, it has been announced. Others appointed to the com- mittee, to be held at the Waldorf Astoria Hotel in New York were: Ned E. Depinet, George Dembrow and Marvin Kirsch, co- chairmen; Raymond Willie and Harry Mandel, co-ordinators; Charles A. Alicoate, in charge of new members; Jake Starr, decorations; Chester B. Bahn, trade papers; Harry J. Takiff, dinner treasurer, and Herb Berg, publicity. Cut Billings to Improve Ads , Group Urges No program to improve box office re- ceipts can exclude the necessity of an immediate and drastic revision of adver- tising billings, in the unanimous opinion of the advertising and publicity directors committee of the Motion Picture As- sociation of America. Last week the group presented to the MPAA board of directors a lengthy report on “ways and means to revitalize the box office and promote the general welfare of the industry.” Jerry Pickman of Paramount Pictures, committee chairman, told the MPAA di- rectors that “almost without exception, every ad campaign today is a costly compromise between what should be emphasized and what we are compelled to emphasize. This is due to increasingly unreasonable restrictions demanded in billings.” The subcommittee report, prepared by Gil Golden of Warner Brothers, asserted that it is not possible to estimate the considerable cost required to purchase unnecessary newspaper space. “Even more shocking is our tremendous loss in reve- nue due to contractual stipulations that require devoting major areas of our ad- vertising to non-selling and even detri- mental factors. To improve this condition, special clauses having to do with matching color, weight and design of names with titles must be eliminated. Credits which have no pertinence in advertising to the public should pertain solely to trade ad- vertising, screen credit, theatre displays and ‘publicity’ releases. Special conditions can also be arranged for advertising ap- pearing in Los Angeles and possibly in New York and ‘home’ cities where certain credits may be of some benefit to the names involved and the picture.” Johnston Tells President Of Iron Curtain Tour WASHINGTON: Eric Johnston, president of the Motion Picture Association of America, visited the White House last week to discuss his coming tour of Iron Curtain countries with President Eisen- hower. Although Mr. Johnston is going purely on industry business, he wished to inform the President of his projected trip before leaving. Mr. Johnston will visit Budapest, Prague, Moscow, return- ing, via Warsaw, to this country about October 28. Although Johnston’s initial purpose in making the Iron Curtain countries tour was to study the operation of local motion picture industries, it is believed he will also hold discussions about the possible sale of Hollywood films to some of those countries. 24 MOTION PICTURE HERALD, OCTOBER 13, 1956 Albany Confidence in the expanding future of drive-ins was expressed by Sylvan Leff via the start of construction on an 800-car drive-in at Pittsfield, Mass. He already operates the Black River drive-in, near Watertown; the Town in Watertown; Highland and the Rialto in Utica — and he also sells independent product. . . . An Adirondack Mt. landmark, the Capitol the- atre in Elizabethtown, operated by Dave Rosenbaum, was victim of a destructive fire. Another North Country theatre, the Lyceum at Champlain, was reactivated by Bill Kennedy on a four-day schedule. . . . Adam Mlinarik, Columbia head shipper, and Wayne Carignan, his counterpart at 20th-Fox, were the co-chairmen of a din- ner for James Fleming, State Film Deliv- ery Service driver, who retired after 15 years and moved to Florida. Fifty-five industry people, including Art Lane, of New York, State’s president, George Thornton, Saugerties exhibitor, and Clay- ton Pantages, Fox branch manager, attend- ed. .. . Clark Film Service will occupy 10,000 square feet of floor space in a build- ing under construction on Shaker Rd., three blocks from its present location. Atlanta The Amusement Company of Ripley, Miss., has been granted a charter to operate theatres and other amusements. Capital stock is listed at $12,000. . . . Lightning set fire to the screen and did serious damage to the Skyview Drive in, Springfield, Ga. . . . The Highway 90 drive-in, Pensacola, Fla., has closed be- cause of bad business. ... Ed Boyd, man- ager of the Ritz theatre, Sarasota, Fla., has installed 500 new seats in the theatre. . . . John Cole, new owner of the Cole-Clinton drive-in, Clinton, Tennessee, also owns the Dan Dee drive-in, Columbia, Tenn. . . . C. L. Patrick, general manager of Martin Theatres headquarters in Columbus, Ga., was in Atlanta visiting the local booking office. . . . Exhibitors Booking and Buying Service has taken over the bookings of the Neil theatre, Lithonia, Ga. . . . The Cres- cent Amusement Co., Nashville, has put the Cameo theatre, Madisonville, Ky., on a weekend only policy. . . . Gene Skinner, general manager of the Dixie drive-in the- atre, is back at his Atlanta office after a trip to their Florida theatres. Boston Local showmen Harry “Zippie” Gold- man and Sam Haase will celebrate wed- ding anniversaries in November. It will be Goldman’s 38th, Haase’s 35th. . . . “One Summer of Happiness” completed a 13- week run at the Beacon Hill. It has been replaced by “Fantasie,” with “Rififi” to follow. . . . Bill Kumins, Warner’s branch manager, and his staff arranged a screen- ing of “Toward the Unknown” for the wives of exhibitors in conjunction with the company’s Roy Haines Drive. . . . Harry Segal and A1 Glaubinger of UA re- turned from a week-long division and branch managers meeting in Philadelphia where new product and selling angles were discussed in full. . . . Martin J. Mul- lin, Hy Fine, Bob Sternberg and Chester Stoddard of New England Theatres spent last week in New York attending the AB- Paramount Theatres convention. . . . Open- ing party of the 1956-57 season of the Ad- vertising Club of Boston was held at New England Mutual Hall with a buffet supper and a screening of MGM’s “Tea and Sym- pathy.” 350 members attended. . . . “Ten Commandments” will be shown at the As- tor beginning November 20 on a reserved seat, two-a-day basis. . . . The Boston the- atre has been having a special student rate daily in its balcony for out of towners coming in groups to see “Seven Wonders of the World.” . . . Abram F. Myers, gen- eral counsel of Allied States, will make the keynote address Monday afternoon, October 15, at the IENE convention. Buffalo One of downtown Buffalo’s celebrated landmarks that once housed the Strand theatre (where Harold Edel, once manager of the Strand in New York was manager and where Edward L. Hyman, now vice president of American Broadcasting-Para- mount Theatres, was an assistant mana- ger) will be razed shortly to make way for a new $150,000 retail store. The Strand was the center of the three buildings to be razed. . . . X-rays reveal that Jack Mc- Lean sustained no fractures when he was injured while riding in a taxi. An aval- anche of flowers and get-well messages have been speeding his recovery in Ken- more Mercy Hospital. . . . “Oklahoma!” was picked as the top favorite of patrons who attended the Melody Fair “musicals-in- the-round” tent show the past summer in Wurlitzer Park, Tonawanda. . . . Safe crackers battered open a small safe in the office of Basil’s Broadway theatre, early the other morning. Harold C. Murphy, manager, said about $50 was stolen. Charlotte Bob Peterson, Columbia Pictures ex- ploiteer. came here to plan promotion for “Solid Gold Cadillac” opening at the Ma- nor Oct. 12. . . . Jim Frew, southern dis- trict manager for Universal-International Pictures, was a visitor here conferring with Charlotte U-I branch manager Jimmy Greenleaf and others. . . . Ernest Stellings, president of Stewart-Everett Theatres and newly-elected president of Theatre Owners of America, was given a big welcome by his office staff on return here. . . . Mem- bers of the Charlotte WOMPI Club, back from the national convention at Atlanta, report a very successful trip. The Charlotte club won the service trophy at the conven- tion. . . . Emery Wister, Charlotte News film editor, was invited to the world pre- miere of “Giant” in New York. Chicago Adolph Linick, one of the founders of Jones, Linick & Schaefer, arrived here from California to attend a luncheon given in his honor by Aaron J. Jones, Jr., and Johnny J. Jones. The event was occa- sioned by his 87th birthday, which falls on October 22, and the 51st anniversary of the show business firm. . . . Another event of a social nature was a surprise testimoni- al dinner held in Filmack Trailer Com- pany’s new live motion picture studios to honor Vi Dane, secretary and assistant to Irving Mack, the company’s president. The party was in celebration of her 20 years of service with Filmack. . . . John Balaban, head of Balaban & Katz, accompanied by David Wallerstein, B&K vice-president, expects to go to Hollywood shortly to launch production of Mr. Balaban’s first movie, “Saint Christopher.” This marks his first venture into producing, although he has been a theatre operator for 40 years. . . . Elaine Elasky, secretary to UA publicist Wally Heim, was married October 6 to William McAlister. The cou- ple left for a honeymoon in New Orleans. . . . Mun Delano has announced he will retire after 27 years as a booker with Co- lumbia Pictures. He has no plans. Cleveland Cleveland becomes the 19th city to pre- sent Cinerama on November 14, date an- nounced for the presentation of “This Is Cinerama” at the Palace theatre. Built some 30 years ago as a monument to the late B. F. Keith, it has been under RKO operation continuously, playing vaudeville, the vaudefilms and in more recent years, straight pictures. Max Mink, who has been local manager for more than 10 years, re- mains as manager under the new regime. . . . Sam Shia, a seasonal theatre owner, opens his hardtop Old Trail theatre in St. Clairsville Oct. 12 and closes his Shia drive-in Oct. 14. . . . Funeral services were held this week for Mrs. Gussie Schumann, widow of Dave Schumann, once an active member of the Cleveland Motion Picture Exhibitors League and an executive of the extinct Ohio Amusement Co. . . . Palace theatre, Continental, recently acquired by Tom Simon, reopened this weekend. . . . Ernest Augsten remains as manager of the Palace theatre, Akron, recently acquired by Phil Smith of Boston from Ted Gamble and associates. . . . Gerald Anderson is now operating his Union theatre, Richwood, and Rialto, Plain City, on weekends only. . . . Leonard Jefferson, who opened the Strand, Fremont, last month, has closed it again. . . . Arlyn Schultz of Allied Artists is a Mount Sinai Hospital patient. . . . Sam Fritz, manager of the Hilliard Square the- atre, and his wife celebrated their 6th wed- ding anniversary on Oct. 5. On Oct. 7 he celebrated his birthday. He recovered from an emergency appendectomy just in time to be with his family for both events. (Continued on following page) MOTION PICTURE HERALD, OCTOBER 1996 25 Columbus “Tea and Sympathy" was held for a sec- ond wek at Loew’s Ohio, following a strong first week. . . . Walter Kessler, manager of Loew’s Ohio, acted as “stand-in" for Judy Holliday, star of Columbia’s “The Solid Gold Cadillac,” in presenting a wrist watch to the girl chosen Queen of the Epsilon Sigma Alpha sorority at the organization’s state convention here. Mr. Kessler and Miss Holliday were among the judges in the contest. Miss Holliday voted by mail. . . . Mrs. Lily Hofheimer, 80, mother of Lee J. Hofheimer, former local theatre owner, died at the home of her daughter, Mrs. Max Gumble of Columbus. Mr. Hof- heimer is now residing in Norfolk, Vir- ginia. . . . Charles Sugarman of the World art theatre scored a booking ten-strike by playing Paramount’s “The Vagabond King” in a first run. . . . A1 McClain, of the Dispatch editorial staff, has been substitut- ing for Samuel T. Wilson, theatre editor, who has been visiting Hollywood studios. . . . Northern, near North Side neighbor- hood house and one of the oldest theatres in Columbus, will be torn down to make way for the Goodale expressway. The theatre, formerly operated by the Miles theatres, has been dark for several years. It has been used as a warehouse by the Chakeres Land Company. Denver Jean Gerbase, first president of Chapter 10, Women of the Motion Picture Indus- try, organized here by her, has been named a vice-president of the international body at the Atlanta convention. She was given an emerald bracelet as a symbol of her office. . . . The A-Best drive-in, on the northwest edge of Denver, is closing ex- cept for showings on Saturdays, Sundays and holidays. The Saturday children’s matinee is being continued with the indoor theatre that seats 502 being utilized for this. It’s the only drive-in in the region that has such a setup. . . . Wanda King, box office report girl at Universal, is quit- ting to become a mother at just about Christmas time. . . . Wm. Sombar, United Artists salesman, vacationing. . . . Bailey Distributing Co. has acquired 20 Zane Grey westerns for the Denver and Salt Lake City areas. . . . Bruce Miller has sold the Vida, Spearfish, S. D., to the Mile High Co., which operates the Mile High drive-in, Lead, S. D. Des Moines The Elma theatre at Elma has been re- opened by the town’s commercial club. It will be operated by the former managers, Mr. and Mrs. Neal Mullineaux until other arrangements can be made. . . . The Lin- coln theatre in Des Moines has been sold by the Iowa United Theatre Co. to Bob Fridley and Bev Mahon. The new owners operate the Variety theatre near Drake University and plan extensive remodeling and redecorating of the Lincoln, during which period the house will be closed. . . . J. Louis Smith has been named manager of the Iowa theatre at Jefferson by Pioneer Theatre Corp. officials. Smith formerly was associated with the Orpheum in Du- buque; the Washington Opera House in Washington; the Orpheum in Fairfield and the Orpheum and Plumb theatres in Strea- tor, 111 More capital is needed to keep the Marcus theatre at Marcus in operation, according to members of the corporation operating the house. It was decided to at- tempt the sale of additional stock in the corporation to raise the necessary funds. . . . Mr. and Mrs. Roy Streit of Pocahontas have leased the Ritz theatre at Rolfe from William Obrecht. . . . The City Council at Lamon is considering an ordinance which would allow the showing of Sunday movies there. Three readings of the ordinance will be required — the first time in 35 years that such a procedure has been called for. . . . The Traer theatre at Traer has been pur- chased by the Hesperia Masonic lodge from Mr. and Mrs. Gene McLaughlin. The building will be used as a Masonic temple. Detroit After 30 years of all-night operation the Loop has adopted a 4 A.M. to 11:30 A.M. closing. Associated Theatres manager, Max Gealer blames business conditions. . . . The United Artists has added a Thursday matinee to the “Oklahoma!” schedule. Dropping the Saturday midnight showing holds the total to 14 a week. . . . Bill Green, Cinerama district ad man, has been in New Grace Hospital for an intestinal operation. His sister reports the operation took four hours and he is waiting another. . . . The Troy drive-in was broken into — with a loss of 80 cents. . . . Joanne Cussigh, United Artists, and Margie Zevchak, MGM, are on the bridal lists. . . . Daniel Bzovi was de- nied a writ of mandamus to force Livonia city officials to permit building of a drive- in at Middle Belt and Schoolcraft. Across the street location of the Detroit Race Track was given as the reason for refusal. . . . The Playhouse, Whitehall, was dropped to weekend operation by Jack Kane. . . . Anita Teschner suffered a heart attack but is recovering. Hartford Sperie Perakos, general manager, Pera- kos Theatre Associates, New Britain, Conn, has been appointed to the Yale University Alumni Board’s film committee. The group, responsible for production of alum- ni films, meets several times a year in New Haven and New York. . . . The Interstate Circuit of New England has adopted a special student price at the Bradley thea- tre, Putnam, Conn. Students are charged only 40 cents between 6 and 7 P.M., Mon- days through Fridays. ... A second Con- necticut outdoor theatre — the Lake drive- in, Waterbury — has adopted a $l-a-car night policy for more than one evening a week. . . . Bob Schwart is admitting cars for $1, regardless of number of passengers, on Friday, Saturday and Sunday nights. A similar policy — on a seven-night basis — re- cently went into effect at the Lockwood & Gordon Enterprises’ East Hartford Family drive-in, South Windsor. Many drive-in facilities in Connecticut heretofore have charged $l-a-car, but only on occasional evenings. . . . Joseph C. Miklos, of the Stanley Warner Embassy, New Britain, Conn., has been appointed retail division captain of the New Britain Community Chest Campaign. . . . Fred R. Greenway, Loew’s Palace, is serving as entertainment chairman of the Hartford Fire Prevention Week observance. Indianapolis Chief barker Bob Jones announced the Variety Club will have a series of five dancing lessons on alternate Monday nights beginning Oct. 8. A stag party is scheduled for every other Monday. . . . Hugh McLachlin, chairman of the Allied Theatre Owners of Indiana equipment committee, was attending the Society of Motion Picture and Television Engineers convention in Los Angeles this week. . . . Marc Wolf went to Denver last week for a meeting of the officers of Variety Inter- ational there. . . . Dale MacFarland, gen- eral manager of Greater Indianapolis, re- ports “Oklahoma!” has passed the half- way mark of its hoped-for 12 weeks’ run at the Lyric without slowing down. . . . Richard C. McKay will reopen the Palace at Fort Wayne Nov. 6 for a 12-week season of dramatic stock under the name of Con- wayne Productions. ... A night club party at the Variety Club Oct. 23 and the annual banquet Oct. 24 will be the main social events on the ATOI fall convention calen- dar. Jacksonville Glen Lambert, a pioneer motion picture producer and director, left here for Wash- ington, D. C., to begin the production of a series of short subjects for Federal agen- cies . . . Projectionist Bender A Cawthon revealed that his collection of projection equipment dating from the early 1900s may be turned over to a Hollywood his- torical museum ... As part of a national 20th-Fox advertising survey Don Yar- brough, company exploiteer from Atlanta, questioned patrons of the Florida theatre as to what influenced them to attend “The Best Things in Life Are Free.” . . . Bill Boardman, who operates the Playhouse and Roxy theatres in St. Petersburg, came in on a booking and buying trip. ... A group of Florida and Georgia managers of the Dixie Drive-In Theatres circuit were here to plan for a Harris Robinson drive, September 30-December 8, under the lead- ership of district director Horace Denning. . . . Jim Taylor has resigned from the 20th- Fox staff. . . . Norm Levinson, MGM pub- licist, left for his annual vacation to be spent in New York, New Haven and Hart- ford. Kansas City W. D. Fulton and Mrs. Fulton of the Electric and Avenue theatres in Kansas City, Kans. and the Lake Park drive-in are touring Europe. . . . Mrs. Beverly Miller, wife of Bev Miller, KMTA presi- dent, was injured when an electric golf car overturned. . . . William W. Lewis, a native Kansas Citian, has been in town promoting “Lust for Life.” ... At the Motion Picture Association’s stag party in Kansas City the top honors in the golf tournament went to A1 Carson and in gin rummy to Dr. Nathan Zoglin. . . . George Baker of Baker Enterprises was a guest on the Ted Mack Amateur Hour. ... A chapter of Women of the Motion Picture Industry was organized in Kansas City with Myrtle Cain, secretary at the MGM offices, as president; Billie Mistelle, sec- retary at Paramount, as vice-president in charge of programs and Gretchen Brown of Consolidated Agencies as vice-president (Continued on opposite page ) 26 MOTION PICTURE HERALD, OCTOBER 13, 1956 (Continued from opposite page ) in charge of membership. Luella Chaney of 20th-Fox is recording secretary; Betty Caruso of Dixie Enterprises, correspond- ing secretary and Grace Roberts, 20th- Fox, treasurer. . . . “War and Peace” was promoted through the distribution of book marks at the public library, radio and press releases and by beauty salons’ pro- motions of hairstyles featured in the film. . . . Lawrence H. Joray, projectionist and sound engineer in Kansas City, died. Los Angeles The Los Angeles Motion Picture Sales- men held a dinner meeting at the Rodger Young for the purpose of drafting final plans for their dinner dance at the Am- bassador Oct. 27. Meeting was presided over by Jules Neddleman, who is acting president for the unexpired term of Bill Wasserman. . . . The latest drive-in to be- come a part of the Harry L. Nace circuit is the new Sage drive-in, in Kingman, Ariz., with a 400-car capacity. . . . Earl Strebe, who operates theatres in Palm Springs and other resort towns, has an- nounced his plans to build a drive-in in Big Bear, where he is now operating a conventional theatre. ... A number of out-of-town exhibitors were huddling with salesmen of the various exchanges this week. Among them were Lloyd Katz, Nevada Theatres, Las Vegas; Charles Maestri, Lippert Theatres, San Francisco; Roy Lemmucchi, Bakersfield; and Ernest Martini, Arvin. . . . Jack Sherriff, Kranz- Levin salesman, was celebrating his birth- day with a family dinner party. . . . Judy Poynter, who heads Film Booking Service, was back from Manhattan, where he at- tended the TOA convention. ... At a meeting of officers and stewards of the Film Row Club held at the Variety Club rooms, Milt Frankel, vice-president, dis- cussed the plans being made for the club’s annual dance to be held at the Sunset Room of the Ambassador Hotel on Decem- ber 22. Memphis Jaxon drive-in, Jackson, Tenn., was sold by Douglass Pierce to Clark Shivley, who operates the Skylark drive-in at Clarksdale, Miss. Pierce and Shivley were in Memphis together on business when they announced the change in ownership. . . . Herold Jimerson, who formerly owned and operated theatres in Little Rock, has been named manager of the new 1000-seat Northgate theatre by Augustine Cianciolo, who operates the new theatre under a 20- year lease. . . . Variety Club’s 100-year-old barber chair, operated at the Mid-South Fair by the barbers union as part of Cen- tennial Village and gave haircuts for 25 cents, netted $104.58 for the club’s hos- pital for convalescent children, King (Red) Houston, Barbers Union president, reported. . . . Lois Evans, Memphis was elected a regional director of the WOMPI at its recent convention in Atlanta and Memphis was selected as the 1957 con- vention site. . . . Estate of Lloyd T. Bin- ford, chairman of the Memphis Board of Censors for 27 years, estimated at “less than $10,000,” was probated at Memphis. Bulk of the estate went to his widow. Binford died at 89 Aug. 27. . . . Leon Roundtree, owner of Holly at Holly Springs and Valley at Water Valley, Miss.; Lyle Richmond, Richmond, Senath, Mo.; Whyte Bedford, Bedford at Marion, Ala.; and Moses Sliman, Murr, Osceola, Ark., were in Memphis on business. Miami The New York office of Universal-In- ternational was minus Roy Dermack for a period while he and his recent bride honeymooned in our area. . . . Lillian C. Claughton of Claughton Theatres was re- cently appointed state affairs director of the women’s division of the local Chamber of Commerce. . . . Robert Green, person- nel director of TV station WTVJ, reported 75 per cent of the station’s employees and families turned out for a specially ar- ranged Salk polio vaccination session. . . . Wayne Rogers, manager of the Trail, has a new assistant, Eddie Conklin, who comes via the usher route from the Circle. . . . Sam Rowlands, manager of the Sheridan where “Oklahoma!” is in its 8th month, reports the guest book now has registra- tions from 45 states, D. of C. and 37 for- eign countries. Jules Brenner is the new assistant there. . . . The Normandy’s man- ager Nathan G. Horton announces A1 Roshki as his recently acquired aide. . . . Martin F. Davis of the Parkway reported $75 was burgled from the office safe. . . . Quite a change from the Florida clime was the Wisconsin holiday site of the A1 (FST’s southeast divisional supervisor) Weiss’ family. . . . Harry Gabriel, relief manager of the Wometco theatres, chose California for his vacation vistas. Milwaukee Mrs. John G. Buehner. president of the Better Films Council of Milwaukee Coun- ty, called the first meeting of the season to order when they met this week. A full, rounded and interesting program was an- nounced to the membership for the com- ing year. It also was announced that the Sherman, Downer, Ritz and Tosa theatres would again have sponsored PTA mat- inees on Saturday afternoons. . . . Guest speaker at the meeting was Mrs. Max M. Williams, president of the Federation of Motion Picture Councils, Inc. . . . Mrs. Raymond Sass, past president of the She- boygan Film Council, and now on the nominating committee of the Federation, was in town to attend the first meeting. . . . Announcements went out for the open- ing of Milwaukee’s newest prestige the- atre, the Times on 60th and Vliet, operated by Marcus Theatres Management Co. The theatre opened October 4 with “Bullfight.” Two performances are presented nightly. . . . L. F. Green, Gran Enterprises Co., Milwaukee, has sold his home in White- fish Bay to Mrs. Adele Miller, widow of brewer and civic leader, Frederick C. Mill- er. Mr. Gran is moving to Florida tempo- rarily but will build a home in the Mil- waukee area. Minneapolis The city of West St. Paul has passed the first motion picture censorship ordinance in Minnesota history. Only one theatre, the West Twins, is affected by the or- dinance. According to the measure, a police commission will receive titles of films to be shown seven days in advance plus information about the film. One mem- ber of the commission will view the film before it is shown at the theatre. The commission then will rule on whether or not the picture should be shown. . . . Alex Perkins is reopening his Lyric theatre at LeCenter, Minn., October 11. . . . Roland Yatckoske is the new booking clerk at Paramount, replacing Dorothy Higgins, resigned. . . . Corrine Goodman, former secretary at Universal, passed away here. . . . Don Dalrymple, booker at MGM, va- cationed in the Ozark mountains and in Tennessee and Virginia. . . . John H. Dibos, stepfather of LeRoy Miller, Universal branch manager, passed away in Minne- apolis. . . . Harvey Lindell, head shipper at MGM, vacationed in Florida. New Orleans The Hiway 90 drive-in, Pensacola, Fla. has passed into oblivion to make way for the new Paramount Plaza shopping center. The -theatre, the first of its kind in the area, was constructed in 1940 by Para- mount Richards Theatres, predecessors of the Paramount Gulf Theatres. During the last year it was owned and operated by N. Solomon Theatres, McComb, Miss. . . . The Arcade, Lake Charles, La. a unit of Southern Amusement Company, has been closed. . . . Mrs. Elizabeth Rogers who two months ago purchased the Rebel, Green- wood, Miss., from her former employers, Wm. Prewitt, Jr. and G. T. Davis, resumed operation recently after extensive remod- eling and renovations. Mrs. Rogers, who managed the Rebel and other Prewitt- Davis theatres for 16 years, resigned to give all her attention to the operation of her personally owned theatre interest. . . . C. A. Achee, Jr., NTS field representative, attended the company’s sales meeting in Memphis, Tenn., conducted by R. L. Bos- tick, vice-president and southern district manager. . . . Frank Olah, owner of the Star, Albany, La., and associate owner of the Skyvue drive-in, Chef Menteur High- way, is hospitalized at Touro Infirmary suffering with stomach disturbance. . . . Oklahoma City United Theatre Owners of Oklahoma held its regular monthly board meeting October 1, with 16 members attending. General discussions were held. The next meeting will be November 5. . . . The Cornado' theatre, recently purchased by the Barton Theatres, was formally opened October 4. Mrs. Ethel Coxie is manager of the Cornado. . . . Oklahoma City police still insist that the song “Oklahoma” is a noise when it blasts out of a marquee loudspeaker as an advertising gimmick. That was what they thought several weeks ago when they booked the State theatre’s manager Phil Keough for violating the city’s anti-noise ordinance. They apparent- ly thought so again last Monday when they booked Keough’s doorman Don Ray Zellner, when he wouldn’t turn off the loudspeaker outside the theatre. . . .“Re- prisal” now showing at the Center the- atre, will be shown at 136 theatres in Oklahoma and Texas during the month of October. . . . The Roxy theatre at Billings, Okla., was re-opened Sept. 29 after being closed during the summer months. The theatre will operate on Saturday, Sunday and Monday nights according to B. C. James, owner. (Continued on following page) MOTION PICTURE HERALD, OCTOBER 13, 1956 27 Philadelphia Atlantic Theatres, Inc., which operates an independent chain in the Southern New Jersey territory, has petitioned the Penn- sylvania Department of State to change its corporate name to the Constellation Corporation. While maintaining offices here, the principal address of the corpora- tion is in Jersey City, N. J. . . . Goldman theatre closed for an evening to allow for a private screening of “The Ten Com- mandments” before a selected group of civic and organizational leaders in the community. The picture is scheduled to open next month at Goldman’s Randolph. . . . Birk Binnard, advertising director for the Stanley Warner Theatres in the Phila- delphia zone, due back this week from a cruise to Havana and Honduras. . . . Tri- State Buying and Booking Service an- nounced it is handling the distribution of Ecko Kitchen Tool Set as a premium for theatres in the Pennsylvania and Washington, D.C., territories. . . . Local Variety Club, Tent No. 13, has scheduled Oct. 15 for the election of new officers for the coming year, also marking the open- ing of the club’s Heart Fund drive at a general membership dinner in the Belle- vue-Stratford Hotel. . . . Ralph W. Budd, personnel director at Warner Brothers Pictures, was in last week to address a meeting of the Philadelphia Motion Pic- ture Preview Group at the Gimbel Club- women’s Center. Pittsburgh “Friendly Persuasion” has been set to follow “War and Peace” in the Penn. . . . The Studio theatre, art house in nearby Bellevue, gets “Too Bad She’s Bad” first run, to be followed by “Magic Fire.” . . . Talk of Film Row is the huge business “Lust For Life” continues to gross in the Guild art house. . . . Karl Krug, Kap Mon- ahan, Harold Cohen and Leonard Mend- lowitz went to New York to catch the “Giant” premiere at the Roxy. . . . “Un- guarded Moment” follows “The Best Things In Life Are Free” at the Fulton. . . . The Nixon is advertising “Oklahoma!” “in its final weeks” with the house re- turning to legitimate stage shows Nov. 26. . . . RKO sent “Great Day In The Morning” and “The First Travelling Sales- lady” first run into a flock of neighbor- hood houses and drive-ins. . . . “La Strada” and “Private’s Progress” have been ac- quired by the Squirrel Hill. . . . Charlie Eagle, Stanley manager, and his wife, Swannie, celebrated their 38th wedding anniversary. . . . Harold McCartney, who was a publicity aide for the Stanley Warner Corp. before Uncle Sam claimed him, is back as a field auditor. Portland Portland Paramount theatre executive M. M. Mesher and Mrs. Mesher and United Theatres circuit boss A1 Forman and Mrs. Forman are back after a trip to New York for the TOA meet. . . . Evergreen’s Oregon district manager Oscar Nyberg and Fox theatre manager Dean Mathews are back after attending the National Theatres meeting in Phoenix, Ariz. Nyberg passed out Dickinson fruit syrup, a local product, to all the delegates. . . . Olympia, Wash., theatre managers got the five per cent city tax taken off as the result of their closure. . . . Oregonian drama editor Herb Larsen is back at his desk after a trip to Los Angeles for screening of “War and Peace.” . . . MGM director Patrick J. Ryan in town en route to Vancouver to direct a film. Providence The Route 44 drive-in was the scene of the first Rhode Island screening of “Miss Body Beautiful.” . . . John J. Mon- ahan, 75, ticket-office employee at the Newport theatre, died recently in New- port Hospital. . . . Alec Guinness, long a favorite in this area, was the star of “The Lady Killers” which had its local pre- miere in the Avon Cinema. . . . E. M. Loew’s Providence drive-in presented the Jim Mendes and his WICE Recording Show, on stage, as part of a continuing series of Sunday evening live entertain- ments, supplementing the usual film fare. . . . “The Bad Seed” held for a second week at the Majestic, where the manage- ment was forced to stop selling tickets on the first Saturday night until the standees made room for more standees. San Francisco Robert V. Deck of Fresno has purchased the California theatre at Kerman from Joseph H. Boyd. . . . John Coyne, MGM, is recuperating from a heart attack and is in the Peninsula Hospital in Burlin- game. . . . Bill Wheeler has retired after 35 years as a salesman with Warner Brothers. . . . U. A. publicist Howard New- man was a recent visitor on the Row. He was in town for “Attack!” currently at the United Artists theatre here. St Louis Nevin McCord, formerly of Wichita, Kan., has been appointed manager of the Missouri theatre at St. Joseph, Mo. In addition to his new duties at the Mis- souri, he will assist in special promotions of all Durwood Theatres in St. Joseph. He started in the show business as an usher at Boise, Idaho, and became asso- ciated with the Orpheum circuit Chicago in the late 1920s. . . . The Northgate theatre, the newest of Augustine Cianciolo and which has a seating capacity of 1,000, has opened for showings in the Northgate Shopping Center at Memphis, Tenn. Herod Jimerson is the manager. . . . The St. Louis Film Art Society of St. Louis has started its program for the current season and fourteen films will be shown. The program is sponsored by University Col- lege, adult education division of Washing- ton University. All showings will be in Brown Hall auditorium on the Washing- ton University campus. . . . Dudley Mar- chetti, manager of the Orpheum theatre at Topeka, Kan., for the last four years, has taken over the management of the Jayhawk theatre, Topeka. He succeeds E. W. (Bud) Beaman, manager since 1952, who has been appointed manager of the Fox theatre at Beatrice, Neb. Toronto The Empress, Montreal, a 1350-seat unit of Confederation Amusements Ltd., was reopened to play day-and-date bookings with four other houses, the Seville, Out- rement, Papineau and Strand. . . . The Pioneer of the Year Award of the Can- adian Picture Pioneers, will be presented for 1956 November 22 at the King Edward Hotel, Toronto. George Oullahan will again act as co-ordinator for the award dinner, Morris Stein, president, an- nounced. ... A Saturday amusement page has been introduced by the London Free Press with film columnist Dick Newman as editor. . . . J. Duane McKenzie, of the Orpheum, Estevan, was returned as pres- ident of the Saskatchewan Exhibitors’ Association at its annual meeting in Re- gina. Other officers elected included Jack Lundhome as vice-president, and Jack Heaps, as treasurer. . . . Opening this fall will be the Rycroft, in the Alberta town of the same name. The theatre with 250 seats is being built by I. L. and Mrs. Rogo- zenski, and will be the first in the com- munity. Also in work is a drive-in for Preeceville, Sask., the first in the area. Owners are Frank and Nick Dubelt, who expect to open the drive-in in 1957. Vancouver Shirley Thompson, Empire - Universal secretary, was married to J. Robinson. They will live in Victoria after the honey- moon. . . . Norma Clemente, former cashier, is working in a local bank. Molly Carveth, former concessions head, has joined a grocery chain here. Both were on the staff of the Odeon-Plaza. . . . “The King and I” finished its 9th and final week at the Strand. . . . Andy Rouse, Canadian sales manager for Confections, Ltd., was in from Toronto conferring with his B.C. manager, Frank Troy. Rouse was formerly with Odeon district office in Vancouver before going to Toronto. . . . Two ex- showmen, Sammy Nagler, former U.A. manager in Calgary, and Allan Gold, a former theatre owner in Calgary, now living here, have taken over one of Van- couver’s best cafes; the former Loves on theatre row next to the Cinema. They already operate the Oyster Bar across the street from their new cafe. . . . Rae Walda- grave, Orpheum cashier, is back from a Hollywood holiday. She reports that Wal- ly Hopp, former manager of the Cinema here, is at the Apollo theatre in Holly- wood. Washington Milton Eichler, Paramount, is in Wash- ington working on promotion for “Ten Commandments”. . . . Alfred H. Leake, 41, manager of the Virginia theatre, Alex- andria, died September 30. He had been an employee of the Alexandria Amuse- ment Co. for 28 years Orville Crouch, eastern division manager of Loew’s The- atres, and chief barker of the Variety Club of Washington, was vacationing in Florida. .... Joe DeMaio, formerly with Allied Artists, has joined the Columbia Pictures staff The Capitol Hill theater, will join the area “N” Commissioners’ Youth Council in a letter-writing contest on juvenile delinquency during the run of “Somebody Up There Likes Me” The Variety Club had a beautiful day for its annual golf tournament and dinner dance at the Woodmont Country Club on October 5. More than 65 golf prizes were contributed by individuals and companies. 28 MOTION PICTURE HERALD, OCTOBER 13, 1956 Six Nations Seen in Pool by DR. ARGEO SANTUCCI ROME : Six European countries are taking steps toward forming a film pool for their common market, the ANSA news agency has reported. Italy, France, Germany, Belgium, The Netherlands and Luxem- bourg are the nations making the proposal. The main purpose of the proposed pool, besides the circulation of individual films, would be to provide common capital and production facilities for co-production pictures between two or more countries, the news agency said. The subject was jointly discussed by the six countries in September, and an agreement is reported as having been sent to the governments for approval. A major problem that will have to be resolved by the pool members will be the equalization of customs and tariff regula- tions on film products and a unification of financial regulations for the import and export of foreign pictures. At present Italy has no financial re- strictions or quota limitations on her imports and on foreign pictures produced in Italy by the other five countries in the proposed pool. STATEMENT REQUIRED BY THE ACT OF AUGUST 24, 1912, AS AMENDED BY THE ACTS OF MARCH 3, 1933, AND JULY 2, 1946 (Title 39. United States Code, Section 233) SHOWING THE OWNERSHIP, MANAGEMENT, AND CIRCULA- TION OF Motion Picture Herald, published weekly at New York, N. Y., for Oct. 1, 1956. 1. The names and addresses of the publisher, editor, managing editor, and business managers are: Pub- lisher and Editor-in-Chief, Martin Quigley, 1270 Sixth Avenue, New York City; Editor, Martin Quigley, Jr., 1270 Sixth Avenue, New York City; Managing editor, Charles S. Aaronson, 1270 Sixth Avenue, New York City: Business manager, Theo. J. Sullivan, 1270 Sixth Avenue, New York City. 2. The owner is: (If owned by a corporation, its name and address must be stated and also immedi- ately thereunder the names and addresses of stock- holders owning or holding 1 percent or more of total amount of stock. If not owned by a corporation, the names and addresses of the individual owners must be given. If owned by a partnership or other unin- corporated firm, its name and address, as well as that of each individual member, must be given.) Quigley Publishing Company, Inc., 1270 Sixth Avenue, New York City; Martin J. Quigley, 1270 Sixth Avenue, New York City; Gertrude S. Quigley, 1270 Sixth Ave- nue, New York City; Martin Quigley, Jr., 1270 Sixth Avenue, New York City. 3. The known bondholders, mortgagees, and other security holders owning or holding 1 percent or more of total amount of bonds, mortgages, or other securi- ties are: (If there are none, so state.) None. 4. Paragraphs 2 and 3 include, in cases where the stockholder or security holder appears upon the books of the company as trustee or in any other fiduciary relation, the name of the person or corporation for whom such trustee is acting; also the statements in the two paragraphs show the affiant’s full knowledge and belief as to the circumstances and conditions under which stockholders and security holders who do not appear upon the books of the company as trustees, hold stock and securities iu a capacity other than that of a bone fide owner. 5. The average number of copies of each issue of this publication sold or distributed, through the mails or otherwise, to paid subscribers during the 12 months preceding the date shown above was: (This information is required from daily, weekly, semiweekly, and tri- weekly newspapers only.) 15,413. THEO J. SULLIVAN (Signature of business manager) Sworn to and subscribed before me this 19th day of September, 1956. [SEAL] ROSE W. HORNSTEIN, Notary. Public, State of New York, No. 03-1860100. Qualified in Bronx County. Cert, filed with New York Co. Clerk. My commission expires March 30, 1957. THE WINNERS CIRCLE Pictures which were reported as doing above average business in key theatres of the cities of the nation for the week ended October 6 were: Albany: Proud and the Beautiful (Kingsley). Atlanta: The Best Things in Life are Free (20th-Fox) ; Miami Expose (Col.); Tea and Sympathy (MGM) 3rd week. Boston: The Best Things in Life are Free (20th-Fox); Oklahoma! (Magna) 3rd week: Tea and Sympathy (MGM) ; War and Peace (Par.). Buffalo: The Best Things in Life are Free (20th-Fox) 2nd week; Oklahoma! (Magna) 8th week; Tea and Sympathy (MGM) 2nd week; Toward the Unknown (W.B.) 2nd week. Chicago: Crime in the Streets (A.A.) 2nd week; High Society (MGM) 6th week; Proud and the Beautiful (Kingsley) ; Tea and Sympathy (MGM) 3rd week; The Solid Gold Cadillac (Col.). Cleveland: House of Ricordi (Baker-Brill); Tea and Sympathy (MGM) 2nd week; Toward the Unknown (W.B.) ; War and Peace (Par.) 2nd week. Columbus: Tea and Sympathy (MGM). Denver: Attack! (U.A.); Proud and the Beautiful (Kingsley); Tea and Sympathy (MGM). Des Moines: The Best Things in Life are Free (20th-Fox). Detroit: High Society (MGM) 7th week; War and Peace (Par.). Hartford: The Best Things in Life are Free (20th-Fox) ; Beyond a Reasonable Doubt (RKO) 2nd week; The King and I (20th- Fox): Miami Expose (Col.) 2nd week: The She-Creature (Amer. Inti.); Two Years Before the Mast (Par.) (Reissue); Um- berto D (Harrison). Indianapolis: The Best Things in Life are Free (20th-Fox); Oklahoma! (Magna) 6th week. Jacksonville: The Best Things in Life are Free (20th-Fox); Congo Crossing (U-I); Toward the Unknown (W.B.); The Mave- rick Queen (Rep.). Kansas City: Tea and Sympathy (MGM) 2nd week; Lust for Life (MGM) 2nd week. Miami: Oklahoma! (Magna) 32nd week; Tea and Sympathy (MGM) 2nd week. Memphis: Girls in Prison (Amer. Inti.); Hot Rod Girl (Amer. Inti.); Tea and Sympathy (MGM). Milwaukee: Oklahoma! (Magna) 23rd week; Tea and Sympathy (MGM). Minneapolis: Tea and Sympathy (MGM). New Orleans: The Burning Hills (W.B.); Tea and Sympathy (MGM) 2nd week. Oklahoma City: The Best Things in Life are Free (20th-Fox) ; Oklahoma! (Magna) 7th week; Pillars of the Sky (U.A.); Re- prisal (Col.); Tea and Sympathy (MGM). Philadelphia: Attack (U.A.); The Bad Seed (W.B.) 5th week; Bus Stop (20th-Fox) ; Oklahoma! (Magna) 5th week; Tea and Sympathy (MGM); War and Peace (Par.) 2nd week. Pittsburgh: The Best Things in Life are Free (20th-Fox); Lust for Life (MGM) 3rd week; Madame Butterfly (IFE) 2nd week; Oklahoma! (Magna) 17th week; Tea and Sympathy (MGM) 2nd week; Toward the Unknown (W.B.). Providence: The Ladykillers (Cont.); Tea and Sympathy (MGM). San Francisco: Attack! (U.A.); The Bad Seed (W.B.) ; The Best Things in Life are Free (20th-Fox) ; The Last Wagon (20th- Fox); Port Afrique (Col.); Tea and Sym- pathy (MGM). Toronto: The King and I (20th-Fox) 10th week; Oklahoma! (Magna) 24th week; Tea and Sympathy (MGM); War and Peace (Par.). Vancouver: The King and I (20th-Fox) 9th week; The Proud and Profane (Par.). Washington: The Eddy Duchin Story (Col.) 11th week; Lust for Life (MGM) 2nd week; War and Peace (Par.). Italian Cardinal Praises Legion, Production Code ROME: Commemorating the 20th Anniver- sary of the Papal Encyclical, “Vigilanti Cura,” Italian Cardinal Giuseppe Siri, Archbishop of Genoa, emphasized as “very intelligent” the American moral safe- guards in line with this encyclical, promul- gated by the late Pope Pius XI. He men- tioned in this connection the Production Code, the Legion of Decency and other or- ganizations. The commemoration took place October 4 here as the closing cere- mony of the National Congress of the Catholic Motion Picture. Roxy Prices Hold For Run of "Giant" Admission prices for George Stevens’ production, “Giant,” which opened at the Roxy theatre Wednesday night, will not be raised above normal scales for the run there, according to Robert C. Rothafel, managing director of the theatre. This would put the top price at $2.50 for loges, Mr. Rothafel said. “Giant,” which Warner Bros, is releasing, will be presented on a continuous and non-reserved-seat basis, he added. Start New Magazine “The Catholic Preview of Entertain- ment,” a new magazine, is “designed as a guide for the Catholic family in the selec- tion of good, wholesome entertainment,” according to its publishers. With the co- operation of the Legion of Decency, the National Association for Better Radio and Television and other groups, a staff of se- lected professional reviewers evaluates films, radio and TV programs, books, records and magazines. The publisher is Stephen L. Saunders, owner of the Car- mel theatre, Carmel, N. Y. He previously published PreVue, a fan magazine. MOTION PICTURE HERALD, OCTOBER 13, 1956 29 CLASSIFIED ADVERTISING Fifteen cents per word, money-order or check with copy. Count initials, box number and address. Minimum insertion $ I -50. Four insertions for price of three. Contract rates on application. No border or cuts. Forms close Mondays. Publisher re- serves right to reject any copy. Film and trailer advertising not accepted. Classified advertising not subject to agency commission. Address copy and checks: MOTION PICTURE HERALD, Classified Dept., Rockefeller Center, New York (20) USED EQUIPMENT POSITIONS WANTED DRIVE-IN EQUIPMENT ARCLAMPS GALORE! ALL GOOD CONDITION. Peerless Magnarcs $395 pr.; Strong Mogul, Brenkert Enarc $350; Forest U.T., Ashcraft E, Ballantyne $300. Available on time. S. O. S. CINEMA SUPPLY CORP., 602 W. 52nd St. New York 19. EXCELLENT COATED PROJECTION LENSES — many brand new! Wollensak, “Sunray" Series I: 3", 3^", 3\", 6", 6 6”. 7%", $35 pr. Superlite Series III "C” coated 2%”, 3", 3%", $160 pr. Others available, tell us your needs. Trades taken. Wire or telephone order today. S. O. S. CINEMA SUPPLY CORP.. 602 W. 52nd St. New York 19. BALLANTYNE SOUND SYSTEM, LATE TYPE, reconditioned $775; 50/100 ampere generators, com- plete, reconditioned, $295; splicers $1.95; Very best buys on all types of equipment, including screens and lenses: What do you need? STAR CINEMA SUPPLY, 621 West 55th St., New York 19. STUDIO EQUIPMENT MAURER 16MM STUDIO CAMERAS, $6000 VAL- ue, $1995; Eyemo 36mm Newsreel Cameras, from $99.50; Mitchell 35mm Standard Tracking Camera, $995; Houston 16mm K-3 negative/positive/reversal Automatic Film Processors, unused, $5,450 value, $2595; Moviolas from $195; Hallen synchronous mag- netic 17%mm recorder, B22, $1960 value, $495 ; Neu- made RK-102 Film Racks hold 102-1000' reels, orig- inally $165, new $87.50; American Cinematographer's Handbooks, % price, $2.50. S. O. S. CINEMA SUP- PLY CORP., 602 W. 52nd St., New York 19. MANAGER OR CIRCUIT EXECUTIVE ASSIST- ant. Experienced, age 38, family man. Excellent civic and fraternal affiliations. Prefer South or Southwest, consider anywhere two weeks notice. BOX 2936, MO- TION PICTURE HERALD. MANAGER OR ASSISTANT, EX-SERVICEMAN, 10 years’ AFMPS, age 38, single, go anywhere. Avail- able at once. BOX 2938, MOTION PICTURE HER- ALD. NEW EQUIPMENT INTERMITTENT MOVEMENTS — NEW SUR- plus for Simplex $69.50; DeVry $69.50 ; Holmes $24.50. Automatic enclosed rewinds $69.60. S. O. S. CINEMA SUPPLY CORP., 602 W. 52nd St., New York 19. SEAT COVERS: SEWED COMBINATIONS, 95« up ; all colors. Send $1.50, old cover, will duplicate, best match. Vinyl leatherettes ; all colors ; 64 inches wide; $1.10 yd. up. Also precut 24x27; 2 dozen minimum order 44(t up. Complete line upholstery materials, mystic tapes, mohairs, corduroys, velvets ; low prices ; send for samples. MANKO FABRICS CO., INC., 156 W. 28th St., N Y. $17.95 COMPLETE 2-STATION 115-V INTER- com., delivered, worth $55; 4A/8.5V, WE Exciter Lamps Z55% from out-of-state. The Sunset man- agement views this as a good sign, tes- . , . the Sunset theatre at West Memphis, Ark., is building patronage cn its own merits. 0 tifying to the success of a policy of programming and service that has not been content to exploit merely the in- cidental advantage which promoted prosperity at the beginning. Recently the Sunset underwent a se- ries of improvements to insure its popu- larity. “Dyn-Arc” lamps were installed to go with RGA Century projectors. A new screen was constructed for a Cinema- Scope picture 105 feet wide. The play- ground at the base of the screen was expanded, with new equipment includ- 16 MOTION PICTURE HERALD, OCTOBER 13, 1956 What they’re saying about Ballantyne Dub't-Cones QUOTE: ing a fire engine ride and a rocket ship. Free admission is offered to all chil- dren under 12 years of age. Parents, or theatre attendants, escort the children to the playground, where two attendants are in consant supervision. TRAFFIC CONTROL With a heavily concentrated influx of vehicles arriving from Memphis in a relatively short time, traffic at the Sun- set presented a problem at first, such pile-up not having been anticipated in the original layout. Cars of course had to be moved off the highway as soon as they arrived. The problem was met by setting up a new traffic control sys- tem under the guidance of Harvey Car- ter, field supervisor. During the busy period, highway pa- trolmen are assigned to the theatre en- trance. Two theatre attendants work with the patrolmen, routing cars through the four entrance lanes served by two box offices. Once inside, each car is di- rected to a ramp by a “flagger,” after which two “parkers” direct the cars into proper viewing position along the ramp. When only one of the box offices is open, cars are parked beginning at the op- posite end of the open ramp. With both box offices in use, cars are parked begin- ning at the center of each ramp and the ramp being filled outwardly toward the ends. PLUG-IN TYPE SPEAKERS Plug-in speakers are employed at the Sunset drive-in. These are Epracl speak- ers and are issued at the box offices. Field supervisor Carter points out the following advantages to this method of procedure; speakers are not left out overnight and therefore escape damage from adverse weather conditions; they can be conveniently tested and serviced before distribution; and since departing patrons must turn them in, theft has been eliminated. Like other drive-ins in the tri-state area, the Sunset had the mosquito prob- lem to deal with. This has been largely solved through application of a Buffalo- Turbine duster-sprayer treatment of the field every night. I he large volume of out-of-state pa- tronage regularly enjoyed by the Sunset drive-in can be traced to early showings of such films as “The Blackboard Jungle,” banned by the Memphis censor- ship board, which was headed by Lloyd T. Binford. Although Mr. Binford no longer heads the Memphis censorship board, restrictions remain too severe for the tastes of many people, who continue to cross over the bridge to attend West Memphis theatres. “Finest speaker I ever heard.” “Why is this theatre’s sound so much bet- ter than other theatres’?” “i have tried other speakers but always come back to Ballantyne.” “The de luxe drive-ins in our circuit all have Ballantyne Dub’l Cone speakers.” “Even the two competitive drive-ins in my town have Ballantyne speakers, too.” “I have had Ballantyne speakers for seven years with a minimum of maintenance.” So it goes. Multiply these quotations by hundreds and you get the idea of how theatre owners and patrons feel about Bal- lantyne Dub’l-Cones. Have you tried one? That’s the acid test. And we think that after you have tested a group of them in your theatre, you will agree with the hundreds of drive-ins that use Ballantyne Dub’l- Cones exclusively. Resin Treated Diaphram ' Mounltd Speaker Hanger 6S , <■„ Ai, Spo(e Pressure Equalizing Spring With Neoprene Rubber Cushion Speoker Cone Seoled Agoinst the Weather Write for the information that can show you how Dub’l- Cones can give you highest quality sound economically. Omaha, Nebr. BETTER THEATRES SECTION 17 Have Changed ...HAVE YOU? Sure, you're still selling entertainment, but what else do you offer? Smart exhibitors have profited by letting us freshen-up their theatre seats . . . replacing all worn and broken parts. It costs so little and there's no inter- ruption of your show schedule. Call today for a free estmate. M ay we give you an estimate ? WRITE, WIRE or PHONE ALPINE 5-8459 MANUFACTURERS— Foam Rubber .V Spring Cushions, back ami seat covers. DISTRIBUTORS— Upholstery fabrics ami general seating supplies. theatre seat seruice to. 160 Hermitage Avenue Nashville, Tenn. FABULOUS NEW FILM CEMENT New York, N.Y. — It wos announced today that a revolutionary new type of film cement for all 16 and 35mm film has been developed by a leading laboratory. The ability of this cement to prevent splices from pulling apart and peeling far surpasses anything previously tested. A limited amount has been released for consumer use exclusively to FLORMAN & BABB Movie Equipment Distributor 68 West 45th St., New York, N. Y. Prices quoted for FOB cement: 1 oi. 40c, Vi pi., St. 50, pf., $2.50. Free sample of FOB #66 sent on request. II Ghosts of Yesteryear; or What Makes Charlie Run by . . . owner-manager of the Northwood theatre in Northwood, la. dog days have come and gone this year and I just got through them by the skin of my teeth. An exhib- itor don’t need Dog Days to drive him mad. If it isn’t the heat, the humidity or the mosquitos, it’s the terms, the poli- cies or the bats in the auditorium. I hey’ve all had me down at one time or another the past month. That’s why I took a whole weekend of! and went back “home” in Southern Iowa to my high school class’s 25th anniversary re- union. Going back to see a bunch of people you haven’t seen for 25 years isn’t all it’s cracked up to be. It’s unbelievable the way that cute little mite of a bru- nette, that we never had nerve enough to date, has spread all over the place. And it’s amazing how some of those guys could have lost so much hair in such a short time. We were a depression class and jumped out of school into the deepest economic pit this country had ever known. I had a moral victory that week- end. I had more hair than anyone in the class, had sired more children, and had had more fires. I was dragging my feet, though, when it came to the grand- children. Some of ’em had grandchildren older than my eldest girl. I wasn’t about to start digging my own grave back in those days of the ’30s with a family, a war coming on and all that. Oh, no, I was smart; I waited until times were good to dig mine. If things don’t im- prove this winter over last I may have the janitor push me in it, too! • While I was back home I went to visit the old theatre that first dampened my soles in this great big wonderful wacky business right after 1 got out of school. As I toured the old place I thought of a thousand things that made me attach myself to it. If you don’t mind a personal review of some highlights oi what is almost industrial ancient his- tory, we’ll go back to the early ’30s in the Broadway theatre in Audubon, la. Harry Pace, who recently retired at I Sumner, la, after 35 years of nightly standing in the foyer, owned the theatre in Audubon in those days. He fell heir to a run-down place with no business, and along with it went a small battalion of high school graduates all out of work. We used to have nightly bull sessions up in the office after the second show until it’s a wonder he had any home left to go to. His wife always beat him home by five hours and would sometimes lock him out in an effort to break him away from his juvenile delinquent friends. We delinquents learned to diagnose trade papers, investigate the yearly deals, criticize the pictures (there’s nothing smarter than an 18-year-old even today, you know), and sit in on the salesmen’s pitch much to their chagrin and some- times sorrow. • I suppose six or eight of us young blades screwed up more deals for sales- men back in those days than the most imaginative sales manager could dream up. Salesmen had to sell to a gang of at least six and sometimes ten. When you’re trying to sell “Barrets of Wimpole Street” or “Queen Christiana” or “Smil- in’ Through” to a bunch of teenagers who wanted to see Eddie Cantor, W. C. Fields and Jean Harlow, you were buck- ing a pretty tough iron curtain twenty years before it descended in Europe. A salesman had leeway in those days or he didn’t sell Audubon. • I remember the film companies used to put out fancy books telling of their coming year’s product. One of our gang who professed to love opera talked Harry into buying “One Night of Love,” starring Grace Moore. That was prob- ably the only picture Columbia got played off the whole year deal. Great show, at that. Remember it? Another production I remember was “Ivanhoe” —somebody listed it for about three years straight but never got it produced. Old Harry was never one to hob nob with the literati and kept asking, “What- inell’s ‘Ivanhoe’ about?” I still wonder, and I’ve both seen it and read it! MOTION PICTURE HERALD, OCTOBER 13, 1956 J f The office of that old theatre opened out on a canopy via a set of French windows. It’s since been encased in glass blocks, but when the weather was hot in the old days and the windows were all open, many’s the night I’ve seen the night marshal come up and tell the manager and the salesman, “Either stop screaming at each other in that kind of language or I’ll throw you both in jail.” Chances are he would then sit down, light up his stogie and listen in on the buying session. The salesman even had to argue against the law in that town. The old marshal would reminisce about Francis X. Bushman and Henry B. Walthall, the Little Colonel in “Birth of a Na- tion.” He was a great show fan, a great old guy, but a helluva poor marshal. He never arrested a single salesman. The old projection room, in which I ran my first picture, solo, looked just the same except where we used to have a turntable they had a wrack of stereo- phonic sound. We were greater in the eyes of the patrons with our disks than they are with their magnetism. • I’ll never forget that first picture. The projectionist called me just before Sun- day school. Said he was sick and that I’d have to take care of the show. Of course I said I couldn’t, but he said I was it. Mid I was. My heart was in my throat from 1:30 to midnight that day, but I never missed a changeover. “Roar- ing Twenties” with Jimmy Cagney, Frank McHugh and Priscilla Lane. I swear it’s the same story line Metro had last year in “Love Me or Leave Me.” I remember one epic we screened one night after the second show, called “Death on the Diamond.” We sat and hollered at the umpire, smoked in the theatre and hooted when the action left the playing field. I think Robert Young made it. What a pitcher! Beaned the would-be murderer from the pitcher’s mound. Incidentally, how about that for a title? You think they have bad titles now? They were no better 25 years ago. You’ve just forgotten them. Do any of you remember a picture called "Eskimo”? That was the name of a real “biggee” back in the early ’30s. I re- member we put on a colossal campaign with prepared newspaper heralds for it and ran it four big days. I was sold on it long before seeing it and worked hard to put it over. When playdate came, I had intestinal flu so bad I couldn’t eat and was bedfast the first three days. On the fourth night I strug- gled down to the theatre and got my head in the aisleheacl just as this big Mala— that was the name of the Eskimo hero (I’ve got a memory like an ele- phant)—was taking a big bite of dog. Seems he’d had to kill it to have some- thing to eat himself. Needless to say this did less than a whole barrel of the then non-existent penicillin would have done to cure my flu. After 1 came back from the restroom the impact of “Eskimo” was somewhat less than terrific on my dim and dizzy consciousness. • It was fun going back a quarter of a century with my old classmates, but I think it was more fun just spending a couple of hours in the old theatre, chas- ing the ghosts that started haunting me in those hopeless depression years and which still are chasing and beckoning me on today. I guess I’m just in love with the mo- tion picture business. BETTER THEATRES SECTION 19 BIG WELCOME FOR PATRONS (Continued from page 15) The doorman must also have at his finger tips all information relative to schedule times and coming attractions, as well as the methods of handline lost O and found articles for which people may call. He, as well as the cashier, should try at all times to know where the mana- ger and his assistant are in case they are needed for any reason. (The manager should be careful to make his presence known to them and advise them where he can be located when he moves about the theatre or goes outside, if he wants this system to be effective.) Sometimes people will ask to be al- lowed to go in and look for someone, or to use the restrooms. Courtesy dictates that they be allowed to do so provided this privilege is not abused. Likewise, patrons desiring to leave the theatre for a few minutes (to put a coin in the park- ing meter, etc.) need to have some means of identification for returning in case another doorman may be on duty. Usual ly a punched or marked ticket stub suf- fices, though your own theatre may use some other method. By all means follow the accepted poli cy, if it be in effect in your house, ol tearing tickets and returning a stub to each patron. By so doing you can never be accused of holding out and reselling tickets! Naturally this is a most serious offense for it is tantamount to stealing, as admission to the show is basically what the theatre has to sell. All of this adds up to a common-sense approach to the psychological problem of dealing with many different people. Remember, therefore, that courtesy pays off in very real dividends, and your per- sonal knowledge of the names and habits of your patrons will soon mark you for eventual promotion. Keep up the habit of smiling. No one comes to the theatre to be surrounded by gloom. People want 10 be entertained. And the first requisite is that they be made to feel as honored, welcome guests. FOR THE USHERS Neat appearance, shined shoes and well-pressed uniforms go a long way towards creating a good impression for the floor staff, but nothing will take the place of a smiling personality in making patrons feel at home. Move briskly, do not dawdle in walking up and down the aisles as this is disconcerting to those watching the picture. Keep your aisles clean, kicking popcorn boxes out of the way or picking them up and depositing them in a trash can. It's most important to report any de- fects in carpets, seats or lighting which comes to your attention. When there is a rip in the carpet, report it now to the management so corrective action may be taken before someone stumbles and falls down, with a lawsuit against the theatre as a possibility. Broken seats, likewise, should be reported before someone’s clothing is torn. Chewing gum should be removed immediately from seats, or the seat roped off so no one can sit in it until the gum has been removed. (Incidentally, some of the new gum re- mover which theatres now are using must he used very cautiously on patron’s cloth- ing as the new synthetic fabrics may not take it. Test a small piece first where it will not show; you may find that the fabric dissolves under the gum remover!) Dead aisle lights present a hazard of sorts and should be mentioned so that the electrician can change the lamp first thing in the morning. Since the ushers do not have a schedule to refer to, they must memorize show times for each change of pictures so that they, too, have this information at hand when a patron requests it. Nowadays, a primary problem facing ushers seems to be that of “policing” the aisles, to keep down noise, slow down the heavy necking parties, and make the teenagers (and some adults) keep their feet off the seats. Most patrons will re- spond to polite suggestions that these things be done. If they do not on the second warning, then the matter should be brought to the attention of the Chief Usher. If he cannot deal with the unruly patron, the manager should be promptly notified. One of the most serious police prob- lems in a theatre involves men who mo- lest young children, girls and women, even other men. Proving such charges is often very difficult, unless the patron who has been molested is willing to press charges, and all too often they withdraw their charges later rather than appear in court. The situation should be reported to the management immediately so that lie either can call the police or can deal with the matter personally. What the usher should look for is men who change their seats time after time, moving close to children, girls, or women. The homosexual usually tries to make an approach in the restrooms or lobby, where it can be covered up as casual con- versation. This is not something for the usher to deal with; it should be reported promptly to the management for action. In those cases in which patrons register complaints of any nature with the ushers, they should he conducted to the mana- ger, if possible, so that he may receive the complaint direct and take whatever ac- tion may be indicated to retain the pa- tron’s goodwill. If the patron will not go to the manager under your gentle prod- ding, then the complaint itself should be transmitted by you to the manager as soon as possible. Remember always to render service with a smile! And that the customer is al- ways right. . . . Well, almost always. FOR SNACKBAR ATTENDANTS Yours is essentially a business within a business. To you also falls the respon- sibility of rendering fast, courteous service to theatre patrons. Should you, 01 anyone else in the chain of contacts with patrons as they enter the theatre, antago- nize one of them, either deliberately or inadvertently, that person’s entire opin- ion of the theatre might be changed and his or her anticipation of a good show could be changed to irritation and fault- finding with everything the theatre has to offer. And that is the sort of thing which encourages people to stay home and watch free television! Refreshment sales should be handled quickly and in the order in which the patrons approach, when that is possible. In the crush of a “break,” that is difficult to determine, and it is then you must “charm” your way out of situations where you are accused of selling out of turn. Never sell stale or questionable mer- chandise. If such a question exists, let the manager determine the course of action. Likewise, turn over to him any G complaints. One of the regrettable charges made against the young ladies who handle re- freshment sales is that they are sometimes inclined to become temperamental, talk- ing back to patrons in an irritable man- ner. The best sales girls are able to con- trol their tempers, even under severe provocation, and you should strive to put yourself above argument and hide any irritation which you may feel. If you cannot “smile your way” out of an un- pleasant situation, refer it to the manager and let him deal with the complainant. Girls at the refreshment stand should also have theatre schedules handy for ref- erence. adequate change on hand so that no one has to wait for it, and always be neatly uniformed, with clean hands. In this issue we have taken up the problem of service as seen from front house operation. Next month we will go behind the scenes and observe how equal responsibility for good service rests on those who do not come in such close con- tact with the public. 20 MOTION PICTURE HERALD, OCTOBER 13, 1956 about Products . . ★ news and views of the market and its sources of supply TO PROCURE FURTHER INFORMATION about products described editorially, postcards of the Theatre Supply Mart insert (pages 27-281 may be employed. Convenient reference numbers are given in the insert (page 281. Theatre Chair with Adjustable Standards a new auditorium chair with adjustable standards, cataloged as the “Diplomat,” has been brought out by the Gaumont-Kalee Division of Rank Precision Industries, London, England. The standards of the new chair may be adjusted to any slope of floor, according to the manufacturer. Height and width of the seat are also variable, the latter ranging from 19I/2 to 20]/2 inches. From back to front, the chair measures between 1 7 1/^ and igi/2 inches, adjusted to tilt. Construction of the “Diplomat” in- cludes an extra-long steel back panel, a steel seat pan, and aisle panels for aisle seats, all finished in beige, gray or ma- roon. The standards are cast iron with open panel design and come in beige, maroon, gray, silver or gold finish. A dual choice of cushions is offered— Dunlopillo foam rubber, or a 1 fi-coil spring unit. Two selections of back units are also offered— upholstered Dunlop foam rub- ber 34-inch thick, or upholstered washed wool flock. Similarly, there are two types of armpads— upholstered moulded latex foam rubber on hardwood base, or se- lected finished hardwood, both ioi/2" long. A wide range of covering materials are available for the “Diplomat,” and up- holstery units are said to be interchange- able to equalize wearing. Replacement of parts is accomplished by ordering part numbers. An optional feature is interior counterweights that tip the seat auto- maticallv. Two New Basin Type Liquid Soap Dispensers TWO REDESIGNED basin type soap dispensers for liquid soap— the Bobrick-829 and 829-MG models— have been announced by Bobrick Dis- pensers, Inc., New York and Los Angeles. A new feature, according to the manu- facturer, is an extension adapter de- signed for on-the-spot attachment to the standard dispenser. This long shank is said to solve the problem of poor clear- ance under the basin. The new models retain the force- pump principle of operation actuating the precision valve. Refilling may be ac- complished either from the top or by unscrewing the globe under the basin. Ehe Bobrick-829 is available with a 14- ounce glass globe, while the 829-MG model comes with an 18-ounce copper and nickel-plated metal globe. Electronic Film Splicer For All Types of Film a item splicer that op- erates electronically has been marketed by the Neumade Products Corporation, New York. Listed as the Neumade Shep- ard film splicer, it is designed to handle all types and sizes of film stock now in general use, including 35-mm, 16-mm, 8-mm, with magnetic or optical sound, of acetate or Cronar stock, with either GinemaScope or standard perforations. In less than a second’s time, it is said, intense high-frequency energy is applied to the overlapped area of two strips of film causing the film to be fused by in- ternally generated heat. The original molecular orientation of the film remains substantially unchanged, it is pointed out, while the strength and durability of the film are also retained. Splices are measured three-hundredths of an inch. No cement or solution of any kind is used. Stubs Joined to Make Carbon for Full Reel joining stub to pro- duce a carbon long enough for a single reel has been reported by Nels Matheson, inventor of the Eureka carbon saver re- cently put on the market by Economiser Enterprises, Los Angeles. The recon- structed carbon, the report states, burned continuously in the lamp “without impairment of light beyond the toler- able limit as burning progressed from one section to the next.” As for the possibility of continuous BETTER THEATRES SECTION 21 NEEDED! — Top Presentation at Inviting Theatres . . . this was the theme of the speech by J. F. O'BRIEN which keynoted the Forum of the TOA-Tesma-Teda-PCA convention and trade show in New York last month. Below is the major portion of that address. Mr. O'Brien is manager of the theatre and industrial marketing division of RCA. 1 HERE HAS BEEN an upswing in box office receipts. The figures show that the motion picture industry in recent years has been recapturing a more healthy share of the entertainment dollar. Various factors are involved in this return to improved business. Motion pictures look, sound, and are better than ever. More and more people are re-discovering the en- joyment of out-of-home entertainment. Family groups, in increasing numbers, are responding to the economy and informality of drive-in movie entertainment. And im- portant above all, the entertainment-conscious public is becoming more and more aware that the talent, experience, know-how and facilities of the broad motion picture in- dustry produce a particular form of entertainment which is available only in the indoor or drive-in theatre. Of course, when we speak of increased box office receipts, we refer to the national average. The individual exhibitor, understandably, is considerably less interested in national averages than he is in the volume of people purchasing tickets at his box office. The importance of national figures to the individual exhibitor lies in the picture they paint of business potential. It remains for the individual exhibitor to do what is neces- sary in his neighborhood and with his particular theatre to assure that he is capturing his share of the national mo- tion picture volume. Unfortunately, there are too many exhibitors who expect the picture to do all the work in attracting patrons. They read in trade journals that such and such a picture has broken records, or is doing high volume business in this city and that. Encouraged by these reports, they book the picture and sit back, waiting for capacity crowds. If they don’t attract high volume business with the picture, as other exhibitors have done, they will very likely claim that trade reports were out of line, that business was milked dry before the picture became available to them, or that it wasn’t the type of picture for their audiences. There is the possibility, of course, that any one, or com- bination, of these factors might apply in some degree for a given picture at a given theatre. However, when an ex- hibitor fails to do good business consistently with pictures that have established audience appeal, he must look to other causes. One prime factor may be that the theatre is not as attractive as the picture. Today, as a result of recent technical advances, exhibitors can offer patrons motion pictures which look, sound and are better than ever. New scope has been added to the width and depth of motion pictures. Stereophonic sound has added new dimensions to the audio enjoyment of pictures. In recent years, too, there has been a parade of advances in theatre furnishings designed to make the given theatre a more comfortable, attractive and relaxing place in which to enjoy these technical advances. 1 he difference between good business and fair may very well be correlated to the exhibitor’s use of advances in both the technical and furnishing categories. Most exhibitors, of course, recognize the importance of equipping their theatres with the latest in screen, sound and projection improvements. However, it is the showmen who appreciate that the latest and best in theatre furnish- ings represent sales promotional tools which are as im- portant as wide-screen and other technical advances in at- tracting patrons to a given theatre. All of us believe in spending money where it will do us the most good. However, the trick is to view the situa- tion objectively, to avoid the fallacy of false economy. For example, it is an easy matter for an exhibitor to convince himself that he can get one more year out of his worn car- pets or patched seats. Sure he can. However, it takes an exhibitor with business understanding to recognize that a delay in needed refurnishing will undoubtedly mean an even lower business volume and a much longer period for liquidating his investment when he finally gets around to installing new carpets and chairs. Today patrons will not tolerate inconvenience and lack of comfort in any entertainment medium. They don’t have to. There are too many places in which to spend the enter- tainment dollar. The alert exhibitor realizes that it be- hooves him and all exhibitors to re-encourage the movie habit by offering patrons good pictures in bright, modern, comfortable surroundings. To do that, the exhibitor must be alert to latest developments in technical equipment and furnishing which make his theatre inviting to the public. carbon burning, Mr. Matheson said that this “awaits further research and devel- opment to bring it within the cost lim- its and booth conditions under which it must perform without special atten- tion and concern of the theatre projec- tion stalF’ The Eureka “carbon extender,” as it is called, consists in a metal shaft of the same diameter as the carbon, into the end of which is drilled a hole s^-inch deep into which fits an expandable stem. The latter fits into the shaft, loosely to dissipate heat, it is pointed out, and also to make the shaft and carbon self-align- ing in the course of travel. EXHIBITS HIGH-FIDELITY UNITS A complete line of high-fidelity equip- ment was presented by the Altec-Lans- ing Corporation at the recent High- Fidelity Show in New York. The line includes the got record reproducer, the 700B Melodist speaker system, the 306 \M-FM and the 305 AM tuner, as well as a series of high-fidelity speakers, con- sisting of the 824A Iconic, the 826A Iconic, the 820C corner enclosure speak- er system, and the A-y, which is a small- er version of the Altec-Lansing Yoicc- ol-tlie- Theatre system widely used in small theatres. 22 MOTION PICTURE HERALD, OCTOBER 13, 1956 Splicer for 8mm to 70mm Film Using Mylar Tape A NEW MODEL film splic- cr, non-magnetic and designed to accom- modate any film si/e from 8mm to 70mm, and using Mylar splicing tape instead of cement, has been announced by the Ace Electric Manufacturing Company, New York. It is now in production and will be available for national distribution in Oc- tober. The new model has a redesigned rigid base and a non-warping Lucite pressure plate to permit unobstructed visibility during the splicing operation. Film edge guides and blade slots are milled to close tolerances to achieve the greatest possible degree of accuracy, the announcement points out, while cutting blades are heat-treated stainless steel. A piano hinge runs the full length of the splicer for accurate alignment. Blade car- riers, set into the pressure plate, are free- running and return to safe rest position automatically when the plate is raised. Pins conform to SMPTE standards for film cutting— straight cut or diagonal, with perforation dimensions for standard and CinemaScope film. The new model has a thumbscrew ar- rangement in the base which, when turned, recedes the pins (one line or all) into the base, out of the way to facilitate operation regardless of the type or size of film. On both sides of the working plate are hinged arms which come down when the cover is dropped, remaining in down position when the cover is raised. This holds the film down so that work is unin- terrupted until the editing and splicing processes are completed. Cleaning Agent Adaptable To Many Theatre Surfaces “randu,” an all-purpose concentrated cleaning compound, has been introduced by the Kusiel Chemi- cal Company, New York. Said to be es- pecially effective for difficult cleaning jobs, the new cleaner may be used on linoleum, wood, leather, asphalt and vinyl tile, upholstering, carpeting, paint- ed surfaces, and any other materials not harmed by water. The compound contains no lye or abrasives and requires no rinsing; in You can't make the pic better ... but you can make it click better How? Squeeze more of the entertainment value — for more of your patrons — out of every product you show. Give the side- seat patrons a break — don’t let your “half-there” screen rob them of half the emotion. Fill more seats. Find out fast about the LENTICULAR tar SCREEN ’the screen of optical precision” See your theatre supply dealer; write today for factual booklet, containing sample swatch L. E. CARPENTER & COMPANY VICRA-LITE SCREEN DIVISION • Empire State Building, NewYork 1, N.Y. Your carpets may be the thickest . . . Your soft drinks may be king-size . . . BUT EVERY PERFORMANCE STILL MUST BE PERFECT! Perfect performances depend so much on the quality of service your equipment receives. Giving the best service is the day-by-day job of every expert RCA Theatre Service Engineer. And he alone has behind him all RCA’s tremendous technical resources. RCA SERVICE COMPANY, INC. A Radio Corporation of America Subsidiary Camden, N. J. BETTER THEATRES SECTION 23 Insist on EPRAD IN-THE-CAR SPEAKERS for • Tops in Sound • Lowest Maintenance Cost! • Trouble-Free Service! "UNIVERSAL" Recognized as the best sounding, most attractive and most trouble-fiee speaker at any price. Die-cast aluminum case. 1207 CHERRY ST. TOLEDO 4, OHIO "The Voice of the Drive In' ROBIN COMPLETE PROJECTION BOOTH EQUIPMENT Amplifiers Sound Systems Rectifiers Motor Generators Ballast Rheostats “ROBIN -ARC” SELENIUM RECTIFIERS FOR IN-DOOR OF DRIVE-IN THEATRES are dependable, assure un- limited performance and maintenance is negligible. They are economical to op- erate and amortization is realized within three years. WRITE FOR DATA J. E. ROBIN, INC. 267 RHODE ISLANO AVE. EAST ORANGE. N. j. ► A COMPLETE LINE OF STAGE EQUIPMENT- MANUFACTURED TO GIVE A LIFE-TIME OF SERVICE • Steel Tracks • Counter Weight • Curtain Machines Systems • Stage Rigging • Asbestos Curtains • Orchestra Lifts • Stage Lighting • Turn-Tables • Stage Curtains • Cycleramas • Stage Settings Free Consulting Service Write For Data SillSltokeiMj INDUSTRIES. INC , HARTSELIE, ALA. addition, it is anti-slip and functions as a disinfectant and water softener, re- ports the manufacturer. “Randu” conies in standard 1 -gallon and 5-gallon cans as well as 30- and 55-gallon drums. It is available either odorless, or scented with pine, mint, lilac or sassafras. Free sam- ples may be obtained. Silicon Stack Rectifiers To 180-Amp. Capacity current rectifiers with silicon stacks have been placed on the market by Doc Faige & Associates, New York. Announcement of this type of eejuipment for conversion of a. c. to d. c. to supply projection arcs states that it is available in capacities up to 180 amperes. It is pointed out that the silicon stacks are relatively small and can be operated at such high temperatures that blowers or fans are not necessary. Efficiency is rated at 15-20$ greater than that of other types of conversion, allowing, it is said, a saving in current drawn from the a. c. line. File stacks are hermetically sealed, which is cited as protection from dust and moisture, while ability to operate at relatively high ambient temperatures permits small ventilation openings, min- imizing collection of dust in the unit. Field tests, it is stated, have indicated long life expectancy of the silicon stacks. 11011-toxic, in addition to being non- flammable. It was pointed out further that the compound will not soften mag- netic striping or cause warping of the film base. Cut-Proof Seat Bottom Of Woven Steel Alloy A SEAT BOTTOM of WOVen steel alloy, developed especially for re- placement of theatre chair seat bottoms where they are subject to mischievous cutting and similar damage, has been added to the line of National Theatre Supply. Called the “Texteel No-Cut” seat bottom, it has the appearance of finely woven cane-bottom chair seat. An in- cidental advantage cited is coolness in hot weather and in climates consistently warm and humid. Two Admission Control Systems Added by NTS two new systems for ad- mission control have been marketed by National Theatre Supply, one for drive- ins, one for indoor theatres. The drive-in system, developed for National by the General Register Corporation, provides for mechanical registration, with counter- checking features to give a complete record of admissions without possibility of tampering and collusion. The indoor theatre method called a “2x1” ticketing system, consists in a two- part perforated ticket with each ticket number in sequence for checking against registration of cash receipts. The tickets have holes punched in them so that they slip on to a rod and remain in sequence. MAGNETIC FILM CLEANER Freon- 1 13 (trichlorotrifluoroethane), originally developed as a refrigerant, has been found to lie a safe and efficient cleaner of magnetic sound film, accord- ing 10 the I)u Font Company. Chemists al the Du Pont laboratories have de- clared that the compound is relatively THIRD ALTEC-LANSING PLANT Ground-breaking ceremonies mark start of construction of a new Altec-Lansing sound equipment factory at Anaheim, Calif. From left to right, the happy spad- ers are A. A. Ward and A. K. Davis, Altec executives; G. L. Carrington, pres- ident of Altec Companies, Inc.; Richard Cay, industrial chairman of the Ana- heim Chamber of Commerce; Keith Murdock, Anaheim City administrator; and George Strachan, Chamber of Com- merce manager. Augmenting Altec-Lans- 24 MOTION PICTURE HERALD, OCTOBER 13, 1956 ing’s plants in Beverly Hills and Los Angeles, the third one at Anaheim will cover 1 5 acres. Carbon Saver Devised For Rotating Carbons A carbon saver that can be used with 9, 10, 11 and 13.6-mm posi- tive carbons has been introduced by Doc Faige &: Associates, New York. Man- ufactured by Howard Neilson, the new device is adaptable to both Ashcraft and Strong rotating carbon lamps. “Use-a-Stub,” as the carbon saver is called, is factory adjusted for normal carbon diameter; however, for abnor- mally thick or thin carbons, the device is adjustable by a quarter-turn of a screw. “Use-a-Stub” rotates with the car- bon stub until the holder reaches the jaws, after which a recessed stud con- tinues to feed the stub forward inside the silver jaws for another three-quarters of an inch. SCREEN TYPES WITHDRAWN Poblocki and Sons, Milwaukee, has an- nounced cessation of its efforts to develop a practicable drive-in screen of anodized extruded aluminum, which was an- nounced for the market under the name “Permalum.” The company found that the material employed “will not survive the usual elements.” Another Poblocki drive-in screen, made of white vitreous procelain enamel on steel and called the “Permascreen,” also has been withdrawn. • CASUAL COMFORT FOR "ART FILM" PATRONS (1 Continued from page 13) through new natural-wood flush doors. New RCA sound and RCA projection apparatus has been installed. An interesting aspect of the operating policy of the Coronet is non-admittance of children under 17 unless accom- panied by their parents, in which case they are admitted free. The career of the Coronet goes back 30 years. Named the Hollywood thea- tre, it was owned by the Nathan Trust Company and leased to Standard Thea- tres. Ben Marcus was the next owner, followed by Barney Sherman, the pres- ent owner, who has leased it to Edward Shulman of Cleveland and Louis Sher of Columbus, Ohio. tyon Need Mosie Jlujht pxr Wide-Screen and Qinemadoane ARC LAMPS GALORE! ALL IN GOOD CONDITION Peerless Magnarcs $395 PR. Strong Mogul, Brenkert Enarc, Ashcraft "E” 350 PR. Forest U.T., Ashcraft "D", Ballantyne 300 PR. Can be rebuilt to look and operate like new for $ 200 per pr. CINEMATIC IV Only $375 PAIR Adjustable Prismatic Anamorphic Lenses with Permanent mounting brackets for all projectors. BEST VALUES in Metallic Seamless Screens, Aperture Plates and Everything for CinemaScope S.O.S. CINEMA SUPPLY CORP. GAUMONT-KALEE ' projection and sound equipment Competitively priced equipment that never falls below the highest standards of presentation. Rank Precision Industries Ltd. provide E VERYTHING for cinemas, film laboratories and studios. Rank Precision Industr es Ltd. Gaum nt-Ka ee Division. J7-41 Wlor imer Street, London, W.1 England Cables: "RANK A LEE LONDON ” Distributed in Cunudu by: Dominion Sound Equipments Ltd. 4040 St. Catherine Street West, Montreal 6, Quebec. Europe's leading manufacturers and exporters of cinema eauipmen' FOR THEATRES OUTSIDE U. S. A. AND CANADA— FOR STUDIOS EVERYWHERE— No Matter What You Need...Westrex Has It! Westrex maintains a complete supply and service organization to meet the needs of studios throughout the world and of theatres outside the United States and Canada. Look to Westrex. Westrex Corporation HI EIGHTH AVENUE, NEW YORK 11, N. Y. HOLLYWOOD DIVISION: 6601 ROMAINE STREET, HOLLYWOOD 38, CAL. Research, Distribution and Service for the Motion Picture Industry The F & Y Building Service is the outstanding agency in Theatre Design and Construction in Ohio and surrounding territory. THE F & Y BUILDING SERVICE 319 East Town Street Columbus 15, Ohio "The Buildings We Build Build Our Business ” BETTER THEATRES SECTION 25 //I I// USE -a -STUB' 9-10-11-13.6 mm ROTATING CARBONS' SAVER RKO CIRCUIT USES STUBS DOWN TO 1 ’ 2”! DOC FAIGE &. ASSCTS. 630—9 Ave.. N.Y. 36. N.Y. Please send “USE-a-STU BS" at $10. each. Enclosed is check ( ) money order ( ) for $ My arcs use mm pos. MFR .Ashcraft ( ) Strong ( ) MANKO Custom-Made Sewed Covers for Theatre Seats Only . . . .95^ For the above price, we manufacture to your order a cover made of durable leatherette and sides of con- trasting or matching leather- ette. At slightly higher prices, corduroy and mohair com- binations are also available. Mail your old cover to us with check for $1.50 to cover handling and mailing costs, and we will send a new custom-made cover in the closest match available from our large stock. We guarantee to nt all standard makes of chairs. SPECIAL: Pre-cut 24".\27" seat squares — 14£ and up. We can furnish complete line of leatherettes, muhairs. corduroys, velvets, nylon fabrics and other top-quality materials for both seats and backs. All fabrics sold by the yard if required. Samples, Quotations, Price List Sent on Request MWKO FABRICS CO., INC. Seating Division. 156 W. 28th St., New York I, N. Y. STAR'S SENSATIONAL VALUES in MOTION PICTURE EQUIPMENT Quality At Its Best . . . At Tremendous Savings A complete line of rebuilt and guar- anteed Simplex, Century, Brenkert and Motiograph projectors, R.C.A. sound systems, arc lomps, rectifiers, screens, accessories and other type picture equipment. Write Us today for your particular need. Star CINEMA SUPPLY co! 621 W. 55th St. • N ew York 19, N. Y. | IT'S TIME TO FACE UP TO THE PRICE OF PROGRESS (Continued from pugc 11) VistaYision process has shown increase in quality, and CinemaScope 55 has pro- duced wonderful results; MGM’s pro- posed 65mm print-down release and a recent announcement of a new Techni- color print-down process all point to the possibility of future acceptance of this technique 011 the part of the pro- ducers. We have seen the improvements in large picture quality brought about by using the larger picture frame area of CinemaScope as compared to the smaller area of the so-called “standard” frame. Certainly this must be an indication, a promise, that larger frame areas on larger positive prints would produce even su- perior results. This, indeed, is proved by the wide-film projection of Cinerama, Todd A-O, horizontal VistaVision and MGM’s 65mm tests. TWO KINDS OF PRINTS? It should not be unreasonable to vis- ualize a future when there will be a choice of two standard releases: one on wide positive film for presentation of top productions at relatively high ad- mission prices; and one on 35mm film for less expensive pictures or for subse- quent-run theatres. But in either case, these releases would use the best form of anamorphic compression and expansion in order to cover the greatest range of field, and would have multi-track mag- netic recording. The theatres exhibiting these films would have the best of projection equip- ment, which would meet specifications laid down by industry technical organi- zations. The first-run theatres using the wide film would be equipped with dual purpose projectors and associated appa- ratus capable of operating with both sizes of positive film and of giving per- formances that could not be copied in any other medium. .'11 of these progressive improvements can he achieved only if exhibition is preponderantly unified in a genuine de- sire for such progress. We have reached a point where we must decide whether we shall plan and work for the long-range well-being of the theatre business and ali its members, or for the temporary gain of a few individuals. It should be quite evident that the motion picture exhibitor must demand from the producers, not discourage, the improvements and changes which will keep him in business for the years to come. New . . . Revised . • . . . . extensively revised to deal with the latest technical developments in motion picture projection and sound, and reorganized to facili- tate study and reference, the Blue- book with this edition includes a practical discussion of Television especially prepared for the instruc- tion of theatre projectionists, and of new techniques for advancement of the art of the motion picture. $7.25 postpaid QUIGLEY PUBLICATIONS 1270 SIXTH AVENUE, NEW YORK 20. N. Y. ADLER ■ NEW 'SNAP-LOK' ■ plast/c letters Snap on and off frames easily; spring ’•SlU clip keePs its gripping power after being used 20,000 times. Tests show these 9H 4”-6"-8” letters stay on frames even in a 60-mile wind. WRITE FOR FREE CATALOG ADLER SILHOUETTE LETTER CO. I 1 843 - B W. Olympic Blvd., Los Angeles 64 8th Edition of Bluebook of Projection THE STANDARD TEXTBOOK on motion picture projection and sound reproduction 26 MOTION PICTURE HERALD, OCTOBER 13, 1956 THEATRE SUPPLY J r MART WITH BUSINESS REPLY POSTCARDS FOR CONVENIENT INQUIRY • INDEX OF PRODUCTS ADVERTISED IN THIS ISSUE: refer to Advertisers Index for postcard reference numbers. • INDEX OF PRODUCTS DESCRIBED EDITORIALLY in this issue (following page) with postcard reference numbers. • KINDS OF EQUIPMENT AND SUPPLIES listed and numbered on following page for further use of inquiry postcard. ADVERTISERS NOTE: See italic type under advertiser's name for proper reference number where more than one kind of product is advertised. Reference Adv. Number Page 1 — Adler Silhouette Ladder Co 26 Changeable letter signs: Front-light- ed panels for drive-ins (1 A), back- lighted panels I1BI, and changeable letters I1CI.AII dealers. 2 — American Seating Co 5 Auditorium chairs. NTS. 3 — Ashcraft Mfg. Co.. C. S 15 Projection arc lamps. Unaffiliated dealers 4 — Ballantyne Co., The 17 In-car speakers. Unaffiliated dealers. 5 — Bausch & Lomb Optical Co 15 Projection lenses. Direct, branches and unaffiliated dealers. 6 — Carbons, Inc 20 Projection carbons. Franchise deal- ers. 7 — Carpenter & Co., L. E 23 Projection screens. Direct. Reference Adv. Number Page 8 — Eprad 24 In-car speakers. Direct. 9 — F & Y Building Service, The 25 Architectural design and building service. 10 — Faige & Associates, Doc 26 Distributors. 11 — Florman & Babb 18 Film cement. Direct. 12 — International Projector Corp 26 Projection and sound systems. NTS. 13 — LaVezzi Machine Works 19 Projector parts. All dealers. 14 — Manko Fabrics, Inc 26 Custom made covers for auditorium chairs. Direct. 15 — Mitchell Industries, Inc., Hubert.... 24 Stage equipment. Direct. 16 — National Theatre Supply 4, 8 Distributors. Reference Adv. Number Page 17 — Rank Precision Industries .. 2nd Cover, 25 Projection and sound systems. Direct. 18— RCA Service Co 23 Projection and sound equipment maintenance service. 19 — Robin, Inc., J. E 24 Rectifiers. Unaffiliated dealers. 20 — S. O. S. Cinema Supply Corp 25 Distributors. 21 — Star Cinema Supply Corp 26 Distributors. 22 — Strong Electric Corp 7 Reflectors. UnaffUiated dealers. 23 — Theatre Seat Service Co 18 Theatre chair rehabilitation service. Direct. 24 — Wagner Sign Service, Inc 3 Changeable letter signs: Front-light- ed panels for drive-ins 124 Al, back- lighted panels I24BI, and changeable letters I24CI. Unaffiliated Dealers. 25 — Westrex Corp 25 Foreign distributors. For information concerning products, write corresponding reference numbers and your name and address in spaces provided on postcard and mail. Card requires no addressing or postage. To Beffer Theatres Service Department: Please have literature, prices, etc., sent to me according to the following reference numbers in Better Theatres for October 1956- NAME THEATRE or CIRCUIT STREET ADDRESS To Better Theatres Service Department: Please have literature, prices, etc., sent to me according to the following reference numbers in Better Theatres for October 1956- NAME THEATRE or CIRCUIT ! STREET ADDRESS CITY STATE CITY STATE Market Information Service CONTINUED FROM PRECEDING PAGE PRODUCTS DESCRIBED EDITORIALLY IN THIS ISSUE: THEATRE CHAIR with adjustable standards: Story on page 21 BASIN DISPENSERS for liquid soap: Story on page 21 ELECTRONIC FILM SPLICER for all film: Story on page 21 CARBON SAVER with metal extender: Story on page 21 FILM SPLICER employing Mylar tape: Story on page 23 CLEANING COMPOUND for theatre surfaces: Story on page 23 CURRENT RECTIFIERS with silicon stacks: Story on page 24 ADMISSION SYSTEMS for ticket control: Story on page 24 SEAT BOTTOM of woven steel alloy: Story on page 24 CARBON SAVER for rotating carbons: Story on page 25 POSTCARD REFERENCE NO. E26 POSTCARD REFERENCE NO. E27 POSTCARD REFERENCE NO. E28 POSTCARD REFERENCE NO. E29 POSTCARD REFERENCE NO. E30 POSTCARD REFERENCE NO. E31 POSTCARD REFERENCE NO. E32 POSTCARD REFERENCE NO. 16 POSTCARD REFERENCE NO. E33 POSTCARD REFERENCE NO. 10 CLASSIFIED LIST ADVERTISING 101 — Display frames 102 — Lighting fixtures 103 — Changeable letters 104 — Attraction signs 105 — Theatre name sign AIR SUPPLY 201 — Air-conditioning, complete 202 — Air washers 203 — Blowers and fans 204 — Compressors 205 — Unit conditioners 206 — Filters 207 — Heaters, unit 208 — Outlets (diffusers) ARCHIT'RE & DECORATION 301 — Acoustic material 302 — Decorating service 303 — Wall fabric 304 — Mirrors 305 — Wall paneling DRIVE-IN THEATRES 401 — Admission control system 402 — Electric cable (underg'd) 403 — In-car heaters 404 — In-car speakers 405 — Insect control EQUIPMENT AND 406 — Lighting fixtures (outd'r) 407 — Screen paint 408 — Screen towers 409 — Signs, ramp and traffic 410 — Stadium seating 41 1 — Vending carts FLOOR COVERINGS 501 — Asphalt tile 502 — Carpeting 503 — Carpet lining 504 — Linoleum 505 — Mats, rubber GENERAL MAINTENANCE 601 — Blower, floor cleaning 602 — Carpet shampoo 603 — Ladders, safety 604 — Lamps, germicidal 605 — Sand urns 606 — Vacuum cleaners LIGHTING 701 — Black-light supplies 702 — Dimmers 703 — Downlighting equipment 704 — Luminaires (See also Advertising Stage) PROJECTION and SOUND 801 — Acoustic materials 802 — Amplifiers 803 — Cabinets, accessory SUPPLIES: Indicate on 804 — Cabinets, carbon 805 — Cabinets, film 806 — Carbon savers 807 — Effect projectors 808 — Exciter lamps 809 — Fire shutters 810 — Hearing aids 81 I — Lamps, reflector arc 812 — Lamps, condenser 813 — Lenses, condenser 814 — Lenses, projection 815 — Lenses, anamorphic 8 1 6 — Magazines 8 1 7 — Microphones 8 1 8 — Motor-generators 819 — Non-sync, turntables 820 — Photoelectric cells 821 — Projectors, standard 822 — Projectors, 16-mm. 823 — Projector parts 824 — Rectifiers 825— Reels 826 — Reflectors (arc) 827 — Rewinders 828 — Rheostats 829 — Screens 830 — Screen frames 831 — Speaker systems (screen) 832 — Speakers, surround 833 — Splicers 834 — Splicing cement 835 — Soundheads, optical 836 — Soundheads, magnetic 837 — Stereopticons 838 — Rewind tables postcard by number SEATING 901 — Auditorium chairs 902 — Upholstering fabrics SERVICE and TRAFFIC 1001 — Crowd control equip't 1002 — Directional signs 1003 — Drinking fountains 1 004 — Uniforms 1005 — Water coolers STAGE I 101 — Curtains and drapes I 102 — Curtain controls & track I 103 — Lighting equipment 1 104 — Rigging and hardware I 105 — Switchboards TICKET SALES 1 201 — Box-offices 1 202 — Changemakers 1 203 — Signs, price 1204 — Speaking tubes 1205 — Ticket boxes 1206 — Ticket registers TOILET ROOMS 1301 — Hand driers, electric 1302 — Paper dispensers 1303 — Soap dispensers (See also Maintenance) FIRST CLASS PERMIT NO. 8894 (Sec. 34.9, P. L & R.) NEW YORK, N. Y. BUSINESS REPLY CARD No Postage Stomp Necessary If Mailed in the United States Postage will be paid by — QUIGLEY PUBLISHING COMPANY FIRST CLASS PERMIT NO. 8894 (Sec. 34.9, P. L & R.) NEW YORK, N. Y. BUSINESS REPLY CARD No Postage Stamp Necessary If Mailed in the United States Postage will be paid by — QUIGLEY PUBLISHING COMPANY ROCKEFELLER CENTER ROCKEFELLER CENTER 1270 SIXTH AVENUE NEW YORK 20. N. Y. 1270 SIXTH AVENUE NEW YORK 20. N. Y. FILM BUYERS RATING Film buyers of independent circuits in the U. S. rate current product on the basis of its performance in their theatres. This report covers 113 attractions, 3,424 play dates. Titles run alphabetically. Numerals refer to the number of engagements on each attraction reported. The tabulation is cumulative. Dagger (f) denotes attractions published for the first time. Asterisk ('■') indicates attractions which are listed for the last time. EX means Excellent; A A — Above Average; AV — Average; BA — Beloiv Average: PR — Poor. Alexander the Great (U.A.) Ambassador's Daughter, The (U.A.) Animal World, The (W.B.) Anything Goes (Par.) Autumn Leaves (Col.) . Away All Boats (U-lj EX AA AV BA PR 2 — 10 II 8 — 3 5 5 9 — 5 8 17 3 3 3 4 16 16 — 3 7 2 3 24 21 10 I I Backlash (U-l) t Bad Seed, The (W.B.) Bandido (U.A.) Bhowani Junction (MGM) (Bigger Than Lite (20th-Fox) Birds and the Bees (Par.) Blackjack Ketchum Desperado (Col.) Bole) and the Brave (RKO) Burning Hills, The (W.B.) Bus Stop (20th-Fox) 4 1 2 I 27 18 6 12 3 15 I 7 4 I 4 6 I 19 I 3 3 5 23 3 13 5 1 1 1 13 2 7 2 6 4 1 1 5 I Carousel (20th-Fox) Catered Affair, The (MGM) Cockleshell Heroes (Col.) Comanche (U.A.) Come Next Spring (Rep.) Come On, The (A. A.) Congo Crossing (U-l) Conqueror, The (RKO) Court Jester, The (Par.) Crashing Las Vegas (A.A.) Creature Walks Among Us (U-l) (Creeping Unknown, The (U.A.) Crime in the Streets (A.A.) 17 I I 17 10 I I I I 13 10 3 5 3 5 3 7 7 5 14 14 9 I 5 4 9 31 9 7 15 27 I 4 14 13 I 3 I 4 22 9 21 5 4 7 12 10 I I D-Day the Sixth of June (20th-Fox) (Dakota Incident (Rep.) Davy Crockett and the River Pirates (B.V.) Day of Fury (U-l) Earth vs. Flying Saucers (Col.) Eddy Duchin Story, The (Col.) — 17 9 3 — 2 23 23 I — Fastest Gun Alive (MGM) First Texan, The (A.A.) Forbidden Planet (MGM) (First Traveling Saleslady (RKO) Foreign Intrigue (U.A.) Francis in the Haunted House (U-l) 3 18 II 3 — — 2 3 71 I 18 15 4 6 — — — 3 I — —313 — 12 13 3 2 Gaby (MGM) Girls in Prison (A.I.P.) Godzilla, King of the Monsters (Trans.) Goodbye, My Lady (W.B.) Great Day in the Morning (RKO) Great Locomotive Chase, The (B.V.) Guys and Dolls (MGM) — I 13 15 5 — 6 1 I — — 14 5 1 — 4 II II 6 — 19 5 2 — 14 14 13 6 20 1 1 9 6 9 Harder They Fall, The (Col.) High Society (MGM) Hilda Crane (20th-Fox) Hot Blood (Col.) Hot Rod Girl (A.I.P.) — 5 4 27 21 13 4 I — — — —998 — 5 15 15 7 — 7 1 I — I'll Cry Tomorrow (MGM) 37 1 1 Johnny Concho (U.A.) Jubal (Col.) Kettles in the Ozarks (U-l) King and I, The ( 20th- Fox ) (Last Wagon, The ( 20th- Fox ) Leather Saint (Par.) Lisbon (Rep.) (Magnificent Roughnecks (A.A.) Man in the Gray Flannel Suit (20th-Fox) Man Who Knew Too Much (Par.) Man Who Never Was (20th-Fox) Maverick Queen, The (Rep.) Meet Me in Las Vegas (MGM) Miracle in the Rain (W.B.) Moby Dick (W.B.) Mohawk ( 20th- Fox ) Never Say Goodbye (U-l) On the Threshold of Space (20th-Fox) Our Miss Brooks (W.B.) Pardners (Par.) Patterns (U.A.) Picnic (Col.) (Pillars of the Sky (U-l) Price of Fear (U-l) Proud and Profane, The (Par.) Proud Ones, The ( 20th- Fox ) Quincannon, Frontier Scout (U.A.) Rawhide Years, The (U-l) Red Sundown (U-l) ... Revolt of Mamie Stover (20th-Fox) Rock Around the Clock (Col.) Run for the Sun (U.A.) Safari (Col.) Santiago (W.B.) Scarlet Hour (Par.) Screaming Eagles (A.A.) Searchers, The (W.B.) Serenade (W.B.) Seven Men From Now (W.B.) _... Somebody Up There Likes Me (MGM) Star in the Dust (U-l) Star of India ( U.A.) Storm Over the Nile (Col.) Stranger at My Door (Rep.) Swan, The (MGM) That Certain Feeling (Par.) These Wilder Years (MGM) Timetable (U.A.) Toy Tiger (U-l) Trapeze (U.A.) Tribute to a Bad Man (MGM) 23 Paces to Baker Street (20th-Fox) Uranium Boom (Col.) Vagabond King, The (Par.) fWalk the Proud Land (U-l) Werewolf, The (Col.) While the City Sleeps (RKO) World in My Corner (U-l) World Without End (A.A.) EX AA AV BA PR 1 4 2 16 1 1 21 3 30 2 2 18 13 16 3 28 10 16 10 1 — 2 3 4 3 4 5 — 1 — 24 2 21 29 6 13 7 1 8 1 14 20 5 2 — 2 20 15 15 — 4 2 7 2 6 9 23 17 16 — 6 10 20 26 5 5 12 7 2 — 3 6 4 1 — 12 27 23 16 9 7 13 16 — — 9 1 1 12 7 25 1 1 2 10 24 46 15 2 — — 2 3 1 1 7 15 10 1 1 / l — 24 16 13 10 — 2 2 6 2 4 20 5 7 — 1 1 8 9 5 — 1 1 23 10 1 22 17 13 1 1 — 2 4 3 — 6 18 10 ■ — 1 15 7 9 7 2 5 7 3 6 16 1 1 1 — — 1 4 8 18 — 5 9 1 1 2 2 8 18 2 — 1 6 I 16 c — 1 2 9 4 3 — 2 2 3 3 3 1 1 17 14 7 _ II 12 21 8 — 3 2 3 3 9 2 A 1 10 19 n i 7 23 32 3 — — 2 13 14 14 1 3 12 9 18 4 5 — — 4 3 2 — 3 3 2 _ — 1 1 5 1 — — 1 3 18 4 — — 5 15 29 1 — 4 1 2 THIS WEEK COUIMBIAS REPRISAL STARTS PLAYING 168 IMPORTANT SITUATIONS IN THE STATE OF OKLAHOMA! 300 DENVER, SALT LAKE, OMAHA, KANSAS CITY DES MOINES! CRAIG HARPER WOODS GRANT ALFALFA INGTON OTTAWA NOWATA ROGERS GARFIELD NOBLE MAYES MAJOR TULSA [PAYNE ADAIR CHEROKEE DEWEY KINGFISHER BLAINE WAGONER CREEK LINCOLN OKMULGEE CUSTER LOGAN OKLAHOMA CANADIAN SEQUOYAH OKFUSKEE MUSKOGEE MclNTOSH WASHITA POTTAWATOMIE BECKHAM SEMINOLE CADDO CLEVELAND HUGHES GREER KIOWA HASKELL ilatimer HARmON i COMANCHE GARVIN PONTOTOC COAL JACKSON PUSHMATAHA STEPHENS ATOKA TILLMAN LE FLORE McCURTAIN JOHNSTON COTTON CARTER JEFFERSON CHOCTAW • # DELAWARE ^ MARSHALL [BRYAN ^ ^ -ns* • V # # if# Jk- J i] OUT OF A BEST SELLER . . . STARTLING SCREEN DRAMA! TECHNICOLOR® LICIA FARR ‘KATHRYN GRANT ^michael pate Screen Play by DAVID P. HARMON, RAPHAEL HAYES and DAVID D0RT0RT • Screen Story by DAVID P. HARMON . From the Novel by ARTHUR GORDON Produced by LEWIS J. RACHMIL • Associate Producer: HELEN AINSWORTH • Directed by GEORGE SHERMAN ading Stamps Offer ossible New Avenue For Patron Promotion -A HERALD Report The HERALD INSTITUTE of Industnji 1 Opinion IBITION SEEKING [ESS STIMULATION THE WOI 80 DAYS" -A Review riBWS i I" Product Digest); TEAHOUSE OF THE AUGUST MOON SECRETS OF LIFE,, CALLING HOMICIDE, FRONTIER GAMBLER January 12, 1931. _BLJH Office, Keu 'ey Publishing Co., Inc., 1270 Sixth Avenue. Rockefn $10.00 a year Foreign. Single eopy, m ‘ Bravo to the wise showmen who put BOB HOPE and KATHARINE HEPBURN together in the BIG comedy “THE IRON PETTICOAT.” They’re positively the funniest pair in pictures. THERE’S MONEY IN THIS FUNNY , FUNNY SHOW! M-G-M presents in VISTAVISION and TECHNICOLOR® BOB HOPE KATHARINE HEPBURN in 44 Tlnll IRON RE7TKOAT with NOEL MIDDLETON JAMES ROBERTSON-JUSTICE ROBERT HELPMANN Produced by BETTY E. BOX * Directed by RALPH THOMAS A REMUS FILM Produced in association with HARRY SALTZMAN An M-G-M Release At practically every performance since it opened to the public Thursday, Oct. 11, lines start in the lobby and continue up PRESENTED BY Warner Bros. ,n WarnerColor STARRING ELIZABETH TAYLOR - ROCK HUDSON • JAMES DEA the street and around the corner. George Stevens' Giant is the biggest grosser since The Robe' at the New York Roxy. FROM THE NOVEL BY EDNA FERBER watch her! New star! 'ij AND PRESENTING ALSO STARRING CARROLL BAKER -JANE WITHERS -CHILL WILLS • MERCEDES McCAMBRIDGE • SAL MINEO WITH DENNIS HOPPER • JUDITH EVELYN • PAUL FIX • SCREEN PLAY BY FRED GUIOL AND IVAN MOFFAT • PRODUCED BY GEORGE STE V ENS AND H EN R V GINSBERG DIRECTEO BY GEORGE STEVENS PRESENTED BY WARNER BROS. MUSIC COMPOSED AND CONDUCTED BY DIMITRI TIOMKIN MY MOTHER - 1 call her Mother only because I don’t know what else to call her.’ MY FATHER - Now there’s always some woman at the house-he says they ‘just drop in’!” MYSELF - ‘All I know is-no matter what I do it’s wrong!” A grown-up motion picture for grown-up f emotions! 20th Century-Fox presents ! and three stars of the future Screenplay by Produced by Directed by Wr ' Mm i l V I \a mm 1 V | \ /'■ ■■■ 1 h (If U Q. m Cf M, P 1 P m c r c c r c ITII Ul InLL IlLIl m I V I ' AVAILABLE TODAY FROM 2 0th! r • MOTION PICTURE HERALD MARTIN QUIGLEY, Editor-in-chief and Publisher Vol. 205, No. 3 A Winning Team DURING this season, when the public’s attention has been alternating between the recent World Series, key football games and the Presidential election campaign, everywhere emphasis is placed on “a winning team”. The phrase “a winning team” implies not only a com- bination that happens to achieve success but one that de- serves victory through the intelligent, aggressive fight waged. There is no “winning team” without cooperation between the members of the team. The very word “team” implies a group working for a common aim under unified command and discipline. The single most important battle to be fought in the motion picture industry is the one to achieve greater atten- dance at the box office. It is, of course, a battle that never ceases. However, plans are being made now — on several fronts — for special campaigns to win new theatre patrons and make present patrons return more often. It is of prime importance that at the appropriate time the various plans be fused and that “a winning team” be established. In this situation, as on a field of battle, it is not the plan alone that is crucial. Of equal importance is the way a plan is executed. The best plan, poorly carried out may be no better, even worse, than a poor plan, brilli- antly followed up. All branches of the industry have a stake in the success of any new or revitalized efforts to increase attendance. It is understandable that both exhibitors and producer-dis- tributors should be formulating plans. However, no plan can succeed without the wholehearted cooperation of all branches of the industry. THIS week, under the sponsorship of the Motion Pic- ture Association, officials of the major producer-dis- tributors are scheduled to consider a business build- ing program carefully worked out during the Spring and Summer by the Association’s advertising and publicity directors committee. The Theatre Owners of America also has recommended that a box office promotion program proposed by a COMPO committee be considered. Many good ideas have been suggested from different sources. A number of them are worth trying. No one of them has a chance of full success unless exhibitors and distributors cooperate to the fullest degree. The board of directors and the executives of the Motion Picture Association presumably had their own good rea- sons for drafting the business-building program without the active participation of exhibitors in the deliberations. Presumably there were good reasons why the whole proj- ect was not put under COMPO from its inception. With the MPA and exhibitors sharing COMPO financing and one of COMPO’s basic aims, i.e., box office promotion, it is perhaps surprising that the MPA carried out its prelim- inary deliberations on the subject independent of COMPO. The MPA has taken “a calculated risk” in considering business building projects without exhibitor participation. How quickly exhibitor cooperation can be arranged for the carrying out of the program will depend upon the nature of the final proposals and the way in which they are presented to the industry. Exhibitors, understandably enough, want to know who is paying for what. Moreover, they have a real interest in making sure that a fair share of any increase in box office receipts stays in the theatre. One of the troubles with the business today is that many exhibitors feel there is little incentive for extra effort when the profit of engagements of hit attractions is not enough to cover losses of other films and provide for nec- essary rehabilitation and improvement of the theatre. The exhibitor wants to be on “the winning team” as much as a member of any other branch of the industry. He deserves the chance. He should be accepted as an equal partner in any business-building program. His efforts are essential to the success of any such project. COMPO Audience Awards THE plans have now been organized for the second annual Audience Awards campaigns, under COMPO sponsorship. Leonard H. Goldenson and Elmer C. Rhoden will be co-chairmen. According to a survey of the panelists of The Herald Institute of Industry Opinion printed elsewhere in this issue, 71 per cent of the exhibitors participated in the campaign last year and nearly 80 per cent expect to do so this year. This is a concrete vote of confidence. Like most promotional activities, last year exhibitors benefited from the Audience Awards in proportion to the effort put into them locally. It will be the same story again this year. ■ ■ ■ Quotable Quote: “In the years ahead the future of motion pictures and motion picture theatres will depend on the degree of aggressive, resourceful and enthusiastic mer- chandising coupled with intelligent community relations.” — William Holden at the TOA President's Banquet. Food for Thought: The average annual per person ex- penditure for motion picture theatre admissions in the United States is approximately $7.50. On the basis of four persons to a family, the average family spends consider- ably more on cigarettes than on films. — Martin Quigley, Jr. oCetterd to the ^Jderaid Public's Habits To the Editor: It should be common knowledge that it is very rare for any writer or other artist to have his creation approached by the public and appreciated in the manner in which it was intended. There is really no way to achieve the ideal which you have suggested for mo- tion picture presentation. (Editorial, “Dis- jointed Presentation,” HERALD, Septem- ber 22.) Even if you ran only one show- ing of the feature, people would still come late and others would be running to the refreshment stand or the lounge while the picture was in progress. If you strapped them in their seats, they might still choose to sleep or turn their heads and talk, and regardless of the physical restraints im- posed, you could never guarantee any art- ist that the viewing public approached his film in the manner he intended. Your editorial appears to assume that the majority of the public attends the thea- tre in an attempt to appreciate the motion picture as an art form. Yet, as you and your staff have so often pointed out, the principal function of the motion picture is to entertain and one of the functions of the exhibitor is to build the idea of his theatre as a place of glamour and excite- ment where the mere act of coming in and buying a ticket is kind of a passport to heaven. People go to the movies for a variety of reasons and few of these depend very heavily on the viewers’ appreciation of the film as an art form. A film that is enter- taining, romantic, or exciting will demon- strate its quality in any 10-minute se- quence. The general public knows this. Prevent the public from seeing motion pic- tures the way it wants to see them and you will shutter more theatres in a week than in 10 years of television. — ROBERT E. SCHREIBER, Northern Illinois State College, DeKalh, III. • Stereophonic Sound To the Editor: Your editorial, “Sound a New Note,” in the September 15 issue of Motion Picture Herald is well put. The facts, however, are even more disconcerting than you state. In our newspaper theatre advertisement heading we are proud of our excellent stereophonic sound and the ability we have to reproduce four-track magnetic sound. Alas! As the days go by more and more our system is becoming retired — and so very soon in its useful lifetime. Only 20th Century-Fox ever now gives us a four-track print and these are becom- ing few and far between even from them. They send us optical prints under the pre- text they have no stereophonic print avail- able for our playdates. I have protested to our booker only to be told if I insist on a stereophonic print we will lose the op- portunity to play promptly as we should — especially during the Summer past when we need to play early for our Summer clientele. And so our heading for our ads be- comes increasingly pointless and folks cannot get what we spent so much money on to give them the best. I agree with you there’s so very much improvement with the magnetic sound that it is inconceivable we are to lose all we’ve gained purely because some won’t provide better than optical sound repro- duction . . . and even more discouraging when a house set up to present cannot for lack of the right prints. I sincerely hope your editorial is read by someone who cares and can do some- thing realistic about it. — ARTHUR K. DAME, Manager, Strand Theatre, Rock- land, Maine. Shorts Appeal To the Editor: Many shorts possess a wide range of au- dience appeal: the CinemaScope Specials from 20th Century-Fox, Paramount’s meticulously produced VistaVision travel subjects, the inimitable Mr. Magoo series, and the Pepe Le Peu cartoons from War- ners, to mention a few. Yet many thea- tres playing these subjects fail to capi- talize on their potential by neglecting to mention them in lobby, newspaper or front advertising. Good shorts mean extra revenue if properly exploited, and most au- diences would certainly rather see several good shorts with the feature in preference to an inferior co-hit. I might mention that I consider it a distinct pleasure reading the Herald each week; it is by far the best of the trade publications. — MELVIN ARONSON, New York, N. Y. Australian Entry To Walter Brooks: Delighted to acknowledge receipt of your letter and citation for the “Francis in the Navy” campaign, for the second quar- ter of 1956 (Managers Round Table). These awards are valued very highly in Australia, and coveted particularly by all managers of the Greater Union group. I will continue to forward entries regularly in the hope of success in the winning of further rewards. — R. M. RICHARDS, Manager, Majestic Theatre, Melbourne, Australia. MOTION PICTURE HERALD October 20, 1956 EXHIBITION seeks box office stimulants 12 TRADING stamps can be a business- getter I 6 MGM has 24 films ready or planned 18 GOLDENSON takes over as head of ABC 18 TOA to support independent product says Stellings 18 RHODEN and Goldenson head second Audience Awards 20 ABRAM MYERS keynotes meeting in Massachusetts 20 "AROUND THE WORLD in 80 Days" — a review 24 RANK'S John Davis makes "routine" visit to U.S. 25 ROGER LEWIS is new head of MPAA committee 25 BRITISH exhibitors protest new Eady Levy plan 26 20TH-FOX, Magna in "South Pacific" deal 28 SERVICE DEPARTMENTS Film Buyers' Rating 3rd Cover Hollywood Scene 27 Managers' Round Table 37 The Winners' Circle 32 National Spotlight 33 IN PRODUCT DIGEST SECTION Showmen's Reviews 113 Short Subjects Chart I 14 What The Picture Did For Me I 15 The Release Chart I 16 MOTION PICTURE HERALD, Martin Quigley, Editor-in-Chief and Publisher; Martin Quigley, Jr., Editor; Charles S. Aaronson, Monaging Editor; Floyd E. Stone, Photo Editor; Vincent Canby, News Editor; Ray Gallagher, Advertising Manager; Gus H. Fausel, Production Manager. Bureaus: Hollywood, Samuel D. Berns, Manager; William R. Weaver, Editor, Yucca-Vine Build- ing, Telephone HOIlywood 7-2145; Washington, J. A. Otten, National Press Club; London, Hope Williams Burnup, Manager; Peter Burnup, Editor; William Pay, News Editor, 4 Bear St., Leicester Sq. Correspondents in principal capitals of the world. Member Audit Bureau of Circulation. Motion Picture Herald is published every Saturday by Quigley Publishing Company, Inc., Rockefeller Center, New York City 20. Telephone Circle 7-3100; Coble address: "Quigpubco, New York”, Martin Quigley, Presi- dent; Martin Quigley, Jr., Vice-President; Theo. J. Sullivan, Vice-President and Treasurer; Leo J. Brady, Secretary. Other Quigley Publications: Better Theatres and Better Refreshment Merchandising, each published thirteen times a year as a section of Motion Picture Herald; Motion Picture Daily, Television Today, Motion Picture Almanac, Television Almanac, Fame. 8 MOTION PICTURE HERALD, OCTOBER 20, 1956 On the OJ'i onzon MORE TV SALES Twentieth Century-Fox is ne- gotiating with National Tele- film Associates and other tele- vision film distributors for the sale of more of its film library to TV, it is reported. According to a 20th-Fox offi- cial, the NTA offer under dis- cussion is for NTA to pay about $12,000,000 in cash for 156 pre-1948 20th-Fox features and to split the gross TV income after a certain figure has been reached. Another off er involves the sale of the entire film library, it was said. Earlier this year, 20th-Fox released 52 films to NTA on a rental ba- sis similar to the terms now offered for the 156 features. LESS VIOLENCE The Association of Motion Picture Producers in Hollywood has been urged to reduce the violence in American motion pictures to the end that Amer- ican product may obtain more family acceptance abroad, ac- cording to Geoffrey Shurlock, vice-president and director of the Production Code Adminis- tration. Mr. Shurlock said in New York that his recommenda- tion to the producers followed observations he had made on a recent tour of Europe. He said the trip had been designed pri- marily to study censorship in foreign countries and its ef- fect on U.S. motion pictures. "Seventy per cent of our films are receiving family classifi- cations abroad," Mr. Shurlock said, "and we can boost this percentage figure if our pro- ducers reduce the violence in films. " HAPPY HOLIDAY Box office grosses along New York’s Broadway over the Colum- bus Day weekend were "brisk" with October 12 receipts "very much higher" than on Columbus Day last year, which came in the middle of the week, according to the exhibitors. Theatre at- tendance in New York reported- ly showed no significant cut because of local television, which carried some "big" films recently acquired from the ma- j or studios. CLOSINGS, BUILDING PREDICTED Between five and six thousand of the nation's present thea- tres will close in the next three years, but two thirds of them will be replaced by drive- ins and new, modern houses , ac- cording to Frank H. Ricketson, Jr. , vice-president and gen- eral manager of National Thea- tres. He said that NT's own 335 theatres may be reduced about 10 percent during the next 36 months, taking into account closings of certain obsolete houses and replacement with up- to-date theatres. Mr. Ricket- son said his circuit spends about $2,000,000 annually on theatre repair and moderniza- tion. NO MERGER A denial that there has been any discussion of a merger of Allied States Association with Theatre Owners of America has come from Ruben Shor, Allied States president. Mr. Shor added: "Rumors of the kind that have been circulating regard- ing Allied and its chairman and general counsel— whatever their their source or inspiration - are calculated to weaken Allied and embarrass its officers at a time when they are bending every effort to serve Allied, its members, and the industry in general. " VOGEL PRESIDENT OF Joseph R. Vogel, industry veteran, who has been president of Loew's Theatres since 1954, Thursday was elected president of Loew's, Inc., at a meeting of the board of directors in New York. He was named to succeed Arthur M. Loew, who, effective immediately, becomes chairman of Loew's, Inc. Nicholas Schenck, who has been chair- man, becomes honorary chairman of the board of Loew's, Inc. At the same time, Leo- pold Friedman, vice-president of Loew's Theatres, was named president of Loew's Theatres, to succeed Mr. Vogel. Mr. Loew will continue as president of Loew's Inter- national. Mr. Vogel's election climaxed sev- eral weeks of uncertainty, as several per- sons were reported scheduled to get the post. The most recent was producer Sol Siegel, who earlier this week asked that his name be withdrawn from those being con- sidered. WHEN and WHERE October 22-23: Annual convention of Theatre Owners of Arkansas, Missis- sippi and Tennessee, Hotel Gayosa, Memphis. October 22-24: Allied Theatre Owners of Indiana, meeting at the Morott Hotel, Indianapolis. October 27: Annual dinner dance of the Los Angeles Motion Picture Salesmen, Ambassador Hotel, Los Angeles. October 28-30: A nnual convention of the Motion Picture Theatre Exhibitors of Florida, to be held at Roosevelt Hotel, Jacksonville. November 13-14: Annual convention of the Independent Theatre Owners of Ohio, to be held at Deshler-Hilton Hotel, Columbus. November 19: Annual convention of the Motion Picture Theatres Association of Ontario, King Edward Hotel, Toronto. November 20: Annual convention, National Committee of Motion Picture Exhibitor Associations, King Edward Hotel, Toronto. November 21: Annual meeting of the Motion Picture Industry Council of Canada, King Edward Hotel, Toronto. November 22: Annual dinner of the Ca- nadian Motion Picture Pioneers, King Edward Hotel, Toronto. November 25-27: 44th annual convention of the Theatre Owners of North and South Carolina, Hotel Charlotte, Char- lotte, N.C. November 27-29: Allied States Association, Fall board meeting and annual conven- tion, to be held at Statler Hotel, Dallas. LOEW'S , INC, JOSEPH R. VOGEL MOTION PICTURE HERALD, OCTOBER 20, 1956 9 id wee i in p- tctured IT'S A DEAL for "South Pacific" in Todd-AO, and that handshake (and docu- ment), in New York, means an investment of $5,000,- 000. Oscar Hammerstein poses with George Skou- ras, Magna Theatres head. Mr. Hammerstein begins work in March, and mean- while on a business trip to Australia wiil keep a sharp eye out for a suitable tropical is'and. With Mag- na as investors are 20th- Fex and United Artists Theatres. See page 28. HERALD picture NICK PERY, right, resigns in mid-No- vember as Colum- bid's Continental manager, after 22 years, and will turn to what he long has wanted: the making of pictures indepen- dently. He is return- ing to Paris to un- ravel his affairs, and in January probably will be making news. HERALD picture ROGER LEWIS, left, now heads the Mo- tion Picture Associa- tion of America ad- vertising-publicity di- rectors' committee. He is United Artists director of advertis- ing, publicity, and exploitation, and succeeds Jerry Pick- man, Paramount's advertising-public- ity chief. HERALD picture AIM AT THE TEENAGERS is the ad- vice of Samuel Arkoff and James Nicholson of American International Pictures, which has been making low budgeters. The men spoke to the press in New York last week, and stressed "action and exploita- tion." CULTIVATING the young- sters — some high echelon help at 20th-Fox. General sales manager Alex Harri- son and starlet Betty Lou Keim visit with school edi- tors at a New York pre- view of "Teenage Rebel." FIRST PRESS CONFERENCE for the new president of the Theatre Owners of Amer- ica. In New York headquarters Ernest G. Stellings faces always inquisitive and sometimes bothersome newsmen. With him, general counsel Herman Levy and vice-president Albert Pickus. He advo- cates for practicality one exhibitor or- ganization but TOA has more important problems, he said. See page 24. i HERALD picture HERE IS THE EXECUTIVE LEADERSHIP this coming year for the Society of Motion Picture and Television Engineers. Below, the men elected at the recent Los Angeles convention: G. Carleton Hunt, convention vice-president; Wilton R. Holm, secretary; Bar- ton Kreuzer, president; Norwood L. Simmons, executive vice- president; and Glenn E. Matthews, editorial vice-president. AS "GIANT" opened in New York's Roxy for the Muscular Dystrophy Associations: War- ner president Jack L. Warner, actress Virginia Graham, and little Murray Scheckter. The George Stevens-Henry Gins- berg epic had another giant audience on Wednesday even- ing at Grauman's Chinese, Hollywood. PRODUCER AND STAR. In New York, waiting to hear a playback of the title song in "Island in the Sun"; Darryl F. Zanuck and singer Harry Belafonte. ANNOUNCING Melville Productions' first, "Thieves' Market" for United Artists: in Hol- lywood, president Gregory Peck with pro- ducer Sy Bartlett and UA's Robert Blumofe. A romance, it will be made in Spain en- tirely, beginning February 4, and Mr. Peck will star. GLENN FORD at ease in MGM's "Teahouse of the August Moon," the Christ- mas picture for the Radio City Music Hall, New York. See page 113 of the Prod- uct Digest. The HERALD INSTITUTE A f Industry. Opinion EXHIBITORS SEEK WAYS OF STIMULATING THE BOX OFFICE RESPONSE by JAMES D. IVERS Any sound plan for building at- tendance on a general basis for mo- tion picture theatres if proved sound will receive enthusiastic support from motion picture exhibitors. Exhibitor panel members of the Herald Institute of Industry Opinion are strongly of the belief that any credit card system of admissions would be impractical. They are critical of local newspapers because they feel less space is being given to motion pictures than there used to be and far less than television gets. Almost three quarters of them partici- pated in last year’s Audience Awards plan and more than that expect to this year. Only slightly less than half of them favor a survey by a research organiza- tion to find out why attendance is off. Those are the conclusions of Part III of the Institute’s study of factors affecting attendance and what is to be done in that direction. Part I, covering suggestions on the types of product needed, appeared in The HERALD for September 8, and Part II, covering theatre operating practices, was published last week. The vote against credit card systems, now considered by a committee of the Motion Picture Association of America, was heaviest in the smaller towns but •even in large cities it averaged more than 70 per cent. On the other hand, of those who favored it, some felt strongly. George Diamos of Tucson, Arizona, considered it the most important of the questions considered in the study. “American business is con- ducted on credit,” he said, “and your most successful businesses are strictly on a credit basis at the retail level. I believe that a large majority of our attendance illness could be cured by issuing credit cards to the public.” Tommy James of St. Louis suggested the sale of coupon books at $5 or $10 with each coupon good for one admission at a ratio slightly lower than box office. A great many panel members were con- vinced that newspaper space devoted to motion picture publicity has declined in the last 10 years and that the decline is especially notable in the face of the amount of space allotted to television pro- grams and publicity. Over 48 per cent of them felt that newspaper space was not satisfactory and another 36 or 37 per cent felt that while the situation was not too bad it could stand some improvement. In this connection a Missouri exhibitor suggested that more and better publicity might be obtained if theatres, in coopera- tion with distributors, ran more benefits — he suggested about six a year — for local Red Cross drives, Boy Scouts or others. On this phase also several panel mem- bers enlarged on the need for more and better advertising. “Present advertising is trite and misleading,” an Oklahoma City exhibitor charged. An important Georgia owner said there is great need for an im- partial appraisal of our advertising in newspapers and magazines. A Massachusetts exhibitor said, “The really successful pictures since TV and the era of the family staying at home, were the pictures that have been widely advertised in all media. Any picture that is good enough to be made is good enough to be advertised in a way that is espe- cially suited for that picture. One style ad in one magazine does not make a cam- paign nor does one small ad in one day’s paper make business get anything but worse. Advertising built this business and careful, freshly styled group advertising will reach and attract more patrons.” An average of 71.1 per cent of the panel- ists said they participated in last year’s Audience Awards plan sponsored by the Council of Motion Picture Organizations. Here, however, the smaller situations dif- fered sharply, most of them contending that the cost did not warrant participation in small situations. A parallel ratio held true for the question of whether or not they would participate this year. An aver- age of 79.4 per cent said they would, again mostly from the larger situations. On this point George Riester of Shamo- kin, Pa., asked, “Why not have some sort of giveaway contest on a national scale, making it compulsory to get applications at local theatres. It appears good enough for the auto industry, why not ours?” Also Pearce Parkhurst, operating a drive-in at Lansing, Mich., urged the tim- ing of the Audience Awards be moved to early September or late Spring so that more drive-ins could participate. PANELISTS' VIEWS ON BUSINESS-BUILDING Question: What is your attitude toward a credit card system for theatre admissions? Up to 7,5 00- 30,000- Over Total 7,500 30,000 100,000 100,000 Exhibition Interested 18.4 — 27.7 28.6 18.7 Believe it impractical 81.6 100 72.3 71.4 81.3 Question: Is the volume of space in your local newspapers devoted to motion pic- tures satisfactory by comparison with 10 years ago and compared to free space given television? Yes 16.7 10 19 13.3 14.8 No 47.9 45 47.6 * 53.3 48.5 Needs improvement ... 35.4 45 33.4 33.4 36.8 Question: Did you participate in the 1955 Audience Awards plan? Yes 47.9 66.7 85 84.6 71.1 No 52.1 33.3 15 15.4 28.9 Question: Do you expect to participate in this year's Audience Awards? Yes 58.1 78.9 94.4 86.3 79.4 No 41.9 21.1 5.6 13.6 20.6 Question: Do you favor a survey by a research they do not attend movies more frequently? organization to ask the public why Yes 41.4 40 40.6 48.5 42.6 No, such questions would ac- cent the decline in attend- ance 1 3.8 24 9.4 14.3 15.4 Would favor asking why people like to go to the movies 37.9 36 46.9 37.2 39.5 No opinion 6.9 — 3.1 — 2.5 12 MOTION PICTURE HERALD, OCTOBER 20. 1956 great neivs for every exhibitor! ft ff Pre-sold in roadshow release for two years! (roadshow release limited to a few cities ) The whole country is waiting to see the most talked of motion picture of the generation at popular prices! yX They have heard about it — they want to see it -now at last they can, and at prices they can afford to pay! * Now in CinemaScope (and available with Stereo- phonic, monoaural or optical soundtracks) so that every theatre can play it! Available for a few engagements at Thanksgiving — WRITE, WIRE, PHONE 20th TODAY FOR THE VERY FIRST PLAYDATES! Available everywhere soon thereafter. ( starring color by TECHNICOLOR GORDON MacRAE • GLORIA GRAHAME • SHIRLEY JONES • GENE CHARLOTTE GREENWOOD • EDDIE ALBERT • JAMES WHITMORE • ROD STEIGER ^ RICHARD RODGERS book, Ly,ics b, OSCAR HAMMERS!! II Screenplay by SONIA LEVIEN and WILLIAM LUDWIG • Dances Staged by AGNES DE MILLE Produced by ARTHUR HORNBLOW, JR. • Directed by FRED ZINNEMANN A MAGNA PRODUCTION KING a and \ Trading Stamps Win Attention of Exhibitors as a Business -Getter by WALTER BROOKS Director, Managers’ Round Table A timely topic at the recent TOA con- vention was a discussion of the potential value of trading stamps as a business stimulant at the box office. A confidential report was submitted, but no decisions were handed down. Since then, the New York Times has had a business story, ‘Trading Stamps: Who Foots the Bill,” and the Reader’s Digest for October carries a special re- port to consumers with the title “Trading Stamps — Bonus or Bunkum?” Currently, Dr. Persia Campbell, con- sumer counsel to the State of New York, has ordered an inquiry to collect facts on the controversial fad. We can quote Dr. Campbell, who says, “Just mention trad- ing stamps, and you’ll get a quick, fiery argument among merchants. And wide disagreement on the facts.” Oates Far Back The distribution of trading stamps dates back more than 60 years and among the very first were Thomas H. Sperry and Shelley B. Hutchinson, who launched their “S & H Green Trading Stamps” in Bridgeport, Conn., in 1896. They reasoned that since the manufacturers, wholesalers and retailers got discounts when they paid their bills in cash, the housewife should have the same benefit. Currently, “S & H” Green Trading Stamps are advertised with a color-spread in the Saturday Eve- ning Post in which they boast that over 20,000,000 smart women save their stamps, which they receive in over 60,000 stores and redeem for their choice of over 1500 costly items “that don’t cost a penny.” That’s one of the matters in disagree- ment, because it is quite obvious that trading stamps do cost something more than two per cent, consequently such great food chains as the A & P won’t give stamps on a profit margin which they claim is less than one per cent of vol- ume sales. Some investigations have shown that saving women have paid as much as over eight per cent over the low- est prices to get a two per cent benefit in trading stamps. A merchant who charged 98 cents for an item was accused of “a sneaky plan of cheating us out of an extra stamp!” Many independent store owners contend the stamps are an un- usual expense but housewives generally think they are “just dandy.” It is esti- mated that six out of 10 families in the United States save stamps. The cause of this fever is apparently the desire to get something for nothing. One St. Louis store is reported as hav- ing offered 50 extra stamps on any pur- chase of $1 or more — and this was adver- tised just once in a newspaper with 65,000 circulation. But the next morning, women from all over the city were massed 10 deep waiting for the store to open. And before they closed, more than 32,000 women had obtained this “bargain” — which was worth exactly 12Vz cents, as the actual value of the bonus given. Other stories are told, of the little boy who cov- eted an official football in a store win- dow, and his mother bought it with stamps, so it cost nothing. But, the story goes, over 6,500 mothers in the same trad- ing area bought the same football for the same reason and with the same currency. Redemption Problem The matter of redemption is a moot question — for the opponents of trading stamps, who are legion, say the rate runs as low as 30 per cent. But Sperry & Hutch- inson say it is actually 97.487 per cent, ac- cording to their tax study over the past 15 years. S & H say their nationwide net- work of 450 redemption stores lift their average above the others. There are more than 20 different stamp concerns who operate in the State of New York, and in the 1956 legislature two anti- stamp bills were introduced, both of which died in committee. These would have ordered regulation as to the value and disposition of unredeemed stamps — in the manner of unpaid mutuel tickets at the race track. Trading stamp oper- ators are not licensed, so there’s no official record of their business. But., across the country, 50 anti-stamp bills were intro- duced in 28 state legislatures, and laws were passed in Kansas, North Dakota and Utah, but some statutes held in abeyance. Pertinent to Theatres Dr. Campbell says the New York state inquiry into the trading stamp situation is because “we had so many complaints from merchants.” The state hopes to find the answer to these questions: Do stamps raise consumer prices? What percentage of stamps given are actually redeemed? How large are the reserves now in the hands of stamp companies operating in the state? Do trading stamps accentuate a trend from small to big business? Is the stated value of premiums comparable to prevailing prices? How do the stamps af- fect consumer habits? All of this is particularly pertinent to the motion picture industry, and the giv- ing of trading stamps at the box office. Here the differences in opinion are proba- bly greater than among retail merchants. It would amount to a slight reduction in admission prices — it might result in a tre- mendous urge to “go out to the movies” in order to fill stamp books. Some theatre men accomplish a quite similar result by issuing their own version of trading stamps, which pay off in free admissions. Report to TOA At the TOA convention, a report was given to committee member Walter L. Morris, of the Pike theatre, Knoxville, Tenn., by the distributors of “Prudential” and “Gold Arrow” stamps and a survey was ordered, in Fresno, California, as to the results obtained. This company does business in 44 States their stamps are re- deemable for nationally advertised premi- um merchandise. But they do suggest a “stamp book” — the cover of which is worth 50 cents as admission to any thea- tre in their plan, and the book must con- tain 420 stamps, which are distributed through retail stores on the basis of one stamp for each 10 cents purchased. If the admission price is less than 50 cents change is given; if more, an added differ- ence is charged in cash. Experiment Is Cited This plan is prospective, and depending on the outcome of the Fresno experiment. TOA and the committee members are waiting for the results to show favorably for national adaptation. Other theatre men have gone far issuing their own stamps which do not involve premiums or awards beyond free admissions. Some monthly program calendars — put out by small theatres and drive-ins, are good for two admissions when stamped to show at- tendance four times in any month, as a re- ward for regular weekly attendance. It is unusual for any family to actually “go to the movies” four times a month. The Independent Theatre Owners of Ohio, in their service bulletin of October 8, cite the TOA variation as an experi- ment, but say frankly, “the ordinary give- away of stamps means little to theatres” because stamps do not attract new pa- trons. They suggest that theatre owners inquire about the kind of stamps most common in their areas — and that in Col- umbus there are S & H, TV stamps, Buck- eye and a few smaller outfits now dis- tributing stamps.. There could be a lot of confusion where many kinds of stamps were in local circulation, and the retail- ers were obviously interested in further- ing their own brands, rather than joining big chains. Even the supermarkets are finding that the stamp fever subsides when their com- ( Continued on page 18) 16 MOTION PICTURE HERALD. OCTOBER 20, 1956 f n/ ve tes/f zyn* . . . Her husband’s money couldn’t buy her, nor another man’s love make her unfaithful! r .Who gave his best friend the woman he wanted for his own! DARING MOTION PICTURE UNIVERSAL’S . .Who hid his secret behind a bottle and a hundred million dollars! with Robert Keith Grant Williams Directed by DOUGLAS SIRK Screenplay by GEORGE ZUCKERMAN Produced by ALBERT ZUGSMITH AVAILABLE DECEMBER 25TH MGM Has 24 Films Ready Or Planned HOLLYWOOD : Recent acquisition of ad- ditional big-scale story properties brings to 24 the total of major motion pictures in preparation for MGM’s studio schedule for 1956-57 and into 1958, it is announced by Dore Schary, vice-president in charge of production. These new projects for the early future follow some 15 pictures cur- rently in release or in final stages of pro- duction, and are in addition to 14 pictures for MGM by independent producers. Two recently announced productions are Feodor Dostoevski’s classic, “The Brothers Karamazov,” to be produced by Pandro S. Berman with an all-star cast and a screen- play to be written by Millard Kaufman, and “Stay Away, Joe,” a broad comedy with music to be produced by Cy Feuer and Ernest H. Martin of New York musi- cal comedy fame. Six Are Note Shooting Six productions are currently before the cameras. Four will be completed in Octo- ber: “Raintree County” starring Montgom- ery Clift and Elizabeth Taylor, is produced by David Lewis and directed by Edward Dmytryk. “Something of Value,” starring Rock Hudson, Dana Wynter and Wendy Hiller, is produced by Pandro S. Berman and written and directed by Richard Brooks. “The Wings of Eagles” starring John Wayne, Dan Dailey and Maureen O’Hara, is produced by Charles Schnee and directed by John Ford. “Harvest Thunder,” starring Pier Angeli, Mel Fer- rer and John Kerr, is produced by Edwin H. Knopf and directed by Jeffrey Hayden. Two productions will be completed in November. They are: “Designing Wo- man,” starring Gregory Peck, Lauren Ba- call and Dolores Gray, produced by Dore Schary, directed by Vincente Minnelli. “Ten Thousand Bedrooms” starring Dean Martin and Anna Maria Alberghetti, pro- duced by Joe Pasternak, directed by Rich- ard Thorpe. During the next sixty days, three more MGM productions will go before the cam- eras. These are: “This Could Be the Night,” starring Jean Simmons, Paul Douglas and Anthony Franciosa, to be pro- duced by Joe Pasternak and directed by Robert Wise. “Gun Glory” starring Stew- art Granger, Rhonda Fleming and Burl Ives, to be produced by Nicholas Nayfack and directed by Roy Rowland. “The Painted Veil,” starring Eleanor Parker and Bill Travers, to be produced by David Lewis and directed by Ronald Neame. The over-all production schedule also in- cludes: “Don’t Go Near the Water,” “Tip on a Dead Jockey,” “Until They Sail,” and “The Flood.” Kintner Quits ABC; Goldenson Takes Over Robert E. Kintner has resigned as pres- ident of the American Broadcasting Com- pany, a division of American Broadcasting- Paramount Theatres Inc., it was announced this week by Leonard H. Goldenson, pres- ident of the corporation. Mr. Goldenson will assume direct supervision of the broad- casting division in addition to his present duties as president of AB-PT. John H. Mitchell, who has served for the past two years as head of the television network, has been named a special assistant to the president. Named head of the ABC Tele- vision Network is Oliver Treyz. Mr. Treyz is resigning as president of the Television Bureau of Advertising, Inc. In his letter of resignation, Mr. Kintner referred to "dif- ferences on policy" relating to the organ- ization and operation of ABC, as the factor responsible for his decision to leave. His contract with the company was to have run until December 31, 1957. He had been with ABC since 1944, having served as vice- president. Later he was named executive vice-president, and in 1949 president. TRADING STAMPS ( Continued from page 16) petitors take up with rival stamp outfits, and thus the vicious circle starts all over again, of finding and keeping new cus- tomers as well as the old ones. You can go around and around and discover that this is where you came in. However, in hundreds of stamp-swamped towns, con- sumers have little choice but to join the stampsaving brigade. Reader’s Digest says “they can be wise by following a few commonsense rules.” They urge the pub- lic to “Shop for value; always take the stamps you are entitled to, and spend your filled stamp book as carefully as you would cash.” Theatre owners and managers can ap- ply the same good sense in joining the trading stamp movement, which was prac- tically dormant through the war years, but is now reaching new peaks in public acceptance. It seems the more there is of the public, and the more money they have to spend, the more they are bitten by the trading stamp bug — that virus that sends them so far and wide in their search for “something for nothing.” It’s really not so, as the theatre man will find out for himself. But we have a very special status that doesn’t apply in supermarkets. We can well afford to find ways to distribute free admissions, when these beneficiaries spend more for conces- sions in our theatres than they save on the price of tickets. That’s the big item in our favor — if the stamp-bug gets going in motion picture theatres. Trading stamps can be both a discount to the customer for the payment of cash and a sharp pro- motion tool for the building of new busi- ness. But look out for the pitfalls. TO A to Play Independents Says Stellings Theatre Owners of America will sup- port all forms of independent film produc- tion to alleviate the product shortage by encouraging its membership to play such pictures, Ernest Stellings, TOA president, said last week. Mr. Stellings, speaking at a press conference in New York, also re- iterated TOA’s position of favoring one national exhibition association. He also disclosed that TOA has conferred with a management consultant firm in its search for an executive director and that TOA is considering several men for the post. Mr. Stellings added that he already has conferred with two independent produc- ers who told him of their main problems — liquidation and distribution of their product. “We can offer independent pro- ducers assurances concerning liquidation,” he said, explaining that the organization would “act, if necessary, as a clearing house between producer and exhibitor.” Mr. Stellings pointed out that TOA’s ac- tivities in this field would be governed by the trade association’s charter. Mr. Stellings said that TOA’s immediate plans for encouraging independent produc- tion do not include financing. He indicat- ed, however, that the TOA-sponsored Ex- hibitors Film Financial Group, the inactive investment group, could be revived. Commenting on the organization’s search for an executive director, Mr. Stell- ings said that Herman Levy, TOA gen- eral counsel, and Walter Reade, Jr., TOA executive, have interviewed a number of qualified personnel, but thus far “haven’t come up with the right man.” Discussing the formation of one national exhibition association, he said, “one group would en- hance the industry if it speaks for all re- tailers, which exhibitors are.” He added that he has not met with any leaders of Allied States Association concerning “a merger,” but “will meet with anyone, anywhere, at all times, in the interests of exhibitors.” Mr. Stellings also reported that within a short time TOA will an- nounce the members of its standing com- mittees and representatives of the com- mittees which will attempt to meet with the distribution sales chiefs and set up a new arbitration plan. Kanin Owns TV Rights Columbia Pictures has announced that its option on TV rights to the property, “Born Yesterday,” expired in 1954 and all TV rights reverted to the author, Garson Kanin. Accordingly, Columbia states, it was not involved in the live TV version of the play scheduled for NBC telecasting October 28. 18 MOTION FICTURE HERALD, OCTOBER 20, 1956 * co-starring and introducing PHILIP COOLIDGE- RAFAEL CAMPOS -CLAUDE AKINS -GEORGE NEISE Screenplay by LAWRENCE ROMAN and JOHN ROBINSON TECHNICOLOR® | Produced by OnlVIuLL nimrtPd hv IFRRY HflPPFR ever befcr^p/^ captured the savage and the dea tiger starts i. head'd! in underwater SAMUEL GOLOWYN, JR. presents Goldenson, Rhoden Head Audience Awards . . . Agree to serve as chairmen of COMPO project in the second an- nual campaign, with 10,000 houses expected to participate Leonard Goldenson, president of Ameri- can Broadcasting-Paramount Theatres, and Elmer C. Rhoden, president of Nation- al Theatres, have agreed to serve as co- chairmen in the film industry’s second an- nual Audience Awards campaign, it was announced in New York this week by Sam Pinanski and Robert Coyne, members of the governing committee of the Council of Motion Picture Organizations, which sponsors the campaign. Served Last Year Mr. Rhoden was chairman of last year’s Audience Awards campaign, in which 6,500 theatres participated and more than 16,- 000,000 votes were cast by the public. It is expected that nearly 10,000 theatres will take part in this year’s election, to be held in the 10-day period from Christmas Day to January 3. The public vote this year is expected to be more than double last last year’s vote, it is said. After canvassing the results of last year’s voting, the Audience Awards plan- ning committee, composed of theatre representatives from all over the country, made some changes in this year’s proce- dure. The date of the voting was changed from November 17-27 to December 25- January 3 so that all pictures released during the year ended September 30 will have had a chance to be played by partici- pating theatres. Another change is that this year all dis- tributors were asked to put into competi- tion only those pictures, performances and new personalities that they believe will have good chances of winning. As a result, the distributors have named only 65 pic- tures this year, against 192 last year. On One Ballot These pictures and personalities will be submitted to the country’s theatre opera- tors on one nominating ballot. Last year all pictures released during the year were put into competition and were submitted to exhibitors for their nomination on three nominating ballots. This, it was said, caused some confusion. This year the ballot submitted to the public will list 10 nominations made by exhibitors in each of five categories. The categories are: best picture of the year, best performance by an actor, best per- formance by an actress, most promising new male personality, most promising new female personality. Last years’ ballot list- ed 20 nominations in each of the five cate- gories. COMPO announced Tuesday that the ballots would be put in the mail late this week through National Screen Service ex- changes to more than 17,000 theatres. Be- sides the distributors’ choice of 65 pictures, the ballot will list performances by 56 actors and 50 actresses, 28 as the most promising new male personalities and 28 as the most promising new female person- alities. Distributors who are presented on the ballot, and the number of pictures listed by each, are: Allied Artists, five; Colum- bia, six; MGM, 12; Paramount, 11; RKO, three; Republic, three; Trans-Lux, two; 20th Century-Fox, four; United Artists, three; Universal, 10; Warner Brothers, six. Tri-States Exhibitors Meet Opens Monday MEMPHIS: The annual convention of Tri- States Theatre Owners, TOA affiliate, con- venes Monday and Tuesday at the Hotel Gayoso here with 300 to 400 delegates and their wives expected from all sections of the Memphis trade territory. There will be a luncheon Monday with welcome speeches and reports, a business session at 2 P.M. for a discussion of small business administration loans, a board meeting at 4 P.M., and a dinner at Hotel Claridge given by Film Transit, Inc., at 7:30 that night. Tuesday, a 10 A.M. business session for election of officers and a discussion of the Exhibitors Motion Picture Association plan will be held. Dick Kennedy, Birmingham, will speak on industry problems at Tues- day’s luncheon. A banquet and dance Tuesday night will close the convention. Embargo on U.S. Film Is Lifted in Burma The two-month embargo on U. S. films in the Burmese market has been lifted, with American distributors assured of a “virtually free’ remittance arrangement and a “very liberal” allocation plan, it was announced last week by a representative of the Motion Picture Export Association. Irving A. Maas, vice-president of MPEA, who has been in Rangoon for the past few weeks, wired the organization’s headquar- ters that agreements have been reached with the Burmese Government which will allow an import of 2,100,000 feet of film from the seven major companies operating in Burma. Says Allied Eager to Aid In Recovery WINCHENDON, MASS: Allied States As- sociation is pursuing a constructive policy in a conciliatory manner in hope of con- tributing to the business recovery of the industry, along with other elements desir- ous of bringing about a healthier business state for production and distribution as well as exhibition, Abram F. Myers, Allied chairman and general counsel, told the 25th anniversary convention of the inde- pendent Exhibitors of New England at its opening session here Monday. Mr. Myers said that there are many subjects on which all exhibition can and should agree and cooperate. Among them, he said, is support for Federal authoriza- tion for divorced circuits to engage in production to help relieve the product shortage. While calling for increased exhibitor organization cooperation in all matters on which they see alike, Mr. Myers said that this is not the time for merging all exhibi- tors into a single organization. He also declared that the policy of fewer pictures at higher prices would be one of a num- ber of subjects which might be properly discussed at a joint meeting of exhibitor leaders with top company executives, such as suggested by Ruben Shor, Allied presi- dent. Says Board Will Decide Whether or not Allied would agree to individual meetings with distribution com- pany heads, rather than joint meetings, said Mr. Myers, was a matter to be decided by the Allied Board, which meets in Dal- las November 25-26. Edward W. Lider, IENE president, in- troduced the Myers keynote speech. Tuesday morning Phil Lowe, of Theatre Candy, Inc., and Nap Buchman, of Theatre Merchandising Corporation, led the open discussion on concessions, and Jack G. Wallen, vice-president of A. Yarchin and Company, spoke on the insurance prob- lems of conventional theatres and drive- ins. William C. Gehring, vice-president of 20th Century-Fox, gave the major address of the day. Introduced by Nathan Yamins, Allied States leader, Mr. Gehring stressed the importance of uniting all exhibitors into one organization for strength and survival. He claimed the key to TV com- petition was in theatre comfort and con- venience, since the product was superior, and urged small town exhibitors to ally themselves with other mechants and to get children to become “movie conscious.” The convention closed Tuesday night with a manquet at which George Roberts was toastmaster. 20 MOTION PICTURE HERALD, OCTOBER 20, 1956 Your Box-Office gift from RKO... all wrapped up for the Holiday Season! FiSHER mom IN BUNDLE OF JOY ADOLPHE TOMMY MENJOU NOONAN with TECHNICOLOR* RKO RADIO Nita TALBOT Una MERKEL Melville COOPER Bill GOODWIN tf Howard McNEAR v Produced by EDMUND GRAINGER. Screen Play by NORMAN KRASNA, ROBERT CARSON and ARTHUR SHEEKMAN • Story by FELIX JACKSON • Directed by NORMAN TAUROG • Musical Numbers and Dances Staged by NICK CASTLE • Lyrics by MACK GORDON • Music by JOSEF MYROW iey Package for Your Best Playing Time St. George and the dragon Continuous show — entire week Battle the wicked dragon . . . save the lady fair! That’s what we’d all like to do— and can— on the wide, wide-screen where everything’s close-up and adventure’s real and earnest. Product of modern Motion Picture Film Department EASTMAN KODAK COMPANY, Rochester 4, N. Y. Branches at strategic centers. Inquiries invited. motion picture technology, wide-screen movies came about through the close co-operation of industry and such groups as the Eastman Technical Service for Motion Picture Film. M East Coast Division 342 Madison Avenue New York 1 7, N. Y. Midwest Division 1 30 E. Randolph Drive Chicago 1 , Illinois West Coast Division 6706 Santa Monica Blvd. Hollywood 38, Calif. Around the World in 80 Days United Artists-Michael Todd — Mammoth Extravaganza ( Eastman Color — Print by Technicolor ) For close to three hours, Michael Todd, Showman Par Excellence, takes his audi- ence on a jumbo extravaganza-expedition around the world, and the myriad of sights, sensations, lavish settings, thou- sands of people and breathtaking locations, photographed in most instances in authen- tic locales, make the sum total a pretty awesome — but richly entertaining — experi- ence. Technically superb, with all the clarity and beauty of Todd-AO and Technicolor, replete with a trenchantly humorous screenplay by S. J. Perelman based on the Jules Verne novel, music by Victor Young, direction by Michael Anderson, and associate producer’s chores handled by William Cameron Menzies, the sum total shapes up as a mightily ambitious tour de force. Words of commendation are due Lionel Lindon, director of photography, and Kevin McClory, foreign location director; also Miles White for his handsome cos- tuming and Paul Godkin for some sharp choreography. Despite its 178 minutes run- ning time, the plot moves rapidly, with a succession of breathtaking, interest-hold- ing incidents bursting on the viewer like firecrackers, one by one. And to cap this rich entertainment confection with some really super icing, Todd engaged half a hundred internationally-famed personali- ties to appear in what he styles “cameo” roles, in sequences laid in some 25 locales around the world. Four leading person- alities seen throughout are David Niven, Cantinflas, famed Mexican comedian, the late Robert Newton and Shirley MacLaine. All are execellent. As for the “cameo” folk, all of whom are seen in brief flashes, they .get into the spirit of the merry doings with appropriate gusto, and all are effec- tive. The plot, on which the series of in- cidents is strung, deals with a bet made by an English gentlemen, Niven. He sets out round the world with his man servant, Cantinflas, after wagering members of his London club that he can circle the globe in 80 days flat. As this is 1872, that repre- sents quite a feat. The stake is £20,000. Niven and Cantinflas win their bet, but not before they have undergone some ex- hausting trials by water, fire, assorted in- ternational villains, a beautiful Indian Princess, Miss MacLaine, and a suspicious detective, Newton, who thinks Niven has robbed the Bank of England. Delayed by an avalanche that seals a railroad tunnel in France, the pair buy a balloon and fly south. Blown off course to Spain, they persuade a rich sheik to lend them his yacht in return for Cantinflas’ appearance as matador in a bull ring. At Marseilles, they board a steamer for India, encounter- ing at Suez the suspicious detective, who henceforth becomes their nemesis. Their adventures in India consist of such hairbrained incidents as rescuing an Ind- ian princess from a funeral pyre where she is to be sacrificed with her husband, and her inclusion in the party for the re- mainder of the journey. The rest of the itinerary includes political rallies in San Francisco, Indian fighting on the train ride across the western plains, a slow steamer across the Atlantic which runs out of fuel and which Niven has to buy outright and stoke with the furnishings and other appurtenances, the arrival in England, and, after some final twists and turns that make the winning of the wager temporarily doubtful, a successful con- clusion. On hand for recognition every few min- utes by the delighted audience are such as Frank Sinatra (a piano player); Mar- lene Dietrich ( mistress of a Barbary Coast dive), Ronald Colman (an Indian railroad official), and Charles Boyer, Noel Coward, Joe E. Brown, Victor McLaglen and Ed- mund Lowe, Charles Coburn, John Car- radine, Sir John Gielgud, etc., etc. All are showcased against exciting locales, some of them richly enhanced by James Sul- livan’s fine art direction, and all fit their “cameo” bits like gloves. Especially fine are Miss Dietrich, Beatrice Lillie (riotous as a revivalist leader in London) Boyer, Hardwicke, Noel Coward and Peter Lorre. Niven is on hand for almost all of the action, and his flavorful portrait of an 1872-vintage Englishman, stuffy and punc- tilious but full of a zest for life, is the welding agent for the entire proceedings and one of Niven’s best performances. Mike Todd has himself a piece of solid showmanship of the first order. Special praise is due Cantinflas, whose soft, unassertive comedy style rises to a crescendo of rich humor. Seen at a press preview at the Rivoli theatre, New York, with an audience that applauded frequently and seemed highly pleased with the goings-on. Reviewer’s Rating: Superior. — Lawrence J. Quirk. Release date, not set. Running time. 178 minutes. General audience classification. Phileas Fogg David Niven Passepartout .. Cantinflas Robert Newton, Shirley MacLaine, Charles Boyer, Joe E. Brown, Martin Carol, John Carradine, Charles Coburn, Ronald Colman, Melville Cooper, Noel Coward, Finlay Currie, Reginald Denny, Andy Devine, Marlene Dietrich, Luis Miguel Dominguin, Fernandel, Sir John Gielgud, Hermione Gingold, Jose Greco, Sir Cedric Hardwicke, Trevor Howard, Glynis Johns, Buster Keaton, Evelyn Keyes, Beatrice Lillie, Peter Lorre, Edmund Lowe, Victor McLaglen, Col. Tim McCoy. A. E. Matthews, Mike Mazurki, John Mills, Alan Mowbray, Robert Morley, Edward R. Murrow, Jack Oakie, George Raft, Gilbert Roland, Cesar Romero, Frank Sinatra, Red Skelton, Ronald Squires, Basil Sydney, Harcourt Williams "80 Days' in Big Opening Amid premiere hoopla in the grand tradition, Michael Todd’s ambitious film venture, “Around the World in 80 Days” made its debut at New York’s Rivoli theatre Wednesday night before an audi- ence of celebrities. All the customary ap- purtenances were on hand. A special showing of the film was held Thursday night at the Rivoli for the benefit of the Will Rogers Memorial Hospital Fund. At- tendance at the special showing was by invitation only. The picture will run at the Rivoli on a two-a-day, reserved seat basis, with na- tional release planned for 1957. Mr. Todd plans to follow the New York premiere with showings in Moscow, London, Paris, Rome and Mexico City. The film, created in the Todd-AO process and color by Technicolor, represents the initial presen- tation by Michael Todd Productions. Mr. Todd shot his production in locations all over the world and utilized the resources of several Hollywood studios for interiors and other work. The Rivoli theatre was especially re- decorated for the spectacular show, which has a brief intermission between the two “acts.” Shirley MacLaine, David Niven and Cantinflas debate on the itinerary of their fabu' lous 80-day world tour in Michael Todd's new cinematic adventure. 24 MOTION PICTURE HERALD. OCTOBER 20, I95& Davis Visit Is Called Routine Routine discussions with officials of Rank Organisation affiliates in this coun- try and Canada were advanced by John Davis, head of Rank film and thea- tre operations, as the primary pur- pose of his current visit to America. Mr. Davis said that while the Or- ganisation’s inter- est in its own dis- tribution setup for America continues active, nothing will be done on that John Davis matter at the pres- ent time. He added that the matter as it has been discussed for the past three years has not changed, and that it remains in the discussion stage only. Mr. Davis ar- rived in New York last week after visit- ing Rank offices in Montreal and Toronto. In his party, which is due to return to London shortly, were Mrs. Davis, Ken- neth Winckles, Kenneth Hargreaves and Harry Norris. Mr. Norris brought with him prints of three new Rank productions, for which he is setting up American dis- tribution arrangements during his visit here. In Chicago, Mr. Davis said he talked with Bell & Howell officials on new equip- ment developed by the company. He added that Mr. Rank has a long term agreement with B & H for equipment manufactured under a joint licensee pro- gram for distribution in many parts of the world. National Telefilm Buys Rainbow Productions Oliver A. Unger, executive vice-president of National Telefilm Associates, Inc., and Paul Raibourn, vice-president of Para- mount Pictures Corp., have announced the signing of an agreement for the acquisition of Rainbow Productions by National Tele- film Associates. Rainbow Productions is a wholly-owned subsidiary of Paramount Pictures and is the owner of a group of motion pictures and story properties. The acquisition includes six films and two story properties for the sum of $775,000. The films include the Bing Crosby-Ingrid Bergman starrer, “Bells of St. Mary’s” (1945) ; “Good Sam,” starring Gary Cooper and Ann Sheridan; Somerset Maugham’s ‘Encore” and “Trio,” and the Max Fleischer Technicolor “spectaculars,” “Gul- liver’s Travels” and “Mr. Bugs Goes to Town.” The two properties are “Private Property” and “One More Tomorrow.” Lewis Heads MPAA Unit Roger H. Lewis, national director of ad- vertising, publicity and exploitation for United Artists, was elected chairman of the Advertising and Publicity Directors Committee of the Motion Picture Associa- tion of America at a meeting of the com- mittee last week in New York. Mr. Lewis succeeds Jerry Pickman, vice-president in charge of advertising and publicity for Paramount Pictures. At the same time, the committee made preparations to present its newly devel- oped promotional plan, based on the Acad- emy Awards, to the “Summit” conference of top company executives held in New York late this week. The plan, which would be a type of “sweepstakes merchan- dising and promotion idea based on the ‘Oscar’ presentation awards,” was included in the over-all recommendations of the Advertising and Publicity Directors Com- mittee report, submitted for the study of the company presidents, domestic and for- eign sales heads and domestic and foreign advertising-publicity heads. The advertising-publicity committeemen last week also honored Manning (Tim) Clagett of the MPAA for his work with the committee in the past. He is moving to the MPAA Washington office. C|NemaScoP£ A WARWICK PRODUCTION Reserve It Now for New Year’s Eve... from COLUMBIA! 1 * 1 r /jH wp : JD x Jfat I Ijfcrr * £ Statutory Eady Levy Protested by CEA . . . Already adamant against re- lease of features to BBC, British exhibitors take militant stand on Government's Eady proposal by PETER BURNUP LONDON : CEA’s militancy persists, to the dismay of other sections of the indus- try, in regard to the proposed controlled release of feature films to the BBC. The intransigents on CEA’s General Council have now poured more oil on troubled flames in their declaration of “the strong- est possible protest” against the Govern- ment’s announced intention to introduce a statutory Eady Levy. An abortive attempt was made at Gen- eral Council’s meeting in behalf of the as- sociation’s London branch to have the question of cooperation with the BBC re- opened. But General Council took refuge in procedural practice. Will Attend ‘ Big 4” Meet The debate was abruptly stopped. CEA’s officers will, nevertheless and perforce, attend the meeting of the Four Associa- tions joint committee which has been con- voked for October 31 and at which the matter will be discussed again. Adroit manoeuvring will doubtless then occur on the part of exhibitor delegates. As a preliminary to the Four Associa- tions’ meeting, CEA’s finance and manage- ment committee have put on record its view of the situation to date. After ex- pressing its pious regret that KRS and BFPA should have elected to go forward “in regard to an important issue of this kind” without CEA consent, the record re- fers to the presumed intention to supply the BBC with “better films than are at present being shown.” The record concludes in the following high-sounding though extremely vague terms: “If this turns out to be the case and exhibitors’ box offices suffer, your commit- tee thinks that exhibitors will inevitably be forced to consider what other steps they should take to recoup their losses.” A Matter of Conjecture What forms those “other steps” might take is a matter of considerable conjecture here. The suggestion is made in some quarters that CEA tacticians have in mind — if and when the BBC agreement is final- ised— singling out some luckless distribu- tor who finds himself in a weak trading position and imposing a vengeful boycott on him. The suggestion may be discount- ed. For, clearly, any such action on the part of the association would set the spark to a considerable civil war in the industry. None wants, in the currently difficult conditions, a spiteful cutting-of-of-noses exercise. It is still generally believed that in due course and following the meeting of the Four Association’s committee, CEA’s present proud policy will fall into diplomatic abeyance. In spite of the views of the production end of the industry, CEA appears to be on much stronger ground in its now formally declared opposition to a statutory Eady Levy without a substantial reduction in entertainment tax. General Council had before it a comprehensive and analytic survey of the Eady position prepared by the association’s finance and management committee, but few were prepared for the exceedingly bitter debate which ensued in General Council. Tenour of many speeches was that a subsidy was necessary for Brit- ish production whether derived out of Government funds or from the box office; but agreement was general and most forcefully expressed that the box office cannot sustain the Levy unless a prior and substantial cut in the tax were assured. Adopt Resolution From the floor of General Council a resolution was moved and unanimously adopted in the following terms: “That having regard to the disastrous effect on the box office of the present excessive entertainment tax, the General Council registers the strongest possible protest against the introduction of a statu- tory levy and instructs the officers to make known such protest and to take such fur- ther steps as they think are in the best in- terests of exhibitors.” It is an open secret that the officers are waiting for just such a lead from rank and file exhibitors. Steps have already been taken toward a small deputation going down to the Board of Trade to talk things over with the board’s president. CEA’s leaders are well aware that president Peter Thorneycroft cannot speak for the Chancellor of the Exchequer or the latter’s intentions when he opens his Budget next April. But the officers will make very clear to Mr. Thorneycroft the parlous condition of exhibitors under present conditions and the certainty that many more theatres will assuredly shut down unless tax relief comes their way. How then, the officers will ask, can the necessary subsidy be pro- vided unless there’s money left? They will also have alternative sugges- tions to make; namely: (1) That the sub- sidy come directly from Government funds; or (2) that, in any event, the amount of levy paid by a given exhibitor should be regulated by the amount of the net admission prices ultimately left with the exhibitor and not on the actual price of admission. CEA’s officers also plan a pamphlet get- ting out the position for every Member of Parliament. Significantly, the Rank Organisation is seizing the time and opportunity for an extensive advertising campaign with a two-fold aim; one urging the merits of Britain’s films, the other pressing tax re- duction. ACT PRESENTS DEMANDS TO LABORATORY GROUP The Association of Cinematograph and Allied Technicians has presented the Laboratory Association with further sub- stantial demands for increased wages and revised working conditions. The demands include: A 40-hour week in the laboratories and 35 hours in of- fices (the present working hours are 44 and 40, respectively) ; 100 per cent trade union membership; a 30-shilling cost-of- living bonus — with £ 1 for juniors under 18 — to be consolidated in basic wages; full cost-of-living bonus to be paid at the age of 18 instead of, as now, at the age of 21; double-time payment for Saturday work, instead of time-nad-a-half as now; and an industry pension scheme. The laboratories here two and one-half years ago faced a complete shut-down when employers threatened to dismiss laboratory workers who indulged in re- strictive tactics in support of the union’s then demands for a 40-hour week, a week- ly payrise of 30 shillings and a “closed shop.” At that time the Ministry of Labour intervened to investigate the dispute. Its Court of Inquiry found the union in the wrong on all major counts. • The European premiere of “Moby Dick” has been set for Wednesday, November 7, at the Warner theatre here. The produc- tion will be shown to the trade at 3 P.M. on the same day, and will start the con- current public run at the Warner and Studio One, Oxford Street, on November 8. Suit Filed on TV Use of Song in Picture The Jerry Vogel Music Co., Inc., has filed suit in New York Federal Court against AB-Paramount Theatres, RKO Teleradio, Inc., and Sunset Securities Co. alleging an infringement of rights to a song used in the film, “Lulu Belle,” owned by Sunset and exhibited on TV by the other co-defendants. According to Mr. Vo- gel, the song “The Ace in the Hole,” sung in the picture, was licensed to the original producer, Benedict Bogeaus, Inc., under conditions excluding TV exhibitions. 26 MOTION PICTURE HERALD, OCTOBER 20, 1956 this week m ^Jdodiiwood ^cene PRODUCTION ° THAT ACADEMY TELECAST AGAIN . . . Started— 9 Columbia — Garment Center; The Man Who Turned to Stone. Independent — Crime Beneath the Sea (Nacirema Prods.) Paramount — The Joker Is Wild. RKO Radio — Escapade in Japan (Color). 20th Century-Fox — The Lonesome Gun (Regal Prods.); Man from Abilene (Brady-Glaser Prod.); Island in the Sun (Zanuck; CinemaScope; DeLuxe Color). Universal-International — Pay the Devil (Cinema- Scope). . . . Completed — 9 Independent — Pawnee (Gross-Krasne; Eastman Color). Metro-Goldwyn-Mayer — Lizzie (Bryna Prods.). 20th Century-Fox — Fury at Rock River (Regal Films; Regalscope); The Restless Breed (National Pic- tures; Eastman Color). United Artists — The Ride Back (Associates & Aid- rich); Trooper Hook (Fielding Prod.); The Kraken (Levy-Gardner-Leven); The Big Caper (Pine- Thomas; Gambling Man (Bel-Air Prod.). . . . Shooting — 33 Allied Artists — Gun for a Town (Jerold Zukor Prod.); Love in the Afternoon; Jeannie (CinemaScope; Color). Columbia — The Cunning and the Haunted; The Bridge on the River Kwai (Horizon-American); The Admirable Crichton (London Films); Fortune Is a Woman; The Story of Esther Costello (Valiant Films); Interpol (Warwick Prods.); A Town on Trial (Marksman Films). Independent — Kill Me Tomorrow (Amalgamated Prod.); One Man's Secret (Amalgamated Prod.). Metro-Goldwyn-Mayer — Designing Woman (Cinema- Scope; Color); Harvest Thunder (CinemaScope; Color) Ten Thousand Bedrooms (CinemaScope; Color); Something of Value; Raintree County (65mm; Color). Paramount — The Delicate Delinquent (VistaVision); Flamenca (VistaVision; Color). RKO Radio — The Girl Most Likely (Eastman Color); The Lady and the Prowler (Color). 20th Century-Fox — Boy on a Dolphin (CinemaScope; Color); The Girl Can't Help It (CinemaScope; De- Luxe Color); The True Story of Jesse James (Cine- maScope; DeLuxe Color); Three Brave Men (Cine- maScope); Heaven Knows, Mr. Allison (Cinema- Scope; DeLuxe Color). United Artists — Bail Out at 43,000 (Pine-Thomas). Universal-International — The Land Unknown (Cine- maScope); Night Passage (Technirama); Man Afraid (CinemaScope). Warner Bros. — Melville Goodwin, U.S.A.; A Face in the Crowd (Newton Prods.); The Sleeping Prince (LOP Prods.). HOLLYWOOD BUREAU Nine pictures were started, and nine others finished, to wind up the week with a total of 42 in shooting stage. “Garment Center” is a Columbia pic- ture, shooting in New York, with Harry Kleiner as producer and Robert Aldrich as director. Lee J. Cobb, Kerwin Mathews, Richard Boone, Gia Scala and Valerie French are in the cast. Columbia producer Sam Katzman Hollywood, Monday Esteemed Editor: At this point on the calendar the Acad- emy of Motion Picture Arts and Sciences is without a sponsor for its Awards Nomi- nation telecast. According to report, and subject to change, Oldsmobile, which has sponsored both this and the Awards Pres- entation telecasts for the past two years, is satisfied to settle for one crack instead of two. That fact would appear quite in- formative about the sales impact of a pro- gram as inconclusive as the Academy nominations. This lack of a sponsor brings no tears to professional Hollywood. There was deep feeling against this curtain-raiser type of program from its inception. It was be- started shooting “The Man Who Turned to Stone,” directed by Leslie Kardos, with Victor Jory, Ann Doran, Charlotte Austin and Jean Willes. “Crime Beneath the Sea,” a Nacirema Production, went into production with Mara Corday and Pat Conway in princi- pal roles. Norman Herman is producing, and John Peyser is directing. Paramount’s Samuel J. Briskin went to work on “The Joker Is Wild,” directed by Charles Vidor, with Frank Sinatra, Mitzi Gaynor, Jeanne Crain, Eddie Albert, Ted DeCorsia and Beverly Garland. “Escapade in Japan,” RKO, is being filmed in Japan by Arthur Lubin, pro- ducer-director, with Teresa Wright, Cam- eron Mitchell, Jon Provost and Philip Ober in the cast. Darryl F. Zanuck started the first of his independent productions for 20th-Fox distribution, “Island in the Sun,” directed by Robert Rossen. It is being shot in the British West Indies, in CinemaScope and DeLuxe color, with James Mason, Joan Fontaine, Dorothy Dandridge, Joan Col- lins, Michael Rennie and Diane Wynyard in top roles. “The Lonesome Gun” is a Regal Pro- duction for 20th-Fox release, with Daniel B. Ullman as producer-director and Herb Mendelson as associate producer. Rex Reason, Margia Dean, Beverly Garland and Keith Larson are leads. “The Man from Abilene” is a Brady- Glaser Production for 20th-Fox, with Scott Brady, Mala Powers and Bill Wil- liams in top parts. Scott Brady and Ber- nard Glaser are coproducers, and Edward Bernds is directing. “Pay the Devil” is being produced by Albert Zugsmith for Universal-Interna- tional. It has Jeff Chandler and Orson Welles in major assignments, directed by Jack Arnold. lieved by a probable majority of the Acad- emy’s well-wishers that one annual parade of Hollywood personalities across the tele- vision tube was about as many as was good for the Academy and the person- alities. After the March telecast of the Award Presentation, the Academy will be free to make whatever arrangements its board of governors see fit on future uses of TV for the present three-year contract will have expired. The present administra- tion has done a good deal of talking about getting the telecast freed from commercial connection of any kind, but the Academy elects officers annually and the present slate may not be making the decisions when time for that particular decision comes around. Maybe the next slate will persuade the industry to pay for its own telecast, Hollywood would like that. • Excitement was stirred last weekend by the report that “30 Seconds Over Tokyo,” the first feature picture from the MGM backlog to be telecast in Southern Cali- fornia, had bested all of the programs on all six of the competing TV stations, col- lectively, through its 150 minutes on the air. The figures, compiled by the Amer- ican Research Bureau, were frightening in their significance with respect to where the entertainment interest of the citizenry had been Friday evening. The statistics indicated a viewing audi- ence numbering about 2,000,000, and it rated the program at 53.8 over-all. Even an inexpert statistician can figure out that these numbers indicated a total listening audience of about 4,000,000, for all seven Los Angeles TV stations, and it seemed there couldn’t possibly be anybody look- ing at motion pictures in theatres. But the American Research Bureau hadn’t researched the theatres. This morn- ing, when the district managers of Na- tional Theatres checked the weekend busi- ness, the Friday night report showed no trace of having been damaged by the tele- cast. The report of the Metropolitan Thea- tres circuit for the evening in question showed the same. It was the same story all around the town. The incident has more than common meaning. Station KTTV, which telecast the picture, is owned by the Los Angeles Times and Los Angeles News-Mirror, which are jointly owned, and the station has spent about $100,000 in exploiting the televising of the first film from the MGM backlog. Conditions were right for the film to put the theatres out of business for the evening. It didn’t, and if that one didn’t, it appears probable none will. —WILLIAM R. WEAVER MOTION PICTURE HERALD, OCTOBER 20, 1956 27 Magna , Fox to Invest in Film Of "Pacific” Magna Theatre Corporation, United Ar- tists Theatre Corporation and 20th Cen- tury-Fox will invest about $5,000,000 in the motion picture adaptation of Rodgers & Hammerstein’s “South Pacific,” which will be filmed in the Todd-AO process starting next March, it was announced in New York this week by George P. Skouras,, president of Magna, and Oscar Hammerstein II, of Rodgers & Hammer- stein Pictures, Inc. At their joint press conference, Mr. Skouras and Mr. Hammerstein said 20th- Fox will pay Magna $2,000,000 by next March for domestic distribution rights to the CinemaScope version of “Oklahoma!” which will open in selected situations throughout the United States around Thanksgiving and Christmas. The Magna Theatre executive said that under the agreement among Rodgers & Hammerstein, 20th-Fox and his company. 47 per cent of the net profits from the Todd-AO version of “South Pacific” would be received by R & H Pictures; that Magna would receive 53 per cent of the net profits with 10 per cent of this going to 20th-Fox, which is investing $2,000,000 in the film. He added that 20th-Fox, which will also distribute “South Pacific” world-wide after its roadshow engagements, has agreed upon a 20 per cent distribution charge for the picture, the same distribution charge applying to “Oklahoma!” RKO Radio Pictures, which last summer acquired the foreign distribution rights to the Todd-AO and CinemaScope versions of “Oklahoma!” has informed Magna that it foresees a foreign gross of $12,000,000 for the film, Mr. Skouras also told the press. Allied Artists Gross Gains HOLLYWOOD: Samuel Broidy, Allied Artists president, has announced the earn- ings of the corporation and its subsidiaries for the fiscal year ended June 30, 1956. Total gross income amounted to $16,977,- 000 compared with $12,670,000 in 1955 an increase in 1956 of $4,307,000, or 34 per cent. Domestic and Canadian film rental in- come in 1956 increased to $13,854,000 from $9,441,000 in 1955 and foreign film rentals increased to $2,946,000 from $2,601,000. Net income before Federal income taxes was $801,875 in 1956, as compared with $1,064,- 494 in 1955. Included in 1955 income was an item of $461,557 received from the sale ★ Box Office CHAMPIONS for SEPTEMBER The box office champions are selected on the basis of re- ports from key city first run theatres throughout the country. Away All Boats Universal-International — Vista Vision Producers: Howard Christie. Director: Joseph Pevney. Written by Ted Sherdeman; from the book by Kenneth M. Dodson. Tech- nicolor. Cast: Jeff Chandler, George Nader, Julie Adams, Lex Barker, Keith Andes, Rich- ard Boone, William Reynolds, Charles Mc- Graw, Jock Mahoney, John Mclntire, Frank Faylen. (Champion for the second month). The Bad Seed Warner Bros. Producer and Director: Mervyn LeRoy. Written by John Lee Mahin. From the play by Maxwell Anderson and the novel by William March. Cast: Nancy Kelly, Patty McCormack, Henry Jones, Eileen Heckart, Evelyn Varden, William Hopper, Paul Fix, Jesse White. Bus Stop 20th Century-Fox — CinemaScope Producer: Buddy Adler. Director: Joshua Logan. Written by George Axelrod. From the play by William Inge. Color by De Luxe. Cast: Marilyn Monroe, Don Murray, Arthur O'Connell, Betty Field, Eileen Heck- art, Robert Bray, Hope Lange, Hans Conried. The Eddy Duchin Story Columbia — CinemaScope Producer: Jerry Wald. Director: George Sidney. Writer: Samuel Taylor. Technicolor. Cast: Tyrone Power, Kim Novak, Victoria Shaw, James Whitmore, Rex Thompson, Mickey Maga, Shepperd Strudwick, Frieda Inescourt, Gloria Holden. (Champion for the third month). High Society Metro-Goldwyn- Mayer — VistaVision Producer: Sol C. Siegel. Director: Charles Walters. Written by John Patrick. From a play by Philip Barry. Color by Technicolor. Cast: Bing Crosby, Grace Kelly, Frank Sinat- ra, Celeste Holm, John Lund, Louis Calhern, Sidney Blackmer, Louis Armstrong, Margalo Gillmore, Lydia Reed, Gordon Richards, Richard Garrick. The King And I 20th Century-Fox — CinemaScope Producer: Charles Brackett. Director: Wal- ter Lang. Writer: Ernest Lehman. DeLuxe Color. Cast: Deborah Kerr, Yul Brynner, Rita Moreno, Martin Benson, Terry Saunders, Rex Thompson, Carlos Rivas, Patrick Adiarte, Alan Mowbray. (Champion for the third month). of fully amortized pictures, whereas no such extraordinary income was received in 1956. Federal income taxes were $430,- 000 in 1956 and $466,000 in 1955, leaving a net income of $371,875 in 1956 and $598,494 in 1955. Citing “Friendly Persuasion,” which premieres shortly at Radio City Music Hall, Mr. Broidy said it marked a “signifi- cant milestone in Allied Artists’ long- range upgrading program.” Perry, N. Y., House to Open BUFFALO: Reopening of the Auditorium theatre in nearby Perry, N.Y. under new auspices is assured following negotiations between the Town board and Mount Mor- ris interests. New holders of the lease are Nunzio and Sarah Tantillo. Florida Exhibitor Unit Meeting October 28-30 JACKSONVILLE: Billed as “the big con- vention for little exhibitors,” the annual gathering of the Motion Picture Exhibitors of Florida has been set for October 28-30 at the Hotel Roosevelt with S. H. Fabian, president of Stanley Warner Theatres, New York, scheduled for the keynote ad- dress. The registration of more than 400 exhibitors, theatre suppliers and distribu- tor representatives is expected for Sunday, October 28. The meetings will begin offi- cially at a business session Monday morn- ing, October 29, with Elmer Hecht of Miami, president, and Mayor Haydon Burns giving addresses of welcome, fol- lowed by Mr. Fabian and a distributor presentation of new film producer with Fred Hull, MGM manager, as moderator. 26 MOTION PICTURE HERALD, OCTOBER 20. 1956 “ WHAT THE PICTURE DID FOR ME” 40 YEARS YOUNG AND HEALTHY by LAWRENCE J. QUIRK Forty years ago this month — Oc- tober of 1916 — saw the establishment by Martin Quigley of the famous service department now known to several genera- tions of exhibitors as “What the Picture Did for Me.” The intrinsic value of this highly useful feature, which Mr. Quigley has nurtured and sustained for four productive decades as a prime service to operators of situ- ations the world over, cannot be under- estimated. Its name and fame have spread far outside exhibitor ranks. Its laconic, shrewd opinions, based on the incontro- vertible evidence of the actual playing- time experience of picture-wise showmen in situations great and small, rural and urban, have been quoted by columnists like Sidney Skolsky and have been taken up through word of mouth by the show- wise in many divisions and categories. But it is primarily because of the fact that this feature has proved itself emi- nently serviceable to exhibitors, and be- cause of the venerable and respected place it holds in the hearts of some 10,000 ex- hibitors down the years, that it is fitting that in this, the fortieth anniversary month of “What The Picture Did for Me,” some note should be taken of its function, its history, and its place in the motion picture trade scheme. From All Areas Some half-million reports on the com- mercial standing of the industry’s films have sprung into type since that distant day in 1916 when our present Hollywood editor, William R. Weaver, under Mr. Quigley’s direction, gathered together a sheaf of exhibitor opinions. of product re- cently screened for patrons, and edited them for a debut appearance in the then Exhibitors Herald. The geographical locations of those sending in their opinions over the years have become more widespread, and the types of operators corresponding have varied, from the small 400-seat theatre manager of 1916 to the drive-in showman of 1956 — but the pattern of the individual observation has changed surprisingly little. Exhibitors have found these com- ments unbeatable as a method of com- paring notes. By this system showmen from Canada to Argentina, from Maine to California, from the Orient to Great Britain, have traced a film’s course box office-wise, its impact on patrons in large and small situations, in western cowtown and small eastern suburb, in staid New Hampshire and fun-loving Florida. Nor have the ever-watchful Hollywood producers failed over the years to absorb to their profit the lessons inherent in this cross-section examination of the composite observations of the men actu- ally-on-the-spot as patrons watched product. Since 1916, “What the Picture Did for Me” has seen many an industry crisis and shifts in booking systems'. There were those booking changes brought about by the “loan-out” system, which resulted in contract stars borrowed by other studios making their appearance on the marquee of a small exhibitor’s com- petitor, to the latter’s professional con- sternation. But such was not the case in comparatively simple 1916 when, as Bill Weaver once noted, an exhibitor had cer- tain assurances box office-wise. A show- man booking a Paramount lineup in that year knew he would get the exclusive services of certain top-grossing person- alities working solely for that company; ditto exhibitors booking Triangle product, or the Universal or Mutual output. Trends Came and Went Many were the trends that came and went over four decades. Spot-booking as against the block variety enjoyed its vogue. The star system reached its zenith in the 1920s and the personality outweighed the vehicle. This gave rise to Favorite Star contests among the exhibitors, and even awards by producers like Adolph Zukor to “the year’s finest film produc- tion,” based on the showmen’s aggregate opinion. Other trends followed — the “give- away dishes” of the depression period, the poll surveys of attendance at morally questionable films, the star personal ap- pearances. All these phenomena were reflected in the pages of “What the Picture Did for Me.” More serious developments rocked the industry — the letdown at the box of- fice after the “boom year” of 1946, the onslaughts of rising costs and TV, the shift to the drive-in, the rise of refresh- ment concession profits, which kept more than one operator out of the red. Then came the divorcement of production from exhibition in the early 1950’s, and its serious effects on product placement. As before noted, the language that the typical exhibitor adopts when he pens or types in his individual report has changed little since 1916. A typical 1956 A-type feature like Universal’s “Never Say Good- bye” carries the exhibitor notation in a recent 1956 issue: “Played to S.R.O. and it’s the best tear-jerker in many months!” This from a gentleman in Georgia. And one gets a nostalgic feeling when one thumbs through a 1916, or a 1932, or a 1944, volume and meets the same observa- tion, almost word-for-word, on a bygone film. Human nature, and its entertainment likes and dislikes, have changed little with the years. The styles have changed, the production mounting has been embellish- ed, the loved old faces of bygone favorites disappear, perhaps, but not the funda- mental audience emotions beneath. Down the years exhibitors on that page have chortled delightedly of a “$2,000 Sat- urday night take” and they have waxed gloomy as they gave notice of “$13.50 at the till at yesterday’s dead matinee.” Then Bill Weaver likes to tell of the classic write-in, from a showman who screened a certain nameless turkey and wrote, “This picture is so bad I stuck it in the can after the first show and screened a row of tickets!” Some interesting phenomena have al- ways been revealed. In 1923, when the late box office idol Wallace Reid died, some exhibitors writing in demanded a fresh circulation of his old films, citing patron requests. In other sections of the country, exhibitors reported a box office nose-dive for Reid’s final pictures in view of his death! In this respect patron tastes have changed, since 1955-56 reports from exhibitors offer predominantly favorable box office tallies on the pictures of the deceased James Dean. In 1929, believe it or not, there were some exhibitors who thought talkies an ephemeral novelty, and the pages of “What the Picture Did for Me” that year mirror the reluctance of many of them to wire for sound! The public would get sick of the gab, they protested, and would shortly be crying for the mute fluidity of the long-popular silent film. Variables Are Cited There are certain staple tenets, of course. But in the aggregate, there are multiple “draw” factors to consider. “What the Picture Did for Me” has re- ported some of them faithfully over four decades. Weather conditions. Seasons of the year. Crops to be harvested. The base- ball season. A V.F.W. or Legion conven- tion. In the ’20s Radio was a threat. In the ’50s TV is a threat. But word-of-mouth about a good picture has a way of seep- ing through to the man and woman who step up to the box office with their money, and the correspondents’ reports reflect this. Exhibitors since time immemorial have referred to the day-of-the-week fluctuation in attendance. “Did great on Wednesday; died on Thursday” has been a common write-in summation. But the value of “knowing before show- ing” has been proved sound, as the read- ers of “What the Picture Did for Me” have discovered now for 40 years. MOTION PICTURE HERALD, OCTOBER 20, 1956 29 PeoJe in ol n eu/3 Germans May Open Publicity Office in U.S. The German motion picture industry, which is seeking to enlarge the American market for its product, may set up “an information office” in the United States to provide information, public relations and publicity about German product, ac- cording to Dr. Horst Von Hartlieb, manag- ing director of the West German Dis- tributors Association. Dr. Von Hartlieb, who plans to be in Hollywood and Washington during his month-long visit said in New York last week, prior to a Motion Picture Export Association luncheon tendered by the foreign sales managers, that he is “here to study the operations and conditions of the American film industry and its domestic market.” Dr. Von Hartlieb said his report to his West German association would hold much information about the similarity between “our industries.” He said that he reached this conclusion fol- lowing a study of the Senate Small Busi- ness subcommittee report on trade practices. Dr. Von Hartlieb also disclosed that he will make a study of the industry’s Pro- duction Code Administration with the thought of incorporating some of the American industry’s methods of self regulation into the West German manner of self regulation. He said that he will confer with Geoffrey Shurlock, PCA administrator, in Hollywood on this. The MPEA luncheon was presided over by Eric Johnston, MPEA president. Mr. Johnston, in recounting the conditions of the West German industry, said that 130 features were produced there last year and that the exhibition industry in Germany has grown from 1.300 to 5,600 theatres. Gurney Cites Problem Of the Independent The triple problems of budget, casting and finding a suitable script, loom even larger in the nightmares of the inde- pendent producer than they do for the larger operator. That is the opinion of Robert Gurney, Jr., producer of “Edge of Fury” scheduled for United Artists release. Mr. Gurney was in New York last week preparing the script and scout- ing locations for his next production, “Thin Edge of Violence” which will be made in New York. “Budgets”, he de- clared “must be kept at the minimum justified by the expected return from the so-called small market picture. Stars won’t work for what you can pay them and distributors won’t make a release deal unless you have marquee names.” Albert Goldman, projectionist at the Bea- con Hill theatre, Boston, will be installed Commander of the Lt. A. Vernon Macau- lay Post No. 270, theatrical post of the American Legion, November 20 at Blin- strub’s Village. Charles Kontulis has been named presi- dent of the Stanley Warner Club, it is announced by the organization. Other officers include: Harriett Pettit, Stan- ley Amster, Etta Rodoff, Fred Stengel and Donald Sherwood, vice-presidents; John T. Holmes, treasurer; and Stuart H. Aarons, secretary. Milton Gabler has been elected vice- president of Decca Records, Inc., in charge of artists and repertoire, it is an- nounced by Milton R. Rackmil, presi- dent. Ralph Carmichael has joined the Metro- politan Theatres circuit, Los Angeles, it is announced by Sherrill Corwin, head of the circuit. Mr. Carmichael recently had the position of film buyer for Stanley Warner Southern California Theatres. "Oklahoma!'' Regular Run In New York Nov . 2 Rodgers & Hammerstein’s “Oklahoma!” in CinemaScope and color by Technicolor, will open Friday, November 2 at Brandt’s Mayfair theatre on a continuous-perform- ance, popular-priced basis, it is announced by 20th Century-Fox, distributors of the film. Originally produced for the theatre in 1943, “Oklahoma!” premiered in its film version at the Rivoli theatre, New York, in Todd-AO a year ago this month. It closed October 2. The Magna production stars Gordon MacRae and Shirley Jones; Arthur Hornblow, Jr., produced and Fred Zinnemann directed. U. A. Package Sold In 39 TV Markets The United Artists package of 39 fea- tures, a majority of which were produced after 1948, have already been sold to tele- vision stations in 30 markets, it was re- ported in New York this week. According to a U.A. official, the company, which is aiming to sell the package in 100 markets of the U. S., has realized approximately $1,500,000 from the TV sales in the 30 mar- kets, which include New York, Chicago, Los Angeles, San Francisco, Seattle, Salt Lake City, Denver, Dallas and St. Louis. An official of the Screen Actors Guild reported early last week that negotiations Thomas E. Dunn, Jr., Universal salesman in New Orleans since 1945, has been pro- moted to branch manager in St. Louis. He replaces Harry Hynes, who is retir- ing after 29 years with the company. J. J. O’Leary is retiring as an officer of Comerford Theatres circuit, effective im- mediately, it is announced by Frank C. Walker, chief executive of the Comer- ford Theatres interests. Mr. O’Leary, vice-president and a director for many years, will remain as a consultant. Wendell B. Campbell, radio network and station executive, has been elected vice- president for national sales of RKO Teleradio Pictures, Inc., it is announced by president and board chairman Thomas F. O’Neil. Curtis H. Mees has been named division manager of the northern New Jersey division of Skouras Theatres, it is an- nounced by Spyros S. Skouras, presi- dent of Skouras Theatres Corp. Mr. Mees is well known in industry circles as a contributing writer on theatre manage- ment to the Better Theatres Section of The Herald. concerning the sale of post-1948 films would be set up shortly following discus- sions on this matter by the SAG board of directors. He said that U.A. and Matthew Fox of C & C Television Corp., which seeks to release post-1948 product produced by RKO Radio Pictures to television, have approached the guild concerning their po- sition in the TV film sales regarding rights involved. The guild official said a new formula would have to be worked out as the SAG contract only covers films pro- duced up to August, 1948. TV Shift to UHF Seen "Jeopardizing" Service The transfer of all television broadcast- ing to the ultra high frequency (UHF) band would jeopardize the future of tele- vision in the country, the Radio Corp. of America and the National Broadcasting Co. have protested to the FCC. Both com- panies filed comments with the FCC say- ing that the 12 very high frequency (VHF) channels are needed in conjunc- tion with the 70 UHF channels “in order that television may have room in which to grow and expand.” There are basic dif- ferences in VHF and UHF performance, they said, which arise from conditions of nature. They cited television in areas of mountainous terrain and cities with large structures, saying that VHF in these situ- ations would normally “continue to be superior to UHF.” 30 MOTION PICTURE HERALD, CCTOCER 20, 1956 Establish International Union Group in Rome By DR. ARGEO SANTUCCI ROME: The International Trade Union for Shows has been established officially here. Founders of the new organization are workers and representatives of the most important European countries, of the United States, and of some South American nations. The official ceremony here last week was attended by prominent Rome film industry and civic officials. The new organization will care for the inter- ests of stage and motion picture actors, writers, directors, technicians, and work- ers of the film industry; composers, mu- sicians, conductors, singers, technicians and employees of the radio and television corporations, workers of the distribution and exhibition fields and of vaudeville. The new organization was sponsored by the FULS, the Italian Christian Demo- cratic trade union for workers in show business. Says Reds' Price-Cutting Hurts Italian Film Trade ROME: The Christian-Democrat daily newspaper II Popolo has reported here that a bigger exchange of motion pictures between Italy and the Soviet Union is held back by the low prices currently of- fered by Sovexportfilm, the Russian dis- tribution agency, for Italian product. “The price paid for Italian pictures,” reported 11 Popolo, “very rarely reaches 15 million lire ($25,000) for a single feature film.” The newspaper remarked that the low offers made by the Russians seemed odd in the light of apparently excellent busi- ness in Soviet theatres indicated in a statement by Soviet industry visitors, who said that “the official number of patrons reached a peak of two billion per year in the Soviet Union.” This report was pub- lished on the occasion of a visit to Italian studios by a Soviet delegation to negotiate an increase in film traffic between the two countries. Mexican Company Sets "Biggest Budget Yet" Trans America Productions will produce “Cortez and Montezuma” in CinemaScope and color with “the biggest budget ever attempted within the Mexican industry,” it was announced last week by Frank Z. Clemente, producer, who arrived in New York from Mexico City and Hollywood. Mr. Clemente said his Mexican production company has budgeted the picture at $1,500,000 with shooting to commence late this year or early in 1957. The Mexican film producer said he is in New York to meet representatives of the major dis- tribution companies in regard to formulat- ing a releasing agreement. Weigh French Studio Closing by HENRY KAHN PARIS: From present indications it would appear that the French Producers Syndi- cate will decide about the middle of this month whether France would cease all film production for the next six months. Ac- cording to a syndicate spokesman, the question has already come up for discus- sion. While it is not certain that so dras- tic a step will be taken, many producers are known to favor it. Over the past year the French film in- dustry has completed 115 films or 25 films above the usual average for a year. These do not include co-productions. The indus- try is now asking how these extra films can possibly be released before the end of next year, especially as most of the first run houses are already booked up well into 1957. In short, this would seem to mean that films commenced last Winter will not be released for about 12 months. During this time, the producers point out, they are having to pay interest on bank loans neces- sary to produce the films which are earn- ing nothing. It is estimated that an extra six thousand million francs were invested in production in 1955-1956. The over-all situation in France is not too hopeful. COLUMBIA PICTURES ANNOUNCES THAT PRINTS OF THE FOLLOWING PICTURES ARE NOW AVAILABLE IN OUR EXCHANGES FOR SCREENING June^lLYSON ^Jack^EMMON Hov (§ANT SlUNiXWAY JROM (mg) OnemaScoP£ technicolor® —.CHARLES BICKFORD with PAUL GILBERT • JIM BACKUS • STUBBY KAYE • ALLYN J0SLYN • HENNY Y0UNGMAN Screen Play by CLAUDE BINY0N and ROBERT RISKIN • Based on a Story by SAMUEL HOPKINS ADAMS Songs by JOHNNY MERCER and GENE DE PAUL • Produced and Directed by DICK POWELL RHONDA MACDONALD FLEMING CAREY CINEMASCOPE • TECHNICOLOR® Screenplay by JOHN GILLING Based on an Original Story by ISLIN AUSTER Oirected bv JOHN GILLING • Produced by ISLIN AUSTER Executive Producers: IRVING ALLEN and ALBERT R. BROCCOLI A WARWICK PRODUCTION the white Squaw starring David May William BRIAN -WYNN -BISHOP Screenplay by LES SAVAGE, JR. 8ased on the Novel by LARABlE SUTTER Produced by WALLACE MacDONALD • Directed by RAY NAZARR0 starring GUY MADISON -FELICIA FARR KATHRYN GRANT TECHNICOLOR® with Michael Pate • Screen Play by DAVID P HARMON. RAPHAEL HAYES and DAVID DORTORT • Screen Story by DAVID P. HARMON From the Novel by ARTHUR GORDON . Produced by LEWIS J. RACHMIl Associate Producer: KEEN AINSWORTH . Directed by GEORGE SHERMAN Suicide Mission wm LEIF LARSEN and other members of the wartime organization as themselves Written and Adapted by DAVID H0WARTH, SYDNEY COLE and MICHAEL F0RL0NG • From the book "The Shetland Bus" by David Howarth Directed by MICHAEL F0RL0NG . A NORTH SEA FILMS Production BURT LANCASTER TEX TALL MEX TECHNICOLOR < With JODY LAWRANCE • GILBERT ROLAND . K1ER0N MOORE • GEORGE TOBIAS • Screen Play by Roland Kibbee and Frank David Produced by Harold Hecht • A Norma Production • Directed by Willis Goldbeck Reprint MOTION PICTURE HERALD, OCTOBER 20. 1956 31 Alfred Starr Dies at 58 NASHVILLE: Alfred Starr, 58-year-old veteran of motion picture exhibition, who was president of the Bijou Amusement Company, and co- chairman of the joint exhibition Committee Against Pay - As - You See Television died here October 15, suffer- ing a fatal heart at- tack in his office. Mr. Starr, a vet- eran of more than 30 years in the in- dustry is survived by his wife, two sons and a daugh- ter. The principal owner of the Bijou Amusement Company which he managed in cooperation with his brother Milton, he was highly instrumental in making Thea- tre Owners of America a prime mover in exhibition and motion picture industry affairs. Mr. Starr was president of TOA during 1953-54. He served as chairman of the executive committee and was a member of the board of directors from 1954 to 1956. At the recent TOA conven- tion the prominent southern theatre man was named a member of the executive committee and a member of the national exhibition group’s finance committee. He is also a member of the board of the Will Rogers Memorial Hosptial. Mr. Starr was also active in community affairs here. He was a founder of the Nashville Symphony Orchestra and past president of the Nashville Community Chest. A delegation of exhibitor members and officers of the TOA attended the funeral here Wednesday. As co-chairman of the Committee Against Pay-As-You-See Television, Mr. Starr, with Trueman Rembusch, of Allied States Association, led the fight against subscription television, which is currently pending before the Federal Communica- tions Commission. Harry A. Friedman TORONTO: Harry A. Friedman, 66, promi- nent lawyer and theatrical executive, died last week at his home in Burlington, Ont. Organizer of Odeon Midwestern Ltd., in assoication with Odeon Theatres (Canada) Ltd., in Edmonton and Calgary, Mr. Fried- man leaves his wife and two daughters. Frank Burke Frank Burke, 61, editor of the Radio- Television Daily, died in New York Octo- ber 15 of a heart ailment at the Hospital for Joint Diseases, where he was confined for an illness. Alfred Starr THE WINNERS CIRCLE Pictures which were reported as doing above average business in key theatres of the cities of the nation for the week ended October 13 were: Albany: The Solid Gold Cadillac (Col.). Boston: Fantasia (B.V.) (Reissue); La Strada (Trans-Lux); Oklahoma! (Magna) 4th week; War and Peace (Par.); 2nd week. Buffalo: Bandido (U.A.); Girls in Prison (Amer. Inti.); Hot Rod Girl (Amer. Inti.); Lisbon (Rep.); Oklahoma! (Magna) 9th week. Chicago: High Society (MGM) 7th week; Lust for Life (MGM) 2nd week; The Mountain (Par.) 2nd week; 1984 (Col.) 2nd week; Proud and the Beautiful (Kingsley) 2nd week; The Solid Gold Cadillac (Col.) 2nd week; War and Peace (Par.) 2nd week. Cleveland: Julie (MGM); Rifi.fi (UMPO); The Solid Gold Cadillac (Col.) ; War and Peace (Par.) 3rd week. Columbus: Bandido (U_A.); Tea and Sym- pathy (MGM) 2nd week. Denver: Attack! (U.A.) 2nd week; The Best Things in Life are Free (20th-Fox); Rich- ard III (Lopert). Des Moines: The Solid Gold Cadillac (Col.). Detroit< Attack! (U.A.); The Bad Seed (W.B.); War and Peace (Par.) 2nd week. Hartford: Attack! (U.A.); The Boss (U.A.); The King and I (20th-Fox) 2nd week (Revival Run) ; Showdown at Abilene (U-I) ; The Solid Gold Cadillac (Col.); The Unguarded Moment (U-I); War and Peace (Par.). Indianapolis: Oklahoma! (Magna) 7th week; The Solid Gold Cadillac (Col.); Toward the Unknown (W.B.). Kansas City: Lust for Life (MGM) 3rd week; Private’s Progress (DCA) 2nd week; War and Peace (Par.). Memphis: Toward the Unknown (W.B.). Miami: Oklahoma! (Magna) 33rd week; The Solid Gold Cadillac (Col.) ; Toward the Unknown (W.B.). Milwaukee: Tea and Sympathy (MGM) 3rd week. Minneapolis: War and Peace (Par.). New Orleans: Oklahoma! (Magna) 16th week; The Solid Gold Cadillac (Col.); Tea and Sympathy (MGM) 2nd week; War and Peace (Par.). Oklahoma City: The Best Things in Life are Free (20th-Fox) 2nd week; A Cry in the Night (W.B.); Oklahoma! (Magna) 9th week; Raw Edge (U-I); The Solid Gold Cadillac (Col.). Philadelphia: Bus Stop (20th-Fox) 2nd week; Lust for Life (MGM); Oklahoma! (Magna) 6th week; Tea and Sympathy (MGM) 2nd week; Toward the Unknown (W.B.); War and Peace (Par.) 3rd week. Pittsburgh: The Best Things in Life are Free (20th-Fox) 2nd week; Lust for Life (MGM) 3rd week; Oklahoma! (Magna) 18th week; Richard III (U.A.). Portland: Attack! (U.A.); The Best Things in Life are Free (20th-Fox) 2nd week; Fantasia (B.V.) 2nd week (Reissue) Moby Dick (W.B.) 3rd week; Tea and Sympathy (MGM) 2nd week. Providence: The Burning Hills (W.B.); It Conquered the World (Amer. Inti.) ; The She-Creature (Amer. Inti.); Tea and Sym- pathy (MGM) 2nd week. San Francisco: Attack! (U.A.); The Bad Seed (W.B.) 3rd week; A Cry in the Night (20th-Fox) ; Hot Rod Girl (Amer. Inti.); Tea and Sympathy (MGM) 3rd week; War and Peace (Par.). Vancouver: The Best Things in Life are Free (20th-Fox) ; Canyon (A.A.) ; The King and I (20th-Fox) 10th week. Washington: Attack! (U.A.); Don Giovanni (I.R. Maxwell); Dust for Life (MGM) 3rd week; Tea and Sympathy (MGM); Toward the Unknown (W.B.) ; War and Peace (Par.) 2nd week. New Petition Filed on " Lady Chatterley" A petition to lift the Board of Regents ban on the French film, “Lady Chatterley’s Lover,” was filed last week in New York State Supreme Court in Albany. The mo- tion picture, based on the novel of D. H. Lawrence, was banned last May by the Motion Picture Division on the ground that certain sequences were “immoral within the intent of our law.” The Re- gents upheld the censorship September 28. Legion Approves 7 Of Nine New Films Of the nine productions reviewed last week by the National Legion of Decency, seven have been put in Class A, Section I, morally unobjectionable for general pat- ronage, and two in Class B. morally objec- tionable in part for all. In Section I are: “Footsteps in the Dark,” “Giant,” “7th * Cavalry,” “Ten Commandments,” “Toward the Unknown,” “Wee Geordie” and “The Bespoke Overcoat. In Class B are “Four Boys and a Gun” and “You Can’t Run Away from It.” l/.S. Exhibitors Are Set For International Meet Representatives of U. S. exhibition will attend the general convention of the Union Internationale de Exhibitor Cinemato- graphique which will be held in Lausanne, Switzerland, November 22-23, it was re- ported last week. Theatre Owners of America and Allied States Association are both members of the global theatre associ- ation. TOA’s representative to UIEC is Myron N. Blank and Allied States’ repre- sentative is Julius M. Gordon, both of whom attended the last meeting of UIEC in Rome last year. Among the other coun- tries who will send representatives are Germany, Belgium, Holland, Spain, Great Britain, France, Israel, Italy and Sweden. 32 MOTION PICTURE HERALD, OCTOBER 20, 1956 Albany Conspicuous posting of “No Commer- cial" signs at a theatre is a good way of reminding patrons they will not be ex- posed to the kind of messages seen on television, Harry Lamont said. He thought the idea worth adopting. ... A letter con- test on “why I would like to own a share of General Motors stock” 'was arranged by Columbia exploiteer Herb Schloss and Palace manager Bill With, in cooperation with J. S. Bache & Co., to promote “The Solid Gold Cadillac.” . . . Ralph Ripps, MGM salesman and brother of Herman L. Ripps, eastern division assistant sales manager for MGM, resumed work after an illness. . . . Local National Screen Serv- ice office is down to one regular manager, John Bylancik. Salesman Adolph Edman rotates between the Albany and New Haven districts. . . . The Delaware, Stan- ley Warner art house, screened “Rififi” under a policy of seating no one after the picture started. . . . The 800-car drive- in being built by Sylvan Leff in Pittsfield, Mass., is opposite a new shopping center. . . . Jules Perlmutter, Sidney Urbach and Jack Sussman were among Variety mem- bers viewing one or more World Series games. Atlanta Leo Mann has been added to the inspec- tion department of Howco Films. . . . Oscar Howell, president of Capital City Supply Co., is recovering from a cerebral hemorrhage in Nashville. . . . Manager Joe Brown, Sevier theatre, Johnson City, Tenn., is recovering after a recent ill- ness. . . . Mr. and Mrs. Luther Smith, Tooga and Penn drive-in, Summerville, Ga., motored to the West Coast. . . . Nat Williams, Jr., Interstate Enterprises, Thomasville, Ga., said that his father, Nat Williams, Sr., is making satisfactory re- covery from the heart attack he suffered in Atlanta several weeks ago. . . . The Rose theatre, Forsyth, Ga., has reopened and the Midway drive-in there has closed. Both theatres are owned by R. E. Watson. ... On the Row visiting were: J. W. Rob- inson, Wheeler drive-in, Elgin, Ala.; T. E. Watson, Strand, Montevello, Ala., and R. E. Andrews, Carver, Rome, Ga. Boston The Rialto theatre, Everett, Mass., re- opened October 11 by new-comer George Hodgon for evening performances only. . . . Loew’s State and Orpheum have booked three United Artists first run films in succession: “Ambassador’s Daughter,” Oct. 11; “Bandido,” Oct. 18, and “Attack,” Oct. 25. . . . Cecil B. DeMille was guest of honor at a luncheon at the Sheraton Plaza Oct. 16 sponsored by Mayor Hynes of Boston. The mayor presented DeMille with a silver Paul Revere Bowl inscribed : “For his contributions in serving faith in God and advancing brotherhood among men through his motion pictures”. . . . An in- vitational screening of “Ten Command- ments” was staged at the Astor Oct. 9. . . . Charles E. Kurtzman, northeast division manager of Loew’s Theatres, has been named chairman of the 1956 Thanksgiv- ing Crusade for Retarded Children. . . . Branch manager Harry Segal of United Artists, has been appointed to the Boston committee for President Eisenhower’s Committee on the Employment of Physi- cally Handicapped. . . . Vinal “Hub” Con- way, owner of the Gem theatre, Vinal Haven, Me., was recently elected mayor of the island. . . . Sympathy to William Cliggott, manager of Mass. Theatre Equip- ment Co., in the death of his mother. . . . Albert Goldman, projectionist at the Bea- con Hill theatre, will be installed Com- mander of the Lt. A. Vernon Macauley Post 270, theatrical post of the American Legion. Buffalo Edward L. Hyman, vice-president, Amer- ican Broadcasting-Paramount Theatres, was in Buffalo Thursday for conferences with Arthur Krolick, district manager, Buffalo and Rochester, and with mana- gers of the AB-PT houses in both cities. . . . Cecil B. DeMille will visit Buffalo Oct. 22 in connection with his latest pro- duction, “The Ten Commandments,” which will open Dec. 21 at the Century theatre here. ... “I personally can’t re- member a year when the annual best-10 list was going to be so difficult to com- pile because of the terrific candidates,” said Carl J. Rindcen, manager of Shea’s Buffalo, in discussing the autumn-winter business outlook in exhibition, which he believes will be a rosy one. . . . Harry Alt- man, Buffalo’s famous showman, who operates the Town Casino in Buffalo and the Glen in tVilliamsville, has opened his $750,000 bowling alley, Arrowhead Lanes, in Canandaigua. . . . Stanley Kositsky, manager of the Buffalo U. A. branch, is going after some of that big dough in the Jim Welde Drive. He is working hard to grab part of that prize pool of more than $50,000 cash which is to be shared by the winners in the drive. . . . Elmer F. Lux, chief barker, Tent 7, Variety Club of Buf- falo, is being congratulated for the huge success of the recent Muscular Dystrophy Campaign. Charlotte Columbia Pictures exploiteer Bob Pet- erson came here to line up several stunts for “Solid Gold Cadillac,” which opened at the Manor Oct. 12. One stunt had Char- lotte News readers invited to guess the weight of a solid gold Judy Holliday, gold Cadillac bracelet charms being awarded to the first 12 who came up with the cor- rect answer. . . . Tom Baldridge, MGM exploiteer, was here from Washington. . . . Landa P. Stephens, father of Karen Stev- ens, MGM exchange employe here, died last week. . . . The Southern States Fair and the Ice Capades show had their effect on theatre attendance last week. To add to that, comdian Henny Youngman opened at the El Morocco for a four-day stand. Singer Gene Austin will come to the club later this month. . . . Despite competing attractions here, “Tea and Sympathy” did good business at the Plaza. Chicago In six weeks “High Society” grossed $275,000 for the Woods theatre. . . . Marte Latham, known to be the only woman hunter, was here this week with two jungle-bred cheetahs in behalf of “Odongo.” . . . “Siete Leguas,” a new Clasa-Mohme, Inc., production, and cur- rently playing in 10 Spanish language theatres in the city, has doubled all previ- ous box office records. . . . John Davis, head of J. Arthur Rank Organisation of Britain, spent October 12 and 13 here, con- ferring with Charles Percy, president of Bell & Howell. Mr. Davis viewed all the new products developed and manufac- tured by B&H during the past year. . . . Sam Kaplan of Albert Dezel, Inc., said his company has been appointed distributor for 13 Warner reissues. . . . Tom Dowd, midwest manager for UMPO, left for a tour of Milwaukee, Omaha, Des Moines, Cedar Rapids and Lincoln, Nebraska, in behalf of first runs of “Rififi” and “Dia- bolique.” . . . Irwin Joseph, general man- ager for Modern Film Distributors, an- nounced the appointment of Ted Hill as sales representative in the Memphis-New Orleans areas. He replaces Johnny Keno, who resigned. Mr. Joseph left for the west coast, and before returning will swing around to New York, to select new films. . . . Ben Schumard has taken over man- agement of the Lamar. Cleveland The gala Cinerama opening Nov. 14 at the Palace theatre will be a benefit for the Cleveland Zoo which will be holding its 75th anniversary celebration. Arrange- ments for the benefit opening were con- cluded between Lester B. Isaacs, national director of exhibition for Cinerama, and Vernon B. Stouffer, chairman of the Zoo board of directors. . . . Selected Theatres Circuit has sold the Maple Heights thea- tre building consisting of the 1600-seat theatre, two stores and an upstairs suite to Anna and Jerry Hridel of the Janda Furniture Co., who will convert the prop- erty into another furniture store. . . . Rhoda Koret, who resigned as Columbia booker to retire from business, is now with Academy Film Service on a part time basis. . . . Variety Club Auxiliary is the name decided upon for the newly re- organized women’s wing of the local Vari- ety Club. At the reorganization meeting the following officers were elected: presi- dent, Mrs. Sam Weiss; vice-president, Mrs. Danny Rosenthal; treasurer, Mrs. Leonard Greenberger; corresponding secretary, Mrs. Nell Weitz; recording secretary, Mrs. (Continued on following page) MOTION PICTURE HERALD, OCTOBER 20, 1956 33 ( Continued from preceding page) Jules Livingston. Arrangements were also concluded at the meeting for a clambake to be held Sunday, Nov. 4, at Schluters, with Mrs. Leroy Kendis, chairman of the committee on arrangements. . . . Michael Koury, recent purchaser of the Grove theatre bldg., Lorain, has personally taken over operation of the theatre. . . . Jack Share resigned as Buena Vista salesman. . . . Rhoda Koret, former Columbia book- er, joined Academy Film Service on a part time basis. Columbus Robert Horton, manager of RKO Grand for the past 18 months, has been named manager of the Hollywood of the Mid- States circuit in the Cincinnati suburb of College Hill. Cincinnati is Horton’s home town. No successor has been named at the Grand, said manager Ed McGlone of RKO Palace. . . . Local theatres, which have slim audiences when Ohio State football games are played, face additional compe- tition when closed-circuit telecasts of the three remaining Ohio State home games are shown to 7,000 persons at each game in the new St. John Arena, north of Ohio Stadium. Two 15 by 20 foot screens are being installed in the new arena, designed primarily for basketball games. Tickets are priced at $2. . . . J. Real Neth, of the Neth Neighborhood Circuit, booked the safety film, “Lakewood Learns to Live” for showings in all of his houses. . . . Samuel T. Wilson, theatre editor of the Columbus Dispatch , had a reunion with William S. Cunningham, former theatre editor of the Columbus Citizen, during Wilson’s Hollywood tour. Cunningham is now news editor of the Paramount studio publicity staff. . . . Frank Marzetti has in- augurated a student admission rate at the Linden, designed primarily for Ohio State University students. . . . Gus Sun, veteran Springfield, Ohio showman, was feted on his 88th birthday by family and friends. He is now in semi-retirement, acting ad- visor for the Gus Sun Booking Agency. Des Moines The Dows at Dows has been reopened under the direction of Bob Gray of Des Moines. A cash drawing is planned each week. Admission will be 20 cents for chil- dren, 40 cents for adults. . . . Improve- ments have been made to the Iowa thea- tre at Jefferson, J. Louis Smith, manager, reports. Acoustic tile has been added to the walls of the auditorium and projection booth, and the lobby has been painted. Other redecorating is planned. . . . Rudolph G. Faulds, co-owner of the Des Moines Theatre Supply Co., left an estate estimated at $216,405.00, an inventory filed in Polk county probate court showed. Faulds, 63, died of cancer Dec. 1, 1955. His will left the bulk of his estate to his widow. . . . Kermit Carr, buyer and book- er for the Tri-States Theatre Corp. in Des Moines for the last five years, has resigned and will move to Omaha, Neb., where he is to become general manager of the R. D. Goldberg theatres. There are seven in the chain, two in downtown Omaha, four in the suburbs, one in Council Bluffs. Carr had been associated with Tri-States for the past 27 years. . . . Tri-States has asked the Des Moines city council to eliminate the requirement of annual city license fees for theatres. The corporation’s five theatres here pay $425 yearly in such fees. L. M. McKechneay, treasurer of the com- pany, said the fees had been paid through years of good business, “but at this time, business conditions being what they are, we feel it is necessary to appeal to the city council to have this discriminatory ordinance repealed.” Detroit William Cornell, long time publicist for the Shubert, lately general manager of Melody Circus, has opened his own busi- ness in the Book building. Cornell, in addition to the Masonic Hall business, is doing advance work for “Ten Command- ments.” . . . Ursula Davis has joined Al- lied Artists as cashier, coming from RKO. . . . Albert Dezel Productions’ Bert Foster has moved to California. . . . The Dexter Theatre, Inc., has bought the Dexter, in Dexter from Cunningham Oil Co., which has been operating it. . . . The City in Bay City has gone out of business. . . . Ger- trude Applebaum, AA secretary, has been in Europe for six weeks. . . . The Or- pheum at Ann Arbor will reopen as an art theatre. . . . The News Magazine of the Screen has completed a section on the Mormon faith. The film is distributed to schools by the Detroit News. . . . Sol Krim is back from an art film buying ses- ing session in New York. . . . Mrs. Laura Shook is operating the Emsee at Mount Clemens. . . . Ailing Bill Green has left his office in the able hands of his sister, Mrs. Gertrude Walker. Hartford Morris Rosenthal, manager of Loew’s Poli, New Haven, on indefinite sick leave, and Mrs. Rosenthal have left for Miami Beach, Fla., where he is to receive peri- odic treatment. . . . Max Birnbaum, re- cently retired Warner Bros. Connecticut exchange manager, and Mrs. Birnbaum have moved into a new home at Miami Beach. . . . Anthony Masella, Loew’s Pal- ace, Meriden, Conn., has been elected president of the Unison Club of that City. . . . Charlene Landers (no relation to George E. Landers of E. M. Loew’s Thea- tres), has joined Bercal Theatres, Inc., of Hartford, as executive assistant to Bernie Menschell and John Calvocoressci. Bar- bara Higbee continues as promotion man- ager. . . . Livio Dottor of the Plainville (Conn.) drive-in, and his cashier, Miss Joan Scricca, will be married this Win- ter. . . . Abe Bernstein of the UA home office exploitation department, came through the territory, contacting drama desks on “The Sharkfighters” and “The King and Four Queens.” . . . Allen M. Widem, Hartford Times, attended the New York world premiere of Warner Bros. “Giant,” with Art Moger, field exploita- tion man. Indianapolis Truman Lamar, manager of the Pendle- ton Pike drive-in, is installing 800 in-car heaters and will operate all winter. It’s the first drive-in here to make this move. . . . The Variety Club has scheduled a Hallowe’en party for Saturday night, Oct. 27. . . . Marc Wolf, state chairman of United Cerebral Palsy, Variety’s heart fund project, is opening headquarters on the second floor of the Variety- Allied Theatre Owners building. . . . Pete For- tune has taken over the Cinema, near- north side neighborhood house, from Ernie Miller. . . . Marshall Fine of Cleve- land, Lou Wietke of Cincinnati and Bob Wile, secretary of the Independent Thea- tre Owners of Ohio, are out-of-the-state exhibitor representatives who have ac- cepted invitations to the ATOI convention here Oct. 23-24. . . . Dale McFarland, gen- eral manager of Greater Indianapolis, now hopes to keep “Oklahoma” at the Lyric until the year-end holidays. His original estimate was 10 or 12 weeks when it opened 7 weeks ago. Kansas City Unseasonably warm weather in the Greater Kansas City area has kept drive- in advertising as active as in summer months. Highway 40 drive-in has installed electric in-car heaters for year-round operation. . . . With “Oklahoma” opening in Todd-AO at the Tower theatre, Oct. 17, “Fantasia” making a bow in SuperScope screen at the Brookside and “Cinerama” entering its fifth month at the Missouri, moviegoers found that “everything is up- to-date in Kansas City.” . . . N. J. (Nick) Sonday now represents Filmack in Kan- sas City. . . . George Plyton of the Fulton, Mo., drive-in, was the winner of the King of the Sun contest sponsored by Common- wealth Theatres for the managers in the circuit. . . . Majestic theatre, Scott City, Kans., owned by Fred W. Young, has new carpets. . . . The new manager of the Times theatre. Memphis, Mo., is R. L. Davis, formerly of Iowa. . . . Jack Allen is now managing the Esquire in Kansas City. Los Angeles Keith McCallum, Exhibitors Service booker, is nursing a broken wrist, the re- sult of a fall in his office. . . . The Carthay Circle theatre will return to the policy of road show motion pictures from its pres- ent legitimate stage productions, after re- modelling work, costing more than $130,- 000, is spent for conversion. . . . A1 O’Keefe & Associates is making final preparations to open the Belair, new 1,500 car drive-in located between Fontana and San Bernardino. John Herbel, son of the late Henry Herbel, has been named man- ager of the Belair. . . . Hal Gallaton, Re- oublic head booker, has been transferred to Republic Studios where he is working under Carl Bryant in the TV Service Corp. subsidiary. Mrs. Reba Hammond has been named to succeed Gallaton, while Robert Robinson has been raised to the post of booker from the shipping de- partment. . . . After 25 years in the mo- tion picture industry. Jerry Shur, mana- ger of the Center and Boulevard theatres in East Los Angeles, has resigned to go into another field. Memphis Mrs. Harry D. Allen is the new presi- dent of Memphis Better Films Council. . . . C. N. Bonner and his son. Robert Bon- ner, Community and Pines drive-in, Pine Bluff, Ark., were in Memphis on business. . . . J. K. Jameson, Sr., and his son, J. K. Jameson, Jr., of the Ken at McCrory and (Continued on opposite page) 34 MOTION PICTURE HERALD, OCTOBER 20, 1956 ( Continued from opposite page ) Ritz at Bald Knob, Ark., were on Film Row booking. . . . Henry Haven, Haven Theatres, Forrest City, Ark., has closed his Starlite drive-in, Brinkley, Ark., for the season and gone into a Saturday and Sunday only operation with the Haven drive-in, Wynne, Ark. . . . Mr. and Mrs. J. T. Hitt, Cozy and Plaza at Bentonville, Ark., and Concord and Apollo at Spring- dale, Ark., came to Memphis on business for their theatres. . . . Mr. and Mrs. Joe Davis, Ellis, Cleveland, Miss., were Mem- phis visitors. Miami A gold life time pass to the Wometco Theatres for his wife and himself was one of the bonuses received by Ernest Drolet, doorman of the Gateway, when he cele- brated his golden wedding anniversary recently. . . . The juvenile patrons of eight of the neighborhood theatres of the Flor- ida State circuit are waxing enthusiastic over the forthcoming “dog show” where pets will be judged by accredited veter- inarians and earn prizes. . . . The Cameo had hypnotist Frank Freeman as a stage attraction for the opening of “The Search for Bridey Murphy.” . . . Ralph Puck- haber, of the FST publicity office, reports that six of the circuit houses will run pre- Hallowe’en midnight shocker shows on the Saturday preceding the night of the witches. ... A direct tie-in between the movies and Wall Street was arranged dur- ing the local run of “Solid Gold Cadillac” when the brokerage firm of Bache & Co. set up a staffed information booth in the theatre lobbies for consultation with pa- trons interested in learning about invest- ments. . . . The local Variety Club recent- ly opened its new clubrooms in the Miami Colonial Hotel. The quarters on the mezzanine floor are reported to be the best yet. Milwaukee If Milwaukee’s Common Council passes the ordinance, an “adults only” classifica- tion could be placed on certain motion pictures shown here. No person under 18 would be allowed to attend a film so classified. . . . John Parostinak, formerly head shipper at the Paramount exchange here, is now with Milwaukee Film Cen- ter. . . . New at the Paramount exchange is John Radke, head shipper, formerly with RKO. . . . Jerry Kramer, former salesman at Universal, has left the indus- try to go into another business. Minneapolis Marvin Maetzold, head booker at Col- umbia, was one of four men chosen in the state by the Royal Arch Masons for out- standing work in their respective lodges. He was given a citation. . . . Dick Schack is the new assistant in the advertising de- partment of Minnesota Amusement Co. . . . Ernie Hill, city salesman at Warners, spent his vacation hunting in northern Minnesota. . . . Roy Fleischbein, head of service for NSS, vacationed in Florida. . . . B. D. (Buck) Stoner, Paramount cen- tral division sales manager, was in for a sales meeting. . . . Ben Marcus, Columbia midwest district manager, was in on a routine exchange visit. . . . Ted Mann is INTO RETIREMENT THIS prosperous and healthy looking gentleman is George W. Turner, for 36 years a salesman for MGM in Minne- apolis. He's holding the scroll the Variety Club there gave him as he re- tired at 73. George likes Florida. spending $75,000 to remodel his Orpheum theatre at Dubuque, Iowa. The project will include a complete “front to back” remodeling. . . . Albert Krieger, operator of the Krieger theatre, Gackle, N. D., has been awarded a law degree by LaSalle Extension University, Chicago. New Orleans Henry G. Plitt, president of Paramount Gulf Theatres, has been elected chief barker of New Orleans Variety Tent No. 45. Other officers elected include Harold F. Cohen, first assistant; George Nungesser, second assistant; Carl Mabry, doughguy, and William Briant, property master. Elected to the board at large were: Maurice E. Barr, Joel Blustone, Daniel M. Branden, Roy Nicaud, Irwin Poche, and Don Stafford. . . . Ann Schenck is back cashiering at the Center after several weeks’ absence due to a major operation and recuperation. . . . Bob Sidman was here engineering advance publicity for Columbia’s “Solid Gold Cadillac,” the cur- rent attraction at RKO Orpheum. . . . Ida Klos, Paramount Gulf’s feature booker, is back after a vacation jaunt in Alexandria, La., Vicksburg, Miss., Pine Bluff and Eureka Springs, Ark. . . . Claire Aubert, secretary to Warner Bros, office manager, Gus Trog, and Irwin Bretmeyer were to be married October 20 in St. Augustine’s church. . . . Mrs. Loraine Cass’ “thrill of a lifetime” was at the recent WOMPI convention, where she was presented a diamond wrist watch by the national as- sociation in recognition for her “remark- able and energetic” term as president dur- ing 1955-56. Oklahoma City United Theatre Owners of Oklahoma will hold its second annual convention March 6-7 in Oklahoma City at the Bilt- more Hotel. ... A complaint charging State theatre manager P. J. Keough with violating city anti-noise ordinances by playing the song “Oklahoma” in front of the theatre, was dismissed in municipal court Oct. 7. Dick Dugger, assistant city attorney, asked that the complaint be dis- missed on the grounds that no one, ex- cept a traffic policeman, could be found who objected to the song being played. . . . “Cinerama Holiday” will premiere in the city Nov. 8 at the Warner theatre. “This Is Cinerama,” now at the Warner, will end its run Nov. 6 after a record- breaking stand of 25 weeks. . . . The Cri- terion theatre had a sneak preview Octo- ber 12, plus regular showing of “The Best Things in Life Are Free.” . . . “Oklahoma” ended its engagement at the Rialto thea- tre, Tulsa, Okla., Oct. 18. Warren Patton, general manager of Tulsa’s Downtown Theatres, said more than 80,000 persons attended during the run of “Oklahoma”. Philadelphia Organizational efforts have been started to organize the operators of drive-in thea- tres in the eastern Pennsylania, southern New Jersey and Delaware area into a formal exhibitor group. . . . The Penypak, key neighborhood house - which was sold recently by Melvin Fox together with ad- joining commercial properties, will be converted into a merchandise mart with 28,000 square feet of selling space. . . . William Goldman, head of the William Goldman Theatres, has been named chair- man of the Mayor’s Board of Theatre Control, also as a member of the Board of the newly-created Philadelphia Central City Development Corp. ... In the budg- et message which Mayor Richardson Dil- worth presented to City Council, he urged a 50 per cent cut in the city’s amusement tax which had shown a steady decline because of lesser attendance. He said that reducing this tax from 10 per cent to five would mean a drop of $1,200,000 a year from that source. . . . Warren Wielland closed the Apollo on the Boardwalk in Atlantic City, N. J., for the winter season, confining his operations to his avenue theatres during the off-season period. Pittsburgh “Love Me Tender” will be the Thanks- giving Day bill in the Fulton theatre. . . . Fred Kunkel, former assistant manager in the Penn, is back there temporarily from his present post in the Perry thea- tre, to assist Charles E. (Chedie) Funk while Bill Zeiler, the Penn manager, is on vacation. . . . “War and Peace” opened up poorly in the Penn, but management pre- dicts a healthy run after word-of-mouth gets around. . . . Richard Egan spent two days here grabbing a lot of publicity breaks for “Tension at Table Rock” which had its world premiere in the Stan- ley. . . . Win Fanning, the Post-Gazette assistant movie critic, and his wife, Vicki, taking a month off to fly to Germany to visit her folks. . . . The Penn will follow “War and Peace” with “The Opposite Sex” and “Friendly Persuasion” in that order. . . . “Richard III” opened strong in the Squirrel Hill following two weeks of “Madame Butterfly.” . . . “Rebel in Town” and “Huk” went first run into a flock of neighborhood houses, with still another brace, “Francis in the Haunted House” and “Showdown at Abilene” likewise. (Continued on following page) MOTION PICTURE HERALD, OCTOBER 20, 1956 35 Portland J. H. MacIntyre, West Coast district sales manager for RKO, was here from Hollywood to work with branch manager Dick Lange. . . . M. M. Mesher and A1 Foreman are enthusiastic about film busi- ness since returning from the TOA meet. . . . Evergreen’s Oregon district manager Oscar Nyberg also spreading the word about the big things that are happening for the movie industry since returning from the National Theatres meet in Phoenix. . . . Mel Melvin has left the film business and become a partner to local producer A1 Learman forming Learman- Melvyn Productions. . . . U.A. branch manager Jack O’Bryan and Broadway theatre manager Herb Royster continue their work for the Navy League. Both are scheduled to take a two day cruise with a few civic leaders aboard the USS Gilli- gan. . . . Dean Barrett was in town work- ing his bicycle promotions with mer- chants to hypo business for neighborhood houses. Providence Bill Trambukis, Loew’s State manager, is planning a “monster” midnight Hal- lowe’en show. . . . Jacques Kammerer, of nearby Rehoboth, died recently in Taunton Hospital after a long illness. He was known in the theatre world as Jack Cameron, and was for many years on the Keith circuit as a comedian, dancer and singer. . . . The Hope, Eastside neighbor- hood house, is promoting an Ekco seven- piece kitchen tool set. A different gift is distributed each week at Monday and Tuesday performances. . . . The proposed open-air theatre at the Shipyard Shop- ping Center, for which permits have al- ready been granted by the city councils of both Providence and Cranston, is due for considerable opposition. Property- owners and x-esidents, immediately ad- joining the shopping center, are uniting in an effort to get the permits revoked. San Francisco Warners invited critics Paine Knicker- bocker, Hortense Morton, Bob Hall and Emilia Hodel to Los Angeles for the West Coast premiere of “Giant” Oct. 17. . . . Harold Borreson, former manager of the Paramount, has left show business to try his hand at advertising. He is succeeded by John Doyle, former assistant manager at the St. Francis. . . . “The best box of- fice in ten years,” says Irving Ackerman of MGM’s “Lust for Life,” playing to ca- pacity crowds at the Stage Door. . . . S. Hurok was in town preparing for the opening of the Russian “Romeo and Juli- et” at the Bridge Oct. 18. . . . The top award for low gross at the Variety Club’s recent golf tournament at Merced Country Club was awarded to Herb Blueschel, Times Theatres, with George Mitchell, Republic manager, shooting the low net. . . . James Beaty has been advanced from student assistant to assistant manager at Loew’s Warfield. St . Louis Burglars recently stole a safe, contain- ing an undetermined amount of money from the Twin City drive-in at Cham- paign-Urbana, 111. Ray Watts, concession stand manager, said the safe contained at least several hundred dollars. . . . The Mainstreet theatre at Paris, Mo., owned by Mrs. Edith Major, opened for the sea- son October 14. The drive-in theatre, operated during the summer months by Mrs. Major, closed October 12. . . . The Center Drive-In Theatre Company, which operates theatres at Lincoln, Neb., and Omaha, Neb., has purchased a 700-car drive-in at Corpus Christi, Texas. Own- ers of the purchasing company are Russell Brehm of Lincoln, a Lancaster county commissioner; Senator Roman Hruska of Omaha and H. S. Gould of Omaha. . . . Richard Davis of Des Moines, la., has leased the Time and Air-Way drive-in theatres, in Memphis, Mo., and will install CinemaScope. Mr. and Mrs. Elmer Ross, who only recently succeeded Clarence Locke as managers of the Air-Way drive- in, will manage the two theatres. Vancouver Topping the town last week was “Reach for the Sky.” “Canyon River” and “The King and I,” now on its 10th week, also were good. . . . Ivan Ackery, Orpheum manager, is in charge of exploitation for “War and Peace” for Famous Players units in British Columbia. . . . Harry Woolfe, UA manager, is a happy man. His daughter made him a grandfather re- cently. . . . Benjamin Anderson, 84, father- in-law of Art Graburn, Paradise manager, died in the hospital here. . . . Doug Gow, of Famous Players, is back from his Cali- fornia honeymoon. . . . Jim Webster is pinch-hitting for Roy McLeod, Plaza manager, who is on vacation. . . . The Surrey drive-in near White Rock closed for the season after a poor year’s busi- ness. . . . Gordon Wilson, film editor of the Vancouver Herald, resigned and joined Bowell-McLean motors, who handle Cad- illac cars, as advertising manager. . . . Darrell Prezeau, formerly with the Odeon theatre, Victoria, is the assistant at the Vogue, Vancouver. He was replaced in Victoria by Brian Wright, who moved over from the Odeon-Plaza. ... No suc- cessor has been appointed yet for Jack McNicol who resigned as manager of the Columbia New Westminster to move to Hollywood. Washington The Variety Club will have a Hal- lowe’en party and dance in the club rooms on Saturday, October 27. Charles Demma, Ralph Deckelbaum, Hirsh de La Viez, Joel Margolis, Phil Mason, Nathan Shor, Roger Squitero and Duke Zeibert are on the committee. ... A special invitational preview of “The Ten Commandments” was held in RKO Keith’s theatre Octo- ber 11. . . . The Dupont theatre brought back “The Killers” for an engagement. . . . John Horton, of Universal-Interna- tional, was a recent Washington visitor. . . . Virginia Mayo and her husband, Michael O’Shea, were Washington visitors at the Treasui'y Dept’s Freedom Fair. . . . Linda Darnell was a guest at the United Givers Fund repoi't luncheon. . . . The Variety Club of Washington will have its annual elections Monday, November 5, at the Willard Hotel. . . . Col. Willard Webb gave a report of the Edinburgh Film Fes- tival to the Washington Film Council. ARE YOU A COUPON CLI PPER? Most coupon clippers are far-seeing. They can recognize a good investment at less than 20 paces. There are various types of coupons. The one below suggests a good investment, too. Smart showmen who clip this particular coupon are taking a short-cut to an investment that pays dividends in perfect sound, satisfied patrons, and vanishing service worries. Mail it today and join 6,000 service-happy exhibitors. SPECIALISTS IN MOTION PICTURE SOUND a Division of ALTEC COMPANIES. INC. 1S1 Sixth Avenue New York 13. N. Y. ALTEC SERVICE CORPORATION 161 Sixth Avenue • New York 13, N.Y. Please have an ALTEC representative call, without obligation, to inform me about your service contract. Also please mail copy of booklet — THE ALTEC SERVICE STORY. Theatre City and State 36 MOTION PICTURE HERALD, OCTOBER 20, 1956 An International Association of Motion Picture Showmen — Walter Brooks , Director PUBLICITY — Prime Promotion for Pictures COLUMBIA PICTURES, in addition to buying and taking over their own new building at 711 Fifth Avenue — formerly occupied by the National Broad- casting Company — have set something of a record for new and quite astonishing publicity tieups in the last week, for their current pictures. It’s certainly news when a Wall Street house goes for a coopera- tive advertising and promotional deal, as reported in the Wall Street Journal. Bache & Co., nation-wide brokerage serv- ice, are backing “The Solid Gold Cadillac” as an investment. Bache for many years have been aim- ing their promotional guns at the dis- taff side, utilizing the theme “Dividends Are a Girl’s Best Friend” — so Columbia’s comedy about a girl who parlays ten shares and the feminine touch into con- trol of the world’s largest corporation, as played by Judy Holliday, is a natural tie- up. The company will incorporate “Solid Gold Cadillac” in its portfolio, for han- dling through offices in 55 cities, with sponsored newspaper advertising, radio and television tieups, and direct mailing to the firm’s list of 150,000 customers. Then, to keep up the good work, Co- lumbia will offer a new series of Screen Snapshots, entitled “Guess Who?” — which is planned to provide exhibitors with the most potent box office bet ever created to incorporate a national star identification contest in a series of color one-reelers. Columbia has for years been the exhibitor’s largest supply of short films, and most consistent in their main- tenance of this standard, and necessary, part of program building, especially in these days of continuous double-bills on television. Theatre managers must make their attractions different in quantity and quality from that which is provided six hours a day at home. Nowadays, there are many camplaints about programming — and Martin Quigley hit the nail on the head with his recent and pertinent edi- torial, “Disjointed Presentation.” The idea of a short subject series that will not only build audience interest for top stars and new talent, but will also NATIONAL ELECTIONS This is an election year, and the air is literally filled with appeals for your vote- on the national and local level. And, as COMPO says in the 68th of their series of institutional ads in Editor and Publisher, "This Year Americans Will Have Two National Elections"— if you count the one pending between Ike and Adlai, along with the upcoming Audience Awards, scheduled this year for the ten day period between Christmas Day and January 3rd, when it is expected that as many as 30,000,000 people will vote for their favorite film stars, through 10,000 cooperating theatres. Both Leonard H. Goldenson and Elmer Rhoden will serve as co-chairmen. And there will also be the $35,000.00 Lustre-Creme Sweepstakes, which will be completed just before the Audience Awards votes are taken, and will contribute much to the public interest in such events. It is always a task to get the general public to join this sort of enterprise, and the more pressure and power there is behind the combined forces, the better will be the re- sult. Energy at the local level is always the measure of success. Early in 1957 will come the Academy Awards, which are determined by some 12,000 voters in the precinct of Hollywood, when the technicians and artists of the studios chose their own favorites. serve as a standard short film, and the basis of both local and national contests, is one that will be welcomed. Columbia will offer national prizes to contenders who enter, with one top winner for each release in the series, who will receive a trip to Hollywood for two persons, with all expenses paid, visiting the studios and meeting outstanding stars. In each of the contests, the winner will have a chance at a screen test, and this will build tre- mendous interest at the local level. EDWARD M. FAY, dean of theatre own- ers, and old friend these many years, told us at the convention that he had been jotting down a few things, and would send us a little book. But we hadn’t ex- pected any such present as came in the mail — a bound volume of “Musings” — written out of his experience and his love for people. What manner of man is this Ed Fay, whom we thought we knew so well? He is a poet and a philosopher — he has the wisdom of his years. We quote some lines to show his thinking: “The spices of uncertainty enrich the cup of life. For a little way, a little while, we hang dependent on each other. The iron will of one stout heart shall make a thousand quail. The gods cannot help a man who loses opportunities. Prudence for a man’s own sake never should be separate from honesty. “Let a spendthrift grow old, he will set his heart on saving. Wealth has never given happiness, but often hastens misery. Reckon nothing worthless, there are hidden uses you know not. There are thousands who heed not the leaning of their talents. The sum of life is trifles. “Spurn not at seeming error, but dig below the surface for the truth. There is truth in the wildest scheme that an imaginative heart can en- gender. The savage and the sage alike, regard their labours proudly. Take an indulgent view of each man’s self interest. “I am a prisoner of my thoughts, and live in happiness. Every success- ful endeavor was born of thought, followed by action. A man’s life is a tower, with a staircase of many steps. Today is the golden chance; cherish and prize it well.” Our sincere appreciation to our oldest Round Table member — and a standing vote at this meeting, for his “Musings.” We shall subscribe our personal thanks to benefit the Jimmy Fund. — Walter Brooks MANAGERS’ ROUND TABLE SECTION, OCTOBER 20, 1956 37 Drumbeating "Flight to Hong Kong" in San Antonio. The United States Air Force Band of the West, parading in front of the Texas theatre, for the saturation premiere of the picture in 150 theatres, throughout Texas. Press reception kicks off "Hong Kong" premiere. Left to right, Tom Powers, Texas theatre manager and Mrs. Powers, star Rory Calhoun, Victor Rosatti, producer of the United Artists picture, star Dolores Donlon, and Frank Stan, pub- licity chief of the Interstate circuit. Dreams Come True Col umbia's touring cheetahs, Mr. and Mrs. Odongo — (they're the cats!) pose for TV cameras in Boston as promotion for "Odongo" at the Pilgrim theatre. Happily surrounded by autograph-seeking editors of 85 high school publications in the metropolitan area, is Betty Lou Keim, young star of "Teenage Rebel" in the lobby of the Mayfair theatre on Broadway. She is one of 20th Cen- tury-Fox's "stars of tomorrow" — and coming into her career, on the screen. Don Baker, manager of Loew's Orpheum theatre, St. Louis, posed this ballyhoo girl on top of a mail box, as a publicity stunt for "The Boss" — the post- man said she would be returned to sender, for insufficient postage! But, nothing else insuffi- cient, however. Wm. J. Trambukis, manager of Loew's State theatre, Providence, had a solid campaign for "The Solid Gold Cadillac" with commer- cial window display attracting a great deal of attention, in news pictures and as word of mouth advertising. 38 MOTION PICTURE HERALD, OCTOBER 20, 1956 SI o u/men in ^Icti on Mike Todd’s “Around the World in 80 Days” opens this week at the Rivoli, with appropriate fanfare. It’s on a legitimate theatre basis, with legitimate theatre pol- icy, practice, press agents and prices — up to $3.80 for the orchestra every evening. The advance publicity says, “It’s the Greatest — and It’s a Show” — meaning that it’s more than merely “going out to the movies.” Fantastic tales are told of how Mike Todd persuaded so many big stars to play bit parts. They thought it was a special privilege and now they are his best boosters. We’ll report on the picture after the press previews. T Seymour Morris points out the campaign put on by Mel Gaitskill, manager of the Paris theatre, Paris, Ky., as an example of what Schine managers can do on short notice. The booking only permitted three days in which to create a campaign and with a shortage of materials to work with, but Mel got it up, on the line and on time for business-building results at the box office. The back page of a herald was sold to the local Greyhound Bus station, and the box-office front was loaded with stills of You-Know-Who. ▼ Nice letter from Alex Manta, who read our comment on how Irving Mack “intro- duced” us at the TOA convention — and Alex says, we don’t know how close neigh- bors they are in Chicago — right next door, but with things the way they are with busy people, they get more time to visit with each other, at the Coliseum, in New York, which only costs the committee $5,0000 a day. T Her fellow employees at the Miracle the- atre in Coral Gables, Fla., gave pretty Marie de la Rosa, candy girl, a good send- off when she left for Atlanta to audition for Otto Preminger in the St. Joan hunt. They made it a really warm gesture by ty- ing her to a stake — and Mark Chartrand stood by with a cigarette lighter which never works anyhow — to signify her burning role. ▼ Chet Philbrook, manager of the Mead- ows Drive-In, Hartford, Conn, celebrated “Salute to Golfing” week, with local pro- fessional, Dick Hopkins, presenting de- monstration shots from atop the concession building each night. Cork balls were used for the protection of vehicles, and one free golf lesson was offered for the return of each ball. Chet also set up a gallon jug of jellybeans and offered set of clubs, golf cart and other golf equipment for nearest correct number guesses. Dale Tysinger, manager of Zanesville Theatres, Inc., Zanesville, Ohio, found a family in his own town who were in the picture “The Last Wagon”, starring Rich- ard Widmark, and he landed a feature picture and story layout in the Sunday Times Signal, with location shots and photographs of the local people. T Fred R. Greenway, manager of Loew’s Palace theatre, Hartford, Conn., stopped the showing of “Beyond a Reasonable Doubt” five minutes before the ending at an advance screening for press, police and legal men to get tape-recorded guesses as to the guilty party in the murder melo- drama. Local disk jockey shows featured these tapes. One lawyer and one news- paper man guessed the identity. LOOK magazine in its forthcoming issue, on the stands October 16th, will devote three full pages of four-color art to the review of Allied Artist’s “Friendly Persua- sion”— next attraction at the Radio City Music Hall. Such coverage, with editorial, comment, is rarely accorded a motion picture by the magazine. ▼ Robert Kessler, manager of the Benn theatre, Philadelphia, sends us a group picture of candidates for the title “Miss Firecheck of 1956” — in a contest sponsored by the Fire Department, in Fire Preven- tion Week — and these gals don’t look in the least put out. ▼ Free portable heater service has been resumed at the Meadows Drive-In, Hart- ford, Conn. It’s the only outdoor theatre with such facilities in Connecticut. Brightest spot in Connecticut theatrical promotion for Autumn, 1956, seems to be the Salem Playhouse, first-run, where Frank Lynch is manager. The Waterbury suburban theatre advertises “Broadway Comes to Church Street” — and lists $75,- 930,311.16 worth in production value that is booked through a series of 27 play- dates, and available on a block-ticket with a price of $13.80 for the bundle. It’s in- genious, and apt to sell the occasional movie goer the idea of going to 27 mati- nees at an average cost of 50c each. It would be less smart to advertise the single admission price — which is old stuff, and well known and neither new nor different. T “The Opposite Sex” — if we didn’t say so elsewhere, and even if we did — is a natural tieup with the $35,000 Lustre-Creme Sweepstakes, to pick the top screen actress of the year. If you wished for a better title for exploitation, you couldn’t have had better luck, and MGM are cooperating with Colgate, all the way through their two field forces, of 50 exploiteers. ▼ Those itsy-bitsy cars, so popular with the social set, won’t be so popular with drive-in theatre operators. Fact is, the eye level is so low you can’t see all of the screen, unless you jack-up the front end. The automotive trades have never quite appreciated what drive-in theatres have done for the automobile industry — so they dream up new ways to provoke poor industry relations. ▼ And those new hair-dos!. The bouffant haircut, for females, wil bring back that ancient lantern slide we used to see in the old nickelodeons. Only it will read, “Ladies wil please put on their hats” — since the new hairdo is a sort of a crew- cut for bushy heads, which enlarges to the size of a bushel-basket, and will be a delight to the folks behind you, in con- ventional theatres. MANAGERS' ROUND TABLE SECTION, OCTOBER 20, 1956 39 More Good Thinking By Norris Hadaway Shea Theatres In Deal With Lustre-Creme Norris Hadaway has sent us a complete script of his excellent talk on showman- ship, delivered at the recent TOA con- vention, and we therefore want to add more of his constructive thinking from the aggressive manager of the Alabama thea- tre, Birmingham. You will find our orig- inal report under “Selling Approach” in the Round Table of September 29th. We like these quotes, for style: “Unfortunately, we are a profession that wears our feelings on our sleeves. We re- flect our prosperity, and likewise our de- pressions, to most of those with whom we come in contact — either personally, in our operation, or in our advertising. Such a state of mind has brought about pro- nouncements of which we should be ashamed, for we are showmen, not merely corner drugstore tradesmen, capable only of receiving ‘stock’ and delivering it over the counter. A theatre executive said recently: ‘We are dead on our feet, and too prone to operate unwisely and auto- matically.’ In other words, we’re in a rut, and advertising is our weakest point, be- cause we do not plan, study or use good judgment. “There are a multiplicity of attractions pulling on the public demand which has brought about a condition of high selec- tivity on the part of entertainment-minded movie-goers, which in itself has forced an upgrading of our product. And which must be followed by an equivalent upgrad- ing of our efforts as showmen, with profes- sional skill and foresight. The public will respond now to the truly big pictures. The most challenging area is to make the less than best bring in a return to meet over- head costs and act as a stabilizer between the extreme low and the extreme high level. Our task is to develop a consistent ‘in between’ return. We find that adver- tising expenditure per patron on various pictures indicates a measure of whether these are truly high-grossing attractions, or not. Our research shows a range of 1.3 per person for ‘Moby Dick’ to as high as 7.3 per person for ‘Meet Me in Las Vegas.’ Or, a low of 1.5 for ‘High Socie- ty’ in comparison with 7 for ‘That Certain Feeling.’ Any manager can figure his costs per patron to learn what sales effort is required. “The solution, by aggressive showmen, is to know your market, and the habits of your potential patrons — the cost of various media in relation to results obtained. This I do know, that the national viewpoint does not necessarily reflect the local sell- ing approach. I seldom use advertising just as it happens in the pressbook, without revamping it to fit our situations. Don’t de- pend on New York to do it — do it yourself. “Our use of newspaper advertising, for instance, to reach a market desired, falls into ‘departments’ — main news section, financial, and classified, religious — there- fore you find a dozen angles of approach under one general heading. The same applies to radio and TV, theatre front display, outdoor and away from theatre display, and direct mail. These divide into both urban and rural approach, and many variations of sales talks, involving a per- sonal contact with the editors, operators and owners of these mediums in your own trading area. “Community and good-will constitute public relations with as many angles to consider for their separate values. Wo- men’s clubs, drive openings, mass meet- ings, retail promotions, fashion shows, clinics, scout rallies, cooking schools, tal- ent showcases — all require individual han- dling, and understanding at the source. Timing is all important, for it directly af- fects the results. You can win or lose by leading with showmanship or catching a ride on somebody else’s bandwagon.” Jack Campbell, Buffalo district mana- ger for the Colgate-Palmolive Company, reports to Sam Lindley, assistant mer- chandising manager in their New York home office, of progress made in setting up a demonstration of the $35,000 Lustre- Creme Sweepstakes display and campaign in Shea’s theatre, Buffalo, with Ed Meade cooperating for the circuit. The test run now under way will be followed by a fur- ther drive in connection with the upcom- ing picture, “The Opposite Sex” — and what could be more appropriate in a con- test to name the top screen actress of the year? It’s a natural. At Shea’s Buffalo, Ed Meade and Jack Campbell, working together, have created a local contest scheduled for the last part of November, offering “A Weekend at the Waldorf” in New York for a top prize, plus transportation by Capital Airlines, plus a wardrobe offer by local stores. Lustre-Creme displays throughout Buf- falo are similar to the one shown in the theatre lobby, all created by the coopera- tive effort of the Colgate man on the spot. HY 'oloi Ed Meade, publicity manager for Shea's Buffalo theatres, with Jaclt Campbell, Colgate-Palmolive s Buffalo district manager, and Carl Rindcen, manager of the Buffalo theatre, pose with the Lustre-Creme $35,000 Sweepstakes display in the lobby of the theatre, as a preliminary to the campaign which is being conducted by the circuit. 40 MOTION PICTURE HERALD, OCTOBER 20, 1956 Beilina ina ^Tjjproac L Elmer DeWitt's Good Displays THE SOLID GOLD CADILLAC— Colum- bia Pictures. Solid is the word for this comedy hit that stopped traffic on Broad- way for two years. Judy Holliday tops her own records for laughs, with Paul Douglas as her co-star, and a great cast. She’s the dizzy blonde that gave Big Busi- ness the business. He’s the Wall Street tycoon who’ll give anything for her proxies. Preview audiences have laughed themselves into the aisles; and critics say it’s the funniest picture ever. Try it on your local money-men and financial geniuses. 24-sheet and all posters have proper portrait art of the amusing star, and the press-book generally is solid gold. Four-page herald keys the campaign. Newspaper ads in generous array, rang- ing from large to small, with the selling suggestion that anything can happen. And, as usual, the special 35<+ composite cam- paign mat for small situations gives you seven ad mats and slugs, plus two publicity mats, all good. You can afford to advertise this as something way above the average in entertainment values. Lots of commer- cial tieups — Columbia has made the first one on record with a Wall Street house and their 55 branches throughout the country. Cadillac dealers are a natural, and they may even have a solid gold model in stock. A stock certificate may be printed from mat No. 4-A and you can declare a dividend for by-line writers and opinion-makers. Special treatment for drive-ins includes a “Cadillac Night” — which would make news. All sorts of auto tie-ins will prosper. There’s a theme song, and theatre ticket suggestions. THE BEST THINGS IN LIFE ARE FREE — 20th Century-Fox. CinemaScope, in color by DeLuxe. John O’Hara’s flaming por- trait of the jazz age, and the guys and gals who made it rock ’n’ roll. The wonder- ful era when everyone was beating out the rhythm of so many wonderful songs! Gor- don MacRae, Dan Dailey, Ernest Borgnine, Sheree North and all-star musical cast. Four great record albums to boost the music! Fred Astaire Dance Studios in a national tieup. More ways to use song-and- dance for ticket selling than you’ve ever seen before. 24-sheet is a splendid piece of pictorial art for your lobby or marquee, and all posters have similar merit. News- paper advertising in wide variety for size and shape, sufficient to give ample choice in any situation. Excellent teaser ads, two sizes, three styles — more than we’ve ever found in a press book as a bonus for show- men. Pick out the kind of teasers you like best and throw them in, as an extra. Large display ads are all good, and the special mat, at 35c from National Screen is labeled for drive-ins and small theatres, with nine ad mats and slugs, two publicity mats, all for the price of one ad mat. Two-color her- ald keys the campaign. TEENAGE REBEL— 20th Century-Fox. CinemaScope. A grown-up picture for grown-up emotions. Recommended for everybody, except adults with a guilty conscience. Starring Ginger Rogers, Michael Rennie, and introducing Betty Lou Keim, new 17-year old starlet. We challenge you to stop talking about “Teen- age Rebel” twenty-four hours after you’ve seen it. 24-sheet and all posters have the same theme, of the teenage rebel, in sor- row and shame. You can use this slant — for there is no other. Two-color herald from Cato Show Print has the same approach. A set of two-door panels sets the purpose of the picture in all-type display. News- paper ads are strong, and a number of 2- column teasers pound hard at the basic advertising idea, with eight different kinds of copy. The special composite mat for drive-ins and small theatres is especially complete, with eight ad mats and slugs, two publicity mats. One ad reads “If you’re 16, you’re old enough to see ‘Teen- age Rebel’ ” — but bear in mind this is primarily for adults. THE BOSS — United Artists. The private life of a public enemy, who almost named his own president. “The Boss” is celluloid dynamite in an election year. Powerful interests, whose names would amaze you, have tried to prevent you from seeing it. Based on actual fact, a story of corruption that did take place, and was exposed. A two-bit tin-horn, spawned in the gutter, who brawled, bought and battered his way up until he held the Government in the palm of his hand! No posters larger than the 3-sheet but the one-sheet has a strong theme for art displays. John Payne is “The Boss” in the film story — and he plays his role to the hilt. Names have been changed, but he’s still “The Boss” that was well known to Washington columnists. A tabloid herald packs a punch, with all the best selling approach. Newspaper ad mats are strong, and in considerable variety, with a set of small teasers that you can drop in for run-of-the-paper. A special 40x60 has action all over it. The complete campaign mat for drive-ins and small sit- uations has eight ad mats and slugs, and two publicity mats, sufficient for all pur- poses, and all for 35 . , & a- : twith JESSIE ROYCE LANDIS* JIM BACKUS* HENRY JONES Screen Play by Guy T rosper • Produced by Frank P. Rosenberg • Directed by David Butler ■ - GLOBE COMING SOON! teenage rebel Cl N EM A ScopE starring GINGER ROGERS • MICHAEL RENNIE introducing three stars of tomorrow BETTY LOU KEIM WARREN BERLINGER • DIANE JERGENS LOEWS STATE NOW! between heaven and hell CINEMASCOPE -COLOR by DELUXE starring ROBERT WAGNER -TERRY MOORE BRODERICK CRAWFORD VICTORIA 4 WEEKS ON BROADWAY! the best things in life are free CINEMASCOPE -COLOR by DELUXE starring GORDON MacRAE • DAN DAILEY ERNEST BORGNINE • SHEREE NORTH ROXY NEXT ATTRACTION! anastasia ClNEMAS COp£ -COLOR by DELUXE starring INGRID BERGMAN YUL BRYNNER • HELEN HAYES PARAMOUNT NOVEMBER 15th! love me tender CINemaScopE starring RICHARD EGAN • DEBRA PAGET and introducing ELVIS PRESLEY MAYFAIR NOVEMBER 2nd! RODGERS and HAMMERSTEIN present Oklahoma! CINemaS cop£ starring GORDON MacRAE • GLORIA GRAHAME SHIRLEY JONES -GENE NELSON CHARLOTTE GREENWOOD • EDDIE ALBERT JAMES WHITMORE -ROD STEIGER Color by TECHNICOLOR • A Magna Production MOTION PICTURE HERALD MARTIN QUIGLEY, Editor-in-Chief and Publisher Vol. 205, No. 4 MARTIN QUIGLEY, JR., Editor October 27, 1956 More Prophecies of Doom A FEW years ago many of those dubbed “prophets of doom” were in the ranks of production and dis- tribution. A few in Hollywood and in various levels of distribution talked for publication about the glories of subscription television and about the number of theatres they predicted would close. Such predictions were widely criticized on the ground that they harmed the public rela- tions status of the industry and were gratuitous coming from men who did not own theatres. In recent weeks two leaders of exhibition have sol- emnly predicted that 6,000 additional theatres would close. Each of the two speakers is an experienced oper- ator of large exhibition interests. Each of them surely knew that the newspapers would — as they did — empha- size the large figure of closings and give little or no atten- tion to the assertions that better theatres would replace a substantial number of those closed. It must be that these two important exhibitors were badly advised. Predictions that 6,000 theatres will close can serve the ends only of a newspaper headline writer looking for a sensation. For example, the unsensational New York Times headlined the latest down-beat industry predic- tions as follows — “Drop Predicted in Film Theatres — Executive of chain expects end of 6,000 conventional thea- tres in next 3 years.” Nowhere in a newspaper story written for the box office patrons is there room for the explanation, known in the trade, that many theatres that have closed and many more that will close are obsolete. Executives of no other Amer- ican business make headlines out of the number of out- lets closed as a result of obsolescence, changing population and other factors. The number of drug stores, for ex- ample, that close each year substantially exceeds the num- ber of theatres that close for similar reasons. HOW many of the theatres which have closed were over-age and maintained in operation only be- cause of the abnormal conditions during and immediately after World War II? How many theatres in operation today are more than thirty years old and are long since completely depreciated? How many theatres are situated in areas whose character has shifted funda- mentally in the past decade? Everyone in the business knows that there are funda- mental reasons for closing of theatres that have nothing whatsoever to do with the present and future prospects of the theatrical exhibition industry. On the other hand few members of the public understand this situation. They attribute closings almost wholly to the inroads of tele- vision. The worst way to build attendance is to make pres- ent and potential customers think the industry is dying. As a concluding word on this topic it might also be pointed out that there not only are the grave reasons out- lined above why predictions of 6,000 theatre closings should not be made but the figures themselves are sub- ject to serious question. The exhibitors or those who ad- vised them on the content of their talks apparently were working from exaggerated figures of total theatres in operation. If one realistically examines the market today, there is no basis for an assertion that 6,000 more theatres will close. Since the end of the war 5,000 to 6,000 have already closed. Numerically the present total, give or take a relatively small percentage, will be needed to adequately serve the growing population of the United States in drive- ins and regular theatres. In current operation there is less than one theatre or drive-in for approximately 12,000 population. In view of the fact that there are several thous- and small communities of under 10,000 population that can support a theatre, the over-all seating capacity of the exhibition plant does not seem to be out of line. Let exhibitors who have theatres they want to close (or new ones built) go ahead; let’s leave the other fellows’ theatres alone. Vogel of Loew’s THE selection of Joseph R. Vogel to fill the position of president of Loew’s, Inc., was a splendid choice. It was an open secret in the trade several years ago that he was the man Nicholas M. Schenck thought best qualified to succeed him. However, at that time when the separate operations for Loew’s Theatres were being estab- lished it was felt necessary for Mr. Vogel to head that branch. In the past several executives from exhibition have set an enviable mark after transferring their activities to production and distribution. Mr. Vogel comes to his new responsibilities with qualifications that match those of the others who have made a similar transition in their prime field of activity in the motion picture business. The management team that Mr. Vogel heads is the strongest possible Loew’s, Inc., could assemble. Arthur M. Loew, new board chairman, will continue active in the field in which he pioneered as president of Loew’s Inter- national. Moreover, Mr. Vogel and his associates in active operation of the company will be able to draw upon the experience of Mr. Schenck, who has accepted the newly created position as honorary chairman of the board. Leopold Friedman, general counsel of the company since 1921, has been named the new president of Loew’s Theatres, guaranteeing a continuation of the policies which made and have maintained the Loew circuit in its leading role in American exhibition. — Martin Quigley, Jr. Curbing Rowdyism To the Editor: Recently I had a meeting with all of our managers in Ft. Wayne, Ind. One of the most serious topics I put a great deal of emphasis and stress on was the curbing of rowdyism in our auditoriums. I told our managers that by not curbing and control- ling the teenagers they were keeping adult patronage away from the theatre. I was pleased to receive in the mail a let- ter informing me of a positive step that was taken by Frank Stiles, the manager of our Uptown theatre in Richland, Wash., who did not attend this meeting and there- fore was not motivated by anything I had to say. In this letter, Mr. Stiles stated that the student admission price gives him a pow- erful hand in curbing rowdyism among teenagers. Following is an excerpt from his letter: “If we revoke a few of them and the kids have to pay 75 cents — if they can come at all — it’s going to make the rest stop and think. Along this line, I have gone a step further — and it’s working! I have put into effect a simple ‘code of dress’ for the boys in particular and the girls, too, if they need. I am insisting that the boys wear pants that fit properly and cover them decently and they must wear belts! No more are they allowed to come to the theatre indecently exposed. The girls are to be dressed properly, too. “Short” shorts, shirts hanging out and dirty jeans are out. “Drastic, you say. I don’t think so. Every school, church and countless parents have called me, congratulating me for tak- ing this step. The high school P.T.A. is all for it. Most of the kids agree with me. A few — very few — think I’ve got a lot of nerve trying to tell them how to dress. I’m not telling them that at all. I’m tell- ing them how to dress if they want to come to my house. It’s a proved fact that the manner of dress definitely influences any group’s behavior. This is working for us. Soon they’ll know that all they have to do is dress neat and clean, and we’ll get along fine. “I understand that when the high school P.T.A. discussed this the other night they made the comment that if one of the mer- chants was that much interested in the looks and behavior of the Richland teen- agers, it was time that the parents and schools did something too. I believe that we have started the ball rolling in the right direction.” I am sure a move in this direction for all theatres, in cooperation with the school authorities and the P.T.A. would help in every community. — S. J. GREGORY, Alli- ance Amusement Company, Chicago, III. • Starting Time To the Editor: Not only do we show the starting time of our performance in every ad we run, re- gardless of size, but we have a display- in the window of our box office into which is inserted a copy of our program and schedules, the same as is used in all parts of the theatre. In addition to this, from time to time we run a short institutional trailer on the screen, not only requesting that patrons get into the habit of seeing all movies from the start, but also requesting our patrons to check our daily ads for programs and show times playing. We try to set a standard of times such as complete shows at 1, 3, 5, 7 and 9, and on those occasions when we have to devi- ate from this, we call attention to this with a notation in our ads along with the time of the programs. I have been doing this in the theatres that I have managed for the past 29 years and I was surprised to note all the com- ment about this in the Letters to the Her- ald.—EARLE M. HOLDEN, Lucas Theatre, Savannah, Ga. MOTION PICTURE HERALD October 27, 1956 SHORT SUBJECTS ON THE MARCH — A special section 24-34 MPAA organizes program to build business at box office 12 FINANCING gives new impetus to Hollywood production picture 13 J. R. VOGEL optimistic as he takes over post as Loew’s president 16 RANK plans to open U.S. distribution offices in New York 17 INDIANA Allied holds 30th annual convention 17 ELECTRONICAM, after demonstra- tion, finds a market in Hollywood 20 POLL of patrons by Malco circuit provides valuable information 21 BRITISH Board of Trade receives film report of the NFFC 22 ROY COCHRAN named president of Tri-States association 35 AB-PT reports earnings rise for first nine months 35 SERVICE DEPARTMENTS Film Buyers' Rating 3rd Cover Hollywood Scene 23 Managers' Round Table 41 The Winners' Circle 36 National Spotlight 37 IN PRODUCT DIGEST SECTION Showmen's Reviews 121 Short Subjects Chart 1 22 The Release Chart 124 MOTION PICTURE HERALD, Martin Quigley, Editor-In-Chief and Publisher; Martin Quigley, Jr., Editor; Charles S. Aaronson, Managing Editor; Floyd E. Stone, Photo Editor; Vincent Conby, News Editor; Ray Gallagher, Advertising Manager; Gus H. Fausel, Production Manager. Bureaus: Hollywood, Samuel D. Berns, Manager; William R. Weaver, Editor, Yucca-Vine Build- ing, Telephone HOIlywood 7-2145; Washington, J. A. Often, National Press Club; London, Hope Williams Burnup, Manager; Peter Burnup, Editor; William Pay, News Editor, 4 Bear St., Leicester Sq. Correspondents in principal capitals of the world. Member Audit Bureau of Circulation. Motion Picture Herald is published every Saturday by Quigley Publishing Company, Inc., Rockefeller Center, New York City 20. Telephone Circle 7-3100; Cable address: "Quigpubco, New York", Martin Quigley, Presi- dent; Martin Quigley, Jr., Vice-President; Theo. J. Sullivan, Vice-President and Treasurer; Leo J. Brady, Secretary. Other Quigley Publications: Better Theatres and Better Refreshment Merchandising, each published thirteen times a year os a section of Motion Picture Herald; Motion Picture Daily, Television Today, Motion Picture Almanac, Television Almanac, Fame. SHORT SUBJECT REVIEW This issue of The HERALD includes a special review of short subjects. With the concentration on "big" pictures and pictures with special merchandising appeal, there never was a time when programming deserved more careful attention by exhibitors in every type of situation. In keeping with the progress of the new techniques— and changing audience tastes— production emphasis has shifted in shorts as well as in features. A familiarity with what the producers are making is essential in order to make best use of the various types of shorts available. It may be debatable whether a good short subject is enough to "save" the entertainment value of an otherwise mediocre pro- gram. On the other hand there is no doubt that a good short can help make a good program better. Every good showman makes the maximum possible use of good short subjects, carefully selected to fit his community. —M.O.,Jr. 8 MOTION PICTURE HERALD, OCTOBER 27, 1956 WHEN and WHERE On the Olt onzon DEAL CANCELLED After failure to reach a final understanding on terms. Re- public Pictures and 20th Cen- tury-Fox have called off a deal under which the latter was to distribute the former ' s product in Great Britain, it was an- nounced this week. William Saal, executive assistant to Herbert J. Yates, Republic president, said the 20th-Fox deal was dropped by mutual con- sent and that talks are now under way with several other companies. Negotiations in progress include not only Great Britain territory but several other parts of the world, ac- cording to Mr. Saal. BOX OFFICE PROGRAM Motion picture studio pro- duction heads have set up a series of meetings for this week and next in Hollywood to review the six-point program presented to the industry by the MPAA for the purpose of re- vitalizing the box office. On Wednesday, the MPAA ap- pointed a coordinating commit- tee under the chairmanship of Spyros Skouras, president of 20th Century-Fox, to follow through on the program. Other committee members include mem- bers of the MPAA advertising- publicity committee, plus A. Montague, James E. Perkins, David Blum and Y. Frank Free- man. For further details, see page 12. THREE-HOUR FILMS Three films currently showing at Broadway theatres are unique in their long running time of three hours or more, and all three have been doing excep- tional business, despite their unusual length, according to reports. "War and Peace" at the Capitol has set two house rec- ords and has been viewed by over 750,000 people. In nine weeks it will have grossed more than $632,500, Paramount estimates. "Giant", Warner release at the Roxy, has grossed $254,000 since its October 11 opening, topping all previous records except "The Robe" in 1953. "Around the World in 80 Days" (Michael Todd-U.A. ) grossed over $32,000 for its first four days. Another long one, Cecil B. DeMille's Paramount re- lease, "The Ten Commandments," opens at the Criterion November 9. IRON CURTAIN SALES _ A report on the feasibility of selling American product to Iron Curtain countries will be presented to the board of di- rectors of the MPEA October 31 by Eric Johnston, president, who was to return to the U.S. this weekend from Europe, the organization announced. The directors divided up import licenses for the Burma and Paki- stan markets at the meeting. In Burma, 237.9 licenses were distributed with Columbia get- ting 31.2; Loew’s, 39.7; Para- mount, 25; RKO, 29, 20th Cen- tury-Fox, 33; Universal, 28; Warners, 30; and United Art- ists, 22. The division is based on the Burmese quota of 2,100,000 feet of film allowed during the current fiscal year. BIOGRAPHIES Hollywood's biographical urge, with the accent on Twen- tieth Century American per- sonalities who have had out- standing and colorful careers, should continue indefinitely, in the opinion of George Sidney, producer. "Belatedly, the film industry became aware of the vast and fruitful source of fas- cinating subject matter in the lives of modern-day Americans , " says Mr. Sidney. "There remain countless such personalities, in all walks of life, whose biographies, intelligently treated for the screen, would make outstanding motion pic- ture entertainment." PUBLIC RELATIONS Allied Theatre Owners of New Jersey has taken under con- sideration a proposal to extend the functions of the New Jersey Federation, representing all state exhibitors in legislative October 28-30: Annual convention of the Motion Picture Theatre Exhibitors of Florida, to be held at Roosevelt Hotel, Jacksonville. November 13-14: Annual convention of the Independent Theatre Owners of Ohio, to be held at Deshler-Hilton Hotel, Columbus. November 19: Annual convention of the Motion Picture Theatres Association of Ontario, King Edward Hotel, Toronto. November 20: Annual convention, National Committee of Motion Picture Exhibitor Associations, King Edward Hotel, Toronto. November 21: Annual meeting of the Motion Picture Industry Council of Canada, King Edward Hotel, Toronto. November 22: Annual dinner of the Ca- nadian Motion Picture Pioneers, King Edward Hotel, Toronto. November 25-27: 44th annual convention of the Theatre Owners of North and South Carolina, Hotel Charlotte, Char- lotte, N.C. November 27-29: Allied' States Association, Fall board meeting and annual conven- tion, to be held at Statler Hotel, Dallas. November 30: Eighteenth annual dinner of the Motion Picture Pioneers honoring Robert J. O'Donnell as Pioneer of the Year, Waldorf-Astoria Hotel, New York. January 29-31: Allied States Association, national drive-in convention, Nether- lands-Plaza Hotel, Cincinnati, Ohio. February 26-27: Annual convention of the Kansas-Missouri Theatre Association, Pickwick Hotel, Kansas City, Mo. March 6-7: Second annual convention of the United Theatre Owners of Oklahoma, Blitmore Hotel, Oklahoma City. affairs, into the field of pub- lic relations, it is announced by Sidney Stern, president. Mr. Stern, following a membership meeting of the regional unit of Allied States Association in New York, said the New Jersey theatre men also discussed the forthcoming National Allied annual convention in Dallas and appointed Wilbur Snaper and Irving Dollinger as delegates, with Mr. Stern as the alternate. Mr. Stern declared the Jersey unit has been used as an ef- fective representative of ex- hibition in the New Jersey State Legislature. MOTION PICTURE HERALD, OCTOBER 27, 1956 9 wee L . . . AND AN INTER- VIEW. Allen Widem, star reporter on matters of the screen for the Hartford “Times” catches Jack L. Warner, Warner president, right, at the “Giant” premiere. EXCITEMENT IN HOLLY- WOOD as “Giant” has an epic premiere. At the right, in the lobby of Grauman’s Chinese, Warner studio representative Richard Gul- ly, actress Barbara Rush, producer Henry Ginsberg, and actress Kathryn Gray- son, among the outpouring of the studio capital’s most notable. HERALD picture THE GAMBLE PAYS OFF, and the result is “Death of a Scoundrel.” Charles Martin, its producer, direc- tor, and writer, told news- men in New York Monday at breakfast he used his own money and promoted the remainder privately, and thereby freed himself of “front office” and other restrictions and feels there- by he attained quality. He also found a distributor, RKO. With Mr. Martin, Alfred Stern, RKO inform- ation chief. Mr. Martin’s feeling about “quality” : people are relatively so- phisticated, critical and can only be stirred by new approaches. HERALD picture ARMAND DEUTSCH, who has made “Slander” and probably will make “Reprieve” said in New York Monday he’ll help MGM promote. He also be- lieves in painfully precise preparation: a mediocre picture cannot compete with mediocre television, “where the price is right.” HERALD picture SOLIDITY; that’s the story in Holland, circuit manager Max Gerschtanowitz said in New York last week. Theatre owners several years ago “struck” against an entertainment tax hy closing houses, and keeping them closed ; and forced its reduction. Their Cinemahund gives advice and even money to showmen doing hadly. It has dignified movie attendance hy enforcing “legiti- mate” practices such as reserved seats, starting times, and per- sonal service. And it has pre- vented television from showing more than one old picture per week. HERALD picture HONORING William J. German with its Hu- man Relations Award: the Joint Defense Appeal luncheon in New York Wednesday. William Gehring of 20th-Fox presents it to Mr. German, left, and the spectators are Vlarlene Dietrich, Barney Balaban, Harry Brandt, Jack Cohn, Henry Schultz, Frederick Greenman, Adolph Schimel ; and, front row, Irving Greenfield, Eugene Picker, Louis Phil- lip, Samuel Rosen, Abe Schneider, Fred Schwartz and Arthur B. Krim. Virtually the entire New York industry attended the tribute, which last year was tendered Danny Kaye. FOR “BABY DOLL”: Warners this week com- pleted its sign, prob- ably the largest amuse- ment display ever, for the run at the Victoria, Times S q u a r e, N e w York. W arner publicists put its size this way: a third of an acre. . na j _ ..." ^ ^SKEEH tw m .. *; * •» nt iru J ’« >U amriuKYbUuiwnoii §|§ T*C SOLID GOLD C AfilLL fcW g / ■CM - judt hOLiiDAY n; **.. t o *- ; * j IMJiWM.1 \ ITO* ICE. - .. .W— U tmtz HERALD picture Around the OPENED at the Rivoli, New York, the other night to unusually warm critics' approval, and the acknowledgment in and out of the trade that this indeed will be a long run.lt was a Will Rogers Hospital benefit per- formance. George Schaefer, pro- ducers' representative, right, with U.A. foreign sales chief Arnold Picker. Below, U.A. president Arthur B. Krim. star Eliz- abeth Tay.'or, circuit head Robert J. O'Donnell, and producer Michael Todd. World in 80 Days Dr. Ralph Bunche, Under-Secretary of the United Nations, and Mrs. Bunche, upper picture; and, above, Richard Brandt of Translux Theatres and Mrs. Brandt, and David Picker of U.A. and Mrs. Picker. MPAA Organizes to Build Film Business . . . Plan, devised by Advertising- Publicity Committee and approved by board, is presented to Holly- wood studio men The Motion Picture Association of America this week moved ahead with its multi-sided plan for building business at the nation’s box offices. Following the MPAA board’s approval last week in New York of the plan, formu- lated by the Advertising and Publicity Directors Committee, it was presented to a meeting of the Association of Motion Picture Producers and studio publicity directors Monday night in Hollywood. Speaking on behalf of the plan were Spvros P. Skouras, president of 20th Cen- tury-Fox: Roger H. Leeds, national di- rector of advertising, publicity and ex- ploitation for United Artists, as well as chairman of the MPAA Advertising-Pub- licity Committee; Paul N. Lazarus, vice- president of Columbia Pictures; Robert S. Taplinger, vice-president of Warner Brothers; and David Lipton, vice-presi- dent of Universal Pictures. Details Are Listed This was the committee named at the New York meeting to carry the plan to Hollywood. Among the components of the plan are: (1) an “Oscar” derby, con- ceived by Mr. Taplinger, and which con- templates 56,000,000 entries on a local, re- gional and national level, connected, of course, with the 1957 “Oscar” awards: (2) a Hollywood “press conference” which would bring 300 newspapermen from 101 key markets to Hollywood to see how films are made; (3) a series of executive field tours to be undertaken by company heads to six or seven regions for the purpose of delivering “state of the industry” addresses before publisher groups; and (4) an industry market sur- vey, under J. Stevens Stock, to find out “why the public goes to theatres.” Deferred for later action were a rec- ommendation for an institutional adver- tising campaign, and proposals for a “$1,- 000,000 a minute contest,” an industry television program and a premium stamp plan — the latter to await the outcome of the premium plan underway in certain parts of the country. Also Monday in Hollywood, Mr. Tap- linger held preliminary discussions on the “Oscar” derby and its sponsorship by the Academy of Motion Picture Arts and Sciences with George Seaton, Academy president. Jerry Pickman, retiring chairman of the MPAA Advertising-Publicity Com- mittee, said in New York following last week’s committee meeting that the MPAA shortly will appoint a member of its staff or retain the services of a qualified per- son to act as an “institutional merchandis- ing coordinator” for the committee. This person, he said, would act as the liaison between the industry and other fields re- garding merchandising tie-ups, promo- tions, program development, etc. Exhibitor reactions in the East to the MPAA plan were generally favorable, although several exhibitors were a little upset that they would be called upon to help bear the costs of such projects as the Hollywood “press conference.” The MPAA has estimated that this venture alone would cost exhibitors about $60,000 — for transportation — while the companies would pay approximately $125,000 for the Hollywood expenses. Opinions Differ One prominent New Jersey theatre man said that “this idea may have some merits but, from my point of view, the money could be better spent on the local news- paper publishers and editors. ...” A New York theatre executive said that it was a “calamity that the MPAA did not invite any exhibitors in and ask them if they had ideas on ways and means of building business before they decided to ask strug- gling theatre men for money to send news- paper men to the Coast.” Most of the theatre men, however, were in accord that despite animosities between exhibitor and producer-distributor, there should be one thing in the fore of every- one’s mind — “the business which is our livelihood.” Women's Film Chairman Praises Studio Workers “Too much publicity is given the sensa- tional news from Hollywood and not enough to the everyday matter-of-factness in the film capital,” is the contention of Mrs. Clara Edwards, chairman of motion pictures for the National Council of Wo- men of the United States. Mrs. Edwards recently published an article in the Bronxville, N. Y. Womens Club publica- tion, The Villager, in which she describes her latest trip to Hollywood and praises the industry and commonsense outlook of studio workers, including actors. Mrs. Edwards calls Hollywood “a community where everyone is working together to- ward a common goal, the making of mo- tion picture entertainment, with all the talent that the industry has to offer.” SBA Studies Theatre Loan Procedure The Small Business Administration is currently conducting a survey to set up a scheme for handling requests for loans from theatres, according to Arthur E. Long, regional director of the SBA for Connecticut, New York and Northern New Jersey. At the present time, the agency will accept applications for loans from theatres which have “annual sales up to $1,000,000,” he said last week. Mr. Long, principal speaker at a mem- bership meeting of the Independent Thea- tre Owners Association at the Sheraton Astor Hotel in New York, asserted that SBA requirements in granting loans to theatres are “what the collateral is and the ability to repay.” Collateral is defined by the SBA in regard to theatres as real estate and content. The ability to repay the loan is based on the past earnings of the operation and whether the business can earn enough in the ensuing 10 years to repay the loan, he said. In answer to other questions, Mr. Long said that a theatre lease is not considered as collateral by the SBA and that the agency “will not extend loans on a stop- gap basis.'’ He pointed out that “normally, a loan would be available within two to three weeks, but that depends on the na- ture of the loan and what it is for. Also, we must know whether a bank is partici- pating in the loan up to 25 per cent of the amount desired for the application of the loan.” Mr. Long added that the SBA would pick up a mortgage “but that depends on the rate of earnings of the business for the next 10 years.” He also said that no loans are available to investors who lease out real estate to theatres. “It must be an op- erating business to be eligible,” the SBA head said. Harry Brandt, ITOA president, who presided at the meeting- told Mr. Long that “the motion picture industry is not seeking a government subsidy, but seeks to establish credit rating as enjoyed by other responsible businesses.” Cardinal Cites Value Of Motion Pictures HAVANA: Motion pictures must be used for man’s perfection, declared His Emi- nence Cardinal Artega y Betancourt, Archbishop of Havana, in announcing the International Sessions of Motion Picture Studies, to be held here in January, 1957. “We must foster the production of films of positive character, adjusted to the values of Christianity,” the prelate said. “Thus can we solve satisfactorily the very serious question that motion pictures have posed to the Christian family.” 12 MOTION PICTURE HERALD, OCTOBER 27, 1956 New Financing Provides Fresh Impetus to Production Picture . . . Chesler of PRM announces new division with $5,000,000 set; Screen Gems discloses a special financing fund of $2,500,000 The structure on which is built the entertainment industry is as resiliant as the men who lead its ranks — constantly changing in response to current stimulus and in anticipation of future eventuality. This week came announcements which spotlighted the two most recent of major changes within the industry: the openly acknowledged interdependence (mutual interest) of motion pictures and televi- sion, and the rise of the independent op- erator, be he producer, distributor, star, or, more simply and magnanimously, fi- nancial investor. From Hollywood came these reports: A joint announcement by Louis Chesler, board chairman of P.R.M., Inc., and Eliot Hyman, president of its wholly owned subsidiary, Associated Artists Productions, of the formation of a new division to engage in motion picture, television and theatrical enterprises with an initial fund of $5,000,000 to invest in these enterprises; and An announcement by Irving Briskin, production executive of Screen Gems, television subsidiary of Columbia Pic- tures, that Screen Gems has established “a special financing fund” of $2,500,000 for backing new independent television prod- ucers— the largest amount ever set aside by any major TV production company (and certainly by one that has a major motion picture company as its parent) for the sole purpose of financing inde- pendents. Mr. Chesler, an unknown in the enter- tainment industry until last March, at which time he came out of Canada to participate in the $21, 000, 000-purchase of the Warner Brothers library, and Mr. Hyman, his associate in that purchase, said further in their joint statement that Ray Stark, vice-president of Famous Art- ists Corporation, was resigning that posi- tion to head the new P.R.M. division. With headquarters in Hollywood, Mr. Stark will have the title of vice-president in charge of West Coast operations for P.R.M. and executive in charge of prod- uction for AAP. The all-inclusive nature of the division which Mr. Stark will head was indicated in the announcement as follows: it will “finance, develop, create and package motion picture, television and theatrical enterprises, as well as finance any and all elements concerned in the entertain- ment field.” The division’s fund was de- scribed as “a war chest of $5,000,000 to be made immediately available for invest- ment in the entertainment field.” To supplement its activities in Holly- wood and New York, the company will establish offices in London and Rome and operate on a worldwide basis. In addition to “packaging” stories, stars, directors and producers — a function most often performed by the talent agencies, the division also “will purchase interests in various production companies and in the contracts of top stars” and “actively par- ticipate in co-production ventures.” It will, in short, engage in almost every op- eration connected with the business of en- tertainment. Word from Briskin The announcement that Screen Gems was opening its doors wide to independent TV producers to the tune of $2,500,000, was made by Irving Briskin following a series of West Coast meetings with Ralph Cohn, vice-president and general man- ager of Screen Gems; John H. Mitchell, vice-president in charge of sales; Fred Briskin, production executive, and Milton Pickman, vice-president in charge of new program planning. According to Mr. Briskin, the $2,500,- 000 will be made available to “any prod- ucer with a package containing either star names or a powerful idea.” Such properties will be given complete financ- ing by Screen Gems and also will be afforded the full production facilities of Columbia Pictures, he said. “We feel,” said Mr. Briskin, “that there are many producers seeking not only financing, but affiliation with an organiza- tion which can give their potential pro- grams everything needed from production facilities through distribution and sales. Although we welcome star names, the doors are open just as wide to those with properties sufficiently powerful to make them worth producing. We hope to add several independent producers in the next two years to the impressive list already associated with Screen Gems.” Producers Named At present those independents produc- ing for Screen Gems include Herbert B. Leonard Productions, “Adventures of Rin Tin Tin” and “77th Bengal Lancers”; Norbert Productions (Herbert Leonard- Norman Blackburn), “Circus Boy”; Eu- gene B. Rodney-Robert Young, “Father Knows Best;” Bischoff-Diamond Produc- tions, “The George Sanders Mystery Thea- tre”; Goodson-Todman, “The Web”; Har- ry Sauber, “The Shape, The Face and The Brain” and “Shore Leave”; Bryan Foy, “Emergency.” Exploring Means The plans of these two companies — P.R.M. and Screen Gems — and their re- spective “funds” are roughly the equiv- alent to that small proportion of the iceberg which appears above the water. “Under the water” there are other, per- haps even more powerful entertainment interests which are known to be exploring ways and means of taking a more active role in the financing and production of theatrical, motion picture and television fare. Both the Columbia Broadcasting Sys- tem and the National Broadcasting Com- pany have in the past discussed the possibility of financing and producing theatrical motion pictures which would eventually come to their TV networks. In recent weeks, these plans have been kept rather quiet in the face of various Congressional inquiries hoping to find the networks guilty of monopolistic practices. In the motion picture industry, no other company, except perhaps, Columbia, is presently as widely diversified — as far as the entertainment industry is concerned — as Paramount Pictures. One of its sub- sidiaries, International Telemeter Corpor- ation, has the rights to one of the three major toll TV systems; another has de- veloped a color television tube. The parent company also has sizeable holdings in DuMont Broadcasting Corporation and, for an extra fillup, is the sole backer of the forthcoming Broadway musical com- edy, “Li’l Abner.” AB-PT Plan Cited Maybe an even more perfect example of the current trend is American Broad- casting-Paramount Theatres, the “di- vorced” exhibition arm of the Paramount Pictures corporate body. With the assets of a powerful theatre circuit and of a fast-rising radio-TV network behind him, Leonard Goldenson, AB-PT president, an- nounced last month the company was planning to produce picture for theatrical exhibition. In the entertainment industry, as in in- ternational politics, the policy of isolation would seem to be a very dead duck. MOTION PICTURE HERALD, OCTOBER 27, 1956 13 , PP *k W» HV 0C' “ VlU0 TMER 1 GEORSE «ELTOE ’ l501 BROM^ 1?U1 ~ , W«W M® LW1, ««E SEE usT« RftHKS .HOLUWOOB 0 ^ tMS P1C mu**®** Y T0 fflt sEf SHOOW M® ^ GROSSES. REGM»s ^ tugeue ?icW; ^v^jyn man UU MWiION'C m -L "'ru} mM^tnh ’S^Sizzpm THIS IS IT-FOR CHRISTMASES AND NEV' \J JL^ - i2oi r^^S^ss-, of recdp« uSTMin^^ ST IS A KEAT, PTnprm*^ H 195S «1«® OlStM®"186 C0W rc. XN OPINION PlcW o«GK«Uunons. ’■* “t “«*> - «• TURt r .«,) TO THE HOU^T sons gMctY preside X.OEU THESES. YEAR’S FROM PARAMOUNT W*z?i Vogel is Optimistic in Taking Loew's Post . . . New president voices faith in industry future; Friedman to head theatre company; Picker and Mur- phy named directors “Making good pictures at commensurate costs and marketing them properly is an assignment I welcome,” says Joseph R. Vogel, who last week was elected presi- dent of Loew’s, Inc., by the company’s board of directors, succeeding Arthur M. Loew. Mr. Loew was named chairman of the board, succeeding Nicholas M. Schenck, who was accorded an honorary chairmanship in appreciation of “his many years of dedicated service.” Leopold Friedman was elected presi- dent of Loew’s Theatres, succeeding Mr. Vogel. “ Enthusiastic ” for Future “I am happy that Arthur Loew with his vast knowledge and progressive ideas will be active and will work side by side with me,” Mr. Vogel said. He continued: “As I have lived with the problems of exhibition, I have been a continuous ob- server of the trends in motion picture pro- duction. Times and tastes have changed quite a bit over the years and these changes are a challenge. I am filled with enthusiasm for the future of M-G-M and we will go forward.” In addition to his board chairmanship, Mr. Loew will serve as president of Loew’s International. He said of Mr. Vogel’s election: “It will strike a note of optimism not only to our own organi- zation but to the entire industry. To our studio it will mean the guidance of an experienced and understanding executive who has a proven conception of public taste. He has a capacity for judgment and decision on the merit of film projects which combines uniquely with his busi- ness experience. To our distributing or- ganization his election will mean a chief executive with appreciation of boxoffice values gained from his many years in the operation of a most successful circuit of theatres.” Two new members were elected to the board of directors of Loew’s Theatres: Eugene Picker and John F. Murphy, both company vice-presidents. They fill the vacancies caused by Mr. Vogel’s resigna- nation and the recent death of Harold J. Cleary. J. Leonard O’Donnell, controller, was elected treasurer of Loew’s Theatres, and will serve in both offices. Mr. Vogel began his career in the in- LEOPOLD FRIEDMAN dustry as a part-time usher at the age of 14. At 18 he was appointed manager of the old Fulton theatre, now demolished, and then the Palace, Victoria, and finally Loews State on Broadway. Mr. Vogel was then promoted to be an assistant to Charles C. Moskowitz, who was in charge of the New York theatres. Later he be- came assistant to Colonel Edward A. Schiller, who had been handling the cir- cuit’s out-of-town theatres. In 1934 Mr. Vogel assumed management of Loew’s out-of-town circuit, and in 1939 he be- came a director of Loew’s. In 1942 he was elected a vice-president and in 1954, when the government decree separated Loew’s production-distribution activities from the exhibition company, Mr. Vogel was elected president and director of Loew’s Theatres, Inc., the new theatre operating company. He is married and the father of one son. From Theatre Department Leopold Friedman, the new president of Loew’s Theatres, became secretary of Loew’s in 1919 and general counsel in 1921. A few years later he was elected to the board of directors and in 1945 be- came vice-president. In 1954, with the separation of Loew’s Theatres from Loew’s, Inc., he was elected financial vice- president and a director of Loew’s Thea- tres. During this period Mr. Friedman served briefly as treasurer. Eugene Picker, new director, joined Loew’s in 1921. In 1935 he became chief film buyer and booker. During the re- alignment of departments in 1946, he was named general manager of all Loew’s New York theatre operations. Following the separation of Loew’s Theatres from Loew’s, Inc., in 1954, he was made vice- president of the new theatre organization. John F. Murphy, the other new direc- tor, started with Loew’s Theatres as an accountant in 1922. In 1925 he was night assistant at Loew’s Hillside theatre in Jamaica and Loew’s Valencia in New York. Shortly after, he was promoted to assistant to Mr. Vogel, then general thea- tre executive, in charge of all Loew’s theatre operations. When Mr. Vogel be- came president of the new company after the 1954 separation, Mr. Murphy was named vice-president. List of Officers The up-to-date list of Loew’s officers includes: Nicholas M. Schenck, honorary chairman of the board; Arthur M. Loew, chairman of the board; 'Joseph R. Vogel, president; Dore Schary, Edgar J. Mannix, Howard Dietz and Benjamin Thau, vice- presidents; Charles C. Moskowitz, vice- president and treasurer; Marvin H. Schenck, Joseph J. Cohen, Charles M. Reagan, vice-presidents; Jesse T. Mills, vice-president and controller; Ben Mel- niker, Charles C. (Bud) Barry, Frank B. Walker, vice-presidents; Nicholas Nay- fack and Marvin Atlas, assistant secre- taries; and Dolph Schadler and Charles H. Phelan, assistant treasurers. Directors include: George A. Brownell, G. Rowland Collins, Howard Dietz, F. Joseph Holleran, Arthur M. Loew, Charles C. Moskowitz, Ben Melniker, William A. Parker, Charles M. Reagan, Nicholas M. Schenck, John Lawrence Sullivan, and Joseph R. Vogel. National Film Service, Buena Vista in Deal A new contract for front office work has been negotiated between National Film Service, Inc., and Buena Vista Film Dis- tribution Co., Inc., Walt Disney’s distribu- tion organization, it is jointly announced by James P. Clark, president of NFS, and Leo Samuels, president of Buena Vista. The new contract supplants a similar agreement between the film distribution company and the service organization, which had a year to run. Credit Plan Extended To "Around the World" For the first time in the history of the Diners’ Club, worldwide single credit plan for restaurants, hotels and other services, the more than 350,000 Diners’ Club mem- bers will be permitted to charge for a film presentation. The film is “Around the World in 80 Days,” Michael Todd produc- tion now showing at the Rivoli theatre, New York. Diners’ Club members can charge their order either by mail or by presenting their card at the box office. 16 MOTION PICTURE HERALD, OCTOBER 27, 1956 Rank Plans to Set Up Distribution Agency for British Films in U. S. The J. Arthur Rank Organization has reached a decision to set up a distribution agency to handle release of its product in the United States, it was announced in New York last week by Harry Norris, joint managing director of J. Arthur Rank Overseas Film Distributors, Ltd. Mr. Nor- ris said the decision had been made following discussions between himself, John Davis, managing director, Robert S. Benjamin, president of J. Arthur Rank Organization, Inc. and their associates. The British film executive said the domestic agency would be tentatively called J. Arthur Rank Film Distributors and that the unit will probably go into operation here by January with a pro- gram of 10 to 12 films ready for release, among them such productions as “Reach for the Sky” and “The Battle of the Plate.” Mr. Norris, who returned to Lon- don this week, said that no office or personnel has been selected thus far. A representative of the Rank Organization will be appointed shortly to head the U.S. office, he added. The Rank overseas managing director pointed out that the distribution agency which will be set up “will be separate and apart from the company headed by Benjamin. He said that the “need and future” of the Benjamin-headed company “is yet to be discussed” and indicated that talks concerning this would take place in London upon his return to Great Britain. Indiana Allied Meeting Held INDIANAPOLIS : Among the subjects discussed at the 30th annual meeting of the Allied Theatre Owners of Indiana held here last week were an exchange of “ideas to improve profits,” trends in new equip- ment, and details of the cable theatre plan to be instituted at Bartlesville, Oklahoma. Other features were a film clinic on buy- ing and booking, open to exhibitors only; discussion of local exploitation, theatre in- surance problems, and toll TV, and a pan- el discussion on equipment trends. Speakers included: Roy Kalver, ATOI president; A1 Sindlinger, industry statisti- cian; Milton J. Shapp of Jerrold Elec- tronics, and Trueman Rembusch, state and national Allied leader. Also heard were Abram F. Myers, general counsel of national Allied, Hugh McLachlan, chairman of the local equipment commit- tee, and Spiro Papas, vice-president of the Alliance circuit, who spoke on theatre concessions. According to the cable theatre plan, two pictures a week will be presented, twice a night, with some matinees and midnight shows. Some will be shown day and date in homes and theatres, some first in one and then in the other, to determine the best revenue results. An anticipated flat charge of $6 to $8 monthly for the home service will be made, according to Mr. Shapp. Speaking in a panel discussion on ex- ploitation were Roy Howard, Gary, kid shows; Ted Graulich, Evansville, trading stamps; Vic Sicilia, Muncie, student ad- mission deals; Dick Pell, Rushville, con- tests, and A. J. Kalberer, Washington, merchant tieups. Roy Kalver was reelected president and national director; J. R. Pell, vice-presi- dent; Dick Lochry, treasurer; William A. Carroll, executive secretary. All directors were reelected, with the addition of Pete Panagos, Chicago. Pioneers' Member Drive Honors Bob O'Donnell The inauguration of a membership drive by which the Class of ’56 will honor R. J. “Bob” O’Donnell, selected “Pioneer of the Year,” has been announced by Jack Cohn, president of the Motion Picture Pioneers, whose 18th annual dinner will take place Friday, November 30, at the Waldorf-As- toria, New York. Eligible for membership in the motion picture organization is any- one who has been engaged for 25 or more years in either production, distribution, exhibition or affiliated motion picture or- ganizations. Successful applicants are ac- cepted after a nominal initiation fee. There are no dues or assessments. Rogers Christmas Salute Will Be on Area Basis A. Montague, president of Will Rogers Memorial Hospital, has announced that ex- change area meetings to start the Seventh Annual Christmas Salute will be conduct- ed this year on an individual area basis, and that the first meetings are beginning this week. According to the flexible date plan, the exchange area distribution chair- men are given leeway in setting their meeting dates to attract greater participa- tion and attendance. A feature of the meetings will be a standardized, pre-re- corded segment of talks by Mr. Mon- tague; Sam Rosen, co-treasurer; S. J. Feld- man, National distributor chairman; and M. A. Silver, National exhibitor chairman. Part of this tape recording includes a re- port from a Will Rogers Hospital patient. TV and Films Co-exist Now: Harry Cohn Columbia Pictures is in the business of making motion pictures for the public and will continue to do so for any medium, Harry Cohn, president of Columbia, told stockholders in the company’s 1956 annual report. “Television has proved to be a competi- tor— and a very strong one,” Mr. Cohn declared. “However, ours is a business of supplying the public with entertain- ment. While we are primarily in the field of motion pictures, we have also delved deep, of late, into the field of sup- plying television entertainment. Let it be noted that we believe there is ample room for both media to exist profitably. Each, we are sure, can and will contribute to the progress of the other.” Mr. Cohn cited the advance of Screen Gems, the company’s wholly owned tele- vision subsidiary. Already playing more national network shows than any other TV film company, he said, Screen Gems have five brand new programs and a quo- ta of twenty new programs for future de- velopment. “We do not believe in ‘dumping’ old pic- tures on the market in unreasonable quantities,” he reported. “It is not our policy to release to that medium any pictures which still have a potential in the theatrical market. We have care- fully selected 104 old feature films from which we have already obtained the very maximum reissue value and leased them to various television outlets. We are not selling these films outright, but retain full title and residual rights to each.” A gross income of $91,145,571 was re- ported for the fiscal year ending June 30, 1956, as compared with $88,655,601 for the like period ending June 25, 1955. Earn- ings were reported as $4,377,795 before taxes and consolidated earnings were put at $2,669,712. Pre-income tax earnings in 1955 were $8,650,395, with a net earning of $4,948,690 after taxes. Earnings per share of common stock were $2.28 for the period ending June 30, 1956, as compared with $4.40 for the pre- vious period. The annual report listed Columbia’s current assets at $56,604,378. In Filmack Post Max Herschmann has been named branch manager of Filmack’s New York office, it is announced by Irving Mack, president of the Filmack Trailer Com- pany, Chicago. He was formerly New York sales manager. Don Mack will re- main in charge of TV production and sales in New York. MOTION PICTURE HERALD, OCTOBER 27. 1956 17 : The story of a ruthless financial genius who thought women were his slaves You’ll never forget him . . . you’ll never forget the fabulous way he lived and loved . . . and met his death Starring GEORGE SANDERS • YVONNE DeCARLO ZSA ZSA GABOR • VICTOR JORY NANCY GATES • COLEEN GRAY Written, Directed and Produced by CHARLES MARTIN Music by max steiner V Distributed by R K O RADIO PCTURfcS ELECTRONICAM FINDS A MARKET IN HOLL YWOOD by WILLIAM R. WEAVER HOLLYWOOD: Three weeks after Elec- tronicam came to Hollywood its head men, vice-president Keeton Arnett of Du Mont Laboratories and Ralph B. Austrian, west- ern manager, are on the point of announc- ing contractual commitments for use of the system in ranking motion picture and tele- vision-film studios. They are also on the point of announcing to the trade at large the availability to motion picture studios of the single-camera Electronicam system, revealed so far pri- vately to a few major studios, brut shortly to be disclosed to the trade in general. Calls Reaction Good At the weekend, prior to leaving Holly- wood for his eastern headquarters, Mr. Arnett told Quigley Publications, “Holly- wood reaction to our system has far ex- ceeded our anticipation. Attendance at our demonstrations has been on a steady in- crease, indicating continuing discussion around the industry, person to person, of the Electronicam potential. “Even more encouraging, attendance at our instruction classes, given daily here at the studio to all groups of production workers, has gone up steadily from the beginning. As of last night, when the classes were finished, we had 325 regis- trants, and of course many who had at- tended had not signed up formally.” The Du Mont executive continued, “We had expected to encounter professional in- difference that didn’t materialize. We had counted on major production people to look askance at an optical system designed for television use and now brought here for submission to theatrical-film producers. We didn’t count on an open-arms recep- tion, nor for unanimous acceptance of our system, brut we did get the former. “As for the latter, it is true that some of our guests have pronounced our system less than perfect. The thing that makes us feel as confident as we do is the fact that the expressions of approval outnum- bered greatly the expressions of criticism.” Turned Down Orders Mr. Austrian, asked whether final papers have been signed for any installation of Electronicam in a major theatrical-film studio, said, “None that I can name for publication at this moment,” proceeding then to name privately one of the biggest in town. He went on to point out, “We have turned down a good many orders. We have no intention of allowing Electroni- cam to be introduced to trade and public in connection with a film of less than top quality. Industry history records a num- ber of incidents of a new system of one kind or another being condemned out- rightly because it has been used for the first time on a bad picture. We will not let that happen to Electronicam.” Mr. Arnett said the series of demonstra- tions conducted here, together with the discussions with production executives and personnel, have supplied Du Mont with important indication as to ultimate de- mands for Electronicam equipment, which until now has been in limited manufacture. He recalled other industry situations of recent date in which sudden adoption of a principle or device had caught manu- facturers in short supply. He said Du Mont now can guard against that. The single-camera Electronicam system shortly to be made available to the studios consists, quite simply, of the highly mobile dual camera — in which a standard Mitchell motion picture camera and a television camera are mounted side-by-side to photo- graph a subject through a single lens — plus two or more monitors which can be placed at whatever points are chosen. To See as Camera Thus, in simplest application, the single- camera Electronicam enables cinematogra- pher and director to view (on their respec- tive monitors) exactly what the camera is viewing, instead of, as at present, squint- ing through a finder and guessing. Addi- tional monitors, as for producer, studio head, so on, can be added to convey the same information to offices or wherever desired. Use of the single-camera Elec- tronicam entails employment of one more workman than the present standard cam- era crew. Electronicam officials say it saves an inestimable amount of time. The lease price of the single-camera sys- tem has not been determined. The three- camera system, complete with all operat- ing facilities and equipment, leases for $3,000 the five-day week, on short-term deals. Says Mr. Austrian, “That divides down to $600 a day, or $75 an hour, and Electronicam can save a producer several times that amount before breakfast.” Rename A. A. Exchanger ATLANTA: Allied Artists southern ex- changes in this city, Charlotte, Memphis and New Orleans, are now to be known as Allied Artists Southern District Corp. Farnum Heads Extras HOLLYWOOD: The board of directors of the Screen Extras Guild has announced that Franklin Farnum, first vice-president since 1948, will succeed Richard Gordon, who died September 20, as president. Weisenthal to Make Story of Jack Dempsey HOLLYWOOD: The life story of Jack Dempsey will be brought to the screen by producer Sam Weisenthal as an inde- pendent venture and will go into produc- tion in January for Summer, 1957, release, Mr. Weisenthal has announced. The screenplay, read and approved by Mr. Dempsey, was written by Rowland Barber. For 30 years, Mr. Dempsey said, he had been refusing authorization of his life story on the screen. Telling why he had approved the Weisenthal-Barber version of his life story, Mr. Dempsey, world heavyweight champion from 1919 to 1928, said: “Most people wanted to make a story about a fighter. Mr. Weisenthal wants to make a story about a young boy who be- came a boxer, grew up through the ex- citement of America between World Wars and lived to be a man who knew life. Be- ing champion doesn’t mean anything. It’s the hard work that goes into it that makes the story.” Mr. Weisenthal, who gave up his con- tract at RKO to do “The Story of Jack Dempsey,” reportedly is investing his sav- ings and future as a producer in the proj- ect. According to Mr. Weisenthal, U. S. exhibitors are enthusiastic about the idea of a Dempsey biography on-screen. “Most of our key exhibitors are old enough to remember paying $50 and $100 a seat for the big fights. They know this is a big picture,” Mr. Weisenthal said. Mr. Weisen- thal will make no distribution deal until he has star, director, and the balance of the production details set, he said. First Censorship Law Passed in Minnesota ST. PAUL: The West St. Paul City Council last week voted five to one for passage of the first motion picture censorship law in Minnesota. The law is the result of a peti- tion started by a 14-year-old boy protesting the booking of a Finnish film, “The Witch,” at the West Twins theatre. The youngster saw a trailer for the film on the same program with “The Birds and the Bees.” His protest started a movement which grew into an organized adult demand for censorship. Under the new law, W. R. Frank, owner of the theatre, must submit film titles and synopses to a police com- mission a week in advance of playdates and a screening must be held for one member of the commission before the film opens at the theatre. Shortly after the “Witch” episode, Mayor John Sperl ordered Mr. Frank to discontinue showing another foreign import, “The Slasher.” Mr. Frank withdrew the film and closed the theatre temporarily. 20 MOTION PICTURE HERALD, OCTOBER 27, 1956 PATRON POLL BRINGS VALUABLE DATA SAENGER-MALCO-STRAND & ZEBRA THEATRES Pine Bluff, Arkansas Dear Madam: As rhe manager of your local UNITED THEATRES, I am constantly in search of ideas and suggestions that will improve our service and facilities, and to bring to our theatres the type of attractions that you and your family want to see. Rather than bother you with a telephone call or a solicitor, I am mailing you this movie- caster questionnaire, asking for you r advice and suggestions that will help us to bring this about, and to serve you better. In your liesure moments will you kindly fill out the card below, sign, and tear off at the dotted line, and bring it with you the next time you come down town and present it to the cashier at any of our theatres. It will admit you and your guest to any performance at these theatres until the period ending , 1956. Or, if you prefer, tear off and mail the attached card, which requires no postage, and we will mail to you your guest tickets. Sincerely yours. Date 1956 Manager P S. We feel sure that you will not want to miss any of these great attractions. MOVIECASTER QUESTIONNAIRE Name Address Tel. No No. in family Children under 12 Do you own a T.V. set? Automobile? How often do you attend movies? (Circle one) Weekly: Semi-weeklyi Monthly: Seldom: Never: What theatre do you prefer? When did you last attend? What type of pictures do you prefer? Who are your favorite stars? Male Female How do you learn about current pictures, and what's playing at your favorite theatre? (Circle mediums) Radio Television: Newspaper: Magazines: Billboards: Telephone: Big Sign at Theatre: Friends telling you What is your reason for not attending movies more frequently? What do you think would influence you to attend more movies? If you have any suggestions that would make the theatre more enjoyable, please tell us about them Name THIS CARD. WHEN FILLED OUT AND PRESENTED AT BOX OFFICE, WILL ADMIT YOU AND YOUR GUEST TO ANY PERFORMANCE DURING THE PERIOD ENDING 1956 Jack Brunagle, executive in charge of theatre advertising for United Theatres Corporation, with headquarters at Little Rock, Ark., has been faithfully circulating some 200 of the above questionnaires every week down in his area. The two- part reply card, both sides of which are reproduced above, is designed to elicit patron response to a number of questions that operators, not only in Arkansas, but all over the country, would certainly like some answers on. And who are better qualified to dispel question marks than the man and woman who plunk down their coin at the box office? According to Mr. Brunagle, the answers are coming in like Niagara — and why not? Past showman experience has proved beyond a doubt that the public likes to answer questions on their film-going habits. Aiding Mr. Brunagle in his cir- culation of the questionnaires is Bruce K. Young, city manager of United Theatres in Pine Bluff, Ark. He has been making a name for himself as an enterprising young showman, chock-full of construc- tive ideas, and when he got his quota of Brunagle’s questionnaires, he lost no time in promoting them in his locality. The response of a cross-section of film patrons, in their own words, setting down their likes and dislikes on a variety of film-going phenomena, from concessions to comfortable seating to projection to frequency of favorite personalities on their screens, is one of the chief aids an exhibitor can elicit in his never-ending search for the workable formula that will insure the maximum contentment of a maximum number of theatre patrons in his locality. An examination of the sides of the questionnaire reproduced above shows a clever design for obtaining the information the exhibitor needs. Ideas like this are valuable, not just in Arkansas but north and south, east and west, and abroad, for that matter. The exhibitor who knows what is in the mind of the public is the exhibitor who mer- chandises for top-drawer results. The showman who gives scientific considera- tion to the wants of his audience, and who analyzes their likes and dislikes, and ac- cordingly provides for a margin of hits over misses is the showman who stays in business and prospers. Adoption of such a formula should yield good results. National Theatres Net 80 Cents Per Share LOS ANGELES: National Theatres’ net earnings are expected to approximate 80 cents per common share for the fiscal year ending September 25, 1956, according to Elmer C. Rhoden, president, who said that the company’s fourth quarter earn- ings for the past fiscal year will show “no gain” over the previous comparable period. Net earnings for the circuit over the fiscal year ended September 25, 1955, totaled $1.04 per share. Mr. Rhoden said the downward slide in earnings which plagued the company for the past year has been halted. B'Nai B'rith Luncheon Slated for October 30 New York’s Cinema Lodge of B’nai B’rith will hold its first luncheon mem- bership meeting of the Fall season at Toots Shor’s Tuesday, October 30, it is an- nounced by Robert K. Shapiro, president. The luncheon will mark the climax of the lodge’s principal fund-raising activity of the year, the sale of $25 contribution share certificates on behalf of B’nai B’rith agencies with one of the purchasers being awarded a Cadillac. With the sale short of its goal of 500 this year, Mr. Shapiro has appealed for a last-minute campaign to sell the remaining certificates, the Lodge’s executive committee having decided late last week against any postponement. Fund Christmas Cards Go to 5,000 Members HOLLYWOOD: Reproductions of the five winning original paintings for this year’s Motion Picture Relief Fund Christmas Cards have been mailed to 5,000 members of the industry, it was announced this week by George Bagnall, president of the Fund. The five cards provide a wide vari- ety of sentiments for the buyers this year, ranging from the humorous “Stand-In” and “The Chimney” to the religious spirit of “The Stained Glass Window” and “Holy Family.” The Christmas Cards have been an annual event for more than 15 years. Last year 109,000 cards were sold, and this year the goal is a quarter of a million cards. All proceeds from their sales go to the Relief Fund for the care of the industry’s own. FJC Industry Dinner Set for November 15 Motion picture industry leaders will gather at the Hotel Plaza, New York, on November 15 for a special dinner of the Motion Picture Division in behalf of the Federation of Jewish Philanthropies, it is announced by Charles B. Moss, division chairman. Barney Balaban, president of Paramount Pictures, will be host at the meeting. Mr. Balaban and Samuel Rosen of Stanley Warner Corp. are co-chairmen of the motion picture division of the Fed- eration. Associate campaign chairmen in- clude Leo Jaffe of Columbia, Leon Gold- berg of United Artists and Harold Rinzler of Frisch and Rinzler. AB-PT Wins Award American Broadcasting-Paramount The- atres, Inc., has been judged as having the best annual financial report of the motion picture industry for the fourth consecutive year in the 16th annual survey of Financial World, national weekly magazine. The bronze “Oscar of Industry” will be pre- sented at the annual awards banquet at the Hotel Statler, New York, October 29. MOTION PICTURE HERALD, OCTOBER 27, 1956 21 Board of Trade Gets NFFC Film Report . . . Long-awaited document is said to incorporate views of 16 trade groups and "advice" of many companies by PETER BURNUP LONDON: The report and recommenda- tions of the National Film Finance Cor- poration on future film industry policy has now been lodged with the president of the Board of Trade. As long ago as February last the Board’s president, Peter Thorneycroft, announced in the House of Commons that he had asked the corporation to prepare a report on the three major matters which now confront the industry: the Quota Act, the Eady production levy and the future of NFFC itself. The intention then was that the report would be presented by the end of May; but that plan had perforce to be abandoned, due probably to the volume of suggestions which descended on the cor- poration from all sections of the industry. In August, Mr. Thorneycroft anticipated the report by telling the Commons of his intention to introduce a statutory levy, to continue the powers of NFFC and to ex- tend the Quota Act beyond its current statutory terms which expires in 1958. Report Called “ Critical ” The report is understood to be compre- hensive and to incorporate the views of no fewer than 16 trade organisations, in addi- tion to the “advice” tendered by a number of companies and individuals. The trade looks upon the report as a critical, and likely to be regarded as an historic document. In view of its impor- tance, responsible industry leaders have continually pressed Mr. Thorneycroft to have it published. Efforts will be made to change Mr. Thorneycroft’s mind in the House of Com- mons. But more eagerly awaited will be the Queen’s speech, when Her Majesty opens a new Parliamentary session on No- vember 6 and which will outline the Gov- ernment’s immediate legislative pro- gramme. "CONVENTIONAL" RELEASE FOR "GUYS" IN LONDON Following what is understood to have been some tough trade talking it is an- nounced that “Guys and Dolls” will start its general release through ABC on De- cember 24 and follow the conventional pattern. In other words, the picture will RANK DEMONSTRATES NEW WHITE SCREEN LONDON: Last week at the Marble Arch Odeon here Rank Precision In- dustries demonstrated a new Harkness white screen which, it is claimed, solves the problem of light falloff to- ward the sides of abnormally wide screens. Trade viewers reported that they were impressed with the screen, made of vinyl plastic, over which a coating of vinyl resin has been ap- plied—in effect a return to the tra- ditional white screen but with the brightness of aluminum and the ad- vantages of a mat surface. It is claimed that the falloff approximates 1 1 per cent only, compared with 75 per cent in other types of screens. The screen is said to be immediately available, with the price the same as for the company's silver aluminized screen. play in northwest London in its opening week; northeast and south London, re- spectively, in the immediately following two weeks. There will be no increase in admission prices during the London presentation and no extended playing time; although, as in the case of other big pictures, extended playing time may be accorded the picture in certain provincial theatres where it is found to be practicable and potentially profitable. It had been regarded as likely that MGM’s London managing director, Charles Goldsmith, would insist on a re- lease pattern akin to that adopted by 20th-Fox in the case of “The King and I”; namely, that the picture would be pre- released in London on a zonal basis and shown for as long as it might stand up in a select few theatres in advance of its gen- eral release. But two factors militated against such a plan. Firstly, since its break with the Rank Organisation, 20th-Fox has no major cir- cuit outlet for its product; secondly, MGM retains its traditional outlet through the highly lucrative ABC circuit and the lat- ter’s managing director, D. J. Goodlatte, was adamant in his insistence that the con- ventional release pattern should not be disturbed even for a picture of the profit- making potential of “Guys and Dolls.” Mr. Goodlatte’s determination will be applauded widely in independent exhibitor circles, resentful of the 20th-Fox “King and I” plan. In CEA’s General Council debates, the plan was attacked on the ground, primarily, that 20th-Fox had intro- duced a revolutionary release practice without prior consultations with the trade associations. The company, on the other hand, had long claimed — perforce, it may be, in view of the Rank release being cut off from under its feet — that the present release pattern was antiquated and demanded un- snarling. Bitter indignation was registered among exhibitors who customarily deal in 20th- Fox offerings but who were not included in the select few who were vouchsafed the opportunity of joining in the plan. They claimed that the cream for them would be taken off the picture’s profit-making possi- bilities before their turn came on the or- thodox release and CEA’s London and Home Counties’ branch became immedi- ately involved in the debate. The branch has long been concerned with the incidence of current trade prac- tices and a special meeting was convened of its executive committee together with major and minor circuit representatives to consider “the present pattern of film ex- hibition.” Although no overt mention was made of the 20th-Fox plan it was no- torious that the branch activity had been sparked off thereby. Following the meet- ing, the branch’s secretary issued a state- ment in the following diplomatic terms: “We had a full discussion of all the items on the agenda, including presentation times, release patterns and seat bookings. We decided to give ourselves a couple of weeks to think things over. "OKLAHOMA!" GROSSES BEST IN RKO'S 25-YEAR HISTORY News is to hand of the first of the trio of the so-called mammoth musicals, “Okla- homa!” The picture moves over to the Marble Arch Odeon Tuesday, October 30, the day following the termination of its run at the Leicester Square Odeon. In its stay at the latter house, the picture — it is claimed — has set up figures which outgrow any production in RKO’s 25-year history. It would be “sacrilegious” to end the run of such a success, say the company’s near- hysterical officials. “War and Peace” is scheduled to open at Paramount’s Plaza in early November. Associated British-Pathe, which distrib- utes the picture here, plans to hold it in the Plaza until Easter of next yaar. Com- pany officials concede that a six-months’ run in London’s West End is a powerful long run nowadays; but they take a line through the picture’s New York screening. Present plans are that the film should not go on general release through the ABC cir- cuit until Autumn 1957. But the intention is that it should be pre-released in key sit- uations in the Spring of next year. The picture will play as long as it stands up. Meanwhile, J. Arthur Rank’s “Reach for the Sky” continues on its merry-go-round. In the first nine weeks of general release it has been seen by more than 9 million paying customers; over a million a week. 22 MOTION PICTURE HERALD, OCTOBER 27, 1956 ^X/o Kit wood Sc » cene Taps Cites "Title” Song Sales Value HOLLYWOOD : The most important exploi- tation value a film can offer is in the “title” song, selected or composed for a feature, which can garner invaluable exposure via the “disc jockey network,” according to Jonie Taps, pro- ducer at Columbia. “The forming of Columbia Pictures Music Corporation over a year ago has put us in the envi- able position of be- ing able to dictate policy on the ex- ploitation of title songs and others featured in our films, whereas other film producers are at the mercy of outside publishers on evaluation and efforts made to sell the songs,” Mr. Taps said. The producer, who came to Columbia 12 years ago as head of the music depart- ment, after spending 17 years with Sha- piro-Bernstein Music as general manager, and has been producing films for the past five years, with a dozen pictures to his credit, offered proud testimony to the suc- cess of Columbia’s new music company, which he helped to form. The “Picnic” title song did more busi- ness for the film in the secondary multiple runs, with the teenage trade attracted to the Number One hit song than normally, and the record album sales were Number One in the country for 12 weeks. The “Eddie Duchin Story” theme song topped the hit parade, and its album sales were tops for eight weeks. Disc jockey coopera- tion on “Solid Gold Cadillac” has paid off. Now “You Can’t Run Away from It,” title song of the musical remake of “It Hap- pened One Night,” is making the rounds. Mr. Taps, also credited with delivering a number of program musicals that effected the film debut of such recording artists as Nat “King” Cole, Frankie Laine, Billy Daniels and the Mills Brothers, as well as the supervision and selection of 70 songs integrated in the all-important Jolson films, is currently preparing “The Mark Hellinger Story” and a science-fiction film titled, “Don’t Make a Sound.” Disney Plans Feature Walt Disney announces that he has chos- en Victor Herbert’s musical play, “Babes in Toyland” for production next year. Bill Walsh will produce and Sidney Miller will direct the fantasy as a top-budget, live- action Technicolor production. HOLLYWOOD BUREAU The production load slumped slightly, to 40 at the weekend from 42 the week be- fore, on the start of five pictures and com- pletion of seven others. Paramount began shooting “The Tin Star,” a Perlberg-Seaton production direct- ed by Anthony Mann, with Henry Fonda, Anthony Perkins, Betsy Palmer, Michel Ray and Neville Brand in principal roles. Republic producer-direetor Joe Kane be- gan filming “Spoilers of the Forest,” in Naturama and Trucolor, with Rod Camer- on, Vera Ralston, Ray Collins and Edgar Buchanan. Galahad Productions, releasing through RKO, started “The Violators,” shooting in New York, with Hiram Brown as execu- tive producer, Mende Brown as associate producer, and with John Newland direct- ing. Grand Productions, releasing through United Artists, launched “The Trial of Benjie Galt,” with Sterling Hayden, Dar- ryl Hickman, Peter Miller and Walter Sande. Jerome C. Robinson is producer and Sidney Salkow is directing. Producer-director William Wellman be- gan shooting “Lafayette Escadrille” for Warner Brothers. It has Tab Hunter, Et- chika Choreau, J. Carrol Naish, Marcela Dalio, William Wellman, Jr., and Jodie McCrea in the cast. Gottschalk, MGM Close Panavision Lens Deal HOLLYWOOD: Robert E. Gottschalk, president of Panavision, Inc., has an- nounced completion of a quarter-million- dollar agreement with MGM whereby the latter will acquire the first of Panavision’s new photographic lenses and allied optical equipment for use in 65mm photography. “Raintree County,” an MGM special for 1957 release, has been photographed with these lenses, loaned from Panavision, while attorneys have been working out details of the transaction completed last week. The Panavision lenses are not re- stricted to MGM use, but are made avail- able to the industry generally, Mr. Gott- schalk disclosed. Dragon Productions Steps Up Schedule HOLLYWOOD: Pamela Woolworth, 26- year-old chain store heiress and major stockholder in the recently-formed Drag- on Productions, plans to step up the com- pany’s production activities, using its ini- tial independent production, “The Silken Affair,” which RKO acquired for world- wide distribution, as the proving ground THIS WEEK in PRODUCTION . . . Started — 5 Paramount — The Tin Star (VistaVision). Republic — Spoilers of the Forest (Naturama). RKO Radio — The Violators (Gallahad Prod.). United Artists — The Trial of Benjie Galt (Grand Prod.). Warner Bros. — Lafayette Escadrille. . . . Completed — 7 Metro-Goldwyn-Mayer — Harvest Thunder (Cinema- Scope; MetroColor); Something of Value; Rain- tree County (65mm; Color). Paramount — The Delicate Delinquent (VistaVision). 20th Century-Fox — Three Brave Men (Cinema- Scope); The Lonesome Gun (Regal Prods.). Universal-International — Man Afraid (Cinema- Scope). . . . Shooting — 35 Allied Artists — Gun for a Town (Jerold Zukor Prod.); Love in the Afternoon; Jennie (Cinema- Scope; Color). Columbia — Garment Center; The Man Who Turned to Stone; The Cunning and the Haunted; The Bridge on the River Kwai (Horizon-American); The Admirable Crichton (London Films); Fortune Is a Women (Launder-Gilliat Prod.); The Story of Esther Costello (Valiant Films); Interpol (War- wick Prods.); A Town on Trial (Marksman Films). Independent — Crime Beneath the Sea (Nacirema Prods.); Kill Me Tomorrow (Amalgamated Prod.); One Man's Secret (Amalgamated Prod.). Metro-Goldwyn-Mayer — Designing Woman (Cine- maScope; Color); Ten Thousand Bedrooms (Cine- maScope; Color). Paramount — The Joker Is Wild; Flamenca (Vista- Vision; Color). RKO Radio — Escapade in Japan (Color); The Girl Most Likely (Eastman Color); The Lady and the Prowler (Color). 20th Century-Fox — Man from Abilene (Brady- Glasser Prod.); Island in the Sun (Zanuck; Cine- maScope; DeLuxe Color); Boy on a Dolphin (CinemaScope; Color); The Girl Can't Help It (CinemaScope; DeLuxe Color); The True Story of Jesse James (CinemaScope; DeLuxe Color); Heaven Knows, Mr. Allison (CinemaScope; De- Luxe Color). United Artists — Bail Out at 43,000 (Pine-Thomas). Universal-International — Pay the Devil (Cinema- Scope); The Land Unknown (CinemaScope); Night Passage (Technirama). Warnsr Bros. — Melville Goodwin, U.S.A.; A Face in the Crowd (Newton Prods.); The Sleeping Prince (LOP Prods.). for future operation of the company, it is announced. Roy Kellino was director of the film, which stars David Niven and Genevieve Page and was completely financed by Dragon and produced under an Anglo-American arrangement with Fred Feldkamp and Richard Coit. Jonie Taps MOTION PICTURE HERALD, OCTOBER 27, 1956 23 Short Subjects On The March BY LAWRENCE J. QUIRK SHORT SUBJECTS are on the march this year as never before. This seems to be a unanimous view among the companies, who expect the 1956-1957 season to set new highs in short subject quality. As they look forward on the coming 12-month period, they are giving special consideration to their short subject output. For one thing, they are evolving more adult concep- tions in short subject content, for they have noted a steadily rising adult appreciation of their cartoons, travelogues and other offerings in this ca- tegory. What was once a diversion for the kiddies is becoming a stimulating entertainment for adults, they feel, and they are evolving higher-standard programs accordingly. The companies are developing new car- toon characters, traveling the world in search of unique customs and peoples, and keeping their planning boards humming with new ideas all along the line, aimed at making the short a bigger and better feature of the exhibitor’s program. One consistent note is struck by the sales managers of all the companies. This is that exhibitors need short subjects, now more than ever, and they are in many cases under-estimating the box office lure of cartoons, sports shorts, comedies, travel- ogues and others in that category. Short subjects, they note, round out a program, help to meet successfully the competition from TV, which seems to be thriving on the theory that “variety is the spice of life.” Short subjects, they are reminding us, are entertaining, educational, inspir- ing. They serve many purposes, all worthwhile, and, the company spokesmen declare, exhibitors who fail to appreciate this fact are short-sighted. False economy measures by some of the exhibitors, who sacrifice their shorts on the dollar-saving chopping block, will backfire, the sales managers are warning. But all agree: shorts are here to stay. COLUMBIA Maurice Grad, Columbia’s short subjects sales manager, is currently urging more use of the short subject by exhibitors as a weapon in the competition with TV for the public’s time. He points out that a varied program, such as is provided only by a feature- short combination, enhances the value of the patron’s en- tertainment time. Noting that many theatres are using shorts as much or Maurice Grad more than in pre- SHORTS TYPE-CAST In the 1956-1957 short subjects pic- ture, the studios offering a variety of cartoons, in CinemaScope, color and standard screen, are MGM, Para- mount, 20th Century-Fox, Columbia, Warners, U-l, and RKO. Travelogues in all shapes, sizes and localities are offered exhibitors by Warners, Colum- bia, Paramount, U-l, RKO and the British Information Service. Columbia alone is offering comedies this season, and also is the sole distributor for serials. Only Universal is handling two- reel featurette musicals. Offering sports reels are 20th Century-Fox, Columbia and RKO. On hand with a wide assort- ment of "specials" in 1956-1957 are MGM, Warners, Columbia, RKO and Universal. Numerically the cartoon seems currently the biggest crop of shorts. vious seasons, he scored theatres that have cut shorts because of “short-sighted econo- mizing policies.” He said of this: “Patron reaction to less entertainment than before must eventually result in a diminishing desire to attend the theatre. Such reduc- tions in operating expense become false economy.” Mr. Grad is particularly proud of Colum- bia’s new idea for shorts: star identifica- tion contests, to be included in the Screen Snapshots series and called “Guess Who?” Winners will get screen tests and trips to Hollywood. The contests will call upon the viewer to identify disguised personali- ties in the full-color one-reelers. A strong accent on color is indicated in Columbia’s projected short subjects output for 1956-1957. Of 49 new subjects in work, 22 will be in color, and there will be 15 color subjects among 39 reprints to be distributed. Two of the color shorts will be CinemaScope two-reelers in the Musical Travelark Series. Entitled “Wonders of New Orleans” and “Wonders of Washing- ton,” these will follow in the wake of the successful “Wonders of Manhattan” of last season. Musical vocals are used in place of a spoken narrative in all three subjects, produced and directed by Harry Foster. Ten Mr. Magoo cartoons are on hand from UPA, all in CinemaScope and color by Technicolor. The Three Stooges will also be on hand for eight two-reelers. A new series of two-reel comedy specials called “Girly Whirls” will star Muriel Landers. An Andy Clyde two-reel comedy, “Pardon My Nightshirt” is also on the upcoming schedule. Rounding out the pro- gram will be 10 of Mr. Foster’s World of Sports one-reelers and a half-dozen miscellaneous “Topnotchers.” Reprints will include four serials, box office winners in the past: “Hop Harrigan,” “Congo Bill,” “The Green Archer” and “The Vigilante.” Other reprints will in- clude 12 two-reel comedies, divided be- tween Assorted Favorites and Comedy Favorites series, 15 color favorite Techni- color cartoons, six Candid Microphones and six Cavalcades of Broadway. MGM A note of high optimism was sounded by William Zoellner, Loew’s shorts sub- jects sales manager, who expects the coming season to bring a new high in popularity to such staple MGM offer- ings as the Tom and Jerry cartoons. “They will delight audiences more than ever,” he said, and pointed out that the characters, well- loved by adults and children alike, have been honored for 13 consecutive years by Fame. At this point Mr. Zoellner took note of the three successful weeks of the Tom and Jerry Cartoon Festival at the Plaza theatre, New York in September. “Think — over 70 per cent of the patronage during that festival was adult,” Mr. Zoellner de- clared, “and then they say only kids like cartoons!” He added: “Cartoons are steadi- ly growing more adult, more subtle, and we are adding some interesting new char- acters. This is bound to attract an even ( Continued on page 28) William Zoell ner 24 MOTION PICTURE HERALD, OCTOBER 27, 1956 SPARK YOUR PROGRAM! These are the days when alert showmen must make their entertainment as attractive as possible. Quality M-G-M Shorts are the difference between just-so and a great show. THE GREATEST SHORT OF OUR TIME! THE BATTLE OF GETTYSBURG” Every exhibitor who plays it wins extra attendance and special publicity attention. A unique and exciting production. Book it ! ★ 12 CINEMASCOPE CARTOONS “Tom and Jerry” are the acknowledged tops of the cartoon world, voted No. 1 year after year in trade polls. Now in CinemaScope and Technicolor, they’re better than ever. * 18 GOLD MEDAL CARTOONS Consistent money-makers, they outclass all other cartoons, with characters that have become world- famous. Spark your program with the best ! ★ NEWS OF THE DAY (Twice Weekly) Newsreels are always a bright spot on your program. M-G-M’s is the best of its kind. »*** "FOR A WELL- ROUNDED PROGRAM... M-G-M SHORT it "DISJOINTED PROGRAMS" and the SHORT SUBJECT PLACE IN THE THEATRE BY WALTER BROOKS Director, Managers’ Round Table Martin Quigley's recent and pertinent editorial in the HERALD and MOTION PICTURE DAILY, on the subject of "Dis- jointed Presentation" has had a wide and favorable response from the industry. Mr. Quigley was aiming at the practice of timing feature presentations so that a greater number might see good pictures properly, from beginning to end, rather than starting in the middle, with conse- quent interruption of continuity, and dim- inished appreciation for the product in its entirety. We have helped to cultivate the public's habit of seeing pictures backward, which is enough to damage even the best product. But aside from timing, there is a funda- mental matter of programming which cre- ates this bad situation, and has done so, for many years. It is the policy of double features, and the consequent loss, or lack of short subjects in program building. If and when the public has a "cushion" of short subjects, with a single feature, they may be safer in the possibility of seeing the "big" picture from beginning to end. Short subjects have the merit of variety and spice. There is nothing new in this argument, and for many years we have considered the short films as "the spice of the pro- gram." Similarly, a double feature bill is a heavy meal of corned beef and cabbage, without even the benefit of mustard to savor the dish. Can See Evidence You can see the evidence of what has happened to us, on all sides. Television can — and does — supply as many as six feature films, free, every day in the year, at home. Gluttons for this kind of punishment can stay at home and like it. The theatre can no longer compete with quantity as a meas- ure. If we cannot provide something new and different, something vastly better, we need not worry about staying in business. We'll be out of business — and we are, in those situations where old policies prevail. There are whole areas of this country that have long been known as "single feature territory" — and nobody can say that these areas have lost in any way by sticking to their basic program idea of concentration on quality, and diversification through short films. Feature films have been growing longer, and therefore short films have been crowded more and more for screen time. Newsreels in theatres became little more than a few brief minutes of mere flashes — but the public likes newsreels, and always did. CBS-TV boasts that it receives daily "more than a mile" of newsfilm from 250 camera correspondents, the equivalent of two feature-length films, and that this is edited so only the top of the news is pre- sented, 12 minutes of it, every day in the week. Furthermore, they can put news on the air simultaneously with the event it- self, and reach 30,000,000 TV sets in as many American homes in faster time than we could supply the first 30 theatres as first runs. We would be hopelessly out- classed, if it were not for one little thing. Chance to Compete Our job has changed, in a changing world. We now have the opportunity to compete on grounds where television can- not— on our big screen, in our fine color, and now, we must provide the fine "maga- zine" style of news reporting. We are the source of the color and significance of the news, following the daily press. After all, Time and Life have never been hurt by the newspapers — in fact, quite the opposite, because the public in ever-increasing num- bers wait and buy the slick-paper maga- zines to read the final news story. Similarly, we have extraordinary travel films today that far transcend anything we have ever had before, or that television will have for many years to come. Our travel films in VistaVision, CinemaScope and new dimensions bring world travel to your theatre chair, in a manner that the public has never been able to afford be- fore. You needn't be told that there are millions who want to see the world, and will never see it any other way, unless it is in the colorphotography of National Geo- graphic magazine. We've seen some travel films that were not only as good but per- haps better than being on the scene. Cartoons Grow Up Also, cartoons have grown up to adult stature. Now, instead of being all so very juvenile, they appeal to the more mature audience. In fact, the art and talent of the color cartoon studio, also in our new dimen- sions, was never greater than it is right now, nor the appeal to the public more certain as a box office potential. Television has cartoons that seem amateurish and outmoded in comparison. Your public will know the difference, and you will find all ages ready to buy animation in 'Scope and color on your big theatre screen. Your opportunity has never been so good. You are much better off than you may have thought. Short films, as such, have been discussed in these same terms for 40 years. As long ago as 1915, we had an early job with Edu- cational Films Corporation, and watched that exclusive shorf film concern grow to major industry importance, through a dozen years. Every step of the way it was conced- ed that short films were important and val- uable and on all sides so many were in agreement. But, it was like the weather — so many people were talking about it, and so few did anything about it. In spite of well- based beginnings and substantial growth, Educational went out of business. We were crowded out, through the inertia, the in- activity of booking and buying sources who treated short films as something strictly as a side line. Let's stop kicking short subjects around. Let's be the smart showmen that we're supposed to be, through years of solid experience, and put the short films back on the program — literally as "the spice of the program" — and as a well-rounded, well- balanced bill of entertainment, carefully chosen and planned for both timing in the aggregate, and satisfaction in the final accounting. Your public will come to know your schedule, and the fact that they can see one good feature, and several short films with less concern with the clock, over their comings and goings. We can restore a properly joined presentation by the sim- ple policy of building programs again, as good showmen always have done, by add- ing the ingredients with the skill of a good chef, for a gourmet's taste. British Subjects Have A Growing Audience Those who have never visited Britain and the Commonwealth nations and those who would like a nostalgic review of their earlier visits to those areas comprise the growing audience for British color shorts, according to the releasing agency, the Brit- ish Information Service. Salient vignettes of British and Com- monwealth life and customs are set forth in these shorts. Careful production mount- ing and handsome color are features of the offerings. British life and customs, birds-eye and closeup views of historically famous buildings and localities, and ex- plorations of little-known facets of Com- monwealth life are other features of the series, which have won a favorable ad- vance reception from viewers in the United States. First British shorts were released in 1943 under the auspices of this group. They now appear at about the rate of three dozen per year, dealing with many topics and backgrounds. Ample attention is paid British pageantry, the life of the everyday folks, and the beauties of the countryside. Shorts now being released by the British Information Service in- clude: “Highland Journey” (two reels); “Bridge of Time” (two reels); “Impression of London” (two reels) ; “Festival in Edin- burgh” (two reels) and “The Lake Dis- trict” (two reels.) 26 MOTION PICTURE HERALD, OCTOBER 27, 1956 t NOW AVAILABLE WITH A COMPLETE LINE OF ADS, PUBLICITY, LOBBY MATERIAL AND EXPLOITATION STUNTS! SEE THE PRESSBOOK! ^ | NDTE TO THE TRADE ABOUT #/j AMAZON TRADER" THE MAN WHO CALLED THE WORLD S DEADLIEST RIVER HIS HOME PRESENTED BY Warner Bros. WarnerColor THIS IS AN UNUSUAL ATTRACTION AND SO ARE THE COMMENTS WE’VE BEEN RECEIVING FROM THE FIRST BOOKINGS. THE FOLLOWING IS ONE OF MANY: The press was enthusiastic, all three critics in this area agreed it was ad- venturous entertainment. ing more efforts of this type. Kindest regards, Harry Botwick, Florida State Theatres photography, narration and produc- tion values. The running time was just right, not too brief and not overlong. I cannot but feel there is a ready market await- P.S. FROM WARNERS: We have more of the same coming along soon! Reaction from young and old was exceptionally fine about the color, STARRING JOHN SUTTON WRITTEN BY PRODUCED BY DIRECTED BY AS THE AMAZON TRADER- OWEN CRUMP • CEDRIC FRANCIS - TOM McGOWAN ON THE MARCH ( Continued from page 24) greater allegiance from adult audiences.” The tendency of some exhibitors to cut shorts from their programs he termed “shortsighted” and “poor showmanship.” “They will find that they have lost far more than they have gained in small economies. It is essential that they take the long view,” he streesed. On the other side of the ledger Mr. Zoellner cited the thousands of exhibitors who had made a point of informing the Loew’s office of the box office draw of Tom and Jerry and the other company cartoons. MGM will release a total of 30 cartoons this coming season, 12 in CinemaScope and 18 in standard screen size. In addition theatre-goers will be seeing “The Battle of Gettysburg,” a 30-minute short of which everyone at Loew’s is proud, he said. Dore Schary’s production, in Cinema- scope and color by Technicolor, recon- structs the famous 1863 battle of the Civil War with commentary and musical score. The 12 CinemaScope cartoons, in color by Technicolor, will include the following titles: “Muscle Beach Tom,” “Downbeat Bear,” “Blue Cat Blues,” “Millonaire Droopy,” “Barbecue Brawl,” “Tops with Pops,” “Timid Tabby,” “Feedin’ the Kid- die,” “Cat’s Meow,” “Give and Tyke,” “Grin and Share It,” and “Scat Cats.” The 18 Gold Medal cartoons in Technicolor and standard (flat) screen, include such titles as: “Polka Dot Puss,” “The Bear and the Bean,” “Heavenly Puss,” “Bad Luck Blackie,” “Senor Droopy,” “Tennis Chumps,” “Little Rural Riding Hood,” “The Bear and the Hare,” “Little Quacker,” “Saturday Evening Puss,” “Cuckoo Clock,” “Cat and the Mermouse,” “Safety Second,” “Garden Gophers,” “Framed Cat,” “Cue- ball Cat,” “The Chump Champ,” and “The “Peachy Cobbler.” In the newsreel divi- sion, MGM will be offering 104 issues, two a week. “At Loew’s, it’s upward and onward,” Mr. Zoellner said, “We not only expect to hold our own; we expect to advance in 1956-57.” PARAMOUNT Paramount is looking to the future in its outlook on shorts as well as features, says Oscar A. Morgan, enterprising sales head of the short ^ fe* subjects department. -Ik Asserting that his company is con- stantly on the alert for the development of new trailways in this field, Mr. Mor- gan said: “The short of the future must be more unusual, more adult, because we are dealing with a better educated public every year — Oscar Morgan and don’t forget also that it is a public with increased leisure time.” After noting ZANY FOREVER, the renowned Three Stooges, inseparable from the Columbia label. that his company has a board which con- tinually discusses new ideas worth devel- oping, Mr. Morgan added: “I would like to see the Theatre Owners of America appoint a committee to suggest the type of shorts they would like to run. Exhibitors could render a great service to the indus- try if they would only study the shorts situation along with us. They are the ones, after all, who know what the public wants better than we do. “More cooperation from exhibitors — and more incentive in place of indifferentism and the elimination of shorts from their program, as some of them have done, would seem to be the order of the day. Some very fine shorts have gone to waste back in inventory because exhibitors don’t give them a fair shake on their program planning. “This is a mistake on their part. TV is offering variety if nothing else. We mustn’t be caught short with the public when it comes to offering varied pro- grams.” Closing on an optimistic note, Mr. Mor- gan said: “I am, however, thankful that a great many of our general exhibitors realize the value of well-chosen shorts, YOU ALL KNOW CASPER, Famous Studio's friendly ghost: one of the Paramount cartoons. and they report to me that they are hav- ing great success with them.” Mr. Morgan outlined the 1956-57 short subject product plans. These include a Vista Vision travel series. The places to be visited include: Norway, Japan, Mexico, Hawaii, Austria, the Sun Trails, Spain, Gibraltar and Panama. Cartoons on the agenda include 8 Popeyes, 6 Noveltoons, 4 Herman and Katnips, 6 Caspers and 12 Cartoon Champions, all in color “Bing Presents Oreste,” a one-reel VistaVision short with a self-explanatory title, is cur- rently in release, and the Paramount newsreel will continue to better its current high standards, Mr. Morgan said. RKO RADIO RKO Radio Pictures is aiming at un- usual subject matter, with a high utilit- arian as well as interest value, for its 1956-57 season, ac- cording to Leon Bamberger of RKO’s sales management staff. Mr. Bamberger feels that short sub- jects have much to contribute to aug- mented business at the boxoffice, and that alert showmen should continue to take advantage of this factor. RKO’s 1956-57 plans include 18 re-releases of the Walt Disney cartoons. Also planned is a Wild Life Album series in Color. Typical of this is “World in a Marsh,” a 22-minute special due for November release. Twelve utilitarian “specials” include “Alert Today — Alive Tomorrow,” on civil defense; “Born to Fight” on bullfighting in Portugal; and “Alaska Lifeboat” on the government medic boat which visits a small isolated Alaskan community with a doctor and nurse. Thirteen SportScopes planned in- clude: “Aqua Babes”; “Ice Climbers”; “Canoeman’s Holiday”; and “Big Blue Goose.” Thirteen one-reel Screenliners include “The Dikes,” “The Lonely Guardian” and ( Continued on page 30) Leon Bamberger 28. MOTION PICTURE HERALD, OCTOBER 27, 1956 A BANNER YEAR FOR PARAMOUNT SHORTS! HEADLINER CHAMPION • SPORTLIGHTS TECHNICOI More diversified programs will beat the entertainment competition — that’s why exhibitors are booking fi|- PARAMOUNT SHORTS ~ POPEVE*- NOVELTOONS*- HERMAN AND KATNIP* rAGDED« . r* a DTnnM auaubiamae The public was never so travel-minded They see the world in PARAMOUNT’S TECHNICOLOR® —transporting them to Norway, Mexico, Hawaii, the American West, Japan, Austria, Panama, Gibraltar . . . and other glamorous locales . PARAMOUNT NEWS “The Eyes And Ears Of The World” Audiences everywhere appreciate this great movie newsreel . . . reporting the top news excitingly, interestingly, in detail! MOTION PICTURE ■ HIGH-FIDELITY AND TWICE EVERY WEEK: wsm ON THE MARCH (.Continued from page 28) “Struggle in the North.” Two Sport Spe- cials will be released, each in two reels: "Football Highlights” and “Basketball Highlights.” “A short subject should never be re- garded as just a filler,” Mr. Bamberger declared. Shorts, he said, should get ample mention in all advertising and be afforded a fitting lobby display. Noting that RKO’s featurette on civil defense, “Alert Today — Alive Tomorrow” is getting almost a fea- ture buildup in certain areas, Mr. Bam- berger referred to the accolades accorded RKO from Civil Defense officials around the country, who, he said, had done much to promote the featurette and had cited its strong educational value to the popula- tion in this hydrogen age. Prophesying a favorable boxoffice reception for the Walt Disney shorts, Mr. Bamberger said that Disney’s TV activity has contributed to the popularizing of his work and this fac- tor can’t help reflecting favorably on thea- tre attendance. 20th CENTURY-FOX Another note of optimism for the com- pany’s product was struck by a spokesman for the 20th Century-Fox short subject sales department. “Shorts make for fine entertainment and a well-rounded program,” he said. “We have seen an upward trend in booking requests since Summer. There is definitely a demand and we are meeting it.” Ascrib- ing some of the fa- vorable upward booking trends to a demand from drive-ins, the 20th-Fox rep- resentative added: “With a 15 per cent higher production budget for shorts this year, our company is concentrating on ultra-modern, super-practical sales meth- ods, and with goodly results. We know that exhibitors definitely need shorts. “They are as essential as cartoons are to a newspaper. There is much interest among our exhibitors in our travelogues, for instance. This, we feel, is probably due to our fine recent feature films such as Three Coins in the Fountain,’ which incited much interest in the Italian scene. Shorts spice up a program, and 20th-Fox is out to provide maximum satisfaction in this department.” Under the supervision of Alex Harrison, 20th-Fox general sales manager, the company’s short subjects di- vision is expected, he added, to flourish in 1956-57 as never before. During this coming season, the company plans release of some three dozen shorts of the Movietone and Terrytoon varieties. PICKETT'S CHARGE, a panorama of battle in an unusual short subject: MGM's "The Battle of Gettysburg". ALERT TODAY— ALIVE TOMORROW: that's the title of this RKO subject. Of the 36 in work, 12 will be in flat or standard dimension and 24 in Cinema- Scope. All will be in color. The 12 Movie- tone subjects will be in CinemaScope. Three new characters will debut in the Terrytoon series: John Doormat, Gaston Le Crayon and Clint Clobber. Not only THE MUSICAL SHORT: typical is the series from Universal. Here is Kay Brown, singer are fresh cartoon “stars” being created; Terrytoons is giving its well-known favor- ites a change of face. Under creative su- pervisor Gene Deitch, Mighty Mouse, Dinky Duck and Heckle and Jeckle are being restyled. Top merchandising poli- cies will be followed in selling this array of short subjects from 20th-Fox. Movietone producer Edmund Reek an- nounces that some 12 CinemaScope shorts, either already filmed or in production for 1957 release, include such items as “Port of Sports” (sports activities at Acapulco) ; “Bluefin Fury” (tunafishing off Sicily); “Ceylon”; a subject on the new Cuba; the Royal Canadian Mounted Police; “Divided by the Sea,” a survey of Venetian pag- eantry; the building of Korea’s armed might, produced by General Van Fleet; “Steeplechasing”; a frolic at a famed Ital- ian amusement park; antics of a German death-defying stunt champion: skiing in the Italian Alps; and “Transcontinental — U.S.A.” — chasing the sun aboard a crack train from New York to the West Coast, scored by the 50 voices of the Baltimore and Ohio choral group. The first nine Terrytoons set for release in 1957 are: a John Doormat; “Gag Buster”; “A Bum Steer” and “The Bone Ranger,” (Continued on page 32) 30 MOTION PICTURE HERALD, OCTOBER 27, 1956 I the industry’s finest and fastest newsreel service TODAY -MORE THAN EVER -A STANDARD § OF EVERY GOOD THEATRE PROGRAM ! -and supplement your main attraction with 20th’s outstanding Cin emaScopE short subjects! 1 1 . ON THE MARCH (Continued from page 30) all in CinemaScope, and “Heckle and Jeckle,” "Pirates Gold” with the Talking Magpies; “Hare-Breadth Finish,” “African Jungle Hunt” with Phoney Baloney; “Dad- dy’s Little Darling” and “Love is Blind” all in standard dimension. Frant McCarthy UNIVERSAL An ambitious program for the coming year is in the works at Universal-Inter- national according to Frank J. A. McCar- thy, assistant gener- al sales manager. Planned are some 50 short subject re- leases and 104 issues of the Universal- International news- reel. “A wide variety of material with which to round out their entertainment programs for their customers, and which we feel will in many instances provide added boxoffice stimulation, should satisfy our exhibitors eminently this year,” Mr. McCarthy said. “During this past year,” he continued, “the company has been on the alert for unusual footage and topical material. This practice will be accelerated in 1956-1957. Where subjects lend themselves to local angles, exhibitors will get important pro- motional assists. Feature motion pictures are getting longer and larger these days; the short subject should come into its own also.” Of the 50 short subjects planned for release, there will be five separate series. Included are 15 two-reelers and 35 one- reelers. Six of the one-reelers are reissues of Walter Lantz Technicolor cartunes, which are in considerable demand by exhibitors, Mr. McCarthy noted. “Walter Lantz cartoons are great favorites, “he said, “especially the Woody Woodpecker group. However, Lantz’ recent cartoon cre- ation ‘Chilly Willy the Penguin,’ has been giving Woody a run for his money in this new season and ought to turn out a record breaker.” The company, he said, has always found its two-reel musical featurettes among its most popular offerings. These spot top bands and entertainers. Included are the Mills Brothers, Guy Mitchell, Rusty Draper and Billy Daniels, the song stylist, whose “Mr. Black Magic,” promises to be one of the more popular items of the new season, according to Mr. McCarthy. Through its Decca affiliation, Universal will avail itself of the services of many topline performers, along with prominent exponents of “Rock ’n Roll.” Thirteen new Walter Lantz Technicolor cartoons are planned, with Knothead and Splinter added to the characters in these items. Takeoffs on popular subjects will again be a feature. Some titles: “Dopey Dick the Pink Whale;” “To Catch a Wood- pecker,” and “The Plumber of Seville,” among others on the schedule. The Universal-International Color Pa- rade series, some of them in CinemaScope, will consist of eight subjects dealing with a variety of themes. The Variety View series will also be on hand, represented by eight one-reelers. A highlight of this group is the “Brooklyn” travel series. WARNER BROS: “Our short subject business is holding well, and we expect 1956-57 to be the best season ever,” declares Norman H. Moray, Warners short sub- jects sales manager. “The short sub- ject,” Mr. Moray says, “is of greater importance today than ever before, as it is a highly selec- tive and specialized market. Patrons are shopping for their picture entertain- ment and the wise showman knows that every part of Norman Moray his program must be ‘tops.’ A fine short subject, selected for the proper program balance, gives a great lift to any show.” Mr. Moray stressed that each Warner short is hand-tailored to guarantee a per- fect blending of features and shorts in a typical program, and each production is audience-tested and proven. Warners is also according its shorts certain “feature” treatment, including special premieres — something of a rarity in the business, Mr. Moray adds, as Warners is one of the few companies going in for that type of pro- motion. Among shorts “feature-treated” in the past: “24 Hour Alert,” with Jack Webb and U.S. Air Force personnel; “’Copters and Cows,” which was accorded a gala opening in Vernon, Texas, home of the Bell Helicopter Plant; “The Amazon Trader,” which had a Miami Beach open- ing, and “Down Liberty Road,” which was given a series of special fronts and dis- plays. Mr. Moray revealed that now in (Continued on page 34) IN 20th Century-Fox's CinemaScope color short subject, "Korea," appear General Van Fleet and General Chang, Chief of Staff of the ROK army, and other officers. DENOTING travel: the Sphinx, in Warners' "Out of the Desert". 32 MOTION PICTURE HERALD, OCTOBER 27, 1956 ALWAYS SOMETHING NEW AND GREAT IN SHORT SlIBIECTS FROM (SU~to,l The Biggest Short Subject Box-Office Stimulant Ever! A SENSATIONAL "GUESS ? WHO” CONTEST OFFERING FABULOUS AWARDS WITH EACH AND EVERY ONE OF 10 BRAND NEW SCREEN SNAPSHOTS Intimate Moments With Favorite Stars For The First Time IN COLOR! ...AND THIS GREAT LINEUP FOR EVERY TYPE OF PROGRAM!. . . &fL ~~ \ / 4^ O/t- ^ A°* x> pj Here's the sure-fire ticket-selling one-sheet that tells your patrons what they can win by seeing any one of these SCREEN SNAPSHOTS! f. m 'Qg; , _ 12 SPECIAL Cinemascope ^2 GREAT NEW MUSICAL V TRAVELARKS! = AND TECHNICOLOR SUBJECTS inme character ie< o o GIRLY THREE PARDON MY ASSORTED COMEDY WHIRLS STOOGES NIGHTSHIRT FAVORITES FAVORITES Musical Comedy Better Than Andy Clyde's (reprints) (reprints) Specials ! Ever! Big One! featuring all-time great laugh stars! COLOR FAVORITES Choice Selections ! Technicolor Cartoons! (reprints) WORLD OF SPORTS Tops In Thrills ! CANDID MICROPHONE Movies' Most Intriguing Shorts ! (reprints) CAVALCADE OF BROADWAY Featuring famed commentators: EARL WILSON & DANTON WALKER (reprints) TOPNOTCHERS Watch For 'Em ! SUPER-SERIALS HOP HARRIGAN CONGO BILL "King of the THE GREEN ARCHER THE VIGILANTE "American Ace of Jungle !" (reprint) Edgar Wallace's "Fighting Hero of the Airways !" Mightiest Story! the West!'' (reprint) (reprint) (reprint) ON MARCH ( Continued from page 32) work are plans for a saturation booking and display campaign for “Chasing the Sun”, a four-reel Scope Gem in Warner Color. A number of other interesting items are ready for release at Warners. Highlighting the 1956-1957 program are eight two-reel WarnerColor specials, four in regular and four in Scope, all diversi- fied, and covering the world in back- ground and subject matter. Forthcoming releases include: “East is East,” (two reels) about the life of people in Burma, Siam and Malaya; “Viva Cuba” (one reel, CinemaScope) ; “Crossroads of the World” (one-reel, Singapore); “It Happened in At Last ! A truly "different" series of color shorts for the better art theatre. "BEAUTIFUL BRITAIN" Not hackneyed and stale travelogues . . . but each a short work of art. The artful direction . . . The loving photography of places and people . . . The lucid commentaries blending poetry with gentle humor . . . The charming music which underscores the visual impact . . . of these shorts all help to make them the answer to the exhibitor's constant query . . . "where is the best short to round out the pro- gram for my discriminating audience?" • NOW IN RELEASE "EAST ANGLICAN HOLIDAY" Magical transportation right into the heart of a whole gallery of Constable convases. (2 Reels) "WEST COUNTRY JOURNEY" A film journey to stir the imagination ... to bring summer to your theatre at any time. (3 Reels) "LONDON'S COUNTRY" Out of the teeming city . . . into a refreshing new world. (2 Reels) AVAILABLE SOON "Trooping the Colour" "Majesty in the Air" "The Heart Is Highland" and many many more to come . . . from the cradle of the documentary film . . . Britain. — • Write or phone us today for available bookings on these perfect companions to your better features of the coming season. British Information Services 30 Rockefeller Plaza New York 20, N. Y. Circle 6-5100 Las Vegas,” the non-gambling aspects of the Nevada resort, which include boating, fishing and swimming; and “Pearls of the Pacific,” (two reels, the Philippines). Also “Magic in the Sun” (one-reel, Cinema- Scope, Haiti) ; “Legend of the Eldorado” (two reels, CinemaScope, Colombia) and “South of the Himalayas”, (two reels, CinemaScope, India.) Also included in the program are eight WarnerColor single reels, four in standard screen and four in Scope. Titles include: “Playtime Pals” (Kiddie Shows) ; “I’ll be Dog-goned” (Dog Short) ; “The Black Forest” (Germany); “Crossroads of the World” (Singapore); “Under Caribe Skies” (Jamaica) and “Alpine Glory” (The Alps) . According to Mr. Moray, cartoons con- tinue to be number one favorite with audiences, and 30 new cartoons headed by Bugs Bunny will be in 1956-57 re- lease. “Reprints on yesterday’s outstand- ing cartoon successes are going better than ever, proving conclusively that there is no age on a fine cartoon,” Mr. Moray said. He also noted that several Warner camera crews are working in far-away places al- ready for the 1957-1958 output, as all 1956- 57 product has been photographed and is being edited at Burbank. Fox Prepares Campaign on 'Oklahoma V Twentieth Century-Fox will launch a giant promotional campaign on Rodgers & Hammerstein’s “Oklahoma!” in Cinema- Scope, in addition to the $1,000,000 cam- paign introducing the film’s roadshow presentation, for the attraction’s continu- ous-performance, popular-priced release, it is announced by Charles Einfeld, vice- president in charge of advertising, publi- city and exploitation. The Twentieth Century-Fox campaign will reach into 22 national magazines, tele- vision and radio and other principal mass media, Mr. Einfeld said. The CinemaScope version of “Oklahoma!” will be in release during late November, he added. Televi- sion and radio stations across the country will be carrying announcements calling at- tention to playdates of the Magna Produc- tion. The first engagement will be at the Mayfair theatre, New York, November 2. New Wilding Executives CHICAGO: A realignment of executive personnel has been made by the board of directors of Wilding Pictures Productions, Inc., it is announced by C. H. Bradfield, Jr., president. I. S. Thompson is now exec- utive vice-president; James A. Kellock is vice-president and general manager, and Jack A. Rheinstrom is vice-president in charge of sales. Cites Dutch Cooperation In Industry Dutch exhibitors are in a better posi- tion than their U. S. colleagues when it comes to solving industry problems be- cause botn they and the distributors in Holland have a strong and respected gov- erning organization, according to Max Gerschtanowitz, managing director of the 18-theatre Tuschinski Circuit in Holland, last week during his three-week visit to America. Mr. Gerschtanowitz has returned to Holland. He added: “Of course, I’m not very qualified to speak on the American indus- try, but it would seem more reasonable that if your theatre people would try some cooperation during their current troubles instead of fighting each other, many of their difficulties could be resolved.” The situation, Mr. Gerschtanowitz said, is different in Holland, where the separate exhibitors’ and distributors’ organizations have a common governing board called the Cinemabund, which serves as an ad- visory council and arbitrator for the Hol- land industry. There is very little film production in Holland, which makes the over-all situation a little less complicated than in the U. S., he admitted. One function of the Cinemabund is to help theatre owners in financial difficulties, he said. An operator in trouble presents a plea to the bund, which examines his books and record. If it is justified, he gets financial and advisory aid. So well estab- lished is the Cinemabund that it actually went on strike a few years ago to get a 35 per cent entertainment tax lowered, he stated. It closed motion picture thea- tres in several towns, in one instance for a year, until the tax was lowered to 25 per cent. French Film Output Increases 33 Per Cent French film production increased 33 per cent in the first quarter of 1956 over the same three-month period of 1955, according to a report by the French Film Office in New York. Expansion is also reflected in the U.S. market, the film office said, citing the fact that income from U.S. distribution rose 230 per cent in the first six months of 1956 as compared to the same period in 1955. There are now 35 French films either in active circulation in this country or about to be released here. Production figures indicate that about 125 pictures will be turned out in French studios by the end of 1956, the film office revealed. The use of color and wide screen processes is also rising. Fifty per cent of all French films during the first half of this year were in color. 34 MOTION PICTURE HERALD, OCTOBER 27, 1956 Preminger in Plea for Unity Paying tribute to theatre men for their support in his long, intensive search for an unknown actress to play the title role in his forthcoming production for United Artists release, “St. Joan,” Otto Preminger urged exhibitors, producers and distribu- tors to “bury the hatchet” and work to- gether henceforth in the common cause of the motion picture. The producer-director writer last week announced the winner, 17-year-old Jean Seberg of Marshalltown, Iowa, to the press at the United Artists home offices in New York. He said that theatremen along with pro- ducers and distributors have a keen inter- est in the future of the industry and in the development of new stars, and an- nounced that Miss Seberg’s winning screen test would be available to theatres shortly, in order to introduce her to the public. Filming of St. Joan will commence in France in January, with a May, 1957, open- ing in that country, and a June, 1957, opening in New York planned. Richard Widmark has been signed to play the Dauphin (Charles VII) in the film version of the George Bernard Shaw play, and Richard Burton will play Warwick. The selection of Miss Seberg, chosen from among 3,000 applicants auditioned by Mr. Preminger during a 30,000 mile tour of the United States, Canada and Europe, climaxes a talent search supported by exhibitors. The youthful Miss Seberg, whose professional experience consists of one season of summer stock, performed a scene from “Saint Joan” before a national TV audience estimated at 32,000,000 last Sunday evening, when Mr. Preminger in- troduced her on the Ed Sullivan CBS show. Mr. Preminger also announced that he plans to launch a “chain of dramatic work- shops across the nation to develop new actors, directors, etc.” Morey in Charity Post Edward Morey, Allied Artists vice- president, has been reappointed chairman of the Motion Picture Division, Commu- nity Service Society of New York, one of the city’s oldest charity organizations. Mr. Morey will name committee members to assist in a fund-raising campaign to be extended through November. D. C. Coleman Dies OTTAWA: D. C. Coleman, 77, a director of Odeon Theatres and associated with the Canadian Pacific Railways for 57 years, died October 23 in Montreal. With the latter organization he served as chair- man of the board and president from 1943 to 1947. FINAL SCENE, Sunday last, in New York, as Otto Preminger, center, disclosed before more than 100 news writers and photographers, that his "Saint Joan" is Jean Seberg, seen being congratulated by Max E. Youngstein, U.A. vice-president. Cochran New President of Tri- State Unit MEMPHIS: Roy L. Cochran, North Little Rock, Arkansas, was this week elected president of Tri-States Theatre Owners of Arkansas, Mississippi and Tennessee. He succeeds Charles Eudy, who becomes chairman of the board. The convention closed with signing of pledges to show the new-type “bread and butter” family pictures described at an earlier session. Jack Jackson of Dallas said the stories and scripts for 10 pictures have been prepared by Paul Leslie Piel and are ready for production. According to plans, Moe Kerman of New York will finance the production and Mr. Kerman’s company, Tudor Pictures, will distribute. Exhibitors were not requested to buy stock or put up money, but were request- ed to sign pledges to show the films for a flat rental. According to the plan, young players, backed by seasoned performers, will star. Talent searches will be held in theatres. The 10 films will be offered in a block to individual theatre owners. As soon as 1,- 500 to 2,000 theatres have contracted for the pictures, shooting will begin in Holly- wood, Mr. Jackson said. Before the con- vention adjourned, a unanimous resolution was passed endorsing the plan. Mr. Ker- man estimated that between 150 and 200 theatres had signed pledges. Officers elected at the 47th annual con- vention included: W. T. Willis, vice-presi- dent for Tennessee; Leon Roundtree, vice- president for Mississippi, and Doyle Brans- com, vice-president for Arkansas. AB-Paramount Earnings Up In 9 Months Consolidated earnings of American Broadcasting-Paramount Theatres, Inc., for the first nine months of 1956 were $6- 616,000, or $1.53 a share of common stock, compared with $5,286,000, or $1.21 per share for the same period in 1955, accord- ing to Leonard H. Goldenson, president. Net operating profit for the first three quarters of this year was $5,686,000, or $1.31 a share, compared with $5,254,000, or $1.20 a share, for the first nine months of 1955. Capital gains for the nine months were $930,000 as against $32,000 last year. The third quarter net operating profit was $1,484,000, or 34 cents per share, against $1,899,000, or 43 cents per share, in the same quarter of 1955. Mr. Goldenson said that third quarter theatre business increased over the previ- ous three months, although it was not up to last year’s level for the same period. ABC experienced the usual seasonal de- cline in earnings for the third quarter, characteristic of the broadcasting industry. In this quarter, as in the same period last year, ABC’s earnings were relatively small in relation to the total. Mr. Goldenson further reported that the company’s pro- gram for building a stronger theatre busi- ness by disposing of uneconomic theatres is being accelerated. After thorough analy- sis of each theatre, a definite plan has been put into action. It includes converting properties to non-theatre use, cancellation of leases and demolition of facilities. Through this process, he explained, as- sets are being converted into cash for busi- ness reinvestments, while the earnings po- tential and value of the remaining thea- tres are enhanced at the same time. Mr. Goldenson also said the company’s previ- ously announced plans for entering motion picture production, as a means of helping to stimulate the needed flow of product to theatres, would begin with relatively small-scale activities. The results would determine future efforts and possible ex- pansion, he indicated. ABC Television Net- work sales of prime evening time for the Fall season comprise 19V2 hours of time, compared with 17 V2 hours at this time last year, according to Mr. Goldenson. Cummins SCTO A Counsel HOLLYWOOD: Oscar R. Cummins, prom- inent Beverly Hills attorney, has been named general counsel for the Southern California Theatre Owners Association. Mr. Cummins will act in a general as well as in a public relations capacity. A prac- ticing attorney for 34 years, Mr. Cummins has handled many important, far-reaching industry cases. MOTION PICTURE HERALD. OCTOBER 27, 1956 35 Cite Jackter In Columbia Sales Drive “Hey Rube!” the circus rallying cry, has been adopted by Columbia’s domestic sales department as the name of a sales drive honoring Rube Jackter, the com- pany’s assistant gen- eral sales manager. Announcement of the drive, set to run from November 1 to June 27, was made last week by A. Montague, Colum- bia’s general sales manager. In his announcement, Mr. Montague pointed out that an innova- tion for Columbia in this year’s drive will make salesmen eligible for individual awards even though their branches do not score in the competition. The initial section of the drive will be a unit competition based on print shipments, which will close February 28. Prizes will be awarded to the personnel of branches which top their established quotas and those branches which score in excess of 90 per cent of quota. In addition, sales- men with high individual records also will be rewarded. In a comment on the new drive, execu- tive vice-president Jack Cohn, in whose honor last year’s Columbia drive was con- ducted, urged the company’s sales organi- zation to outstrip last year’s record. “You will make me feel very good,” he said in a message to the field staff, “if you can knock the Jack Cohn drive into a cocked hat and make the ‘Hey Rube! Drive’ the greatest thing that ever happened to Columbia/’ In keeping with the title of the drive, all promotion material will have a circus theme. Throughout the drive a special in- ternal house organ, “The Barker,” will be distributed regularly throughout the or- ganization. Rube Jackter Borgnine, Hall Bartlett Form Producing Firm HOLLYWOOD: Actor Ernest Borgnine and producer Hall Bartlett have formed BB & W Productions and have purchased the Stephen Longstreet novel, “The Pro- moters,” for their first picture. Third member of the firm is Sam Weiller, vice- president of Hall Bartlett Productions, who will be associate producer. “The Promoters” will be published by Simon & Schuster in the Spring. The film will be made in color by Technicolor, with lo- cations mostly in Texas. THE WINNERS CIRCLE Pictures which were reported as doing above average business in key theatres of the cities of the nation for the week ended October 20 were: Albany: East of Eden (W.B.) (Reissue); Rebel Without a Cause (W.B.) (Reissue). Atlanta: Bandido (U.A.); The Solid Gold Cadillac (Col.) 2nd week; Toward the Un- known (W.B.); War and Peace (Para- mount). Boston: Fantasia (B.V.) (Reissue) 2nd week; La Strada (Trans Lux) 2nd week; Oklahoma! (Magna) 5th week; The Solid Gold Cadillac (Col.); Toward the Unknown (W.B.); War and Peace (Par.) 3rd week. Buffalo: Back From Eternity (RKO); Ban- dido (U.A.) 2nd week; It Conquered the World (Amer. Inti.); Oklahoma! (Mag- na) 10th week; Pillars of the Sky (U.I.); The She Creature (Amer. Inti.). Cleveland: Attack! (U.A.); Rififi (UMPO) 2nd week; The Solid Gold Cadillac (Col.) 2nd week; Unguarded Moment (U-I). Columbus: Julie (MGM); The Solid Gold Cadillac (Col.). Des Moines: The Solid Gold Cadillac (Col.) 2nd week; War and Peace (Par.). Detroit: The Bad Seed (W.B.) 2nd week; Tea and Sympathy (MGM); War and Peace (Par.). Denver: The Best Things in Life Are Free (20th-Fox) 2nd week; Lust for Life (MGM); Reprisal! (Col.); Toward the Unknown (W.B.). Hartford: Back From Eternity (RKO); The Boss (U.A.) 2nd week; Secrets of the Reef (Cont.); The Solid Gold Cadillac (Col.) 2nd week; Tea and Sympathy (MGM); Toward the Unknown (W.B.); War and Peace (Par.) 2nd week. Indianapolis: Oklahoma! (Magna) 8th week; War and Peace (Par.). Kansas City: Private’s Progress (DCA) 3rd week; Lust for Life (MGM) 4th week; War and Peace (Par.) 3rd week. Miami: Oklahoma! (Magna) 34th week; The Solid Gold Cadillac (Col.) 2nd week. Milwaukee: The Solid Gold Cadillac (Col.); War and Peace (Par.). Oklahoma City: A Cry in the Night (W.B.) 2nd week; Oklahoma! (Magna) 9th week; Showdown at Abilene (U-I); The Solid Gold Cadillac (Col.) 2nd week; The Vaga- bond King (Par.). Philadelphia: Lust for Life (MGM) 2nd week; Oklahoma! (Magna) 7th week; Rififi (UMPO); The Solid Gold Cadillac (Col.); Tea and Sympathy (MGM) 3rd week; War and Peace (Par.) 4th week. Pittsburgh: The Best Things in Life Are Free (20th-Fox) 3rd week; Lust for Life (MGM) 4th week; Oklahoma! (Magna) 19th week; Richard III (U.A.) 2nd week; The Solid Gold Cadillac (Col.) 2nd week; War and Peace (Par.). Memphis: The Moon Is Blue (U.A.) (Reis- sue); The Solid Gold Cadillac (Col.). New Orleans: The Ambassador’s Daughter (U.A.) 2nd week; Oklahoma! (Magna) 5th week; The Solid Gold Cadillac (Col.) 2nd week; War and Peace (Par.) 2nd week. Portland: Attack! (U.A.) 2nd week; Fantasia (B.V.) (Reissue) 3rd week; The Solid Gold Cadillac (Col.). Providence: War and Peace (Par.). San Francisco: The Bad Seed (W.B.) 3rd week; The Beast of Hollow Mountain (U.A.); Hot Rod Girl (Amer. Inti.); Lust for Life (MGM) 5th week; Toward the Unknown (W.B.); War and Peace (Par.). Toronto: The Bad Seed (W.B.); The Best Things in Life Are Free (20th-Fox) 2nd week; Oklahoma! (Magna) 26th week; Private’s Progress (DCA) 3rd week; Tea and Sympathy (MGM) 3rd week; War and Peace (Par.) 3rd week. Vancouver: The Killing (U.A.); The King and I (20th-Fox) 12th week; Reach for the Sky (Jaro) 2nd week; Tea and Sym- pathy (MGM). Washington: Attack! (U.A.) 2nd week; Don Giovanni (Maxwell) 2nd week; La Strada (Trans Lux); Lust for Life (MGM) 4th week; The Solid Gold Cadillac (Col.); Tea and Sympathy (MGM) 2nd week; Toward the Unknown (W.B.) 2nd week; War and Peace (Par.) 3rd week. Ohio Editorial Hits Showing Sex Films CLEVELAND : Following the closing of two drive-in theatres near Dayton and Massillon by local sheriffs for showing sex and nudist films, and the presentation in the Akron area of pictures labeled “Adults Only,” the Akron Beacon Journal has pub- lished an editorial saying in part: “These films belie the invitation of all the drive- ins to ‘bring the whole family’.” The edi- torial further urged that “parents who are concerned with the welfare of youth should make these drive-ins off-limits for their children and for themselves.” The situation was spotlighted when sheriffs in two state areas closed drive-ins which were showing “Garden of Eden” and “Ely- sia” with a short, “Nature Girl.” Robert Wile, ITO secretary, pointed out in a re- cent bulletin that “merely advertising ‘adults only’ does not exempt the exhibi- tor from the law if some youngster who is 17 tells you he is 19 and sees the picture. This has been held true in cases involving sales of liquor to minors.” Hanson Named Canadian "Pioneer of Year" TORONTO: Oscar R. Hanson, only living member of the founding group of the Canadian Picture Pioneers, will be pre- sented the “Pioneer of the Year” award at the annual dinner and dance of that or- ganization at the King Edward Hotel here November 22, it is announced. Mr. Hanson helped found the Canadian Pioneers in 1940 with Ray Lewis, late editor of the Cana- dian Moving Picture Digest, and Clair Hague, then general manager of the Uni- versal Films office. 36 MOTION PICTURE HERALD. OCTOBER 27, 1956 3L flat! onal Siootliaht 'poiiia Albany Allied Artists held a sneak preview in the Strand of “Friendly Persuasion.” Branch manager Nate Dickman and office manager Bob Adler arranged the screen- ing, which had unusual local interest because Mark Richman, one of the princi- pals, is the son-in-law of Sam Landess, Variety Club member. . . . “War and Peace,” which opened a two-week en- gagement in Fabian’s Palace at $1.25 top, was booked for dates in Watertown, Gloversville and several other Schine towns, as well as at the Paramount, Glens Falls, and Walter Reade’s Community, Saratoga. . . . The Saratoga drive-in, Latham, was closed by Fabian Theatres, which kept the Mohawk, Colonie, open. . . . Edgar S. Van Olinda, Times-Union critic, wrote two separate, laudatory columns on “Giant,” the benefit premiere of which he attended in New York. . . . Among those conferring on the project for a new lower-front at Strand were Harry Feinstein, Stanley Warner zone manager, and James Totman, his assistant. Atlanta Hubert R. Mitchell, who bought the old Strand theatre, Hartselle, Ala., a few years ago, has reopened it after complete renovation under the new name, The Rodeo. . . . The Bohemia theatre, Cleve- land, Tenn., celebrated its 50th anni- versary. The house was opened in 1906 by the late Jesse Steed. . . . The East Buffalo drive-in, Tampa, Fla., was bur- glarized for the fifth time this year. . . . E. D. Martin, president of Martin Thea- tres, Columbus, Ga., has inaugurated a foreign film policy at the Rialto, Colum- bus. . . . Russell L. Taylor, of the Queen Feature Service, Birmingham, Ala., and his wife are parents of a new baby daughter. . . . Mr. and Mrs. Perry McCown are the new owners of the West Point drive-in, West Point, Miss. . . . Bill Cumbaa, co-owner of MCM Theatres in Florida, was elected president of the Kiwanis Club in Leesburg, Fla. . . . George P. Parsells, manager of the Largo theatre, Largo, Fla., is home following surgery at the Morton Hospital. . . . Johnnie Harrell, Martin Theatres buyer, checked in at his Atlanta office after a business trip to New Orleans. Boston Worthington “Buster” Holt has been appointed house manager at the newly decorated Saxon theatre. . . . He was formerly manager of the Den Rock drive- in, North Andover, Mass. . . . Bob Mc- Nulty, owner of the Warwick theatre, Marblehead, is a patient at Mary Alley Hospital, Marblehead, for major surgery. . . . Up-state drive-ins got a shot in the arm as summer-like weather descended upon New England last week. However, the season as a whole was a poor one, weather-wise. . . . Ted Rosenblatt, Com- munity theatre, Centerdale, R.I., and Joseph Wolf, vice-president of Embassy Pictures, were featured in different news- papers recently for their charitable efforts. . . . Allen Vee is in town to work with Red King, Boston theatre publicist, sell- ing theatre parties and benefits for “Seven Wonders of the World.” A benefit will be held October 26 for the Gate of Heaven parish. . . . American Optical engineer, Robert J. Moran, was in town recently to inspect the Saxon’s Todd-AO installation and said the “picture” was the best he’s seen in his nation-wide trip. . . . “Secrets of the Reef” replaced “Private’s Progress” at the Exeter theatre, Boston, October 21. Buffalo Elmer F. Lux, chief barker, Buffalo Variety club, has been elected president of the Western New York Chapter of the National Defense Transportation Associa- tion. . . . Frances Kinzie has resigned as treasurer of the Paramount theatre to enter nursing and has been succeeded by Patricia Shroeck. . . . Arthur Rose, man- ager of the Buffalo Buena Vista branch, was in Boston last weekend for a general sales conference. Rose is greatly pleased with the big business “Fantasia” has been doing in Buffalo and Rochester. . . . Edward C. Frank, for about 30 years superintendent of buildings and mainte- ance chief of the Shea theatres in Buffalo and Niagara Falls, has retired. . . . Charles Kurtzman, division manager, Loew’s Theatres, was in Buffalo last weekend for conferences with Carl Rindcen and Eddie Meade at Shea’s Buffalo. Charlotte Terry Moore, 20th Century-Fox film star, made personal appearances here and in Columbia. She appeared on the stage of the Carolina theatre here and the Palmetto in Columbia, leaving from there for Jacksonville, Fla. J. E. (Hi) Holston, Charlotte manager of 20th, went to Co- lumbia for the star’s appearance there. . . . Ben Hill, Universal-International exploiteer from Atlanta, came here to set up local advertising programs. . . . Mrs. Lucille Price, executive secretary of the Theatre Owners Association, is busy planning the program for the group’s convention in November. She said plans for the big meeting are still incomplete. . . . Emery Wister, Charlotte News Movie editor, attended the world premiere of “Giant” in New York. . . . The Charlotte chapter Women of the Motion Picture industry gave a bingo party on the night of Oct. 18 in the Charlotte Variety Club. . . . Scott Lett, manager of Howco ex- change here, went to Atlanta. Cleveland Frank Murphy, Loew theatre division manager, had a special preview of “The Ten Commandments” October 24 at Loew’s Ohio theatre where the picture opens its local run Nov. 15. . . . Herbert Ochs, head of Ochs Theatre Management Company, formerly with headquarters in Cleveland but now in Dania, Fla., marked the arrival of his 18th grandchild this week when a fifth son was born to Jack and Grace Ochs, who now have six chil- dren. . . . The Community Circuit’s Rich- mond theatre is being recarpeted by Na- tional Theatre Supply Co. . . . Mrs. Philip Kendis, mother of Leroy Kendis, of As- sociated Theatres Circuit, is reported to be seriously ill in Mount Sinai Hospital. In Cleveland, “War and Peace” is in its fourth week at the Hippodrome. . . . Irving Field, who formerly operated the Cortland theatre, Cortland, is now a projectionist at WJW-TV Station. . . . Rube Perlman of DCA is spending some time here. . . . Litigation over ownership of the Pearl Road drive-in, Cleveland, was settled out of court this week, paving the way for Frank Schiessl and Alfred H. Stromeier, who have been operating the theatre this summer, to exercise their option to acquire it after litigation had been disposed of and creditors satisfied. Option calls for purchase of the theatre and for a long term lease on the property owned by James J. and Emma Barton. . . . Paramount booker Helen Thoma resigned to be married. Columbus Suburban Worthington has passed a curfew law which forbids youths under 18 from appearing unescorted on village streets 90 minutes after sundown. Co- lumbus, Whitehall and Grandview Heights have similar curfew ordinances. Upper Arlington, Grove City and Bexley are considering adoption of curfew regula- tions. . . . Marilyn Knore, 18-year-old Ohio Highway Department clerk, was chosen “Miss Firefighter” to reign at annual Firefighters’ Ball. She was to be presented with a trophy sponsored by Audrey Hepburn of “War and Peace” with manager Walter Kessler of Loew’s Ohio presenting the trophy. . . . The Eagles’ Lodge of Mansfield, Ohio pur- chased the Ritz theatre near the lodge headquarters for about $42,000. Lodge spokesmen said the theatre building, vacated about two years ago, will be used for parking. They said it has not been determined whether the building will be razed or remodeled. The theatre was opened in 1927. . . . Robert Wile, secre- tary of the Independent Theatre Owners of Ohio, announced the signing of two new members of the association, Elmer Shard, Emery and Monte Vista theatres, Cincinnati and George Turlukis, Rossville, Hamilton. Denver Carlos Ferrer and Modesto Saenz, ex- ecutives of Filmadora Chapultepec, Mexico City, were in buying supplies and con- ferring with Gilbert Martinez, Clasa- Mohme branch manager. They report out- look for Mexican films, both in Mexico ( Continued on following gage) MOTION PICTURE HERALD, OCTOBER 27, 1956 37 ( Continued from preceding page ) and U.S., is very good. . . . The Lakewood, Lakewood, Colo., a Denver Suburb, is closing Jan. 1 and will be changed into a furniture store. The house is one of the newer theatres of the Denver metropoli- tan area, but just did not get enough business to keep going. . . . Reville Knif- fen, assistant to the western division manager, 20th, was in for conferences with Dick Fulham, branch manager. . . . Geo. Tawson, 20th-Fox salesman, hospital- ized in Rocky Mountain Osteopathic hospital, for treatment. . . . R. W. (Buck) Buckley, formerly manager the Belle, Belle Fourche, S.D., manager of West, Gunnison, Colo., succeeding James Ellis, who entered air force. . . . John B. Mc- Cullough, of Motion Picture Association, N.Y., in calling on exchanges and others. . . . Lester Zucker, Universal district manager, was in. . . . Fred Brown, Black Hills Amusement Co. buyer and booker, and Mrs. Brown, went south and then to New York on vacation. . . . Glen Witt- struck, Meeker, Colo., was in and ordered a new ’57 Cadillac. . . . Larry Starsmore, Colorado Springs, Colo., theatre executive, to New York on business for Westland Theatres Inc. Des Moines Russ Fraser, former Tri-States advertis- ing and publicity man, has joined Ken Scarpino and Associates as business manager. Scarpino is a photographer specializing in color work. Fraser most recently was manager of Kent theatre here. . . . WOMPI members heard Dorothy Pobst report on her trip to Atlanta and the national convention at their recent monthly luncheon meeting. . . . Variety club members were to hold a dinner dance Oct. 27 to honor Bob Sandler, who recently won a national golf title. The Sandlers’ young daughter, Joan, is a loyal Variety club booster. She staged a show in the neighborhood and turned over all the proceeds to the Heart Fund! . . . The Bev Mahons are receiving congratulations on their most recent bundle from heaven. Mrs. Mahon is the former Zora Fini. . . . lone West again has turned in another successful job as chairman of the Variety women’s rummage sale. . . . Sale of ad- ditional stock in Greater Marcus, Inc., which operates the Marland theatre at Marcus has reached $3,825 — three-quarters of the goal needed to put the project on a sound basis. Most of the stock has been bought by individuals in the community. . . . The Schleswig theatre at Schleswig will remain in operation for another year. Businessmen unanimously voted to sup- port the theatre and contributed $400 toward the annual rent of the theatre building. Melvin Schmidt has leased equipment from John and Everett Evers and will take over the management. . . . A new wide screen has been installed at the Lyric theatre in Coon Rapids, ac- cording to an announcement by manager V. E. Hazelhoff. Detroit Art Herzog, Herald and Motion Picture Daily correspondent, was married to Delores Darylo. ... A completely auto- matic switchboard, the Fone-a-Chef, has been introduced by Herber Weingarden. The phone is basically the same as that used in drive-in restaurants and will be used for concession service. . . . “Wire- tapper” will be handled by Arlin Pictures. .... The Palms lobby was opened in all its new glory. Taking over a neighboring store, the new entrance is twice the size of the old one. All remodeling was done without interrupting service. A new 200 ton cooling plant was also installed. . . . Phil Stanton is back selling at Universal after a visit to his parents in England. . . . August Sermo, Madison manager, and Maxwell Hamilton, DeMille assistant, will address the Detroit Motion Picture Council at the November meeting. . . . Nick George, local circuit owner, is building a 3,000-seat house in Miami. . . . Projec- tionists Local 199 IATSE has moved to 2988 E. Grand Boulevard. . . . Charlotte Burns, clerk at United Artists, is off for surgery. . . . One hundred patrons of the Franklin theatre got out without mishap when a fire developed in the booth. Damage was minor. . . . Independent booker Betty Bryden is back at work after seven weeks of poor health. . . . Janet Pobursky is new at the UA switch- board. Hartford Peter Perakos, Sr., president of Perakos Theatre Associates, New Britain, Conn., leaving shortly on a Florida vacation, will visit Greece next spring. Traveling by ship, plane and train, he will tour England, France, Italy and Turkey in addition to his homeland. . . . New London, Conn., business interests have bought the Victory theatre in that city, once operated by the Morris Pouzzner interests of Hart- ford, and plan to convert the long dark structure into store and office facilities. . . . Arthur Alperin, Colonial, Southing- ton, Conn., is advertising an unprecedented “Grown-Ups’ Night” policy, with this newspaper copy: “First, no children under the age of 18 admitted on Tuesday and Thursday nights unless accompanied by their parents (only if there is no school next day). Second, we’re going to pay your baby sitter those nights — or almost, anyway. If you have a child, or know a child who attends our Sunday matinees, you can be our guest free on Tuesday or Thursday nights. To each child buying an admission Sunday afternoons, we will present a complimentary ticket good for the free admission of one adult over the age of 21 for the very next Tuesday or Thursday only.” Indianapolis Frank Paul, formerly manager of Keith’s and the Lyric, has been named manager of States Film Service, which is expanding its facilities here. . . . Dean Brown, who managed the Lyric until it was closed for the past summer, is taking a “Grand Ole Opry” troupe on a tour to the West Coast. . . . Dr. M. Sandorf, owner of the Theatair Twin drive-ins, has broken ground for a new shopping center adjacent to the theatres. . . . Two three-hour-plus attractions, “War and Peace” and “Okla- homa!”, are outgrossing four other first run pictures combined here this week. . . . The Variety Club will elect officers and crew for 1957 in a meeting at noon Nov. 12. . . Herman Black is heading a new Variety membership drive aimed at radio-TV and allied industries. . . . Jack Ackron closed the Ritz at Tipton Oct. 14. . . . The Princess at Cayuga, formerly owned by H. W. Boyd, has been reopened by Warren Ottinger. . . . Most Indiana drive-ins have now cut back to weekend operations. Jacksonville Bob Heekin and Danny Deaver planned an entertainment program for the Motion Picture Exhibitors of Florida convention here October 28-30 over a luncheon with Mayor Haydon Burns in the River Club. . . . RKO’s Paul Harrison came in for business talks with R. Cam Price, RKO manager, and circuit film buyers. . . . Photographs of Art Museum members at an advance screening of “Tea and Sympa- thy” were used successfully in newspaper ads and special heralds to plug a top box office engagement of the motion picture at the Florida Theatres. . . . FST staffers in Orlando gave a farewell party for Margaret Haddaway prior to her marriage to William Stokes who operates a U.S. Air Force officers club in Oakland, Calif. . . . Don Yarborough, 20th-Fox, escorted •Terry Moore, star of “Between Heaven and Hell,” on a local round of TV and radio stations, press interviews, a visit to the Naval Air Station and a single public appearance on stage at the Florida theatre. . . . A. C. Lyles, Jr., assistant producer of Paramount’s “The Mountain,” began his career as a page boy at the local Florida Theatre. . . . Visiting exhibitors included Johnny Harrell, Atlanta; Jim Ochs, Dania; Leon Task, Miami; and Les Sikes, Bill Conn and “Shorty” Hughes, all of Gaines- ville. Kansas City Homer Elridge, former manager of the Dickinson theatre at Topeka, was trans- fei'red by Dickinson Theatres to the Trail at Olathe. His successor at Topeka is Charles Neiman. Charles Adams, formerly at Olathe, is now a People’s theatre, Pleasant Hill, Mo. . . . The British film, “The Red Shoes,” which had a long run at the Kimo theatre in Kansas City, was scheduled for the Oct. 28th offering in the Nelson Gallery of Art and Atkins Museum in Kansas City. . . . With a weekend screening of two of the late James Dean’s films, the Heart drive-in was offering photographs of the actor. . . . Arthur Granson, Ashland, Kans., is operating the Ritz theatre there. . . . New equipment has been installed for films at the Larned, Kansas State Hospital. . . . Kickapoo thea- tre, Springfield, Mo., which is managed by Phil Greenlaw, has inaugurated a series of art films. . . . Charles S. Borg, who had operated Missouri and Kansas theatres since 1935, died at 76 at his home in Fort Scott, Kans. Los Angeles A mass meeting for the Community Chest drive was held at the Boulevard theatre October 16, with the exchange heads and personnel from all the offices attending. After the screening of a special film, Thornton Sargent, Fox West Coast executive, introduced the following speakers to the audience: Steve Brody, Allied Artists president; Sherrill Corwin, head of Metropolitan Theatres; and Milton ( Continued on following page) 38 MOTION PICTURE HERALD, OCTOBER 27, 1956 ( Continued from opposite page) L. Frankel, vice-president of the Film Row Club. ... At a general membership meeting of Variety Tent 25, the date was set for next year’s international conven- tion which is to be held in New Orleans. Arrangements were also completed for the all-star baseball game to be held at Wrigley Field. . . . After being shuttered for a long period of time, the Maynard theatre was re-opened by George Barton. . . . Mr. and Mrs. Burton Jones (he operates theatres in Reseda and San Diego) flew to Manhattan to have a be- lated honeymoon. . . . MGM Pacific Coast sales manager George Hickey is making a trip through his territory. .- . . Bob Henderson, formerly of the Knoll theatre, is operating the Boulevard theatre in East Los Angeles. . . . Fred Bower of the Ojai theatre in Ojai, paid one of his rare visits to the Row, when he came to town on a buying and booking expedition. Memphis E. B. Taylor, Parkin, Ark., purchased the Strand theatre, Earle, Ark., and Ritz theatre, Parkin, Ark., from Strand Enter- prises of Memphis. . . . W. N. Jamerson and Grover Pratt, owners, have finished and opened their new 25 drive-in, Fulton, Miss. . . . Edward E. Storey, Jr., Hollen- dale, Miss., has bought the Booth and Roosevelt theatres at Hollendale from A. A. Orr and B. F. Jackson. . . . M. A. Lightman, Sr., president of Malco Thea- tres, Inc., has rented the Memphian theatre, Memphis, to Jack Katz, who operates the Ritz theatre under lease from David Flexer, owner. The Ritz burned last week and will be closed 60 to 90 days. Katz will show the foreign films he had booked for Ritz at the Memphian. . . . Mrs. Ruth E. Morris, owner, has resumed operation of the Mojac, Regent and Honey theatres, which have been operated some time under a lease to B F. Jackson. The lease has termi- nated and Mrs. Morris announces Earl Hartzog will do booking and buying. Miami The Caplan clan is excited over the leasing of their Roosevelt theatre on Miami Beach to the Stanley-Warner Cin- rama Corp. which will remodel the house with Cinerama equipment. Alterations will cost about $100,000 and start early in November with the December 5 opening date for “This is Cinerama” sponsored by the University of Miami. . . . Sympathies were extended to Lee Ruwitch, general manager of TV station WTVJ, when his father died recently. . . . Mack Herbert, manager of the Bard, is very pleased with reception to his Thursday and Friday night stage shows. . . . Robert Nashick of WCKT reports the TV station will have special movie treats for viewers with the recent acquisition of 39 films from United Artists. ... A difference of opinion between the United Cerebral Palsy As- sociation and television station WTVJ resulted in an announcement by WTVJ president, Mitchell Wolfson that the sta- tion will have a “Crusade for Children” telethon March 2 and 3, 1957. Franklin F. Saunders, administrator of UCPA in Miami, announced TV station WCKY, would have the annual CP telethon Jan. 19-20, 1957. TROPHY WINNER NOW IT'S PERMANENT. Mrs. Jacqueline Coward, Atlanta WOMPI president, holds the Verlin Osborne publicity trophy, which the club won the third decisive year, during the recent national convention. Publicity chairman during 1956 was Martha Chandler. Milwaukee A committee, to rewrite the constitution of the Better Films Council of Milwaukee County, met at the home of Mrs. Simon Malver recently. . . . The Parkway thea- tre, managed by Don Perlewitz, is getting a new front. Also, 500 of the 850 seats have been replaced by pushback chairs and modern furniture has been purchased for the inner lobby. . . . Wisconsin Variety Club, Tent 14, will have a membership meeting at the Schroeder Hotel October 29. Dinner and cocktails will be held for the membership. . . . Harry Olshan, branch manager at Columbia, held a luncheon, October 23 at the Athletic Club, for Rube Jackter, assistant general sales manager. . . . Local 164, Motion Picture Projec- tionists’ Union, is holding a stag beer party for fellow projectionists and ex- hibitors November 14 at Machinist’s Hall. New Orleans Mr. and Mrs. Perry McCown, proprietors of the indoor Rialto, West Point, Miss., acquired the West Point drive-in, located south of town, by purchase from Mr. and Mrs. McGahey, Ackerman, Miss. The drive-in is currently in the process of reconditioning. . . . Pat Wagner, formerly with Theatres Service Company, who went to California for a few weeks vacation, wired her family that she liked it so much she had decided to stay. . . . Mary Morris, Paramount, has replaced Della Jean Favre as chairman of the WOMPI Service Committee. ! . . Harold Gains is the new counter clerk at Southeastern Theatre Equipment Company. . . . WOMPI Social Committee announces that a big dance is in store. It will be held November 9 in the Arrow Room in Wm. Castay’s Arrow Theatre Building. . . . E. G. Perry, general manager Pittman Theatres, re- turned after a round of area theatre visits in Baton Rouge, Lake Charles and Sulphur, La. . . . Tommy Dunn, prior to his recent promotion as branch manager of Universal’s exchange in St. Louis, was a member of the company’s sales staff here for a great number of years. . . . Harold Wyckoff, Paramount salesman, is back home from Baptist Hospital re- cuperating from an operation. . . . Russell A. Bovim, Loew’s Theatres western divi- sion manager, was here from his home base in St. Louis visiting with local manager Rodney Toups and staff. Oklahoma City The Villa theatre will have two Hallow- een parties — one for children and one a special midnight spook party. . . . Mr. and Mrs. Robert Busch spent last weekend in Tulsa. Mr. Busch is manager of the Villa. . . . Mr. and Mrs. Harold Combs and sons Hal and Kim have gone to Los Angeles for a week. Mr. Combs is concessions manager for Barton Theatres. . . . Gloria and Maurice Farris, son and daughter of Charles Farris, owner of the Villa theatre, spent last week in Dallas. . . . Ed. William- son, district manager for Warner Brothers, has been promoted to southern sales chief. Mr. Williamson, formerly of Dallas will move to New York City. . . . “Oklahoma!” is now in its 10th week at the State theatre. Attendance continues to be very good, it is reported. Philadelphia The local Variety Club sponsored a special Sunday matinee and evening per- formance for the “Ice Capades of 1957” ice revue at the Philadelphia Arena for the benefit of the Variety Club’s Camp for Handicapped Children. . . . Warner Broth- ers exchange is conducting a special Roy Haines sales drive, while at Paramount, the staff is pushing their Oscar Morgan shorts drive. ... Ed McGovern, manager of the Comerford, Scranton, Pa., arranged with the Superintendent of Public Schools in that city and with the University of Scranton for the distribution of coupons throughout all the schools permitting student admission to “War and Peace” at a special rate. . . . With MGM moving exchange headquarters into the building formerly occupied by R.K.O., the Little Theatre Screening Room, which had been closed by R.K.O. for some time, will be reopened and utilized by MGM. . . . Bert Allen, formerly manager of Comerford’s Globe, Scranton, Pa., has been named assistant manager of the Comerford, re- placing John Mulkerin. Also, Jim Bing- ham, formerly of the Comerford, has re- turned to the circuit’s West Side in the same city as assistant to manager Phil Duffy. . . . University Museum has an- nounced a program of free Sunday after- noon movie programs, offering non- theatrical and educational subjects. Pittsburgh The Penn has set “The Opposite Sex,” “Power and the Prize” and “Friendly Persuasion” to follow “War and Peace” in that order. . . . “Seven Wonders of the ( Continued on following page ) MOTION PICTURE HERALD, OCTOBER 27, 1956 39 ( Continued from preceding page ) World” passed its six-months mark, sur- passing by far the records set by its two predecessors. . . . Director George Stevens expected here before his “Giant” opens in the Stanley Oct. 31. . . . Arthur Manson, Cinerama publicity head locally, commut- ing between here and Cleveland, where he is aiding in the opening of "This Is Cinerama” in that city next month . . . “Oklahoma!” definitely closes in the Nixon Nov. 24, with that house returning to legitimate shows two days later. . . . "Richard III” not doing so well in the Squirrel Hill, and the management blames it all on the film first being shown on TV. . . . “Attack” opened in the Stanley fol- lowing the world premiere of “Tension at Table Rock”. Another Stanley book- ing, following “Giant” will be “The Girl He Left Behind”. . . . “Private’s Progress” is next in the Squirrel Hill. . . . The Harris follows its “Solid Gold Cadillac” with the re-issue of “Rebecca”. . . . Mr. and Mrs. Paul Jones, parents of star Shirley Jones, have moved from Smithton to Whitehall, which is a suburb of Pitts- burgh. Portland Journal drama editor Arnold Marks and Oregonian drama editor Herb Larsen flew to Hollywood for the premiere of “Giant”. . . . Oscar Nyberg, Evergreen’s Oregon district manager, just returned from a business trip to Seattle. . . . Para- mount theatre manager Dick Newton is being congratulated for his chores at the United Fund Show. . . . Liberty theatre manager Will Hudson has a “Rock ’n Roll” screen layout for a midnight showing the last of the month. . . . Northwest releas- ing bosses, Zolly Volchock and Jack Engerman did well with their Louis Armstrong stage promotion. . . . Columbia branch manager Jim Beale was elated over “Cadillac” business the first week at the Fox. Providence The Rhode Island premiere of “Wages Of Fear” was held at the Avon Cinema. . . . Once again, local moviegoers, who like to patronize neighborhood houses or drive-ins, were given very little choice of entertainment when some 13 open- airers and neighborhood houses presented “Bus Stop” simultaneously. ... It was reported, on good authority, that Albert J. Clarke, formerly manager of the Ma- jestic before entering the real estate business, and later, manager of a Spring- field, Mass., house, recently married and will return to Rhode Island to once again engage in the real estate field. . . . Teresa Brewer made a one-night personal ap- pearance at Rhodes-On-The-Pawtuxet. . . . Bill Trambukis, Loew’s State manager, got some publicity for “Solid Gold Cadil- lac”, when Adlai Stevenson recently visited this city. Stevenson left his head- quarters in the Sheraton-Biltmore Hotel in a solid gold Cadillac which was later displayed in front of Loew’s State. Tram- bukis arranged an extensive exploitation campaign in anticipation of the screening. ... It has been reported that the C. & F. interests have sold the Majestic to the Stanley Warner organization. Details were not available. San Francisco Maury Schwartz has booked “Inter- mezzo” and “A Bill of Divorcement” at the Rio. Both films have been shown on TV. He wants to find out if people are satisfied with viewing top films in cut versions, liberally dosed with commercials, on the small TV screen, or if they prefer to see these pictures on a big screen in a theatre. . . . Bob Kunce, former house manager at the Fox, has gone to Dallas, Tex., to manage the Cinerama theatre there. . . . Harold W. Seidenberg, formerly with Fox West Coast in Oakland, has been appointed managing director of the Orpheum here. He succeeds Paul Swater, assigned to Miami, Fla., where he will open Cinerama’s newest theatre in No- vember. St. Louis W. R. Palmer, owner of the Palmer News Company, has purchased the stock of Herbert Mack in the Chief drive-in theatre, Topeka, Kan. Palmer, Mack and the late Lawrence Breuninger had owned the stock of the theatre since it was opened in 1952. The Chief corporation now is owned entirely by the Palmer family. Palmer said he planned no change in policy or operation at this time. . . . The Decatur Outdoor theatre on North Twenty-Second street in Decatur, 111., has closed for the season, Harold J. Peek, manager, has announced. The Decatur drive-in, on North Jasper street, Decatur, was still in operation at last reports and was to continue to operate until bad weather forces it to close. . . . The Irvin theatre, Bloomington, 111., gave a surprise sneak prevue of “Pillars of the Sky,” which was well attended. . . . The East St. Louis drive-in, at 8600 St. Clair Ave- nue, East St. Louis, 111., just across the Mississippi River from St. Louis, has provided a playground for the children. Toronto Phil Stone, of radio station CHUM, who has worked in many industry publicity efforts, was promoted to executive vice- president of the station. He will retain his position as the station’s sports director and also continue his daily disc-jockey show. . . . Ted Huber, head booker and office manager for RKO here, was ap- pointed salesman in the Winnipeg branch. He will be succeeded in Toronto by Len Herberman. . . . Canadian Picture Pioneers will honor the CPP branch which has made the most outstanding contribution to the Pioneers, and most particularly to the Benevolent Trust Fund. . . . Reg G. March, retired 20th Century-Fox manager in Saint John, N.B., will stand as a candi- date in the next civic elections. Another member of the film fraternity, J. A. White- bone, a motion picture projectionist, also will be a member of the civic slate. . . . Arch Jolley, secretary of the Motion Pic- ture Theatres Association of Ontario, began his fall speaking tour with an address before a service group at the Capitol, Listowel. . . . The 20-year partner- ship between B & F Theatres and V. Simone for the operation of the Radio City, expired. Simone will operate the house by himself, while B & F will maintain their operation of the nearby Vaughan. Vancouver The best of the local attractions are “Tea and Sympathy,” solid at the Capitol, and “Reach For The Sky,” on a three- theatre booking. “The King and I,” in its 12th week at the Strand, is still doing nicely and stays. . . . Famous Players has hung a “for sale” sign on the 35-year-old Kitsilano theatre. The chain recently sold the Victoria Road house here which will be converted into a bank. . . . The Windsor, local suburban theatre, now closed, is also up for sale by FPC. . . . Shirl Wilson, manager of Perkins Electric, and his sound engineer, Fred Robson, are busy covering the B.C. interior theatres. P-E reports that business is very good. . . . Two Odeon circuit employees traded jobs. Art Graburn, downtown Paradise manager, takes over as booker-buyer at the Odeon district office, while former booker, Norm Raay, takes over as manag- er of the Paradise. . . . All Odeon units in Abbotsford and Mission in the Fraser Valley, and in Ladysmith on Vancouver Island have gone from a six-day policy to a two-day policy, being open now only Friday and Saturday. . . . Len Keen, Ladysmith manager, takes over as as- sistant manager of the Paradise, Van- couver. Washington Loew’s Capitol theatre was scheduled to have the Royal Danish Ballet on its stage on October 24. . . . George A. Crouch, Stanley Warner zone manager; Louis Ribnitzi, booking department, and Frank La Falce, director of advertising, and dis- trict manager for Stanley Warner locally, were in Philadelphia recently to attend a cocktail party welcoming Bernard Brooks as assistant zone manager to Ted Schlanger. ... A. Dickstein, 20th Century- Fox district manager, was a recent Washington visitor. . . . Jack Keegan, Columbia booker, resigned to join Equity Films as a salesman. . . . Tony Muto was given a farewell cocktail party by the 20th Century-Fox staff, before he took off for his duties in Califoi’nia as a pro- ducer for his company. . . . “Don Gio- vanni,” which did very well at the K-B’s Ontario theatre, has moved over to the chain’s Apex theatre. . . . Jake Flax, Republic branch manager, was one of the head table personalities at the 18th anniversary dinner of the Variety Club of Baltimore. WOMPI 1957 Meeting To Be Held in Memphis ATLANTA: It is announced that the 1957 national WOMPI convention will be held at the Peabody Hotel in Memphis, Term., and that the eleventh WOMPI club has been formed in Kansas City and is ready to be chartered. Mrs. Myrtle Cain has been elected president. Clubs winning trophies at the recent convention were: The Charlotte club — the Loraine Cass Award for Service; the Atlanta club — the Verlin Osborne Publicity trophy; the Memphis club — the Janice Claxton trophy for monthly club attendance; the Dallas Club — the Mabel Guinan Club Convention Attendance Cup. 40 MOTION PICTURE HERALD, OCTOBER 27. 1956 An International Association of Motion Picture Showmen — Walter Brooks , Director THEATRES — All Have a “Personal" History REPORTS that the Shuberts will have to sell the St. James theatre, on 44th Street, under the consent decree which they signed in the Government’s anti-trust suit, reveal just how this sort of thing usually works out. The price is quoted at $2,100,000 which will give the Shuberts a tremendous profit — and noth- ing will be changed. The house was built by A. L. Erlanger as the flag-ship of his legitimate theatre chain, and cost $1,400,- 000 in the days when a dollar was a dollar. But it stands on leased ground, owned by Vincent Astor, and the original in- vestors were long since shaken out. In 1935, Eddie Dowling took over the house on a four-wall lease from the Astor office, for 8% of the gross — and, of course, he assumed all costs of operation and maintenance. The theatre has many archi- tectural faults — the stage is too small and too shallow: the top balcony is too big and you walk up eight flights from the street! There are also eight floors of dress- ing rooms back stage — most of them un- used these many years, because there is no elevator. The top floor, across the building, was an office floor, unoccupied during the Astor regime, but Dowling rented all the office space 20 years ago. The Globe, on Broadway, was originally Charles Dillingham’s home theatre, and a fine house in its day. As a fourth-rate motion picture theatre, it has done less than well with inferior pictures. Soon, it will be restored as a legitimate theatre, and the expansive Broadway lobby closed off and turned into a store, with the entrance to the theatre from 46th Street. This was done with the Mark Hellinger theatre, with their new entrance on 51st Street, and they are doing all right with “My Fair Lady” — more than 3000 cus- tomers clamoring for the 1500 seats at every performance, and tickets on sale until January, 1958! The movie rights for this musical adaptation of “Pygmalion” — which was made as a film in 1938 — will sell for close to $1,500,000. Movie rights go up in value when a nation-wide hit plays a long run in a small theatre, thus creating huge demand for limited seats. A PERSONAL TRIBUTE It was in October, 1916, just forty years ago, that we first met Oscar Morgan. He was the field exploitation man for Paramount at their branch office on Vine Street, in Philadelphia— and we had just signed a three-year contract to become the manager of the Auditorium theatre, Coatesville, forty miles up the Main Line— our first theatre job away from home. Oscar in those days taught us the rudi- ments of good showmanship, and as Short Subjects Sales Manager, in Paramount's home office today, he is still teaching good showmanship in his travels up and down the land, as he sells short films for all of the substantial values they contribute to a theatre program. His office is only a few blocks away, but we seldom see Oscar except out of town— the last time was in Jacksonville, for he's on the road so much, and covers so much of the country. Our personal salute is based not only on his years with Paramount, and the manner in which he conveys this skill to others, but because he gave us such a decided lift when we knew less than nothing about operations close to Film Row. Coatesville was a great experience in theatre operation and community relations— but we really learned more about motion picture business down on Vine Street, every day. The Mayfair, on Broadway, was op- erated by Loew’s as a grind house, with a double-feature policy like a remote neighborhood, but now they compete with all comers, and can outbid Loew’s State for first run films. The Roxy with the opening . of “Giant” hit its top gross of $165,000 for the first time since “What Price Glory” — and that was 29 years ago! Business is good for good pictures, and for good theatres, conducted by good showmen. SHORT FILMS are the theme in this an- nual issue of the Herald, and you’ll find a piece of our priceless prose, written to the subject, on another page. But we want to add one note, and that is acknowl- edgement to Columbia Pictures, who for many years, have provided a consistent program of short films, for quantity and quality — some of them still originating with Jules White and others whom we’ve known in the past. They supply practically all there is to be had of pure slapstick in the present day programs, and that’s wha'; we believe theatre men need more of, as feature films grow longer and more grim. Time was when a really good two-reel slapstick comedy could stop the show in any house, and obtain top billing in any theatre. No operation was too good for slapstick, in the old days. Perhaps, we have turned the full cycle, and it’s time to bring back slapstick in CinemaScope and new dimensions. What was funny before would be funny again. USB DRIVING the Mohawk Trail, across Mas- sachusetts from the Hudson to Haverhill, over the recent holiday week-end, we saw evidence of good theatre operation, and some proof that it had been lacking. A few dark theatres were obviously decayed and decrepit, although we saw one rela- tively new theatre building “for rent” — in a one-street town where the theatre location was far removed from business neighbors. It takes a grain of common sense to determine a theatre opportunity. Pittsfield, Mass, has good theatres, look- ing clean and active — and the E. M. Loew houses in several towns were putting up a solid front for “Solid Gold Cadillac.” This circuit has good management, and it shows. And, in Haverhill, the theatre where Louis B. Mayer started in this business as an exhibitor, is still operating, to its credit. “L. B.” has gone a long ways, through his years as the head of MGM’s Hollywood studios — and his latest theatre deal, to our knowledge, was his purchase of the Rivoli theatre, on Broadway, as a personal in- vestment. — Walter Brooks MANAGER'S ROUND TABLE SECTION, OCTOBER 27 1956 41 This looks like a coolest! Thirty finalists io the New York regional judging for ‘‘‘'Miss Exquisite Forln,, are viewed by and with their judges at the Vanderbilt Hotel, which United Artists is running as a nation- wide promotion for “ Trapeze " — with very substantial prizes for the lovely winners, and for theatre managers who submit the best cam- paigns. In the background row of judges, completely surrounded, is Lige Brien. director of special events for U A, whose responsibility this is — and lie's an old, experienced hand in previous contests. Real dancers with poster cut-cuts as dancing partners, as lobby demonstration for "Bus Stop" at the Fox West Coast theatre, in Long Beach, California. Arthur Groom, manager of Loew's State theatre, in Memphis, served "Tea and Sympathy" right out on the sidewalk, as an attention getter. Forty women from the Little Rock Chamber of Commerce took to the road in a chartered bus as special promotion for "Oklahoma!" at the Capitol theatre — bringing them in from surrounding towns to see a big picture. 42 MOTION PICTURE HERALD, OCTOBER 27, 1956 New Picture For Another UA Contest Merle Moriarity, a 20-year-old redhead who is studying for a stage career but has no firm objections to a Hollywood contract, took a big step toward the latter goal yes- terday by earning the title of New York’s Miss Exquisite Form in the national con- test spotlighting United Artists’ forthcom- ing “The King and Four Queens,” Russ- Field CinemaScope production starring Clark Gable. By winning the regional crown, Merle qualifies for the grand prize run-offs offer- ing such rewards as a Hollywood test, a Rambler station wagon, a mink coat and vacation stays in Europe, South America and Hawaii. There are also prizes for thea- tre managers. The contest held in the Park Avenue Room of the Manger Vanderbilt Hotel in New York launched the formal opening of the vast “King and Four Queens” pro- motion sponsored by Exquisite Form Bra and targeted to find the girl with the most exquisite shape in North America. It ap- plies similarly for the promotion of “Trapeze.” Merle, who lives in Oceanside, N. Y., walked off with local honors, thanks to an overall length of five feet, seven inches, a bust of 34 inches, a waist of 23 inches and a 32-inch beam. The judging of the best of 700 shapely entrants in the New York area campaign for “The King and Four Queens” drew widespread newspaper, wire service and TV newsreel photo coverage. A forty-foot figure of Elvis Presley is going up on the marquee of the Paramount theatre, on Broadway — and this is two stories taller than the figure of Marilyn Monroe that stood in front of Loew’s State theatre, for “Seven Year Itch.” The Para- mount will rock n’roll with the teen-agers for the run of “Love Me Tender” — and the theatre is used to it, for they have had plenty of experience. The 44th Street side of the theatre is thick with lipstick signs reading “I Love Frankie” — “I Love Some- body Else” — they usually arrive at 3 a.m. and stay 24 hours to see their favorites. Norm Levinson was in town, with his wife, Claudie, on vacation en route from New Haven and Hartford, which was formerly home, back to Jacksonville, where they now have an apartment. Norm is MGM’s field man in Florida, and he asks us how we like “Leo’s Sunshine Bulletin,” which he publishes — and we do. He an- nounces a contest, for “The Opposite Sex” — and all substantial entries will be sub- mitted for the Quigley Awards. owmen in Mrs. (Mary) Martin George Smith is here from Toledo, on a theatre train, with 120 ladies who are seeing five Broadway shows, several broadcasts, staying four nights in a Times Square hotel, and with railroad and Pullman reservations both ways — all for $92.50 per person. That’s quite a deal — and goes to show you how far people will go to go to the theatre, and at what cost. The party left Toledo on Sunday night, arriving here Monday morning; they leave Friday night, after the theatre, and get home Saturday morn- ing, exhausted, but happy, and all of them have gained weight doing it! ▼ Bob Walker writes from the Uintah theatre, Fruita, Colorado, that he’s going all out for the $35,000 Lustre-Creme Sweepstakes contest, and has the local co- operation of the biggest jobbers in that area. He says, “Somebody is going to win, and it might as well be somebody in Fruita.” Out there in the uranium country, they like to play long-shots. V Our “Movie Book Shelf,” which has been building at the Green Freen Library, in Canton, Pa., is now assuming quite reason- able status for a publicity picture. It occupies a special alcove, and framed in it is the weekly program card of the Rialto Theatre, on Main Street. In addition to the collection of “movie books — and some of them are quite substantial — we have exhibits of black and white and color stills on “War and Peace” and “Moby Dick.” Incidentally, Paramount reports a wide- spread interest in “War and Peace” from hundreds of school systems — and “Moby Dick” is required reading, made more pop- ular than ever before in 100 years, by the tremendous interest in our spectacular motion pictures. Ray McNamara, manager of the Allyn theatre, Hartford, hosted Marine Corps League members at opening night of “Hold Back the Night,” which premiered in Con- necticut. Managers of three New Haven theatres —Morris Rosenthal, Loew’s Poli; Sid Kle- per, Loew’s College; and Irving Hillman, Stanley Warner’s Roger Sherman — parti- cipated in Downtown New Haven Shop- ping Days, annual merchant promotion de- signed to encourage greater shopping in the downtown area. They donated hun- dreds of theatre passes, for distribution along with gifts from stores, etc., by mys- tery shoppers. ▼ Fred R. Greenway and Jack Keppner of Loew’s Palace, Hartford, Conn., had a local singer in cowboy garb walk through sub- urban supermarkets (with management permission) carrying guitar and singing appropiate tunes when he played “Rebel in Town.” Jimmie Thames sends us tear-sheets to show the fine handling of “Oklahoma!” in Arkadelphia, Arkansas, by Robin Wight- man, of the Cecil Cupp Theatres. The engagement at the Capitol has made local history for the handling of a big picture in our new dimensions. T MGM Records have “all the music from all the James Dean pictures” on one rec- ord, by Art Mooney and His Orchestra — and if we know the teen-agers, they will go for it, by the millions. MGM have some fine movie-music albums with as many as twelve hit tunes that will always tie up with theatre playdates. Grand prize winners in the Edwin "Pete" Gage showmanship drive, conducted by Walter Reade Theatres, include John Balmer, manager of the Mayfair, Asbury Park, who won first prize of $1,000 and Mike Dorso, manager of the Community, Kingston, who won $500 as second prize. In the picture below from left to right are John Guilton, Paul Petersen, Mike Dorso, Edwin "Pete" Gage, Bert Greene, John Balmer, Walter Reade, Jr., president of the circuit, George Kemble, Joe Sommers, Mike Brett, Jack Pardes, and Frank Deane, who won a total of $5,000 in prize money. MANAGER'S ROUND TABLE SECTION, OCTOBER 27 1956 43 Send Newspapermen Out To Hollywood The “summit” meeting of top-bracket advertising and publicity chiefs of the vai’ious companies in association with the Motion Picture Association, have recom- mended sending newspaper by-line writers to Hollywood, along lines that were sug- gested in the Round Table, as long ago as July 28th. We said then, it was “A Good Idea— That Takes Some Doing.” The current report of their recommen- dation says that this endeavor will cost exhibitors about $60,000 and the producers, about $125,000 to carry out the program. We think that is apt to frighten off our best prospects, because it isn’t a sum to be raised all at one moment for a procedure that comes off all at one time. To bring approximately 300 favorite by-line writers from 100 cities to Hollywood on a junket of good-will might cost that much in the aggregate, but why spoil the outing by looking at the check before it is presented? Many a good time has been postponed be- cause those that held the purse strings were so penurious. Visitors Should Go In Small Groups In the first place, the various good by- liners should be sent out in small groups — surely the studios wouldn’t want 300 at one time, and these should be financed for their trip entirely by local funds. For in- stance, in Hartford, or Buffalo, or Wash- ington, D. C., or elsewhere, there would be one or three good by-liners who should have this opportunity to improve their in- dustry relations. Then, these favored few should be approached by their local thea- tre chains and independents, and invited to go, at the expense of hometown opera- tors. That’s our share of the enterprise. Upon arrival in Hollywood — entertain- ment out there, visiting the studios, the personally-conducted tour, would be the business of the producers. Nor would this all come at once, for it might extend over an entire year. Some competent public relations man (and woman) would have a steady job, with four or five of these visitors arriving every week, and a sched- ule of what to do and how to do it, for our best interests. It would be no particular hardship, in either time or money, to un- dertake and carry out successfully. A timetable to be worked out by MOA would take all three of the top by-liners to Hollywood, from Washington, D. C., for instance, and on a staggered schedule so they would not all be there at the same time, and would see different pictures in production, at the various studios. Thus, in Buffalo or Hartford or wher- ever, local theatre men should get to- gether, choose their candidates, propose the trip as a gift to them from local film theatres — (not from motion picture indus- try, as a whole) and arrange so they got off in good time, with a maximum of cov- erage, extended over a full year of future writing. The Hollywood responsibility would be to assume the entertainment or tour costs out there, and to supervise it with such extreme care that it would cor- respond to red-carpet, all-star treatment. With only a few at a time, this would be reasonable and possible, and with the benefit of accumulated experience, it would grow in value. We must bear in mind, as was said in the Round Table editorial three months ago, we already do have 300 correspon- dents in Hollywood, placed there by the newspapers and continued over years, for the important and valuable news that originates on the studio lots. But some of these are no longer our friends, some have “gone Hollywood” with a vengeance, and some are seeking only sensationalism — they prefer to dig the dirt at Hollywood and Vine. But a benefit could be found in this proposed schedule if the newspaper owners at source would discover that their own newsboys and girls from back home got a much better slant, and put it in more printable and readable copy, than these who have been out there too long. It might help a lot, if the newspaper owners who pay for continuous coverage could see a difference between a subsidized reporter who functions as a remittance man from New York, and a friendly, excited, en- thused and completely interested guest, who is asked to view our scenes, with his host being the same man who deals with him, year-in and year-out, at home. It would cost a few hundred dollars in each of 100 cities — it would be well worth it, and the time to add up the bill is after we get it rolling — and not risk a complete stoppage over what appears to be a fright- ening cost. — W. B. How's That Again? “How’s that again about movie publi- cists?” asks an inquirer, who is thinking of a crack made a few weeks ago about them by some misguided executive. But our correspondent has been looking at some of the early returns on Columbia’s “Solid Gold Cadillac” with the preferred stock treatment via Bache & Company, with Judy Holiday as their special partner and customer’s woman, selling the divi- dend trade, shares in laughter. Just one example of this fine publicity was picked up by North American Newspaper Alli- ance for distribution through 200 news- papers. The Boys From Philadelphia Do a Good Job Birk Binnard is back from a holiday cruise to Havana and reporting the activi- ties of his Stanley Warner boys in the Philadelphia zone, with enough news in the mail to make a good story. About the best news we’ve read of business really picking up, is the story of how teen-agers in West Chester, Pa., — three thousand of them — petitioned the swank Warner thea- tre for a fourth return date of James Dean in two of his pictures — “Rebel” and “Eden.” Ray Powell and Vince Glandin, who are co-managers of this nice theatre in a Pennsylvania county seat town, may have promoted the idea basically, but it looked authentic, and voluntary, when it landed in the newspapers. Extraordinary response is a sure indica- tion of what can be done with this im- portant box office opportunity. Both pic- tures had already played the theatre three times — and on this return playdate, a local pastor, Rev. Kenneth Anthony, of Holy Trinity Church, preached his Sunday ser- mon on the late star and the two pictures, using James Dean as an example of frus- trated teen-agers looking for social and family comfort. The newspaper picked up the sermon and it added to the big story. Result was one of the highest gross- es of the year, and most favorable pub- licity for the theatre. APPLICATION FOR MEMBERSHIP MANAGERS' ROUND TABLE I 270 Sixth Avenue, New York 20, N. Y. Name Position T heatre Address City State Circuit Absolutely No Dues or Fees 44 MOTION PICTURE HERALD, OCTOBER 27, 1956 A BIG STORY OF BIG THINGS AND BIG FEELINGS THIS IS GIANT! GEORGE STEVENS ' PRODUCTION FROM THE NOVEL BY EDNA FERBER RRESENTED BY WARNER BROS IN WARNERCOLOR s ELIZABETH TAYLOR • ROCK HUDSON • JAMES DEAN AS LESLIE LTNNTON AS BICK BENEDICT JANE WITHERS- CHILL WILLS- MERCEDES McCAMBRIDGE • SAL MINEO ■ •GEORGE STEVENS »»o HENRY GINSBERG o ■ • GEORGE STEVENS ► THEATRE PORT AFRIQUE — Columbia Pictures. Pier Angeli, Phil Carey, Dennis Price, in an amazing adventure, actually filmed in Mo- rocco’s famous “forbidden city.” Girl with- out a passport — man without a future. Dramatic as “Casablanca!” Romantic as “Algiers!” Four-page herald keys the cam- paign. No poster larger than the 6-sheet, but this contains pictorial art for lobby and marquee display. Newspaper advertising is generally good, and there is a supple- ment which carries revised ads for situa- tions where violence in advertising is un- profitable. So, in one ad, Pier carries a gun, and in the “revised” ad, she carries a cigarette, in the same pose and space! Anyhow, with or without— it’s pretty good stuff, and the combination mat for small theatres has seven ad mats (not revised!) two publicity mats, all for 35c at National Screen. Pier Angeli has a sultry role in this “Caught in the Casbah” type of picture, which will suit audiences who like thrills and excitement. 7 his is an especially fine example of the style that is becoming more prevalent on amusement pages, ivith plenty of white space, anil outstanding use of portrait halftones in strong display, to sell an array of stars. “Giant” has a number of such newspaper advertisements in use, and you will find others in the press books and the trade papers, for various big pictures. We cite this as a typical, and beautiful example — for the adaptation of copy, space and pictures to match. I\ote how the use of the star portraits builds up. how the eye level and interest are raised, how the attraction value is accented throughout this professional presentation. In the original, this corner which we have taken for our own copy was part of the complete newspaper page and devoted to live reading matter — perhaps at a premium rate. But, however, the staggered layout can be used on a full page, or less than a page with fairly equal results. Here you see it reproduced, less than three columns wide, and it is still legible, even to the smallest type. The box at extreme upper left is for the name of the theatre, and was just right for the Roxy, but such a signature, for perhaps the Paramount, could go up and down the left- hand margin — for there's room, either way. Also, in the Roxy original, they devoted the bottom of the ad space, where it now indicates "theatre" — to their stage show, and you can do the same with your short film program. We are proud and pleased to show you such excellent advertising, with credit and courtesy to Warner Brothers for leading the way in this excellent selling appoach. SECRETS OF THE REEF— Continental Distributing Co. “Secrets” for your box office success, an entirely new entertain- ment experience in the fantastic and won- derful world of nature. A true adventure more amazing than fiction, produced by Marine Studios, in Eastman Color, and photographed, for the most part, under the clear water of Florida’s marvelous “Marineland” permanent museum and ac- quarium of marine life. A picture that can play for months on end in art thea- tres, and will have strong support and approval from school or opinion groups in any situation. You can make friends and influence people to like the movies by showing them “Secrets of the Reef.” Good press sheet carries practical advertising, with suitable ads and accessories sufficient for all types of theatres. The entire four- page center fold opens to a full one-sheet size to advertise your coming attraction, and it will get and hold attention on merit. Film has come out of friendship of celebri- ties in science and film skills, who aspire for an Academy Award for this very special picture. One of the attractions you should reach out and get for extra runs. This is an opportunity to make friends with school authorities at the beginning of a new school year. Special guest tickets or previews for teachers, opinion-makers and civic leaders will pay off. Take pains to tell them — and the Florida season- crowd, that this is a wonderful picture. CARROLL BAKER TENSION AT TABLE ROCK— RKO Radio Pictures. A man like “Shane” — with the suspense of “High Noon.” Wherever he rode, his past was always ahead of him! She branded him with a lie that grew into a legend. Who will be the first to crack? Another showmanship campaign from the showmanship company, with a pressbook full of good suggestions. 24-sheet and all posters have strong pictorial art that punches out the selling approach, and the same theme is repeated in the newspaper ads. You’ll find it new and different, for this unusual western. Herald keys the campaign with close-up of four sets of eyes, and the theme advertising slant, in strong display. You’ll find these eyes and the loaded pistol pliable enough to use in many ways, all forcefully and with direct aim. There are some very large news- paper ads, but the idea is contained in smaller space, through a variety of sizes and shapes. The 35c combination mat from National Screen has seven ad mats. MANAGER'S ROUND TABLE SECTION, OCTOBER 27 1956 45 CLASSIFIED ADVERTISING Fifteen cents per word, money-order or check with copy. Count initials, box number and address. Minimum insertion $ I -50. Four insertions for price of three. Contract rates on application. No border or cuts. Forms close Mondays. Publisher re- serves right to reject any copy. Film and trailer advertising not accepted. Classified advertising not subject to agency commission. Address copy and checks: MOTION PICTURE HERALD, Classified Dept., Rockefeller Center, New York (20) USED EQUIPMENT NEW EQUIPMENT BOOKS RECONDITIONED NEUMADE FILM CABINETS 6-10-12 sections (<7 S2 section ; Golde Automatic Rewind w motor, like new $59.50 : rebuilt Griswold R-2 splic- ers $15.95. S.O.S. CINEMA SUPPLY CORP., 602 W. 52nd St., New York 19. EXCELLENT COATED PROJECTION LENSES — many brand new! Wollensak “Sunray” Series I: 33t 5", S1-", 6", 7%" — $35 pair. Superlite Series III “C” coated 2%", 3", 314" $150 pr. Others avail- able— tell us your needs. Trades Taken. Wire or telephone order today. S.O.S. CINEMA SUPPLY CORP.. 602 W. 52nd St., New York 19. BALLANTYNE SOUND SYSTEM, LATE TYPE, reconditioned $775; 50/100 ampere generators, com- plete, reconditioned, $295; splicers $1.95; Very best buys on all types of equipment, including screens and lenses: What do you need? STAR CINEMA SUPPLY, 621 West 55th St., New York 19. STUDIO EQUIPMENT AURICON PRO-200 16MM SOUND CAMERAS, complete, $1,600 value, $795.00; Eyemo 35mm News- reel Cameras, from $99.50; Mitchell 35mm Standard Tracking Camera, $995 ; Houston 16mm K3 negative/ positive/reversal Automatic Film Proccessors, unused, $5,450 value, $2,595 ; Moviolas from $195. Hallen Syn- chronous magnetic 16mm recorder, $1,495 value, $695; Neumade RK102-Film Racks hold 102-1000' reels origi- nally $165, new $87.50 ; American Cinematographer’s Handbooks, U, price, $2.50. S.O.S. CINEMA SUPPLY CORP., 602 W. 52nd St., New York 19. ATTENTION HOLMES USERS! 1000W T- 20C13 Mog. prefocus lamps $25 dozen I $3.95 each); intermittent movements $24.50; Star sprocket assembly $10; sound lens $9.95; EE14070 vertical drive shaft w/5 gears, bearings $9.75 ; 2000' magazines, upper & lower (rebuilt) $25 set. S.O.S. CINEMA SUPPLY CORP., 602 W. 52nd St„ New York 19. $17.95 COMPLETE 2-STATION 115-V INTER- com., delivered, worth $55; 4A/8.5V, WE Exciter Lamps 35i the Americas, $10.00 a year Foreign. Single copy, 25 ts, All contents copyrighted t< March ,i, 1B7S. Pair, cripticr. C rites. fishing < omparcy, Inc, MOST JOYOUS EVENT! From now on you’ll hear about it often! MflHH M-G-M BRINGS ALL THE HILARIOUS FUN OF THE STAGE HIT TO THE SCREEN! MARLON BRANDO as that rascal Sakini . . . GLENN LORD as eager beaver Capt. Fisby . . . MACHIKO KYO as geisha girl Lotus Blossom-m-m The Teahouse of the August Moon in CINEMASCOPE and METROCOLOR with co-starring EDDIE ALBERT PAUL FORD • JUN NEGAMI • NIJIKO KIYOKAWA • MITSUKO SAWAMURA Screen Play by JOHN PATRICK • Based on a Book by VERN J SNEIDER and the Play by JOHN PATRICK Directed by DANIEL MANN Produced by JACK CUMMINGS An M-G-M picture (Available in Magnetic Stereophonic, Perspecta Stereophonic or 1-Channel Sound) FROM ELIA AND TENNESSEE AND WARNER BROS. WEDNESDAY NOV.14 THE TRADE SHOW See page 57 for times and places of showings. now! IN THE WONDER OF color by TECHNICOLOR at popular prices MOTION PICTURE HERALD MARTIN QUIGLEY, Editor-in-Chief end Publisher MARTIN QUIGLEY, JR.. Editor Vol. 205, No. 5 November 3, 1956 20th-Fox Looks Ahead IT IS welcome news for the entire industry that 20th Century-Fox is preparing its biggest production pro- gram in two decades. According to word from Holly- wood, the company expects tc release between fifty and fifty-four pictures in the twelve months beginning in April, 1957. That program would almost double the cur- rent release schedule. Spyros P. Skouras, president and Buddy Adler, produc- tion head, recently have been planning 20th-Fox produc- tion policy. Approximately half of the planned features are to be made by the studio staff or be studio financed and made by Darryl F. Zanuck, David O. Selznick and Jerry Wald. Moreover, there is a confirmation that Messrs. Skouras and Adler think there is still a good market for low and medium budget attractions, for Robert Lippert is to make two dozen, including westerns, science-fiction and other action types. It is reported that Mr. Skouras believes that the public is about ready to turn attention away from television and shop for entertainment outside the home in greater num- bers than ever before. He wants his company to be pre- pared for the expected potential patrons with enough product. Hollywood speculation is that one of the prime problems in completing the program will be casting such a number of pictures. On the other hand a production pro- gram of this magnitude is almost certain to develop new stars as well as attract established ones. What the business needs more than anything else is more pictures, featuring more players the public wants to see. The 20th-Fox production policy is an expression of confidence in the public’s abiding interest in theatrical entertainment. The Right to Disagree SOME people in the motion picture industry seem unduly quick to take offense when others disagree with their viewpoint. When the issues are complex, as they are today, it must be expected that a good deal of disagreement will arise at least in the initial stages of consideration of definite avenues of action. According to reports from Hollywood there was some opposition to the business-building proposals outlined there recently by a Motion Picture Association delegation from New York principally on the grounds that the ideas had not originated locally. This certainly is no time for excessive provincialism. The issues are too serious. Every project deserves careful study. It was inevitable that some exhibitors would feel that they should have been consulted sooner about the plans of the MPA for increasing theatre attendance. The matter of timing was a matter of judgment. Any disagreement on the point should not prejudice an objective and thor- ough consideration of the plans when they are presented to exhibitor representatives sometime later this month. Business-building projects, if successful, will benefit ex- hibitor and producer-distributor alike. To be successful, they require the cooperation of all in every sector of the business. By coincidence some of the national magazines are cur- rently running institutional advertisements of the Con- tainer Corporation of America which is pertinent to dis- cussions now going on in the motion picture business. John Milton is quoted as writing three hundred years ago the following: “Where there is much desire to learn, there of necessity will be much argument, much writing, many opinions; for opinion in good men is but knowledge in the making.” ■ ■ ■ Trends in Television THE impression of many exhibitors that public interest in television, though still at a high level, is trending downward is substantiated in the ninth annual sur- vey of television in New Brunswick, N. J., conducted by Cunningham & Walsh, Inc., advertising agency. According to Gerald Tasker, vice-president and director of research, the high point in television viewing was reached during the year 1955. New Brunswick, N. J., is a “saturated” television area. Ninety-one per cent of the homes are television-equipped. Owners have a choice of the eleven stations in New York and Philadelphia. According to the advertising agency, future increases or decreases in the average number of hours of television in the typical home will depend entirely on the quality of the programs offered. This means that television’s initial advantage of novelty and convenience are no longer potent factors. ■ ■ B Allied Convention THIS year the National Allied convention is to be held — Texas-style — November 27-29 at the new Statler Hilton Hotel in Dallas. In addition to the usual features of an Allied convention, including film clinics, there will be a dinner in honor of Col. H. A. Cole. For thirty-seven years Col. Cole has been an exhibitor in Texas but his fame is nationwide not only as an Allied leader but for his work as a co-chairman of the COMPO admissions tax campaign. Members of Allied and other exhibitors, who will be welcome as guests, ar» promised an interesting, “working” convention. — Martin Quigley. Jr. MOTION PICTURE HERALD oCetterS to the ^Jheraicl From the Beginning To The Editor: I have just come from Istanbul just in the middle of the “disjointed presentation” argument and decided to write after hav- ing read R. E. Schreiber’s argument (Mo- tion Picture Herald, October 20) against your editorial (September 22, 1956). I think that the best and only decent way of seeing a motion picture or any material which tells a story is to see it from the beginning to the end, otherwise one will not get any pleasure at all. To have fixed shows at fixed times and later when the public gets used to it to have reserved seats, is not preventing the pub- lic from seeing motion pictures the way it wants to see. The public wants to get more pleasure out of movies and this can be done when it sees it in proper con- tinuity. Nobody will prevent them from seeing the film twice if they came late by chance and did not see the beginning. But good showmanship, pounding with ads and posters will persuade the public to come at the right time. The reason the public converse, sleep or go out for refreshments in the middle of of the show is due to the fact that not having seen the film from the beginning they are not participating with the show and are getting bored, or the theatre is too hot, the seats uncomfortable, and there is not fresh air, so they want to get away. Movies should be special and different from homes and television screens, where one does not pay much attention to the TV show, converses, walks about the room and gets some refreshment from the kit- chen. The public should know that no- where else can it get the same kind of entertainment than a movie show, other- wise it better stay at home, watch the television while feeding itself and convers- ing or sleeping in the armchair. Theatres should have fixed times every day and every week, without changing it so that there will be no confusion; for single films two hours and two 'features three hours is convenient. By selecting the proper cartoons and short subjects the two or three-hour period should be filled so that two successive shows could be tied together, 2:00, 4:00, etc., 2:00 P.M. and 5:00 P.M., etc. for single or double fea- tures are convenient and easy to remember times rather than to have fractional hours which cannot be memorized. Of course, for special long films sched- uls will be subject to change. To have an intermission in the middle of the fea- ture is good practice to give a chance to the audience to have some refreshments and chance to discuss about the film with others. During the evening show the best sec- tion of the seats should be reserved, and by proper advertisement many can be at- tracted to establish a night out for a movie show and movie-dating idea. In Istanbul all non-continuous perform- ances are sold out at least a few days in advance. The maximum price is “200 krs.,” equivalent to 66 cents and the manage- ment gets 100 krs out of 170 krs ticket — that’s 70 per cent. Imagine that! One of the things about New York houses I found out is that some neighbor- hood theatres have better technique and showmanship than some Broadway first runs. Special congratulations goes to RKO’s Albee in Brooklyn. One more thing I want to mention, 20th-Fox should not let any theatre ruin its CinemaScope 55 pictures. The name of standard CinemaScope is already now becoming less meaningful due to bad techniques and too many Cinema- Scopes on the market. At least let’s not ruin the 55. — NICK A. OSGAN, Brooklyn, N. Y. • Hollywood and TV To the Editor: Business here has been dealt quite a severe setback this past year due to the advent of television. However, I’m happy to report that it seems to be wearing off slightly, but very slightly. Of course, Hollywood itself is to blame, in my opin- ion. All this talk of the marriage between Hollywood and TV seems ridiculous to me. Only when Hollywood divorces itself com- pletely from television, keeps it’s players under strict contract, stops selling it’s pic- tures, no matter how old, to TV, etc. etc., will we be freed from the nemesis of the motion picture industry, television. After all, the public can now see all, or nearly all, their favorite stars, and movies, for “free” in the comfort of their own homes. So why should they pay hard cash to see them at a movie house? Hollywood is cut- ting it’s own throat, and ours as well. It would be much better if the big brass in the advertising departments decided to make their national magazine ads smaller, and place them for a longer period, at least six months, that way the public could not forget the pictures, and would still want to see them locally. Here at the Clarendon we use every means at our disposal to try and lure them in. And in a town of less than 1,500, that’s not very much. We have no newspaper or radio station, etc., but that is no de- terrent to us. We’ve managed to land a program on one of the capital’s stations, we in turn run advertising for them on the screen. We use exploitation and bally- hoo extensively, a lot of which we get from your fine magazine. — LAURENCE G. BOURNE, The Clarendon Theatre, Claren- ville, Trinity Bay; Newfoundland, Canada. November 3, 1956 TODAY'S talent agent is running the show in Hollywood 12 FABIAN hits production policy, reaffirms faith in industry 13 JOHNSTON announces MPEA plan to sell films behind Iron Curtain 23 MPA A to invite COMPO to meeting on business aid program 23 20TH-FOX planning to release fifty films in twelve months 24 GOOD product coming, Famous Players Canadian meeting told 24 MAGNA Corporation shows good gains, stockholders hear 25 JOINT effort needed to expand world film markets, says Italian 25 EXHIBITOR in small city cites trading stamp trial 26 NATIONAL SCREEN wins in trust case on appeals decision 30 JOHN DAVIS of Rank Organization sets plan for U.S. office 34 SERVICE DEPARTMENTS Film Buyers' Rating 42 Hollywood Scene 33 Managers' Round Table 55 The Winners' Circle 38 National Spotlight 43 What the Picture Did for Me 39 IN PRODUCT DIGEST SECTION Showmen's Reviews 129 Short Subjects 131 The Release Chart 132 MOTION PICTURE HERALD, Marlin Quigley, Editor-in-Chiel and Publisher; Martin Quigley, Jr., Editor; Charles S. Aaronson, Managing Editor; Floyd E. Stone, Photo Editor; Vincent Canby, News Editor; Ray Gallagher, Advertising Manager; Gus H. Fausel, Production Manager. Bureaus: Hollywood, Samuel D. Berns, Manager; William R. Weaver, Editor, Yucca-Vine Build- ing, Telephone HOIlywood 7-2145; Washington, J. A. Otten, National Press Club; London, Hope Williams Burnup, Manager; Peter Burnup, Editor; William Pay, News Editor, 4 Bear St., Leicester Sq. Correspondents in principal capitals of the world. Member Audit Bureau of Circulation. Motion Picture Herald is published every Saturday by Quigley Publishing Company, Inc., Rockefeller Center, New York City 20. Telephone Circle 7-3100; Cable address: "Quigpubco, New York”, Martin Quigley, Presi- dent; Martin Quigley, Jr., Vice-President; Theo. J. Sullivan, Vice-President and Treasurer; Leo J. Brady, Secretary. Other Quigley Publications: Better Theatres and Better Refreshment Merchandising, each published thirteen times a year os a section of Motion Picture Herald; Motion Picture Daily, Television Today, Motion Picture Almanac, Television Almanac, Fame. 8 MOTION PICTURE HERALD, NOVEMBER 3, 1956 On the OJi onzon GOLDEN JUBILEE Hollywood studio heads and studio publicity directors have decided to implement plans for a "Golden Jubilee" for Holly- wood as part of the over-all program of the MPAA to stimu- late greater public interest in motion pictures. Meeting last week, the top film exec- utives and their publicity di- rectors reacted favorably to the proposal and publicity men were given authorization to de- velop further details for the project. Also discussed were plans for the visit to Holly- wood of a considerable number of the nation's press. Among those present were Y. Frank Freeman, Dore Schary, E. J. Mannix, Harry Cohn, B. B. Kahane, Buddy Adler, Steve Broidy, Howard McDonnell, Ray Klune, Ed Muhl, David Lipton and publicity directors of all the major studios. COMFO , ALLIED IN TALKS Preliminary discussions be- tween COMPO and Allied States Association concerning the ex- hibitor organization's reaf- filiation with COMPO have taken place during recent weeks, a COMPO representative reports. At the same time, it was re- ported that the MPAA board of directors has discussed the ap- pointment of a production-dis- tribution representative to the COMPO triumvirate. FOR DRIVE-INS Panavision, a projection de- velopment pioneered by MGM's projection department, is ex- pected to greatly benefit drive-ins because of increased light and definition, accord- ing to John R. Moore, executive vice-president of Panavision. He added: "The conversion of standard 35mm Simplex XL pro- jectors to combination 35-65 or 70 models and back, is now a matter of several minutes." According to Mr. Moore, the 65-70mm projection is now firm- ly established as the standard for the super wide-screen. 20TH-FOX, NTA SET DEALS ON FILMS, NETWORK SHARE Twentieth Century-Fox and National Television Associates Thursday jointly an- nounced an agreement by which 20th- Fox will turn over a total of 390 pre-1948 films to NTA for showings on TV. A sec- ond deal announced by Ely Landau, NTA president, gives 20th-Fox for an unan- nounced amount, a 50 percent stock interest in the film network for TV re- cently organized by NTA. The pictures will be turned over to NTA in five units of 78 each. Only the first two are set at the moment and NTA has options on the remaining packages. 20th-Fox will realize an average of $5,850,000 for each pack- age of 78 pictures. See earlier story on page 24. RESEARCH The vast research assembled for Cecil B. DeMille's produc- tion of "The Ten Commandments" has been documented and put into book form by Henry S. Noerdlinger, research consult- ant for the VistaVision-Techni- color Paramount dramatization of the life of Moses. Titled "Moses and Egypt , " the book has just been published by the Uni- versity of Southern California Press. The work represents a comprehensive assemblage of .scattered and relatively inac- cessible material. The book came about as the result of the urging to Mr. DeMille by scholars, educators and clergy that he make the material available for general refer- ence. In releasing the pain- stakingly-compiled material for publication, Mr. DeMille commented that "this research only serves to affirm rather than to contradict the Bible itself. " CENSORSHIP REQUEST In Philadelphia, the Septem- ber Grand Jury recently de- clared that "immoral films were a direct cause of juvenile delinquency" and asked for cen- sorship as it presented its month-end report to Judge Joseph L. Kun in Quarter Ses- sions Court. The jury recom- WHEN and WHERE November 13: Dinner in honor of Martin S. Smith, exhibitor leader, Deshler-Hil- ton Hotel, Columbus, Ohio. November 13-14: Annual convention of the Independent Theatre Owners of Ohio, to be held at Deshler-Hilton Hotel, Columbus. November 17: Washington Variety Club's 21st annual dinner dance and presenta- tion of the "personality of the year" award, Statler Hotel, Washington, D. C. November 19: Annual convention of the Motion Picture Theatres Association of Ontario, King Edward Hotel, Toronto. November 20: Annual convention, National Committee of Motion Picture Exhibitor Associations, King Edward Hotel, Toronto. November 21: Annual meeting of the Motion Picture Industry Council of Canada, King Edward Hotel, Toronto. November 22: Annual dinner of the Ca- nadian Motion Picture Pioneers, King Edward Hotel, Toronto. November 25-27: 44th annual convention of the Theatre Owners of North and South Carolina, Hotel Charlotte, Char- lotte, N.C. November 27-29: Allied' States Association, Fall board meeting and annual conven- tion, to be held at Statler Hotel, Dallas. November 30: Eighteenth annual dinner of the Motion Picture Pioneers honoring Robert J. O'Donnell as Pioneer of the Year, Waldorf-Astoria Hotel, New York. January 29-31: Allied States Association, national drive-in convention, Nether- lands-Plaza Hotel, Cincinnati, Ohio. February 26-27: Annual convention of the Kansas-Missouri Theatre Association, Pickwick Hotel, Kansas City, Mo. March 6-7: Second annual convention of the United Theatre Owners of Oklahoma, Blitmore Hotel, Oklahoma City. mended that City Council take measures to set up a motion pic- ture censorship board to police films that "skirt the boundary of decency. " The Jury took note that the State Supreme Court had found Pennsylvania's 41- year-old motion picture cen- sorship statute unconstitu- tional in light of the U.S. Supreme Court's earlier deci- sion. It asked that a new sta- tute be created that would be legal. MOTION PICTURE HERALD, NOVEMBER 3, 1956 9 I IT'S ELVIS, 40 feet high, for all New Yorkers to see, atop the Paramount mar- quee in Times Square. Mr. Presley arrives November 15 in Fox's “Love Me Tender." THE PLANNERS. R. L. Baker of Gastonia, Jack Fuller of Columbia, and Howard McNally of Fay- etteville met the other day at Charlotte, N. C. and started the machin- ery for the 44th annual convention of the The- atre Owners or North and South Carolina, in that city November 25- 27. HELEN AINSWORTH, who as a woman pro- ducer is a rarity in New York interviewing, explained herself the other day over coffee and cakes. She's intuitive in choosing stories and making pictures, and her point is, au- diences mostly are female. She's attempting to cut to their taste, and currently feels they'll be interested in action and even in science which as she does it is "fact, not fiction." Her partner in Romson Productions is actor Guy Madison, their first of six for Columbia was "Reprisal," their second is "The 27th Day." She pushes unobtrusively tolerance as in the first (about Indians), and world peace, as in the second (about outer space visitors). HERALD picture WALTER LANTZ, whose cartoons Uni- versal distributes, said at their New York office last week exhibitors appre- ciate the medium, but not with cash; and he sees a possibility costs plus in- sufficient income may end cartooning. Production values such as Cinema- Scope don't help: the exhibitors won't pay a nickel more. Animators are leav- ing for television, he added. At his left, Budd Rogers, his representative. See page 5 1 . F. HUGH HERBERT told newsmen Mon- day in MGM's New York home office he doesn't want tD be or be known as a producer who makes pictures without a Code seal: too much trouble, legal and financial. So he took "The Little Hut" to the Code administrators and he says they improved it. It's cleaner now— and funnier. HERALD picture HERALD picture FIRST MEETING of the season for Cin- ema Lodge, B'nai B'rith, in New York; and it was business, and pleasure: the first an argument by Oscar Goldstein of the Grand Lodge to combat distortion and propaganda which probably now will increase; the second the awarding of a Cadillac to contributor K. P. Mac- Naughton. At the right, past presidents Jack Levin, S. Arthur Glixon, and Mar- tin Levine, actress Norma Moore, Mr. Goldstein, president Robert Shapiro, comedian Alan King, and past presi- dent Irving Greenfield. ON THE SET of "A Face in the Crowd," in New York, Warners home office executives visit with the workers. In arrav, talent and story chief Harry Mayer, star Andy Griffith, executive vice-president Benjamin Kalmenson, producer-di- rector Elia Kazan, and advertising manager Gil Golden. SORT OF SIGNIFYING 30 years in Hollywood for producer-di- rector Mervin LeRoy. Some mile- stones: "Little Caesar," "Tugboat Annie," "Fugitive from Chain Gang," and "Mister Roberts " CARL PEPPERCORN, left, now is executive assist- ant to Frank Kassler, president of Continental Distributing, New York, releasors of foreign pic- tures. He comes from many years at RKO Ra- dio, where most recent- ly he was Canadian sales manager THE NOTIFICATION, right. Walt Disney is told by Screen Producers Guild president Samuel Engel, right, that on the evening of February 3 he will receive that organization's annual Milestone Award, for historic contribution to the mo- tion picture. HEKALD picture IN NEW YORK, and in our offices, Canadian visitors Lou Consky, who runs theatres in Haliburton and Toronto; and Lionel Lester, president of the MPTO of Ontario and an exhibitor and distributor of foreign fare. TOD A Y’S TALENT AGENT RUNS HOLLYWOOD SHOW The development and entrenchment of the institution of the talent agency has become a formidable influence on motion picture production. The talent agency is not new to production but what is new is that in recent years it has attained a position of virtual dominance with respect to important product. It has had sig- nificant influence in limiting product, in the fantastic increase in production costs— due both to the imposition of fabulous rates of compensation and also to extraordinary employment arrangements. The following highlight of the talent agency situation in Hollywood is pre- sented for the information of theatre men which they may ruefully ponder while they are trying to fight their way out of the problems of rental terms and short- age of product.— EDITOR'S NOTE. by WILLIAM R. WEAVER Hollywood Editor Darryl F. Zanuck October 13 last be- came the first ranking production execu- tive to say for publication some of the things nearly all of them have been known to say privately about talent agents and their current influence on production. To the Los Angeles Times’ Edwin Schallert, dean of the resident press corps, the former production head of Twentieth Century-Fox said, in connec- tion with “Island in the Sun,” first of four pictures he is to produce independ- ently for 20th-Fox release, that now he can “dedicate all his time to an indi- vidual production” and feels fine about it. Seasoned, sure-handed Mr. Schallert quoted the very active Mr. Zanuck as follows: “Six or seven years ago I was able to do this in a major studio. I didn’t have to deal with agents. We had our own contract lists, seldom got players from the outside. Later I became a negotiat- ing executive on contracts. “Deals” Lose Time “I found I was devoting 80 per cent of my time to making deals and 20 per cent in considering the making of pic- tures, and you can even divide that in half, because there were other inter- ferences. “Now I am back where I was when they started 20th in 1932 and 1933, when we didn’t worry about package deals, participation deals, and everything else that faces a man in the upper studio echelon today.” Producer Zanuck was on the point of flying to the West Indies setting of “Island in the Sun” at the time when the Schallert interview hit the street, but the circumstance by no means dis- counts the courage of his utterance. For it takes more than courage, according to people equipped by experience to know, to categorically charge “agents” with impeding, slowing down or other- wise hampering the progress of pro- duction. It takes, by Hollywood understanding, no less a thing than power, for there is always another picture to cast, director to hire, writer to contract, and these things are not easy for even the favored to do. Power of various kinds is a Zanuck attribute. The complaint finally publicized in the Schallert article is heard on every hand in this era of transition — but not for printing. Protests Not Neiv It’s been a rising tide of complaint since the curtailment of the contract lists on which the town and the art and the industry had muddled on, as the term then went, to the greatness now being so meanly sung in TV’s paid praise of its exhumed glories. Back in the great days the complaint was voiced by a few — eight or nine major produc- ing studios, maybe as many stalwart in- dependents— for even then, of course, actors had agents, as did directors, pro- ducers, writers, principal musicians, and so on. But it was a complaint by a few, a confined protest, so to speak, voiced by rich men in positions of fiscal plenty, and it didn’t get much attention, even less sympathy. It merely denoted a con- dition of trade. Today the complaint is more widely shared. The eight or nine major studios have not ceased to complain — rather •their criticisms have increased in num- ber and variety, and sharpened in tone, as the golden flow of production funds thinned to a comparative trickle and the problems of producing pictures without contract employees multiplied. And the eight or so stalwart inde- pendents of way-back-when now num- ber— as named in a somewhat astonish- ing accounting of them in this publica- tion a few weeks ago — 165 (plus new- comers since completion of the QP survey). “Agents Are Running It” A chorus of that many voices — the eight or nine majors plus the 165 inde- pendents— joined in a single complaint sung out in concert on a still night could shake down the high hills around Hol- lywood, burying complainant, defendant and all without trace. A few days before the Zanuck quote broke the Sunday silence of the town another ranking production executive — this one an independent whose cur- rent release is doing quite well in the country’s theatres — particularized the complaint in something like these phrases: “The agents are running the busi- ness. Look what happens to an inde- pendent producer when he undertakes to make a picture. First he buys a story, oerhaps for several times what it’s worth, because he thinks it has market value. He hires a writer who’s done something like it before, to get the ad- vantage of experience, and then he gets n touch with the agent of the actress he thinks is right for the lead. In a week or 10 days the agent drops in, if he hap- pens to be in the neighborhood, to pick up the script, so he can see if he thinks his client would be interested. “Two weeks go by. You don’t phone him; he said he'd phone you. Then he ( Continued on page 14) 12 MOTION PICTURE HERALD, NOVEMBER 3, 1956 Fabian Hits Production Policy and Reaffirms His Faith in Industry . . . Jacksonville convention of Motion Picture Exhibitors of Florida sets new record— more than 400 in attendance JACKSONVILLE, FLA.: A call for more product, for the support of COMPO and for a more realistic attitude on the part of exhibitors — including the acknowledge- ment that some theatres will have to close and that the film industry was built on showmanship, was sounded here this week by S. H. Fabian, president of Stanley Warner Corporation, in his keynote ad- dress at the annual convention of the Motion Picture Exhibitors of Florida. The three-day convention, at the Roose- velt Hotel, drew more than 400 theatre men, their wives, distributors and theatre supply house representatives — the largest industry gathering in Florida history. The eighth annual MPEOF meeting also, for the first time, had the atmosphere of a national gathering with many top Thea- tre Owners of America officials present. Besides Mr. Fabian and Ernest Stellings, TOA president, guests included Herman Levy, TOA general counsel; George Kera- sotes, Springfield, 111.; A1 Pickus, Strat- ford, Conn.; Joe Alterman, assistant TOA secretary, and from Paramount Pictures’ Atlanta office, Leonard Allen. After registration Sunday, the conven- tion got officially under way Monday morning under the chairmanship of Elmer Hecht, MPEOF president. Jacksonville’s Mayor Haydon Burns made the welcom- ing address, followed by the keynote speech. Hits Studio Policy “This industry needs producers who are concerned about keeping film on theatre screens — who believe that a vigorous ex- hibition business requires a constant and adequate source of features,” said Mr. Fa- bian. Reaffirming his company’s faith in the motion picture industry and its future — “that nothing in the field of entertain- ment has been invented, designed or cre- ated, that is equal or superior to a motion picture on a motion picture theatre screen” — Mr. Fabian said the public still wants theatre entertainment despite television with “spectaculars, TV first runs, star- studded playlets and shelved film classics.” It has been proved, he said, that given adequate product, “we can retain our posi- tion as the most important factor in the relaxation and entertainment of the American public.” But the studios, indif- ferent to the needs of their customers, continue to pursue policies of restricted LAW OF AVERAGES APPLIES: FABIAN JACKSONVILLE , FLA.: Keynoting the convention here this week of the Mo- tion Picture Exhibitors of Florida, S. H. Fabian, president of the Stanley Warner Corporation, summed up one aspect of the current scene as follows: "Above everything else, we need more product, more good product. How do you get enough good pictures? By deciding to make only big pictures? In the entire history of our business such a scheme has never worked and never will work. There is a law— the law of averages— by which this indus- try has grown and prospered, not only in the United States, but in the entire world. By the law of averages, more pictures mean more better pictures." production, he said. “Among other rea- sons, theirs is the fallacious belief that if they make fewer pictures, they can make better pictures. We don’t know how to change their thinking, even though we have tried. We are sure, however, that time and experience will do that. But we do know emphatically that this policy of releasing a limited amount of pictures is detrimental to our welfare.” Mr. Fabian repeated Stanley Warner’s previously announced policy “to invest sufficient money, time and energy to make a number of top quality pictures.” He advised exhibitors also to take a “fresh look at doubtful pictures” as there may be some slant in building business that might have been overlooked. Urges One Unit The Stanley Warner chief also said, “in my opinion, you should face the grim fact that the present number of theatres cannot endure against the competition within and without the industry. “Marginal houses shabby and antiquat- ed without modern equipment in over- seated situations and changed neighbor- hoods— these will be the casualties of the next few years. “Many towns and areas are over-seated. Four-wall theatres are fighting a tough struggle against drive-ins. There are not enough pictures currently to go around or enough customers to fill the theatres and drive-ins now in existence. Undoubtedly the future of our industry will adjust it- self to the fact that drive-ins are an im- portant factor in the business.” Mr. Fabian spoke of the common prob- lems that affect all exhibitors and added, “I would be out of character if I didn’t, at this point, stress the basic importance of one big, strong exhibitor organization which included all factions and opinions. All of you must be able to see more clear- ly than ever, that the things all exhibitors believe in and will fight for, are more im- portant than the policies upon which they disagree.” Tribute to COMPO The Stanley Warner president paid tribute to COMPO by saying that “to my knowledge, no industry ‘institute’ has giv- en better service to its membership than COMPO has given to the motion picture industry.” In addition, he called attention to the COMPO Press Committee report on a national promotion and public relations plan, presented at the request of TOA at its annual convention in New York, and urged exhibitors to cooperate with COMPO in getting the national projects underway. Mr. Stellings addressed the Monday luncheon at which the Coca Cola Com- pany of Atlanta was host. Mr. Stellings reported that TOA officials have recently contacted distribution and production groups to better relationships within the industry. Encouraging talks, he said, have been held with members of the Mo- tion Picture Association of America. Louis J. Finske, Florida State Thea- tres president, who presided over an advertising and public relations workshop Monday afternon, told his listeners to read their pressbooks and follow through with inexpensive exploitation work as suggest- ed. Judson Moses, MGM exploiteer, urged the theatre men to “make sure that your theatre is a part of your town and not just located in the town.” Attacks Bidding One of the principal speakers Tuesday was Herman Levy, who devoted most of his remarks to the evils of competitive bidding. “Distributors,” said Mr. Levy, “should reevaluate all competitive bidding situations in order to determine whether, with their help and with the cooperation of exhibitors, much of that bidding cannot be eliminated — either on the basis of court rulings that have removed former fears, or through the use of industry pat- terns that have evolved.” He said further that “competitive bid- ding is an uneconomic method of doing business. It adds nothing to a picture, nor to the interest of the public in that picture. Yet it takes a great toll in time, ( Continued on page 14, col. 3) MOTION PICTURE HERALD, NOVEMBER 3, 1956 13 TALENT AGENT ( Continued from page 12) drops in again, and says he knows she wouldn’t touch it, in its present form, but he’s got a writer who can fix it up, and who just happens to be free at the moment. You thank him and turn the script over to his writer client. "Two more weeks go by— usually six or eight, before he’s finally through fix- ing it up — and the agent says he’ll sho^y it to the actress you want. Maybe she’s in Europe, which takes months, but if she’s in town, or accessible without too much effort, he comes back in a few weeks to tell you she might be willing to play the role if proper production procedures are to be observed; mean- ing, in the simpler words, if the budget is big enough and she can have com- plete approval. "Now the agent gets down to cases. He asks you whom you’ve got lined up to direct the picture, and when you tell him he reacts like you’d struck him a blow. You were supposed to know his client will not work for any director but the four who have served her best in the past. He names the four and you get one of them or you don’t get the star. “You are a little less unprepared to learn, next, that the male lead you’ve had in mind can’t act his way out of a paper bag, and that the lady you want for the feminine lead will consent to appear opposite any one of the next four names her agent is ready to name for you, which he then names, giving you your choice. Goes On and On “That’s how it goes,” the producer abbreviates, and it goes on and on and on. If you get your picture into pro- duction within a year from the time you set out to make it you’re one of the lucky ones. If you’re within 200 per cent of the budget you had in mind when you started you’re a financial genius. If you come in with a hit pic- ture, of course, you forgive everybody and make the agent (plural, that is, if we permitted you to use some of some other agent’s or agents’ clients, too) a present of a Cadillac or negotiable fac- simile.” "And if you don’t come up with a hit?” is a question. “You go back and start over again to find out what you did wrong.” This particular independent producer appears, by present tally of theatres playing it, to have come up with a hit. He is taking his time about selecting a next property for production. He’s not waiting just for a change in the buyer- seller relationship in his profession, which he expects to get harder rather than easier to cope with, but for a right story to come to hand. He says the trend of the film-produc- ing art or science or profession is to- ward a strengthening of talent-agent control, especially in the new and wid- ening field of television, where the theatrical-film producer without a hit on his hands frequently must turn to earn eating money and where the slender safeguards still existing in the senior medium have never been in- stalled and probably never will be. Note Control TV He says TV already has passed into unopposed control of the big talent agencies, and this circumstance fortifies, by a sort of reverse action, their dom- ination of the theatrical-film field. Other producers have things to say, privately, about talent-agent control. It is the hottest topic in town. It is daily on the tongue of everybody who makes a picture, acts in a picture, di- rects a picture, everybody who has anything to do with or in or about a picture. Of recent times, since the break- up of the major studio talent pools, and since the sizes and shapes of screens have ceased to out-draw the human tal- ent that agents control, the tenor of the talk about the matter has been mixed. From the employer side, as indicated above, the talk about the talent-agent has been sharply critical. From the employee side, the talk about the talent agent has virtually untinged praise. For employees, including the top- most of the top-salaried, have never been paid so much for their services. They credit the talent agent for arrang- ing it so. If a given employee happens to be out of work at a given moment he accepts the easy explanation that he wouldn’t be if the producers hadn’t cut down on the number of pictures being made. If he’s working, which he always is if he’s not above pulling an oar in the TV galleys for a spell, he’s got no complaint. Claims Necessity From the third side, where the tal- ent agent sits, there is plain talk about talent agents, too, but it is quiet, un- excited talk. He says he is a necessary member of a business always unstabi- lized in its money department — fat and freehanded when the money’s rolling in, scared and pe»ny-pinching when it stops — and ever dependent on its law- yers, accountants and bankers to keep it from flying apart in all directions when an adverse wind blows. FABIAN SAYS ( Continued from page 13) in energy, and in effort, from everyone connected with it. That time, energy, and effort could be used to great advantage in distributor-exhibitor moves to get more people into theatres. Increasing the box office should have the full time attention of all segments of the industry immedi- ately. Much less time must be given to negotiating for product. The burden is too heavy and debilitating.” Sam Pinanski, president of American Theatres of Boston and a leader of COMPO, delivered the main luncheon ad- dress Tuesday. American exhibitors face two basic problems — the need for more product and the need “to survey the needs and wishes of the American public who, in this day of automobiles, tends in- creasingly to suburban shopping. At Tuesday’s final session, B. B. Garner, president of Talgar Theatres and a vet- eran of nearly 40 years in show business, was elected president of the Florida or- ganization to succeed Mr. Hecht. New vice-presidents include James L. Cart- wright, Sheldon Mandell and Arthur Haynes. George Jessel served as toast- master for the closing banquet Tuesday night. He is wont to ask gently how an actor, for instance, could walk up to a studio head and ask him flat out to pay him $2,000,000 for appearing in three pic- tures, without laughing out loud to the producer and being laughed at in re- turn, or how a crooner could unblush- ingly demand $200,000 plus five per cent of the gross for appearing with another crooner and some other actors in a picture and get it. He is more likely to ask, brushing aside the extreme cases, just how Hol- lywood would manage to conduct its intricate business without him, and the folks on the other sides have no ready answers. There is another party who is very concerned with the subject of talent agents. He has had a unique experience with talent agents. He is the head of a big studio that used to be a small stu- dio. He took charge of it when it was little, worked hard, made it thrive, in its league, and decided to spend more money on its pictures, widen its field of distribution. So he set out, money in hand, to hire top performers, and their agents told him no. His money was okay, they said, and he was a nice fellow, but his studio had a name associated with cheap pic- tures and the top performers he wanted to hire wouldn’t work in pictures bear- ing his studio’s name. So he changed it. What he has to say about talent agents is strong and colorful. But, unfortunate- ly, it is unprintable. 14 MOTION PICTURE HERALD, NOVEMBER 3, 1956 Charlton Heston as Moses Cecil Bbej\Ulles PRODUCTION Che Ceil Ommandmerits to the public eginning immediately its worldwide exhibition at two-a-day engagements. MOSES— soldier, leader, law-giver .. . ENTS IN NOVEMBER New York City-Criterion Los Angeles-Stanley-Warner Beve r I y Hills Boston-Astor Washington — Keith’s Philadelphia— Randolph Toronto-University Chicago— Me Vickers Detroit— Madison Cleveland-Ohio IN DECEMBER Miami-Olympia Miami Beach— Beach Montreal — Capitol Cincinnati— Grand Baltimore— New Buffalo— Century r;~er Yu! Brynner as Pharaoh Rameses II Charlton Heston as Moses Cecil B.bt’MIe’s PRODUCTION Che CenOmmandments is presented to the public L/eginning immediately exhibition at two-a-day its worldwide engagements. MOSES -soldier, leader, law-giver... HTie foundation of freedom's triumph over the forces of darkness is found in the words that came flaming from Mount Sinai — the Ten Commandments. It has required more than two years of production to re-enact on film the events that brought about the giving of the tablets bearing the Ten Com- mandments. These events are both timely -and timeless. They are timeless as God's word to Moses heard as the last speech in our film and found on America's famed Liberty Bell "Proclaim liberty throughout all the land, unto all the inhabitants thereof." They are so timely that I regard "THE TEN COMMANDMENTS" as the most modern motion picture I have ever made. Anne Baxter as Princess Nefretirl Edward G. Robinson as Dathan Yvonne DeCar/o as Sephora, daughter of Jethro Debra Paget as Lilia, the house slave Filming of Cecil B. De Mille's production of "THE TEN COMMANDMENTS." Scene shows the re-enactment of the Exodus before the gates of Per-Rameses. Judith Anderson as Memnet Sir Cedric Hardwicke as the Pharaoh Sethi Martha Scott as the Mother of Moses Vincent Price as Baka, the Masterbui/der Cecil B. be AUltes PRODUCTION Che Cen Owimandments starring Charlton Heston Yul Brynner Anne Baxter Edward G. Robinson Yvonne de Carlo Debra Paget John Derek Sir Cedric Hardwicke Nina Foch Martha Scott Judith Anderson Vincent Price Directed by Cecil B. DeMille TECHNICOLOR* Written for the screen by Aeneas Mackenzie • Jesse L. Lasky, Jr. Jack Gariss • Fredric M. Frank Based upon the HOLY SCRIPTURES and other ancient and modern writings PRODUCED BY MOTION PICTURE ASSOCIATES, Inc. mm MPEA to Sell Films Behind MPAA Will Invite COMPO to Meeting for Implementation of Business-Building Plan Iron Curtain The board of directors of the Motion Picture Export Association this week unanimously approved a recommendation presented by Eric Johnston to sell films produced by MPEA member companies to five countries behind the Iron Curtain and also authorized the European representa- tive to carry on negotiations with three satellite nations with which tentative film agreements have been worked out. Outlines MPEA Plans Mr. Johnston, speaking in a press con- ference immediately following the MPEA board meeting, announced: That MPEA member companies will of- fer their product to East Germany, Po- land, Czechoslovakia, Hungary, and Rou- mania, not sold since 1948; That Marc Spiegel, MPEA representa- tive in Paris, would carry on the negotia- tions that have already been started in Poland, Czechoslovakia and Hungary; That United Artists will sell its prod- uct on its own but “in cooperation and coordination with the MPEA”; That the industry should receive in the first year approximately $500,000 from Poland, Czechoslovakia and Hungary in film revenue; That a list of several hundred U.S. films would be presented to the Iron Curtain countries shortly and that each picture would have a price and if bought, to be paid in dollars. The films would be sold under license deals for three year periods. The MPEA president, who returned from his trip to European Iron Curtain nations last weekend, said he went over primarily to explore the possibility of sales, terms and conditions. “The board approved of my recommen- dations to sell our product to them,” Mr. Johnston stated. He added that he is of the opinion that during the first year, the Iron Curtain markets could take any- where from 10 to 40 films annually. Con- tinuing on, he said that Poland indicated that it would like 30 American films, Czechoslovakia, from 15 to 20, and Hun- gary, from 10 to 12, in the first year as they have commitments to acquire prod- duct from other nations also. Will Realize $500,000 Mr. Johnston said that in his opinion, the American industry would receive about $500,000 from the sales to these three nations, but “as these countries have more dollars available, they would pur- chase more of our product and increase our revenue.” The MPEA head said Representatives of the Council of Mo- tion Picture Organizations and national and regional exhibitor groups will be in- vited by the MPAA to attend an industry meeting shortly at which they will be ap- prised of the MPAA’s six-point program to aid the box office. The industry meet- ing would be set up by the MPAA busi- ness-builders coordination committee, headed by Spyros P. Skouras, president of 20th Century-Fox. The business builders group was to meet in New York last Thursday to hear a report from Roger H. Lewis, chairman of the Advertising and Publicity Directors Committee, on reaction to the six-point program by the Association of Motion Picture Producers, the Academy of Mo- tion Picture Arts and Sciences, guilds and other interested parties in Hollywood who were informed of the MPAA pro- gram this week. The MPAA six-point pro- gram includes a “Hollywood Press Con- ference,” an industry market survey, and “Oscar Derby” contest, executive field trips, revised advertising billings, and an institutional advertising campaign. Kenneth Clark, MPAA vice-president, that under the license sales, the MPEA would oversee the dubbing and sub-titling of each film so that there would be no changes in context or dialogue meaning. He said that the MPEA would provide them with a negative print of each film which they would 'make prints of or which they desire the MPEA to make prints of for them and which the MPEA would charge them for. Compile Product Lists “The member companies are currently compiling a list of product which they wish to sell to the Iron Curtain countries,” he sai'd, adding that this list would have a synopsis of each picture attached to it. Mr. Johnston also stated that he doesn’t think any of the films sold “would give an erroneous impression of the U.S.” Commenting on his talks with officials of the Soviet Union regarding film sales, Mr. Johnston said that no tentative agree- ment was reached with them for Russia desired the MPEA to “give them a guar- antee for wide distribution in the U.S. for their product. They sent in last year to the U.S. 37 films which had small dis- tribution. Russia wants a wide distribu- tion for their product in America; I feel that they seek at least 8,000 playdates for their films, and the MPEA can not guar- antee this.” Mr. Johnston said that the Russians, however, indicated to him that they said this week: “The business-building program of the MPAA member compa- nies is designed to build business for everyone in the business — exhibitors, dis- tributors, producers — everybody.” He added: “Our companies are now in the process of discussing and refining a pro- gram. At the earliest feasible moment, we will, of course, consult with our exhibitor friends and we hope we can all go for- ward as a team. We recognize that no program of this kind can succeed unless there is teamwork, cooperation, and the unified support of all groups in the in- dustry.” Last week Mr. Clark announced the ap- pointment of Arthur H. DeBra of the MPAA staff as chairman of the National Promotion Committee, which will work with all of the member companies on na- tional tie-ins and as a central source for all new promotional programs. The com- mittee also will serve as a clearing house for suggestions, promotional ideas and business-building plans which may be re- ceived from any group within the indus- try. The committee stresses that ideas from all exhibitors are most welcome. would approach the MPEA again within a few months about acquiring American product. The MPEA president said that he has been asked by other nations, outside the Iron Curtain, about an exchange of prod- uct in deals similar to the one investigated by the Soviet Union. “The MPEA policy doesn’t allow us to give guarantees on U.S. distribution of foreign product. It wouldn’t be in good faith if we did for the American industry can’t give dis- tribution guarantees,” the MPEA presi- dent declared. Commenting on other MPEA activities, Mr. Johnston said that despite the em- bargo on American product in Denmark and Spain, “there is still much interest in these markets for U.S. films. We are not losing out to other nations there,” he said, “we are just losing some revenue temporarily.” Name Alberta Censor TORONTO: John W. Nicholson, 33, of Ed- monton, is the third member of the Al- berta Board of Censors, whose chairman is Col. P. J. A. Fleming. The other mem- ber is Miss Mary Nicolson. Mr. Nichol- son, a former member of the RCMP, with which he served three years, was with the Wartimes Prices and Trade Board and the Provincial Department of Public Works. MOTION PICTURE HERALD, NOVEMBER 3, 1956 23 20th -Fox Planning 50 Films in 12 Months . . . Release schedule set by Spyros Skouras and Buddy Adler will in- clude up to 30 big budget produc- tions in one year HOLLYWOOD: An ambitious operating schedule, calling for the release of over 50 films during the April 1957-April 1958 period, is in the offing at 20th Century- Fox, according to plans charted by Spyros P. Skouras, president, and Buddy Adler, production chief, who are looking to the future “with unbounded optimism.” According to the program reported this week, there will be 26 to 30 big-budget features to be turned out by staff and in- dependent 20th-Fox production teams, in- cluding Darryl F. Zanuck, David O. Selz- nick and Jerry Wald. Twenty-four addi- tional films will be made through a new producing unit organized by Robert Lip- pert and including Westerns, science-fic- tions, and a variety of action stories. There will also be much activity at 20th-Fox’ television branch, TCF-TV productions, under the supervision of Irving Asher, with seven new filmed series getting un- derway during the year. More Picture-Minded Mr. Skouras feels that the public is more motion picture-minded at present than at any time since TV made its in- fluence heavily felt — the goal is not a question of getting people interested in filmed entertainment but of luring them out of the house and into the theatres. He feels 20th-Fox can offer a variety of fare and that casting problems can be hurdled. Admitting that stars are difficult to ob- tain, the Fox team feels that many stars are more amenable to deals today than they were this time a year ago, as several have found organization of independent productions an onerous effort and other stars have been disenchanted with looked- for high grosses which failed to material- ize. Accordingly, stars are showing an increased interest in working for guaran- teed salary plus a portion of the profits after the studio redeems its investment. Reportedly the plans at 20th-Fox do not affect previous reports concerning the pos- sible merger of production facilities be- tween the studio and Warner Brothers, with the two companies sharing a com- mon production plant. The latter move has been considered in the interests of economy. 20th-Fox announced that it also expects to complete arrangements with National Telefilm Associates to put its pre-1948 out- put into the home entertainment market. The deal being discussed would lease films on a percentage basis. This would follow a cash payment of more than $2,000,000 and a substantial ownership, reportedly 50 per cent, in NTA. Mr. Skouras said he does not think that running “old style” films on televi- sion will hurt the earning potential of new releases, adding that CinemaScope has brought about a new look in film styles that cannot be matched by TV. In addition, he said, theatre operators must bear part of the responsibility in at- tracting audiences. To this end, men such as Elmer C. Rhoden, president of National Theatres, and Leonard Goldenson, presi- dent of AB-Paramount Theatres, two of the nation’s largest circuits, have indicat- ed that they plan refurbishings and new houses that will make going to motion pictures an ever-more-attractive diver- sion. Norman Silverman Heads Philadelphia MPA PHILADELPHIA: Norman Silverman, branch manager for Republic Pictures, was elected president of the Motion Pic- ture Associates of Philadelphia at a meet- ing last week. Named vice-president was Joseph Engel, 20th Century-Fox salesman. Treasurer is Edward Adelman of New Jersey Film Messenger Service. Secretary is David Law of Warners. Elected to the board of directors were George Beattie, Alfred J. Davis, William Doyle, Jay Eman- uel, Eli Epstein, Maxwell Gillis, Jack Greenberg, David Supowitz, Lester Wur- tele, Milton Young. Also on the board are past president Charles Zagrams, branch manager of RKO Radio Pictures, and Sam Diamond, branch manager of 20th Century- Fox. Italian Film Agency Plans U.S. Branch ROME: Unitalia, Government agency for the promotion of Italian films abroad, will open its own branch in the United States, it announces. President is Eitel Monaco, who is also head of the Italian Film In- dustry Association. Unitalia now has branches in Paris, London and Madrid, and correspondents in 12 other countries, including South America, Germany and Japan. It is also the agency which or- ganizes the “Italian Film Weeks” abroad, one of which is now being held in Russia. Similar ones are scheduled to be spon- sored in Greece, Hungary, Hong Kong, Singapore, Karachia and New Delhi. F. P. Canadian Meet Told Big Films Coming TORONTO: Those who are pessimistic about the future of product in the indus- try were assailed by Ben Geldsaler, chief booker and buyer for Famous Players Canadian Corp., at the company’s annual meeting in Niagara Falls last week. Surveying the present product picture, Mr. Geldsaler said: “Too much has been said about the decline of public interest in our business, and not enough has been said about the great attractions which are being shown in the motion picture the- atres today.” Mr. Geldsaler makes his pertinent com- ment in the introduction to a special booklet, “Gold for the Box Office,” pre- pared for distribution from Mr. Geld- saler’s survey. Listed are eight films from Paramount, nine from 20th Century-Fox, nine from Warners, 11 from MGM, six from Columbia, seven from United Art- ists, four from Empire-Universal, four from IFD, and two from Allied Artists, for a total of 64. Another upbeat note was sounded by Rube W. Bolstad, vice-president of the company, when he said, “This a great business.” He prefaced his remark with, “For those who have faith in it; for those who work at it; for those who inteligently manage it.” He spoke at the closing dinner of the conference, presided over by Morris Stein, eastern division general manager. Among those who were guests at the dinner were C. B. DeMille and Charles Boasberg, as well as the distribution company exec- utives. Following the Niagara Falls meetings, a quintet of the company’s executives went on the western trail to hold the com- pany’s western regional meeting in Ed- monton. In the troupe were John J. Fitz- gibbons, president; Mr. Bolstad, Bob Eves, western division general manager; Mr. Geldsaler and James R. Nairn, head of public relations. New Australia Drive-in SYDNEY, AUSTRALIA: Loew’s Interna- tional has opened a new 1,400-car drive-in in Chullora, a suburb of Sydney, called the Metro Twin Drive-in. This is Loew’s first Australian drive-in and the first twin drive-in to be constructed in the country. To Open Holland Office AMSTERDAM: Cross & Co., agents and film importers, have opened new offices here as of November 1. The firm serves as agent for several groups in Scandinavia, France, England, Germany and Italy. 24 MOTION PICTURE HERALD, NOVEMBER 3, 1956 Joint Effort Needed to Expand Film Markets Around the World, Lombardo Declares Here HERALD picture WHY HE'S HERE. Goffredo Lombardo, head of Titanus, talks to news reporters Tuesday morning at the Plaza, New York. With him, Titanus Films public relations director Bob Howard, and, right, general manager Franco De Simone. Magna Shows Good Gains , Holders Told Magna Theatre Corporation announces that its operations are currently proceed- ing so satisfactorily that the company will retire $2,000,000 of its $6,000,000 de- benture indebtedness by March, 1957, and anticipates retiring the remaining $4,000,- 000 before the next annual meeting in October, 1957, more than two years in advance of the due date which had originally been set. Independents Negotiate The announcement was made by George P. Skouras, president of Magna, at the annual stockholders’ meeting in New York last week. Mr. Skouras also announced that Magna is currently negotiating with independent producers seeking to make films in the Todd-AO process. Along with Magna’s vice-president and treasurer, A. E. Bollengier, Mr. Skouras added that company revenue during the eight-month period ended September 30, 1956, totaled $3,645,000, while expenses added up to $1,408,000 for the period, enabling the dis- tribution organization to have an excess of $2,237,000. It was reported to the stockholders that Magna expects to finalize an agreement with one producer to use Todd-AO mo- mentarily and that Magna would both invest and distribute the film “if the deal goes through.” Magna is also involved with Rodgers & Hammerstein Productions in making “South Pacific” in Todd-AO and CinemaScope, along with 20th Cen- tury-Fox, which is also investing in this film, Mr. Skouras told the stockholders meeting. “South Pacific” is scheduled to go into production next year according to present plans. Cites Installations Mr. Skouras told the stockholders that at present there are 30 theatres equipped for Todd-AO in the U.S. and Canada and that American Broadcasting-Paramount Theatres will install Todd-AO equipment in five more theatres shortly for the en- gagements of “Around the World in 80 Days.” He added that there should be about 50 installations by the time “South Pacific” is released. He also briefed stock- holders on the agreement with 20th-Fox and RKO concerning domestic and for- eign distribution of the CinemaScope ver- sion of “Oklahoma!” He added that the domestic deal with 20th-Fox, in which Magna will receive $2,500,000 by next March, will enable the company to pay off its debentures and bonds at that time. Mr. Skouras also explained the Magna tie- up with Todd-AO Corp. and the com- Internationalization of film industries to expand the potential markets for each country is the logical hope for the re- vitalizing of lagging production around the world, according to Dr. Gofredo Lom- bardo, president and owner of Titanus Films of Rome. Dr. Lombardo is in this country to ne- gotiate with several major studios for joint productions. Increased co-produc- tion among various nations, in his view, is the first step toward internationalizing the film making industry. In New York this week, he reported that discussions over six such projects had reached the “definite” plans stage with “more than one” American company. “We have decided to invest $5,000,000 to $6,000,000 in American coproductions this year,” he announced. “This includes one picture to be made here in this coun- try.” Titanus, the largest motion picture studio in Continental Europe, is also a major distributor of American product in that area. Dr. Lombardo explained that the increased cost of making a picture in the U. S. would be offset by the acquisi- tion and distribution of the film in Europe through its own organization. Dr. Lombardo, 36, assumed the presi- dency of Titanus in 1951, succeeding his father, Gustavo. One of his principal pany’s nickel royalty provision on every admission ticket sold. He said this con- tract provision “would be one revenue source which would bolster our business in the next year.” The Magna stockholders approved a management proposal for a five-year con- tract for Mr. Skouras, effective Septem- ber 17, 1956. By a vote of 2,012,485 to 8,- 526, stockholders approved the $500 per week contract, which also provides for achievements in the Italian picture indus- try lies in the fact that he was the first to sign actors, writers and directors to ex- clusive term contracts. This was a unique move in Italy, resulting in greater con- tinuity and uniformity of production and insuring greater stability in the operations of the company. The assets of Titanus, which was founded in 1928 by Dr. Lombardo’s father, include two large production studios, two dubbing studios, two cutting and editing laboratories and a graphic arts plant. In addition, Titanus has 11 foreign exchanges and a chain of theatres in Italy. Current- ly, the company is producing three spe- cific types of motion pictures, he said. He classed them “Italian,” “European” and “American” films. Each type was made for a specific market, he explained, but was also offered to the others. “Thus making it possible to amortize the prod- uct in many markets.” A European union of film producers is needed to bolster the industry by elimi- nating current tariff and customs barriers and permitting production units to cross freely from one country to another. Films made under such an arrangement would, in effect, be the property of all the coun- tries. This would give each film a poten- tial audience of 280,000,000, he said. Mr. Skouras to have a stock option up to 50,000 shares at $2.34 per share. Elected as directors of Magna Theatre Corp. were Mr. Bollengier, Oscar Hammerstein II, Herbert P. Jacoby, James M. Landis, Charles B. McCabe, Richard Rodgers, Ed- ward H. Rowley, Joseph A. Seider, Mr. Skouras, Raymond V. Wemple, James F. Burns, Jr., and Frederick M. Warburg, the latter two representing debenture holders. MOTION PICTURE HERALD, NOVEMBER 3, 1956 25 CITES AN EXPERIENCE WITH TRADING STAMPS Walter Brooks, director of the Managers Round Table in The HER- ALD for October 20 discussed and analyzed the situation with respect to the use of trading stamps in the film theatre, as is done in other lines of re- tail business. The article resulted in considerable interest and reaction, among them the observations below. The writer, F. P. Gloriod, of Rodgers Theatres, Rodgers Theatre Building, Poplar Bluff, Mo., refers to the close of Mr. Brooks’ article, in which the latter said: “Trading stamps can be both a discount to the customer for the payment of cash and a sharp pro- motion tool for the building of new business. But look out for the pit- falls.” Mr. Gloriod’s observations fol- low: by F. P. GLORIOD I read the article in the October 20 is- sue of Motion Picture Herald concerning trading stamps and I think the summa- tion in the last line (see above) is per- haps the key to this entire situation. The Rodgers Theatres, Inc., operates two indoor theatres and a drive-in in the city of Poplar Bluff. Our company has al- ways been alert to business building ideas and so trading stamps are not new to us. I would like to emphasize that while I cannot speak for all types of stamps, I think our experience will prove beneficial to people contemplating the use of these business builders. From Big Company I am of the firm opinion that while the stamps that I will describe are not named by me, I will say they are from one of the bigger companies. In all fairness to everyone concerned, since this letter is critical, I don’t think I should specify any one stamp. Here is the story as best I can put it together: In 1954 I was called upon by a representative of a reputable stamp com- pany. Our town had just seen a very good and extensive advertising campaign with the opening of a new super market and everyone was stamp-conscious. I was approached to act as a redeeming station. I did not distribute the stamps, but any- one bringing a card filled with stamps would be entitled to admission to the drive-in theatre. The stamp company was to redeem these cards at our full price of 50 cents. I was told in no uncer- tain terms that the stamps would probably mean five to 10 additional admissions per night since the super market and other branches of retailers were really going to push this stamp. I did not have any method of putting these stamps into cash so I asked for a de- posit which I would use to put the money into my daily receipts and when I would check the balance with the stamp sales- man I would either have the cash or a card filled with stamps. The amount of this deposit was $50. I was assured that since there were going to be some 15 mer- chants using these stamps that it would be a good thing but they must have the agreement with the theatre so that they could better sell the merchant on the idea of using stamps. Used Good Trailer To say this idea was a dismal failure is putting it mildly, because I had agreed to run a trailer at the drive-in theatre for two weeks every night and then one night per week (Saturday) thereafter. This trailer was well made by the Filmack Trailer Company, but when I started showing it I discovered that the other merchants participating consisted of five filling stations, two small neighborhood groceries, a hardware and sporting goods store, and even merchants outside of my town. The entire volume of business done by these people would hardly have justi- fied the running of the trailer, but I dis covered I was duty bound to at least go through the 1955 drive-in season. I must say that these merchants, to the best of their ability, tried to push the stamps. They advertised the beautiful prizes and the fact that you could receive money or admissions to the drive-in. For the entire 1955 drive-in season we re- deemed 31 cards. The small merchant was unable to compete because he had to add at least two per cent to his prices. Since I was the only redeeming station other than the merchants, we did a little check- ing among ourselves and found that the redemption did not reach the 15 per cent mark. Had Several Kinds I have no doubts that with some stamps this figure would be higher because a na- tional chain store has not put a redemp- tion store in our city but stamps are a fad and our town had seven kinds of stamps at one time and these different stamps merely led to confusion. I would not at- tempt any trading stamps unless I could make an agreement with every stamp company doing business in my town be- cause it does leave very bad relations between you and the patrons if they bring a card or a book to the theatre for admis- sion and they are not the right kind of stamp. I note in your article that you talk of the Fresno experience. Also Mr. Walter Morris cites Prudential and Gold Arrow stamps. I am sorry that I do not know more about this particular stamp, but this is exactly the plan used by our company with the. exception that we did not agree to give any change. Suggests Checking Since this trading stamp is of such vital importance I would suggest that those who decide they want to try the stamp idea, thoroughly investigate the follow- ing conditions before signing any contract or agreement: 1. The type of merchant distributing stamps. 2. Amount of newspaper and radio ad- vertising which is to be used in promoting stamps. 3. Minimum guarantee of screen adver- tising fee. (A solution of this is crediting the company with advertising according to number of admissions paid for). 4. The privilege of redeeming more than one kind of stamps. (Suggest re- deeming every kind of stamp used in your town) . 5. Limit the term of your contract to not more than three months in order that you can look at the results. I would be happy to answer any inquiry of any showman where my experience with this stamp redemption policy could be of service to them. Texas Drive-In Owners To Meet Distributors AUSTIN, TEXAS: Problems confronting drive-in theatres will be discussed in con- ferences between a delegation from the Texas Drive-In Theatre Owners Associa- tion and motion picture distributor repre- sentatives in New York in the near future, it was announced by Eddie Joseph, associ- ation president. Mr. Joseph said the Texas delegation would include six associ- ation members representing more than 150 drive-in theatres. “The Texas drive-in theatre owners have serious problems which we feel can not be solved until we sit down at the conference table with the motion picture distributors,” Mr. Jo- seph said. “We hope for solid accomplish- ment at the New York meetings.” Abe Ludacer Heads Toledo Theatre Group TOLEDO: The Toledo Theatres Associa- tion at their recent meeting elected the following officers for the coming year: president, Abe Ludacer, manager of the Loew’s Valentine and Esquire theatres; vice-president, H. E. McManus, manager of the Telegraph, Parkside and Star-Lite drive-ins; secretary-treasurer, Martin G. Smith, Smith and Beidler Theatres. In- cluded on the new board of directors are: Marvin S. Harris, A1 Dennis, Milton Lewis, Urban Anderson, Mrs. Virginia O’Connell and Edward J. Bialorucki. 26 MOTION PICTURE HERALD, NOVEMBER 3, 1956 * PeRstt asiojv ^AYs ; Appeals Court Finds For National Screen Set Fund to Aid Italian Producers . . . U. S. Circuit Court of Appeal reverses summary judgment of lower court in anti-trust case brought by 7 poster renters PHILADELPHIA: The United States Court of Appeals here last week reversed the decision of lower courts against National Screen Service over an anti-trust suit brought by seven poster-renters, issuing a unanimous opinion in favor of the com- pany. The lower courts had granted summary judgment against National Screen with respect to its exclusive contracts with dis- tributors for standard accessories. The appellate court ruled that the contracts were not illegal and that the company’s business growth to national predominance “was not illegal in itself.” Not a Monopoly The seven poster-renter plaintiffs were Charles Lawlor of Philadelphia; Morris J. Lipp of Chicago, Benjamin Siegel of Wash- ington; Jay Schrader of Charlotte; Dave Mitchell of Dallas; Jacob Riff of Boston, and Harry Vogelstein of Washington. The upper court said in its opinion: “Exclusive claims are not per se violations of the anti-trust laws and we are not permitted in circumstances where the facts disclose a course of conduct and reasonableness of ation not prohibited by the anti-trust laws.” The court held that even a dominant position by the company does not make it a monopoly if it reached that position by natural economic growth. In analyzing the growth of National Screen, the superior court referred to affidavits of motion pic- ture distributor executives. The business men stated to the court that, prior to Na- tional Screen’s stepping into the standard accessory field, a number of producers who had made their own accessories had lost money. Cited Affidavits On the matter of exclusive contracts between National Screen and producers for the privilege of manufacturing stand- ard accessories, the court found that these agreements were made over a period of different years and independently of one another. The opinion cited affidavits that “clearly indicate that each producer-dis- tributor entered into its agreement with National Screen independently for legiti- mate business reasons related to its own enterprise.” The court directed costs to be paid to National Screen by the poster-renters, and dismissed the appeals which the plaintiffs had taken from certain parts of the lower courts’ judgments. The court sent the case back from trial. Louis Nizer and Walter S. Beck represented National Screen on the successful appeal. Carolina Meet November 25 The Theatre Owners of North and South Carolina will hold their 44th annual con- vention at the Hotel Charlotte, Charlotte, N. C., November 25-27, it is announced by Jack D. Fuller, president of the asso- ciation. Co-chairmen of the convention committee are Howard B. McNally of Fayetteville, N. C. and R. L. Baker, Jr. of Gastonia, N. C. Assisting them are: Ernest G. Stellings, in charge of clinics; C. P. Freeman, Jr., entertainment; F. H. Beddingfield, exhibits; Mrs. Runa C. Green- leaf, ladies’ activities; and L. L. Theimer, publicity and talent. The reception of those registering will be handled by Roy Rowe of Burgaw, N. C., and J. J. Kime of Roseboro, N.C. Ulmer C. Eaddy of Charlotte will handle hotel reservations and convention registrations, it is announced. Registration commences at noon Novem- ber 25, with the afternoon devoted to a directors’ meeting and a social hour hosted by C. J. Mabry, president, and R. L. Simp- son, manager of Motion Picture Advertis- ing Service Company. Among the features over the three-day period are showman- ship clinics, forums on advertising and concessions and activities of drive-in and small indoor theatres. Prominent speakers, to be announced at a later date, will address the delegates. Climaxing the three- day affair will be the annual president’s banquet and dance to be held in the hotel ballroom. NT A Sells 20th-Fox Films In 140 Television Markets The 20th Century-Fox package of 52 pre-1948 feature films has been sold by National Telefilm Associates in over 140 television markets in the United States, according to Harold Goldman, NTA vice- president of sales. The NTA official said that the 20th-Fox package has brought in over $3,500,000 in sales thus far. ROME: A bill introduced by the presi- dent of the cabinet council, Antonio Segni, authorizes the establishment of a gov- ernment fund to aid producing and dis- tributing companies which are in financial straits. The bill, dated October 15, was just published in the Official Journal. The fund, which will be administered by the Banca Nazionale Del Lavoro is made up of a 36 per cent share of the $8,800 com- pulsory deposit made in the same bank for each foreign picture dubbed into Italian. The fund will be employed to grant loans to companies distributing or pro- ducing domestic Italian pictures which are facing a bad financial situation. The loans will be granted not only on the ground of the statement of accounts but also considering the good will or back- ground, of the company. The fund can be used also to grant collateral to other banks from which the insolvent companies bor- row money, and finally also to guarantee creditors of insolvent companies. The rate of interest of the loans grant- ed on the fund cannot be more than four percent, which is half the usual rate charged by the Italian banks. AB-PT Gets Extension On Theatre Disposal WASHINGTON: The Justice Department has given American Broadcasting-Para- mount Theatres another extension of time in which to dispose of 22 theatres requir- ing divestiture under the terms of the Paramount consent decree. The deadline was moved from November 5 to January 15. The company is currently in the proc- ess of disposing of another theatre, with divestiture expected by November 5. Ac- cording to the Justice Department, the ex- tension was granted because of the com- plexities involved in disposing of the 21 theatres in the Maine and New Hampshire Theatres Company, in which AB-PT owns a 50 per cent interest. The company is the only one of the five major companies in- volved in the Paramount case which has not yet completed divestiture. Originally it had the largest number of theatres — 774 — to divest. SMPTE Demonstration The Society of Motion Picture and Tele- vision Engineers, New York Section, will witness a demonstration of a new inter- mediate positive-duplicate negative sys- tem November 15 at the 20th Century-Fox home office, 444 West 56th Street. 30 MOTION PICTURE HERALD. NOVEMBER 3, 1956 ...at the box-office? — ^ ■>U'SL, yhen RUN ^JJ^o l(u wood cene Study Joint TV Show to Aid Grosses HOLLYWOOD: The Motion Picture In- dustry Council and executives of the American Broadcasting Company, headed by Leonard Goldenson, are discussing a joint cooperative venture for a television network program which would benefit the theatre box office while providing qual- ity TV entertainment, it was announced last week. As a result of a wire from Mr. Golden- son confirming that such talks are under way, the MPIC president, Ronald Reagan, has appointed Jerry Wald, public rela- tions committee chairman of the council, Steve Broidy and Lou Greenspan, execu- tive secretary, to a committee to meet with representatives of the MPAA, the Association of Motion Picture Producers and studio publicity directors considering a six-point industry-boosting project. Conversations between MPIC and ABC executives have stressed that if the plan is worked out, it must offer equal benefits to theatres as well as to TV programming, and would be a joint enterprise. It is re- called that Mr. Goldenson three years ago advanced a plan to company execu- tives through which a similar program, of benefit to theatres and the network, would be launched, but studio apathy caused it to founder. The new hope is that such a project may help it over now in view of the agitation for theatre-busi- ness boosting. Texas Exhibitors Hit Advertising Methods Sharp criticism of advertising methods used by major distributors was voiced by theatre operators of Abilene, Texas, in an open letter to industry leaders. The let- ter accused producers and distributors of not changing their advertising methods in 20 years, to the detriment of public inter- est in motion pictures, and to the profits of the theatre owners. “We firmly believe this condition has been brought about by producers and distributors, not deliberate- ly, but through careless indifference to the pleas of men and women who actually sell the tickets to the public,” the letter said. Citing the development and influence of the sports section in newspapers, the Abi- lene theatre owners urged that money used for “fancy advertising brochures” be turned toward sponsoring daily movie sec- tions in newspapers. The theatre men signing the letter offered to cooperate with major distributors in establishing an ex- perimental sponsored movie section in the Abilene Reporter News, with whose edi- tor the Abilene operators have discussed the matter. HOLLYWOOD BUREAU Production remained at an even keel last week, with five pictures starting and five winding up and leaving the total in work at 40. Three of the features started are being made on location. Bel-Air Productions (Aubrey Schenck and Howard W. Koch) began “Voodoo Island,” starring Boris Karloff and Beverly Tyler, in Hawaii with Reginald LeBorg directing for United Artists release. Columbia gave the go ahead signal to producer Hal E. Chester and director Jacques Tourneur in London to begin “The Bewitched,” starring Dana Andrews. MGM producer David Lewis and direc- tor Ronald Neame started “The Painted Veil” starring Eleanor Parker, Bill Trav- ers and George Sanders in London. Beginning in Hollywood was Columbia’s “Zombies of Mora-Tau,” a Sam Katzman production starring Allison Hayes and Autumn Russell. Also started was 20th-Fox’s big one, “Oh, Men! Oh, Women!” produced and directed by Nunnally Johnson in CinemaScope and color, with Dan Dailey, Ginger Rogers, David Niven, Barbara Rush heading the cast. Six Films, Directors Set for SDG Awards HOLLYWOOD : The Screen Directors Guild nominations for directorial achieve- ment awards for the period from July through September have gone to six films. These include Joshua Logan for “Bus Stop”; John Huston for “Moby Dick”;Rob- ert Wise for “Somebody Up There Likes Me”; George Sidney for “The Eddy Du- chin Story”; Walter Lang for “The King and I,” and King Vidor for “War and Peace.” James Cagney Plans To Direct Picture HOLLYWOOD: Paramount Pictures last week announced that James Cagney will debut as a director on “Short Cut to Hell,” the first assignment of this kind for the veteran actor. The film is based on a story by Graham Greene, with A. C. Lyles, re- cently assistant producer on “The Moun- tain,” penciled in as producer. Newcomer Robert Ivers has one of the top roles. Walt Disney Wins Award Of Producers Guild Walt Disney has been unanimously voted by the executive board of the Screen Producers Guild as the recipient of the THIS WEEK in PRODUCTION . . . Started — 5 Columbia — Zombies of Mora-Tau; The Bewitched. Metro-Goldwyn-Mayer — The Painted Veil (Cinema- Scope). 20th Century-Fox — Oh, Men! Oh, Women! (Cine- maScope; DeLuxe Color). United Artists — Voodoo Island (Bel-Air). . . . Completed — 5 Allied Artists — Jeannie (CinemaScope; Color). Columbia — The Man Who Turned to Stone. Independent — Crime Beneath the Sea (Nacirema Prods.). Paramount — Flamenca (VistaVision; Color). United Artists — Bail Out at 43,000 (Pine-Thomas). . . . Shooting — 35 Allied Artists — Gun for a Town (Jerold Zukor Prod.); Love in the Afternoon. Columbia — Garment Center; The Cunning end the Haunted; The Bridge on the River Kwai (Horizon- American); The Admirable Crichton (London Films); Fortune is a Woman (Launder-Gilliat Prod.); The Story of Esther Costello (Valiant Films); Interpol (Warwick Prods.); A Town on Trial (Marksman Films). Independent — Kill Me Tomorrow (Amalgamated Prod.); One Man's Secret (Amalgamated Prod.). Metro-Goldwwyn-Mayer — Designing Woman (Cine- maScope; Color); Ten Thousand Bedrooms (Cine- maScope; Color). Paramount — The Tin Star (VistaVision); The Joker Is Wild. Republic — Spoilers of the Forest (Naturama). RKO Radio — The Violators (Gallahad Prod.); Es- capade in Japan (Color); The Girl Most Likely (Eastman Color); The Lady and the Prowler (Color). 20th Century-Fox — Man from Abilene (Brady-Glas- er Prod.); Island in the Sun (Zanuck; Cinema- Scope; DeLuxe Color); Boy on a Dolphin (Cine- maScope; Color); The Girl Can't Help It (Cinema- Scope; DeLuxe Color); The True Story of Jesse James (CinemaScope; DeLuxe Color); Heaven Knows, Mr. Allison (CinemaScope; DeLuxe Color). United Artists — The Trial of Benjie Galt (Grand Prod.). Universal-International — Pay the Devil (Cinema- Scope); The Land Unknown (CinemaScope); Night Passage (Technirama). Warner Bros. — Lafayette Escadrille; Top Secret Affair; A Face in the Crowd (Newton Prods.); The Sleeping Prince (LOP Prods.). organization’s annual Milestone Award for historical contributions to the American motion picture, Samuel G. Engel, SPG president, has announced. Mr. Disney will be honored at the Screen Producers Guild Milestone Award banquet, set for the Beverly Hilton Hotel, February 3, 1957. Previous recipients were: Jesse L. Lasky, Louis B. Mayer, Darryl F. Zanuck and Cecil B. DeMille. MOTION PICTURE HERALD, NOVEMBER 3, 1956 33 Davis Sets Plans for Rank's U. S. Office . . . "Highly specialized" operation will function coast-to-coast and appeal to exhibitors beset by the product shortage bogey by PETER BURNUP LONDON: John Davis, managing director of the Rank Organization, said last week that he proposes summoning what he calls “a full-scale conference of world press representatives” here shortly at which he will outline his plans for a distribution set-up in the U. S. Keeps His Own Counsel Meanwhile, although he does not lack for eager and not to say hopeful coun- sellors both here and in New York (no- tably the latter city), Mr. Davis keeps his own counsel. It is known, however, in informed circles that the launching of the new enterprise has been preceded by a close and most precise investigation lasting over several months of the manifold fac- tors involved. The organization — although it will be operated on a coast-to-coast basis with direct apepal to exhibitors be- set with the bogey of product shortage — will be what is described as a “highly specialised” one. It will be able to service exhibitors with a sustained programme instead of the sporadic and slightly haphazard practices hitherto characterising British marketing in the U. S. Particular emphasis will be laid — on the lines indicated by producer Daniel Angel during and following his at- tendance at TOA’s New York Convention — on what is called “information” for ex- hibitors. Stress is also laid here on the circum- stance that there is no question of Mr. Davis taking over an existing organization. “We start de novo with our own people,” is what John Davis says. And it is known, indeed, that the Rank chief’s primary con- sideration momentarily is the formal ap- pointment of the men he has in mind for New York posting and the functions they will respectively fulfil. Latin America Pattern The pattern of the American enterprise is likely to follow that established in Latin America earlier this year. That was largely a three-men enterprise set up by Harry Norris, with local men co-opted to its aid. A considerable upsurge of business for British films has since developed in the Sounth American continent. Mr. Davis admits that he, with his prin- cipal aides, will be seeing quite a lot of the U. S. in the next few months; and American exhibitors of him. Considerable and highly-coloured play — tinctured, it is said, with a considerable degree of wishful and fearful thinking — has been made here of threats of injunc- tions and other legal restraints being ap- plied to John Davis. They may be dis- counted forthwith. The disposition this side is discreetly to ignore past suggestions of unhappy relations between the Rank Or- ganization and distributors with whom it has had previous dealings. “The step has been taken and of course we are sure of ourselves” is the way one Rank executive expressed it. BRITISH FILM GROSSES UP SHARPLY IN SEPTEMBER Disclosed in the periodic statement of the British Film Production Fund — administra- tors of “Eady” money — is a striking rise in the earnings of British films in the month of September. The statement shows that total rentals for the five weeks ending September 29 were £1,028,652, as compared with £667,370, for the period of four weeks ending Sep- tember 24, 1955. The total amount of “Eady” money paid into the fund for the nine weeks ended September 29, 1956, was £519,430, compared with last year’s figure of £466,344. These figures of the earnings of British films in this country are said to be the highest since the inception of the Produc- tion Fund. They are taken as a reflection of the spectacular box office take of “Reach for the Sky” and of British Lion offerings like “Baby and the Battleship” and “Pri- vate’s Progress.” GOVERNMENT QUERIED ON ITS FILM INTENTIONS Eager inquisitors of the Government were quickly off the mark in the matter of the latter’s intentions towards the mo- tion picture business. On the day Parliament reassembled after the summer recess, one Member questioned the President of the Board of Trade on the future of the National Film Finance Corporation. The questioner was blandly referred to a previous statement — already reported — in which the BOT presi- dent told the Commons that he proposed seeking authority to renew the powers of the Corporation in due course and to in- troduce a statutory Eady levy. But the matter will not be allowed to rest there. A growing body of opinion - among the Government’s own supporters in the House leans to the view that regard must be had to exhibitors’ claims that they cannot meet the levy without a substantial reduction in the entertainment tax burden. Sparks were added to the smouldering feeling when exhibitor Dennis Walls — one- time CEA President, but now a Tory poli- tician with ambitions — started a one-man campaign among M. P.’s soliciting help for exhibitors. Mr. Walls has earned the gratitude of his brother theatremen in mustering the support of no fewer than 70 M. P.’s in his argument that the statu- tory levy is an evil thing under current conditions. "BUS STOP" GROSSES STRONG IN OPENING 20th Century-Fox’s “Bus Stop” had a smash weekend’s business at the Carlton theatre here following rave reviews in the nation’s newspapers. The film actually took £37 more on Saturday than did “The King and I” on its initial Saturday. It out- grossed “The Man in the Grey Flannel Suit” by £715, “D-Day The Sixth of June” by £407 and “Carousel” by £327, in its first four days. • In implementation of an agreement reached between British Government rep- resentatives and those of the U. S. at G.A.T.T. negotiations in Geneva, it is an- nounced that the present import duty of 5d per foot on first prints of exposed films will be abolished as from November 12. The duty of Id per foot on subsequent copies is retained. It is understood that the Exchequer here never regarded the duty as a source of revenue but as a protective measure only. In the summer of 1955, the British Film Institute proposed that the duties should be repealed entirely, but the sug- gestion was withdrawn in the face of bitter opposition from the Laboratories’ Association. The latter feared that the abolition of duty on prints would lead to an intensive flooding of the British market with imported material. MGM DISCONTINUES BELFAST BRANCH MGM announces that a reorganization of the company’s operations in Northern Ireland is now taking place and under the new scheme the Belfast branch will be discontinued. However, the despatch ar- rangements and salesmen will be retained in Northern Ireland and some of the per- sonnel from Belfast will be absorbed into the Dublin branch. This is the third film distributors’ office to close in Belfast in a year. Paramount closes its office this month but will con- tinue to have representation in Northern Ireland. • Arnold Williams, managing director of National Screen Service here, announces that Anthony L. Haynes has been ap- pointed general manager of the company. Mr. Haynes was for some years an executive with Herbert Wilcox Produc- tions. He then joined Polarizers (3-D) Company as sales manager and prior to joining NSS, he was on the staff at MGM. 34 MOTION PICTURE HERALD, NOVEMBER 3, 1956 Ask any exhibitor who has played UNGUARDED MOMENT to tell you about the astounding audience reaction to JOHN SAXON, Universal’s new teen-age sensation. Better still, book THE UNGUARDED MOMENT now and watch your audiences acclaim ,/ a ‘new star! UNIVERSAL-INTERNATIONAL presents ESTHER WILLIAMS • GEORGE NADER '» “The UNGUARDED MOMENT” Print by Technicolor • Co-starring JOHN SAXON with EDWARD ANDREWS • LES TREMAYNE Directed by HARRY KELLER • Screenplay by HERB MEADOW and LARRY MARCUS • Produced by GORDON KAY / MGM Sets 12 Releases in Three Months In addition to “Teahouse of the August Moon,” which will be given special han- dling, MGM's tentative release schedule for the next three months includes six new productions and five reprints. “Tea- house” has been set to open late in No- vember in Chicago and Los Angeles, and will be the Christmas attraction at Radio City Music Hall in New York. Other ex- change city bookings at holiday time are in prospect. The production, directed by Daniel Mann and produced by Jack Cum- mings, stars Marlon Brando, Glenn Ford and Machiko Kyo. Regular releases in November include “The Rack” starring Paul Newman, and “Julie,” independent production released through MGM and starring Doris Day and Louis Jourd.an. “Julie” recently had its first showings in Ohio, where Miss Day visited her home town of Cincinnati for the world premiere. Reprints in November will be “A Tale of Two Cities” (1935) starring Ronald Colman, and “Marie Antoinette” (1938) starring Norma Shearer and Tyrone Pow- er. For December MGM has scheduled “The Great American Pastime,” a comedy which stars Tom Ewell with Anne Francis and Ann Miller. A second comedy film, “The Iron Petticoat,” produced in Vista- Vision and color by Technicolor by Re- mus Productions for MGM release, stars Bob Hope and Katharine Hepburn. A re- print due in December is “Mutiny on the Bounty” (1935) starring Clark Gable and Charles Laughton. Two new releases slated for January are “Edge of the City” and “Slander.” The former, made by Jonathan Productions for MGM release, co-stars John Cassavetes and Sidney Poitier. The latter stars Van Johnson, Ann Blyth and Steve Cochran. January reprints include “Green Dolphin Street” (1947) starring Lana Turner and Van Heflin, and “Boys Town” (1938) star- ring Spencer Tracy and Mickey Rooney. British Lion Unit Will Distribute for Republic LONDON British Lion Films, Ltd., will again distribute product of Republic Pic- tures in Great Britain and Ireland under a new long-term agreement announced jointly here last week by Sir Arthur Jar- ratt, British Lion managing director, and Reginald Armour, executive vice-presi- dent of Republic International. The agreement takes effect immediately. Brit- ish Lion had formerly handled Republic product until 1950 when the latter decided to open its own exchanges. PeU in DL n ew5 Mrs. Lela Rogers, mother of actress Ginger Rogers, has been named a mem- ber of ASCAP, it is announced by Paul Cunningham, president of the organi- zation, which numbers some 4,000 com- posers and authors. Mrs. Rogers has been a screen writer and composer of songs. Mrs. Stella Poulnot, president of WOMPI, and Mrs. Mildred Castle- berry, corresponding secretary, were honored by members of their home club, Atlanta, at a buffet luncheon at the home of Mrs. Bernice Hilton. David Golding, vice-president in charge of advertising and publicity for Hecht- Lancaster, has arrived in New York from the Coast. J. F. (Jack) O’Brien, widely known throughout the industrial and theatre fields in a quarter-century RCA sales career, has been named manager, Northeastern Region, Radio Corpora- tion of America, it is announced by R. W. Saxon, director of RCA Regional Operations. Ginger Rogers announces that she has formed her own independent company for the production of motion pictures and television presentations. Proper- ties for both mediums will be an- nounced in the near future. Arnold M. Picker, United Artists vice- president in charge of foreign distribu- tion, flew to Paris last week for a six- week tour of the company’s offices in Europe. While there he will confer with the company’s sales and promotional executives and will meet with producers preparing films overseas for United Artists release. Sees Independents Strengthening Studios “The independent production field is much sounder these days than the studio structure,” opined producer Sol C. Siegel in discussing the growth of the indepen- dent producer. “It’s very good for the in- dustry, bringing in new and different methods of picture making and selling,” he explained. Mr. Siegel was in New York this week with director George Cukor pre- paring to go into production on “Les Girls,” a musical for Metro-Goldwyn- Mayer. He is under contract with MGM to make four independent pictures, he re- ported. OLD, OLD, OLD Station WRCA-TV, New York, has announced presentation of a new nighttime program devoted to what it calls "the oldest movies in town." The series is entitled "the old, old show" and any film made after 1927 is in- eligible. The series of short silent films dating back to 1897 started October 30 from 12:30 to 1 A.M. It is shown at the same hour Tuesdays through Saturdays over Channel 4. Among the old favorites set to appear in brief flashes are William S. Hart, Lon Chaney, Gloria Swanson, Rudolph Valentino, Douglas Fairbanks, Francis X. Bushman, Marie Dressier, Charlie Chase, Mabel Normand, Clara Kim- ball Young, John Bunny, Flora Finch, Theda Bara and Tom Mix. Al (Jazzbo) Collins is serving as host for the series. Cite Wyler at " Persuasion ' HOLLYWOOD: In recognition of his out- standing achievements in, and contribu- tions to, motion pictures, high tribute was paid this week to producer-director Wil- liam Wyler at Allied Artists’ invitational premiere of “Friendly Persuasion” at the Fox Wilshire theatre. Among those hon- oring Mr. Wyler was President Dwight D. Eisenhower who, in a telegram read by Samuel Goldwyn, chairman of the tribute committee said, in part: “Through his motion pictures Mr. Wyler has strength- ened the standards of his craft with imagination and a keen sense of human- ity. He has helped us to understand our allies abroad and our people at home. He has brought enjoyment to millions.” A star-studded audience of 2,200 which packed the theatre included many who had won a total of 30 Academy awards for work in Mr. Wyler’s films. In a brief ceremony on the stage, Mr. Wyler was presented with a silver Paul Revere bowl, a huge tray and 12 goblets, each bearing the signature of a star whose work in a Wyler production won an Oscar. Mr. Gold- wyn made the presentation. The committee included Charles Brac- kett, Steve Broidy, Bette Davis, Sidney Franklin, Y. Frank Freeman, Greer Gar- son, Gregory Peck. David O. Selznick and George Stevens. A release pattern of strategically selected engagements has been evolved for Mr. Wyler’s new film, with extended run engagements. 36 MOTION PICTURE HERALD, NOVEMBER 3, 1956 ' THIS FABULOUS DOUBLE-CREATURE SHOW HAS BEEH SET FOR EARLY PLAY-OFF IH THE HATIOH’S FIHEST THEATRES Austin, Texas State Columbus, Ohio Palace Syracuse, N. Y Paramount Minneapolis, Minn Orpheum St. Paul, Minn Orpheum New Haven, Conn Paramount Norfolk, Va State San Francisco, Calif. . . Golden Gate Portland, Me Civic Dayton, Ohio Colonial Manchester, N. H Strand Cincinnati, Ohio Palace Boston, Mass Memorial Jacksonville, Fla Imperial Oakland, Calif T&D Rochester, N. Y Palace Steubenville, Ohio Paramount Worcester, Mass Capitol Tampa, Fla Park Denver, Colo Paramount Oklahoma City, Okla Harber ch Capitol Broadway Detroit, Mi< New Orleans, La Joy Springfield, Mass. Bijou Youngstown, Ohio .... Paramount Atlanta, Ga Paramount San Antonio, Texas Majestic Lincoln, Nebraska Lincoln Washington, D. C Keiths St. Louis, Mo Missouri Cleveland, Ohio Hippodrome Beaumont, Texas Jefferson Florence, S. C Colonial Indianapolis, Ind Indiana Fort Worth, Texas Worth Charlotte, N. C Center Newport News, Va Paramount Toledo, Ohio Rivoli Amarillo, Texas State Chicago, III Roosevelt Columbia, S. C Ritz Houston, Texas Majestic . . . and many more Book 'em NOW at your Universal Exchange RKO BIG LAUGH SHOW FOR CO-STARRING TOP THEATRES EVERYWHERE JAY C.FLIPPEN ALLYN JOSLYN Distributed by R K O RADIO F Screen Play by and Produced by Directed by HARRY TUGEND • NORMAN Z. McLEOD ® ANOTHER PROFIT SHOW FROM THE NEW RK€» m u e FILM BUYERS RATING Film buyers of independent circuits in the U. S. rate current product on the basis of its performance in their theatres. This report covers 121 attractions, 3,761 play dates. Titles run alphabetically. Numerals refer to the number of engagements on each attraction reported. The tabulation is cumulative. Dagger (f) denotes attractions published for the first ti?ne. Asterisk (*) indicates attractions which are listed for the last time. EX means Excellent; AA — Above Average; AV — Average: BA — Below Average PR — Poor. Alexander the Great (U.A.) Ambassador's Daughter, The (U.A.) Animal World, The (W.B.) Anything Goes (Par.) ■(Attack (U.A.) Autumn Leaves (Col.) Away All Boats (U-l) Backlash (U-l) Bad Seed, The (W.B.) Bandido (U.A.) Beyond a Reasonable Doubt (RKO) Bhowani Junction (MGM) Bigger Than Life ( 20th- Fox ) Birds and the Bees (Par.) Blackjack Ketchum Desperado (Col.) Bold and the Brave (RKO) Burning Hills, The (W.B.) Bus Stop (20th-Fox) Catered Affair, The (MGM) Cockleshell Heroes (Col.) Comanche (U.A.) Come Next Spring (Rep.) Come On, The (A. A.) Congo Crossing (U-l) Conqueror, The (RKO) Court Jester, The (Par.) Crashing Las Vegas (A. A.) Creature Walks Among Us (U-l) Creeping Unknown, The (U.A.) fCrime Against Joe (U.A.) Crime in the Streets (A. A.) D-Day the Sixth of June (20th-Fox) Dakota Incident (Rep.) Davy Crockett and the River Pirates (B.V.) Day of Fury ( U-l ) Earth vs. Flying Saucers (Col.) Eddy Duchin Story, The (Col.) Fastest Gun Alive (MGM) First Texan, The (A. A.) First Traveling Saleslady (RKO) Forbidde*. Planet (MGM) Foreign Intrigue (U.A.) Francis in the Haunted House (U-l) Gaby (MGM) Girls in Prison (A.I.P.) ...* Godzilla, King of the Monsters (Trans.) Goodbye, My Lady (W.B.) Great Day in the Morning (RKO) Great Locomotive Chase, The (B.V.) Guys and Dolls (MGM) Harder They Fall The f Col. ) High Society (MGM) Hilda Crane (20th-Fox) Hot Blood (Col.) Hot Rod Girl (A.I.P.) EX 2 3 24 4 1 2 I 27 17 I I 2 4 I 20 14 AA AV BA PR 12 12 8 5 10 7 10 5 8 17 3 3 4 16 16 3 2 — — 4 8 4 4 25 16 4 1 18 4 23 7 2 2 — 3 — 10 3 3 — 1 5 2 8 6 15 6 — 1 4 12 13 19 5 14 3 1 2 5 18 16 13 1 2 1 1 13 2 14 10 4 — 15 3 9 10 1 9 7 — 1 7 15 21 2 6 27 1 6 A 1 14 1 7 7 13 14 15 12 10 9 13 10 3 1 1 — 5 5 4 3 1 1 5 5 II 7 1 9 30 3 3 1 5 5 2 — 3 9 12 — 5 II 5 17 9 3 1 28 29 3 1 22 21 4 _ 2 5 1 1 2 — 1 5 1 18 15 4 6 — 5 2 3 12 17 5 2 1 13 16 6 9 2 1 — 4 3 5 2 4 II II 8 1 9 6 2 14 15 14 8 II 10 6 9 5 4 29 24 8 4 — — — 9 9 9 5 16 15 7 12 2 1 — I'll Cry Tomorrow (MGM) 37 1 1 I I Johnny Concho (U.A.) Jubal (Col.) Kettles in the Ozarks (U-l) King and I, The ( 20th- Fox ) Last Wagon, The (20th-Fox) Leather Saint (Para.) Lisbon (Rep.) EX AA AV BA PR I 4 3 21 2 1 25 3 32 2 2 18 13 16 3 30 16 19 12 3 — 8 II I — — 3 3 5 5 — 2 — 25 5 Magnificent Roughnecks (A. A.) Man in the Gray Flannel Suit (20th-Fox) Man Who Knew Too Much (Par.) Massacre ( 20th- Fox ) Maverick Queen, The (Rep.) Meet Me in Las Vegas (MGM) Miami Expose (Col.) Miracle in the Rain (W.B.) Moby Dick (W.B.) Mohawk (20th-Fox) 6 1 22 29 13 8 8 1 17 23 7 2 — 1 2 1 4 — 4 3 8 2 6 9 23 17 9 16 O 6 10 20 J 26 7 5 17 9 3 — 4 8 4 2 Naked Hills (A.A.) Navy Wife (A.A.) Never Say Goodbye (U-l) 1—22 1—13 12 27 23 16 On the Threshold of Space (20th-Fox) Our Miss Brooks (W.B.) 9 7 13 16 — 9 II 13 Pardners (Par.) Patterns (U.A.) Pillars of the Sky (U-l) Price of Fear (U-l) Proud and Profane The (Par.) Proud Ones, The (20th-Fox) 7 28 II 3 — — 2 6 8 2 — — — I 7 — 16 17 5 4 — 26 18 15 10 Quincannon, Frontier Scout (U.A.) 2 2 6 2 Raw Edge (U-l) Rawhide Years, The (U-l) Red Sundown (U-l) ... (Reprisal (Col.) Revolt of Mamie Stover (20th-Fox) Rock Around the Clock (Col.) Run for the Sun (U.A.) — — 3 — 4 22 — II 9 — I 3 — II 26 22 21 14 — 47 Safari (Col.) — Santiago (W.B.) — Satellite in the Sky (W.B.) Scarlet Hour (Para.) Screaming Eagles (A.A.) Searchers, The (W.B.) Serenade (W.B.) Seven Men From Now (W.B.) Somebody Up There Likes Me (MGM) Star of India (U.A.) Star in the Dust (U-l) Storm Over the Nile (Col.) Stranger at My Door (Rep.) Swan, The (MGM) — 6 18 — I 17 — — 3 — 26 6 22 17 — I 4 — 7 15 2 3 11 — I 7 — — 2 — 22 3 12 17 Tea and Sympathy (MGM) That Certain Feeling (Par.) These Wilder Years (MGM) Timetable (UA) Toy Tiger (U-l) Trapeze (U.A.) — Tribute to a Bad Man (MGM) 23 Paces to Baker Street (20th-Fox) — 5 I — II 13 — 3 4 II 12 21 9 28 34 — 2 13 I 3 13 Uranium Boom (Col.) — — — Vagabond King (Par.) — — 4 Walk the Proud Land (U-l) Werewolf, The (Col.) While the City Sleeps (RKO) ... World in My Corner (U-l) World Without End (A.A.) 4 1 1 I I 16 5 5 5 4 3 — 8 7 9 5 I — 10 I I I 3 3 14 2 9 9 1 2 — 7 7 3 2 — 8 18 2 I 24 2 13 — 16 — 4 3 6 3 14 7 25 17 6 2 3 4 9 2 3 — 14 14 1 1 20 4 5 3 5 8 — I — 18 6 15 29 I 2 42 MOTION PICTURE HERALD, NOVEMBER 3, 1956 Albany Fabian’s Palace started its second quarter-century with “War and Peace,” screened three times on weekdays and twice on Sunday. Originally operated by RKO, the 3,600-seater began with a vaudeville-picture policy. Bill With is present manager. The late Harry Black was its first director. . . . Variety Club will elect its 1957 crew at a Nov. 5 meet- ing. The 11-man board will choose officers within a week after. . . . The Leland, conducted as a first run on lease by Paul Wallen, played an Italian bill: “Too Bad She’s Bad” and “The Slave”. . . . Louis W. Schine, Schine Circuit, Gloversville, is again hospitalized in New York. . . . Dave Kane worked Albany and Troy on pro- motion for “Friendly Persuasion,” Allied Artists feature, which opens at Strand, Nov. 13, and at Troy, Nov. 21. . . . Visitors here included: Martin Moskowitz, 20th- Fox division manager; Stanley Kositsky, United Artists Buffalo manager; Max Friedman, now Wellsville exhibitor and former Warner upstate zone buyer-booker; Jack Vogel, Wellsville, O. Atlanta Margaret Haddaway, Florida State staff member in Jacksonville, was the guest of honor at a farewell party given by her associates and friends at the Langford Hotel in Winter Park, Fla. She resigned to leave for Oakland, Calif, where she will marry William Stokes, an Air Force officer. . . . Mary Heard is now secretary to office manager, Charlie Touchon, United Artists. . . . Helen Thomas is the new ledger clerk at Republic. . . . Joanne Blake has resigned from United Artists to be a house wife. . . . H. H. Hull, buyer and booker for the Tri-City and Twin City drive-ins at Johnson City, Tenn., was visiting with his new manager, Ray Austin. . . . Frank Vinson, former manager of the Fox theatre, Atlanta, has replaced Curtis Mees as manager of the Paramount theatre here. Mees is now with the Skouras circuit. . . . Betty Landers, secretary at the Georgia theatre, has resigned. . . . Gladys Rawnsley, Toronto WOMPI presi- dent, has returned there from Macon, Ga. Boston DCA’s new Boston office opened No- vember 1 at 50 Melrose St., Boston, with A1 Herman as branch manager and Irving Shiffman as booker. Both transferred from IFE. Si Feld, salesman at IFE, is the new branch manager. . . . Walter Dyer, salesman at Republic for 10 years, has transferred to Warner’s, covering Maine, Vermont, and New Hampshire. . . . Ken- neth Forkey, owner of Park Worcester, is in the Peter Bent Brigham Hospital for major surgery. . . . Fenton Scribner, district manager of the Shea circuit, has resigned to enter the advertising busi- ness in Manchester, N. H. . . . The Play- house, Lisbon, N. H., closed for two years, has reopened for four nights a week un- der the new management of Robert Corey. . . . Bob Levine, head booker at Warner’s, is a patient at Haines Memorial Hospital. . . . David Kaplan, manager of Trans-Lux, Boston, off to Miami Beach to attend the wedding of his son, Melvin. . . . Norman Glassman is leaving active participation in the industry. Ernest War- ren takes over his lease at the Strand, Haverhill, Mass. Bruce Glassman, his son, will handle the Lowell drive-in, located in Lowell, Mass. Buffalo A pioneer in construction of western New York motion picture theatres, Edward C. Frank of Wanakah, has retired as chief engineer and superintendent of buildings for the Shea Theatres. He was presented a gold watch and gift certificate from friends and co-workers in the Shea circuit. . . . The Buffalo Redevelopment Founda- tion sponsored the showing of “Our Living Future,” a motion picture, in Kleinhans Music Hall last Friday as a kickoff for Redevelopment Week. . . . “Love Me Tender” will start at the Center in down- town Buffalo Nov. 21 and manager Frank Lindcamp announces the same picture will show at the Palace in Rochester in mid-November. . . . Unscheduled but powerful sound effects to which Kodak Town Paramount patrons were treated lately, during the razing of a building next door, have subsided. Workmen have completed the task of ripping a building off the rear side of the theatre, on Morti- mer street. Charlotte Ben Hill, Universal-International ex- ploiteer from Atlanta, said here last week he is attempting to bring Danni Crain, U-I starlet, for personal appearances in connection with showings of “Unguarded Moment.” . . . The Charlotte WOMPI Club held a bingo party at the Variety Club. . . . Ernest Stellings, newly elected president of Theatre Owners of America and head of Stewart-Everett Theatres here, will be feted at a stag dinner at the Variety Club Nov. 5. . . . Actor Chill Wills said in a Charlotte News entertain- ment column last week that he would like to attend the Theatre Owners Con- vention or Carolinas “Carousel” parade here in November. ... A safe robbery in the Imperial theatre netted bold rob- bers $500. The robbery occurred Sunday night and the safe-cracking crew literally tore the safe apart. Cleveland The 1250-seat Ohio theatre was filled to capacity Wednesday night for the in- vitational screening of “Ten Command- ments” which the Plain Dealer film critic W. Ward Marsh characterized as “the greatest picture of all times”. . . . The Toledo Theatres Association last week elected the following slate of officers: president, Abe Ludacer; vice-president, H. M. McManus; secretary-treasurer, Martin G. Smith. New board of directors is composed of Marvin Harris, A1 Dennis, Milton Lewis, Urban Anderson, Mrs. Vir- ginia O’Donnell and Edward J. Bialorucki. . . . Jerry Safron, Columbia branch manager, announced that during Thanks- giving week, two of his pictures will play 25 Greater Cleveland theatres simul- taneously, a record booking for a single company. Eleven houses will play a first run of “Reprisal” and 14 theatres will play “Solid Gold Cadillac”. . . . Nate Schultz, head of Allied Artists, celebrated his birthday last Thursday. . . . Louis Pickenpack is the new Haltnorth theatre manager. . . . Robert Long, manager of the Fairview theatre will hold a week- long ninth birthday celebration Nov. 11- 17, with special events daily. Patrons at- tending the opening day celebration will receive a free pass for another admission at any time. Columbus Donald Hooten, manager of the Uptown, downtown subsequent run, has been named manager of RKO Grand, effective Nov. 11, it was announced by Ed McGlone, RKO city manager. Hooten, a native of Indianapolis, Indiana, was employed by the Marcus circuit before coming to the Uptown. . . . Harry Schreiber Sr., manager of Franklin County Veterans’ Memorial auditorium and former RKO city manager here, became a grandfather with the birth of Margaret Elizabeth Schreiber, daughter of Harry Schreiber Jr. and his wife, Peg. . . . Robert Wile, secretary of the Independent Theatre Owners of Ohio, attended meetings of the Indiana Allied state convention in Indianapolis. . . . Manager Ed McGlone of RKO Palace an- nounced the booking of “Giant” for Nov. 15 to be followed by “Love Me Tender.” . . . The Lyric in Greenfield, Ohio, has been closed by the State Division of Factory and Building Inspection because on non-compliance with an order issued to the owner of the building, Mrs. S. T. Gray, to make certain improvements. Mr. and Mrs. Paul L. Orebaugh have been operating the theatre under lease. . . . Robert McKinley, assistant manager of Loew’s Broad, returned from a vacation spent in Miami and Havana. Denver Jesse Chinich, Buena Vista western di- vision sales manager, in for conferences with Marvin Goldfarb, district manager. . . . Robt. Quinn, Warner Bros, publicity man, spent five weeks in Hollywood work- ing on the “Giant” premiere. . . . Ted Halmi, doing some publicity work for “Friendly Persuasion,” had some placards in the crowd that welcomed President (Continued on page 46) MOTION PICTURE HERALD, NOVEMBER 3, 1956 "THE MAN IS ARMED” "SCANDAL, INC.’ C’S BOXOFFICE PICTURES FOR 20 YEARS 1 cuuJL Repuhttc confeHued to ctetio&i ZANZABUKU THE MAVERICK QUEER DAKOTA INCIDENT THUNDER OVER ARIZONA A STRANGE ADVENTURE LISBON DANIEL BOONE, trail SCANDAL, INC. ABOVE US THE WAV! JOHN MILLS • JOHN GREGSON • DONALD SINDEN A woman's devotion TRUCOLOR by Consolidated Film Industries RALPH MEEKER • JANICE RULE • PAUL HENREID TEARS FOR SIMON TRUCOLOR by Consolidated Film Industries DAVID FARRAR • DAVID KNIGHT • JULIA ARNALL THE CONGRESS DANO Cinemascope TRUCOLOR by Consolidated Film Industries JOHANNA MATZ • RUDOLF PRACK • HANNELORE BOLLMANN ACCUSED OF MURDER NATURAMA TRUCOLOR by Consolidated Film Industries DAVID BRIAN • VERA RALSTON • SIDNEY BLACKMER ( Continued from page 43) Eisenhower to Denver. The cards read “We Like Ike’s Friendly Persuasion”. . . . Wolf berg Theatres are closing four of their Denver drive-ins, with the Valley and Monaco, in their group also, keeping open for the winter. Also open in Denver for the winter will be the Lakeshore and Evans drive-ins. . . . Duke Dunbar, at- torney general, formerly secretary of the old film board of trade, is running for his fourth term as attorney general on the Republican ticket. . . . Mrs. F. E. Ricketson Sr., mother of Frank H. Ricket- son Jr., general manager of National Theatres, died here after a long illness. . . . Charles Gilmore, president Gibraltar Theatres, and Mrs. Gilmore, to California on vacation. . . . The Vogue, Littleton, Colo., operating three days a week. . . . The Allied Artists exchange won second in their division in the “March of Prog- ress,” meaning $500 to manager and a week’s salary to the salesman and booker. Des Moines Attendance at the Iowa theatre in Jefferson has declined in recent months, Harold Field, owner of the Pioneer Thea- tre Corp. which operates the Iowa, told a group of business and professional people there. Field, who said small thea- tres are closing in record numbers throughout the country, invited the Jef- ferson community to consider ways of assuring the continued operation of the theatre. The group later saw a preview of “The Solid Gold Cadillac” along with a number of Pioneer managers present for the meeting. . . . A. H. Blank, president of Tri-States Theatre Corp., has been honored by the board of directors of Iowa Methodist hospital for “distinguished service.” A plaque was presented him for his gift of the Raymond Blank Me- morial Hospital for Children and his many years’ service on the hospital board. . . . Don Allen has been named to suc- ceed Kermit Carr in the Tri-States or- ganization. . . . Eleanor Jackson, former RKO secretary, has a new son. ... A temporary employee at RKO is Bea Burgher. . . . Ann Branco has resigned her post at Universal. . . . Pete Peterson, UA salesman, is on vacation in California and getting a first look at his new grand- son. . . . Also on vacation is Lois Ann Latimer of Warners; as is Joe Ancher, office manager and head booker there. Joe spent part of his holiday in Chicago. . . . Jim Ricketts, Columbia office manager and head booker, is back from a vacation spent in Indiana and Illinois. Detroit Forrest Martin, United Film Service salesman, succeeds the late Thomas Allen as division manager with headquarters in Grand Rapids. . . . Allied Theatres of Michigan will try for an injunction against placing daylight saving time on the spring ballot in Detroit. President Milton London maintains that DST is a matter for the entire state and should not be left to local option. . . . Wm. Rice advised stockholders of Film Truck that the service had added drug products, maga- zines and newspapers to its delivery service, promising additional revenue. . . . George Berger, 74, former Butterfield Theatres comptroller, died in Ft. Lauder- dale. He is survived by his wife Celia. . . . A. D. Stanchfield closed the Carleton in Carleton, and McDaniel and Harte have closed the Temple in E. Jordan. . . . The home of Albert Wakeman, owner of the Ken in Frankenmouth, was destroyed by fire. Mrs. Wakeman was severely burned. A benefit show for the Wakemans was held with film provided by Ernie Chrysler of Allied Artists and Fred Bonneman of Columbia. . . . Schuckert and Stafford have dismantled the Orr at Fowlerville and reopened the Janes at Saginaw for week-ends. . . . Don Martin, MGM booker, married Dorothy Conroy. . . . Dean of Detroit musicians, Bill Finzel, has been re-hospitalized due to trouble with the leg he broke last winter. Hartford Stanley Warner theatres in three Con- necticut cities have launched Safety Clubs, designed primarily to encourage greater traffic caution by youngsters. Membership cards are being issued by the Capitol, Willimantic; Garde, New London; and Palace, Danbury. Youngsters, charged regular children’s admission, attend ses- sions every Saturday matinee and receive free cowboy star photos. When youngsters have collected a certain number of star photos, they are eligible for additional prizes. Response has been termed en- couraging at all three theatres. . . . Michael Mowchan of the Stanley Warner Strand, New Britain, Conn., and Mrs. Mowchan are parents of a baby boy, their second child. . . . The Stanley Warner Capitol, Willimantic, Conn., has started an art film policy on Tuesdays for fall and winter. . . . Warner Berdick has re- placed Robert Carrano, resigned, as as- sistant manager, Strand. . . . Robert Dorf- man of the Buena Vista Distributing in- terests came through ahead of the revival run of “Fantasia”. . . . Abe Bernstein, UA exploitation staff, visited key southern New England cities in conjunction with Christmas release, “The King and Four Queens.” Indianapolis Rube Jackter, Columbia district manag- er, gave a luncheon for exhibitors at the Columbia Club Thursday. . . . Tommy McCleaster, 20th-Fox district manager, also was in the city last week and at- tended the ATOI convention. . . . William A. Carroll, ATOI secretary, reports Harry Coleman, Evansville, and Shuler Baird and Merritt Wilkins, New Albany, have joined the organization. . . . Marc Wolf has secured George DeWitt to emcee the Variety-sponsored Cerebral Palsy tele- phone Dec. 1-2. . . . Dick Frank and Abe Gelman of Paramount, Foster Gawker of MGM, Ray Thomas and Bill Brenner of Universal, Sam Geisman of Columbia, Jack Meadow of RKO and George Landis, exhibitor, all attended the Notre Dame- Michigan State football game. . . . A. J. Kalberer, Washington exhibitor, reports getting down early enough for a morning coffee break with other business men on the street has facilitated merchant tie- ups for his theatre. Jacksonville Col. John Crovo, retired exhibitor of this city, has accepted a public relations post with the Motion Picture Exhibitors of Florida. . . . Robert Cornwall, former house manager at the Florida theatre, is now managing the San Marco, leading art theatre of the area. . . . Tim Crawford succeeded William Korenbrot as manager of the downtown Arcade when the latter took over management of the first run Imperial theatre. . . . George Krevo joined the Florida State Theatres booking de- partment, replacing Tom Gerard who left the industry. . . . Rippen Gale, MGM auditor, was stationed temporarily at the local branch office. . . . J. Elmer Levine, Florida theatre promotion manager, at- tracted wide attention while driving a gold-painted Cadillac during his run of “The Solid Gold Cadillac.” . . . Visitors were Bill Byrne, assistant at the Florida theatre, Miami; Mr. and Mrs. Lynn Good- year, Warner theatre, Ft. Lauderdale; Ray Mackes, Madison drive-in, Madison; and Jerry Fender, Brunswick, Ga. Kansas City Barnes Purdue is the new city manager for Mid-Central Theatres in Manhattan, Kans. . . . Beverly Miller’s Fort drive-in at Leavenworth, Kans., and Frontier drive-in at Atchison, Kans., are on week- end operations and the Cowtown at St. Joe, Mo., and the Jefferson City, Mo., drive-ins are offering two shows a week. . . . The 63rd St. drive-in, Kansas City, owned by B & S Enterprises, has new in- car heaters. . . . Eddie Landau, operator of the Sunset drive-in at Lawrence, Kans., was recently married to Bernice Lathrom. . . . Klock theatre, Neodasha, Kans., opened its Fall Festival of Big Hits with “I’ll Cry Tomorrow.” . . . Homer Eldridge returned as manager of the Trail at Olathe, Kans., from the Dick- inson at Topeka. . . . The Bob Withers memorial drive, which began Oct. 1, will extend until Nov. 15 with Ed Hartman in charge of contributions. . . . Senn Law- ler, division manager for Fox-Midwest until his resignation, is chairman of the March of Dimes in Jackson County. Los Angeles Ronnie Lefton, son of theatre operator Milton Lefton, was married to the former Barbara Broude in Las Vegas. . . . Cyral M. Hutchinson, president and business agent for Film Row local B-61 of IATSE, passed away October 12. Succeeding Hutchinson as president is Murray Pearl- stein. . . . Ned Calvi, partner in the new Belair drive-in, and his wife were back from a European tour . . . Manny Feldstein of the Dietrich and Feldstein circuit, flew to New York for a vacation. . . . Sydney Linden, executive of the Rosener Theatre chain, will depart for Europe to look over foreign product for future exhibition and also for distribution through Rosener’s Mayfair Co. . . . Bill Dumes of the Park theatre in Tucson, made one of his rare visits to the Row for the purpose of lining up new releases for his theatre. . . . Jim Velde, UA general sales manager, and A1 Fitter, UA division manager, visited the local exchange. Memphis Arthur Groom, manager of Loew’s State, who once fired Elvis Presley as an usher, announced that Presley’s first pic- ( Continued on opposite page ) 46 MOTION PICTURE HERALD, NOVEMBER 3, 1956 THEY LED THE DRIVE in New Brunswick for the State of Israel Bonds; and, above, in that Canadian city, J. M. Franklin, center, presents scrolls of honor to Mitchell Bernstein, right, of B & L Theatres, and Mitchell Franklin, of Franklin-Herschorn Theatres. The older Mr. Franklin heads the latter circuit. ( Continued jrom opposite page ) ture, “Love Me Tender” will open at Loew’s State Nov. 21. . . . Manager Eli Arkin of Warner reported the first week of Paramount’s “War and Peace” brought three times average attendance to set the pace for Memphis first runs. . . . E. L. Boggs, Hayti, Mo.; Roy Cochran, North Little Rock, Ark.; H. E. Wheatley, Hot Springs, Ark.; and Mr. and Mrs. Orris Collins, Paragould, Ark., were among visiting exhibitors on Film Row. . . . Between 150 and 200 theatres have signed up to show the “bread and butter” pic- tures which will be produced by an in- dependent group. The plan was taken up with the Tri-States Theatre Owners con- vention in Memphis by Jack Jackson, Houston, trade paper columnist. Moe Kerman, New York, Tudor Pictures, at- tended the convention to say he would finance and distribute the films. The plan was the outgrowth of a suggestion made by Jack Braunagel, United Theatres, Little Rock. Milwaukee Mrs. Louise Bergtold, owner of the Westby theatre in Westby, is proud of: her son Owen C. Bergtold. A graduate with honors from Carleson College at Northfield, Minn., he has been elected an assistant cashier of Northwestern National Bank at Westby. . . . Theatre Service is doing the booking and buying for the Peerless theatre here operated by Ken Gomoll. . . . The Capitol theatre has a new manager. He is Bill Klug. . . . Robert Brill is coming back to manage the Century theatre here. He has been at Janesville. . . . Don Patch, former manager at the Century, will go to the Oriental theatre. . . . Miss Alice Fluhr, a clerk at the Warner exchange, became Mrs. Wm. Flandrena October 27. . . . Tony Kolinski, head booker at Warners, was on his vacation. Minneapolis Economy drives are underway at two more film exchanges. Morrison Buell, booker at RKO for eight and one-half years, was dismissed. His work will be handled by A1 Stern, RKO office manager. One booker remains in the exchange. At Universal Fred Bunkelman, salesman in northern Minnesota and Wisconsin, was transferred to Chicago, but the position will not be filled again. . . . The 100 Twin and 7-Hi drive-ins closed for the season, leaving three outdoor stands in the Twin Cities area still open. . . . Ted Mann, operator of the World theatres in the Twin Cities, was on a combined business- pleasure trip to California following a hunting jaunt to Montana. . . . An anti- trust action brought by the St. Louis Park theatre against Minnesota Amuse- ment Co. has been settled out of court. Under terms of the settlement the St. Louis Park gains the 28-day slot now shared with Minnesota Amusement’s Up- town with the Uptown dropping back to 35 days or later. . . . Although West St. Paul has a film censorship ordinance, so far it has no one to enforce it. The ordi- nance places the duty of censoring film on the local police commission, but the police commissioners shy away from this censorship function. New Orleans Vienna Bellelo Montgomery resigned after many years’ service in the booking department of Joy’s Theatres to join Thea- tres Service Company in a similar posi- tion. . . . A. J. and Bernie Rosenthal are now the sole owners of the Midway drive- in, Opelousas, La., having purchased Joy theatres’ interest. . . . Savoy’s Joy theatre, Vinton, La., reopened under the new ownership of Rodney Gibbs. . . . Kendell Smith is the new owner of the Park, Pelahatchie, Miss. The theatre had been closed for many months. Former owner Willard Kaminer. . . . Audrey Gregg is the new utility clerk at U.A. She replaces Etta Doby who resigned. . . . Joy N. Houck presented a special family show at the Panorama on Saturday morning to see “Oklahoma.” The price of admission for all seats was 95tf. . . . Mary Murphy, who became Mrs. Franklin McLaughlin October 20, retained her position with U.A. as contract clerk. . . . Mrs. Gerry Adams has handed in her resignation as U.A. ledger clerk, effective November 10 to join her husband in Minden, La. Oklahoma City Mr. and Mrs. Harold Combs and sons Hal and Kent, returned last week from a trip to Los Angeles. Mr. Combs is con- cession manager for Barton Theatres. . . . The possibility arose last Tuesday that an official Oklahoma City censorship board may be created to stand watch on movies. Charles Schreck, Ward Four councilman, complained that the city’s present board has not- prevented the showing to youngsters of films billed for “adults only”. Mayor Street pointed out that the present three-member board is an unofficial agency, appointed by the mayor, and has time to act only when called in by someone who thinks a movie is objectionable. He said members volun- teer their time. Schreck did not propose an official board be established by ordi- nance but indicated he is not satisfied with present operations. . . . Barbara Bauers, secretary to the manager of the MGM Film Exchange, is back at work after spending five days in the hopsital. . . . Eulalia Sample, assistant cashier at MGM Film Exchange, is on a two-week vacation. . . . Fred Eugene Lily has been appointed new assistant shipper at MGM Film Exchange. . . . The Sooner theatre, downtown house, has started a new policy of first run features on every program. Philadelphia Abraham M. Ellis, head of the A. M. Ellis Theatres; Jay Emanuel, veteran ex- hibitor and trade paper publisher; David Supowitz, theatre architect; Jack Beresin, former International Chief Barker of the Variety Clubs International and head of the Berio Vending Company, and District Attorney Victor H. Blanc, former chief barker of the Philadelphia Variety Club, were the industry members among the more than 200 community leaders elected to the board of directors of the newly- created Federation of Jewish Agencies of Greater Philadelphia, formed by the con- solidation of the Federation of Jewish Charities and the Allied Jewish Appeal. . . . Edward Emanuel, local exhibitor and currently second assistant chief barker of the Variety Clubs International, was named chairman of the 1957 March of Dimes campaign in Philadelphia. . . . William A. Madden, MGM branch manag- er, is back from his honeymoon, after marrying Sara Starrett in suburban Darby, Pa. . . . Vincent Tate, proprietor of the Theatrical Equipment and Supply Co. in upstate Forty-Fort, Pa., has entered the exhibition field for the first time in taking over the operation and the manage- ment of the Orient, Scranton, Pa., which had been dark for some time. Portland George Jackson, general representative in the Oregon territory for RKO Radio, has resigned and will be succeeded by Jack Cummings, formerly with the com- pany in San Francisco. . . . Maurine Ray has left the staff of the Paramount theatre ( Continued on page 50) MOTION PICTURE HERALD, NOVEMBER 3, 1956 47 presents presents H » novelty cartoon /'■ about a kid cowboy . who conquers the west / ^ nCHNICOlO* / A THRILL PACKED .FEATURETTE AB0UTs \ A BRAHMA BULL \ TKHNICOIOII , THE MOST /MAZING AND MWCUZOM TRUE-LIFE ADVENTURE FEATURE! FROM WALT hint by TECHNICOLOR • Produced by BEN SHARPSTEEN • Written and Orated by IAMES Book them NOW from BUENA VISTA ! . WALT DISNEY presents TECHNICOLOR - CINemaScoPE FESS KATHLEEN JEFF Screenplay By TOM BLACKBURN • Based on a Novel By Mary Jane Carr Produced By BILL WALSH • Directed By WILLIAM BEAUDINE f Now you can visit Disneyland! For the first time on the Screen ... All the wonders of Walt Disney’s fabulous new Magic Kingdom. A. TRIP3 TO TECHNICOLOR 1111111 r \ I-*- nip rJ i — 1 £j_rJ_rJ_ ( j r-* ujj ( Continued from page 47) and joined the vaudeville act of the Bruxellos. . . . Mrs. J. J. Parker will close the Broadway theatre for the next two weeks and install Todd-AO equipment at a cost of $75,000. Entire balcony will be out. Hai’d tickets will be sold at $2 top on a two-day setup with three on weekends. . . . Hollywood theatre manager Rex Hopkins has set some kind of a record at the ace Evergreen neighborhood house by running “King and I” four weeks and no let up is yet in sight. . . . Liberty theatre manager Wil Hudson has a rock ’n’ roll midnite screen show set up. Providence The long-shuttered Metropolitan, for many years one of this city’s leading first run houses, will once again re-open, ac- cording to tentative plans recently re- leased. The 3,045-seat-house, second largest in the state, will offer stage at- tractions, on week-ends only, for the time being. Whether second and third run films will supplement the live shows could not be ascertained. During the past few years, since departing from first run screen attractions, the Metropolitan has opened and closed more than a score of times. . . . Local theatre owners, managers and others concerned with the attendance, or lack of same at downtown theatres were more than mildly interested in the recent report on the reasons causing the downward trend in all types of business in downtown Providence. Local mer- chants, businessmen and others con- tributed $25,000 for the intensive survey. The investigating group released a report indicating that downtown Providence was no longer a “monopoly,” but was ac- tually losing the battle for business to suburban shopping centers. ... It was learned that the fate of the proposed drive-in at the Shipyard Shopping Center hangs in the balance as neighboring resi- dents seek to halt the plan. San Francisco In connection with the engagement of “The Search for Bridey Murphy,” the Golden Gate is planning a series of inter- esting “wanted” ads in the papers. . . . “Oklahoma!” is still going strong at the Coronet, but rumor along the Row has “Around the World in 80 Days” replacing it soon. . . . “Giant” is scheduled as the next attraction at the Paramount. . . . “Seven Wonders of the World,” third Cinerama production, will have its West Coast premiere at the Orpheum Nov. 20. Proceeds from the premiere, sponsored by the Press and Union League Club, will go to scholarship awards for jornalism stu- dents. . . . F. W. Woolworth store here will tie-in with the nation-wide promotion for 20th-Fox’s “Love Me Tender,” the Elvis Presley picture, set for the Fox at Thanksgiving. The drive will be launched on Nov. 1, and continue until the picture opens. . . . Gilboy, part of National Film Service, now services prints for the Para- mount exchange here. . . . Film luminaries in town recently included Rod Steiger and Joseph Cotten and his wife. . . . Janet Rafferty and Regina Vaivads are new in the booking department at Allied Artists. St. Louis The Chamber cf Commerce of LeRoy, 111., has started a series of free movie programs at the Princess theatre in that city. Tickets have been distributed free by establishments holding membership in the chamber and no purchases are re- quired to secure them. . . . E. Cyrille Stewart, 60, who had been associated with the theatre business in Cincinnati, O., for thirty years, died recently at Christ Hos- pital in that city following a heart attack. For the last 12 years he had been identi- fied with the Associated Theatres. . . . Someone broke into the Avon drive-in, Breese, 111., recently but they got nothing as there was nothing to take. The theatre had just closed for the season and every- thing of value had been taken out. . . . The Illiana drive-in theatre, Danville, 111., has announced that it will be open every Friday, Saturday and Sunday only for the remainder of the season. Toronto Part of the local theatre scene since 1914, Shea’s theatre, Famous Players 2,373-seat first run house, is to be demol- ished at the end of the year to make room for an underground parking lot and garage, part of the city’s long-planned Civic Square. The house was originally built by Jerry and Mike Shea. Until World War II, it combined film and vaudeville. . . . D. C. Coleman, director of a number of Canadian companies, in- cluding Odeon Theatres (Canada), Ltd., died in Montreal recently. . . . Maritime regional representative of Adfilms, Ltd., Claude Fitzpatrick of Amherst, N. S., is now eastern divisional manager. . . . Shuffling of National Film Board per- sonnel resulted in the following appoint- ments: Walter Mittlested to become New- foundland supervisor, Ben Drew to Reg- ina as district officer and Wally Lee to be district officer in Winnipeg. Vancouver “War and Peace” was the top attraction here last week, smashing through to record-breaking grosses at the 3,000-seat Orpheum. . . . Business is on the up-beat in both downtown and suburban houses. . . . Dominion Sound has equipped the Patricia, Powell River, and the Roxy, Westview, both operated by McLeod Amusements Ltd., with magnetic sound. Houses are up-coast from Vancouver in the pulp paper area of British Columbia. . . . Ivan Ackery, Orpheum manager in charge of publicity for “War and Peace,” is in Victoria planning a campaign for the picture which opens at the Royal Victoria. . . . Maynard Joiner, Famous Players dis- trict manager, was elected a vice-presi- dent of the Greater Vancouver Tourist Association. . . . “The King and I” finished its 12th and final week at Dick Letts’ Strand. It broke the all-time attendance record for Vancouver. . . . The Odeon circuit re-opened the Kingsway here, making four houses in the area relit re- cently. . . . The recent attendance im- provement at city suburban theatres may well mean further openings of now dark houses. . . . Jimmy Adams from the Circle will manage the Kingsway, with Len Keen, former manager of the Odeon Lady- smith, replacing Adams at the Circle. Washington Mrs. Francis Storty, wife of the presi- dent of Midcity Theatre Corp., was hospi- talized for surgery at Georgetown Uni- versity Hospital. . . . Mrs. Jimmie Finney, secretary to Sam Galanty, divisional sales manager of Columbia Pictures, vacationed in New England. . . . Stanley Warner Theatres and Magna Theatre Corp. had a press-radio-TV preview of “Oklahoma!” at the Uptown theatre October 31. . . . Loew’s Theatres and Paramount Pictures offered a special student discount at the Capitol theatre for “War and Peace”. . . . Pat Boone, 22, new singing star, was voted “personality of the year” in show business by the Variety Club of Washington. FILM THE LIFE BLOOD OF YOUR BUSINESS WILL BE THE PRINCIPAL TOPIC AT ANNUAL CONVENTION INDEPENDENT THEATRE OWNERS OF OHIO DESHLER HILTON HOTEL COLUMBUS, OHIO November 13-14 TESTIMONIAL DINNER TO MARTIN G. SMITH November 13th, 7 P.M. 50 MOTION PICTURE HERALD, NOVEMBER 3, 1936 High Cost , Low Rentals Seen Cartoon Woe High and continually rising production costs, coupled with low rentals, are major problems in the cartoon field, according to Walter Lantz, veteran cartoon produc- er and his representative, Budd Rogers. They told the trade press in New York last week that “exhibitors appreciate the entertainment values in cartoons and shorts, but they do not want to pay for them.” Mr. Lantz, head of Walter Lantz Pro- ductions, which releases through Univer- sal Pictures, believes that the present film rental for a cartoon, which averages about $3.50 per booking, should be increased “to a $10 per booking minimum, but I’ll be satisfied if we could just get a 50 cent increase.” The industry veteran said that he is still producing 13 six-minute ani- mated cartoons in color annually at an av- erage cost of $35,000 and above. Cartoons get the best playing time of all short sub- jects shown in theatres, he asserted. He added: “Shorts are as important to the motion picture program as comics are to a newspaper, but the day of reckoning is coming closer.” Stating that a cartoon gross throughout the world is now about $50,000, he said that he reissues six of his best cartoons an- nually, besides the 13 new ones produced. Mr. Lantz’ independent company turns out six Woody Woodpeckers, three Chilly Willy cartoons and four specials. In reply to a question concerning the use of Cin- emascope for cartoons, Mr. Lantz said that the producers are not finding them practicable as “they cost more and ex- hibitors wouldn’t give us a nickel more.” Pennsylvania Houses Plead Tax Repeal McKEESPORT, PA.: This city has been formally advised by its theatre operators that unless the five per cent amusement tax is repealed next year, their houses will be reduced to partial operations. A formal protest was lodged by Louis Fordan, operator of the Stanley-Warner Capitol and Victor, and William Weiss, operating the Capitol and Liberty. Pathe Starts Feature Pathe Pictures, Inc., has started produc- tion on its first feature-length film, it is announced by Ben Frye, president of the motion picture company. Titled “50 Years of Thrills,” the film, to be produced by Academy Award winner Robert Youngson, will be a review of the most spectacular news shots ever filmed. Business Gains, Odeon Of Canada Reports TORONTO: Business in 70 per cent of Odeon Theatres’ Ontario operations “had this year stabilized their box office re- ceipts, and in many cases, substantial in- creases were being shown as compared with the same period in 1955,” states a press release from the company. The re- lease issued from the head office here fol- lows a series of three regional meetings in Hamilton, Toronto and Kingston, at which no more than 12 managers were at a single session. Managers promised an all-out effort to promote the coming prod- uct, the release stated. L. W. Brocking- ton, president, was not at the meetings, since he was preparing to leave for India, where he will head the Canadian delega- tion to the UNESCO conference. Other executives at the meetings were E. G. Forsyth, assistant general manager; Har- vey Hunt director of film buying and booking; Ron Leonard, director of adver- tising; Bob Gardner, director of movie clubs and screen advertising, and Steve R. McManus, Ontario district manager. Entertainment Industry Will Honor Durante A mammoth “Entertainment Industry Tribute in honor of Jimmy Durante,” sponsored by the Jewish Theatrical Guild of America, will be held at the Waldorf- Astoria March 17, it is announced by Har- ry E. Gould, executive vice-president of the Guild, who will serve as general chair- man of the show business dinner. Mr. Gould said: “Jimmy Durante has become a national institution with a firm hold on the hearts of millions of Americans. He has earned the admiration of all branches of the entertainment industry, and this tribute will reflect our affection for him.” Three New Terrytoons Characters Developed Three new characters have been devel- oped for Terrytoons 1957 CinemaScope shorts release, it is announced by William M. Weiss, vice-president and general man- ager of the New Rochelle animation stu- dio. The first to be delivered to 20th Cen- tury-Fox will be John Doormat, a fad- conscious, typical Mr. America character. Next on the production schedule is Gaston Le Crayon, a smock and beret clad painter, and still in the storyboard stage is the third character, Clint Clobber, a grum- bling apartment house superintendent. Schaefer Joins Fields Unit HOLLYWOOD: George J. Schaefer has been set as production-distribution execu- tive for Fields Productions, independent production company headed by Ralph Fields, whose first picture will be “An- niversary Waltz.” WARNERS’ SHOWINGS FOR THE TRADE NOVEMBER 14 20th Century-Fox Screening Room Home Office 1052 Bwoy 2 00 P.M. 321 W 44lh St 2 15PM ATLANTA DETROIT 20th Century-Fox Screening Room 20th Century-Fox Screening Rm 197 Walton St. N.W. • 2 00 P.M. 221 1 Cats Ave. 2 00 P.M. BOSTON INDIANAPOLIS 20th Century-Fox Screening Room Universal Screening Room 115 Bway 2 15 P.M. 51 7 No. Illinois St. 100 P.M. BUFFALO JACKSONVILLE Motion Picture Operators Hall Florida Theatre Bldg. Sc. Rm. 498 Pearl St 8 00 P.M. 128 E Forsyth St 2 00 P.M CHARLOTTE KANSAS CITY 20th Century-Fox Screening Room 20th Century-Fox Screening Rm 308 S. Church St. • 2 00 P.M. 1720 Wyandotte St. 1 30 P.M CHICAGO LOS ANGELES Warner Screening Room Fox Westcoost Sc. Rm. 1307 So. Wabash Ave. 1.30 P.M. 1837 So. Vermont Ave 2 00 P.M CINCINNATI OKLAHOMA RKO Palace Th. Screening Room 20th Century-Fox Screening Rm 12 E 6th St 8 00 P.M 10 North Lee St. 10 00 A.M. CLEVELAND OMAHA 20th Century-Fox Screening Room 20th Century-Fox Screening Rm 2219 Payne Ave. 2 00 P.M. 1502 Davenport St. 1:30 P.M. DALLAS PHILADELPHIA 20th Century-Fox Screening Room Warner Screening Room 1803 Wood St. 2 00 P.M 230 No. 13th St. - 2 00 P.M. DENVER PITTSBURGH Paramount Screening Room 20th Century-Fox Screening Rm 2100 Stout St. 2 00 P.M. 1715 Blvd. of the Allies 130 P M DES MOINES PORTLAND 20th Century-Fox Screening Room Star Screening Room 1300 High St 12 45 P.M. 925 N W 19th Ave. 2 00 P.M MEMPHIS SALT LAKE CITY 20th Century-Fox Screening Room 20lh Century-Fox Screening Rm 151 Vance Ave. 3 00 P.M. 216 East 1st South 1:00 P.M. MILWAUKEE SAN FRANCISCO Warner Theatre Screening Room Republic Screening Room 212 W. Wisconsin Ave. 8 00 P.M. 221 Golden Cate Ave. 1 - 30 P M. MINNEAPOLIS SEATTLE Warner Screening Room Egyptian Theatre 1000 Currie Ave. North 2 00 P.M. 2 00 P M. NEW HAVEN ST LOUIS Warner Theatre Screening Room S renco Screening Room 70 College St 130PM 3143 Olive St 1 00 P.M NEW ORLEANS WASHINGTON 20th Century-Fox Screening Room Warner Theatre Screening Room 200 S. Liberty St. 2 00 P.M 13lh & E Sts NW 10 30 A.M. MOTION PICTURE HERALD, NOVEMBER 3, 1956 51 Census Unit Reports on '54 Film Receipts WASHINGTON: Firms engaged in produc- ing and distributing theatrical films had gross receipts of $706,489,000 in 1954, the Census Bureau has reported. Receipts of companies servicing production and distri- bution firms were put at $160,149,000, but these, of course, came out of and dupli- cated the receipts of the production-dis- tribution companies. Producers and dis- tributors of films for TV had additional receipts of $85,400,000, the Bureau said. Comparable figures for earlier years are not available, Bureau officials said, ex- plaining that earlier figures were collected and issued on different bases than the 1954 figures. More detailed reports are due shortly on the operation of production, distribution and service firms in 1954, based on the comprehensive censuses of business and manufacturing taken last year. The Bureau also revised slightly its earlier-released figures on theatre business in 1954, showing 18,491 theatres with total receipts of $1,407,151,000 two years ago, compared with 18,532 theatres with $1,614,- 235,000 of receipts in 1948. Preliminary figures released in May had shown 18,560 theatres in 1954 with $1,415,763,000 in re- ceipts. The production-distribution receipts na- turally come largely out of the theatre receipts, and are not receipts from the public in addition to the theatre receipts. According to the Bureau, 775 firms were engaged in actual film production in 1954, with total receipts of $130,355,000. These firms included 541 companies engaged in producing films for theatres and other non- television use, with receipts of $69,007,000 and 234 firms producing TV films, with receipts of $61,348,000. Another 421 com- panies were engaged in casting services, scenery rental, camera rental, and other services allied to film production, and these firms had $136,279,000 in receipts. The revised figures for theatre receipts published last week showed 14,716 con- ventional and portable theatres with re- ceipts of $1,179,371,000, and 3,775 drive-in theatres with receipts of $227,780,000. The 1948 census showed 17,721 conventional theatres with receipts of $1,567,402,000 and 811 drive-ins with receipts of $46,833,000. All receipt figures include admissions taxes. The previous film industry censuses took figures from production and distri- bution in different years — the former in 1947 and the latter in 1948 — and included different types of companies and different types of receipts. For example, the 1947 census of manufacturing showed 277 firms engaged in film production and service activities, with “total cost of work done” reported at $460,143,000. The 1954 census counted more companies, but used the artificially-calculated “receipts” figure. Sees German Trade Styled On Hollywood HOLLYWOOD: A resurgent post-war Ger- man film industry, striving to attain its pre-war status, may need to look to Holly- wood as its model, Horst von Hartlieb, head of the West German Film Distribu- tors Association, said here last week. Dr. von Hartlieb is in the United States study- ing problems of self-censorship and foreign distribution. Speaking of Germany’s cen- sorship body, he said it is made up of individuals from the industry, the state and the church. Pictures, he added, are censored only after they are completed. “We are working for closer cooperation between this censor body and the produ- cers, so that if possible it may read and advise on pictures while they are still in the script stage, as the MPAA does here,” he said. Began in 1949 “Self-censorship,” he said, “began in Germany in 1949, after the occupying allies turned the job back to the state. Already,” he notes, “there is a strong movement among churchmen to raise the age limit for viewing adult films from 16 to 18 years. Industry would like all films made for all audiences, instead, as in most European countries, of having films made for both adult and juvenile audiences and the separation enforced by law.” Dr. von Hartlieb said that the burgeon- ing German film industry should not at- tempt to send its pictures abroad until the foreign public has been prepared with proper publicity and exploitation to re- ceive them. A new UFA organization, he said, was now operating, although it will not enjoy the virtual monopoly of the old UFA. “We are making pictures which can and should be seen in America,” he said, “but up to now they have been seen — and very few of them have been seen — in the art houses. We are now studying the problem of whether to dub in English or to release them in German with Eng- lish subtitles.” Belong to Group YOU WOULDN'T LET A PLUMBER TINKER WITH YOUR CAR! Your car plays a vital part in the life of you and your family. You wouldn't dream of letting a plumber tinker with it. So, too, your sound equipment is the most important property in your theatre. It deserves the expert technical attention only ALTEC can give it. 6,000 satisfied ALTEC SERVICE customers have learned this. HOW ABOUT YOU? SPECIALISTS IN MOTION PICTURE SOUND 161 Sixth Avenue • New York 13, New York a Division ol ALTEC COMPANIES. INC. Most major American film export com- panies belong to the German Distributors’ Association which Dr. von Hartlieb heads. American films shown in Germany num- ber about 230 yearly of the 500 films exhibited there. The “take-back” money — which the German Government insists should be taken out of the country because of its efforts to avoid foreign debt — amounts to about $10 or $12 million, or 40 per cent of the gross $25 million earned by American films there. The balance of this earning is spent for distribution costs within that country. 52 MOTION PICTURE HERALD, NOVEMBER 3, 1956 \ Sees Standard Projection Ratios Set The so-termed “technical revolution” has simmered down to a point where wide-screen is leveling off at 1.85 to 1 and the CinemaScope aspect ratio is closer to 2.34 to 1 in the opinion of Merle Chamber- lin, member of Hollywood Studio Projec- tionists Local 165, IATSE, and chief of pro- jection at the MGM studios. Mr. Chamber- lin’s viewpoint is presented in the autumn issue of the Bulletin of the International Alliance of Theatrical Stage Employees and Moving Picture Machine Operators. According to Mr. Chamberlin, “Standardi- zation seems to have arrived. I will admit that while not all pictures are projected at 1.85 to 1, wide screen product is being photographically composed at that ratio. You could feel perfectly at ease in inform- ing members that non-anamorphic, wide- screen pictures can be tied off at 1.85 to 1.” Mr. Chamberlin added: “In cases where keystone is part and parcel of the pro- jection installation, compensating mask- ing adjustment and aperture filing will cut that ratio down a small amount, but in all cases, the projected picture will be much more pleasing if we start at the same ratio point in the projector head. That will also cut down five or six sets of apertures.” The Hollywood projectionist said that the anamorphic CinemaScope ratio is closer to where it should have been all along. “Now that most CinemaScope prints have mag-optical tracks, the actual photo- graphic ratio ends up on the film at 2.34 to 1. With proper masking our projected CinemaScope picture should be closer to 2.25 to 1. I think we will agree that this ratio change will contribute materially to eliminating the viewed-through-a-mail- slot effect of many CinemaScope presenta- tions,” he said. Mr. Chamberlin also mentioned other projection equipment in which standardi- zation and modernization are taking place, among them being a new approach to “heat-on-film” problems, new carbons, apertures, light level, excessive grain and definition in prints. General Teleradio Names New Eastern Sales Head Theodore W. Herbert, account executive with the Mutual Broadcasting System, has been named eastern sales manager for the General Teleradio owned-and-operated ra- dio and TV stations, Wendell B. Campbell, national sales vice-president for RKO Tele- radio Pictures, Inc., announced. Mr. Herb- ert, whose appointment became effective November 1, joined the MBS sales organi- zation last year. Edward L. Hyman Tours AB-PT Affiliates Edward L. Hyman, vice-president of American Broadcasting-Paramount Thea- tres, is on a country-wide tour of his com- pany’s affiliates with the aim of empha- sizing local-level showmanship. The return to basic merchandising of pictures is a major point in the 10-point program pro- mulgated by Leonard H. Goldenson, AB- PT’s president, and Mr. Hyman, and recently stressed at the national conference of the company’s affiliates and executives. Mr. Hyman has met with managers of theatres operated by AB-PT and its affil- iates in Detroit, Buffalo and Rochester urging greater local-level cooperation be- tween the theatres and the distributors in the advertising and exploitation of pictures. Loren L. Ryder Leaves Paramount HOLLYWOOD: Loren L. Ryder, Para- mount technical head who has been with the company since 1929, has resigned as head of the studio’s sound department to devote more time to outside business in- terests, including Ryder Sound Services and Magnetic Sales Corp. He will be re- tained by Paramount as technical consult- ant to Y. Frank Freeman, vice-president and studio head. Mr. Ryder will remain, however, as sound department head until a successor is named. Cinemascope COLOR BY TECHNICOLOR A WARWICK PRODUCTION Reserve It Now for New Year’s Eve from COLUMBIA! \ You'll be a Friend to thousands upon thousands —and they’ll be a Friend to you —by supporting our Industry's own tuberculosis hospital where NO CHARGE is ever made to patients. Everyone in our industry is eligible. Support it with your CHRISTMAS SALUTE contribution NOW! All patients are from Amusement Industry. WILL ROGERS More than 1500 TB cases have been cured. Successful in 94% -plus of our cases. MEMORIAL HOSPITAL Most pleasent living conditions for patients, unci RESEARCH No finer care and treatment anywhere. Constant Research. LABORATORIES, Saranac Lake, N. Y. NATIONAL OFFICE: 1501 BROADWAY, NEW YORK 36, N. Y. ONCE-A-YEAR Time to help your Industry Friends CHRISTMAS SALUTE Will Rogers Hospital gratefully acknowledges the contribution of advertising production by Paramount Pictures, and of space by this Publisher An International Association of Motion Picture Showmen — Walter Brooks , Director "OLD MOVIES— Can Destroy Old Illusions" MARTIN G. SMITH sends us a clip- ping of Ray Oviatt’s constructive column, “On the Beam” — from the Toledo Blade, with the above headline, and we thoroughly agree. It’s always been painful to look again at old movies that we thought were good, and find out how crude they were. The enthusiasts for an- cient films have done more than any others to keep motion pictures in their infancy. Ray Oviatt says, “With the floodgates open and the surge of old movies from the major studios spilling into the stream of imports and lesser films, the public will be in for a variety of television viewing experience. We’ll be alternately amused, horrified, disillusioned, educated — and more often bored silly. The blunt fact of the matter is that the stations, in order to get one film worth seeing today, will have to buy many which were scarcely worth the price of admission when they were originally shown.” “Another surprising thing which is evi- dent in certain elderly films is the devel- opment of some actors from rather inept beginnings. Some, who are now considered among the best of the profession, per- formed in early films like understudies for the junior class play. There may be other revelations which may dawn on the TV viewer. He will be impressed, and perhaps puzzled. The old movies may thus be very useful to students or amateurs, but disil- lusionment comes with seeing many of the cinema idols, the glamor girls of yore, leading men who are still popular, toppled from their pedestals. All this is no more than we have known and felt in every previous experience with old films. But now, with the flood of such attractions on television, the eyes and the ears of critics and opinion-makers are focused — not on television, where they see the stuff — but on the motion picture thea- tre, who must assume the bulk of the blame for everything that’s wrong, without getting a full measure of credit for so much that is new and right. It has long been typical of our critics to lightly skip over our newest and best to dig back into the ancient past. WINNERS ARE JUDGES Ir was a happy inspiration— to create a panel of four judges in this quarter, and have John McKim down from Toronto, and George Kemp, over from Passaic, to meet two previous Quigley Grand Award win- ners, Charles Hacker of the Music Hall, and Lige Brien, of United Artists, wearing their judicial robes and giving expert opinions on entries that were on the table for judg- ing. They found out just how they won their own honors, and will pass on to others the formula and procedure that makes prize- winning compaigns. You'll find the story of the judging, and the results, in the following pages— with our comment, that there is a shortage of stout effort in our United States, and strong evi- dence to prove that there is a superior brand of showmanship in overseas situations. We've deplored this let-down, in the past year, and we have said before that they work harder for better results, in many countries across the seas, with our own films. Something must be done about it, from our sources, and it must be soon. We'd like to alert Elmer Rhoden, for in- stance, and/or Leonard Goldenson, and tell them that things are not as good as in memorable past, with showmanship exam- ples springing out of their two big circuits The zest isn't there; the results show it, and also the box office. We have a new kind of motion picture, and a new industry, for those who are awake and alive to it — and will push into the future with as much energy as these historians delve into the past. It will pay substantial dividends if you seek out your own newspaper by-line writer and talk him into a frame of mind to fully ap- preciate our new dimensions. And be sure that you also appreciate our new product, personally, for. you must believe in what you’ve got to sell — and we have it. UP HOME, in Pennsylvania, we have a town with few television aerials — but don’t be fooled. The town is “on cable” — and the community antenna is on top of the hill. Business is so good that now we have two local companies selling cable rights. The original, with one station, got $50. to connect and $5 a quarter. The re- cent addition asks $108 to connect and $3.50 per month, which is quite a differ- ence. The second cable company also sup- plies Wilkes-Barre and Scranton (a total of three stations) in addition to Bing- hamton. They say that Scranton will be the “most powerful television station in the United States” when it gets something like a million-watts power. But you can see how far the home folks will go to get television against difficulties. We will admit that cable reception comes in “like a local station.” The young men, mostly veterans, who are installing the second system, had to work nights, so one evening we found them working, in pitch darkness. “What is this cable?” we asked “Lum- inous?” And fast came the reply, “Nope, coaxial.” We haven’t anywhere near seen the dimensions of direct-cable installa- tions in these United States. ■ ■ ■ MIKE TODD has developed what is known as a “hard ticket” along the Main Stem. In the vernacular of the Broadway box offices, they mean it is hard to get, and “Around the World in 80 Days” — next to “My Fair Lady” — is the toughest ticket in town. The show is a pure delight — and Mike Todd deserves all credit. Bos- ley Crowther, in the Sunday Times, says that Mike has used the priceless ingredi- ents “Imagination and Wit” — and this time, we’ll agree with Boz. Not only is it big, boisterous and beautiful, but to his fur- ther credit — it is never dirty, he never lets down with a smirk towards the smoking room, there is no sex, no sensationalism — so families even unto the third and fourth generation can enjoy “Around the World” as much in this age as when Jules Verne wrote it. — Walter Brooks MANAGER'S ROUND TABLE SECTION, NOVEMBER 3, 1956 55 A truly picturesque photograph of London's Empire theatre, with a box office line entirely around the block and out of sight at the extreme right, for the opening of Sam Goldwyn's "Guys and Dolls." "Surrey With a Fringe on Top" as street ballyhoo for Rodgers and Ham- merstein's "Oklahoma!" at the Odeon theatre, Leicester Square, London (distributed by RKO in England and on the continent.) "Bold and Brave" bicycle ballyhoo was a street stunt along safety lines, for the RKO picture, at the Hippodrome theatre, Gloucester, as arranged by Frank Witts, manager. Hail , Britannia! And this was also promotion for "Oklahoma!" with these British models wearing stockings with a "motif" for publicity. RKO's "Great Day in the Morning" and "While the City Sleeps" had this convincing display with the sponsorship of cooperative advertisers, for the Gaumont theatre, Halifax. If business is going to the dogs — it's this way in Britain, with good cooperation at the dog tracks for the Riti theatre, Clap- ton as exploitation by Norman Lee, for "It's a Dog s Life. 56 MOTION PICTURE HERALD, NOVEMBER 3, 1956 QUIGLEY WINNERS SERVE AS JUDGES IN THIRD QUARTER Novelty in judicial procedure, in the tmrd quarterly judging, with four in the panel, instead of the usual three, and two current Quigley Grand Award winners acting with two previous Quigley Grand Award winners, to meet each other, and view the examples of showmanship that Will maKe future history. And witn ihe uenent of their experience and good judg- ment, tney were unanimous (well, almost so:) in picking the winners. F. A. Wiggins, manager of the State theatre, Minneapolis, was chosen as the quarterly winner in large situations, with ms good campaign on “Away All Boats” — well supported by specimens of news- paper and other advertising. Elmer De- Witt, manager of the Mailers Theatres in Defiance, Ohio, for good campaigns which he has executed on several recent attractions at the Valentine theatre, was the winner for small situations. His pack- age of promotion had a write-up in the Round Table in the issue of October 20th. The judges agreed that we had a good lineup of entries from live-wire contend- ers, and our only great regret was the apparent let-down in the domestic field, as compared with Canada and overseas. Too many of our own boys are coasting. They are pleased to meet you — and each other! Our judges included two old timers in these meet- ings, who were Quigley Grand Award winners in the past. At left, Charles Hacker, who won the plaque in 1947 while with Standard Theatres in Milwaukee — and is now Manager of Operations at the Radio City Music Hall; then Lige Brien, who was twice a winner, in 1939 and 1944, in the Stanley Warner Pittsburgh zone — and is now Director of Special Events for United Artists, in New York. Across the table, John McKim, winner in small situations for 1955, from the Odeon theatre, Ladysmith, B. C., and George Kemp, manager of Stanley Warner’s Montauk theatre, Passaic N. J., who won in 1955 in large situations. 3rd Quarter Citation Winners Close to the Top The Scroll of Honor winners, in the us- ual alphabetical order, were closer than close, to the top brackets, and therefore are entitled to extra bows. You’ll find these listed without further comment, but we ll make a point of referring back to such showmen in action in future meet- ings: Barry Carnon, Hyland Theatre, Toronto, Ont., Canada Ken Davies, Odeon Theatre, London, Ont., Canada D. Lucente, Broadway Theatre, Phila- delphia, Pa. D. L. Nicholson, M-G-M Pictures, Johan- nesburg, South Africa C. E. Rainey, Odeon Cinema, Norwich, England R. M. Savage, Gaumont Cinema, Chi- chester, England Myron Talman, Fox Ritz Theatre, Los Angeles, Calif. Winner in the overseas classification was F. Budd, of the Odeon theatre, Mel- bourne, Australia, although this was nip and tuck. We get more good campaigns from Australia than most of you could believe, and perhaps there should be some way that nearby contenders could see more vividly just how these good show- men go about their activities, to win. Frankly, we could pick winners from such exhibits as these without comparisons. C. E. BUSHNELL Odeon Bournemouth, Eng. J. J. COLLINS State Melbourne, Aust. SABIE CONTE Plaza Englewood, N. J. A. G. CRISP Gaumont, Norwich, Eng. BERNARD DECOTSKY Beacon Pt. Washington, N. Y. WILLIAM V. DWORSKI Harris, Findlay, O. BILL ELDER Warfield San Francisco, Cal. JOHN ENDRES Calderone Hempstead, N. Y. HERMAN FLYNN Victory Sydney, Aust. ED FORCE Brandeis, Omaha, Nebr. LEE E. FRASER Bloomfield Birmingham, Mich. CHARLES GAUDINO Loew’s Springfield, O. E. L. GROVES Gaumont Finsbury Pk., Eng. W. A. C. HALL Capitol Cardiff, Wales JAY HANDELMAN Rio, Detroit, Mich. BILL HENDLEY Majestic Gettysburg, Pa. FRANK HENSON State, St. Louis, Mo. J. D. HOLE-GALE Odeon, Halifax, Eng. EDDIE HOOD Valencia, Macon, Mo. CHARLES JONES Plaza Southampton, Eng. GEOFF JONES Roxy, Newmarket, Can. MEL KATZ Embassy, Johnstown, Pa. ROBERT KEPPEL Pelham, N. Y. A. LA HAYE Gaumont Camden Town, Eng. FRANK LAWSON Danforth, Toronto, Can. RICHARD LAWLESS Wests Adelaide, Aust. MEL LAWTON Prince Edward Sydney, Aust. A. LOEWENTHAL Ward, New York JOHN LORENZ Pascack Westwood, N. J. a. McClelland Majestic Tasmania, Aust. CECILIA MANTUA Paramount Films Barcelona, Spain J. R. MARONEY His Majesty's Hobart, Aust. TONY MASELLA Palace, Meriden, Conn. VICTOR NOWE Carlton Toronto, Can. R. W. PARKER Savoy, Exeter, Eng. GEORGE PETERS Loew's Richmond, Va. D. C. REES Odeon, Sketty, Eng. R. M. RICHARDS Majestic Melbourne, Aust. ROBERT E. ROSEN Dakota Bismarck, N. D. J. A. SCARDIFIELD Odeon, Dover, Eng. S. L. SORKIN RKO Keith's Syracuse, N. Y. TRACY STAMATIS Manhasset Manhasset, N. Y. CHRISTINE SUTTON Metro, Abiline, Tex. MYRON TALMAN Ritz Los Angeles, Cal. W. G. THOMAS Gaumont, Bristol, Eng. JOE TOLVE Capitol Port Chester, N. Y. H. W. WATSON Odeon Peterborough, Can. WILLIAM WYATT Virginian Charleston, W. Va. MOTION PICTURE HERALD, NOVEMBER 3, 1956 57 Lee Frazer The Leading Force In Birmingham Birmingham, Michigan, that is — we like to write heads that attract the eye, com- pel attention, and then have to be ex- plained— because they also have to fit, and it’s so many type units to the measure. It took longer to write this head than it will to write the story, for Lee has fur- nished that, as his submission for the Quigley Awards. We’ve been getting good stuff from the Bloomfield theatre — in Birmingham, Mich., for quite a while now. His campaign on “Trapeze” was equal in scope to the one he sent on for “The Benny Goodman Story” — and that in- corporated the selling approach that goes best in his situation. He toned down the circus angle in “Trapeze” to build up the human interest story, which was better policy. And, he played down “Trapeze” for children, by running a special chil- dren’s show the same day, and thus ac- cented his principal feature for adults. It resulted in near-capacity for both attrac- tions, and everybody was happy. He had sponsorship for cooperative ad- vertising on “Trapeze” with a local auto- motive dealer putting up $150 in cash prizes, and going all the way in displays and newspaper tieups. The Ford dealer also went for a giveaway of guest tickets, which was included in his double-barreled newspaper space. A line-up of Ford cars in front of the theatre was a detail. Mr. & Mrs. John Me Kim Visit the Round Table The McKims were here — John and Connie, as part of their reward for win- ning the Quigley Grand Award. Odeon Theatres (Canada) Ltd. sent them to New York for a holiday, and so John could serve as a judge in the third quarter. A nice young couple — who have worked to- gether as a team, out in Ladysmith, B. C. The town has a population of 2,000 — but John and Connie put in long hours, and so he will receive his Grand Award plaque in Toronto on November 19th, at a general luncheon meeting of the Motion Picture Theatre Owners of Ontario, with Martin Quigley, Jr., making the presenta- tion. His circuit thought so well of his ideas and energy they brought him to the head office in Toronto, where he is now assistant director of advertising and pub- licity. Ivan Ackery, who was here not long ago, gave us a good account of what he thinks of showmen who originate in British Columbia — and wanted to come East so he could applaud in person. ▼ Allied Artists’ merchandising campaign for the opening of “Friendly Persuasion” at the Radio City Music Hall was climaxed this week with full-page, double-truck ads in four metropolitan daily papers, with the benefit of Gimbel’s as a friendly, co- operative advertiser. Gimbel’s like the title, which is the essence of their own selling approach, and use it several times in their copy, elsewhere in the current advertising. The picture also had a fine, full-page ad in Sunday’s New York Times drama section, displaying their pride in the next attraction at the Music Hall. It isn’t every film that is conceded to be “a Music Hall” picture, from the start. Manager Uses Ticket Stubs As "Stamps' M. C. Moore, manager of the Coosa the- atre, Gadsen, Ala., sends us a sample of a particularly bright idea for adapting the “trading stamp” plan for movie theatres, and keeping it entirely on the premises. He has two kinds of card folders, one for adults and one for children, and each has room for twelve ticket stubs, just the part the doorman hands back to the patron, to be pasted in and put together in book form. When each book is completed, it is worth one free admission for either an adult or a child, depending on which have saved their coupons for this treat. The more we see of the trading stamp situation, the more we are convinced that it is a far better thing for the theatre man- ager to devise his own “stamps” — and use them within his own control. The indus- try, as such, will never make great strides as a result of using other stamps, as the nationally known brands. Our admission prices are generally lower than $1 and thus stamps cannot be given for any smaller sums. The redemption and han- dling problems are greater for theatres than for retail establishments and our re- wards will be less, in the aggregate, with- out any real incentive to buy tickets. The stamp book is “sponsored” by a cooperative advertiser — and thus, at no cost to the theatre. He says “it works wonders” — and that we can readily be- lieve. It’s his own idea, for which much credit is due. Teen-Agers Go Plumb Crazy About Elvis Presley Times Square looked like New Year's Eve, v/ith thousands of cheering fans and sightseers, at the unveiling of the 40-foot figure of Elvis Presley over the marquee of t' e Pa'ano-nt theatre, where the rew 20th Century-Fox picture, “Love Me Tender," opens on Nov. 15th. They even presented the figure with a 9-foot wrist watch as a token of esteem! The Elvis Presley Fan Clubs are campaigning to "Let Elvis Live-" — and r.ot be killed off in the script of his very i)u\ ; mi./ first film. The picture is now complete with two endings, for choice. The roar that went up when the figure was unveiled is now duplicated in front of every hotel where Elvis can be tracked down — and he changes his address frequently, but the teen-age sleuths can always find him. Forty-six separate fan clubs paraded — coming from miles around — and it's nothing to what the Paramount will be when the picture finally opens. 58 MOTION PICTURE HERALD, NOVEMBER 3, 1956 RULES OF THE owm en in Col. Bob Cox beats everybody to the punch by wishing us a Merry Christmas and a Happy New Year — which proves how really far ahead he plans things, as a showman. His booking of “The Opposite Sex” was a fast one, with no time for usual preparations, so he did the unusual — a folder “for men only” — which showed “The Opposite Sex” as men seldom see them, illustrated with poses out of the pressbook, the gals in their undies. He also used an ad in the local “TV Guide” ▼ Lou Tarasiuk, manager of the Roxy the- atre, St. Thomas, Ontario, is a new mem- ber of the Round Table and subscriber to the Herald, so he starts off well by send- ing his campaign on “Guys and Dolls” as an entry for the Quigley Awards in the fourth quarter— and tear sheets to show his contest for the feature. ▼ Ed MacKenna, manager of the Joy the- atre, New Orleans, had a contest to nomi- nate the most courteous policeman in the Crescent City — and awarded cash prizes, not only to the policeman, but also to the lady who named him. Good public rela- tions that paid off in plenty of publicity for the cop on the beat, and for his friend- ly neighbors and fellow citizens. News- papers played up the story. T Tea rooms around the country were natural tieups for “Tea and Sympathy” — all they had to add was sympathy — and a theatre manager could use “Friendly Per- suasion” to get results. Arnold Gates, man- ager of Loew’s State, Cleveland, Ohio, was one who poured the tea and got the sympathy. ▼ Jay Handelsman, manager of the Rio theatre, Detroit, launched his Kiddie Matinees this fall and says “the results were very disappointing” — so he added three give-away puppies, in a contest, that brought them back a’trooping. Fanchon & Marco, in St. Louis, have an excellent 32-page “Movie Guide” of their own, issued for October and November. A good job, with some editorial matter and illustrations to carry out their schedule. No indication of. any publishing source other than the circuit — and one back page of advertising, from Coca-Cola. John DiBenedetto, manager of Loew’s Poli theatre, Worcester, Mass., dug up a raccooon coat, without moths, we guess, and used it as street ballyhoo for “The Best Things In Life Are Free” — which came out of the same era in our history. Attracted a lot of attention — and may re- new a vogue, for there’s a cold winter coming. T One we’ve known, Arch Jolley, is execu- tive secretary for the Motion Picture The- atres Association of Ontario — a “United Front for the Industry” in Canada, who are arranging the luncheon meeting and following events beginning November 19th, in Toronto. Martin Quigley, Jr., Editor of the Herald, will be a speaker at the luncheon, and will present the Quigley Grand Award plaque to John McKim, of Odeon Theatres, on that occasion. ▼ Plenty of good promotion on “Solid Gold Cadillac” from down east — the latest being Sid Kleper’s campaign from Loew’s Poli, New Haven, but New England theatres have been leading in this exhibit of show- manship, as we observed up there. T Japan Air Lines, with offices in key cities, do things with a flourish that is colorful and in keeping with their country. So, they have issued a special bulletin on “Teahouse of the August Moon” — the October number of their “Pacific Courier” — and it will be an inspiration to show- men who see a copy of it. Four pages of good pictures and lively comment on the MGM picture. T Jack Auslit, lively representative of Quigley Publications in New Orleans, nominates Rene Brunet, who owns and manages the Imperial and Famous Thea- tres, both neighborhood houses, for mem- bership in the Round Table. Jack says he is a live wire and consistently on the lookout for new promotions, etc. Asa Booksh, old friend at RKO Orpheum thea- tre, just across the street from the Saza- rac Bar, is another in New Orleans we like to hear from. SAVE MONEY ON PREVUES Use Filmack's New, Deluxe 3 Frames With Copy, Photos and Off Stage Talk .-ASL Use as Prevues, Advance or Cross Plugs! Used by many circuits ril JLf ACU 1327 S. Wabash rlLfrlAlA Chicago, III. QUIGLEY AWARDS Q I TWO Grand Award plaques will be J I awarded annually to the two theatre managers or theatre publicity men whose exploitation and promotion campaigns are adjudged best throughout the year, one in in smaller situations, where the manager is "on his own" — the other in larger cities, where there may be circuit cooperation. • Every three months a committee of judges will appraise the campaigns sub- mitted by contestants during the preced- ing quarter period and select two show- men to receive the Quarterly Awards for outstanding achievement. The next seven best will receive Scrolls of Honor. Cita- tions of Merit will be awarded to forty theatre men whose work is outstanding. • Consistency of effort is of paramount importance. Single submissions are less likely to win awards, which are made on the premise of sustained effort, but these may have news value in the Round Table. • No fancy entries are necessary. Costly and time-wasting "gingerbread" decora- tions are not encouraged. • In addition to exploitation on feature pictures, entries may be made on short subjects, serials, stage shows, or institu- tional and civic promotions. • Evidence proving authenticity of each entry should be submitted, such as photos, tear sheets, programs, heralds, etc. • The Round Table cannot undertake to prepare campaign books for submission to the judges from material sent in without assembly at the source. • The Quigley Awards make no distinction for size of theatre or community except the two classifications above. The judges make full allowance for individual show- manship displayed by comparing budgets, newspaper facilities and assistance from distributing companies. • In addition to the awards mentioned, special Certificates of Merit will be awarded quarterly and annually to show- men from outside the United States and Canada. The campaigns submitted by theatre men abroad which are deemed of special merit shall be included in the an- nual competition. Address all entries to: QUIGLEY AWARDS COMMITTEE MANAGERS' ROUND TABLE 1270 Sixth Avenue, New York 20, N. Y. MANAGER'S ROUND TABLE SECTION, NOVEMBER 3, 1956 59 CLASSIFIED ADVERTISING Fifteen cents per word, money-order or check with copy. Count initials, box number and address. Minimum insertion $1-50. Four insertions for price of three. Contract rates on application. No border or cuts. Forms close Mondays. Publisher re- serves right to reject any copy. Film and trailer advertising not accepted. Classified advertising not subject to agency commission. Address copy and checks: MOTION PICTURE HERALD, Classified Dept., Rockefeller Center, New York (20) USED EQUIPMENT RECONDITIONED NEUMADE FILM CABINETS 6-10-12 sections @ $2 section ; Golde Automatic Rewind w motor, like new $59.50: rebuilt Griswold R-2 splic- ers $15.95. S.O.S. CINEMA SUPPLY CORP., 602 W. 52nd St.. New York 19. EXCELLENT COATED PROJECTION LENSES — many brand new! Wollensak “Sunray” Series I: 3a+ '. 5", 5M>", 6". 7%" — $35 pair. Superlite Series m “C” coated 2%'', 3", 3%" $150 pr. Others avail- able--tell us your needs. Trades Taken. Wire or telephone order today. S.O.S. CINEMA SUPPLY CORP., 602 W. 52nd St., New York 19. FOR SALE, COMPLETE EQUIPMENT 400-SEAT theatre, CinemaScope, wide screen, modern air condi- oning including Pomona deep well pump, etc. BOX 2940. MOTION PICTURE HERALD. WANTED TO BUY WISH TO PURCHASE 800 USED CHAIRS, MUST *oe modern and in perfect condition. Quote prices and if possible send photos. Write to JEAN CONIA, Hotel A'manac, 71st St. and Broadway, New York City. DRIVE-IN EQUIPMENT IN CAR SPEAKERS $4.25— YEAR WARRANTY! 4" unit, steel ease, attractive blue-white finish. Set 2 speakers, junction box $12.25. S.O.S. CINEMA SUPPLY CORP., 602 W. 52nd St„ New York 19. SEATING SEAT COVERS: SEWED COMBINATIONS. 95c up: all colors. Send $1.50, old cover, will duplicate, best match. Vinyl leatherettes: all colors: 54 inches wide; $1.10 yd. up. Also precut 24x27: 2 dozen minimum order 44f up. Complete line upholstery materials, mystic tapes, mohairs, corduroys, velvets; low prices; send for samples. MANKO FABRICS CO.. INC., 156 W. 28th St., N. Y. NEW EQUIPMENT ATTENTION HOLMES USERS! 1000W T- 20C13 Mog. prefocus lamps $25 dozen ($3.95 each); ntermittent movements $24.50; Star sprocket assembly $10; sound lens $9.95; EE14070 vertical drive shaft w/5 gears, bearings $9.75 ; 2000' magazines, upper & lower (rebuilt) $25 set. S.O.S. CINEMA SUPPLY CORP., 602 W. 52nd St., New York 19. $17.95 COMPLETE 2-STATION 115-V INTER- com., delivered, worth $55; 4A/8.5V, WE Exciter Lamps 35t“; 1000-watt Cl 3 Mogul Pref. $1.45; Bingo diecut cards 0-75, $2.64M; 0-100, $3. SOM; 5M lot free delivery. Westinghouse Rectox 65-80 amps replacement units Benwood-Brenkert rectifiers, $89. Brenkert H. Arclamps, $165 pr. Simplex 4-Star complete Amplifier $99.90; F2.0 Lenses 4.75", $99 pr.; Wanted: Used Low- Intensity rectifiers, etc. Save this ad. AMERICAN THEATRE SUPPLY. 2300 First, Seattle, 1. POSITION WANTED I CAN MAKE YOUR INDOOR OUTDOOR THEA- tres pay. Experienced exploiteer, all phases show busi- ness. Seeking supervisory or city manager position. Excellent references. Go anywhere. BOX 2939, MOTION PICTURE HERALD. STUDIO EQUIPMENT AURICON PRO-200 16MM SOUND CAMERAS, complete, $1,600 value, $796.00; Eyemo 35mm News- reel Cameras, from $99.50; Mitchell 35mm Standard Tracking Camera, $995 ; Houston 16mm K3 negative/ positive/reversal Automatic Film Proccessors, unused, 55,450 value, $2,595 ; Moviolas from $195. Hallen Syn- chronous magnetic 16mm recorder, $1,495 value, $695; Neumade RK102-Film Racks hold 102-1000' reels origi- nally $1G5, new $87.50; American Cinematographer’s Handbooks, •/, price, $2.50. S.O.S. CINEMA SUPPLY CORP., 602 W. 52nd St., New York 19. BOOKS RICHARDSON’S BLUEBOOK OF PROJECTION. New 8th Edition. Revised to deal with the latest tech- nical developments in motion picture projection and sound, and reorganized to facilitate study and refer- ence. Includes a practical discussion of Television especially prepared for the instruction of theatre pro- jectionists, and of new techniques for advancement of the art of the motion picture. The standard textbook on motion picture projection and sound reproduction. Invaluable to beginner and expert. Best seller since 1911. 662 pages, cloth bound, $7.25 postpaid. QUIGLEY' BOOKSHOP, 1270 Sixth Avenue, New York 20, N. Y. DON’T WASTE IN THESE TOUGH TIMES. Hundreds of ways to save money in theatre opera- tion, all based on practical theatre experience, are yours in the Master Guide To Theatre Maintenance. One of them alone may be worth far more to you than the $5. the book costs. Send for your copy Today. QUIGLEY BOOKSHOP, 1270 Sixth Avenue. New York. THEATRES FOR RENT. PALACE THEATRE, PASSAIC, N. J. Fully equipped, CinemaScope, air-conditioned, parking. Ideal for projectionist, manager, family operation. S. E. HARRIS, 292 Fern St., West Hart- ford, Conn. HELP WANTED MANAGERS WANTED: THEATRE MANAGERS wanted for Conventional and Drive-in theatres open entire year in New Jersey. Top salary. Many benefits including retirement plan, group insurance, and hos- pitalization. Apply WALTER READE THEATRES, Mayfair House, Deal Road, Oakhurst, N. J., or call Kellogg 1-1600. Four New TV Stations Approved in Canada TORONTO : Four new TV stations in Can- ada have ben approved by the CBC board of governors. One of them is a French- language TV station in Quebec City, in which Famous Players Canadian Corp. has an interest. Applications for stations in Rouyn, Que.; Medicine Hat, Alta., and Kamloops, B. C., were also approved. Ap- proval was given to a request from CKVR-TV, Barrie, Ontario, for an increase in power on Channel three. In the field of AM broadcasting, Canada’s first high- fidelity radio station, broadcasting on an FM wave length exclusively, was ap- proved by the board of governors. This was the second time the application was made. Legion Approves 12 of 15 New Productions The National Legion of Decency this week reviewed 15 new productions, put- ting five in Class A, Section I, morally un- objectionable for general patronage; seven in Class A, Section II, morally unobjec- tionable for adults, and three in Class B, morally objectionable in part for all. In Section I are: “Around the World in 80 Days,” “Julie,” “Marcelino,” “Public Pigeon Number One” and “Teahouse of the August Moon.” In Class A, Section II, are: “Between Heaven and Hell,” “Man in the Vault,” “Man Is Armed,” “Reprisal,” “Sharkfighters,” “Tomahawk Trail” and “White Squaw.” In Class B are “The Cruel Tower” because of “low moral tone; sug- gestive sequence”; “Curucu, Beast of the Amazon,” because of “suggestive costum- ing and dancing,” and “Teenage Rebel,” because “although purporting to show the ill effects visited upon children through a broken home, this film, nevertheless, tends to reflect the acceptability of di- vorce and to justify remarriage.” Eastman Reports High Three-Month Earnings ROCHESTER, N. Y.: Sales and earnings of Eastman Kodak Company for the first three quarters of 1956 were the best the company has had for any corresponding period, it was reported last week by Thomas J. Hargrave, chairman, and Al- bert K. Chapman, president. Consolidated sales of the company’s U.S. establishments for the first three quarters of 1956 (36 week ending September 2) amounted to £500,699,837, an increase of 2.8 per cent over the $487,284,358 for the correspond- ing period in 1955. Net earnings after taxes for the 1956 three quarters were $60,968,204. This was a 5.1 per cent in- crease over the $57,982,467 reported in 1955, the best previous three quarters earnings total. Earnings were equal to $3.32 per share on the 18,277,260 common shares outstanding compared with $3.15 per share a year ago. Earnings were 12.2 per cent of sales compared with 11.9 per cent in the corresponding 1955 three quar- ters. Pre-tax earnings were $132,278,597, an increase of 3.7 per cent. Fritz Lang Plans Taj Mahal Film BOMBAY : Hollywood director Fritz Lang, now visiting in India, disclosed plans to produce a film on the famous Taj Ma- hal, in which he hopes to recreate the social and cultural atmosphere of the Moghul period. He will select an Indian girl to play the role of Mumtaz Mahal. Mr. Lang said that he is making a thor- ough study of the social and cultural back- ground of the period. 60 MOTION PICTURE HERALD, NOVEMBER 3, 1956 Tools of the Trade.. . Bluebook of Projection NEW. ..REVISED 8th EDITION The Bluebook is recognized throughout the Motion Picture Industry as THE STANDARD TEXTBOOK on projection and sound reproduction. In the 8th Edition, it has been exten- sively revised in accordance with developments which have become established in the art, and reorganized to facilitate further both study and reference. Coverage of the subject is complete, ranging from elementary elec- tricity to electronics, from the fundamentals of the me- chanical processes involved, to the complex devices of today's projection room. The language and the method of presentation require no prior technical study for practical understanding. Discussion of processes are illustrated with diagrams, explanations of devices with photographs Besides a chapter on the essentials of new screen techniques, there is a practical discussion of Television postpaid prepared especially for the instruc- tion of theatre projectionists. A Handbook every Theatre Manager should have — Dear Mr. Nadell: I would like to compli- ment you on compiling such fine information. If this book is not too ex- pensive, we would like to place one in the hands of each of our theatre man- agers. — H. W. Loeffler, Central States Theatre Corporation. The Master Guide to Theatre Maintenance For the first time, information you want when you want it — for instruction or use on the iob — in a hard-cover book of pocket size. Published by AARON NADELL. POSTPAID 1270 SIXTH AVENUE. NEW YORK 20, N. Y. The FIRST Commandment of Showmanship! WOMAN’S HOME COMPANION Survey showed 31 per cent went to the movies because of TRAILERS! SINDLINGER Survey showed 34.2 per cent went to the movies because of TRAILERS! NATIONAL THEATRES CIRCUIT IN 21 STATES Survey showed 43 per cent went to the movies because of TRAILERS! "Ttailets -Showmen i £ocko J?ale5men / NOV EMBER 10, mwmm eeping Policy Changes to Insure Film Future, Says Lichtman for NOVEMBER FALL BUYERS NUMBER containing The Buyers Index The Northgate Theatre in New Memphis Shopping Center Drive-In with Acre of Play Area » , . Boston's New Saxon BETTER REFRESHMENT MERCHANDISING: Current Trends in Theatre Refreshment Service matter January 12. 1931. at the Post 0 New York City, V- S. A., under the act of M price. $2.50. S.O.S. CINEMA SUPPLY CORP., 602 W. 52nd St., New York 19. Marvin Goldman Heads Washington Variety Club WASHINGTON: Marvin Goldman, partner in K-B Theatres here, was elected the new chief barker of Variety Club Tent 11 in Washington. Mr. Goldman and other new officers will take over in January. Other officers elected were Hirsh De La Viez, first assistant barker; Clark Davis, second assistant barker; George Nathan, property master, and Sam Galanty, dough guy. All the officers will be on the new board of directors along with Frank Boucher, Nathan Golden, Harold Saltz, Herbert Gillis, George Crouch and Jack Foxe. J. E. Fontaine and Jake Flax were elected honorary life members of the board of governors. Mr. Goldman will become auto- matically the tent’s international canvass- man, and Orville Crouch and Mr. Flax will be delegates to the convention. Handling For Republic BOSTON: Republic Pictures’ backroom film handling here has been taken over by National Film Service, Inc., it is an- nounced by James P. Clark, president of the carrier organization. This makes a total of 19 Republic backrooms taken over. United Artists, RKO Radio and Buena Vista have turned over their entire back- room operations to NFS. BOOK REVIEW THE KINEMATOGRAPH YEAR BOOK- 1956. British Annual Trade Directory — pub- lished by V. Weight. Odhams Press, Ltd., London, England. 592 pages. The 1956 edition of the well-known British annual trade directory, the Kine- matograph Year Book, is out for its forty- third publication year and the usual fea- tures of the publication, all with a high utility quotient, are on hand for readers on both sides of the Atlantic and else- where. This is an invaluable guide to the British trade, and its intensively detailed informational departments, capsule biog- raphies of prominent British film figures, and other features are completely edited, as usual. The contents include motion pictures which have been trade-shown in England during 1955, renting company lists, trade organizations, British studios and produc- tion setups, service companies, circuits, equipment information, statistical data, and a section on commercial television. There is a section on advertising, on the Cinematograph Films Act, a classified and a general trade directory, a sub-standard film market, a legal section and an edi- torial index. The publishers have prepared their new annual with a regard for good, clear typography and attractive makeup. The volume’s typographical composition and arrangement are such as to make for a light, compact tome. Those with British dealings will want the book, and even those who merely require generalized briefing from time to time on the British picture will find this a handy addition to their libraries.— L.J.Q. De Laurentiis Forms New Film Company Dino de Laurentiis, Italian producer, has announced the organization of a new film company, Fredericks Productions, Inc., which will coordinate American- Italian film production deals. Mr. de Laurentiis will head the new company, with Ralph Serpe as vice-president. The company head, who arrived in New York last week, is discussing production plans for “The Sea Wall” with officials of Co- lumbia Pictures. Honored by Consolidated Peter Aldrich, Arthur Howard and Ralph I. Poucher have been honored by Consolidated Film Industries for their loyal service and contribution to the or- ganization. They were presented gold watches by company president Herbert J. Yates at the first annual founders day dinner-dance November 3. MOTION PICTURE HERALD, NOVEMBER 10, 1956 29 Circuit Asks Court to Set Clearance HOLLYWOOD: Fox West Coast Theatres Corporation last week filed in Federal Court a declaratory relief action against Beacon Theatres, Inc., operators of the newly-constructed Bel Air drive-in near San Bernardino. Fox West Coast alleged that the Bel Air drive-in claims it is not competitive to any theatres, conventional or drive-in in the area and is entitled to play day and date with first run Los An- geles without competing for the run. Fox West Coast contends that its Cali- fornia theatre in San Bernardino is com- petitive with the Bel Air and that each should have the right to negotiate for a prior run. According to Fox West Coast, Beacon Theatres threatens an anti-trust action unless its demand for day and date runs with Los Angeles are granted. Fox West Coast asked the court to determine what the clearance should be so that it cannot later be claimed to have par- ticipated in a conspiracy to violate the anti-trust laws. A spokesman for Fox West Coast said: “This unusual action in which we ask the court to determine the competitive situa- tion in the San Bernardino area is con- sidered necessary to protect the company from burdensome and expensive litigation which almost has become the order of the day when an exhibitor’s demands are not met by the distributors. In 1941, when the arbitration tribunals were established under the 1940 consent judgment for arbitration of clearance and run disputes, some 400 complaints were filed through- out the country. Some were meritorious, some were unfounded, but they were adjusted without great harm and expense to the industry. Cites Costly Action “Today if an exhibitor’s grievance is not adjusted on his terms, he is likely to engage an attorney who is specializing in anti-trust suits against the industry and bring an action which is costly to the defendant and which may result in a liability being imposed on the innocent party because of the difficulties juries have in understanding the complexities of the motion picture business. “An appeal to a Federal district court for instruction as to what may properly be done may be a cumbersome way to solve this type of problem but some way must be found to provide a forum for the adjustment of this kind of dispute and lay at rest the charge made by some that the defendants conspired to violate the Sherman Anti-Trust Act. Screen Advertising Unit Formed by Coplan TORONTO: Formation of Times Theatre Advertising, Limited, by David Coplan brings together into one unit all elements of screen advertising. Mr. Coplan said these elements were the finest theatres in Canada; first-rate film production facili- ties in Canada, United States, Britain and France; complex and efficient facilities for scheduling and distributing films, organi- zation of research into the value and ef- fect of the medium as applied to Canadian advertisers and the most experienced peo- ple in Canada to operate the company. Edwin F. Zabel Retires LOS ANGELES: A life-time gold pass to National Theatres was tendered Edwin F. Zabel, retiring as vice-president and general manager of Fox West Coast Thea- tres. Presentation was made at a farewell reception. He joined the organization as a doorman 31 years ago. Carl Schaefer Honored Carl Schaefer, department head at War- ner Brothers International, has been named chairman of the international com- mittee of the Association of Motion Pic- ture Producers. He succeeds Robert Vogel of MGM, who has resigned. EVERY ROCK ’N ROLL FAN WILL WANT ONE! This beautiful 14-karat gold-plated charmer looks far more expensive than its tiny price. Comes complete with a miniature framed picture of Elvis ... his guitar ... a heart-break heart . . . and the hound dog. Attractively carded and packaged in clear plastic. Strike while the iron is hot! All you need do is show it. This personally designed keepsake sells on sight! The Halogene Corporation, 1028 Broad Street, Newark 2, New Jersey — World Wide Exclusive Agents — Retail Price $1.00ea. Dealer Cost $7.20 doz. Min. Order : 12 doz. prepaid TERMS: CHECK WITH ORDER COPYRIGHTED BY ELVIS PRESLEY ENTERPRISES 30 MOTION PICTURE HERALD, NOVEMBER 10, 1956 An International Association of Motion Picture Showmen — Walter Brooks , Director GOLDEN JUBILEE — Something To Celebrate FILM industry, and public interest, have always responded to the basic theme of “Greater Movie Season” or “Movietime, U.S.A.” — both of which are tried and true values, backed with years of substantial experience. So, it is most encouraging to find the Motion Pic- ture Association endorsing a plan to cele- brate our “Golden Jubilee” — the 50th Anniversary of motion pictures — if not exactly on the date, then, at least, on the beam, towards better business. Such a national promotion would tie together all of the various activities at the local level, as well as the several “Oscar” contests, Audience Polls, Sweep- stakes, etc., which aim to award those who deserve the highest popularity ratings in public esteem. None of these can make much headway unless they have strong support at the box office line — and the aggregate of all national public relations is no more than the total of the home town figures. It was thirty years ago that we learned the importance and value of “Greater Movie Season” — and that was long before television, and during what some refer to as “the good old days.” But we needed the lift then, as we do now — and there is no more effective way to obtain public reaction to our good pictures, our strong program position, our superior processes and new dimensions. It provides just the right approach to boast of what we have to offer, with justification which is visible to our business friends and neighbors. It would discount some of the “Prophets of Doom” who consigned us to failure. While it may not be historically and exactly the 50th year of motion pictures as an industry, it is and has been the 50th anniversary of many good theatres, now operating. We have seen many fine cam- paigns to celebrate fifty years of continu- ous service to the public in a community — some of the best of them from England, where they do this with' a real flourish, finding original patrons of 50 years ago, and original employees who started with the theatre. IF WINTER COMES- There's a nip in the air that means much in our seasonal business— it means many things to many people, including potential patrons, hard-working managers, and the sources of production. Now, summer has gone, and we enter what we used to call a "Greater Movie Season"— for now the programs are generally better than they used to be, in the dogdays of last summer. Folks who have been out-of-doors all summer will want to be indoors now; per- haps, with their fireside television sets, where the winter programs are notoriously superior to the summer stuff. So., it's about as broad as it is long, in that direction. Sum- mer recreations are finished, winter occu- pations are begun— and the family policy of "going out to the movies" is what you make of it, at the local level. We have only "the breaks" we make, for ourselves. Nobody is doing anything to help — but us. It takes a supreme effort, in these days, to crack down on the resistance that we meet from other competition. We've just noted a film playing a theatre where they have a huge, and loyal, audience. But it wasn't "their kind of a picture"— so many who fol- lowed the usual impulse, were disappointed. It won't show in a moment — but next time, next month or whenever, the family will say, "Let's go to the basketball game"— and a habit will be broken. Or, by just such a similar twist, the habit can be preserved, and an eager audience will return for more of the same entertainment that has proved delightful in the past. Our own country is dotted with theatres that have had fifty years of useful value to their communities — and in many of these instances, modernization is due, and overdue — but the salute to their years will put them back in their place in public appreciation and approval. RECENTLY, we reviewed the pressbook for “Teenage Rebel” in our usual style, for “Selling Approach” and — based on the pressbook — quoted one of the advertise- ments suggested for newspapers, which read, “If you’re 16, you’re old enough to see ‘Teenage Rebel’ ” — with our logical observation — that the picture was pri- marily for adults. But since then, the pic- ture itself has been reviewed in the Herald and Daily — and we are surprised to see how far wrong we could be, in forming an opinion of the motion picture from the pressbook advertising. If we can be fooled to this extent, then any manager would draw the same conclusion. Both review- ers— for the two Quigley publications — thought the film was “a pleasant family picture,” a “mother-daughter” story, with none of the juvenile characteristics that were suggested, and closer to “Junior Miss” than “Blackboard Jungle.” The teenagers here are orderly, mannerly, con- vention-abiding young folks. ■ ■ ■ ONE OF the credit card concerns, “Trip- Charge” of Pittsburgh, who had an inter- national charge account basis for its mem- bers, has been absorbed by “Diners’ Club” — oldest and largest of the credit card groups — and this wipes out the only one of the lot that had any provision for credit in theatres. “Trip-Charge” accepted credit for Cinerama, and other “legitimate the- atre scale” theatre tickets, at the box of- fice, “Diners’ Club” has refused to accept any such accounts, and especially for less than the amounts charged for Broadway shows, thus eliminating the film theatre scale. It is just as well to have a few less of the national credit cards, and to have these stronger and better qualified, as a public service. Film industry has little or nothing to gain through credit — a fact that was made plain in the Herald Institute of Industry Opinion recently, when 81.3 per cent of exhibitors beielved credit for theatres to be “impractical” — and only 18.7 per cent were “interested” in the idea. — Walter Brooks MANAGER'S ROUND TABLE SECTION, NOVEMBER 10, 1956 31 o Straw poll backs "The Boss" in Min- neapolis— Bob Kariti, manager of the Gopher theatre, spotlighted the Pres- idential campaign and his current pic- ture, with a guessing contest. Not one 24-sheet, but two or three, plus a roof sign with cut-out portrait, for the world premiere of RKO's "The Brave One" at the 4-Star theatre, in Los Angeles, Calif. A Tieup Is Where You Find It The world's largest charm bracelet, nine feet long, as worn by the 40-foot figure of Elvis Presley, to decorate the marquee of the Para- mount theatre for the run of "Love Me Tender." Replicas may be had from the Halogene Cor- poration, in suitable size and style as gifts for the Elvis Presley Fan Clubs. And these were the excellent "Toy Tigers" — if you could find them — used as display by W. H. Belle, manager of the Laurelton theatre, Laurelton. The same W. H. Belle devised this good lobby display for Autumn Leaves at the Laurelton theatre, using a motif that was both timely and colorful, in keeping with his seasonal attraction. "Absolutely no cost to the theatre" says Ken Finlay, manager of the Fond du Lac theatre, Fond du Lac, Wisconsin, pointing to the display he built for "Unguarded Moment." Sol Sorkin, manager of the RKO Keith's theatre, in Syracuse had a newsboy tieup for "War and Peace" that paid off in pub- licity and plenty of space in the Syracuse Post Standard. tr 32 MOTION PICTURE HERALD, NOVEMBER 10, 1956 Sk ovum en in on Response to the application for member- ship in the Round Table, which appeared a week or so ago. was so very good that we run an encore in this issue, although it is our usual policy to print this form only once every three months. Member- ship in these meetings now totals 7,405 which makes this the oldest and largest international association of motion pic- ture showmen, operating in the United States, Canada and 55 countries overseas. ▼ Murray Meinberg says “It’s been a long time,” but he’s back in the news with his handling of the "Kiddie” potential at the Main Street theatre, in Flushing. He sewed up a supermarket for a series of shows, with sponsored tickets good in the morning for a show that ran all day. An- other merchant furnished 800 jelly apples for a matinee show, but Murray doesn t care for any more jelly apples, thanks just the same. He publishes a kiddie-size “kalendar” of his children’s shows, good for free admission when stamped three times, and just big enough to carry in small pockets. ▼ Bill Dennis, manager of the Tower Drive-In theatre, Elyria, Ohio, features a “Like-Nu” car giveaway — no jalopy, but a good used car, in fine condition, spon- sored by a dealer who likes the advertis- ing, and goes for the deal on the last Thursday of each month. He says this boosts an otherwise dull weekday busi- ness to new highs. ▼ Dominick Lucente. manager of the Stan- ley Warner Broadway theatre and “Mayor of South Philadelphia” — staged a gigantic Hollowe’en party and stage show, with prizes for best costumes and a program aimed at keeping the kiddies off the streets and having a good time. Prizes started in the “one to five years of age” bracket — so you can see what the other groups added up to. in terms of youthful enthusiasm. ▼ Joe Meyer, manager of the lone theatre, lone, Calif., is alreadv putting out coupon tickets good for $1,000 in prizes to be given away on Christmas and New Year’s Eve. You save your coupons and deposit them in the box for your chance at the moment. T David Kaplan, manager of the Trans- Lux theatre, in Boston, is proud of the campaign which he has entered in United Artists’ “Exquisite Form” contest — where there will be $5,000 in cash awards for managers — and he expects his feminine contenders to win also, on points. He says his campaign cost $400, but with no cost to the theatre, so it was entirely sponsored. Ben Tureman, manager of Schine’s Rus- sell theatre, Maysville, Ky., staged a ter- rific fashion show in his small city, thus proving that fashion shows are always possible with showmen, and especially, with stage room available to show off the styles that local merchants want seen. It’s always better to play up fashions at the local level, where they are on sale. One manager sent us a fine campaign this week — but we won’t mention his name here, because he didn’t! Even went so far as to paste in his picture — but never signed his name, or gave us the name of the theatre or the town! He would never believe the amount of research it required to find out who he was, or where! We finally identified him, from old records and through a telephone call to a major film company. But, please put your name and address on campaigns — and don’t depend on the outside wrapper, for these are often discarded and lost in our incoming mail. V Samuel Goldwyn Jr.’s new CinemaScope picture, “The Sharkfighters”, will have a vast cooperative advertising tieup with more than 200,000 retail outlets in 123 cities — one of the most extensive pre-sell- ing campaigns ever developed, which will employ store displays, newspaper ads and national magazines, reaching a combined audience of 100,000,000 persons. The com- plete list of sponsors and their participa- tion is a campaign catalog beyond the ordinary, and will be felt at the local level. We’ll review the pressbook, under “Selling Approach” when it is presented. Top exhibitors in Pittsburgh territory meet Rich- ard Egan on his personal appearance tour for "Tension at Table Rock" — which had its world premiere at the Stanley theatre. Above, Bert Stern, Harry Hendel, Bud Thomas, Ernest Stern, John Wineck, Lou Hanna, F. D. Moore, George Stern, Vincent Corso, David Silverman, with their guest, center. Roy Robbins, manager of Stanley Warner’s Palace theatre on Market Street, in Philadelphia, pondered a double bill, “The Violent Years” and “Wiretappers” for his action house, and came up with a vivid radio campaign over stations WHAT and WJMJ, with special lobby front and poster display. This leads into a year-around arrangement with the two radio stations for much additional pro- motion for the picture. T We might observe, with things as they are, we’re sending up smoke signals to say that the British are “comers” — be- tween England, Canada and Australia, we’re seeing more that is up to our stand- ards than we do from Kansas, for in- stance. It’s nice to know that business is good, around the world, but it leaves us with the feeling that the effort is also greater, and perhaps if and when we put the same energy into it, the results will show. Julian S. Katz, manager of the Meserole theatre in Brooklyn, is a new member of the Round Table, and has a recent entry for the Quigley Awards in the fourth quarter — a campaign on "The Ambassador’s Daughter" which he says brought him extra business. In the picture above, Julian stands between the two girls on the right — and his assistant Sam Samuels, stand: at left, to complete the circle. We find that good theatre managers are generally surrounded with good-looking girls — as part of their promotion of motion pictures in the proper dimensions. MANAGER’S ROUND TABLE SECTION, NOVEMBER 10, 1956 33 HZ'* • I ft -r Gimmicks To Boost Sale Of Refreshments Thad Horton, of the McCann-Erickson advertising agency, addressed the 30th an- nual fall convention of the Allied Theatre Owners of Indiana, with some pertinent advice for adding showmanship and sales- manship in the handling of Coca-Cola, which can have importance to every mem- ber of the Round Table. He cites “Gim- micks” that sell — which have long been recognized by experts to promote the sale of a product to the public. There is no limit to the imagination in dramatically exploiting motion pictures, and refresh- ments sales in theatres. Consequently, such big concerns as the Coca-Cola Com- pany, and their advertising agents, are showmen by compulsion. New action creates a new reaction, with the potential customers. If you “dress up” your refreshment stand, it increases sales and you can afford to find a new dress for every holiday or special occasion. Dis- tribute “bumper banners” at your conces- sion stand, and then admit every car free on a certain night that displays this ban- ner— which, in the meantime, has been advertising your drive-in theatre, up and down the roads and streets. Distribute tickets inviting new patrons to “Have a coke” as your guest the next time they visit your theatre — they’ll come and spend twice as much, in other purchases. Spread these invitations in schools and stores. Scotch-tape a free ticket to every 20th, 30th or 40th cup in your vending machine, and watch interest mount. If you have just installed machines, this will help people get accustomed to the convenience. Feature the product on both sides of the cup machines, for you may have two waiting lines. Open your refreshment stand an hour ahead of program time and note that your waiting audience will spend more, in preparation for enjoying the show. Offer a combination ticket at intervals, good for one admission and one free Coca-Cola, at a single price. You’ll more than break even on that deal. Hand out attractive menus to cars entering your drive-in, and circle some items to empha size your specialities. The possibilities are boundless. George Haddad, manager of the Gem theatre, Willimantic, Conn., reports one good stunt, along similar lines. He adver- tised free admission to every youngster who brought six empty Coca-Cola bottles, preferably in a carton, and this put the local Coca-Cola bottling company in a good mood, for they want those bottles back. Naturally, the incoming audience created new empties, so the endless cycle continued, as it will in all refreshment sales. The small fry are never quite satis- fied— they never get enough of anything. This idea is both a trick and a treat. Col. Bob Cox, city manager for Schine's thea- tres in Lexington, Ky., shows the way in which LIFE magazine plugged "War and Peace" as part of his strong advance display for the picture. Ohio Theatres Encourage Kids to Dress Properly Columbus, O. — Adoption by Ohio exhibi- tors of a “code of dress” for juveniles would go far toward curbing rowdyism and vandalism, says Robert Wile, secre- tary of the Independent Theatre Owners of Ohio, in a bulletin to members. Wile said he learned at the Indiana Allied convention that the Alliance Theatres has such a code. “The boys are required to wear pants that fit them decently and they must wear belts,” said Wile. “The girls cannot wear short shorts, shirts hang- ing out and dirty jeans. When a young- ster is dressed up, he invariably changes his behavior to conform to his attire.” Wile noted that Mrs. Lelia Stearn, opera- tor of the Southern in Columbus, has had such a code for many years and “it caters to more well-behaved children and teen- agers than most of the other theatres in town.” Manager Gets Results With Second -Runs Roy H. Metcalfe, manager of the Times theatre, Cedar Rapids, Iowa, says he con- quered his city’s second-run movie fans, by setting up some new rules for himself, and creating a formula along the follow- ing lines. He changed “from the trivial to the important” in his selling approach. “From the impersonal to the personal; the impractical to the practical; the vague to the sharply focused; the broad to the specific; the obvious to the original; the dull to the interesting” — and who could ask for showmanship that makes more sense? He says it sold tickets — which was the primary objective, using “heart appeal, sense appeal and mind appeal. And the greatest universal appeal is from the heart, for the public are creatures of emoL tion.” His campaign on “Alexander the Great,” submitted for the Quigley Awards in the fourth quarter, contains many original ideas — such as postcards mailed from Iran, to his mailing -list of opinion makers — Alexander’s home grounds. And a circular distributed to men who had shaved that morning — since Alexander started the fashion of being clean-shaven — ask any barber. Forty-two shops dis- tributed guest tickets to customers who were then in the chairs. For “mind appeal” he addressed his cam- paign to Coe College, a few blocks away, and put the students at work on contest material that won them prizes, and ob- tained front page publicity in the college newspaper. This is called "inspecting the art work" at United Artists home office — when planning a starlet build- up, for Anne Neyland, as promotion for "Hidden Fear." Surrounded by the staff, and with Mort Nathanson, assistant publicity manager, looking over her shoulder, Anne displays samples that meet approval. 34 MOTION PICTURE HERALD NOVEMBER 10, 1956 British Round Table J. W. ABBOTTS, assistant manager of the Granby cinema, Reading, circularized local operatic societies and music groups with lists of music from “Serenade” and had many par- ties attending as a result. . . . BRIAN BINT, manager of the Gaumont theatre, Chorlton- cum-Hardy, was able to persuade the editors of three local newspapers to run advance free stories with pictures on “The Birds and the Bees.” . . . J. D. BULLOCK, trainee man- ager of the Apollo cinema, Manchester, ar- ranged for the serialization of “It’s Never Too Late” in the local newspaper, commenc- ing the day the picture opened at the Apollo and also promoted window displays on the main streets. . . . J. W. BONNICK, manager of the Regal cinema, Halifax, “accidentally” left 8x10 photos of Diana Dors with credits for “Yield to the Night” in telephone booths in districts away from the theatre. . . . P. J. CORDIER, assistant manager of the Regal cinema, Oxford, believes a throwaway is more likely to be read if it is attached to some- thing useful and has his patrons wondering what he will give away next. Small packets of facial tissues, cereal and Mothaks were recent giveaways. . . . R. J. CRABB, manager of the Lyric cinema, Wellingborough, pro- moted a free half-page ad on the front page of a local football program, of which 1,500 were sold, and released balloons from the roof of the theatre when he played “The Forbidden Planet.” . . . E. J. DINEEN used the pages of his twentieth anniversary brochure to take readers through a literary and pictorial tour of the Rex cinema, Moth- erwell. The brochure boasts a double page center spread of good wishes accompanied by pictures of prominent movie stars. ... A. GILLAN, assistant manager of the Regal cinema, Aberdeen, Scotland, tied in with a shooting gallery at a nearby beach to hold a shooting contest during his playdate of “The Searchers.” . . . CHRIS HADFIELD, manager of the Regal cinema, Canterbury, had box-office help when he played “Yield to the Night” as the result of a three-column picture and story in the local newspaper. ▼ T T B. V. HORNBLOW, manager of the Pic- ture House, Birmingham, took a group of the older children in his children’s club to the projection room and found them much interested in the workings of the theatre. Another project of his children’s club was the collection of used comic books for chil- dren in the local hospital. . . . C. B. HOR- REX, manager of the Majestic cinema, Kings Lynn, promoted a lobby recruitng display from the local RAF office one week in ad- vance of playdate of “Reach for the Sky.” . . P.E. JELKS, assistant manager of the Savoy cinema, Portsmouth, tied in with Glamour Girl stockings to share the cost of 3.000 two-color throwaways for “Forever Darling.” . . . D. M. CAMPBELL, manager of the Regal, Stirling, Scotland, arranged for the serialization of “The Last Hunt” in the local newspaper and distributed 1,000 painting contest forms, 1,000 bookmarks and 1.000 additional throwaways. . . . B. C. LEWIS, manager of the Electra cinema, Ox- ford. suspended a rope from his lobby ceil- ing which ended in a noose and a display ca~d with the word “Guilty” when he played that picture. . . . Nat Matthews, manager of the Ritz cinema, Leyton, invited the Mayor, other prominent officials, probation officers and clergymen to see “Yield to the Night” and express their opinions to the press, re- sulting in good newspaper space. . . . J. MUR- PHY, manager of the Broadway cinema, Southampton, entered a float in the local carnival with jazz band on board, as well as the first and second winners in the Miss Broadway beauty contest. . . . DOUGLAS G. MURRAY, manager of Kings cinema, Mont- rose, tied up with two laundries to insert overprinted star postcards in their outgoing laundry parcels and arranged a newspaper serialization of “Davy Crockett.” . . . T. H. NEAT, manager of Kingsway cinema, Lev- enshulme, sent personal letters to the three local schools with a short write-up and screening time on “Alexander the Great.” For “Forbidden Planet,” he gave a free tick- et to the child writing the best letter on “Robby the Robot.” ▼ T ▼ L. D. PAUL, assistant manager of the Savoy cinema, Exeter, induced the postman to distribute 400 heralds on “Forever Darl- ing” along with the mail, and tied up with the “Darling” sewing machine to help ad- vertise the picture. . . . W. (BILL) QUEST, manager of the Odeon theatre, Dalston, had two life-size dummies swinging from the top of his theatre front 50 feet from the ground to advertise “Trapeze,” which drew much attention and resulted in a newspaper item headed “Shoppers Shocked.” . . . SYDNEY L. SALE, manager of the Granada cinema, Dover, held a contest for minors to list the seven wonders of the world when he played “Land of the Pharaohs” and displayed Egyp- tian carpets and tapestries in his lobby. . . . N. SCOTT-BUCCLEUCH, manager of the Lonsdale cinema, Carlisle, promoted a lobby display of RAF models from the local RAF station and gave out 1,000 model Spitfire throwaways at his Saturday minors’ show prior to playdate of “Reach for the Sky.” . . . H. SHATWELL, manager of the Gau- mont cinema, Halifax, arranged a tieup with a furniture store and advertised his double bill with a live model in bed in the store window and a placard reading “ ‘It’s a Great Day in the Morning’ ‘While the City Sleeps’ on a Sidhil Mattress.” . . . JOHN L. SMITH, manager of the Ritz cinema, Edinburgh, cele- brated the seventh birthday of his ABC Minors’ Club by inviting all children born on July 9, 1949, when the club started, as guests of the theatre and the club. . . . FREDERICK R. VERE, manager of the Carlton cinema, Boscombe, arranged for “Land of the Pharaohs” advertising in 40 bus spots and promoted a travel agency full window display for the picture. . . . WIL- LIAM G. WILSON, manager of the Regal cinema, Ilford, promoted the installation of a model railroad in his lobby and had it working non-stop during peak hours to ad- vertise “Non-Stop Entertainment.” He put it to further use by selling advertising on the cars to traders and using the proceeds for the staff benevolent fund. . . . J. WILKIE, manager of the Capitol, Forest Hills bright- ens up his circle lounge with hanging bas- kets, plants and bowls of cut flowers by means of a tieup with a local florist. — W. T. "Love Tender " Love Presley Love Tieups Print orders for 20th Century-Fox’s “Love Me Tender,” with that fabulous El- vis Presley, have exceeded all laboratory records, and the saturation bookings open- ing Thanksgiving week will hit 600 the- atres. But the pre-selling and merchandis- ing campaign is just as phenomenal. Three appearances on the Ed' Sullivan show gave Elvis a push that hit the highest rating in eight years of record. His RCA-Victor recordings have sold more than a million copies in only three weeks and currently lead the Hit Parade. RCA is conducting a nation-wide campaign — and Elvis is a millionaire in the shortest time ever. More than 2000 stores of the F. W. Woolworth chain are devoting win- dow and store displays in cooperation with exhibitor campaigns. Eighteen manufac- turers of Elvis Presley merchandise are throwing their combined support into this promotion including the Halogene Cor- poration who manufacture Elvis Presley charm bracelets. More than 8,000 retail outlets are involved. Presley has dominated all the news- paper and national magazine publicity in recent weeks with LOOK giving him a 7-page spread in the current issue. More than 1,000 Elvis Presley Fan Clubs have been recognized in a national organi- zation. TV stations have swamped Fox with requests for the newsreel clip show- ing his recent homecoming to Tupelo, Miss. And needless to say, the teenagers have taken over and are in charge. APPLICATION FOR MEMBERSHIP MANAGERS' ROUND TABLE I 270 Sixth Avenue, New York 20, N. Y. me Position Theatre Address City State Circuit Absolutely I\o Dues or Fees MANAGER'S ROUND TABLE SECTION, NOVEMBER 10, 1956 35 help you make more money! The Coca-Cola Company representative who calls on you is the only national beverage- company representative who makes regular visits to your theatre. He’s a trained specialist in every phase of theatre refreshment. Why not profit from his experience. Next time he drops in, Ask him for these free services: 1. Complete drink analysis 2. Instruction and assistance in dispenser maintenance 3. Colorful, business-building advertising ma- terials 4. Experienced help with personnel training, special promotions, all other elements of your refreshment business. He'll be glad te help. "COCA-COLA" AND ' COKE ' ARE REGISTERED TRADE-MARKS WHICH DISTINGUISH THE PRODUCT OF THE COCA COLA COMPANY COPR 1956 THE COCA-COLA COMPANY. GEORGE SCHUTZ, Director . . . GUS BACOLINI, Associate Director RAY GALLO, Advertising Manager TRENDS in Theatre Refreshment Service How heads of several circuit concession departments envision the course of vending today. To determine current trends in theatre concessions operations, and to pinpoint factors considered important to success in this division of theatre operations under conditions obtaining today, this depart- ment has interviewed several heads of circuit concession departments — Lee Koken of RKO Industries, Walter Mc- Curdy erf AB-Paramount Theatres, and Bernard Rosenzweig of Stanley-Warner Theatres. Interviewed separately, these men rep- resenting close to 1000 theatres through- out the country, showed remarkable unanimity on major questions. All had high praise for the new concession equip- ment being put on the market today. Al- most invariably, wherever new equipment has been installed, sales have increased. The new equipment not only provides bet- ter means of preparing, displaying, serv- ing and storing items, but its merchandis- ing value is also increased. A new model whether it be a popcorn warmer or a drink dispenser, is generally more eye- appealing and more efficient than an older model, all agreed. Another important point in regard to new equipment is the greater variety of items offered. An 8- or 10-drink machine holds forth a greater probability of mak- ing a sale than a 2- or 4-drink machine, simply because there is a greater likeli- hood that the patron will find the drink I hat will satisfy his particular taste. On the subject of drinks, the non-carbonated variety is reported making headway in theatres. This is not to be explained as a displacement of carbonated drink sales, but rather as additional sales achieved through tapping another segment of the available market. GREATER CHOICE OF ITEMS The trend then is to offer patrons an in- creasingly greater variety of items from which to choose. Not only are automatic vendors expanding in this regard, but manually-operated counters as well are stocking more and more items. Mr. Rosen- zweig made the point that “increasing items nearly always pays off,” and that the ensuing increase in sales is usually greater than the loss in sales of a dropped item. Mr. Koken said that a stand not only should offer a wide variety of items, but also should display each item in full quantity. (He pointed out how unappeal- ing a popcorn warmer is when there is only a meagre quantity of corn lying on the bottom.) Mr. McCurdy stated that in his theatres he is striving to display a maximum number of items right up front. Naturally enough, the more items dis- played, the greater the space required, and this seems to be another trend in theatres today — the allocation of more and more space to concession operations than ever before. The RKO circuit, for ex- ample, recently remodeled the snack stands of the Proctor and Hamilton the- atres in New York, and of the Colonial theatre in Dayton. The new versions are at least twice the size of the previous ones. And in Cleveland, the RKO Palace put in a concession stand four times the size of the one it replaced. The location of concession stands has also come in for a good deal of considera- tion. It was generally agreed that there is no overall “ideal” location, but that the architecture of each specific theatre had to be carefully evaluated. With this in mind, Mr. Rosenzweig said succinctly that the best location is that which is “viewed by the patron upon entering the theatre and is easily accessible from wherever he sits.” Mr. Koken warned against choosing locations that ignore the balcony trade, while Mr. McCurdy declared he likes his concession stands “head on.” In the AB-Paramount theatres, Mr. BETTER REFRESHMENT MERCHANDISING 37 McCurdy explained, they are doing away with the idea of a concession stand “blend- ing in” with its surroundings. The aim now, he said, is to have the concession area stand out — with bright colors, spots, candy stripe posts, figurines and other means of arresting attention. Flat shelves are being replaced by slanting shelves for more effective display purposes. An installation of this kind replaced the older variety recently at the Florida theatre in Tampa, with the result that sales jumped from 14 per capita to 17Y2f the food container industry. This com- petition is sponsored annually by Finan- cial World. This was an international sur- vey in which 5000 annual reports were entered in 100 industrial classifications. • B. J. McKenna, v-p and general man- ager of Manley, Inc., Kansas City, re- miles each month and we have had a sign urging in our small way to boost theatre attendance." cently visited New York to confer with L. O. Selev, northeastern manager and to announce that Irving Dunn was appointed district manager and assistant to Mr. Seley. L. O. now may find time to kick the ball around the golf course occasion- ally. While in N. Y., Mr. McKenna looked over the Manley “Hercules” installation PRNHHNDLE %%'.CAA-lllZ 4 OO ★ MOBILE FOOD COVERAGE DIRECT TO EVERY PATRON 60 PARK PLACE NEWARK, NEW JERSEY ★ COSTS LESS THAN 51 PER DAY TO OPERATE ★ PRODUCES ABOVE NORMAL CONCESSION GROSSES PROFITS ARE COMING YOUR WAY! I IT NEVER INTER- FERES WITH THE PERFORMANCE... TESTED AND PROVED IN LEAD- ING LOCATIONS QUIET, NOISELESS OPERATION . . . HERALD photo Proudly inaugurating the new concession stand of the Paramount theatre in New York, with Manley equipment for popping corn at point of sale. Shown are Bernard Willett, assistant to Walter McCurdy, concessions manager for AB-Paramount Theatres (left); and Robert Shapiro, manager of the Paramount. at the Paramount theatre, which is re- ported to be the first popcorn popper in the Times Square area. There’s a “Vista- pop” machine going into the Brooklyn Paramount, according to the new district manager. • The Atco Food Company, Dallas, Tex., is making an interesting offer to introduce its “Jim-Bo’s” hickory-smoked barbecued beef. Put up in 29-oz. and 6V2-lb. cans, it needs only warming to be served on buns, and with orders of certain sizes, Atco is including, free, a Helmco-Lacey food warmer with bowl. “Jim-Bo’s” is described as an “old-fashioned, Southern style barbecued beef, cooked in a pit over hick- ory logs for 12 hours, then cooled in the same pit for 12 hours more.” This gives the beef a real hickory flavor. 44 MOTION PICTURE HERALD, NOVEMBER 10, 1956 THE COLORFUL, DRAMATIC FRONT SELLS MORE DRINKS because it serves the BEST DRINK Y Write For a DRINK Sparkling ORANGE GINGER ALE LEMON LIME "°°r mm I THE ROWE 2000 FOR THE THEATRE • A big 2000 cup capacity assures continuous servings even in the largest theatres. Exclusive features and components such as the positive throw syrup pump, controlled variable carbonation and the ice bank circulating water system assure a colder, uniform drink with superior carbonation in the cup — every time. The Rowe 2000 is today's most outstanding cup vendor for theatres. THE ONLY CUP VENDOR WITH ABSOLUTE QUALITY CONTROL OVER EVERY DRINK VENDED Details 1/lowz’ MANUFACTURING COMPANY, INC. SALES OFFICE: 31 EAST 1 7 » h STREET, NEW YORK 3, N. Y. America's I FIRST I Automatic Merchandising Family From A Single Unit To A Full Line Vending Installation CLASSIFIED DIRECTORY OF LEADING SOURCES OF REFRESHMENT SERVICE EQUIPMENT AND SUPPLIES BEVERAGES American Citrus Corporation, 333 N. Michigan Ave- * nue, Chicago. Bireley’s, 1127 North Mansfield, Los Angeles, Calif. Canada Dry Ginger Ale, Inc., 100 Park Avenue, New York, N. Y. See pace 43. Cantrell & Cochrane Corporation, Route 4 and Nordoff Place, Englewood, N. J. Coca-Cola Company, 515 Madison Avenue, New York, N. Y. See page 36. Cott Beverages Corporation, 197 Chatham Street, New Haven 9, Conn. Cramore Fruit Products Company, Inc., 416 Richmond Avenue, Point Pleasant, N. J. Dad’s Root Beer Company, 2800 North Talman Ave- nue, Chicago 18, 111. Delaware Punch Company of America, San Antonio 6, Tex. Doctor Pepper Company, P.O. Box 5086, Dallas 2, Texas. Double-Cola Company, 1478 Market, Chattanooga 8, Tenn. DUTCH HOUSE. INC.. 1411 N. Syndenham Street, Philadelphia, Pa. (chocolate). The Grapette Company, Incorporated, 112 E. Grin- stead, Camden, Ark. Green Spot, Inc., 1501 Beverly Boulevard, Los Angeles, Calif. Charles E. Hires Company, 206 S. 24th Street, Phila- delphia 3, Pa. Julep Company, 353 W. Grand Avenue, Chicago, 111. Kestenbaum Brothers, 1790 First Avenue, New York City. Mission Drv Sales, P. O. Box 2477, Los Angeles 54, Calif. National Fruit Flavor Company, Inc., 4201 Girod, New Orleans 6, La. Nehi Corporation, 10th & 9th Avenues, Columbus, Ga. Nesbitt Fruit Products, Inc., 2946 East 11th, Los Angeles 23, Calif. ORANGE CRUSH COMPANY. 2201 Main Street. Evanston, 111. O-So-Grape Company, 1931 W. 63rd Street, Chicago 36, 111. Pepsi-Cola Company, 3 W. 57th Street, New York. See pages 40-41. Rich Maid Products Company, 1943 West Highland Avenue, San Bernardino, Calif. Richardson Corporation, 1069 Lyell Avenue, Rochester 3, N. Y. Rio Syrup Company, 324 W. 44th Street, New York City. Sero-Syrup Company, 255 Freeman Street, Brooklyn, N. Y. Seven-Up Company. 1316 Delmar, St. Louis, Mo. Sunkist Growers, Inc., 707 W. Fifth Street, Los Angeles 13, Calif. The Squirt Company, 202 S. Hamilton Drive, Beverly Hills, Calif. Doctor Swett’s Root Beer Companv, Incorporated, 134 S. LaSalle Street, Chicago, 111. Tone Products Company, 3846 W. Lake Street, Chicago 24, 111. Tru-Ade, Incorporated, 20 N. Wacker Drive, Chicago 6, 111. C. J. Van Houten & Zoon, Inc., 557 Greenwich Street, New York 13, N. Y. (instant cocoa). James Vernor Company, 239 Woodward Avenue, De- troit, Mich. Wander Company, 360 N. Michigan Avenue, Chicago, 111. (chocolate milk). The Welch Grape Juice Company, Westfield, N. Y. • BEVERAGE DISPENSERS APCO, INC., a subsidiary of U. S. Hoffman Machin- ery Corp., 1740 Broadway, N. Y. (cup dispenser). Automatic Syrun Comoany, 46-7 Vernon Blvd., Long Island City, N. Y. Barvend, Inc, San Marcos, Calif, (cup dispenser). Bastian-Blessing Company, 4201 Peterson Avenue, Chicago 30, 111. Bert Mills Corporation, 400 Crescent Blvd., Lombard, 111. (coffee). Best Products Companv, 220 West Addison Street, Chicago 18, 111. (coffee). Bev-Vend Company, Hagerstown, Md. (cup dis- penser) . C. G. Bradley & Sons, 431 N. Franklin St., Syracuse, N. Y. C. T. C. Manufacturing Corporation, North Holly- wood, Calif. Canada Dry Ginger Ale, Inc., 100 Park Avenue, New York 17, N. Y. See page 43. Carbonic Dispenser Co., Canfield, Ohio. Coan Manufacturing Co., 2070 Helena, Madison, Wis. (cup dispenser). Coca-Cola Company, 515 Madison Avenue, New York, N. Y. See page 36. Cole Products Corporation, 39 South La Salle Street, Chicago 3, 111. Dad’s Root Beer, Fountain Service, 2800 North Tal- man Avenue, Chicago 18, 111. Drincolator Corporation, 3700 Oakwood Avenue, Youngstown, Ohio. Everfrost Sales, Inc., 14815 South Broadway, Gardena, Calif. The Fischman Company, 10th & Allegheny, Philadel- phia, Pa. Fruit-O-Matic Manufacturing Company, 5225 Wil- shire Blvd., Los Angeles 36, Calif, (milk and juices) . Heat Exchangers, Inc., 2003 West Fulton Street, Chicago 12, 111. Charles E. Hires Company, 206 S. 24th Street, Phila- delphia 3, Pa. Jet Spray Cooler Company, 33 Simmons Street, Bos- ton 20, Mass. W. Kestenbaum, Inc., 1790 First Avenue, New York 28, N. Y. Knickerbocker Beverages Dispenser, Inc., 453 6th Avenue, New York, N. Y. Lovitt Enterprises, Inc., 205 School Street, Gardner, Mass, (coin operated milk shake and fruit drink dispenser) . Lunch-O-Mat Corporation of America, 2112 Broad- way, New York, N. Y. (coffee, milk and sandwiches hot and cold). Lyon Industries, 373 Fourth Avenue, New York City. Majestic Enterprises, Inc., Ltd., 959 Crenshaw Blvd., Los Angeles, Calif. Manley, Inc., 1920 Wyandotte Street, Kansas City 8, Mo. See page 42. Milk-O-Mat Corporation, 500 Fifth Avenue, New York City (cup dairy drink). Mighty Midget Manufacturing Company, 2824 East Washington, Phoenix, Ariz. Mills Industries, 4110 Fullerton Avenue, Chicago, HI. Mission Dry Sales, P. O. Box 2477, Los Angeles 54, Calif. Modern Refreshers, Inc., 1812 West Hubbard Street, Chicago, 111. Multiplex Faucet Company, 4319 Duncan Avenue, St. Louis, Mo. Nehi Corporation, 10th & 9th Avenues, Columbus, Ga. (cup vendors) Ohio Beverage Dispensers, Inc., Wooster, Ohio (port- able dispensers). ORANGE CRUSH COMPANY, 2201 Main Street, Evanston, 111. Pepsi-Cola Company, 3 West 57th Street, New York City. See pages 40-41. Rowe Manufacturing Co., 31 East 17th St.. New York City 3. See page 45. S & S Products Company, P. O. Box 1047, Lima, Ohio. Seco Company, Incorporated, 5206 S 38th, St. Louis 16. Mo. Selmix-Mills, 28-25 Borden Avenue, Long Island City, N. Y. Snively Vending & Sales Company, Winter Haven, Fla. Specialty Engineering Corporation, 2921 Commerce, Dallas 26, Tex. (fountain). Star Manufacturing Company, 6300 St. Louis Avenue, St. Louis, Mo. STEEL PRODUCTS, INC., 40 Eighth Ave., N.W.. Cedar Rapids, la. SUPERIOR REFRIGERATOR COMPANY, 822-24 Hodiamont Avenue, St. Louis 3, Mo. Telecoin Corporation, 12 E. 44th St„ New York City. Tone Products Company, 3846 W. Lake Street, Chicago 24, 111. Uniflow Manufacturing Company, Erie, Pa. Vendolator Manufacturing Company, P. O. Box 1586, Fresno, Calif, (bottle milk). John W. Young Foundation, 29 Fairway Drive, Bar- rington, R. I. • page 49 are I chewing gum 5, listed alpha h the manufacturer s is tor the purpose name of the manufacturer name of the product is known, ifacturers are listed alphab resses, according to in the director/ beginning mm CANDY BARS AND SPECIALTIES Fred W. Amend Company, 8 S. Michigan Avenue, Chicago, 111. Bachman Chocolate Manufacturing Company, Mount Joy, Pa. Walter Baker & Company, Inc., Pierce Square, Dor- Chester IVIjilss* BANNER CANDY MANUFACTURING CORPORA- TION, 700 Liberty Street, Brooklyn, N. Y. A. L. Bazzini Company, Inc, Inc., 108-116 Park Place, New York, N. Y. Paul F. Beich Company, Bloomington, 111. E. J. Brach & Sons, 4656 W. Kenzie. Chicago, 111 Blumenthal Brothers, Margaret & James Streets, Philadelphia 37, Pa. Blum’s Inc., Polk & California Streets, San Fran- cisco, Calif. Brock Candy Company, 1111 Chestnut Street, Chatta- nooga, Tenn. Bunte Brothers-Chase Candy Company, 3301 W. Franklin St., Chicago, 111. Cadbury-Fry, Inc., 261 Broadway, New York 7, N. Y. Candy Crafters, Inc., Stewart and Union Avenues, Lansdowne, Pa. Candymasters, Inc., 3-5 N. 15th St.. Minneapolis, Minn. Cardinet Candy Company, 2150 Marker Street, Oak- land, Calif. Charms Company, 601 Bangs Avenue, Asbury Park, N. J. Cherry Smash Company, Inc., 1401 Lee Highway, Arlington, Va. Chunky Chocolate Corporation, 200 Delancey Street, New York City. Cook Chocolate Company, 4825 S. Rockwell, Chicago, III. The Cracker Jack Company, 4800 W. 66th Street, Chicago, 111. Curtiss Candy Company, 1101 Belmont Avenue, Chicago 13, 111. 46 MOTION PICTURE HERALD, NOVEMBER 10, 1956 QUALITY BRANDS BUILD TURNOVER! The public knows, wants— and prefers to buy— high-quality merchandise. That’s why the response to displays of Nestle’s fine Chocolate Bars is so fast, and so profitable for you. Strictest standards allow only the finest quality in Nestle’s products. These nationally advertised and universally favored Chocolate Bars prove again that... NESTLE'S® MAKES THE VERY BEST CHOCOLATE Dennis Candv Factory, Inc., 793 Monroe Avenue, Rochester, N. Y. Deren Confectionery Company, Incorporated, 134 Cambridge, Cambridge 41, Mass. Drake America Corporation, 20 East 50th Street, New York 22. N. Y. Elmer Candy Company, 540 Magazine Street, New Orleans. La. The Euclid Candy Company of Calif.. Incorporated, 715 Battery. San Francisco 26, Calif. F & F Laboratories, Inc., 3501 West 48th Place, Chicago, 111. Ferrara Candy Company, Inc., 2200 W. Taylor Street. Chicago 12, 111. Fisher Nut & Chocolate Company, 2327 Wycliff St., St. Paul 4. Minn. Gold Medal Candy Corporation, 2857 W. 8th Street, Brooklyn, N. Y. Golden Nugget Sweets, Ltd., 1975 Market Street, San Francisco, Calif. D. Goldenberg, Incorporated, “I” & Ontario, Phila- delphia, Pa. H. K. Hart Confections, Inc., 540 39th St *eet. Union City, N. J. Hawlev & Hoops Inc., 200 N. 12th St., Newark, N. J. Henry Heide, Incorporated, 313 Hudson Street, New York, N. Y. See this page. HERSHEY CHOCOLATE CORPORATION, 19 E. Chocolate Avenue, Hershev, Pa. Hoben Candy Corporation, Ashley, 111. M. J. Holloway Company, 308 West Ontario, Chicago 10, 111. HOLLYWOOD CANDY DIVISION. Hollywood Brands. Inc., Centrab'a. Ilk Walter H. Johnson Candy Company, 4500 W. Bel- mont Avenue, Chicago 41, 111. Robert A. Johnston Company, 4033 W. National Ave- nue. Milwaukee 1, Wis. Kimbell Candy Company, 6546 W. Belmont, Chicago, 111. King Cup Company, Hershey, Pa. Kontney Carton Company, 418 North Clay Street, Green bay, Wis. Kraft Foods Company, 500 North Peshtigo, Chicago, 111. Leaf Brands, Inc., 1155 Cicero Avenue, Chicago, 111. Edgar P. Lewis & Sons, Incorporated, 183 Commer- cial Street, Malden 48, Mass. Life Savers Corporation, North Main Street, Port Chester, N. Y. Luden’s Inc., 200 North Eighth, Reading, Pa. Lusk Candy Company, 2371 Bates Avenue, Daven- port, la. McAfee Candy Company, Inc., Macon, Ga. Mars, Incorporated, 2019 N. Oak Park Avenue, Chicago 35, 111. Mason, Au & Magenheimer Confectionery Manufac- turing Company, P. O. Box 549, Mineola, N. Y. Melster Candies, Cambridge, Wis. NATIONAL LICORICE COMPANY, 106 John Street, Brooklyn, N. Y. The Nestle Company, 2 William Street, White Plains, N. Y. See page 47. New England Confectionery Company, 254 Massachu- setts Avenue, Cambridge 39, Mass. Norris Candy Company, Atlanta, Ga. Peter Paul, Incorporated, New Haven Rd., Nauga- tuck, Conn. Quaker City Chocolate & Confectionery Company, Incorporated, 2140 Germantown Avenue, Philadel- phia, Pa. Queen Anne Candy Company, Hammond, Ind. Reed Candy Company, 1245 Fletcher Street, Chicago, 111. H. B. Reese Candy Company, Hershey, Pa. Thomas D. Richardson Company, Atlantic and I, Philadelphia 34, Pa. Ridleys, 159 Carlton Avenue, Brooklyn 5, N. Y. Rockwood & Company, 88 Washington Avenue, Brook- lyn 5, N. Y. Schutter Candy Division, Universal Match Corpora- tion, 1501 Locust Street, St. Louis 3, Mo. Sperry Candy Company, Milwaukee, Wis. Squirrel Brand Company, 1012 Boardman Street, Howard E. Stark, 181 N. Broadway, Milwaukee 2, Wis. Sweets Company of America, Incorporated, 1515 Wil- low Avenue, Hoboken, N. J. Switzer Licorice Company, 612 N. First Street, St. Louis, Mo. Terry Candy Company, 963 Newark Avenue, Eliza- beth, N. J. C. J. Van Houten & Zoon, Inc., 557 Creenwich Street. New York 13, N. Y. Washington Candy Company, 1057 Broadway, Brook- lyn, N. Y. James O. Welch Company, 810 Main, Cambridge, Mass. Wilbur-Suchard Chocolate Candy, Incorporated, 48 N. Broad, Lititz, Pa. Williamson Candy Company, 4701 Armitage Avenue, Chicago 39, 111. York Caramel, Box 1147, York. Pa. George Ziegler Company, 408 West Florida, Milwau- kee 4, Wis. • NUTS Chunk-E-Nut Products Company, 2908 Smallman, Pittsburgh, Pa. Lummis & Company, 148 N. Delaware, Philadelphia 6, Pa. Planters Nut & Chocolate Company, Wilkes-Barre, Pa. Rennie Nut Company, 82 Briarcliff Road, Larchmont N. Y. The Harry P. Ritchie Co., 333 East Second Avenue, Los Angeles 12, Calif. See page 42. CANDY MACHINES Belvend Manufacturing Company, 122 South Michi- gan Avenue, Chicago, 111. Columbus Vending Company, 2005 East Main Street, Columbus, Ohio. Arthur H. DuGrenier, Inc., 15 Hale Avenue, Haver- hill, Mass. Mills Automatic Merchandising Corporation, 21-30 44th Road, Long Island City, N. Y. Mills Industries, 4100 Fullerton Avenue, Chicago, 111. National Vendors, Inc., 5055 Natural Bridge Road, St. Louis, Mo. The Northwestern Corporation, Morris, 111. THE ROWE CORPORATION. 31 East 17th Street, New York City. Sanitary Automatic Candy Corporation, 259 West i4th Street, New York City. Stoner Manufacturing Corporation, 328 Gale Street, Aurora, 111. • CIGARETTE MACHINES Arthur H. DuGrenier, Inc., 15 Hale Avenue, Haver- hill, Mass. THE ROWE CORPORATION, 31 East 17th S'reet, New York City. DISPLAY CASES AND COUNTER EQUIPMENT Columbus Show Case Company, 850 W. Fifth Avenue, Columbus 8, Ohio. Confection Cabinet Corporation, 234 Central, Newark, N. J. Continental Coin Devices, Inc., Cicero, 111. (automatic change-maker) . Grand Rapids Store Equip. Company, 1340 Monroe Avenue, N. W., Grand Rapids 2, Mich. Indiana Cash Drawer Co., Shelbyville, Ind. Klopp Engineering, Inc., Livonia, Mich, (automatic change maker). MANLEY, INC., 1920 Wyandotte Street, Kansas City, Mo. Monticello Manufacturing Company, Elwood, Ind. Master-Kraft Fixtures Company, 2320 Lipps Lane, Baltimore 23, Md. Pronto Pop Corn Sales Corporation, 702 Beacon Street, Boston 15, Mass, (cafeteria equipment). National Market Equipment Company, Royal Oak, Mich, (ice cream display cases). SUPURDISPLAY CORPORATION. 1324 West Wis- consin Avenue, Milwaukee 3, Wis. (ice cream, candy and popcorn display cases). Weber Showcase & Fixture Company, 5700 Avalon Boulevard, Los Angeles 54, Calif. West Coast Sheet Metal Works, 935 Venice Boulevard, Los Angeles, Calif. FOOD SERVICE EQUIPMENT Acton Manufacturing Company, 605 South Summer St., Arkansas City, Kans. (portable, hot or cold food container). AMERICAN PLAYGROUND DEVICES COMPANY, Anderson, Ind. (outdoor grills). Bakers Pride Oven Co., Inc., 1641 East 233rd St., New York 66, N. Y. (pizza pie ovens). Bell Engineering Company, 55 Munroe Street, Lynn, Mass, (frankfurter rotisserie). Burger-Mat Corporation, 341 39th Street, Brooklyn 32, N. Y. Cinesnax Corporation, 988 Market Street, San Fran- cisco, Calif, (frankfurter bar). J. J. Connolly, Inc., 457 West 40th Street, New York 18, N. Y. (frankfurter and roll grill). Cory Corporation, 221 LaSalle, Chicago 1, 111. (coffee brewer) . Dalason Products Manufacturing Comnanv. 825 West Madison Street, Chicago 7, 111. (frankfurter steamer and bun warmer). Dairy Service Company, 100 East Main Street, Menominee Falls, Wis. (fudge server and food warmer) . Charles L. Disk Company, Kent, Wis. (portable food warmers). Doughnut Corporation of America, 393 7th Avenue, New York City, N. Y. (doughnut mixer). Everfrost Sales, Inc., 14815 South Broadway, Gar- dena, Calif. Garvis Manufacturing Company, 210 Court Street, Des Moines, la. (frankfurter and bun warmer). Greer Enterprises, Inc., 281 North Grant Avenue, Columbus, Ohio. Harvic Supply Corporation, 154 Nassau Street, New York, N. Y. Heat-O-Mat, Inc., 483 Raymond Boulevard, Newark, N. J. (food warmer display cases). Helmco, Inc., 7400 W. Lawrence Avenue, Chicago 31, 111. (barbecue sandwich equipment). Hollywood Servemaster Company, 114 W. 18th Street, Kansas City 8, Mo. (frankfurter grill). Hotpoint, Inc., 5600 W. Taylor Street, Chicago 44, 111. (deep fryer and roll warmer and pizza pie ovens ) . Jobil Products Company, Detroit, Mich, (self-service baby bottle warmer). W. Kestenbaum, Inc., 1790 First Avenue, New York 28, N. Y. (griddle stand). Kneisley Electric Company, 2509 LaGrange, Toledo, Ohio (hot and cold drinks). Manley, Inc., 1920 Wyandotte Street, Kansas City 8, Mo. (frankfurter grille). See page 42. Medalie Manufacturing Company, 213 1st Avenue, North, Minneapolis, Minn, (frankfurter broiler and bun warmer). Nu-Matic Machines, Inc., 250 West 57th Street, New York City (coin operated frankfurter and roll dis- pensers). J. C. Pitman & Sons, 711 Broad Street, Lynn. Mass, (deep fryer). Prince Castle Sales, 121 West Wacker Drive, Chicago, 111. (beverage mixers). Pronto Popcorn Sales Corporation, 702 Beacon Street, Boston 15, Mass. ( frankfurter steamer and pizza dispensers, egg roll and shrimp dispensers). Star Manufacturing Company, 6300 St. Louis Avenue, St. Louis 20, Mo. STEEL PRODUCTS, INC., 40 Eighth Avenue. N.W.. Cedar Rapids, la. SAVON COMPANY. 286 Pennsylvania Avenue. Pat- erson, N. J. (food and popcorn warmer). Stewart In-Fra-Red, Inc., Harvard, 111. SUPURDISPLAY CORPORATION. 1324 West Wis- consin Avenue, Milwaukee 3, Wis. FOOD SPECIALTIES L. L. Antle & Company, Atlanta, Ga. (canned barbe- cue chicken). ARMOUR COMPANY, Union Stock Yard, Chicago, 111. (frankfurters). Atco Food Company, 2921 Commerce Street, Dallas 26, Tex. (barbecued beef and sauce). Blue Jay Products Co., Inc., 36 Bainbridge Street, Brooklyn 22, N. Y. (biscuits). Castleberry’s Food Company, Augusta, Ga. (barbe- cued beef, pork and hot dog chili). Coast Packing Company, 3275 E. Vernon, Vernon, Calif, (potato chips). Frito Company, Inc., 2600 Cedar Springs, Dallas. Tex. (potato chips). FL AVO-RITE FOODS, INC.. 643 Brook Avenue. Bronx 55, N. Y. (shrimp rolls, turkey-in-a-hun ) . Frozen Farm Products. Inc., 1735 Margaret Avenue, Altoona, Pa. (frozen breaded chicken in basket). Nationally Advertised HENRY HEIDE, INC - NEW YORK, N. Y. THE SAVON COMPANY CREATORS OF Family Style PIZZA FOR DRIVE-IN THEATRES EXCLUSIVELY Sold at 60^ to 65^ Complete equipment and ingredients available WRITE FOR INFORMATION 286 PENNSYLVANIA AVE., PATERSON, N.J. 48 MOTION PICTJRE HERALD NOVEMBER 10, 1956 Hygrade Food Products Corporation, 2811 Michigan Avenue, Detroit, Mich, (frankfurters). Meadors Manufacturing Company, Greenville. S. C. (biscuits) . Nino Food Products, Inc., 152 Watson Avenue, New- ark, N. J. (frozen pizza pie). Pronto-Pup, Incorporated, 619 1st National Bank Bldg., Cincinnati, Ohio, (frankfurters). National Biscuit Company, 449 West 14th Street, New York 10, N. Y. (biscuits). Purity Pretzel Company, 38th & Derry Streets, Har- risburg, Pa. (pretzels). S & S Foods, 8128 Olive, St. Louis 24, Mo. Savon Company, 286 Pennsylvania Avenue, Paterson, N. J. (French fried potato sticks and pizza pie). See page 48. So-Good Potato Chip Company, 2929 Gravois, St. Louis, Mo. (potato chips). Swift & Company, Union Stockyards, Chicago, 111. ( frankfurters) . Temple’s Frosted Foods, Inc., 454 Berry Street, Brook- lyn 11, N. Y. (frozen Chinese egg rolls). Tolona Pizza Products, Inc., 3921 West Chicago, Chicago, 111. (pizza pie materials). GUM, CHEWING American Chicle Company, 30-30 Thompson Street, Long Island City, N. Y. Beechnut Packing Company, 10 E. 40th Street. New York, N. Y. Clark Bros. Chewing Gum Company. Merchant St., N.S. Pittsburgh 12, Pa. Frank H. Fleer Corporation, 10th & Somerville, Phila- delphia 41, Pa. William Wrigley, Jr., Company, 410 N. Michigan Avenue, Chicago, 111. • ICE CREAM AND FROZEN SPECIALTIES EQUIPMENT Atlas Tool & Manufacturing Company, 5147 Natural Bridge Avenue, St. Louis. Mo. (ice cream vendor). Automatic Canteen Co. of America. Merchandise Mart, Chicago 39, 111. (ice creim freezers). Badger Vending Machine Crmpany, 710 N. Planking- ton, Milwaukee, Wis. (cup ice cream vendor). Samuel Bert Manufacturing Co., Fair Park Station, Dallas, Tex. (snow cones). See this page. Craig Machine Company, Danvers, Mass, (ice cream vendor) . Dari-Delite, Inc., 1524 Fourth Avenue. Rock Island. 111. (soft ice cream freezers). DeCicco’s Bon Bon Corporation. 451 N. Rodeo Drive, Beverly Hills, Calif, (chocolate covered ice cream). Everfrost Sales, Inc., 14815 South Broadway, Gardena, 111. (cabinets). Freez-King Corporation. 2518 W. Montrose Avenue. Chicago 18, 111. General Equipment Sales. Incorporated. 824 S. W. Street, Indianapolis 2, Ind. (ice cream). Icecreamolator Corporation, 3700 Oakwood Avenue, La Crosse Cooler Comoanv. 2809 Losy Boulevard, South. La Crosse, Wis. (ice cream). K. Merritt & Associates, Azusa, Calif, (ice cream cabinets) . Mills Industries. Inc., 4110 Fullerton Avenue, Chi- cago 39. 111. (ice cream freezers). Multiple Products Company, 225 W. 39th Street, New York 18, N. Y. (cone dispenser). Port Morris Machine & Tool Company, 208 E. 135th St., New York City (soft ice cream and custard machine) . ROWE MANUFACTURING CORPORATION, 31 East 17th Street, New York City (ice cream pop and sandwich automatic vendor). Sno-Master Manufacturing Company, 124 Hopkins Place, Baltimore 1, Md. (ice shaver). Sweden Freezer Manufacturing Company, 3404 17th Avenue, West, Seattle 99, Wash, (frozen custard and cone dispenser). Swirley Manufacturing Company, 2518 West Montrose Avenue, Chicago 18, 111. (soft ice cream). West Coast Sheet Metal Works, 935 Venice Boulevard, Los Angeles, Calif, (self-service ice cream cabinet). Whirla-Whip, Incorporated, W. O. W. Bldg., Omaha, Neb. (soft ice cream). • PAPER CUPS AND TRAYS Continental Can Company, 349 Oraton Street, New- ark, N. J. Dixie Cup Company, 24th & Dixie Avenue, Easton, Pa. Hi-I.and Paper Company, 274 Madison Avenue. New York City. Keyes Fibre Company, Waterville, Me. (earry-out trays) . Lily-Tulip Cup Corporation, 122 East 42nd Street, New York City. Maryland Cup Company, 1100 South Eutaw Street, Baltimore 30, Md. Sweetheart Paper Products Company, 1400 West 37th Street, Chicago, 111. U. S. Envelope Company, 68 Prescott, Worcester 5, Mass. Tyson-Caffey Corporation, 8 Briar Road, Wayne, Pa. ( carryout trays ) . POPCORN BAGS AND BOXES Andre Paper Box Company, San Francisco, Calif. The Best Foods, Incorporated, 1 E. 43rd Street, New York, N. Y. Grand Bag & Paper Company, Inc., Ossining, N. Y. MANLEY INCORPORATED. 1920 Wyandotte Street. Kansas City 8, Mo. Oneida Paper Products, Incorporated, 10 Clifton Boule- vard, Clifton, N. J. Regal Products Company, 1400 W. 37th Street, Chi- cago 9, 111. Rex Specialty Bag Co., 21-09 Borden Avenue, Long Island City 1. N. Y. Rockford Paper Mills, 33 S. LaSalle St., Chicago, 111. SUPURDISPLA Y CORPORATION. 1324 West Wis- consin Avenue, Milwaukee 3, Wis. C. F. SIMONIN’S SONS. INCORPORATED, Tioga & Belgrade Street, Philadelphia. Pa. Tidy House Paper Corporation of New York, 101 Onderdonk, Brooklyn 37, N. Y. POPCORN POPPERS C. CRETORS & COMPANY, 600 W. Cermak Road, Chicago, 111. G. H. R. Enterprises. Inc., 12017V2 Vose Street, North Hollywood, Calif. Manley Incorporated, 1920 Wyandotte Street, Kansas City 8, Mo. See page 42. Star Manufacturing Company, 6300 St. Louis Avenue, St. Louis 20, Mo. POPCORN, RAW A. B. C. Popcorn Company, Incorporated, 3441 W. North Avenue, Chicago, 111. American Pop Corn Company, Sioux City 6, Iowa. BLEVINS POPCORN COMPANY, 3098 Charlotte Avenue, Nashville, Tenn. Central Popcorn Company, Schaller, Iowa. C. Cretors & Company, Box 1329, Nashville, Tenn. Charles E. Darden & Company, 308 S. Harwood Street, Dallas, Tex. Albert Dickinson Company, P. O. Box 788, Chicago 90, 111. Dore Popcorn Company, 5913 W. North Avenue, Chi- cago, 111. Indiana Popcorn Company, Muncie, Ind. Interstate Popcorn Company, Fremont, Nebr. Manley Incorporated, 1920 Wyandotte Street, Kansas City 8, Mo. See page 42. J. A. McCarty Seed Company, Evansville, Ind. Premier Popcorn Company, Watseka, 111. SUPURDISPLAY CORPORATION, 1324 W. Wis- consin Avenue, Milwaukee, Wis. Wyandotte Popcorn Company, Marion, Ohio. Y & Y Popcorn Supply Company, 526 N. 13th Street, Philadelphia, Pa. Betty Zane Corn Products Company, 640 Bellefontaine Avenue, Marion, Ohio. POPCORN SEASONING AND SEASONING DISPENSERS APCO Inc., a subsidiary of U. S. Hoffman Machinery Corp., 1740 Broadway, New York City (butter dis- penser) . Arlington Edible Oil Products, 38 Yetten Place, Wal- tham, Mass, (seasoning). Best Foods, Incorporated, 1 E. 43rd Street, New York City, N. Y. (seasoning). Capital City Products, 525 West First Street, Colum- bus, Ohio. Cargill, Inc., 200 Grain Exchange, Minneapolis, Minn. C. CRETORS & COMPANY, Box 1329, Nashville. Tenn. (butter dispenser). Dairy Service Company, 100 East Main Street, Menominee Falls, Wis. Dell Food Specialties, Inc., Beloit, Wis. (cheese and barbecue flavoring). E. F. Drew & Company, 15 East 26th Street, New York City (seasoning). Helmco, Inc., 1215 Fullerton Avenue, Chicago, 111. ( butter dispenser ) . MANLEY, INC., 1920 Wyandotte Street, Kansas City 8. Mo. (cheese seasoning). Phoenix Foods Company, 460 Illinois Street, E Chicago 90, 111. (cheese flavoring). Savorol Company, Popcorn Building, Nashville, Tenn. C. F. Simonin & Sons, Incorporated, Tioga and Bel- grade Street, Philadelphia, Pa. (seasoning). See page 39. SUPURDISPLAY CORPORATION. 1324 W. Wis- consin Avenue, Milwaukee, Wis. (butter dispenser). • POPCORN WARMERS AND DISPENSERS Blessing-Hoffman Corporation, 2422 W. Cermak Road, Chicago. 111. (warmer). Bonanza, Inc., 2980 W. Pico Blvd., Los Angeles, Calif. C. CRETORS & COMPANY, Box 1329, Nashville, Tenn. G. H. R. Enterprises, Inc., 1201714 Vose Street, North Hollywood, Calif. Hollywood Servemaster Company, 114 West 18th Street, Kansas City 8, Mo. (warmer). Manley, Inc., 1920 Wyandotte Street, Kansas City, Mo. See page 42. National Theatre Supply, 92 Gold Street, New York City (popcorn warmer). Popcorn Equipment Company, 2004 Broadway, Santa Monica, Calif, (warmer). Pronto Popcorn Sales, 702 Beacon Street, Boston 15, Mass, (warmer and dispenser). Queen City Manufacturing Company, 1020 Richmond Street, Cincinnati, Ohio (dispenser). SAVON COMPANY, 286 Pennsylvania Avenue, Pat- erson. N. J. (warmers). West Coast Sheet Metal Works, 935 Venice Boule- vard, Los Angeles, Calif, (warmer). • VENDING CARTS Federal Quality Corporation, Atlanta, Ga. Foodmobile, 60 Park Place, Newark, N. J. See page 48. Poblocki a Sons, 2159 S. Kinnikinnic Avenue, Mil- waukee 7, Wis. Walky Service Company, 401 Schweiter Bldg., Wich- ita, Kans. BRAND NAMES [ Addresses of fhe following list can be found by referring to proper classi- fication in the preceding directory.] BEVERAGES BIRELEYS: General Foods Corporation. CANADA DRY (cherry, cream, ginger ale, grape, lemon lime, orange, root beer): Canada Dry Ginger Ale, Inc. COCA-COLA: Coca-Cola Company. COTT: Cott Beverage Corp. DAD’S ROOT BEER: Dad's Root Beer Company. DELAWARE: Delaware Punch Company of America. DR. PEPPER: Dr. Pepper Company. DR. SWETT'S: Dr. Swett's Root Beer Company. ESCO (orange, grape, pineapple, papaya, and coconut): Kestenbaum Brothers. GRAPETTE: The Grapette Company. GREEN RIVER: Schoenhofen Edelweiss Company. GREEN SPOT: Green Spot, Inc. HAWAIIAN: Pacific Citrus Products Company. HIRES ROOT BEER: The Charles E. Hires Co. HI-SPOT: Canada Dry Ginger Ale, Inc. you can increase profits with . . . "SNOW MAGIC" THE NEW SNOW CONE MACHINE The Bert's "SNOW MAGIC" machine combines eye-appealing beauty with perfect mechanical performance and large capacity. "Snow Magic" is easy to operate and is Fully Automatic. A Snow Cone cost \\h to 1 /2C and usually sells for 10C . . . that's profit! F.O.B. Dallas only $285.00 "SNOW MAGIC JR." Bert's "Snow Magic Jr." is a true ice shaver and not a grinder. It is equally as attractive and efficient as the larger model. Fully Automatic. F.O.B. Dallas only $150.00 All Equipment Patented, Guaranteed and Backed by 37 Years' Experience SAMUEL BERT MFG. CO.. Fair Park Sta. Box 7803, DALLAS. TEXAS BETTER REFRESHMENT MERCHANDISING 49 NEHI: Nehi Corporation. PEPSI-COLA: Pepsi-Cola Company. RED ROCK: The Red Rock Bottlers, Inc. ROYAL CROWN COLA: Nehi Corporation. SEVEN-UP: The Seven-Up Company. SPUR: Canada Dry Ginger Ale, Inc. SQUEEZE: National Fruit Flavor Company, Inc. SQUIRT: The Squirt Company. TRU-ADE: True-Ade, Inc. VERNOR'S: James Vernor Corporation. WELCH: The Welch Grape Juice Company. WONDER ORANGE: Wonder Orange Company. • CANDY BARS AND SPECIALTIES ALMOND JOY: Peter Paul, Inc. BABY RUTH: Curtiss Candy Company. BAFFLE BAR: Cardinet Candy Company. BIG PAYOFF: Hollywood Candy Co. BIG TIME: Hollywood Candy Division, Hollywood Brands, Inc. BIT-O-HONEY: Schutter Candy Div. of Universal Match Corporation. BLACK CROWS: Mason, Au & Magenheimer Confectionery Company. BONOMO'S TURKISH TAFFY: Gold Medal Candy Company. BOSTON BAKED BEANS: Banner Candy Mfg. Co. BROCK BAR: Brock Candy Co. BUTTERFINGER: Curtiss Candy Company. BUTTERNUT: Hollywood Candy Division, Holly- wood Brands, Inc. CADBURY HAZEL NUT: Cadbury Fry Export, Ltd. CHARMS: Charms Candy Company. CHOCOLATE BREEZE: Henry Heide, Inc. CHOCOLATE MALTED: Hoben Candy Corp. CHOCOLATE SPONGE: Henry Heide, Inc. CHOCOLETTOS: Peter Paul, Ind. CHUCKLES: Fred W. Amend Company. CLARK BARS: D. L. Clark Company. COCO-BELA: Hoben Candy Corp. CRACKER JACK: The Cracker Jack Company. CUP-O-GOLD: E. A. Hoffman Candy Co., Inc. DAIRY MAID: Jacobson Candy Company. DARLING CREAMS: Henry Heide, Inc. DEEP FREEZE: Brock Candy Co. DOCTOR'S ORDERS: Walter H. Johnson Co. DOTS: Mason, Au & Magenheimer Confectionery. DREAM BOATS: Brock Candy Co. FIFTH AVENUE: Ludens, Inc. FOREVER YOURS: Mars, Inc. FOURSOME: Brock Candy Co. GOOBERS: Blumenthal Bros. Better Refreshment Merchandise Advertisers' Index and Inquiry ■■ 1 ADVERTISERS' PAGE AND REFERENCE NUMBERS: Ref. No. Page No. Ref. No. Page No. 1— SAMUEL BERT MFG. CO. 49 7— NESTLE INC 47 2 — CANADA DRY GINGER ALE, INC. 43 8— PEPSI-COLA CO. 40-41 3— THE COCA-COLA CO 36 9— HARRY P. RITCHIE CO. 42 4— FOODMOBILE 44 10— ROWE MFG. CO 49 5 — HENRY HEIDE, INC 48 1 1— THE SAVON CO. 48 6— MANLEY, INC 42 12— C. F. SIMONIN'S SONS 39 REFERENCES FOR ADDITIONAL INQUIRY: 100 — Beverage dispensers, coin 109 — Custard freezers 118 — Popcorn machines 101 — Beverage dispensers, counter 1 10 — Films, snack bar adv 119 — Popcorn warmers 102 — Candy bars 1 1 1 — Food specialties 120 — Popping oils 103 — Candy Specialties 1 1 2 — French fryers 121 — Scales, coin operated 104 — Candy machines 113 — Grilles, franks, etc. 122 — Soda fountains 105 — Cash drawers 1 14 — Gum, chewing 123 — Soft drinks, syrup 106 — Cigarette machines 1 1 5 — Gum machines 1 24 — Showcases 1 07 — Coffee-makers 1 16 — Ice cream cabinets 125 — Vending carts 108 — Cups & containers, paper 117 — Mixers, malteds, etc. 126 — Warmers, buns, etc. INQUIRY COUPON To BETTER REFRESHMENT MERCHANDISING Department: Motion Picture Herald, 1270 Sixth Avenue, New York 20, N. Y. I am Interested In products as Indicated by the reference numbers written below, and would like to receive literature concerning them. Name . Theatre ; , ' . ... , GOOD & PLENTY: Quaker City Chocolate Co. HAWAIIAN FUDGE: Euclid Candy Co. HERSHEY: Hershey Chocolate Company. JUICELETS: F & F Laboratories, Inc. JUJUBES: Henry Heide, Inc. JUJYFRUITS: Henry Heide, Inc. JUMBO BLOCKS: Planters Nut & Chocolate Co. JUNIOR MINTS: James O. Welch Company. KRAFT KARAMELS: Kraft Food Company. LEAF-MINTS: Overland Candy Company. LICORICE PASTILLES: Henry Heide, Inc. LICORICE TWIST: Switzer's Licorice Company. LIFE SAVERS: Life Savers Corporation. LOVE NEST: Euclid Candy Co. M & M's: Hawley & Hoops Co. MALT BALLS: Leaf Brands, Inc. MALTED MILK BALLS: Walter H. Johnson Candy Company. MARS: Mars, Inc. MASON MINTS: Mason, Au & Magenheimer Co. MASON PEAKS: Mason, Au & Magenheimer Co. MILK DUDS: M. J. Holloway Company. MILKSHAKE: Hollywood Candy Division, Holly- wood Brands, Inc. MILKY WAY: Mars, Inc. MOUNDS: Peter Paul, Inc. MR. GOODBAR: Hershey Chocolate Company. NECCO BOLSTER: New England Confectionery Co. NECCO PEPPERMINTS: New England Conf. Co. NECCO WAFERS: New England Confectionery Co. NESTLES: Nestle Chocolate Company. NIBS: National Licorice Company. OH HENRY: Williamson Candy Company. OLD NICK: Shutter Candy Co. PAYDAY: Hollywood Candy Company. PEANUT BUTTER CUP: H. B. Reese Candy Co. PECAN PETE: Fred W. Amend Co. PECAN ROLL: Sperry Candy Company. PLANTERS PEANUTS: Planters Nut & Chocolate. POLAR: Hollywood Candy Co. POM POMS: James O. Welch Company. POWERHOUSE: Walter H. Johnson Candy Co. RAISINET: Blumenthal Bros. RED DEVILS: Banner Candy Mfg. Co. RED SAILS: Hollywood Candy Division, Hollywood Brands, Inc. ROOT BEER DROPS: Chase Candy Corp. ROYAL BAR: Klein Chocolate Company. 7-1 I: Mason, Au & Magenheimer Conf. Co. SMOOTH SAILIN: Hollywood Candy Division, Hollywood Brands, Inc. SOFTEES: Mason, Au & Magenheimer Conf. Co. SNICKERS: Mars, Inc. SUCKERS: M. J. Holloway & Company. 3 MUSKETEERS: Mars, Inc. TOOTSIE ROLL: Sweets Company of America. 25 KRAFT: Charms, Inc. VAN HOUTEN BARS: C. J. Van Houten & Zoon. WAYNE BUN: Wayne Candies, Inc. WELCH'S COCOANUT: James O. Welch Co. WELCH JR. MINTS: James O. Welch Co. WHIZ: Paul F. Beich Co. ZERO: Hollywood Candy Co. Bunte-Chase has begun packing chocolate candies as shown above, in a window box made of aluminum foil-laminated cardboard, with printing in such attractive colors as azalea, red-gold, fuchsia, sky blue, lemon, "old glory," and bronze. 50 MOTION PICTURE HERALD, NOVEMBER 10. 1956 wco-azwzi- • aau j-hujui-dqcuj -sa-zhwzazuuj fall buyers number containing THE BUYERS INDEX • New Theatres: Northgate in suburban Memphis Shore Drive-In, Virginia Beach • Modernization: Boston's Majestic, now Saxon NOVEMBER 1956 The Norshor Theater, Duluth, Minn. Gulistan Carpet executed by Minnesota Amusement Co., Minneapolis, Minn. GVOSTAN CARPET bids your customers a warm welcome The atmosphere of beauty and qual- ity created by fine Gulistan Carpet offers a generous invitation to your customers to relax and enjoy them- selves. Specially woven of fine wools to endure the abrasive punishment of thousands of footsteps daily, these heavy-duty Wiltons reduce mainte- nance costs up to 50% over non- carpeted floors.* Many Gulistan original designs are available from stock in a variety of color combinations. Gulistan Commercial Carpet may be ob- tained in a virtually unlimited selec- tion of colors on special order, or if you prefer a special design, the Gulistan Art and Design Staff is at your service. Consult your Certified Gulistan Carpet Dealer or write Commercial Carpet, Dept. BT-11, at address below. *Send for complete cost study entitled “Cutting Costs With Carpet.” A deep piled Wilton carpet in an all over pattern. Available from stock in turquoise with grey and black or red with grey and black. i m Some outstanding Gulistan installations: Radio City Music Hall, N. Y., Americana Hotel, Miami Beach, Socony Mobil Building, N. Y. GULIST CARPET Costs No More Than Ordinary Carpet MADE IN THE U. S. A. BY AMERICAN CRAFTSMEN . A. & M. KARAGHEUSIAN, INC., 295 FIFTH AVENUE, NEW YORK 16, N. Y. For bigger box off ice ... offer patrons the luxurious comfort of Bodiform Chairs Attracting customers to your theatre is easier when you lure them with the comfort of Ameri- can Seating Bodiform Theatre Chairs. Full-upholstered spring-back Bodiform Chairs are scientifically designed to fit the contours of the human body. This means correct posture, restful comfort. The ^-safetyfold spring-arch seats are full-upholstered, with full rubber pad. They permit controlled resiliency, allow more room for passing, easier housekeeping. All Bodiform standards are of gray iron. For sturdiness and quiet, middles have turned-in feet, which eliminate stumbling. American Seating offers the most complete line of theatre chairs on the market, with the greatest every price bracket. Call in an American Seating representative. Let him show you how Bodiform Theatre Chairs can bring you bigger box office through luxurious comfort to your patrons. Wm** American Seating Spring-back Bodiform Chair No. 16-870. GRAND RAPIDS 2, MICHIGAN WORLD S LEADER IN PUBLIC SEATING Branch Offices and Distributors in Principal Cities. Manufac- turers of Theatre, School, Church, Auditorium, Stadium, Transportation Seating, and Folding Chairs. ALSO DISTRIBUTED BY NATIONAL THEATRE SUPPLY BETTER THEATRES SECTION 3 Scene from “ Anastasia /* 20th Century-Fox CinemaScope production. Make your theatre HABIT-FORMING with the PERFECT-PICTURE PAIR PERFECT-PICTURE PRIME LENS Sure, a good feature will bring pa- trons in . . . but it’s how well they see it that helps decide whether they’ll pick your theatre to come back to. Build repeat patronage with B&L Super Cinephor Projec- tion Lenses — full detail, brilliant contrast — the quality standard prime lens for all theatre and drive- in projectors. SEE THE BIG DIFFERENCE . . . FREE DEMONSTRATION Write today for demonstra- tion, and for Catalogs E-123 and E-141. Bausch 8C I.omb Optical Co., 67911 St. Paul St., Rochester 2, N. Y. (In Canada: General Theatre Supply, Toronto.) PERFECT-PICTURE CINEMASCOPE LENS Clearest, brightest, distortion-free projection of all anamorphic proc- ess films. Highest light transmission — 92 %! No vignetting! Uniform light and uniform magnification throughout entire screen area! Com- plete line — neighborhood theatres to longest-throw drive-ins. Academy of Motion Picture Arts and Sciences Honorary Award for Optical Service to the Industry 4 About People otf the “Theatre AND OF BUSINESS SERVING THEM After completely renovating the Strand theatre in Hartselle, Ala., Hubert R. Mitchell has reopened the house as the Rodeo. A golden anniversary recently was celebrated by the Bohemia theatre, Cleveland, Tenn., opened in 1906 by the late Jesse Steed. Ed Lachman, president of Lorraine Carbons, Inc., Boonton, N. J., distribu- tor of Lorraine Orlux carbons, left November 1st on a five-week busi- ness trip, visiting Lor- raine Carbons’ repre- sentatives in Italy and Switzerland, to meet at the home offices of Lor- raine in Paris with the principals of his company, and to visit the Lor- raine laboratories and manufacturing plant in Pagny. On his return announcement will be made of new plant facilities and offices in Boonton. A $50,000 modernization program has been started at the Capitol theatre in Lancaster, Pa., according to Ray O’Connell, manager. The lobby and box-office will be rebuilt, and a new front constructed with a new marquee. The house continues in operation during the remodeling. J. F. {"Jack") O’Brien, widely known throughout the theatre field, has been appointed manager of the Northeastern region for RCA, R. W. Saxon, director of RCA Regional Opera- tions, recently announced. Formerly manager of Theatre and Sound Products, Mr. O’Brien now becomes principal RCA executive in the Northeastern region on policies and problems relating to sales and merchandising of all RCA and RCA Victor products. He will make his headquarters at the RCA offices in Boston. In his former post, Mr. O’Brien was responsible for the planning, marketing and sales of numer- ous broad RCA product lines, including thea- tre, industrial, scientific equipment, film-re- cording apparatus, sound equipment, and indus- trial television systems. Mr. O'Brien, who joined RCA in 1954, was honored with RCA’s highest citation for salaried employes, the RCA Victor Award of Merit, for planning and leadership which enabled RCA to meet the needs of the motion picture industry for wide-screen film- projection equipment and stereophonic sound systems. Charles S. Borg, well-known operator of theatres in Missouri and Kansas since 1935. recently died at the age of 76. George Barton has unshuttered the Maynard theatre in Los Angeles. Henry Schwartz has been named representa- tive in the metropolitan New York area for the MOTION PICTURE HERALD, NOVEMBER 10, 1956 NOW. . . steadier, sharper projection for every theatre . . . with the co*VED a must for better projection of wide-screen films! • Reduces film buckling caused by high temperatures • Provides greater uniformity of focus . . . improves center-to-side focus • Curved design steadies film and controls in-and-out movement of buckled film • Proven effective in laboratory and field tests • Available on new Simplex X*L projectors • A simple adaptation to Simplex X*L's in service • Uses existing aperture plates • Easy to thread ... no obstructions • Easily removable for cleaning ... no corners • Adjustable spring tension assures intimate film contact • Available with water cooling Contact your nearest National Theatre Supply representative for more details Better Projection Pays! MANUFACTURED BY INTERNATIONAL PROJECTOR CORPORATION DISTRIBUTED BY NATIONAL THEATRE SUPPLY SUBSIDIARIES OF GENERAL PRECISION EQUIPMENT CORPORATION BETTER THEATRES SECTION 5 1 PEI VACUUM CLEANERS GET MORE DIRT 3 TSSc=r- COMMERCIAL c<-:5 MULTI-VAC jrr—-l MULTI-VAC j jjf P125 1 H.P. Mj SENIOR P115 JUNIOR Pill SPENCER PI 18 /> H P. H GET IT FASTER &p\_ WITH LESS EFFORT Demonstration proves it . . . but the reason why lies in Spencer's know-how in building vacuum cleaners especially for day-in, day-out commercial service in schools, hotels, offices, public buildings, institutions, stores, theaters. Spencer makes a COMPLETE line of commercial portables for these services, plus a COM- PLETE selection of PROFESSIONAL TOOLS for floors, walls, hand-cleaning and special purposes . . . wet or dry pick-up . . . including the time-saving Spencer DRY-MOP clean- ing attachment and internal dust-bag emptying. Spencer prices are RIGHT for tight budgets . . . check before you buy. Write Dept. BT. Bennett Manufacturing Company, Alden, N. Y., manufacturers of waste receptacles. Mr. Schwartz has been in the janitor supply field since 1935. Bob Henderson has left the Knoll theatre and is now operating the Boulevard in Los An- geles. M. A. Light man, Sr., president of Malco Theatres, Inc., has leased the Memphis theatre in Memphis, Tenn., to Jack Katz, operator of the Ritz theatre there. A. A. Orr and B. F. Jackson have sold the Booth and Roosevelt theatres in Hollendale, Miss., to Edward E. Storey, Jr., while opera- tion of Mr. Jackson’s Mojac, Regent and Honey theatres has been taken over by Mrs. Ruth E. M orris. In Scranton, Pa., Bert Allen, formerly of the Globe, has gone over to the Comerford as as- sistant manager in place of John Mulkerin, while Jim Bingham, formerly of the Comerford, has moved to the West Side as assistant to Phil Duffy. ' Harold W. Seidenberg, who used to manage theatres in Oakland, Calif., has been appointed managing director of the Orpheum in San Fran- cisco, replacing Paul Swater, who will open a new Cinerama installation in Miami, Fla. THE SPENCER TURBINE COMPANY • HARTFORD 6, CONNECTICUT Norman Raay and Len Keen have been named manager and assistant manager, respec- tively, of the Paradise theatre, Odeon circuit house in Vancouver. B. C. Steve Stiefel, operator of the Narberth the- atre in Narberth, Pa., has acquired the Bryn Mawr theatre, Bryn Mawr, Pa. YOU WOULDN’T LET A PLUMBER TINKER WITH YOUR CAR I Frank Young has been appointed regional sales manager for Breuer Electric Manufactur- Company of Chicago on the West Coast An Employee-of-the-Year Award has been won by Harold Sherwood, chief projectionist of Hunt’s Theatres, Wildwood, N. J. The award, granted annually at an employees’ party, in- cludes a $5'00 trip. The new Valley Forge drive-in, incorporating a large playground and cafeteria, has been opened by Abe Sablosky near King of Prussia, Pa. Wilfred C. Haskins has replaced Dave Lages, who resigned as manager of the Fayette the- atre at Fayette, Mo. The Wayne drive-in, located in the Crows Nest Pass district of British Columbia, which was shut down all season due to a shortage of qualified projectionists, has re-entered the field under the guidance of Rex Colmer, who owns a substantial share of the enterprise. Your car plays a vital part in the life of you and your family. You wouldn’t dream of letting a plumber tinker with it. So, too, your sound equipment is the most important property in your theatre. It deserves the expert technical attention only ALTEC can give it. 6,000 satisfied ALTEC SERVICE customers have learned this. HOW ABOUT YOU? SPECIALISTS IN MOTION PICTURE SOUND 161 Sixth Avenue • New York 13, New York a Division of ALTEC COMPANIES. INC. John Cole of Clinton, Tenn, has purchased the Dan-Dee drive-in in Columbia from Mrs. A. P. Alley. The Swan theatre, Madison, Fla., has a new manager, Joe A. Brinson. Formerly assistant manager of the Palace in New Britain, Conn., Mrs. Lydia W oilman has been appointed manager of Perakos The- atres Associates’ Arch Street theatre. She re- places David Miller, who has become manager of the East Hartford Family drive-in South Windsor, Conn., a unit of Lockwood and Gor- don Theatres. 6 MOTION PICTURE HERALD, NOVEMBER 10, 1956 Wide screens are here to stay! Stereophonic SountPis, too! Producers with new techniques are filling your big screens with sharp-focus, spectacular pictures. Big screens need Stereophonic Sound to complete the revolution of improvement which is renewing the interest of millions in talk- ing pictures. Stereophonic Sound is better than sound from any single loud- speaker assembly. * Three channel, four channel, or six channel FOR THE BEST in multi- or single channel, mag- netic or photographic sound systems.. . buy • THE WESTREX • WESTREX Standard • WESTREX Economy Westrex Corporation 111 Eighth Avenue, New York 11, N. Y. Hollywood Division: 6601 Romaine Street, Hollywood 38, Calif. STUDIO RECORDING SYSTEMS • THEATRE SOUND SYSTEMS BETTER THEATRES SECTION 7 ( j RCA INTRODUCES BRAND NEW SAVINGS IN REPLACING WORN MAGNETIC HEADS Time was when a complete magnetic cluster had to go whenever pick-up heads wore out in your sound system. But not any more, thanks to the latest devel- opment by RCA theatre-equipment engineers. RCA’s new magnetic cluster — designed to fit any RCA button-on soundhead — introduces a removable cap that means hefty savings on that old problem of pick-up heads that wear out. Here’s how it works. Here's your original magnetic cluster, the unit you previously had to replace entirely. Now, you can insert a new cap at a fraction of the cost of the whole cluster. Here’s the heart of this new RCA development . . . the removable cap that incorporates fresh pick-up heads for reproduction of one or four magnetic tracks. i i i i i i ! j ) i I I i ) i i J And here’s your end result ... a cluster working like new because it has brand new pick-up heads. You’ve saved plenty of money and time, thanks to RCA engineering. This replaceable cap typifies the way engineers work things at RCA. They make the best product possible, then go on improving it, finding ways to make it work better and longer and easier. This all means better business for you . . . and the sooner you call your independent RCA Theatre Supply Dealer the better. He’s ready to help you start saving with RCA’s new magnetic clustercap. THEATRE EQUIPMENT SALES RADIO CORPORATION of AMERICA CAMDEN, N. J. the Line that builds Lines at Your Box-Office fftjHMIMfalMM 8 MOTION PICTURE HERALD, NOVEMBER 10, 1956 for NOVEMBER 1956 GEORGE SCHUTZ, Editor EDITORIAL INDEX: TRIMLY DESIGNED FOR SHOPPER PATRONAGE: New Northgate Theatre, Memphis, Tenn 10 FOR VACATIONERS: New Shore Drive-In Near Virginia Beach 13 THE REMODELED SAXON THEATRE IN BOSTON 16 THE TECHNICAL AND CLEANING STAFF— AND PUBLIC RELATIONS 20 THE BUYERS INDEX 23 ABOUT PRODUCTS 37 CHARLIE JONES SAYS: Buying Pictures Today Is Kinda Like Getting Married by Proxy ... 42 ABOUT PEOPLE OF THE THEATRE 4 BETTER THEATRES is published the first week of the month, with each regular monthly issue a bound-in section of Motion Picture Herald; and in an annual edition, the Market Guide Number, which is published under Its own covers in March as Section Two of the Herald. QUIGLEY PUBLICATIONS, Rockefeller Center, New York 20, N. Y., Circle 7-3100. Ray Gallo, Advertising Manager. Hollywood: Yucca-Vine Building; HO 7-2145. Government Loans For Modernization The decision of the Small Business Ad- ministration to grant loans, under certain circumstances, for the remodeling and re- equipping of theatres, particularly the smaller operations (since it is presumed that the larger ones can obtain private financing), brightens the prospects for many a theatre that is now trying to pull itself up by its own bootstraps. A large section of the exhibition plant is between the devil of obsolescence and the deep blue sea of box office inadequacy to the financial requirements of moderniza- tion. The possibility of a Government loan for this purpose offers a potential release from such a stalemate. • It is impossible to measure confidently the effect of physical obsolescence upon a specific theatre. Each situation must be judged according to all of the circum- stances influencing patronage. Whether a loan is warranted depends upon location, changes in local recreational resources, re- lationship of those changes to higher costs of operation — and, a point we set off for emphasis, the adaptability of the structure, in architecture and plan, to progress in motion picture technique and to refine- ments in public taste. It is foolish to believe that the public would be flocking back to our theatres if they all were glitteringly new\ It is reason- able, however, to say that theatres dismallv outmoded, uncomfortable and technically incompetent to give the film production its due, place a burden on the industry’s ef- fort of rehabilitation. Product alone can- not carry the load. It never did. Quite like- ly it never will. • What has happened is that the motion picture has lost its captive audience. More people now' can do more things, anywhere. 20 miles, even 50 miles from home about as readily as once they could go to the movies a few blocks away. Or they can stay home and still have some sort of pro- fessional entertainment, some contact with the world beyond their familiar, humdrum existence. This would seem to argue that the pic- ture must carry more of the load than it ever did. Undoubtedly product must uniquely supply great visual and emotional experience to a degree not previously re- quired. But theatres are part of this process. No picture can be better than the conditions of its exhibition. Product, moreover, cannot overcome altogether the lack of convenient parking, the memory of discomfort and of ugliness encountered in previous visits to theatres. It would take an extensive appraisal of properties to judge what the SBA decision really means in a practical sense. It seems, however, to offer salvage to many theatres; and believing that it does, we shall suggest in December how money thus made available might be used with most practicable effect. There are properties for which mere re- furbishing can do quite a lot. But obsolesc- ence in our theatres has been at work a long time — in some cases a couple of decades. Much of the exhibition establish- ment was built when theatre design was under influences radically different from those operating today. It will be w'ith these in particular that Ben Schlanger, noted de- signer of motion picture theatres, will deal in Better Theatres for December. — G.S. 9 Out wltesve People go canaenieutlu Trimly Designed for Shopper Patronage Picturing and describing the 985-seat Northgate, first to be completed of two new shopping center theatres in suburban Memphis. In the above sketch of the North- gate shopping center the the- atre is indicated by an arrow. Promenade and drive approaches to theatre , looking from parking area at farther side of shopping center as shown in sketch at top of page. « THE NORTHGATE shop- ping center in the outskirts of Mem- phis, Tenn., is the first of two new high- wav markets for that city. At one side of the 24-acre Northgate market is a recreational area, the chief structure of which is the Northgate theatre, exclu- sively a motion picture theatre seating 985 in a stadium plan. The theatre is operated by a com- pany, Northgate, Inc., headed by Au- gustine f. Cianciolo, who has three other Memphis theatres and will also operate a theatre incorporated in the scheme of the other new Memphis shopping cen- ter, which is now under consideration. The recreational facilities include a community hall and a bowling alley, besides a variety of restaurants. Among the mercantile structures are two super- markets, a junior department store, a drug store, an automobile accessory store, various kinds of apparel shops and a beauty and a barber shop, with each accessible from covered walks bor- dering a mall and by underground pas- sage at basement level. The Northgate theatre is at the ground level of a corner building of concrete and masonry construction 10 MOTION PICTURE HERALD, NOVEMBER 10, 1956 J % \ v MEN > (B ^ WOMEN (D Ty Inn O OFF. STORE WA L K which also houses the community hall, the latter being beneath the theatre, its entrance next to theatre entrance. The theatre shares the building addition- ally with shops and offices, occupying about half of the structure, with the lobby at one side beneath the portion housing offices ( see floor plan). Shops are along approaches to the theatre, and a store of 2,000 square feet is located beneath the stadium section. FRONTS ON DRIVE Lobby of the Northgate, looking from entrance past refreshment stand toward auditorium, which is entered at cross-aisle between main seating and stadium (see floor plan below). Walls of the lobby are plaster painted gold, the ceiling acoustic plaster left natural. The re- freshment stand and ter- razzo floor are in colors complementary to the walls. The second floor office space projects out over the front of the building, sup- ported by concrete columns, and forms a covering for the approaches to the shops and theatre. This area may also be reached directly by automobile on a concrete drive which circles in front of the building, leading from and to the main shopping center parking area. The front of the theatre is constructed of brown Roman brick with panels of Travertine marble. The overhang has hi-hat fixtures in soffit. The face of the building and surrounding parking area is lighted by twin mercury vapor lamps on steel mast arms. Passage from entrance to auditorium is through a spacious lobby depending on the lines and coloration of structural elements for esthetic effect. Walls, which are plaster, are painted gold, while the floor is terrazzo with chips in colors picking up and blending with the color of the walls. The ceiling is acoustic plaster, balancing the noise factor of the terrazzo floor, and is undecorated. The refreshment stand is integrated into the architectural scheme in both line and colors. The treatment reflects the casual character of the patronage expected. In the auditorium, a similar simplic- ity of treatment supplies visually neu- tral conditions which, with the screen spanning practically the width of the auditorium, provides for domination by the performance. The ceiling is Fiber- glas resting on an exposed aluminum tee suspension system forming a 2X4-foot grid pattern. Walls are acoustic plaster above a 4-foot wainscot of cement-plas- ter. The upper walls are left in the nat- ural cream color of the acoustic plaster, the wainscot is painted a warm brown, which blends with stadium rails. SCREEN SPANS AUDITORIUM The screen of the Northgate is 47 feet wide, substantially spanning the platform that extends from wall to wall. The entire front of the auditorium is 1 1 BETTER THEATRES SECTION The Northgate screen substantially fills the forward end of the auditorium, shown above with the traveler open. Six front rows ( see rear view below) have veneer chairs. therefore performance area, closed by a screen curtain and associated drapes tluring non-projection periods. Control of ceiling height in the thea- tre to allow efficiently for a community hall beneath it has been effected by use of the “reverse-floor” principle, with a rapid increase in pitch upward at the ninth row. The forward rows, however, are close to the screen relative to the picture width, and the first six have veneer chairs. The remainder of the seat- ing, two-thirds of which is in the main section, consists in Irwin chairs with padded backs and spring seats uphol- stered in turquoise mohair. At the rear of the stadium there is a “cry-room,” which is equipped with a drinking fountain and bassinets and has direct contact with both the women’s and the men’s restroom off the lobby. The restrooms have terrazzo floors, ceramic tile walls and ceilings of acous- tic material. Fixtures in the women’s room are pink, those in the men’s gray. House lighting of the auditorium is by neon strips in color behind wall panel insets in the main seating section, and by similar sources in a ceiling cove in the stadium section. For necessary illumination during projection periods, a few downlights liberally spaced in a single line down the center augment the screen light. The Northgate is equipped for stereo- phonic sound, including surround speak- ers. Projection is by Simplex X-L mech- anisms with Bausch Sc Lomb f/2.0 pro- jection lenses and Peerless “Magnarc” lamps powered by Strong 60-ampere se- lenium rectifiers. Soundheads are Sim- plex, amplifiers and speakers Altec- Lansing. Fully air-conditioned, the Northgate has a combination heating and cooling system with a Chrysler-Airtemp central (1 Continued on page 43) 12 MOTION PICTURE HERALD, NOVEMBER 10, 1956 For Vacationers Visulite Theatres' new 900-car Shore drive-in near Virginia Beach C w isulite Theatres of Norfolk, Va., operating indoor and outdoor theatres in and around that city, has added its seventh unit in the new Shore drive-in located on the main highway connecting Ocean View and Virginia Beach in one of the nation’s most popular recreational regions. De- signed by I. and O. A. Slutsky of Hunter, N. Y., it occupies 13 acres and has a ramp capacity of 900 cars in 15 ramps, ten of them using the double- ramp system. The Shore has a play area of about an acre, divided into sections according to age groups with American Playground Devices equip- ment in kinds and sizes appropriate to each. The play area is close to the refreshment stand, which is at the rear of the ramp area, housing also toilet facilities and including the projection booth in a second-story structure at the rear of the building. This leaves the front of the building clear for a terrace the full width of it, and the management reports that it often is filled to capacity with pa- trons enjoying refreshments while watching the picture seated in the benches provided. The refresh- ment stand is air-conditioned with two 8-ton space cooling units, one at each side. The building also is heated for winter operation. In addition to the conventional confections, drinks and snack foods, the Shore serves pizza pies and chicken dinners. General field illumination is by a 100-foot "moon- light” pole. THE SHORE IS FURTHER PICTURED ON THE NEXT PAGE Looking down the entrance drive, with Lee J. Hofheimer, manager of the Shore, in the foreground. (Visulite Theatres developed from the pioneer operations of J. D. Hofheimer, who opened a nickelo- deon in Norfolk in 1911. The present general manager is Jeff Hof- heimer, a nephew.) The entrance has four lanes with two ticket booths connected by a canopy mounting a neon theatre sign asso- ciated with Wagner attraction advertising panels using 16-inch aluminum letters. Drive surfacing is bituminous-treated gravel. With 15 ramps, the last ten of them in the double-tier system, the Shore has a screen 120 feet wide (below), used to full width for CinemaScope projection. The projection booth is on an upper level at the rear of the concession-restroom building, and loca- tion of the building at the last ramps, places the projection ports approximately 650 feet from the screen. The tower is steel of loca- tion fabrication and mounts a screen of flexboard surfaced with three coats of rubber-base paint. The speakers are Motiograph. BETTER THEATRES SECTION 13 The main utility building (left) has a refreshment area (below) measuring approximately 60x33 feet, laid out for cafeteria serv- ice. The concession is leased to the Berio Vending Company. The concrete block structure is painted canary yellow. Interior flooring is green and black as- phalt tile. Across the front of the building is a semi-circular concrete patio with six tables and twelve benches of redwood. The projection booth (below) has inside dimensions of 26x12 feet. Equipment, supplied by J. F. Dusman Com- pany, Baltimore, includes Century projectors with water- cooled gate, and Strong-135 lamps and "135" rectifiers. Refreshment service equipment includes Manley popcorn machines. Peerless pizza oven, Scotsman ice maker, Griswold french friers and grills, Savon heat tables, E-Z Way coffee makers, and Manley Ice- O-Bar drink dispensers. The large playground (a small portion of which is pictured at left) has a senior division equipped for children over the age of ten, a junior section for younger children, and at each end of the area a section having a portable teeter- totter for very tiny tots and benches to accommodate their parents. Equipment, by American Play- ground Devices, is comparable as to kind in the junior and senior sections, but sized and designed to suit each age group. The devices consist in merry-go-rounds, swings, castle towers, slides and, in the senior section, a wave ride device. 14 MOTION PICTURE HERALD, NOVEMBER 10, 1956 9 J t New Prefabricated Steel Trusses Amazing Strength Speedy LOW-COST Erection New Ez-Erect Steel Trusses are designed to give theatre operators the two most important features of screen tower construction — exceptional strength and economy of erection. Ez-Erect Trusses are designed so that they can be shipped in just two sections by any common carrier. The trusses are assembled on the ground and raised in groups of two. You need little mechanized equipment. Easy to pour, trench type foot- ings are used instead of complicated forms. You can have almost un- limited width. Ez-Erect Towers are engineered to withstand wind forces of 100 mph. Ballantyne Dub’l-Cones Give The Sound Patrons Deserve Listen to it and compare it with other speakers, and you'll agree with the hun- dreds of drive-ins that use Dub'l-Cones exclusively. You’ll get not only the'ad- vantage of quality sound, but also lower maintenance costs as well. That’s because Dub’l-Cones are built and en- gineered with every known device and improvement for long life and easy, more economical service. Amplification Systems Designed For Drive-Ins Many, many systems are adaptations from public address or other sound sys- tems. These systems don't give enough power for even average sound. In con- trast, Ballantyne’s KX, RX and MX systems were designed and engineered exclusively for drive-ins. When field wire undergoes normal deterioration, Ballantyne surplus power systems drive through partial shorts. The result is plenty of volume a whole lot longer. Complete Drive-In Theatre Equipment — Projectors- Arc Lamps- Generators-Signs-Rectifiers Soundheads. emparu). 1712 Jackson Street Omaha, Nebraska BETTER THEATRES SECTION 15 Obsolete Showplace Boston's New Saxon /?, eopening with "Oklahoma!" in Todd-AO, the Shubert Majestic, 40-year-old stage theatre, has been remodeled and renamed for a career in modern motion picture presentation, under lease to Ben- jamin Snack. The new scheme is by Louis Chiaramonte, Boston designer. The Lobby In taking over the Majestic, Benjamin Snack, who operates Boston's Beacon Hill and two first-run houses in Fitchburg, Mass., undertook a transformation of the ornate old stage theatre complete except for the auditorium. The upper views of the lobby are toward the inside box office, before remodeling above, and as modernized at left. Old ornamental plaster surfaces were covered in cherry wood, and a new ceiling constructed, 9 feet high (original was 30), with downlights. Lower views are from entrance toward snack bar, before (below) and after (left) modernization. Stand has gray real-wood Formica facing, yellow Formica top. MOTION PICTURE HERALD, NOVEMBER 10, 1956 The Auditorium The stage and proscenium arch before (above) and after (right) remodeling: The new draperies and stage curtain are of a linen-like material in terra cotta, turquoise and buff color. Some of the ornate decora- tions were eliminated by merely painting out part of the gilt in a terra cotta color, which gives a "pinky" glow rather than a gaudy one. The new screen is 39 feet by 20 feet (installed by Massachusetts Theatre Equipment Company). Floral boxes added in front of the stage are painted in buff. Rear view of the auditorium, before (be- low) and after (right) remodeling: As new seats were installed four years ago, only slight changes were made. The back standee rail was painted in terra cotta. All the old lighting fixtures were removed with new ones installed and green plants were added at each corner of the rail. The lower walls were painted in terra cotta. All the exit doors are now white louvre. — The Front The old-style ornamentation adjoining the entrance doors of the original facade (left) was covered with Roman brick in a buff color, and aqua baked enamel was used to form a panel above the new open marquee, in remodeling the lower part of the front (right). Free-stand- ing attraction boards and stainless steel display coses help effect modern styling. RODGERS S HAMKERSTEIMs' 'OKLAHOMA TODD AO PROCESS, I SEATS NOW ON SALE | BETTER THEATRES SECTION t7 New Women's Lounge Of the Saxon Theatre Sections of the women's lounge prior to modernization are shown in the small pictures at right. Below are comparable views following remodeling. Walls are now finished partly in Philippine ma- hogany, partly painted, and the old cos- metic facilities have been replaced by a Formica bench with wall-wide mirror. i : '•** With the ceiling painted deep lilac, chairs and settees have yellow up- holstering. Floral boxes have been introduced at the stairs and again at the end of the cosmetic table. Pictures, drapes and table lamps add to the homey, feminine atmos- phere of a modern character. MEN'S LOUNGE: This room has walls in Philippine mahogany, and although the fireplace has been retained, its red brick has been painted white. The ceiling is painted bottle green. mmm 18 MOTION PICTURE HERALD, NOVEMBER 10, 1956 NO OTHER RECTIFIER GIVES YOU ALL THESE ASSURANCES THf NEW "Red Arrow" Selenium Rectifier 90 to 135 Ampere and 120 to 180 Ampere 3-phase; 70 to 90 Ampere and 90 to 135 Ampere single phase models. Engineered for complete dependability, utmost economy and peak efficiency in converting A.C. current to D.C. for use with angle or coaxial trim high intensity lamps. The Finest Rectifier Ever Offered at Such a Low Price! Be SURE that the selenium stacks are FULL SIZE . . . adequate to the job expected. Be SURE that the stacks are DAMP PROOFED . . . that they will withstand wet climate and winter storage, and be sure that the damp-proofing meets the exacting specifications as de- manded by the military services. Be SURE that AMPERAGE OUTPUT can be readily changed DUR- ING LAMP OPERATION as with the 3 easily accessible rugged 8-point dial switches illustrated. Be SURE that they have Type H glass-type insulated transformers which means that they will withstand up to 150 F higher temperatures than Type A cotton insulated transformers. Thus they will permit emergency operation of both lamps on one rectifier. Be SURE that they are capable of being adjusted to compensate for line phase unbalance. Be SURE that they include a heavy duty fan and line control relay. Be SURE that they carry a GUARANTEE that you can depend on. the Be SURE that they were designed specifically for use with pro- jection arc lamps, and are not just general purpose rectifiers. The one way to be sure is to buy only those that were engi- neered and manufactured by arc lamp specialists. THE STRONG ELECTRIC CORPORATION 1 City Park Avenue Toledo 1, Ohio Please send free literature on Strong Rectifiers. Name Theatre City and State Name of Supplier eEFSSi Money °n Rectifier5 Line f°r n BETTER THEATRES SECTION 19 The Technical and Cleaning Staff and Public Relations Concluding a discussion of thea- tre employees begun last month with front - of - the - house staff. I. am mon i h we dealt with the staff mem- bers whose duties sr-/ 1 bring them in closest 3 touch with our the- ^ - public, up their primary respon- sibilities in providing the type of service demanded of a top-notch operation. In this issue we wish to go behind the scenes and locate the responsibilities of the other “hidden” staff members, which are equally demanding if we are to satisfy today’s critical public in its en- tertainment requirements. Though members of the “front house” staff have it constantly brought to their attention that “service” is a must— courte- ous, smiling, efficient service— those workers behind the scenes do not hear so much of this and it should be impressed upon them that the lack of repetition does not lessen the need for a very high standard of service in their own depart- ments. One and all have a responsibil- ity just as great as that of the front house staff, and they should take pride in ac- complishing their work along standards equally high. FOR PROJECTION STAFF The projection and sound largely de- termine the customer satisfaction with our basic product, motion pictures. A poorly lighted picture, one out of frame, or jumpy, is certainly going to make the patron conscious of the fact that he is watching an amateurish presentation, rather than being completely lost in the picture! Don’t think that patrons do not notice mistakes in projection, for the service staff can vouch for the fact that discrepancies are promptly (and irately) reported! Constant supervision of equipment and operation during the running of the shows is the price the booth crew must pay for presenting a picture in the manner in which it should be shown. The booth is not the place for men who expect to write a letter or take a siesta between threading up and starting reels. Nothing can be taken for granted. Any number of things which all projec- tionists know but sometimes forget, lie in wait to trap one unwary enough to think he can work in the booth in an absent-minded haze while thinking of other matters. The quality and the volume of sound is another important feature about which too much cannot be said in be- half of patron entertainment. Naturally the floor staff must advise when the volume needs raising or lowering, due to unusual circumstances on the floor, but a good projectionist knows when his auditorium is filling up by checking through the portholes and raises the sound volume in anticipation of the re- quirement for increased sound as in- crease in patrons and their sound-ab- sorbing clothing make the demand. Monitoring one’s sound track, instead of listening to the radio with the moni- tor silenced, the alert projectionist finds “motor boats” and a.c. hums even before the manager has time to call and report them over the inter-com phone. And in many cases he is able to correct the trouble without the necessity of calling in an outside service man— that is, if he has taken the trouble to study a little bit on the outside about the electronic contraptions over which he presides rather than simply running the equip- ment with the thought that the service man should be called for any and every little thing that goes wrong. All of this is but a part of the service, just part of it, that a conscientious pro- jectionist owes the patrons who pay his salary. For without the continued goodwill and patronage of the public, there would be no theatre payroll! FOR ELECTRICIANS, ETC. Whether there be one or more elec- tricians working in the theatre, the prin- ciple is the same. Constant attention must be given to those duties falling within this domain. Hand-in-hand with the projectionists, the electrician must insure that the screen always be in the best of condition, brushing it down or vacuuming it at intervals. (That is, if he doubles as a stage hand, which is gen- erally the case in these days of tightened economy.) And when he notices any- thing out of the way with the sound as he hears it issuing from the horns be- hind the screen, he should report promptly either to the management or to his fellow workers in the projection booth. Also, as a part of screen presentation, it falls usually to his lot these days to adjust the screen masking (if conditions require this) as pictures change from one ratio to another. Carelessness in closing in the masking to the exactly proper width or depth is inexcusable. HAZARD PREVENTION Dead light bulbs should be replaced as soon as they show up, and an electrician who is on his toes catches these almost as soon as they go out, for he patrols the house from time to time, just as do the ushers and the management staff. It neglected, these dead lamps might even contribute to an accident, in addition to giving the theatre a sloppy appear- ance. This is particularly true with re- gard to the appearance of the marquee, where every bulb must count in attract- ing favorable attention to our advertis- ing signs. Preventive maintenance by the elec- trician for all the various motors and electrical equipment within his domain is another proof of a competent worker, and when something does break down he is then in the best possible position to know exactly what is the matter, and the quickest and most economical means of correcting it. The stage should be kept clear of un- necessary equipment (not used as a junk pile for anything someone wants to “save” without rhyme or reason). The emergency lighting system requires periodic checking to insure its operation when needed. Motors should be oiled ( Continued on page 44) 2D MOTION PICTURE HERALD, NOVEMBER 10, 1956 because theatremeneev«ywheie realize *at a chungea o, selling is the most effect* that nothing short ofthe best should be e-ughio, a^fad°ilyPserviced with- out removing frame- ^ ^ Wagner Changeable Le ^ coiors widest selection of size permit more attracr iied. They better emphas. L”s with the tapered nre the only lett®vi v v wind or vibra u^e ohadders Sacke^Tltorage without dange of warping- Panels Wagner Enduronamdl e{fective afford an excellenUOound d letter and ^'^ppgement far drive-ms. mounting iemodeling an If you're building in> large or Indoor theatre or dr.vend foI flee email, y°u“„ literature now. wiTon- i^S&SB: .8 s. Hoyne Avenue . ,lterature on Please send .n equipment. Wagner show * BETTER THEATRES SECTION 21 Studying color balance for better color movies. The spectroradiometer analyzes the complete “rainbow” of colors in projected light — to give an investigator, in one and a half minutes, information that he formerly worked half a day to get. Research like this helped National Carbon Company win the coveted “Oscar” this year for developing lighting carbons which were balanced to operate with other studio lights. At the outer boundaries of knowledge . . . New Research Laboratories in Parma, Ohio. To expand its basic research in solid state and chemical physics, National Carbon Company has recently enlarged its staff of scientists and provided them with an ideal laboratory setup for creative work. New“particle’’theory promises help in developing still brighter carbon arcs Although the high-intensity arc has been around for forty years now, nobody has yet been able to explain satisfactorily how it produces the super-bright light so useful for movie projection and studio lighting. At one time it was thought that the bril- liant light came from atomic reactions tak- ing place within the glowing crater or pit at the tip of the positive electrode where the energy of the arc is highly concen- trated. But this theory has been radically modified by researchers at National Car- bon’s laboratories. Now it is believed that a much more complicated process takes place in the crater region where powerful electrical currents heat the carbon to temperatures of 10,000 to 12,000 degrees Fahrenheit, roughly the temperature of the sun’s surface. According to the new “particle” theory, material from the molten floor of the crater vaporizes into tiny particles of the order of a millionth of an inch in diam- eter. These white-hot liquid droplets stream out into the space between the carbon electrodes of the arc to form a long, lumi- nous tail flame or “comet tail.” Precise knowledge of this process, com- bined with results of other experiments now under way at the Parma laboratories, should point the way toward new, brighter lighting carbons that will stand up to higher and higher currents and tempera- tures. More details of the work at Parma are given in a new booklet titled “Research.” Write for a copy. Look to N AT IONAL CARBON for leadership in lighting carbons NATIONAL CARBON COMPANY • A Division of Union Carbide and Carbon Corporation I'Hh 30 East 42nd Street, New York 17, N.Y. Sales Offices: Atlanta, Chicago, Dallas, Kansas City, Los Angeles, New York, Pittsburgh, San Francisco. In Canada: Union Carbide Canada Limited, Toronto 22 MOTION PICTURE HERALD, NOVEMBER 10, 1956 A CATALOG OF THEATRE EQUIPMENT, FURNISHINGS, SUPPLIES, ARCHITECTURAL MATERIALS... LISTING MANUFACTURERS ACCORDING TO CLASSES OF PRODUCT [For refreshment service products, see BUYERS INDEX of BETTER REFRESHMENT MERCHANDISING preceding Better Theatres] % J 1 AIR-CONDITIONING AND VENTILATING EQUIPMENT AIR WASHERS Air Devices, Inc., 185 Madison Avenue, New York 16, N. Y. American Blower Corporation, 8111 Tireman Avenue, Detroit 32. Mich. United States Air Conditioning, 7900 Tabor Road, Philadelphia 11, Pa. BLOWERS AND FANS ■ v> Genera] Electric Company, 5 Lawrence Street, Bloom- field, N. J. United States Air Conditioning Corporation, 7900 Ta- bor Road, Philadelphia 11, Pa. Westinghouse Electric Corporation, Sturtevant Divi- sion, Hyde Park, Boston, Mass. COILS McQuay, Inc., 1600 Broadway, N. E., Minneapolis, Minn. Alton Manufacturing Company, 1112 Ross Avenue, Dallas, Tex. CONDITIONERS, UNIT (5-tons up) Airtemp Division, Chrysler Corporation, P. O. Box 1037, Dayton 1, Ohio. Alton Manufacturing Company, 1112 Ross Avenue, Dallas, Tex. Curtis Manufacturing Company, 1905 Kienlen Street, St. Louis 20, Mo. Carrier Corporation, Syracuse, N. Y. Frigidaire Division, General Motors Sales Corp., 300 Taylor St., Dayton 1, Ohio. General Electric Company, 5 Lawrence Street, Bloom- field, N. J. Governair Corporation, 605 West Main Street, Okla- homa City, Okla. Typhoon Air Conditioning Co., Inc., 505 Carroll Street, Brooklyn, N. Y. United States Air Conditioning Corporation, 7900 Tabor Road, Philadelphia, Pa. York Corporation, Roosevelt Avenue, York, Pa. Westinghouse Electric Corporation, Sturtevant Divi- sion, Hyde Park, Boston 36, Mass. CONTROLS & INSTRUMENTS The Brown Instrument Company, Philadelphia, Pa. Buensod-Stacey Air Conditioning, Inc., 60 E. 42nd Street, New York City (integrated dry and wet bulb reader). Mnneapolis - Honeywell Regulator Company, 2822 Fourth Avenue, S., Minneapolis Minn. Monitor Controller Company, 51 S. Gay Street, Balti- more, Md. FILTERS American Air Filter Company, First and Central Avenue, Louisville 8, Ky. Owens-Corning Fiberglas Corporation, Ohio Building, Toledo, Ohio. Research Products Corporation, 1015 East Washington Street, Madison 3, Wis. (line includes odor-elimina- tion filters). , Trion Inc. McKees Rock Pa. Universal Air Filter Company, Duluth, Minn. GRILLES AND DIFFUSERS Air Devices, Inc., 185 Madison Avenue, New York 16, N. Y. Anemostat Corp. of Ameria 10 E. 39th Street, New York City. Barber-Colman Company, Rockford, 111. W. B. Connor Engineering Corporation, 114 East 32nd Street, New York 16, N. Y. Multi-Vent Division, The Pyle-National Company, 1334 North Kester Avenue, Chicago, 111. Tuttle & Bailey, New Britain, Conn. REFRIGERATION MACHINES Airtemp Division, Chrysler Corporation, P. O. Box 1037, Dayton 1, Ohio. APon Manufacturing Company, 1112 Ross Avenue, Dallas, Tex. Amerian Blower Corporation, 8111 Tireman Avenue, Detroit 32, Mich Carrier Corporation, Cvracuse, N. Y. Curtis Manufacturing Company, 1905 Kienlen Avenue, St. Louis, Mo. Frigidaire Division, General Motors Sales Corpora- tion, 300 Taylor Street, Dayton, Ohio. General Electric Company, 5 Lawrence Street, Bloom- field, N. J. General Refrigeration Corporation, Shirland Avenue, Beloit. Wis. Governair Corporation, 605 West Main Street, Okla- homa City 1, Okla. Typhoon Air Conditioning Co., Inc., 505 Carroll Street, Brooklyn, N. Y. United States Air Conditioning Corporation, 7900 Tabor Road, Philadelphia 11, Pa. York Corporation, Roosevelt Avenue, York, Pa. Westinghouse Electric Corporation, Sturtevant Divi- sion, Hyde Park, Boston 36, Mass. Worthington Pump & Machinery Corporation, Harri- son, N. J. r AMPLIFIERS AND AMPLIFYING TUBES AMPLIFIERS ALTEC-LANSING CORPORATION. 9356 Santa Monica Boulevard, Beverly Hills, Calif. PRODUCT NEWS The department "About Products" on general equipment and supplies is on page DEALERS Dealers in the United listed following Buyers 1 States are ndex. ADVERTISERS INDEX . .. The Ballantyne Company, 1712 Jackson Street, Oma- ha, Neb. See page 15. BLUE SEAL DEVICES, P. O. Box 1008, New Canaan, Conn. CENTURY PROJECTOR CORPORATION, 729 Seventh Avenue, New York City. INTERNATIONAL PROJECTOR CORPORATION. 55 LaFrance Avenue, Bloomfield, N. J. MOTIOGRAPH, INC., 4431 West Lake Street, Chi- cago, 111. Paromel Electronics Corp., 3956 West Belmont Ave- nue, Chicago, 111. RADIO CORPORATION OF AMERICA, Engineer- ing Products Department, Camden, N. J. WESTREX CORPORATION, 111 Eighth Avenue. New York 11, N. Y. (except in U. S. and Canada). AMPLIFYING TUBES Continental Electric Company, 715 Hamilton Street, Geneva, 111. General Electric Company, 1 River Road, Schenec- tady, N. Y. Gordos Corporation, 250 Glenwood Avenue, Bloom- field, N. J. RADIO CORPORATION OF AMERICA, Engineer- ing Products Department, Camden, N. J. Radiant Lamp Corporation, 700 Jeliff Avenue, New- ark, N. J. Sylvania Electric Products, Inc., 1740 Broadway, New York City. Westinghouse Electric Corporation, Bloomfield. N. J. WESTREX CORPORATION, 111 Eighth Avenue, New York City. . ANCHORS FOR CHAIRS Chicago Exuansion Bolt Company, 1338 West Concord Place, Chicago, 111. Fensin Seating Company, 1139 South Wabash Ave., Chicago, 111. • ARCHITECTURAL MATERIALS AND THEATRE DESIGN SERVICE (See also Fabrics) Arketex Ceramic Corporation, Brazil, Ind. (ceramic tiles). The Celotex Corporation, 120 S. LaSalle Street, Chi- cago, 111. (mineral and vegetable fibre tiles) F & Y Building Service, 319 E. Town Street, Colum- bus. Ohio (design and construction). The Formica Insulation Company, 4616 Spring Grove Avenue, Cincinnati, Ohio (laminated plastic sheets). The Kawneer Company, 1105 North Front Street, Niles, Mich, (steel frame and porcelain enamel front structures). Libbey Owens-Ford Glass Company, Vitrolite Divi- sion 608 Madison Avenue, Toledo, Ohio (architec- tural glass, glass doors). Marsh Wall Products. Inc., Dover, Ohio (plastic- finished paneling, plastic and metal). Mosaic Tile Company, Zanesville, Ohio (ceramic tile). Parkwood Corporation, Wakefield, Mass. (wood veneer). Pittsburgh Plate Glass Company, 1 Gateway Center, Pittsburgh, Pa. (architectural glass, glass doors). Poblocki & Sons, 2159 South Kinnickinnic Avenue, Milwaukee 7, Wis. (Stainless steel and porcelain enamel front structures). Rigidized Metals Corporation, 658 Ohio Street. Buf- falo, N. Y. (perforated metal plates). BETTER THEATRES SECTION 23 We're not magicians, we're theatre seat specialists. We know what your customers like in the way of comfort. We know from experience how freshly clean, repaired and renovated theatre seats pull them in at the box office. Worried about the cost? It’s much lower than you think. No interruption of your show schedule, either. Call, write or wire today for a free estimate. MANUFACTURERS— Foam Rubber & Spring Cushions, back and seat ewers. WRITE, WIRE or PHONE ALPINE 5-8459 DISTRIBUTORS— I'pholalery fabrics and general seating supplies. theatre seat seruiie to. 160 Hermitage Avenue Nashville, Tenn. United States Gypsum Company, 300 W. Adams Street, Chicago, 111. (mineral boards and tiles). United States Plywood Company, 55 West 44th Street, New York City (wood and plastic veneers, and coated fabric wall covering). Westinghouse Elecrtic Corporation, Micarta Division, East Pittsburgh, Pa. (Micarta for decorative pur- poses: U. S. Plywood Corporation, see above). BASES — See Projectors and Accessories. "BLACK LIGHT" MATERIALS AND LIGHTING EQUIPMENT General Electric Company, Lamp Dept., Nela Park, Cleveland, Ohio (lamps). Golde Manufacturing Company, 4888 North Clark Street, Chicago 40, 111. Kliegl Bros., 321 W. 50th Street, New York City (light sources). Shannon Luminous Materials Company, 7356 Santa Monica Blvd., Hollywood 46, Calif, (paints, light sources) . The Strobite Company, 75 West 45th Street, New York City (paints, lamps). Westinghouse Electric Corporation, Lamp Division, Bloomfield, N. J. (lamps) _ BOX-OFFICES AND ACCESSORIES Everbrite Electric Signs, Inc., 1440 North Fourth Street, Milwaukee 12, Wis. (complete box-office structures, protective shields). GOLDBERG BROS., 3500 Walnut Street, Denver, Colo, (speaking tube). Poblocki & Sons, 2159 South Kinnickinnic Avenue, Milwaukee 7, Wis. (complete box-office structures). Westinghouse Electric Corporation, Micarta Divi- sion, East Pittsburgh, Pa. (Micarta for decorative purposes: U. S. Plywood Corporation, see under Architectural Materials). CABINETS FOR FILM AND CARBONS Golde Manufacturing Company, 4888 North Clark Street, Chicago 40, 111. GOLDBERG BROS., 3500 Walnut Street, Denver, Colo. Mosler Safe Company, 320 Fifth Avenue, New York, N. Y. Neumade Products Corporation, 250 West 57 Street, New York City Edw. H. Wolk, 1241 South Wabash Avenue, Chicago, 111. CARBONS, PROJECTION Helios Bio Carbons. Inc. (mfd. by Ringsdorff Werke, Mehlem Rhein, Germany), 122 Washington Street, Bloomfield, N. J. Lorraine Carbons, Inc. (mfrd. by Societe Le Car* bone Lorraine, Pogny, France), Boonton, N. J. See Page 42. National Carbon Company, Inc., 30 East 42nd Street, New York 17, N. Y. See page 22. CARBON SAVING DEVICES Best Devices Company, 10921 Briggs Road, Cleve- land, Ohio. Economixer Enterprises, 524 W. 43rd Street, Los An- geles 37, Calif. See page 26. “End-Gripper” Company, 1224 Homedale Avenue, N. W., Canton 8, Ohio. Doc Faig Associates, 630 Ninth Avenue, New York 36, N. Y. See adjoining column. Freeland Screw Machine Products Company, 2305 N. Sydenham, Philadelphia 32, Pa. Hal I. Huff Manufacturing Corporation, 3774 Selby Avenue, Los Angeles 34, Calif. Motion Picture Accessories, Inc., 1678 W. 17th Place, Hollywood, Cal. PAYNE PRODUCTS, 2451 West Stadium Boulevard, Ann Arbor, Mich. S. O. S. CINEMA SUPPLY CORPORATION, 602 West 52nd Street, New York City Weaver Manufacturing Company, Ltd., 1639 E. 102nd Street, Los Angeles, Calif. CARPETING Artloom Carpet Co.. Inc., Philadelphia 33, Pa. Bigelow-Sanford Carpet Company. Inc., 140 Madison Avenue, New York City. (Line includes patent- back type). Sidney Blumenthal & Company, 1 Park Avenue, New York City (Loma-Loom latex-back carpet). Collins & Aikman Corporation, 200 Madison Ave- nue, New York City. A. & M. Koragheusion, Inc., 295 Fifth Avenue, New York City. See Second Cover. Mohawk Carpet Mills, Inc., 295 Fifth Avenue, New York City. RADIO CORP. OF AMERICA, Engineering Prod- ucts Department, Camden, N. J. Alexander Smith, Inc., 295 Fifth Avenue, New York, N. Y. CARPET CLEANING COMPOUNDS Artloom Carpet Company, Inc., Duo-Dellay Division, Philadelphia 33, Pa. Bigelow -San ford Carpet Company, 140 Madison Ave- nue, New York City. Carbona Products Company, 302-304 West 26th Street, New York City. CARPET LINING American Hair & Felt Company, Merchandise Mart, Chicago, 111. E. I. du Pont de Nemours Company, Fairfield, Conn. Fremont Rubber Company, Fremont, Ohio Hewitt-Robins, Inc., 666 Glenbrook Rd., Stamford, Conn. United States Rubber Company, Chemical Sponge Dept., Naugatuck. Conn. Waite Carpet Company, Oshkosh, TVis. CHAIR CUSHIONS: FOAM RUBBER, STEEL MESH Bolta Products Division, General Tire & Rubber Company, 70 Garden Street, Lawrence, Mass. L. C. CARPENTER & CO.. INC., 350 Fifth Avenue, New York City. Dunlop Tire & Rubber Corporation “Dunlopillo” Divi- sion, Buffalo, N. Y. Firestone Industrial Products Company, Foamex Div., Akron, Ohio. B. F. Goodrich Company, Akron, Ohio. Goodyear Tire & Rubber Company, Airfoam Division, 1144 East Market Street, Akron, Ohio. Hewitt-Robins, Inc., Foam Products Division, 666 Glenbrook Rd., Stamford, Conn. U. S. Rubber Company, Chemical Sponge Dept., Nau- gatuck, Conn. Zerbee Texteel Company, Bellefontaine, Ohio, ( steel seat bottoms). CHAIR FASTENING CEMENT Fensin Seating Company, 1139 South Wabash Avenue, Chicago 25, 111. General Chair Company, 1308 Elston Street, Chicago. Eastern Seating Company, 138-13 Springfield Blvd., Springfield Gardens, N. Y. THEATRE SEAT SERVICE COMPANY, 160 Her- mitage Ave., Nashville, Tenn. • CHAIR REPAIR SERVICE AND FABRIC PATCH KITS Manko Fabrics Company, 156 West 28th Street, New York 1, N. Y. See page 27. Eastern Seating Company, 138-13 Springfield Blvd., Springfield Gardens, N. Y. Theatre Seat Service Company, 160 Hermitoge Ave., Nashville, Tenn. See page 24. CHAIRS, AUDITORIUM American Desk Manufacturing Company, P. O. Box 416, Temple, Tex. American Seating Company, Ninth 6 Broadway, Grand Rapids, Mich. See page 3. Griggs Equipment Company, Box 630, Belton, Tex. Heywood-Wokefield Company, Gardner, Mass. See page 34. IDEAL SEATING COMPANY. Grand Rapids, Mich. INTERNATIONAL SEAT CORPORATION. Union City, Ind. Irwin Seating Company, Waters Building, Grand Rapids, Mich. RADIO CORPORATION OF AMERICA, Engineer- ing Products Division. Camden, N. J. RANK PRECISION NDUSTRIES, LTD., Gaumont- Kalee Div., 37-41 Mortimer St., London, W. I., England. Southern Desk Company, Hickory, N. C. • CHANGE-MAKERS Brandt Automatic Cashier Company, Watertown, Wis. Coinometer Corporation. 1223-27 South Wabash Ave., Chicago 5, 111. Golde Manufacturing Company, 4S89 North Clark Street, Chicago 40. 111. 24 MOTION PICTURE HERALD, NOVEMBER 10, 1956 I » t Johnson Fare Box Company, 4619 North Ravenswood Avenue, Chicago 40, 111. Metal Products Engineering, Inc., 45 West 45th Street, New York 36, N. Y. • CHANGEOVERS AND CUEING DEVICES ACE ELECTRIC MANUFACTURING CO., 1458 Shakespeare Ave., New York 52, N. Y. American Theatre Supply, 2300 First Avenue, Seattle, Wash, (reel end signal). Clint Phare Products, 282 E. 214th Street, Euclid, Ohio, (cueing device). Essannay Electric Manufacturing Company, 1438 North Clark Street, Chicago, 111, (changeover). Signal Electric Engineering Company, 179 Hopewell Avenue, Aliquippa, Pa. CLEANING MECHANISMS Breuer Electric Manufacturing: Company, 5100 Rav- enswood Ave., Chicago 40, 111. (vacuum and blower equipment; floor maintenance machines). Clements Manufacturing Company, 6632 South Nar- ragansett, Chicago, 111. Holt Manufacturing Company, 651 20th Street, Oak- land 12, Calif. Ideal Industries, Inc., 307 North Michigan Avenue, Chicago, 111. Invincible Vacuum Cleaner Manufacturing Company, 15 West 15th Street, Dover, Ohio. Lewyt Corporation, Vacuum Cleaner Division, 60 Broadway, Brooklyn 11, N. Y. Multi-Clean Products, Inc., 2277 Ford Parkway, St. Paul, Minn. National Super Service Company, 1946 North 13th Street, Toledo, Ohio. Pullman Vacuum Cleaner Corporation, 33 Allerton Street, Boston, Mass. Spencer Turbine Company, Hartford, Conn. See page 6. • CROWD CONTROL EQUIPMENT & SUPPLIES Apex Brass & Bronze Works, Inc., 116 Walker Street, New York 13, N. Y. Lawrence Metal Products, Inc., 60 Prospect Avenue, Lynbrook, N. Y. Newman Brothers, Inc., 670 West Fourth Street, Cin- cinnati 3, Ohio. CURTAIN CONTROLS & TRACKS AUTOMATIC DEVICES COMPANY, 2121 South 12th Street, Allentown, Pa. J. R. Clancy, Inc., 1010 West Belden Avenue, Syra- cuse, N. Y. R. L. Grosh & Sons, 4112 Sunset Boulevard, Holly- wood 29, Calif. Knoxville Scenic Studios, Inc., Maryville Pike, P. O. Box 1029, Knoxville, Tenn. Hubert Mitchell Industries, Inc., P. O. Box 690, Hart- selle, Ala. See page 43. Triple-S-Supply Company, 780 Golden Gate Avenue, San Francisco, Calif. V ALLEN, INC., 225 Bluff Street, Akron, Ohio. DECORATION, INTERIOR Birmingham Scenic Studios, Hartselle, Ala. Dazians, Inc., 142 W. 44th Street, New York City. Knoxville Scenic Studios. Maryville Pike, P. O. Box 1029, Knoxville, Tenn. Maharam Fabric Corporation, 130 West 46th Street, New York City. H. R. MITCHELL & CO., P. O. Box 690, Hart- selle, Ala. Novelty Scenic Studios, 426-432 East 91st Street, New York 28, N. Y. See page 27. Premier Studios, 414 West 45th Street, New York City. Rau Studios. Inc., 104 West 42nd Street, New York 18, N. Y. DIMMERS Frank Adam Electric Company, 3650 Windsor Place, St. Louis, Mo. Capitol Stage Lighting Company, 527 West 45th Street, New York 19, N. Y. Century Lighting, Inc., 521 West 43rd St., New York City. Cutler-Hammer, Inc., 315 N. 12th Street, Milwau- kee, Wis. Hub Electrical Corporation, 2227 West Grand Ave- nue, Chicago, III. Kliegl Bros., 351 West 50th Street, New York 19, N. Y. Superior Elcetric Company, Bristol, Conn. Ward-Leonard Electric Company, 91 South Street, Mt. Vernon, N. Y. w m The only way to grow in this industry is to ‘do right’ by your customers. This means many things. It means whole-hearted integrity of service . . . sincere advice . . . and never overselling! It means constantly searching out new and better products . . . careful in- vestigation before recommending them . . . and adapt- ing successful experiences of other theatres to benefit your individual needs. And it means quick, dependable attention to even the smallest needs of all theatres . . . regardless of size! National is the only nation-wide equipment and supply organization serving the motion picture industry exclusively. Every equipment or supply need your the- atre could possibly use can be found in the more than 18,600 different articles available through National. But we like to feel that National has grown because it has always tried to ‘do right’ by you. Call your National man and see for yourself why it’s important to get BO years experience with every transaction! NATIONAL THEATRE SUPPLY lawc/ieb Your Guarantee of consistent quality AND OUTSTANDING SERVICE Jyf* (Cxi m m m ki-ih f| !&$ Y •' v m m if skU- Ml m BETTER THEATRES SECTION 25 DISPLAY FRAMES, POSTER Alto Manufacturing Company, 1647 Wolfram Street, Chicago 13, 111. Ames Metal Moulding Company, Inc., 226 East 144th Street, New York City. Art Metal Manufacturing Company, 1408 North Broad- way, St. Louis, Mo. Champion Moulding Manufacturing Company, 234 East, 151st Street, New York City. Everbrite Electric Signs, Inc., 1440 North Fourth Street, Milwaukee 12, Wis. Poblocki & Sons. Inc., 2159 S. Kinnickinnic Avenue, Milwaukee 7, Wis. DRIVE-IN EQUIPMENT, SUPPLIES AND SERVICES Bevelite, Inc., 1615 Cordova St., Los Angeles, Calif. The Ballanlyne Company, 1712 Jcckson Street, Oma- ha 2, Nebr. (Marquees). See page 15. V/agner Sign Service, Inc., 218 South Hoyne Avenue, Chicago, III. (changeable letters and letter mount- ing tool). See page 21. AUTOMOBILE ATTACHMENTS Kleer-View, 90 Anderson Street, Portland, Me. (canvas visor). Rainview Visors, 732 Bush Street, Toledo 11, Ohio. Sightmaster Corporation, New Rochelle, N. Y. J. Tibbatts Company, 1712 New York Ave., Union City, N. J. (screens). GROUND MAINTENANCE Atwater-Strong Company, Atwater, Ohio (refuse sweeper) . COUNTY SPECIALTIES, Box 468, Ossining, N. Y. (incinerator cart). General Industrial Company, 5738 North Elston Ave., Chicago 30, 111. (lawn mower and mulcher). Lawnscape Corporation of America, 11 West 42nd Street, New York 36, N. Y. (lawn mower and mulcher) . Linden Equipment Company, 1119 South Robertson Boulevard, Los Angeles 35, Calif, (utility truck). Mid-East Sales Company, 106 Pendery Avenue, Cin- cinnati 15, Ohio (refuse sweeper). Poblocki & Sons, 2159 S. Kinnickinnic Avenue, Mil- waukee, Wis. IN-CAR SPEAKERS AND HEATERS ADMISSION CONTROL See also TICKET ISSUIXG MACHINES. The Electronic Signal Company, 19 West 50th Street, New York 20, N. Y. General Register Corporation, 4301 22nd Street, Long Island, N. Y. See page 34. K-Hill Signal Company, 326 West Third Street, Uhrichsville, Ohio (ticket control car register). Ohmer Corporation, 740 Bolander, Dayton, Ohio. Palmer Engineering & Development Co., 2459*4 Chico Avenue, El Monte, Calif, (car counter). Perey Turnstile Company, 101 Park Avenue, New York City, (turnstiles). Taller & Cooper, Inc., 75 Front Street, Brooklyn 1, N. Y. ATTRACTION ADVERTISING Adler Silhouette Letter Company, 11843 West Olym- pic Blvd., Los Angeles 64, Calif. See page 34. DESIGN AND CONSTRUCTION BALLANTYNE COMPANY, 1712 Jackson Street, Omaha 2, Nebr. F. & Y. BUILDING SERVICE, 319 East Town Street, Columbus 15, Ohio (design and construc- tion). DIRECTIONAL SIGNS BALLANTYNE COMPANY, 1712 Jackson Street, Omaha 2, Nebr. Drive-In Theatre Manufacturing Company, 505 West 9th Street, Kansas City, Mo. Poblocki & Sons, 2159 S. Kinnickinnic Avenue, Mil- waukee, Wis. RADIO CORPORATION OF AMERICA, Engineer- ing Products Division, Camden, N. J. Revere Electric Manufacturing Co., 6020 Broadway Chicago 40, 111. Signs, Inc., 48 Geneva Ave., Boston 21, Mass, (direc- tional signs and moonlight towers). Voigt Company, 1636-38 N. Carlisle Street, Philadel- phia 21, Pa. NEW EPRAD "HUM-DINGER" In-The-Car Speaker! $395 • Rugged Fiberglas Case • Attractive Molded-ln Colors • Fits Most Junction Boxes • Small Size (6 %" x 4-5/16") • IMMEDIATE DELIVERY See Your Independent Supply Dealer ELECTRICAL PRODUCTS RESEARCH I Bpitad AND I DEVELOPMENT COMPANY "The Voice of the Drive-In" 1207 CHERRY STREET, TOLEDO 4, OHIO \ EUREKA CARBON-WELD Most Revolutionary Discovery in Carbon Saving Systems The Biggest Yearly $$$ Saving in the Booth Goodbye Carbon Stubs! Time Saving Method! Can Be Applied to All Rotating Carbons Now Being Used in Fox West Coast Theatres Special Introductory Offer: $ 10.00 For Complete Kit State Carbon Size When You Order From ECONOMIZER ENTERPRISES 524 West 43rd Street Los Angeles 37, California Save C.O.D. Charges — Mail Check With Order Arvin Industries, Inc., 13th & Big Four R. R., Colum- bus, Ind. (heaters only). The Bollontyne Company, 1712 Jackson Street, Oma- ha, Nebr. See page 15. CENTURY PROJECTOR CORPORATION, 729 Seventh Avenue, New York City. DAWO CORPORATION, 145 North Erie, Toledo, Ohio. ELECTROMODE DIVISION OF COMMERCIAL CONTROLS CORP., 45 Crouch Street, Rochester 3, N. Y. (heaters only). Eprad Company, 1205 Cherry Street, Toledo, Ohio. See this page. General Electric Company, Electronics Dept., Syra- cuse, N. Y. INTERNATIONAL PROJECTOR CORPORATION, 55 LaFrance Avenue, Bloomfield, N. J. Minneapolis Speaker Reconing Company, 2312 Cedar Ave., South, Minneapolis 4, Minn, (speaker recon- ing). Minnesota Mining & Manufacturing Company, St. Paul, Minn, (rainproof speaker cover). MOTIOGRAPH, INC., 4431 W. Lake Street, Chi- cago, 111. Permoflux Corporation, 4900 W. Grand Avenue, Chi- cago, 111. RADIO CORPORATION OF AMERICA, Engineer- ing Products, Camden, N. J. RAYTONE SCREEN CORPORATION, 165 Cler- mont Avenue, Brooklyn, N. Y. (speaker guard). Sonken-Galamba Corporation, 2nd and Riverview, Kansas City, Kans. (speaker stands with guide light posts). THERMOLATOR CORP., 1628 Victory Blvd., Glen- dale, Cal. Utah Radio Products Co., Inc., 1123 East Franklin . Street, Huntington, Ind. (dual cones). WESTREX CORPORATION, 111 Eighth Avenue, New York 11, N. Y. (except in U. S. and Can- ada). INSECTICIDE FOGGING AND SPRAYING Detjen Corporation, 303 West 42nd Street, New York City ( pest electrode) . Fog-Air, Inc., 415 Lexington Avenue, New York 17, N. Y. Devenco, Inc., 150 Broadway, New York 38, N. Y. Lindavap Corporation, Ann Arbor, Mich, (electrical vaporizer). Magic Fog, Inc., Cissna Park, 111. Pic Corporation, 837 Broad Street, Newark, N. J. (insecticide vaporizer) TODD SHIPYARDS CORPORATION, Products Division, Columbia & Halleck Streets, Brooklyn, N. Y. Welch Equipment, Inc., 224 S. Michigan Avenue, Chicago 4, 111. LIGHTING Capitol Stage Lighting Company, 527-529 West 45th Street, New York City. Kliegl Bros., 351 West 50th Street New York 19, N.Y. Revere Electric Manufacturing Company, 6020 Broad- way, Chicago 40, 111. Steber Manufacturing Company, Broadview, 111. PLAY GROUND, FIREWORKS. ETC. American Playground Devices, Anderson, Ind. See page 27. Allen Herschell Company, Inc., North Tonawanda, N. Y. Creative Playthings, Inc., Play Sculpture Division, 5 University Place, New York 3, N. Y. J. E. Burke Playground Equipment Co., Fon du Lac, Wise. King Amusement Company, Mt. Clemens, Mich. Joyrider Co., Ontario, Calif. Liberty Fireworks Company, Box 98, Franklin Park. HI. W. F. Mangels Company, 2863 West 8th Street Brooklyn 24, N. Y. MINIATURE TRAIN CO., Rensselaer, Ind. MIRACLE EQUIPMENT CO., Box 275, Grinnell, Iowa. Play-Way Company, 3227 Indiana Avenue, St. Louis 18, Mo. B. A. Schiff, 901 S. W. 69th Avenue, Miami 34, Fla. 26 MOTION PICTURE HERALD, NOVEMBER 10, 1956 PREFABRICATED FENCING Arnold-Dain Corp., Mahopac, N. Y. Fence Company of America, Auburndale, Fla. Habitant Shops, Inc., Bay City, Mich. SCREENS AND SCREEN SURFACING Ballantyne Company, 1712 Jackson Street, Omcio, Nebr. (screen towers and screens). See page 15. Drive-In Theatre Manufacturing Company, 505 W. 9th Street, Kansas City, Mo. (screen surfacing and screen towers). ERPAD COMPANY, 1206 Cherry Street, Toledo, Ohio (screen towers). HUBERT MITCHELL INDUSTRIES, INC., Hart- selle, Ala. (screen paint). Manco-Vision, Box 8, Butler, Wis. Open-Air Development Corporation, 82 Newbury Street, Boston, Mass, (screen surfacing). Perkins Electric Supply Co., Inc., 505 Pearl Street, Buffalo, N. Y. (screen and wide-screen frames). Protective Coatings, Inc., 807 North Fremont Road, Tampa, Fla. (screen surfacing). RAYTONE SCREEN CORPORATION, 165 Cler- mont Ave., Brooklyn, N. Y. (screen paint). W. J. RUSCOE COMPANY, 483 Kenmore Street, Akron 10, Ohio (screen paint). Selby Industries, Inc., 1350 Ghent Hills Road, Akron 13, Ohio (screen towers). Signs, Inc., 48 Geneva Avenue, Boston, Mass, (screen towers). Poblocki & Sons. 2159 S. Kinnickinnic Avenue, Mil- waukee, Wis. (Metallic self-surface plates). SPEAKER AND UNDERGROUND CABLE General Electric Company, Bridgeport, Conn, (under- ground cable). KOILED-KORDS, INC., Hamden, Conn, (coiled cords for speakers). Western Insulated Wire Company, 1001 East 62nd Street, Los Angeles 1, Calif. THE WHITNEY-BLAKE COMPANY, New Haven, Conn, (underground cable). STADIUM AND TERRACE SEATING American Desk Manufacturing Company, P. O. Box 416, Temple, Tex. AMERICAN SEATING COMPANY, 901 Broadway, Grand Rapids, Mich. Griggs Equipment Company, Box 630, Belton, Texas. Ideal Seating Company, Grand Rapids, Mich. EMERGENCY LIGHTING AND ELECTRIC POWER EQUIPMENT Chatham Products Company, 15 East Runyon Street, Newark 5, N. J. (battery floodlamp). Consolidated Diesel Electric Corporation, 230 East Eighth Street, Mt. Vernon, N. Y. (power plants). Electric Storage Battery Company, Allegheny Avenue and 19th Street, Philadelphia, Pa. (storage battery lighting systems, and battery floodlamp). Fairbanks, Morse & Company, 600 South Michigan Avenue, Chicago, 111. (power plants). General Electric Company, Schenectady,, N. Y. (power plants). Lamplighter Products Co., Inc., 95 Atlantic Avenue, Brooklyn 2, N. Y. (battery floodlamps). D. W. Onan & Sons, University Avenue, S.E., at 25th, Minneapolis 14, Minn, (power plants). Portable Light Company, 216 Williams Street, New York, N. Y. (battery flood-lamps). Ready-Power Company, Kales Building, Detroit, Mich, (power plants). U-C Lite Manufacturing Company, 1050 W. Hubbard Street, Chicago, III. (battery floodlamp). U. S. Motors Corporation, 412 Nebraska Street, Osh- kosh, Wis. (power plants). Westinghouse Electric Corporation, East Pittsburgh, Pa. (power plants). EXPLOITATION & PROMOTIONAL DEVICES & MERCHANDISE Associated Advertising, Box 98, Buffalo, N. Y. (elec- tric advertising display frame and transparencies). Best Devices Company, 10921 Briggs Road, Cleve- land, Ohio (slide projector). BODDE SCREEN CO., 11541 Bradley Ave., P. O. Box 711, San Fernando, Calif, (automatic pro- jector). Graham Dible Orchid King, 417 East 8th Street, Los Angeles, Calif. Gale Dorothea Mechanisms, 37-61 85th Street, Jackson Heights, New York City (continuous automatic slide projector). General Die & Stamping Company, 262-272 Mott Street, New York 12, N. Y. (revolving stand). Golde Manufacturing Company, 4888 North Clark Street, Chicago 40, 111. The Harwald Company, Inc., 1216 Chicago Avenue, Evanston, 111. (slide projector). International Register Company, 2620 West Washing- ton Street, Chicago, 111. (cutout machines). HUBERT MITCHELL INDUSTRIES, INC., P. O. Box 690, Hartselle, Ala. (revolving turntable). K & W Automatic Stand Compnay, Muskegon, Mich. (Christmas tree stand). F. D. Kees Manufacturing Company, P. O. Box 105,' Beatrice, Neb. (slide projector). PROJECTION OPTICS COMPANY, INC., 330 Lyell Avenue, Rochester, N. Y. (projector). FABRICS FOR WALLS, CURTAINS & STAGE DRAPES Collins & Aikman Corporation, 200 Madison Avenue, New York City. Dazian’s, Inc., 142 West 44th Street, New York 18. N. Y. (cotton-rayon damasks). Duracote Corporation, 350 North Diamond Avenue, Ravena, Ohio (plastic coated). Goodall Fabrics, Inc., 525 Madison Avenue, New York City (cotton and wool). Maharam Fabric Corporation, 130 West 46th Street, New York City (cotton-rayon damasks). Manko Fabrics Company, Inc., 156 West 28th Streel, New York 1, N. Y. See this page. Hubert Mitchell Industries, Inc., P. O. Box 690, Hartselle, Ala. New York Flameproofing Company, 115 Christopher Street, New York 14, N. Y. Novelty Scenic Studios, Inc., 432 East 91st Street, New York 28. See page 27. Plymouth Fabrics, Fall River, Mass. (Fiberglas- cotton). Thortel Fireproof Fabrics, Inc., 101 Park Avenue, New York City (Fiberglas). United States Plywood Company, 55 West 44th Street, New York City (plastic coated). United States Rubber Company, 1230 Sixth Avenue, New York City (glass-asbestos and plastic coated). FILM CEMENT — See Splicers and Film Cement. greater strength and SAFETY ! PLAYGROU N D AND SWIMMING POOL EQUIPMENT The wise choice of experienced buyers for nearly half a century. WRITE FOR LITERATURE AMERICAN PLAYGROUND DEVICE CO. ANDERSON, INDIANA, U.S.A. WORLDS URGES! MANUFACTURERS OF FINE PARK, PICNIC, PLAYGROUND, SWIMMING POOL AND DRESSING ROOM EQUIPMENT FIRE EXTINGUISHERS American LaFrance & Foamite Industries, 100 East LaFrance Street, Elmira, N. Y. Buffalo Fire Appliance, 221 Crane Street, Dayton 1, Ohio. General Detroit Corporation, 2272 East Jefferson Street, Detroit, Mich. Pyrene Manufacturing Company, 560 Belmont Avenue, Newark, N. J. FIRE SHUTTERS PROJECTION ROOM Best Devices Company, 10921 Briggs Road, Cleve- land, Ohio. Murch Electric Company, Franklin, Me. The Trumbull Electric Manufacturing Company, Woodford Avenue, Plainville, Ohio. FLAMEPROOFING Flamort Chemical Company, 746 Natoma, San Fran- cisco, Calif. Monsanto Chemical Company, Merrimac Div., Everett St., Boston, Mass. Neva-Burn Product Corporation, 67 Sullivan St., New York City. New York Flameproofing Company, 115 Christopher St., New York City. Signal Chemical Manufacturing Company, 15110 Kinsman, Cleveland, Ohio. L. Sonneborn Sons, Inc., 300 4th Avenue, New York City. FLOOR SURFACING MATERIALS, COMPOSITION American Floor Products Company, 1526 M Street, N. W., Washington 5, D. C. American Mat Corporation, 1722 Adams Street, To- ledo 2, Ohio. Armstrong Cork Company, Lancaster, Pa. Congoleum-Nairn, Inc., Kearny, N. J. Fremont Rubber Company, Fremont, Ohio. Goodyear Tire & Rubber Company, 1144 E. Market Street, Akron, Ohio. U. S. Rubber Company, 1230 Sixth Avenue, New York City. MANKO Custom-Made Sewed Covers for Theatre Seats Only 95*? For the above price, we manufacture to your order a cover made of durable leatherette and sides of con- trasting or matching leather- ette. At slightly higher prices, corduroy and mohair com- binations are also_ available. Mail your old cover to us with check for $1.50 to cover handling and mailing costs, and we will send a new custom-made cover in the closest match available from our large stock. We guarantee to fit all standard makes of chairs. SPECIAL: Pre-cut 24"x27" seat squares — 44^ and up. We can furnish complete line of leatherettes, mc/hairs, corduroys, velvets, nylon fabrics and other top-quality materials for both seats and backs. All fabrics sold by the yard if required. Samples, Quotations, Price List Sent on Request MANKO FABRICS CO., INC. Seating Division. 156 W. 28th St., New York I, N. Y. SPRUCE-UP! DRAPERIES STAGE CURTAINS INWALL COVERINGS CURTAIN TRACKS and CONTROLS Complete Decorating INQUIRIES INVITED NOVELTY SCENIC STUDIOS, Inc. Phone: TR 6-0800 432 East 91st St., N. Y. 28, N. Y. 37th YEAR OF UNSURPASSED WORK- MANSHIP AND SUPERIOR SERVICE BETTER THEATRES SECTION 27 FOUNTAINS AND WATER COOLERS Bradley Washfountain Company, 2203 North Michigan Avenue, Milwaukee, Wis. The Ebco Manufacturing Company, 401 West Town et, Columbus, Ohio. General Electric Company, 5 Lawrence Street, Bloom- field. N. J. Rundle-Spence Manufacturing Company, 52 Second Street, Milwaukee, Wis. Sun roc Company, Glen Riddle, Pa. The Halsey W. Taylor Company, Warren, Ohio. Temprite Products Corporation, 47 Piquette Avenue, Detroit 2, Mich. • FRAMES FOR SCREENS - See Screens , Motion Picture. HAND DRIERS, ELECTRIC Active-Aire Devices, Inc., 105 E. 16th St., New York 13, N. Y. American Dryer Corporation, Juniper & Locust Streets Philadelphia 7, Pa. Chicago Hardware Foundry Company, North Chicago, HI. Electric-Aire Engineering Corporation, 209 W. Jack- son Blvd.. Chicago 6, 111. Electronic Towel Corporation, 342 Madison Avenue, New York City. Michael Electric Company, P. O. Box 141, New Haven, Conn. National Dryer Corporation, 616 Adam Street, Chi- cago, HI. • IN-CAR SPEAKERS — See Drive-In Equip- ment and Supplies. LADDERS, SAFETY Abbeon Supply Company, 17915 Jamaica Avenue, Jamaica 32, N. Y. Atlas Industries Corporation, 849 39th Street, Brook- lyn, N. Y. Dayton Safety Ladder Company, 2337 Gilbert Avenue, Cincinnati, Ohio Goshen Manufacturing Company, Goshen, Ind. M & M Manufacturing Company, 7517 Hamilton Avenue, Pittsburgh, Pa. The Patent Scaffolding Company, Inc., 38-21 12th Street, Long Island City, N. Y. Precision Equipment Company, 3714 North Milwau- kee Avenue, Chicago 41, 111. LAMPS, D. C. PROJECTION ARC C. S. Ashcraft Manufacturing Company, 36-32 Thirty- eighth Street, Long Island City, N. Y. See page 28. BALLANTYNE COMPANY, 1712 Jackson Street, Nebr. RADIO CORPORATION OF AMERICA. Engineer- ing Products Department, Camden, N. J. J. E. McAuley Manufacturing Company, 554 West Adams Street, Chicago, 111. Murch Electric Company, Franklin, Me. RANK PRECISION INDUSTRIES, LTD., Gaumont- Kalee Div., 47-41 Mortimer St., London W. 1, England. THE STRONG ELECTRIC CORPORATION, 87 City Park Avenue, Toledo, Ohio. LAMPS, FILAMENT FOR PROJECTION General Electric Company, Incandescent Lamp De- partment, Nela Park, Cleveland, Ohio. Westinghouse Electric Corporation, Lamp Division, Bloomfield, N. J. LAMPS FOR GENERAL THEATRE ILLUMINATION General Electric Company, Incandescent Lamp De- partment, Nela Park, Cleveland, Ohio. Sylvania Electric Products, Inc., 1740 Broadway, New York City. Westinghouse Electric Corporation, Lamp Division, Bloomfield, N. J. LAMPS P. E. CELL EXCITER General Electric Company, Incandescent Lamp De- partment, Nela Park, Cleveland, Ohio. RADIO CORPORATION OI' AMERICA, Engineer- ing Products Department, Camden, N. J. Westinghouse Electric Corporation, Lamp Division, Bloomfield, N. J. LENSES, PROJECTION: OBJECTIVE & ANAMORPHIC BALLANTYNE COMPANY, 1712 Jackson Street, Omaha, Nebr. Bausch & Lomb Optical Company, 679 St. Paul St., Rochester, N. Y. See page 4. Bell & Howell, 7100 McCormick, Chicago, 111. Ilex Optical Manufacturing Company, 600 Portland Avenue, Rochester, N. Y. Kollmorgen Optical Company, 30 Church Street, New York, N. Y. See page 29. Pacific Optical Corporation, 5965 West 98th Street, Los Angeles 46, Calif, (adjustable focal length). PROJECTION OPTICS COMPANY, INC., 334 Lyell Avenue, Rochester, N. Y. Panavision, Inc., 1917 Pontius Ave., Los Angeles 25, Calif. (Distributors of Panatar anamorphic lenses, Radiant Manufacturing Corp.., 2627 Roosevelt Rd., Chicago, 111. RANK PRECISION INDUSTRIES, LTD., Gaumont- Kalee Div., 37-41 Mortimer St., London, W. 1, England (anamorphic). S. O. S. CINEMA SUPPLY CORP., 602 West 52nd St., New York 19, N. Y. Superscope, Inc., 780 Gower Street, Hollywood 38, Calif. VIDOSCOPE, 730 Fifth Ave., New York, N. Y. Wollensak Optical Company, 872 Dudson Avenue. Rochester, N. Y. LENS ASSEMBLIES, SOUND BAUSCH & LOMB OPTICAL COMPANY, 679 St. Paul Street, Rochester, N. Y. KOLLMORGEN OPTICAL COMPANY, 347 King Street, Northampton, Mass. PROJECTION OPTICS CO„ INC., 330 Lyell Ave- nue, Rochester, N. Y. VIDOSCOPE CORPORATION OF AMERICA, 730 Fifth Avenue, New York 19, N. Y. WESTREX CORPORATION, 111 Eighth Avenue. New York 11, N. Y. (except in U. S. and Canada). a THE TRULY AMAZING LIGHT PROJECTING SYSTEM 140-16 5 AMPERES • 40% MORE LIGHT THAN EVER BEFORE NEW136 MM HIGHER POWER! CARBON ARC LOWER COST! FASTER SPEED OPTICS! CONTROLLED FILM HEAT! NOW YOUR DRIVE-IN CAN HAVE THE BRILLIANT LIGHT OF INDOOR THEATRES U. S. Distribution through INDEPENDENT THEATRE SUPPLY DEALERS • Foreign: WESTREX CORPORATION • Canada: DOMINION SOUND EQUIPMENT, LTD. C. S. ASHCRAFT MANUFACTURING CO., INC. 36-32 THIRTY-EIGHTH STREET, LONG ISLAND CITY 1, NEW YORK 28 MOTION PICTURE HERALD, NOVEMBER 10, 1956 LETTERS AND FRAMES FOR ATTRACTION ADVERTISING Adler Silhouette Letter Company, 22843 West Olympic Blvd., Los Angeles 58, Calif. See page 34. Bevelite, Inc.. 1615 Cordova Street, Los Angeles, Calif. Falk Glass & Plastics Co., Inc., 48-10 Astoria Blvd., Long Island City 3, N. Y. First-American Pr'’',"cts. Inc., 1717 Wyandotte Street. Kansas City 8, Mo. Poblocki & Sons. 2150 South Kinnickinnic Avenue, Milwaukee 7, Wis. Triple-S-Supply Company, 780 Golden Gate Avenue, San Francisco, Calif. Wagner Sign Service, Inc., 218 S. Hoyne Avenue, Chicago, III. See page 21. e LIGHTING FIXTURES, ARCHITECTURAL Capitol Stage Lighting Company, 527 West 45th St., New York City. Curtis Lighting, Inc.. 6135 West 65th Street, Chi- cago, 111. Gruber Brothers, 72-78 Spring Street. New York City. Edwin F. Guth Company, 2615 Washington Boule- vard, St. Louis, Mo. Kliegl Brothers, 321 West 50th Street, New York City. McFadden Lighting Company, Inc., 2308 South Seventh Street, St. Louis, Mo. See page 29. Voigt Company. 1636 N. Carlisle, Philadelphia 22, Pa. • LIGHTS, SPOT AND FLOOD Best Devices Company, 10921 Briggs Road, Cleveland, Ohio. Century Lighting. Inc., 521 West 43rd Street, New York, N. Y. Genarco, Inc., 97-04 Sutphin Boulevard, Jamaica, N Y. General Electric Company. Schenectady, N. Y. Golde Manufacturing Company, 4888 North Clark Street, Chicago 40, 111. Killark Electric Manufacturing Company, Vandeven- ter & Easton Avenues, St. Louis 13, Mo. Mallard Manufacturing Company, 7 Factory Street. New Haven, Conn. Major Equipment Company, Inc., 4603 Fullerton Ave- nue, Chicago, 111. Kliegl Brothers, 321 W. 50th Street, New York City. Strobolite Company, 75 West 45th Street, New York City. STRONG ELECTRIC CORPORATION. 87 City Park Avenue, Toledo, Ohio. Westinghouse Electric Corporation, Lamp Division. Bloomfield, N. J. • LOBBY POSTS AND ROPES - See Crowd Control Equipment. MAGAZINES — See Projectors and Ac- cessories. . . . the SUPER SNAPLITE LENS for the clearest, sharp- est, brightest pictures you have ever seen on your screen! Your patrons will notice the difference — Super Snaplite gives greater contrast, bet- ter definition, more light on the screen where it really counts. Ask your dealer for Bulletin 222. MARQUEES American Sign Company. 1911 West 18th Street, Cin- cinnati, Ohio. Artkraft-Strauss Sign Corporation, 820 Twelfth Ave- nue, New York City. Continental Signs, Inc., 550 E. 170 Street, New York City. Everbrite Electric Signs, Inc., 1440 North Fourth Street, Milwaukee 12, Wis. Flexlume Sign Corporation, 1464 Main Street, Buffalo 9, N. Y. Poblocki & Sons, 2159 S. Kinnickinnic Avenue, Mil- waukee, Wis. (inside service type). White Way Sign & Maintenance Company, 1850 W. Fulton Street, Chicago, 111. MATS FOR LOBBIES RUNNERS, SPACE UNITS American Floor Products Company, 1526 M Street N.W., Washington 5, N. C. AMERICAN MAT CORPORATION, 1722 Adams Street. Toledo, Ohio. American Tile & Rubber Company, Foot of Perrine Avenue, Trenton, N. J. Firestone Industrial Products, Inc., Akron, Ohio. Fremont Rubber Company, Fremont, Ohio. Goodyear Tire & Rubber Company, 1144 E. Market Street, Akron, Ohio. B. F. Goodrich Company, 500 South Main Street, Akron 18, Ohio HE YWOOD- WAKEFIELD COMPANY, Gardner, Mass, (cocoa mats). Interstate Rubber Products Corporation, 908 Avila Street, Los Angeles 12, Calif, (electric). O. W. Jackson & Company, 290 Fifth Avenue, New York City Lorraine Rubber Engineering Company, 286 Fifth Avenue, New York City. R. C. Musson Rubber Company, 10 South College Street, Akron, Ohio. ■LOLliiUORK K X UfitiCal * NORTH. «: o it ■*» » a^'I' i«»tv NORTHAMPTON, MASSACHUSETTS Coming Attraction!! THE NEW SUPERIOR PROJECTOR ***************** • Curved Anti-Buckle Film Gate • Water Cooler Aperture Support • Adjustable Lens Optical Center for all Apertures • Sealed Ball Bearings • Improved Type Intermittent BLUE SEAL SOUND DEVICES P. O. Box 1008, New Canaan, Conn. THEATRE LIGHTING Efficient and colorful lighting fixtures with subdued lighting characteristics. . . Write For. . Brochure $T356 McFADDEN LIGHTING CO. 2308 So. Seventh St. Louis 4, Mo. BETTER THEATRES SECTION 29 National Mat Company, 106 Kingsley Street, Buffalo 8, N. Y. Perfo Mat & Rubber Company, Inc., 281 Fifth Ave- nue. New York City. Thermo-Mat Company, S14 South Robertson Boule- vard. Los Angeles 35, Calif. United States Rubber Company, 1230 Sixth Avenue, New York City. MOTOR-GENERATOR SETS FOR D.C. ARC SUPPLY AUTOMATIC DEVICES COMPANY, 2121 South 12th Street, Allentown, Pa. Century Electric Company, 1806 Pine Street, St. Louis, Mo. Crocker-Wheeler Division, Elliott Company, Jeanette, Pa. General Electric Company, 1 River Road, Schenectady, N. Y. Hertner Electric Company, 12690 Elmwood Avenue, Cleveland, Ohio. Imperial Electric Company, Inc., 64 Ira Avenue, Akron, Ohio. Motiograph, Inc., 4431 West Lake Street, Chicago 24, 111. RORIN-ESCO DIVISION, ELECTRIC SPECIALTY COMPANY. 267 Rhode Island Avenue, East Or- ange, N. J. Westinghouse Electric Corporation, East Pittsburgh, Pa. PHOTOELECTRIC CELLS Continental Electric Company, Geneva, 111. General Electric Company, Schenectady, N. Y. Gordos Corporation, 250 Glenwood Avenue, Bloom- field, N. J. RADIO CORPORATION OF AMERICA, Engineer- ing Products Department, Camden, N. J. Radiant Lamp Corporation, Newark, N. J. Sylvania Electric Products, Inc., 1740 Broadway, New York City. Westinghouse Electric Corporation, East Pittsburgh, Pa. PROJECTION LAMPS - See Lamps , D. C. Projection Arc. PROJECTOR REPLACEMENT PARTS The Ballantyne Company, 1712 Jackson Street, Oma- ha, Nebr. See page 15. Century Projector Corporation, 729 7th Avenue, Mew York City. See page 38. Hal I. Huff Manufacturing Company, 3774 Selby Avenue, Los Angeles 34, Calif. Paromel Electronic Corporation, 3956 W. Belmont Avenue, Chicago, 111. International Projector Corporation, 55 LaFrance Avenue, Bloomfield, N. J. See pare 5. Lavezzi Machine Works, 4635 West Lche St eel, Chi- cago 44, III. See this page. MOTIOGRAPH, 4431 West Lake Street, Chicago, 111. Radio Corporation of America, Engineering Products Department, Camden, M. J. See pc^c 8. WENZEL PROJECTOR COMPANY, 2500 South State Street, Chicago, 111. Edw. H. Wolk, 1241 Wabash Avenue, Chicago, 111. PROJECTORS & ACCESSORIES: STANDARD 35-MM., THEATRE Ballantyne Company, 1712 Jackson Street, Omaha 2, Nebr. See page 15. Blue Seal Devices, P. O. Box 1008, New Canaan, Conn. See page 29. Century Projector Corporation, 722 Seventh Avenue, New York City. See page 38. Hal I. Huff Manufacturing Co., 3774 Selby Avenue, Los Angeles 34, Calif, (carbon cooler). International Projector Corporation, 55 LaFrance Avenue, Bloomfield, N. J. See page 5. Radio Corporation of America, Engineering Prod- ucts Department, Camden, N. J. See page 8. North American Philips Co., Inc., 100 East 42nd Street, New York 17, N. Y. MOTIOGRAPH, INC., 4431 West Lake Street, Chi- cago, 111. PAROMEL ELECTRONICS CORPORATION, 3956 West Belmont Avenue, Chicago 18, 111. Rank Precision Industries, Ltd., Gaumont-Kolee Div., 37-41 Mortimer St., London W. 1, England. See page 39. WENZEL PROJECTOR COMPANY, 2500 South State Street, Chicago, 111. Westrex Corporation, 111 Eighth Avenue, New York Ci/y (except in U. S. and Canada). See page 7. PROJECTORS, 16-MM. HEAVY-DUTY TYPE Ampro Corporation, 2851 North Western Avenue, Chicago, 111. Bell & Howell, 7100 McCormick, Chicago, 111. Eastman Kodak Company, Rochester, N. Y. Holmes Projector Corporation, 1815 Orchard Street, Chicago, 111. Mitchell Camera Corporation, 666 W. Harvard Street, Glendale 4, Calif. RADIO CORPORATION OF AMERICA, Engineer- ing Products Department, Camden, N. J. Victor Animatograph Corporation, Davenport, Iowa • PUBLIC ADDRESS SYSTEMS ALTEC-LANSING CORPORATION, 9356 Santa Monica Boulevard, Beverly Hills, Calif. Ampex Corporation, 934 Charter Street, Redwood City, Calif. General Electric Company, Electronics Dept., Syra- cuse, N. Y. INTERNATIONAL PROJECTOR CORPORATION, 55 LaFrance Street, Bloomfield, N. J. RADIO CORPORATION OF AMERICA, Engineer- ing Products Department, Camden, N. J. WESTREX CORPORATION, 111 Eighth Avenue, New York City (except in U. S. and Canada). kj You *ouldn’t ( K 0 Spr°Ce i^oufe. p hMim. with. ■HEYER-SHULTZ UNBREAKABLE METAL REFLECTORS 5 YEAR GUARANTEE ‘(Maximum SCREEN ILLUMINATION SEE YOUR THEATRE SUPPLY DEALER ‘Manufactured bH UEYER-SHULTZ.INC., Cedar J ADVERTISERS NOTE: See italic type under advertiser'* name for proper reference number where more than one kind of product is advertised. Reference Adv. Number Page 1 — Ace Electric Mfg. Co 32 Film splicers. All dealers. 2 — Adler Silhouette Letter Co 34 Changeable letter signs: Front-lighted panels for drive-ins (2 A), back-lighted panels (2B), and changeable letters (2 C). All dealers. 3 — Altec Service Co. 6 Projection and sound equipment maintenance service. 4 — American Playground Device Co. 27 Drive-in playground equipment. Direct. 5 — American Seating Co 3 Auditorium chairs. NTS. 6 — Ashcraft Mfg. Co., C. S. 28 Projection arc lamps. Unaffiliated dealers. 7 — Ballontyne Company, The 15 Drive-in screen towers (7A), in-car speakers (7B), amplifiers (7 C). Unaffiliated dealers. 8 — Bausch & Lomb Optical Co 4 Projection lenses. Direct branches and unaffiliated dealers. 9 — Blue Seal Products 29 Projectors. Direct. 10 — Carbons, Inc 42 Projection carbons. Franchise dealers. 11 — Corpenter & Co., Inc., L. E 31 Projection screens. Direct. 12 — Century Projector Corp 38 Projection and sound equipment. Unaffiliated dealers. Reference Adv. Number Page 13 — Economizer Enterprises 26 Carbon savers. Direct. 14 — Eprad 26 In-car speakers. Direct. 15 — Faige & Associates, Doc 24 Distributors. 16 — Florman & Babb 32 Film cement. Direct. 17 — Garver Electric Co 38 Rectifiers. Unaffiliated dealers. 18 — General Register Corp. 31 Ticket issuing machines. All dealers. 19 — Griswold Machine Works 44 Film splicers. Distributor: Neumade Products Corp. 20 — Heyer-Shultz, Inc 31 Metal projection arc reflectors. All dealers. 21 — Heywood-Wakefield Co 34 Auditorium chairs. Unaffiliated dealers and branches. 22 — International Projector Corp 5 Curved Film gate. NTS. 23 — Karagheusian, Inc., A. & M 2nd Cover Carpeting. Direct. 24 — Kneisley Electric Co. 39 Rectifier unit. Unaffiliated dealers. 25 — Kollmorgen Optical Co 29 Projection lenses. NTS and all dealers. 26 — LaVezzi Machine Works .... 30 Projector parts. All dealers. 27 — McFadden Lighting Co 29 Lighting fixtures. Direct. 28 — Manko Fabrics Co. 27 Custom made covers for auditorium chairs. Direct. 29 — Mitchell Industries, Inc., Hubert 43 Stage equipment. Direct. Reference Adv. Number Page 30 — National Carbon Co. 22 Projection carbons. All dealers. 31 — National Theatre Supply 25 Distributors. 32 — Novelty Scenic Studios 27 Interior decoration (32A), stage curtains (32B). Direct. 33 — Radio Corp. of America 8 Magnetic clusters. 34 — Rank Precision Industries, Inc 39 Projection and sound equipment. Direct. 35 — Raytone Screen Corp. 33 Projection screens. Unaffiliated dealers. 36 — RCA Service Co 43 Projection and sound equipment maintenance service. 37 — Robin, Inc., J. E. 32 Rectifiers. Unaffiliated dealers. 38 — S.O.S. Cinema Supply Corp. 39 Distributors. 39 — Spencer-Turbin Co 6 Vacuum cleaners. Unaffiliated dealers. 40 — Star Cinema Supply Corp 34 Distributors. 41 — Strong Electric Corp., The 19 Rectifiers. Unaffiliated dealers. 42 — Theatre Seat Service Co 24 Chair rehabilitation service. 43 — Vocalite Screen Corp. 32 Projection screens. Unaffiliated dealers. 44 — Wagner Sign Service, Inc 21 Changeable letter signs: Front-lighted panels for drive-ins (44A), back-lighting panels (44B), and changeable letters (44C). All dealers. 45 — Wcstrex Corp 7 Foreign distributors. For information concerning products, write corresponding reference numbers and your name and address in spaces provided on postcard and mail. Card requires no addressing or postage. To Better Theatres Service Department: Please have literature, prices, etc., sent to me according to the J following reference numbers in Better Theatres for November 1956— I I To Better Theatres Service Department: Please have literature, prices, etc., sent to me according to the following reference numbers in Better Theatres for November 1956- NAME THEATRE or CIRCUIT STREET ADDRESS CITY I I I NAME I | THEATRE or CIRCUIT j STREET ADDRESS | CITY I STATE STATE Market Information Service CONTINUED FROM PRECEDING PAGE PRODUCTS DESCRIBED EDITORIALLY IN THIS ISSUE: NON-FILAMENT UNIT for tube rectifiers: Sfory on page 37 . . BUTT-WELD SPLICER for all types of film: Sfory on page 37 . . STIPPLE SCREEN PAINT for drive-ins: Story on page 37 .. . RECTIFIER CHOKE for flicker correction: Story on page 38 . . FLOOR MACHINES of heavy-duty type: Story on page 39 . . HIGH-INTENSITY SIGNS with Plexiglo letters: Story on page 39 SPLICER for 35mm FILM with preset scraper: Story on page 40 UPHOLSTERY FABRICS for theatre chairs: Story on page 40 . . POSTCARD REFERENCE NO. E46 POSTCARD REFERENCE NO. E47 POSTCARD REFERENCE NO. E48 POSTCARD REFERENCE NO. 24 POSTCARD REFERENCE NO. E49 POSTCARD REFERENCE NO. E50 POSTCARD REFERENCE NO. E51 POSTCARD REFERENCE NO. E52 CLASSIFIED LIST OF EQUIPMENT AND SUPPLIES: Indicate on postcard by number ADVERTISING 101 — Display frames 102 — Lighting fixtures 103 — Changeable letters 104 — Attraction signs 105 — Theatre name sign AIR SUPPLY 201 — Air-conditioning, complete 202 — Air washers 203 — Blowers and fans 204 — Compressors 205 — Unit conditioners 206— Filters 207 — Heaters, unit 208 — Outlets (diffusers) ARCHIT'RE & DECORATION 301 — Acoustic material 302 — Decorating service 303 — Wall fabric 304 — Mirrors 305 — Wall paneling DRIVE-IN THEATRES 401 — Admission control system 402 — Electric cable (underg'd) 403 — In-car heaters 404 — In-car speakers 405 — Insect control 406 — Lighting fixtures (outd'r) 407 — Screen paint 408 — Screen towers 409 — Signs, ramp and traffic 410 — Stadium seating 41 I — Vending carts FLOOR COVERINGS 501 — Asphalt tile 502 — Carpeting 503 — Carpet lining 504 — Linoleum 505 — Mats, rubber GENERAL MAINTENANCE 601 — Blower, floor cleaning 602 — Carpet shampoo 603 — Ladders, safety 604 — Lamps, germicidal 605 — Sand urns 606 — Vacuum cleaners LIGHTING 701 — Black-light supplies 702 — Dimmers 703 — Downlighting equipment 704 — Luminaires (See also Advertising Stage) PROJECTION and SOUND 801 — Acoustic materials 802 — Amplifiers 803 — Cabinets, accessory 804 — Cabinets, carbon 805 — Cabinets, film 806 — Carbon savers 807 — Effect projectors 808 — Exciter lamps 809 — Fire shutters 8 1 0 — Hearing aids 81 I — Lamps, reflector arc 812 — Lamps, condenser 813 — Lenses, condenser 814 — Lenses, projection 815 — Lenses, anamorphic 816 — Magazines 8 1 7 — Microphones 8 1 8 — Motor-generators 819 — Non-sync, turntables 820 — Photoelectric cells 821 — Projectors, standard 822 — Projectors, 16-mm. 823 — Projector parts 824 — Rectifiers 825 — Reels 826 — Reflectors (arc) 827 — Rewinders 828 — Rheostats 829 — Screens 830 — Screen frames 831 — Speaker systems (screen) 832 — Speakers, surround 833 — Splicers 834 — Splicing cement 835 — Soundheads, optical 836 — Soundheads, magnetic 837 — Stereopticons 838 — Rewind tables SEATING 901 — Auditorium chairs 902 — Upholstering fabrics SERVICE and TRAFFIC 1001 — Crowd control equip't 1002 — Directional signs 1003 — Drinking fountains 1 004 — Uniforms 1005 — Water coolers STAGE I 101 — Curtains and drapes I 102 — Curtain controls & track I 103 — Lighting equipment 1 104 — Rigging and hardware I 105 — Switchboards TICKET SALES 1201 — Box-offices 1202 — Changemakers 1203 — Signs, price 1204 — Speaking tubes 1205 — Ticket boxes 1206 — Ticket registers TOILET ROOMS 1301 — Hand driers, electric 1302 — Paper dispensers 1303 — Soap dispensers (See also Maintenance) FIRST CLASS FIRST CLASS PERMIT NO. 8894 PERMIT NO. 8894 (Sec. 34.9, P. L. & H) (Sec. 34.9, P. L & IL) NEW YORK, N. Y. NEW YORK. N. Y. BUSINESS REPLY CARD No Postage Stomp Necessary If Mailed in the United States — BUSINESS REPLY CARD No Postage Stamp Necessary If Mailed in the United States — Postage will be paid by — ZZZZ QUIGLEY PUBLISHING COMPANY ROCKEFELLER CENTER 1270 SIXTH AVENUE NEW YORK 20. N. Y. Postage will be paid by — QUIGLEY PUBLISHING COMPANY ' ROCKEFELLER CENTER ZZZZ 1270 SIXTH AVENUE ... NEW YORK 20. N. Y. ■ about Products . . 'A' news and views of the market and its sources of supply TO PROCURE FURTHER INFORMATION about products described editorially, postcards of the Theatre Supply Mart insert f pages 35-361 may he employed. Convenient reference numbers are given in the insert I page 351. Selenium Rectifying "Tube" Made Without Filament a selenium rectifying “tube,” constructed without filament and designed to replace the conventional 15-ampere rectifier tube used in 40-, 50- and 60-ampere rectifiers, has been developed by the Kneisley Electric Company, Toledo, Ohio. Called “Sel- Tubes,” the new units fit into the space occupied by rectifier tubes cur- rently in use. As the accompanying photo shows, no ex- ternal wiring is re- cjuired. When “Sel-Tubes” are used, a forced air ventilating system is set up on top of the rectifier housing to cool both the “tubes” and the transformers. Accord- ing to the manufacturer, the elimination of filament in the new product permits greater electrical output when needed, in addition to more economical input. Film Splicer Applicable To ASS Types of Film a film splicer applicable to film of all types and si/es has been announced by the Prestoseal Manufac- turing Company, Lond Island City, N.Y. Called the “miracle butt-weld machine,” the splicer is said to be capable of com- pleting a splice in less than three seconds without scraping, cementing or overlap- ping. Cronar film, as well as other types of film, may be spliced with the new machine. The Presto splicer achieves its splices through thermal heat, according to the manufacturer. T he unit is said to be unaffected by humidity and may be used for both regular and polyester base photographic film without changeover. Sample splices may be obtained from the maker. National Theatre Supply has been named distributor of the new product. Curved Trap-Gate Unit For Century Projectors A curved film trap and gate has been standard on projectors manufactured by the Century Projector Corporation, New York, and is available for replacement of the straight trap and gate unit in Century mechanisms now installed in theatres. Announcement of the new gate explains: “The new film trap and gate unit is not unlike standard Century design, but is curved from top to bottom, this curve being carefully calculated so that the ‘normal’ film curl has been eliminated and the tendency of the film to buckle under heat has been reduced. “The curve over the height of the aperture is not enough to cause any focusing difficulty; as a matter of fact, there is an improvement in the top-to- center-to-bottom focusing when using short-focus, high-speed lenses. This sec- ondary advantage is almost as important as that of overcoming the original prob- lem of in-and-out-of-focus from film buckle.” The new unit may be installed in present projectors without additional machining, drilling or tapping holes, or special tools, the manufacturer points out. Vinyl Plastic Screen Coated with Vinyl Resin a white screen has been developed by Andrew Smith Harkness, Ltd., of Rank Precision Industries, for the purpose of reducing light fall-off at the sides of extremely wide screens. Reports of recent London tests claim 11% fall-off for the new screen as com- pared to 75% for other type screens. The screen is composed of vinyl plastic coated with vinyl resin. It was announced that the new Harkness screen is adapt- able to all ratios. Drive-In Screen Paint Giving Stippled Surface Heavy-bodied outdoor motion picture screen paint applied so as to produce a stippled surface similar to the texture of rough cement, is recom- mended by Spatz Paint Industries, St. Louis, for the surfacing of drive-in screens, following experiences with a large number of drive-in screens. As a result of performance by screens so painted at drive-ins of the Smith Man- agement Company, and on towers erect- ed by Selby Industries, Toledo, the com- pany is now in full production, it re- BETTER THEATRES SECTION 37 CENTURY PROJECTION & SOUND EQUIPMENT /ri‘ MCBB ,| F*OH7ABl£ to Buy 1 .... for proof look at the terrific picture CENTURY puts on any screen under any conditions. Then realize what this means in customer satisfaction and repeat business. You’ll like the fow maintenance and ease of operation for which CENTURY holds the highest score in the industry today. CENTURY Sound is tops (it won an Acad- emy Award for unusually high fidelity) — leave it to your patrons to appreciate this! In other words, see and hear CENTURY to see what we mean. See your CENTURY dealer or write: CENTURY PROJECTOR CORP. NEW YORK 1 9, N. Y. New . . . revised 8th Edition of THE BLUE BOOK OF PROJECTION ports, of a heavy-bodied paint for this purpose, to be marketed under the trade-name No. 1072 Stip-Tex, with dis- tribution exclusively by National Thea- tre Supply. The announcement explains that the new drive-in paint is similar to Spatz No. 808A Movie Screen White, which has been widely used during the past nine years. The Stip-Tex paint, how- ever, is in heavy stipple form, ready- mixed, and must be applied with a lambswool roller. It is pointed out that the texture of the surface thus produced contributes toward a clear picture from any visual angle, and that distortion due to rain is practically eliminated. Stip-Tex can be applied over any previously painted surface, it is stated, and when used on new construction, the surface should be primed according to the nature of the material. The manufacturer has found that one coat of Stip-Tex is sufficient. The standard textbook on motion picture projection and sound reproduction. . . . Extensively revised to deal with the latest technical developments in motion picture projection and sound, and reorganized to facilitate study and reference, the Bluebook with this edition includes a practical discussion of Television especially prepared for the instruction of theatre projectionists, and of new techniques for advancement of the art of the motion picture. $7.25 postpaid QUIGLEY PUBLICATIONS 1270 SIXTH AVENUE, NEW YORK 20, N. Y. A New Heavy-Duty Choke For Flicker Correction For correction of screen flicker, particularly where metal- lic screens and high-speed optics have created a serious flicker problem, the Kneisley Electric Company, Toledo, has developed a heavy-duty choke for insertion in the output circuit of a GARVER rectifiers . . . since 1915, the standard of the industry Keen competition in the entertainment field necessitates the best possible presenta- tion. Join the impressive numbers of drive-in theatres now using GARVER projection rectifiers. They are satisfying critical present day audiences. Whatever your requirements may be in Bulb or Selenium type rectifiers, single or three phase, Garver engineers can produce it for you. Write today for full details. THE GARVER ELECTRIC COMPANY, Union City, Indiana, U. S. A. Domestic Distributor: Export Distributor: THE BALLANTYNE CO. STREUBER & LA CHICOTTE, INC. Omaha, Neb. 250 W. 57th St., New York 19, N. Y. rectifier. It is of heavy-duty type so that the voltage drop, and subsequent cur- rent loss resulting from its inclusion, is negligible, the manufacturer states. 38 MOTION PICTURE HERALD, NOVEMBER 10, 1956 Flicker caused by ripple voltage in rectified current is thus minimized by the choke as shown on the accompany- ing oscilloscope chart prepared by the manufacturer. Without the choke the wave form covers 31 sections in height (dotted line), whereas with the choke it covers only 17 sections (solid line), a reduction of 45%. Heavy Duty Floor Machine In Three Brush Sizes three models of heavy duty floor machines— 14-, 16- and 18-inch brush sizes — comprise the new line introduced by the Brener Electric M anufacturing Company, Chicago. Called the “Tor- nado Series 90,” each machine is powdered by a heavy duty capacitor start motor which drives a planetary system of steel helical gears at a 10 to 1 reduction ratio. Brushes operate at 172 r.p.m. and may be used for scrubbing, stripping, polishing, steel wooling, sand- ing and terrazzo grinding. The Series 90 is described as having dual switch controls at the handle, under-handle cable connection and self- retracting, non-marking neoprene wheels. In addition, all machines are equipped with tough, resilient, white vinyl bumpers at the edge of the housing covering the brush and at the top of the motor housing, to prevent scuffing and marring of furniture and equipment. 1 he 14-inch model is powered with a 1/3 h.p. motor, the 16-inch model comes with either a Vs or s/4 h.p. motor, and the 18-inch version is equipped with a $/ h.p. motor. The manufacturer states that all motors come wired for 115-volt, 60 cycle a.c. operation, but can be quickly adjusted for 230-volt a.c. operation. Now! With SEL-TUBES You Can Convert Your 1 K.W., 50 or 60 Antp., RECTIFIERS to SELENIUM QUICKLY and at LOW COST SEL-TUBES are MUCH MORE EFFICIENT 1 The SEL-TUBE Unit pictured on the left operates exactly the same * as a gas filled tube but it has no filament to "snarl," "sag," or "snap" — has a much lower voltage drop, therefore is much more efficient. f\ When you install SEL-TUBES the output of your 1 K.W. Rectifier * will automatically increase from 27 volts — 42 amperes to 35 volts at 50 amperes. If you don't require more current, you turn your dial switch back and save the power. Q To install, you simply remove your gas filled tubes and screw SEL-TUBES into the same sockets. A ventilating system which sets on top of the rectifier exhausts 1500 cu. feet of air per minute to cool both the SEL-TUBES and the transformers. It's included with each set. A SEL-TUBES are sold under a 4-year pro-rated guarantee through 4 your supply dealer. For complete information and pricing write direct and give nameplate data on your rectifiers. THE KNEISLEY ELECTRIC CO., Dept. ,,GM TOLEDO 3, OHIO WINDSOR. Ont.. CANADA Complete Conversions for Most Any Tube Type Rectifier A/odetsuae at Jdo-ia Qaii! Replace Obsolete Systems or Equip New Theatres with DEVRY DUAL PROJECTION & SOUND OUTFITS Rebuilt Like New by S.O.S. — Includes 2 projectors with built-in soundheads, 3,000 ft. upper magazines, pedestals, 2 Series II coated lenses, 1 KW arc lamps, rectifiers with tubes, 30 watt sound film amplifier, booth monitor speaker, 2-way speaker system for low and high frequencies, automatic electric changeovers and foot switches . . . ALL FOR ONLY $2495. Other dual projection and sound outfits from $895. ARC LAMPS GALORE All in good condition Peerless Magnarcs $395 PR. Strong Mogul, Brenkert Enarc 350 PR. Forest U.T., Ashcraft "E," Ballantyne 300 PR. Can be rebuilt to look and operate like new for $200 per pr. S.O.S. CINEMA SUPPLY CORP. BEST VALUES in Metallic Seamless Screens, Aperture Plates, and Everything for CinemaScope Dept. A, 602 WEST 52nd St., N. Y. C. Phone: Plaza 7-0440 — Cable: SOSOUND A High-Intensity Sign For Drive-In Theatres a high-intensity theatre sign for increased legibility both day and night has been announced by the Ballantyne Company, Omaha, Nebraska. Designed chiefly to be custom made for drive-in heatres, the new sign is lighted internally and uses colorful Plexiglo letters. The internal lighting is said to insure protection against the weather. The new Ballantyne signs are avail- You’re on the way to A FULL HOUSE when you install Gaumont-Kalee projection and sound equipment. Then your patrons know they’ll enjoy a brilliant picture and sound that satisfies the connoisseur. Rank Precision Industries Ltd. provide EVERYTHING for cinemas, film laboratories and studios Rank Precision Industries Ltd. Gaumont-Kalee Division, 37-41 Mortimer Street London W I England Distributed in Canada by : Dominion Sound Equipments Limited 4040 St. Catherine Street West, Montreal, Quebec The leading European manufacturers and exporters of everything for the Motion Picture Industry BETTER THEATRES SECTION 39 able in any size and are priced per square foot for either the single face or double face models. Custom made PLANNIN6 A DRIVE IN SEE BALLANTYNE COMPLETE EQUIPMENT PACKAGE FROM ENTRANCE TO EXIT Plexiglo letters may be obtained sepa- rately. In the accompanying photo, a revolving pylon has been attached to the sign. It was announced that high- intensity “Enter” and “Exit” signs are also available. UPHOLSTERY FABRICS ADDED Acquisition of a new line of uphol- stery materials especially suited to reno- vation of auditorium chairs has been an- nounced by Manko Fabrics, New York. The new fabrics add nylons, mohairs, boucle twists and striped materials to the Manko line of leatherettes, cordu- roys and velvets. To facilitate ordering, a swatch card is being prepared, to be ready for distribution in December. • SPLICER WITH PRESET SCRAPER An automatic splicer, imported from England, has been marketed in this country by the Harwald Company, Chi- cago. It is available in a combination model for 8mm and 16mm, and in a 35mm model with a scraper, made of precision-ground tungsten steel that may be preset so that once fixed in position, it will hold that setting for any number of splices. 1,500 Yards of Carpeting with Promotional Colors o- Approximately 1,500 yards of carpeting were laid inside the Michigan theatre, Ann Arbor, Mich, to afford the new look it has above. The Michigan, a unit of the Butterfield circuit, underwent the refurbishing in time to reopen the same day that Michigan University in Ann Arbor started its fall term. As a significant portion of the patronage at the Michigan is comprised of MU students, the school's colors, gold and blue, were chosen as the dominant color scheme of the carpet. National Theatre Supply made the installation, which consists of private quality Nylwood with a face of 80' '0 wool and 20% nylon, manufactured by Alexander Smith, Inc., N.Y. NEW LITERATURE Wall and Ceiling Panelmg: An 8-page catalog on Marlite plastic-finished wall and ceiling panels has been issued by Marsh Wall Products, Inc., Dover, Ohio. The company’s entire line is described and illustrated in full color. Included are Marlite’s decorated hardboard selec- tions; Marlite’s tongue-and-groove planks and blocks; and Marlite Korelock. CANADIAN DEALERS Adamson, M. L.t 105 Strand Theatre Bldg., Edmonfon, Alta. Dominion Sound Equipment, Ltd., 76 Hollis Street, Halifax, N. S.; 4040 St. Catherine Street, West Montreal, Que.; 820 Cambie St., Vancouver B. C.; 712 Eighth Avenue, West Calgary, Alta.; 4 Hazen Avenue, St. John, N.B.; 1299 Boulevard Charest, Quebec City, Que.; 270 McLaren Street, Ottawa, Ont.; 218-222 Fort Street, Win- nipeg, Man.; 5 Pisch Block, 1651 I Ith Avenue, Regina, Sask.; 10705 106th Street, Vancouver B. C.; Edmonton, Alta., 386 Victoria Street, Toronto, Ont. Dominion Theatre Equipment Company, 847 Davie Street, Vancouver, B. C. Empire Agencies, Ltd., 573 Hornby Street, Vancouver, B. C. Gaumont-Kalee, Ltd., 431 Yonge Street, Toronto, Ont. General Theatre Supply Company, Ltd., 861 Bay Street, Toronto, Ont.; 288 St. Cath- erine Street, Montreal, Que.; 916 Davie Street, Vancouver, B. C.; 185 Portage, Winnipea. Man.; 86 Charlotte Street, St. John, N. B. Howard Theatre Supplies, P. O. Box 171, Saskatoon, Sask. Hutton & Sons, Inc., Charles, 222 Water Street, St. John’s, Newfoundland. LaSalle Recreations, Ltd., 945 Granville Street, Vancouver, B. C. Motion Picture Supplies Ltd., 22 Prescott Street, St. John's, Newfoundland. Perkins Electric Co., Ltd., 1197 Phillips Place, Montreal, Que.; 227 Victoria Street, Toronto, Ont. Rice & Company, J. M., 202A Canada Bldg., Winnipeg, Man.; 1029 Jasper Ave., Ed- monton, Alta. Sharp’s Theatre Supplies, Ltd., Film Exchange Bldg., Calgary, Alta. Theatre Equipment Supply Company, 2182 W. 12th Ave., Vancouver, B. C. United Electric Company, 847 Davie Street, Vancouver, B. C. EXPORT DISTRIBUTORS Bizzelle Cinema Supply Corp. 420 West 45th Street, New York 19, N. Y. Frazar & Hansen, Export Division, 301 Clay Street, San Francisco I I, Calif. National Theatre Supply, Export Division, 92 Gold Street, New York 7, N. Y. Norpat Sales, Inc., 113 West 42d Street, New York N. Y. Radio Corporation of America RCA Inter- national Division, 1260 Sixth Avenue, New York, N. Y. Robin, Inc., J. E., 267 Rhode Island Avenue, East Orange, N. J. S. O. S. Cinema Supply Corporation, Export Division, 602 West 42nd Street, New York 19, N. Y. Star Cinema Supply, 447 West 52nd St., New York 19, N. Y. K. Streuber & La Chicotte, 250 West 57th Street, New York, N. Y. Westrex Corp., I I I Eighth Avenue, New York II, N. Y. 40 MOTION PICTURE HERALD. NOVEMBER 10, 1956 TERRITORIAL DEALERS I WJ IN THE UNITED STATES L. 1 ALABAMA Queen Feature Service, 1 9 1 2 V2 Morris Ave., Birmingham. ARIZONA Southwest Theatre Supply, 3750 E. Van Buren, Phoenix. ARKANSAS Arkansas Theatre Supply. 1008 Main St., Little Rock. Theatre Supply Co.. 1921 Grand Ave., Fort Smith. CALIFORNIA Fresno: Midstate Theatre Supply, 1906 Thomas. Los Angeles: John P. Filbert, 2007 S. Vermont Ave. National Theatre Supply. I9SI S. Vermont Ave. Pembrex Theatre Supply, 1969 S. Vermont Ave. B. F. Shearer, 1964 S. Vermont Ave. Son Francisco: Nationali Theatre Supply, 255 Golden Gate Ave. Preddey Theatre Supplies, 187 Golden Gate Ave. B. F. Shearer. 243 Golden Gate Ave. United Theatre Supply. 112 Golden Gate Ave. Western Theatrical Equipment, 337 Golden Gate Ave. COLORADO Denver: National Theatre Supply, 2111 Champa St. Service Theatre Supply. 2054 Broadway. Western Service & Supply, 2120 Broadway. CONNECTICUT New Haven: National Theatre Supply, 122 Meadow St. DISTRICT OF COLUMBIA (Washington) Brient & Sons, 925 New Jersey Ave., N.W. Ben Lust, 1001 New Jersey Ave., N.W. R & S Theatre Supply, 920 New Jersey Ave., N.W. FLORIDA Joe Hornstein, 329 W. Flagler St., Miami. Southeastern Equipment, 625 W. Bay St., Jacksonville. United Theatre Supply, 206 Memorial Highway, Tampa. United Theatre Supply, 329 W. Flagler St., Miami. GEORGIA Albany: Dixie Theatre Service & Supply. 1010 N. Slappey Dr. Atlanta: Capitol City Supply. 161 Walton St., N.W. Dixie Theatre Service &. Supply. 95 Walton Ave., N.E. National Theatre Supply, 187 Walton St., N.W. Southeastern Theatre Equipment, 201-3 Luckie St., N.W. Wil-Kin Theatre Supply, 301 North Ave., N.E. ILLINOIS Chicago: Abbott Theatre Supply, 1311 S. Wabash Ave. Gardner Theatre Service. 1314 S. Wabash Ave. Movie Supply. 1318 S. Wabash Ave. National Theatre Supply, 1325 S. Wabash Ave. INDIANA Evansville: Evansville Theatre Supply, 2900 E. Chandler Ave. Indianapolis: Ger-Bar. Inc.. 442 N. Illinois St. National Theatre Supply, 436 N. Illinois St. IOWA Des Moines: Des Moines Theatre Supply. 1121 High St. National Theatre Supply. 1102 High St. KANSAS Wichita: Southwest Theatre Equipment. P. O. Box 2138. KENTUCKY Louisville: Falls City Theatre Equipment, 427 S. Third St. Hadden Theatre Supply, 209 S. 3rd St. LOUISIANA New Orleans: Hodges Theatre Supply, 1309 Cleveland Ave. Johnson Theatre Service, 1409 Cleveland Ave. Southeastern Theatre Equipment, 214 S. Liberty St. Shreveport: Alon Boyd Theatre Equipment, P. O. Box 362. MARYLAND Baltimore: J. F. Dusman Co.. 12 East 25th St. National Theatre Supply, 417 St. Paul Place. MASSACHUSETTS Boston: Capitol Theatre Supply, 28 Piedmont St. Independent Theatre Supply. 28 Winchester St. Major Theatre Equipment, 44 Winchester St. Massachusetts Theatre Equipment, 20 Piedmont St. National Theatre Supply. 37 Winchester St. Standard Theatre Supply. 78 Broadway. Theatre Service &. Supply, 30 Piedmont St. MICHIGAN Detroit: Amusement Supply. 206 W. Montcalm St. Ernie Forbes Theatre Supply, 214 W. Montcalm St. McArthur Theatre Equipment, 454 W. Columbia St. National Theatre Supply, 2312 Cass Ave. Grand Rapids: Ringold Theatre Equipment, 106 Michigan St., N.W. MINNESOTA Minneapolis: Elliott Theatre Equipment. 1110 Nicollet Ave. Frosch Theatre Supply. INI Currie Ave. Minneapolis Theatre Supply, 75 Glenwood Ave. National Theatre Supply. 56 Glenwood Ave. Western Theatre Equipment, 45 Glenwood Ave. MISSOURI: Kansas City: Missouri Theatre Supply, 115 W. 18th St. National Theatre Supply. 223 W. 18th St. Shreve Theatre Supply. 217 W. 18th St. Stebbins Theatre Equipment, 1804 Wyandotte St. St. Louis: McCarty Theatre, 3146 Olive St. National Theatre Supply. 3212 Olive St. St. Louis Theatre Supply Co., 3310 Olive St. MONTANA Montana Theatre Supply, Missoula. NEBRASKA Omaha: The Ballantyne Co.. 1712 Jackson St. National Theatre Supply. 1610 Davenport St. Quality Theatre Supply. 1515 Davenport St. Western Theatre Supply. 214 N. 15th St. NEW MEXICO Eastern New Mexico Theatre Supply, Box 1009, Clovis. NEW YORK Albany: Albany Theatre Supply. 443 N. Pearl. National Theatre Supply, 962 Broadway. Auburn: Auburn Theatre Equipment, 5 Court St. Buffalo: Eastern Theatre Supply, 496 Pearl St. National Theatre Suply. 500 Pearl St. Perkins Theatre Supply. 505 Pearl St. United Projector &. Film, 228 Franklin St. New York City: Amusement Supply. 341 W. 44th St. Caoitol Motion Picture Supply, 630 Ninth Ave. Crown Motion Picture Supplies. 354 W. 44th St. Joe Hornstein. 341 W. 44th St. National Theatre Supply, 356 W. 44th St. Doc Faige & Associates, 630 Ninth Ave. Syracuse: Central N. Y. Theatre Supply, 210 N. Salina St. NORTH CAROLINA Charlotte: Bryant Theatre Supply, 227 S. Church St. Charlotte Theatre Supply. 209 S. Poplar St. Dixie Theatre Supply. 213 W. 3rd St. National Theatre Supply, 304 S. Church St. Southeastern Theatre Equipment, 209 S. Poplar St. Standard Theatre Supply. 219 S. Church St. Theatre Equipment Co.. 220 S. Poplar St. Wil-Kin Theatre Supply. 229 S. Church St. Greensboro: Standard Theatre Supply, 215 E. Washington St. Theatre Suppliers, 304 S. Davie St. OHIO Cincinnati: Mid-West Theatre Supply. 1638 Central Parkway. National Theatre Supply, 1637 Central Parkway. Cleveland: National Theatre Supply. 2128 Payne Ave. Ohio Theatre Equipment, 2108 Payne Ave. Oliver Theatre Supply, 1701 E. 23rd St. Columbus: American Theatre Equipment. 165 N. High St. Dayton: Dayton Theatre Supply, III Volkenand St. Sheldon Theatre Supply, 627 Salem Ave. Toledo: American Theatre Supply Co., 439 Dorr St. Theatre Equipment Co., 1206 Cherry St. OKLAHOMA Oklahoma City: Century Theatre Supply Co., 706 N. Grand. Howell Theatre Supplies. 12 S. Walker Ave. National Theatre Supply, 700 W. Grand Ave. Oklahoma Theatre Supply, 628 W. Grand Ave. OREGON Portland: Modern Theatre Supply, 1935 N.W. Kearney St. Portland Motion Picture Supply, 916 N.W. 19th St. B. F. Shearer, 1947 N.W. Kearney St. Inter-State Theatre Equipment, 1928 N.W. Kearney St. PENNSYLVANIA Philadelphia: Blumberg Bros.. 1305-07 Vine St. National Theatre Supply Co., 1225 Vine St. Superior Theatre Equipment, 1315 Vine St. Pittsburgh: Alexander Theatre Supply, 84 Van Bramm St. Atlas Theatre Supply, 402 Miltenberger St. National Theatre Supply, 1721 Blvd. of Allies. Wilkes-Barre: Vincent M. Tate, 1620 Wyoming Ave., Forty-Fort. RHODE ISLAND Rhode Island Supply, 357 Westminster St., Providence. SOUTH DAKOTA American Theatre Supply, 316 S. Main St.. Sioux Falls. TENNESSEE Memphis: Monarch Theatre Supply, 492 S. Second St. National Theatre Supply, 412 S. Second St. Tri -State Theatre Supply, 320 S. Second St. TEXAS Dallas: Hardin Theatre Supply, 714 South Hampton Rd. Herber Bros., 406 S. Harwood St. Modern Theatre Equipment. 1916 Jackson St. National Theatre Supply, 300 S. Harwood St. Southwestern Theatre Equipment, 2010 Jackson St. Sterling Sales & Service, 2019 Jackson St. Houston: Southwestern Theatre Equipment, 1622 Austin St. San Antonio: Alamo Theatre Supply, 1306 Alametee St. UTAH Salt Lake City: Intermountain Theatre Supply, 264 East First South St. Service Theatre Supply, 256 East First South St. Western Sound &. Equipment, 264 East First South St. VIRGINIA Norfolk Theatre Supply, 2790 Colley Ave., Norfolk. WASHINGTON Seattle: American Theatre Supply, 2300 First Ave. Inter-State Theatre Equipment Co.. 2224 Second Ave. Modern Theatre Supply. 2400 Third Ave. National Theatre Supply, 2319 Second St. B. F. Shearer, 2318 Second Ave. WEST VIRGINIA Charleston Theatre Supply, 506 Lee St., Charleston. WISCONSIN Milwaukee: Manhardt Co., 1705 W. Clybourn St. National Theatre Supply, 1027 N. Eighth St. Ray Smith, 718 N. State St. BETTER THEATRES SECTION 41 Buying Pictures Today Is Kinda Like Getting Married by Proxy says . . owner-manager of the Northwood theatre in Northwood, la. produce • MORE BRILLIANT ILLUMINATION • SHARPER, BRIGHTER PICTURE • PERFECT COLOR BALANCE in any lamp, on any size screen, in any theatre or drive-in. • There's a Lorraine Carbon for your particular lamp FREE! new LORRAINE CARBON CHART of recommended amperages voltage and arc gaps. • SK FOR TEST SAMPLES AT OUR EXPENSE CARBONS, Inc. BOONTON, N.J. Ordinarily I don’t stay overnight when I make my bi-monthly trip to Des Moines to be booked and but- tonholed, but Mammy and Pappy are Greyhounding it into Iowa’s capital city tomorrow and will hitch-hike a ride back to Northwood with their idiot son so they can spend a week with their brilliant grandchildren. Otherwise I would be, by this time, out threading my way back home via Iowa’s concrete cow paths, which seem to be for the almost exclusive use of tractors, Indian packs, coyotes and hot-rod jalopies bent on getting me out of showbusiness even quicker than I have a logical right to ex- pect. Des Moines is no town to stay overnight in— even if I did finally find a $3 room. This is October 10th— a bad day for buyers, bookers and baseball. To start things wrong I took over an hour to book two pictures which I already had bought. The next hour was spent over a beer and cheese while I suffered through the ordeal of watching Berra, Skowron, et al, topple dems Bums into ignomini- ous oblivion to the tune of 9-0. (Next year I’m going to be the most rabid ten- pins fan in northern Iowa— I keep say- ing each year!) • Buying and booking was the same rigorous, nerve-racking, soul-wearying task as usual. After eight exchanges, 34 cigarettes, two aspirins, two heated rows and one tearful, dramatic performance, I staggered into my bathless cubicle in this hotel and tried to call an old prison camp buddy— who, incidentally stayed single these forty-odd years and who consequently is now loaded. He usually picks up the dinner check, but he’d moved, so I ate alone. I even missed a lunch on Paramount this noon due to that ball game. What a day! But there’s more . . . After dinner at the beanery tonight (1 used to be able to afford a restaurant and a room with bath) I thought I might just as well stay on the job, so I paid double my admission price to see “The Best Things in Life Are Free” (in this business they’d better be!). If I were reviewing it, I’d say it was about like the Dodgers— “good field, no hit.” After the show I cooled the blow torch in my tummy with a malt and beat it to the hotel lobby, figuring on talking about The Game, politics, the farm sit- uation, or something, with anybody — salesman, tourist, retired minister, fugi- tive, derelict— or even a beautiful blonde. So what is the lobby overflowing with? A multitude of silent, staring automa- tons wrapped in a hypnotic trance in front of a 21-inch picture of somebody in a sombrero talking sou’west talk to some po’ lil’ innocent gal who’d got her- self in a great big peck o’ trouble over some varmint making off with her live- stock, or something. Such is metropoli- tan night life in Des Moines. I hit the stairs to my cubicle complete with basin, double-decker and barred windows. I’ve had better days at Stalag 17. • But I guess the day wasn’t a complete flop. I booked two months of features and shorts, and that settles that for this vear. Something else I discovered was, that being armed with facts and figures, all true (I’m a regular George Wash- ington about this truth business— that’s probably why I’m always right there with }. McDoaks behind that big black 8), it was not too difficult to get back in business with a certain company who has had the erroneous impression that they came before my mortgage, my kids’ porridge and my green fees. Maybe my convincing arguments, and my profit-and-loss sheets— in Tech- nicolor—did the trick. Maybe this feel- ing of understanding is why I’m so blue— ’taint natural. I think most of the boys on the row here really want me to stay in business! As a person I feel I have friends in the branches. But as a statistic in the home offices, I sometimes wonder. It does one good to get out of a little town and into a city when you get to thinking you are the only one who has 42 MOTION PICTURE HERALD, NOVEMBER 10, 1956 it tough. In the corn country we blame it on the drought, the farm income, the newness of TV, coked up school pro- grams, the too-busy societies, the mos- quitoes or too much attractive home work. This much is for sure— nobody knows the answer. You might sum up the situation in Iowa by saying, “It would be nice to know where you’re going in this business. It would even be kinda nice to know where you’ve been.” One guy says we need family pic- tures. Oh, Yeah? Then how come “Good- bye, My Lady” and “Come Next Spring” went kerflop? Five years ago they’d have stacked ’em in the street. Somebody else says only big pictures will do it. Again, oh, yeah? Then how come my books looked so red after “Away All Boats” and “Meet Me in Las Vegas”? Another says it’s human stories they want. Human, eh? Then how come “Grey Flannel Suit” and “Eddie Duchin Story” looked like a mid-week gross of >95°? Stories, schmories, size, schmize— no- body knows from nothing. Especially the public. • This much you must grant. High pro- duction costs, bigger advertising bud- gets, and newer and untried adjectives do not necessarily mean better pictures. Bigger screens and more-channelled sound does not necessarily mean more pleased customers. Cleaner restrooms and cuter gimmicks are not all that is needed by our showbusiness, any more than fewer theatres necessarily mean a better industry. I’ve been trying for nearly four years to solve the industry’s problems in these columns. I’m a failure, a flop and a fake. I can’t even solve my own. I, too, don’t know from nothing. I’m going into the sack with a copy of Look magazine to see how that guy Elvis does it. Northgate Theatre ( Continued from page 12) plant and distribution by concealed ducts and ceiling diffusers of aspirating type. Other equipment includes: Stage curtain and draperies, Hubert Mitchell Industries; film cabinets, Neu- made; rewinders, Golde; screen, Walker American; ticket issuing machine, Gen- eral Register; ticket chopper and box office speaking tube, Goldberg; curtain tracks and controls, Vallen. Refreshment stand equipment in- cludes Selmix drink dispenser heads, Scotman ice maker, and Waggoner sno-cone dispenser. Your carpets may be the thickest . . . Your soft drinks may be king-size . . . BUT EVERY PERFORMANCE STILL MUST BE PERFECT! Perfect performances depend so much on the quality of service your equipment receives. Giving the best service is the day-by-day job of every expert RCA Theatre Service Engineer. And he alone has behind him all RCA's tremendous technical resources. RCA SERVICE COMPANY, INC. A Radio Corporation of America Subsidiary Camden, N.J. YOU'LL SAVE TIME and be able to detail your requirements, by writing advertisers direct. Many of them provide coupons specifying literature for your conve- nience. . . . However, if you prefer to use the service of the Theatre Supply Mart, you need only to indicate the items by reference number on the detachable postcard provided in the Mart insert on page 35. BETTER THEATRES SECTION 43 The Technical and Cleaning Staff ( CONTINUED FROM PAGE 20) regularly, and belts and drive shafts be tested and tightened. The public ad- dress system, if located on stage, should be tested weekly for possible use in an emergency. Service, therefore, is the watchword which should guide the electrician and stage hands, just as it applies to the front-of-the-house staff. FOR THE ENGINEER Do you appreciate just how im- portant your work is to the service the management is trying to render patrons? You contribute more to the comfort of patrons than anyone else in the theatre, and if a theatre is not comfortable, how can one enjoy even the finest show? Running an air-conditioning system, or a heating system in the winter, in- volves more than setting a thermostatic control after turning on the main switches. In the first place, nothing takes the place of a personal inspection at reg- PROJ ECTIONISTS everywhere - know and favor the GRISWOLD SPLICER Exclusive features assure fast, accu- rate splices on a frame line every time. Sturdy, all-metal construction assures long, trouble-free service. • For details and prices write our National Distributor MaWmacb. PRODUCTS CORP. 330 W. 42nd St., New York 18, N. Y. GRISWOLD MACHINE WORKS PORT JEFFERSON, NEW YORK Patentee, original and sole maker of genuine GRISWOLD Splicers. tdar intervals throughout the day of the entire theatre to see that the readings of the thermostat reflect accurately the temperatures desired in the theatre, and that the air is being changed as regular- ly as it should. Stale air will not register on the thermostat! And smoke from the balcony seats (where smoking may be permissible) has a way of fouling up the air throughout the theatre as it spreads within the auditorium. In the spring and in the fall, as the seasons change, the question of turning on air-conditioning, or steam, presents a very ticklish problem, as the influx of only a few patrons may change the at- mosphere of the theatre in 15 to 30 minutes. This means the engineer must be on his toes to make immediate changes in his “comfort conditioning” of the auditorium. A busy manager may not be able to call this to his atten- tion until the condition has passed the critical point and drawn patron com- plaints, so the engineer should make it his business to pay particular attention to his system at these times. I'he engineer who knows his job, and his house, can also gauge the changing requirements of the system according to the potential of the picture on peak periods and adjust his controls to antici- pate the heating or cooling require- ments, thereby keeping the house at a constant level of maximum comfort. To the engineer also usually falls the duty of maintaining the seats, seeing that ripped and torn upholstery is re- paired, and broken springs are replaced before they damage patrons’ clothing or become uncomfortable. Likewise, carpet repairs, if in his jurisdiction, should be attended to promptly and thoroughly, for there is no other single item within the theatre such a potential source of lawsuits as worn carpeting, which may cause a patron to fall. Safety is an important element of the engineer’s duties as he supervises the au- tomatic sprinkler system, where in- stalled, and checks exit doors to see that panic bolts function smoothly and easily. Stairways and outside exit stairs should be checked by him to insure their being always in condition to take care of emergency emptying of the theatre. Appearances must always be main- tained, and for those little touchup jobs of minor painting and repairs we con- stantly look to our engineers, hoping of course that they will make the correc- tions and improvements even before they have to be called to their attention. FOR CLEANING STAFF Except for the porters, theatre patrons rarely see the cleaning staff at work. But they are continually aware of their jobs, for patrons are most critical of the housekeeping of a theatre. Restrooms which are not clean, auditoriums with popcorn bags or candy on the floor, mir- rors which do not sparkle with cleanli- ness, and furnishings which show the ac- cumulation of dust, all detract from the theatre’s appeal to the public. Women particularly resent dirtiness, especially in public facilities, and are inclined to tell their families, “Let’s go to another theatre, that one is so dirty and messy I can’t stand to be in it.” Aside from the cleaning, the jani- torial staff has the opportunity of per- forming another excellent service which results in improved public relations for the theatre, and that is in seeing to it that lost and found articles are properly handled. As the sweeping is done, care should be given to trying to find and to turn in lost articles, noting in a record book approximately where they were located. In winter the cleaning staff has the additional duty to see that the sidewalks and marquee are kept free of snow. The sidewalks should be cleared for the safe- ty of passers-by, while the marquee should be kept free of snow in order to prevent the accumulation of heavy weight from endangering the marquee. Some marquees, as well as theatre roofs, have been known to cave in under tre- mendous accumulation of snow. Even a porter should have the infor- mation patrons are most apt to seek con- cerning the theatre. Since the porter is the one most frequently sent outside the theatre on small errands, he is a most important ambassador of goodwill, for he is soon known and recognized as a theatre employee, one who may be stopped and questioned at any time by a potential patron who can be sold— or unsold— as their questions are dealt with. Service, therefore, is not restricted to the “front house” employees by any manner of means. It is the joint responsi- bility of each and every member of every department of the theatre’s oper- ating staff. 44 MOTION PICTURE HERALD, NOVEMBER 10, 1956 FILM BUYERS RATING Film buyers of independent circuits in the U. S. rate current product on the basis of its performance in their theatres. This report covers 127 attractions, 4,044 play dates. Titles run alphabetically. Numerals refer to the number of engagements on each attraction reported. The tabulation is cumulative. Dagger (]) denotes attractions published for the first time. Asterisk (*) indicates attractions which are listed for the last time. EX means Excellent; AA — Above Average; AV — Average; BA — Below Average PR — Poor. Alexander the Great (U.A.) EX 2 AA AV 13 BA 12 PR 1 1 Ambassador's Daughter, The (U.A.) — 7 10 8 10 Animal World, The (W.B.) — 5 8 17 3 Anything Goes (Par.) 3 3 4 16 16 Attack (U.A.) — 3 2 — — Autumn Leaves (Col.) — 6 10 4 4 Away All Boats (U-l) 25 26 20 4 1 fBack From Eternity (RKO) — — 2 4 — Backlash (U-l) — 18 4 23 7 Bad Seed, The (W.B.) 1 1 8 3 — 3 Bandido (U.A.) — — 1 1 3 5 fBetween Heaven and Hell ( 20th- Fox ) 1 4 3 — — Beyond a Reasonable Doubt (RKO) — — 1 6 2 Bhowani Junction (MGM) 1 8 6 15 6 Bigger Than Li/e (Fox) — — 1 5 12 Birds and the Bees (Par.) 2 13 19 5 14 Blackjack Ketchum Desperado (Col.) — 3 1 2 5 Bold and the Brave (RKO) 1 3 16 15 2 Burning Hills, The (W.B.) — 3 23 14 18 Bus Stop ( Fox) 42 14 13 4 — Catered Affair, The (MGM) 3 12 10 12 Cockleshell Heroes (Col.) — 1 10 8 — Comanche ( U.A.) — 1 8 15 21 Come Next Spring (Rep.) — 2 6 27 6 Come On, The (A. A.) — — — 1 4 Congo Crossing (U-l) — 1 14 7 7 Conqueror, The (RKO) 17 13 14 15 12 Court Jester, The (Par.) — 10 9 13 10 Crashing Las Vegas (A. A.) 1 3 1 1 — Creature Walks Among Us (U-l) 1 5 5 3 1 Creeping Unknown, The (U.A.) — — 4 1 — Crime Against Joe (U.A.) — — 6 — — Crime in the Streets (A. A.) — 5 1 1 8 1 D-Day the Sixth of June (Fox) — 9 31 3 3 Dakota Incident (Rep.) — 1 5 5 2 Davy Crockett and the River Pirates (B.V.) — — 3 9 12 Day of Fury (U-l) — — 5 1 1 5 Earth vs. Flying Saucers (Col.) 17 9 3 1 Eddy Duchin Story, The (Col.) 2 31 29 5 2 Fastest Gun Alive (MGM) 4 26 23 4 First Texan, The (A. A.) — 2 6 1 1 5 First Traveling Saleslady (RKO) — — 1 5 1 Forbidden Planet (MGM) 1 18 15 4 6 Foreign Intrigue (U.A.) — — 5 2 3 Francis in the Haunted House (U-l) — 12 18 5 2 Gaby (MGM) 1 13 16 6 Girls in Prison (A.I.P.) — 9 2 1 — Godzilla, King of the Monsters (Trans.) . . 4 3 5 2 Goodbye, My Lady (W.B.) — 4 1 1 1 1 8 Great Day in the Morning (RKO) — 1 9 6 2 Great Locomotive Chase, The (B.V.) — 14 15 14 8 Guys and Dolls (MGM) 20 II 10 6 10 Harder They Fall, The (Col.) 5 4 29 24 High Society (MGM) 15 9 4 — — Hilda Crane (Fox) — — 9 9 9 /Hold Back the Night (A. A.) — — 3 1 3 Hot Blood (Col.) — 5 16 15 7 Hot Rod Girl (A.I.P.) — 12 2 1 14 I'll Cry Tomorrow (MGM) 1 1 39 1 1 1 1 Johnny Concho (U.A.) Jubal (Col.) Kettles in the Ozarlcs (U-l) King and I, The (Fox) t Kiss Before Dying, A (U.A.) Last Wagon, The (Fox) Leather Saint (Par.) Lisbon (Rep.) Magnificent Roughnecks (A. A.) .... Man in the Gray Flannel Suit (Fox) Man Who Knew Too Much (Par.) Massacre (Fox) Maverick Queen, The (Rep.) Meet Me in Las Vegas (MGM) Miami Expose (Col.) Miracle in the Rain (W.B.) Moby Dick (W.B.) Mohawk (Fox) Naked Hills (A. A.) Navy Wife (A. A.) Never Say Goodbye (U-l) ... On the Threshold of Space (Fox) Our Miss Brooks (W.B.) Pardners ( Par.) Patterns (U.A.) Pillars of the Sky (U-l) Price of Fear (U-l) Proud and Profane, The (Par.) Proud Ones, The (Fox) . EX I 1 2 30 22 2 6 7 AA AV BA PR 4 4 22 3 25 3 33 2 18 13 16 3 18 20 15 3 1 3 2 — 9 13 2 3 3 5 5 2 — 28 5 29 6 13 8 1 8 17 24 8 2 1 2 1 4 4 4 1 1 3 9 23 17 16 — — 2 4 6 10 20 26 21 17 9 4 4 8 5 2 1 2 2 1 — 1 3 12 27 23 16 9 7 13 16 — 9 1 1 13 28 1 1 3 12 3 7 2 9 10 1 21 17 1 8 4 27 19 15 10 Quincannon, Frontier Scout (U.A.) 2 2 6 2 Raw Edge (U-l) Rawhide Years, The (U-l) Red Sundown (U-l) (Rebel in Town (U.A.) Reprisal (Col.) Revolt of Mamie Stover (Fox) Rock Around the Clock (Col.) Run for the Sun (U.A.) . — I 5 — 4 22 — II 9 — 3 I — I 3 — II 26 22 21 14 — 47 3 I 8 7 9 5 2 — I — 10 I I I 3 3 Safari (Col.) Santiago (W.B.) Satellite in the Sky (W.B.) Scarlet Hour (Par.) Screaming Eagles (A. A.) Searchers, The (W.B.) Serenade (W.B.) Seven Men From Now (W.B.) (Solid Gold Cadillac, The (Col.) Somebody Up There Likes Me (MGM) Star of India (U.A.) Star in the Dust (U-l) Storm Over the Nile (Col.) Stranger at My Door (Rep.) Swan, The (MGM) — 6 18 14 5 — I 17 10 II — —313 — 2 6 7 3 6 22 18 2 — — I 4 8 18 — 9 16 3 I — —141 2 3 14 24 2 — — I 13 — — I 7 16 — — — 2 5 3 — 2 2 6 3 3 12 17 14 7 Tea and Sympathy (MGM) That Certain Feeling (Par.) These Wilder Years (MGM) Timetable (U.A.) Toy Tiger (U-l) Trapeze (U.A.) Tribute to a Bad Man (MGM) 23 Paces to Baker Street (Fox) I I 9 7 1 1 3 12 30 2 3 2 13 4 21 35 13 13 25 7 3 9 3 14 I I 17 2 4 2 15 20 Uranium Boom (Col.) 4 5 Vagabond King (Par.) 4 3 6 Walk the Proud Land (U-l) Werewolf, The (Col.) While the City Sleeps (RKO) World in My Corner (U-l) World Without End (A. A.) 8 18 8 — II 5 I — I 5 18 6 — 5 15 29 — 432 m PAUL, HEY LOVE US IN NEW YORK!... (SENS A TIONAL BUS/NESS !) and DENVER ( WHAM ) and YOUNGSTOWN (HOTSY) and WICHITA and LOS ANGELES ( TERRIFIC ) and MINNEAPOLIS (BOFFO) and ATLANTA (BIG) and DAVENPORT (COLOSSAL) and TOLEDO (SMASH) and MILWAUKEE (GREA T) and MIAMI (MAMMOTH) and PHILADELPHIA (SOCK) PITTSBURGH ( TREMENDOUS ) and AKRON (OUTSTANDING) and SAN FRANCISCO (WONDERFUL) and CORPUS CHRISTI (BOOMING) and BOSTON (PACE-SETTING) and HOUSTON (STUPENDOUS) and LOUISVILLE (POWERFUL) and SALT LAKE (SOLID) and SIOUX CITY (LIVELY) and SA c starring JUDY HOLLIDAY PAUL DOUGLAS with FRED CLARK • JOHN WILLIAMS • HIRAM SHERMAN NEVA PATTERSON • RAY COLLINS • ARTHUR O’CONNELL Screen Play by AB£ BURROWS From the play by GEORGE S KAUFMAN & HOWARD TEICHMANN Produced on the stage by MAX GORDON Produced by FRED KOHIMAR • Directed by RICHARD QUINE . . FROM NOVEMBER 17, 1936 MIpiiM mm CCTTO , n Anr m DUSTRY MOVING O NEW PATTERN OF DISTRIRUTION HEVMEWS n Product Digest): LOVE ME TENDER. FINGER OF GUILT. THE DESPERADOES ARE IN TOWN. THE LAST MAN TO HANG. DANIEL BOONE TRAIL BLAZER, NO PLACE TO HIDE. SCANDAL INC.. THE MAGNIFICENT SEVEN. 1931 lit llit fast Office. Int.. 1J70 Sixth Avt'iut. Ki rrlpn. Sunlit tf'iUpy, i 5 ■ rtf’ III Co KBS h •t I lit act of March 3. f'ub- . \. V.. Subscription prices: $3. (to nig Icy PublisItiHi) LonjfraHy, Inc BOUNTIFUL BOX-OFFICE! The low-down on dames — with music! 'THE OPPOSITE SEX” ( CinemaScope — Metrocolor) June Allyson, Joan Collins, Dolores Gray, Ann Sheridan, Ann Miller. This is frightened "JULIE” who discovers on her honeymoon that her hus- band is a killer — and SHE is the next victim, Doris Day, Louis Jourdan, Barry Sullivan, Frank Lovejoy. An Arwin Production All the hilarious fun of the famed stage comedy hit! "THE TEAHOUSE OF THE AUGUST MOON” (CinemaScope — Metrocolor ) Marlon Brando, Glenn Ford, Machiko Kyo, Eddie Albert. It’S SPY- HIGH with HILARITY! "THE IRON PETTICOAT” ( V ista Vision— T ech n icolor ®) Smart Showmanship to team Bob Hope and Katharine Hepburn, first time together in this uproarious story. A Remus Film "THE GREAT AMERICAN PASTIME” Tom Ewell, star of “7 Year Itch” in a very funny story with Anne Francis, Ann Miller. From the edge of your seat you'll see "EDGE OF THE CITY” John Cassavetes, Sidney Poitier. A Jonathan Production The Great Love Story! "THE BARRETTS OF WIMPOLE STREET" ( CinemaScope — Metrocolor) Jennifer Jones, John Gielgud, Bill Travers, Virginia McKenna. For fun, romance and a warm glow, follow THE HAPPY ROAD" Gene Kelly, Barbara Laage, Michael Redgrave. A Kerry Production "THE LITTLE HUT" Based on the stage play They're hungry for women And Ava’s but one — A plot that provides you A Hut-full of fun. Ava Gardner, Stewart Granger, David Niven. A Herbson Production An American correspond- ent in Mexico uncovers the ancient ritual of ''The Sacrificial Virgins.” "THE LIVING IDOL” ( CinemaScope — Color) Steve Forrest, Liliane Montevecchi, Janies Robertson- Justice. An Albert Lewin Production A timely drama of a scandal magazine's publisher and his vic- tims. Highly explosive and exploitable! Van Johnson, Ann Blyth, Steve Cochran. "RAINTREE COUNTY” It is not too early to predict that it will be one of the great attrac- tions of all time ! (In M-G-M Camera 65 — Metrocolor) Montgomery Clift, Elizabeth Taylor, Eva Marie Saint, Nigel Patrick, Lee Marvin. ALL FROM M-G-M ! Warner Bros. FROM THE NOVEL BY EDNA FERBER IN WarnerColor STARRING ELIZABETH TAYLOR ROCK HUDSON lAMFQHFfiM - — JnrlLOlJLnlH • carroll baker ALSO STARRING JANE WITHERS -CHILL WILLS -MERCEDES McCAMBRIDGE MTH DENNIS HOPPER SCREEN PLAY BY SAL MINEO • juoith evelyn • paul fix • FRED GUIOL and IVAN MOFFAT produced BY GEORGE STEVENS AND HENRY GINSBERG . directed by GEORGE STEVENS' PRESENTED BY WARNER BROS. - music composed and conducted by dimitri tiomkin ALL'I IML HOUSt KtCOKU! PARAMOUNT THEATRE, DENVER ALLTIME HOUSE RECORD! STATE THEATRE, AUSTIN ALLTIME HOUSE RECORD! STANLEY THEATRE, PITTSBURGH a ALLTIME HOUSE RECORD! ^ PARAMOUNT THEATRE, SAN FRANCISCO ALLTIME HOUSE RECORD! ST. LOUIS THEATRE, ST. LOUIS ALL-TIME HOUSE RECORD! MAJESTIC THEATRE, SAN ANTONIO 4 ALL-TIME HOUSE RECORD! WARNER THEATRE, MILWAUKEE ai i-timf wm iqf prmpni S INTERNATIONAL SERVICE \ Check the clau of tcrvicedctired. otherwise the message will be tent at the full rate FULL RATE LETTER TELEGRAM BUDDY ADLER STUDIO TEENAGE REBEL OPENINGS WONDERFUL. AT OPENING IN ATLANTA MORE TEENAGERS AND PEOPLE UNDER THIRTY THAN HAVE EVER BEEN IN THEATRE. MANY OTHER THEATRES REPORTING SAME EXPERIENCE WITH YOUNG PEOPLE. HARRY BALLANCE ADVISES THIS PICTURE IS THE GREATEST SURPRISE OF THE YEAR FOR US AND WE STRONGLY FEEL YOU SHOULD TAKE EVERY ADVANTAGE OF THE BOX OFFICE FIGURES BY LETTING INDUSTRY KNOW THAT WE CAN MAKE SLEEPERS, TO PICTURE IS WELL RECEIVED IANAPOLIS REPORTS TIONAL RETURNS. ADDITIONAL ENTHUSIASTIC VIING IN FROM LOS ANGELES, NORTHWEST, TEXAS, SAN FRANCISCO SAS CITY, CLEVELAND AMONG OTHERS. DETROIT REPORTS PICTURE INGING BACK LOST AUDIENCE AND BRINGING EW AUDIENCE AS WELL ALL THRILLED HOPE THAT OTHERS OF THIS TYPE W FORTHCOMING NEXT YEAR. BEST REGARDS ALEX HARRISON Teenage THE NEW SENSATION OF THE INDUSTRY FROM 20th CENTURY-FOX GINGER ROGERS starring with Mildred Natwick and three stars of the future BETTY LOU KEIM • WARREN BERLINGER - DIANE IERGENS Produced by Directed by Screenplay by CHARLES BRACKETT - EDMUND GOULDING • WALTER REISCH and CHARLES BRACKETT MOTION PICTURE HERALD MARTIN QUIGLEY, Editor-in-Cbief and Publisher ■ ' MARTIN QUIGLEY, JR., Editor Vol. 205, No. 7 ijjL ' November 1 7, 1956 Mid-W eek Business REPORTS from various sections of the country cov- ering different types of theatre operations are that weekend grosses are generally satisfactory. De- pending on the calibre of the attraction, for Friday night, all day Saturday and Sunday matinee the box office receipts range usually from good to excellent. When the picture is of top rank, the returns for this period compare favor- ably with any similar period in the past. There has been a progressive deterioration of Sunday evening patronage. Saturday night has quite generally supplanted Sunday night as the best show time. This is the result of a number of factors, including of course the relative strength of TV Sunday evening. Perhaps more significant — because it is more basic — is that the shorter work week makes it possible for most potential patrons to budget their entertainment time. It does not have to be crowded into one or two free evenings. Also contemporary family activities, including do-it-yourself projects, leave many content to stay home Sunday evening to rest up from a busy weekend and to be reasonably fresh for the beginning of the business week. The loss, however, of a certain amount of patronage Sunday in comparison with the pre-World II “normal” is a small problem in contrast to weak business during mid- week, i.e. Monday, Tuesday, Wednesday and Thursday. These midweek days require more attention from exhibi- tors and distributors alike. Here is the field for innovation and experimentation in booking and operating policies. Theatres that have the traditional two shows every night, say at 7 P.M. and 9 P.M., might consider having only one at the most convenient hour for its community. It would be better to have one good house on “off nights” than two poor ones. For many potential patrons the first show on the eve of a business day starts too early and the second too late. Wherever possible theatres should consider establishing club nights and try to sell blocks of seats for one or more nights each week. Reserved seats, or a reserved section, should be provided for such “season ticket” buyers. If admission price is considered a possible deterrent to regu- lar attendance, there should be a special reduced rate for “the season.” There are many towns that certainly could support a good art theatre type of show one night every week or so. A carefully worked out policy of revivals could also work well in many places. Both art film and revival bookings should be scheduled in advance and theatre parties sold with the cooperation of local clubs and other groups. An exhibitor should weigh the merits of making such a project attractive to the cooperating or sponsoring local group or groups. Almost all voluntary organizations have problems in raising funds needed for operating expenses. The ways of dealing with the midweek problem will vary with different local conditions. From the largest metropolitan centers to tiny hamlets this requires progres- sive thought. Alert exhibitors will achieve success. Some already have done well in getting out of the midweek business doldrums. ■ ■ a 44 Time” Goes to a Movie OVER the years TIME magazine has built a great audience by its specialized journalism, often called “non-objective reporting.” All too often the mo- tion picture industry and individual films have been the target of a TIME writer who appears to be more in love with the cleverness of his words than with reality. This has occurred so often that it ordinarily is passed over with- out comment. However, occasionally there is something that cries out for a just retort. Such an instance is the publication in the November 12 issue of TIME magazine of a wholly irrespon- sible, unfair, “non-objective” and downright nasty review of Cecil B. DeMille’s “The Ten Commandments.” It is not to be expected that all men — and least of all reviewers for such a magazine as TIME — would like all pictures. In fact, if everyone liked everything everyone else liked, it would make the world possibly pleasant but certainly dull. There may be no legitimate quarrel with the TIME re-, viewer for not liking “The Ten Commandments” or any other film. That is his or her privilege. On the other hand there is just complaint when a reviewer, through a clever- ness in turning a phrase, treats of an imagined picture rather than the actual one. Some of the TIME comments on “The Ten Command- ments” depart so far from the realities of the picture, as it was seen by other reviewers, that one wonders what film the reviewer saw and what predisposition he brought to the screening. It is necessary to look no further than one of the other Time, Inc. publications, “Life” magazine of November 12, to find the picture hailed as,“De Mille’s greatest” and “a film of reverent and massive magnifi- cence.” The DeMille picture certainly needs no defense. The public — millions strong — will cast the ballots at the box office. However, criticism as voiced in the TIME columns raises commercial as well as artistic questions. No piece of property, including a motion picture, should be attacked willy nilly for the purpose of entertaining readers by show- ing off the wit of the reviewer. The editorial management of some leading magazines and newspapers — TIME included — should review the policies under which their motion pic- ture departments are operating. Editorial responsibility in this area is just as important as it is in any other. — Martin Quigley, Jr. Film Festivals To the Editor: May I compliment your correspondent, Noel Meadow, on his recent letter ad- vocating an International Film Festival in the United States? (Motion Picture Herald, September 15, 1956). Over 20 years I have attended such festivals in Europe and South America, and agree that they add prestige to the sponsoring country. When France held its first International Film Festival (At Cannes, September, 1946) United States participation was negligible. I asked the reason of Harold Smith, then European representative for the MPAA. His reply was, “After all, it is not here (at film festivals) that we sell our films. We have our exchanges and branches all over.” Now that viewpoint has changed and U. S. participation is normal. But if such a festival is held in the U.S.A. it will need aid if the deserved world press coverage is to be obtained. For the South American film festivals European journalists have been trans- ported and boarded as guests of the sponsors. Without such aid few overseas newspapers will send a representative. — DORE SILVERMAN , Film and Television Press Guild, London. Positive Thinking To the Editor: I am very definitely opposed to nega- tive thinking and, I think, the less said about poor theatre attendance, the bet- ter. Why keep drilling into people that the movies are on their way out? Person- ally, I think every exhibitor should either say business is good, or say nothing. Per- haps that would be kidding ourselves (only ourselves know the truth about the situation.) but I maintain: talk poor business — have poor business. Let’s fight to our last breath — and who knows — busi- ness might improve! — MARCELLA SMITH. McArthur, Ohio. Excellent Editorials To Walter Brooks: I’ve read a lot of excellent editorials you’ve written in the Managers Round Table pages, but I want you to know I especially enjoyed “Theatres — All Have a ‘Personal’ History” in the October 27 issue of Motion Picture Herald. While the whole page is good, I liked the paragraph on “short films” best. I think you really have your fingers on the pulse of things. I have noticed so often recently the favorable comments we are getting on two-reel comedies. Especially, A REAL MUST To the Editor: I seem to have mislaid my Product Digest for August 18 and can't get along without it. Would you please send me a replacement? Thanks. — PAUL RICKETTS, Ricketts Theatres, Ness City, Kansas. the slapstick comedies on weekends which children always enjoy but adults are en- joying, too. Adults just do not always ex- press themselves. Your remarks regarding “history” of various theatres are most inspiring. We have a few with some traditions, too. Thanks again for the great assistance we get from Managers Round Table. — A. FULLER SAMS, JR., President, Statesville Theatre Corp., Statesville, N. C. Sound Investment To the Editor: I read your editorial “Sound a New Note,” which appeared in Motion Picture Herald September 15, feeling like the Rube who has been taken by the City Slickers. The professional con men say they can’t cheat an honest man. I have invested thousands of dollars in the honest desire to bring the best pic- tures and sound to my clientele. What has happened? No stereophonic sound. The sound equipment was sold to me on the supposition that prints were being made for magnetic, sound. It was emphasized that the person without stereophonic sound would be forced to wait for months for an optical print. Result? My Hi Fi stereophonic surround horns and stero sound are unused. The smart people who invested a couple of thousand bucks in the cheapest possible equipment are getting prints for their equipment, optical prints. My huge in- vestment is unused, just as in 3D. Why? Because producers are worship- pers of the quick buck. When they made 3D, things flew in the customers’ faces until they stayed home in self-defense. My little 500-seat theatre can put on the most magnificent sound production that anyone would want to hear. But I am like the man who invests $8,000 in Hi Fi, and then can’t use anything but old fashioned records. Let the wreckers blast away. Like Gabriel’s horn, they may blast the doom of the small exhibitor, whom the cynical producer sacrifices on the altar of the fast buck. — ARNOLD SCHAAK, Ramona Theatre, Los Angeles. MOTION PICTURE HERALD November 17, 1956 AB-PT NAMES Sidney Markley to head production activities 12 20TH-FOX elaborates on plans for increased picture schedule 12 BATJAC SIGNS four-picture contract with United Artists 12 NATIONAL Film Service seeks to set new distribution pattern 13 COMPO, MPAA group to meet on Oscar Derby contest 16 TECHNICOLOR reports nine-month net of $ 1 ,026,000 1 6 PARAMOUNT announces third quar- ter net of $1,742,000 20 DOLLINGER, at Ohio meeting, urges suits on print non-delivery 20 JAPANESE film industry faces regu- latory measures 22 SAG COLLECTS $1,413,821 for re- runs of TV entertainment films 23 COLOSSEUM, at St. Louis convention, approves IATSE affiliation 27 SERVICE DEPARTMENTS Film Buyers' Rating 3rd Cover Hollywood Scene 23 Managers' Round Table 33 The Winners' Circle 24 National Spotlight 30 IN PRODUCT DIGEST SECTION Showmen's Reviews 145 What The Picture Did for Me 147 The Release Chart 148 MOTION PICTURE HERALD, Martin Quigley, Editor-in-Chiel and Publisher; Martin Quigley, Jr., Editor; Charles S. Aaronson, Managing Editor; Floyd E. Stone, Photo Editor; Vincent Canby, News Editor; Ray Gallagher, Advertising Manager; Gus H. Fausel, Production Manager. Bureaus: Hollywood, Samuel D. Berns, Manager; William R. Weaver, Editor, Yucca-Vine Build- ing, Telephone HOIlywood 7-2145; Washington, J. A. Otten, National Press Club; London, Hope Williams Burnup, Manager; Peter Burnup, Editor; William Pay, News Editor, 4 Bear St., Leicester Sq. Correspondents in principal capitals of the world. Member Audit Bureau of Circulation. Motion Picture Herald is published every Saturday by Quigley Publishing Company, Inc., Rockefeller Center, New York City 20. Telephone Circle 7-3100; Cable eddress: “Quigpubco, New York", Martin Quigley, Presi- dent; Martin Quigley, Jr., Vice-President; Theo. J. Sullivan, Vice-President and Treasurer; Leo J. Brady, Secretary. Other Quigley Publications: Better Thedtres and Better Refreshment Merchandising, each published thirteen times a year as a section of Motion Picture Herald; Motion Picture Daily, Television Today, Motion Picture Almanac, Television Almanac, Fame. 8 MOTION PICTURE HERALD, NOVEMBER 17, 1956 On the Olt onzon WHEN and WHERE November 19: Annual convention of the Motion Picture Theatres Association of Ontario, King Edward Hotel, Toronto, Canada. THREE-HOUR GROSSES On New York City's Broadway, four films, each of which runs three hours and longer, rang up excellent grosses last weekend and Monday, Veterans' Day, when many of the city's business of- fices were closed. Cecil B. De- Mille's "The Ten Commandments" (219 minutes) grossed approxi- mately $40,000 at the Criterion theatre for its opening four- day period, according to Para- mount Pictures. Michael Todd's "Around the World in 80 Days" (178 minutes, plus 10-minute intermission) did $25,000 in seven showings of the four-day period at the Rivoli theatre. "Giant" (201 minutes), the George Stevens-Warner Brothers production in its fifth week at the Roxy, had its best weekend business since its first week- end date, with $78,000 for the four days and $102,000 esti- mated for the week. The street’s other three-hour film. Para- mount's "War and Peace" (208 minutes) was reported to have grossed $19,000 for four days of its 12th and final week at the Capitol. "Giant," inciden- tally, on the basis of its grosses in New York, Chicago and Los Angeles, as well as in Texas where last weekend it broke all previous Warner rec- ords in six key-city openings, is shaping up as Warner Broth- ers' all-time money-maker. NO STUDIO MERGERS "Unsound economics" is the reason why 20th Century-Fox and Warner Brothers will not merge their studio facili- ties in California, Spyros P. Skouras, 20th-Fox president, said in New York this week. According to Mr. Skouras, the savings "wouldn't equal the investment in new construction and moving." JAPANESE FILM WEEK Six of the major Japanese production companies will each submit one feature and one short subject for showing in the course of the first Jap- anese Film Week to be held in the United States— January 20- 25 at the Museum of Modern Art in New York City. The Week, sponsored by the Motion Picture Association of Japan and the Japanese Embassy in Washing- ton, is receiving the coopera- tion of the Motion Picture As- sociation of America. CREDIT CARD SURVEY The Motion Picture Associa- tion of America's sub-commit- tee charged with launching the credit card plan in Indianapo- lis-Marion County theatres met this week with representatives of the survey company which conducted a poll in that area to determine the public's re- action to the plan. The com- mittee reportedly was told by the survey organization that the study had been completed. SAN FRANCISCO BID The city of San Francisco, represented by exhibitor Irv- ing M. Levin, has put in its bid for an international film fes- tival to be held in that city next November. Mr. Levin has just returned from Europe where he submitted a formal application concerning the festival to the International Federation of Film Producers Association in Rome. November 20: Annual convention, National Committee of Motion Picture Exhibitor Associations, King Edward Hotel, Toronto. November 21: Annual meeting of the Motion Picture Industry Council of Canada, King Edward Hotel, Toronto. November 22: Annual dinner of the Ca- nadian Motion Picture Pioneers, King Edward Hotel, Toronto. November 25-27: 44th annual convention of the Theatre Owners of North and South Carolina, Hotel Charlotte, Char- lotte, N.C. November 27-29: Allied States Association, Fall board meeting and annual conven- tion, to be held at Statler Hotel, Dallas, Texas. November 30: Eighteenth annual dinner of the Motion Picture Pioneers honoring Robert J. O'Donnell as Pioneer of the Year, Waldorf-Astoria Hotel, New York City. January 29-31: Allied States Association, national drive-in convention, Nether- lands-Plaza Hotel, Cincinnati, Ohio. February 26-27: Annual convention of the Kansas-Missouri Theatre Association, Pickwick Hotel, Kansas City, Mo. March 6-7: Second annual convention of the United Theatre Owners of Oklahoma, Biltmore Hotel, Oklahoma City. NICHOLAS SCHENCK RETIRES FROM LOEW'S Nicholas M. Schenck, honorary chair- man of the board of Loew’s, Inc., and former president, announced his retire- ment from the company on Thursday. It is to be effective at the end of the year. “I will have rounded out 50 years of service,” said Mr. Schenck. “During this period I have seen Loew’s, Inc., and MGM Pictures become the greatest entertaniment organization in the world. . . . The new regime under the presidency of Joseph R. Vogel is a sound one and I am confident the com- pany will retain its leadership in the motion picture industry.” Mr. Vogel, recently elected president of Loew’s, Inc., said, “Every man and woman in MGM will regret Mr. Schenck’s decision to retire. We can- not view it without commenting on the great affection he has generated in the hearts of those who worked with him and all with whom he came in contact. . . . We who follow him will be guided by his example of honor and integrity. . . . He was more than a leader of a company. He was a leader of an in- dustry.” Mr. Schenck was president of Loew’s, Inc., from 1927 until December 1955, when he was elected chairman of the board. On October 18, 1956, he re- signed as chairman but was named honorary chairman. He is revered in the industry as an outstanding figure and one of the great pioneering path- finders of the industry which he helped to build. MOTION PICTURE HERALD, NOVEMBER 17, 1956 9 1 *« ^09^* * i- « . i atiSmr '■ IS .JBE '■ HRIH is wee L in pictures THE MEETING, the other day in Des Moines, of Tri-State Theatre personnel and executives from United Paramount Theatres in New York. In array are, seated, Bill Haver and Tony Abramovich, managers; D. B. Knight, advertising-publicity manager; A. Don Allen, buyer; Al Sicignano, United Paramount booker; Edward L. Hyman, UP vice-president; A. H. Blank, Tri-States president; L. M. McKechneay, treasurer and Bernard Levy, Mr. Hyman's assistant. Standing, C. N. Kite, au- ditor, W. F. Hoffman, Paul Strennen, William Rudolph; G. O. Black, R. F. Gray, Helen Davey, Willis Ford, Leon Doherty, Marvin Graybeal, managers; Gus Campagna, confections purchasing; Harold Lyon, Don Shane, Carl Hoffman, Bill Towey, Beverly Soroka, Marilyn Wicker, Cecil Johnson, managers; H. D. Grove, district manager; Pat Elliott, Gene Moore, managers; and Dave Alexander, traveling auditor. HARRY NOVAK, left, this week was ap- pointed to succeed Nick Pery as Colum- bia's supervisor for Continental Europe and the Middle East. He has been since February Continental sales manager and previously was Euro- pean manager for Universal. He will continue to have Paris as headquar- ters. AT THE "TEN COMMANDMENTS" Criterion Theatre, New York, opening: stars Charlton Heston and Yul Brynner. Paramount also opened it Wednesday in Beverly Hills at a big premiere. GEORGE D. DUTTON replaces Loren L. Ryder as chief of Paramount Studio's sound department. He has been with Paramount 28 years, 15 as recording supervisor. Mr. Ryder is operating Ryder Sound Services and Magnetic Sales Corp. RALPH IANNUZZI, Warners' eastern district manager, November 19 will move from Boston to New York and begin additionally to supervise the Metropolitan district. He came to the company in 1945 as a sales- man in Charlotte. VAN MYERS, Wometco's Miami con- cessions head, will be 1957 general convention chairman for the Na- tional Association of Concession- aires, of which he also is vice-pres- ident. The meeting will be at the Americana Hotel, Miami, November 17-21. HERALD picture IT'S NINE MILLION DOLLARS of United Ar- tists' money he'll spend on four pictures, John Wayne told newsmen in New York last week. His Batjac Productions for five years will give 50 per cent of profits to UA; then it will own the pictures. First is: "Legend of the Lost," in Libya. Producers such as he are giving the industry needed pictures in quantity, and "different," he opined. HERALD picture INSPIRATIONAL CONTENT for the family au- dience; that's the word from Allen Reisner, director of Sam Weisenthal's RKO release, "The Day They Gave Babies Away." He said over cocktails at Sardi's in New York films these days must deal more with people rather than action, and have a humanism. A television director tackling films, he says fe’evision rather than the theatre has mod- ern performers. HERALD picture A SPECIALIST foreign film company could con- centrate on the hinterlands, and have at the most six exchanges, producer and distributor Ilya Lopert commented in New York last week and disclosed the French have offered $500,000 and Americans $250,000 for three years and the question being wrangled is, Who will con- trol? Mr. Lopert's thesis is, large companies are unwilling to commit expensive sales forces to areas which yield little, so far. DANA WYNTER, a "Star of Tomorrow," shows director Rich- ard Brooks, between takes of MGM's "Something of Val- ue," the announce- ment of her selec- tion in this maga- zine's annual poll. JOAN COLLINS, one of the "Stars of To- morrow" in our an- nual poll, receives congratulations from director Bob Mc- Naught on the set of Sumar Produc- tions' "Seawife" for 20th-Fox. SOME IRISH FACES, including one we all know, Pat O'Brien, snapped during a visit, in Dublin, to St. Mary's Home and School for the Blind and Partially Blind. With him, Bob Britten, branch manager for 20th-Fox. f AT THE OPENING of "Sharkfighters" in the Loew's State, Norfolk. In lobby ar- ray are Milt Kauf- man, manager; Louis and Phil Bress, ex- hibitors; Capt. Fritz Gleim, Fifth Naval District chief of staff; Karen Steele, co-star; and Sid Cooper, UA central district man- ager. Skouras Announces Release Increase Late last week, Spyros P. Skouras, president of 20th-Fox, held a press con- ference in New York at which he elabo- rated on the vastly increased 20th-Fox production schedule which calls for 50 to 54 films to be made in the 12-month- period starting next April. In addition he said the company had set a 1957 distribu- tion schedule of at least 55 pictures be- ginning in January. Describing the new policy as “a vote of confidence in the future of motion pic- tures,” he said the 20th-Fox studio itself will produce up to 32 “A” pictures, with the balance coming from independent pro- ducers, here and overseas. Included in the 1957 release schedule will be 25 small pictures produced by Robert Lippert and which will be “suitable for all types of theatres.” The “A” pictures, he said, will be made by the 20th-Fox roster of producers, in- cluding such men as Darryl Zanuck, now shooting “Island in The Sun” in the West Indies, Jerry Wald, and Buddy Adler, head of production. Mr. Skouras also said the company’s worldwide net earnings this year should HERALD picture SPYROS SKOURAS be the same as the 1955 high of $6,025,039. Although the company is ahead in the foreign market, he said, it is somewhat be- hind in the domestic market. Batjac Signs UA Contract Batjac, the independent production company headed by actor John Wayne, has signed with United Artists to make four pictures, Mr. Wayne announced at a New York press conference this week. United Artists will finance the four films for a total of “about $9,000,000, he said, obtaining in return 50 per cent of the profits for five years after each release, at which time ownership will revert to Mr. Wayne. The first property to be made under the new agreement is “Legend of the Lost,” on which production is scheduled to get under way in Libya January 7. Mr. Wayne will star in the film, in which U.A. is expected to invest one-third of its proposed four-picture budget. The agree- ment does not require Mr. Wayne to ap- pear in each picture, nor is the agreement limited to only four films. In the course of his press conference, Mr. Wayne reiterated the opinion of other industry figures that the independent pro- ducer has become an important factor in providing more and “different” films. The major studios, which are having to make fewer pictures in order to make sure of better quality, will be turning more and more to the independent producer, Mr. Wayne declared. Paramount May Film George Jessel Story HOLLYWOOD: Jerry Lewis will star in the life story of George Jessel if current discussions between Mr. Jessel and Para- mount Pictures reach a satisfactory con- clusion, the studio announces. According to company spokesmen, the screenplay would be based on Mr. Jessel’s own ac- count of his career on the musical comedy, stage, vaudeville, radio, motion pictures, television and as an after-dinner speaker. Cinema Editors to Meet The American Cinema Editors will hold its third annual Critics’ Awards presenta- tions for best film editing of the year December 6. The membership will vote to nominate the five best edited theatrical motion pictures and TV films released between September 1, 1955 and August 31, 1956. G able Set for TV United Artists’ publicity campaign for Russ-Field’s CinemaScope production of “The King and Four Queens” will be carried by a TV audience of 32,000,000 on November 25 when the Ed Sullivan Show broadcasts a specially filmed feature pre- senting Clark Gable, star of the picture. This marks Gable’s first TV appearance. AB-PT Names Markley Head Of Production Implementing American Broadcasting- Paramount Theatres’ plan to enter film production, Leonard Goldenson, president announced in New York Monday that Sid- ney M. Markley, a vice-president of the company, had been named to head all AB- PT production activities. Mr. Markley, who is also a director of the company, will continue to maintain headquarters at the AB-PT home office in New York. He assumes the new position along with his present executive duties in theatre operations of the organization. In making the announcement, Mr. Goldenson said, “Mr. Markley’s appoint- ment follows in line with our recently an- nounced plans for entering motion picture production. He brings to this new activity the benefit of extensive experience in the motion picture field.” A graduate of Harvard College and Law School, Mr. Markley joined the company as assistant to the president in charge of theatre operations. He became a vice- president in 1952 and was elected to the board in 1955. Mr. Markley held his first press confer- ence in his new capacity at the company’s New York home office Thursday morning, at which time he elaborated on AB-PT production plans. He announced that a new subsidiary, Am-Par Pictures Corp., had been formed to handle the operation, with Irving H. Levin named as president and Harry L. Mandell as vice-president. Initial activity will be on a “relatively modest scale.” He said that the company’s product will be released to theatres other than those of AB-PT, here and abroad, through “established distribution groups.” The Justice Department, he added, has been fully informed of these plans. Adult Ticket Prices Reported Off Slightly WASHINGTON : Motion picture admission prices in large cities increased slightly for children but dropped slightly for adults in the third quarter, the Bureau of Labor Statistics has reported. The Bureau col- lects figures quarterly in 18 large cities and adjusts the results to reflect trends in the 34 largest cities. The Bureau said the adult admission price index has dropped from 127.2 per cent of the 1947-49 revised base period to 117.8 per cent, while the children’s price index had risen from 110.6 per cent of the base index to 111.9 per cent. The result was a slight drop in the combined index from 125.1 per cent to 124.9 per cent of the base period. r r 12 MOTION PICTURE HERALD, NOVEMBER 17, 1956 See a New Pattern of Distribution Taking Form in Film Industry HEllALD picture HE'S DESCRIBING "Film Row of 1957," the consolidated structure at New Haven which, it is intimated, is pilot model for the industry's "streamlining." The speaker, Chet Ross, executive vice-president of National Film Service, at the luncheon it tendered newsmen in New York Tuesday. With him, reporter Tom Wise, publicist Bob Adleman, NFS general manager Ira Stevens, and publicist George Glazer. . . . National Film Service Cites New Haven operation as indicative of plan for economical handling of film for all companies by VINCENT CANBY Plans for a prototype exchange opera- tion which National Film Service believes will revolutionize the physical handling of film, and perhaps even billing and account- ing operations, were set forth at a trade press luncheon in New York Tuesday by Chester M. Ross, NFS executive vice- president. Mr. Ross, who was standing in for James P. Clark, NFS president, and who was assisted by Ira Stevens, general man- ager, announced that early next spring NFS will begin handling what he de- scribed as “the backroom work” of 11 major distributors operating out of “a single joint depot in New Haven, Conn.” The operation will be housed in a new $500,000 building located in New Havens’ suburban Hamden Shopping Center. The building, on which construction started two months ago, will contain modern of- fices for each company, in addition to a central handling and shipping area. The distributors, whose shipping and inspection operations will be handled there, include Buena Vista, Allied Artists, Columbia, MGM, Paramount, Republic, RKO, 20th Century-Fox, United Artists, Universal and Warner Brothers. Most of these distributors, said Mr. Ross, also have leased office space in the building. Calls Roics Archaic Although New Haven is only a small branch, Mr. Ross went on, “it will prove that a combined backroom for all compa- nies can work. . . . For the problems of the medium sized exchange center, this is the answer.” The NFS vice-president preceded his an- nouncement by declaring that most Film Rows of today are archaic operations, working under the burdens imposed on them in the days of highly inflammable nitrate film. This new New Haven opera- tion, he said, although it was “hurried along’’ by the fact that many Film Row buildings were threatened by a new thru- way, is part of an inevitable move toward the streamlining of distribution operations — “the first major change in physical dis- tribution of film in 30 years.” Because distributors have always been reluctant to make any such changes, he continued, National Film Service under- took the initiative in New Haven. To em- phasize the extent to which the film com- panies are now convinced of the virtues of the move, he cited one distributor who had joined in the plan even though its New Haven exchange was not in the path of the thruway and even though it still has a five-year lease on its present offices. The New Haven move, he said, has been a gamble that appears to be paying off. The virtues to be had from such central- ized handling, said Mr. Ross, are not sim- ply confined to the fact that it will be more convenient to exhibitors and that, following the post-war move towards the suburbs, workers in the exchanges will have more attractive working conditions: the centralized operations should reduce operating expenses from five to 20 per cent for the film companies, in addition to the savings they will have on rent and personnel turnover. The fact that National Film Service sees CITE LICHTMAN VIEW In light of the long-range plans of National Film Service, described in the accompanying article, it is pertinent to note several remarks made by indus- try veteran Al Lichtman, former dis- tribution director of 20th-Fox, in The HERALD last week. Said Mr. Lichtman: "Distribution as it is now organized is archaic. The distributors' methods of operations haven't changed in years. . . . Perhaps some $5,000,000 yearly could be saved by a complete re- vision. . . ." the New Haven move as a prototype was indicated in that it has options on sites in three other cities to build similar struc- tures for like operations. At the present time, NFS is building office-shipping-in- spection centers in Atlanta and Denver. Although these are principally for present NFS customers in those cities, they can be enlarged for adaptation to the central- ized exchange center concept, he said. In point of fact, he added, more compa- nies “have given over their backroom op- erations in the last 12 months than in the previous 50 years.” This was in reference to RKO, which last September turned over to NFS all backroom work in 33 de- pots across the country, and to Buena Vis- ta and United Artists, all of whose back- room work is handled by NFS. In addition, NFS now represents Re- public in 19 centers; Allied Artists in 10; Paramount in seven; Warners, Columbia and Universal, in three each, and MGM in two. Mr. Ross further described the New Haven move as the third major develop- ment by NFS in the last three months. In- cluding the new building, he said, the company has spent over $2,000,0000 in that time to provide services and central han- dling facilities for the industry. Two weeks ago, the company announced that over $500,000 had been spent to set up a network of National Cash Register Class 31 electronic accounting machines in con- nection with NFS’ new contract for Buena Vista “front office work.” Other compa- nies are also considering similar moves to have NFS handle their billing and ac- counting operations, he said. MOTION PICTURE HERALD, NOVEMBER 17, 1956 13 NATIONAL MAGAZINE ADS! Top level list of Magazines giving special emphasis to the “Woman’s Market ... by PETER PACKER a SCOTT-BROWN Production • Produced by HARRY JOE BROWN . Directed by JOSEPH H LEWIS PAUL DOUGLAS • EVA BARTOK ' tkz gowma peop&£ Screenplay by JOHN GIUING and I0HN GOSSAGE • Directed by JOHN GILLING - Produced by JOHN GOSSAGE TOM CONWAY • ELIZABETH SELLARS • EUNICE GAYSON • FREDA JACKSON mlAfr MM To Screenplay by IVOR MONTAGU & MAX TRELL • Produced by JOHN GOSSAGE • Directed by TERENCE FISHER An A.C.T. Film Production Randolph SCOTT MOTION PICTURE HERALD, NOVEMBER 17, 1956 27 Albany The Variety Club’s new slate of officers, headed by A1 Kellert, advertising agency owner and former WOKO sales manager, includes: Norman Weitman, Universal manager, as first assistant chief barker; Irwin Ullman, local supervisor of Fabian drive-ins, as second assistant chief barker. Aaron Winig holds over as property mas- ter, while Max Zuckerman succeeds George Green as dough guy. Other crew- men are: attorney Lewis A. Sumberg, Jack Hamilton, Berio Vending Co. branch manager: Dr. A. I. Milstein, Gene Teper, Art Green and Simon Backer. Retiring chief barker Harold Gabrilove and Harry Lamont, Lamont Theatres, are co-chair- men of the Heart Fund. . . . Herman L. Ripps, one-time MGM branch and district manager here, and now assistant eastern division manager, stopped at the exchange en route to New York from the funeral in Gloversville of Louis W. Schine. . . . Other New Yorkers attending the services in- cluded: Ted O’Shea, Magna; Sid Deneau, Paramount; Joe Joseph, Columbia; Jules Lapidus, Warners; Milt Cohen, United Artists. A1 Levy, 20th-Fox district man- ager, and Joe Gins, Universal district manager, were there from Boston. All Albany branch managers were on hand, as well as a Buffalo delegation. Atlanta Georgia Theatres, Atlanta, has closed the Ritz Theatre, Athens, Ga. . . . J. R. Vickers, manager of the Fort Pierce drive- in, Fort Pierce, Fla., was the subject of an article in the Fort Pierce Press, which paid tribute to him as a man firmly estab- lished in the forefront of civic and busi- ness life of the community. . . . Mrs. Betty McGee, booker’s secretary at Universal, has resigned. . . . James Frew, Universal district manager, is back in his office af- ter attending the world premiere of “Bat- tle Hymn” at Marietta, Ohio. . . . On the row visiting were: E. J. Hunter, Colquit, Colquit, Ga.; W. W. Fincher, Fincher The- atres, Chatsworth, Ga.; O. C. and Tommy Lam, Lam Amusement Co., Rome, Ga.; Herbert Countryman, Villa theatre, Villa Rica, Ga.; Alton Odum, Ritz and Harlem theatres, Thomaston, Ga. . . . P. L. Taylor, of the Dixie theatre, Columbus, Ga., has equipped the house with a wide screen. . . . Owen Vaughn, office manager and booker, Buena Vista, has returned after a vacation spent at his home. . . . The Newport Amusement Co. has closed the Family drive-in, Johnson City, Tenn., for the winter. Boston Leon Task, who formerly operated the Ideal theatre, Milford, Mass., made a fly- ing visit here from Miami, Florida, where he owns and operates the 22nd Ave. and Palm drive-in. . . . Ernest Warren, who recently took over the Strand, Haverhill, Mass., has installed CinemaScope lenses, and has repaired and repainted the seats. . . . American Theatres Corp. has leased the concession stands in all of its theatres to ABC Vending Co., effective November 6. This does not affect the operation of Ben Conviser, head of maintenance and purchasing for American Theatres Supply Co., who continues on in his former ca- pacity. He will supervise the theatres under the ABC Vending-ATC contract. . . . Beacon Hill theatre will play the dubbed version of “Rififi.” . . . “Giant” is racking up high grosses at the 4,200- seat Metropolitan theatre, Boston, at a $1.50 top. . . . Smith Management Co. has taken a long term lease on the United theatre, Westerly, R. I., They will retain manager Saul Karp. . . . November 8 was Variety Club of New England Day at Narragansett Park, R. I. Each guest re- ceived a daily double ticket free. Boston members were transported to the park and back in a special Variety Club train. . . . Martha Ferris, former head of the Film Board of Trade in this area, has joined the new DCA staff as cashier. Buffalo Tent 7, Variety Club of Buffalo, will hold its annual election Monday, Novem- ber 19, in the Delaware avenue headquar- ters. . . . Arthur Rose, manager of the Buffalo Buena Vista office, is recovering in Meyer Memorial Hospital from a case of “complete exhaustion.” He must take a long rest. . . . Harold Bennett, manager of the National Screen Service branch, is chairman of the Variety Club committee planning the memorial plaque dedication ceremony Sunday, December 9, in the headquarters of Tent 7. . . . Variety Club members are grateful to Bill Kirkpatrick of Ideal Pictures, for sending a 16mm fea- ture film gratis each month to Tent 7’s Cerebral Palsy Clinic in the Children’s Hospital. . . . Phil Engel, 20th Century- Fox exploiteer, who headquarters in Bos- ton, was in town last week working on “Love Me Tender,” which opens Nov. 21 in the Center theatre here. . . . Max Fogel, manager of the Webster theatre in Rochester, is back on the job after a so- journ in a Kodak Town hospital. Charlotte Jeff Richards, MGM star appearing in “Opposite Sex,” came here to publicize the picture showing at the Plaza theatre. . . . Francis White, president of Howco Productions, returned to his desk after breaking his foot in a fall from a golf cart. . . . “Teenage Rebel” gave the Caro- lina theatre here one of its best Sunday openings in months. ... Hi Holston, man- ager of the 20th Century-Fox exchange, returned to his desk after a vacation to the south. . . . MGM exploiteers Tom Baldridge and Judson Moses came here for “Opposite Sex” exploitation. . . . Local music teachers were invited to a screen- ing of “Fantasia” at the Manor theatre. . . . Herman Meiselman, Carolina theatre owner, went to Jacksonville. Chicago The majority of exhibitors reported that the election unquestionably took its toll on theater business. However, some of this group added that the boxoffice drop was actually more indicative of a general slump due to various other reasons. . . . The Forest, just closed, will probably re- open soon — as soon as a group of buyers (who do not wish to be identified at this point) can bring negotiations for purchase to a close. . . . The Manor, shuttered less than a month ago, is now being operated by management of the building housing the theatre. . . . Bud Boehm, who reo- pened the Halfield, is also managing the property. . . . The Acadia, located at 55th and California, closed its doors. ... A sad note in Film Row concerns the death here of Lou Kochevety, who was in St. Luke’s Hospital. . . . Irwin Fensin, ailing for the past couple of weeks, was taken to the hospital for observation. . . . Joseph Berenson, head of National Theatre Ad- vertising, happily reports that the work which has kept him in Oklahoma of late has simmered down to a point where he now sees the prospect of spending more time here. . . . Richard Davis, Modern Film Distributors representative in Mis- souri and Kansas areas, spent the week here for conferences with the company’s general manager, Irwin Joseph. . . . The Halsted Outdoor Theatre was the second to close for the season when it gave its final performance for 1956 November 11. . . . Ben Schumard, recently appointed manager of the Lamar, took off this week for a Florida vacation. . . . Tony Steuver, of the Oriental theatre management staff, has announced he will spend the entire winter at his home in Brownfield, in southern Illinois. . . . Ralph Stitt has been added to Filmack Trailer Company’s Chi- cago publicity and advertising staff. Cleveland The strike of members of the Newspaper Guild that has prevented publication of Cleveland’s three dailies, is now in its second week. In the meantime, downtown first runs are advertising in the limited edition of the Cleveland Reporter, tabloid paper issued daily by Guild members of all three newspapers. TV and radio also extensively used for spot announcements. Subrun houses have adopted no uniform plan of program publicity, relying on patron-to-theatre telephone calls. . . . Edward Shulman, who, with Louis Sher of Columbus, heads the Little Art Thea- tres, Inc., announces the acquisition of their 10th theatre devoted exclusively to showing art pictures. This is the West- wood theatre, Toledo, formerly operated by Martin G. Smith and James A. Beidler. (Continued on page 30) 28 MOTION PICTURE HERALD, NOVEMBER 17, 1956 ALLIED STATES ASSOCIATION OF MOTION PICTURE EXHIBITORS ANNUAL 1956 CONVENTION Will Be Held At The New Statler-Hilton Hotel Dallas , Texas NOVEMBER 27th, 28th, 29th WIRE, PHONE OR WRITE YOUR RESERVATIONS TODAY- DO IT NOW! Send to: Statler-Hilton Hotel Charlie Wise, 2011 -A Jackson St., Dallas, Texas R. F. Morrew, 1632 Central Parkway, Cincinnati (11), Ohio SEE HOW, LEARN HOW, LEAVE, KNOWING HOW ATTEND A GREAT CONVENTION DONE UP "WESTERN STYLE" ENTERTAINMENT DAILY FOR THE LADIES Columbus “War and Peace” closed a second and final week at Loew’s Ohio to good busi- ness. . . . Mrs. Pearl Gray announced the sale of the Lyric at Greenfield, Ohio, to Charles A. Weller, plumbing and heating contractor. The Lyric was ordered closed recently by the State Division of Factory and Building Inspection because of alleged non-compliance with an order issued to Mrs. Gray to make certain improvements. . . . Walter Kessler, manager of Loew’s Ohio, arranged with Sid R. Phillips, pro- motion director of the Ohio State Journal, for the staging of the seventh annual Franklin County High School Queen of Queens contest on the Ohio stage Novem- ber 23. The Ohio State band of 120 pieces will make its only downtown appearance of the season on the Ohio stage that night. Trophy sponsored by June Allyson, star of MGM’s “The Opposite Sex,” will be presented to the winner. . . . Downtown theatre men were cheered at the an- nouncement that the Lazarus department store, the city’s largest, plans to erect a 10-story addition. The store is around the corner from Loew’s Ohio and RKO Grand and about one block from Loew’s Broad and RKO Palace. Denver The Esquire, art theatre, is running one show daily during the week, with curtain time at 8:30, and tea served beforehand. Late magazines are also available. . . . The A-Best drive-in, which has a theatre with 500 seats used during the summer for walk-ins, will be used during the winter. A screen has been placed against the large front window. . . . Mrs. J. J. Mor- gan, wife of “Jap” Morgan, with National Theatre Supply, fell in a beauty parlor and broke a leg. . . . Duke Dunbar, secre- tary of the old film board of trade, was elected to his fourth term as attorney general. . . . Fred Beltran, Cheyenne, Wyo., waiter, won the $4,000 door prize given by Variety Tent 37 at the election party. . . . S. D. Leonard is building a 350-car drive-in at Martin, S. D., to open in the spring. . . . John Vos and Bruce Marshall, Paramount and Columbia sales- men, to St. Louis for the Colosseum con- vention. . . . Robt. Heyl has leased the Nile, Mitchell, Neb., from W. H. McDon- ald. . . . Merle D. Lewis, operating the Peerless, Holyoke, Colo., died last week. . . . Bus Amato, 20th-Fox salesman, father of his first boy, and this after three daughters. Des Moines Jim Phelps, formerly of Cedar Rapids, has taken over the management of the Firemen’s theatre at New Hampton. He replaces Ray Klenske who resigned Sept. 1 but who continued on the job pending the hiring of his successor. Phelps for- merly was with Central States in Cedar Rapids last summer as manager of the drive-in at Dubuque. . . . Claude McEntire, who is operating the theatre at Hedrick, has notified the community that patronage during' the next few weeks will determine whether the house can be kept in opera- tion. ... A series of Saturday movies for children is scheduled at the Rialto and Capitol theatres in Clinton. The Clinton P.T.A. council has endorsed the plan and there will be special free bus service from the theatres. Shows will be held each Saturday morning for seven weeks. . . . Film Rowers attended the bar mitzvah of Michael Rosenblatt, 13-year-old son of the Max Rosenblatts, RKO branch manager. . . . Mr. and Mrs. Carl Olson were among a number of industry people who attended the homecoming festivities at Iowa City. . . . Evelyn Tellis of Universal was hos- pitalized several days for observation. . . . Lester Zucker, Universal district manager, visited the exchange during the week. Detroit Advance sale for “The Ten Command- ments” is said to be good with a box of- fice now open to augment mail sales brought through daily, quarter-page news- paper ads. . . . “The She Creature” and “It Conquered the Earth” ran together in 44 outstate theatres booked by Allied Film Exchange. . . The new paving on Wood- ward has finally been completed, opening the route to downtown theatre row, after several weeks of nighttime operations of huge paving machinery. . . . The Plaza, 42 years in Lansing, was closed, probably for good. . . . The Sky drive-in at Adrian added in-car heaters in an attempt to hold business through southern Michigan’s zero-to-freezing winter months. . . . Fire in the projection booth chased 100 patrons out of the Franklin theatre. Damage did not extend beyond the booth and there were no injuries. . . . Good business was report- ed by the United Artists theatre in the first week of the regular run in Cinema- Scope of “Oklahoma!”, following its nine months’ roadshow in Todd-AO. Hartford Erwin Neumann’s plans to build an out- door theatre, at intersection of Routes 12 and 101, more familiarly known as Day- ville Four Corners, Conn., have encoun- tered opposition, voiced by voters of neighboring towns, who have submitted a petition, citing traffic hazards and other arguments. . . . Perakos Theatre Associ- ates have adopted a new policy of screen- ing the main feature only once per eve- ning— at about 8:15 P.M. — Mondays through Fridays at their first-run Hi-Way and Beverly theatres, Bridgeport, Conn. ... Ed Lord, owner of the first run Mid- town theatre, Norwich, Conn., has discon- tinued Monday through Friday matinees. ... Ed McGrath has dropped his lease on the Guilford, Conn. Sylvio Lupone, owner of the building, has taken over operation of the suburban house. . . . Janet Fasano, daughter of Marcel Fasano of Loew’s Poli- New England Theatres, Inc., has joined the office staff of U-I’s Connecticut ex- change. . . . Bernard Menschell, president, Bercal Theatres, Inc., is recuperating from surgery at his Manchester, Conn., home. . . . Hartford visitors: Clarence Bell, Al- lied Artists exploitation staff; Floyd Fitz- simmons and Robert Baral, of MGM. Indianapolis Dale McFarland, general manager of Greater Indianapolis, is having great suc- cess with industrial theatre parties for “Oklahoma!” Western Electric employees have reserved the house for three nights this month, the Indiana Farm Bureau and P. R. Mallory Co. for one each Smith Management Co. is equipping the Ridge at Gary with in-car heaters, giving that city two year-around outdoor theatres. . . . Mafc Wolf, general manager of Y & W, has been elected president of the cen- tral Indiana United Cerebral Palsy. He also is treasurer of the state organization. . . . Dallas Schuder, manager of the Circle, had representatives of Elvis Presley fan clubs unveil a giant-size figure of their favorite in the lobby this week to herald “Love Me Tender.” . . . The ATOI board skipped a November date and will hold its next meeting here Dec. 11. Jacksonville A new series of art theatre film clas- sics was being planned for the San Marco theatre under the sponsorship of the Jack- sonville Arts Museum. . . . George Brad- ley, formerly a manager with the Jack- sonville Theatre Co., died suddenly in Tallahassee. . . . WOMPI members were planning an extensive sale of Christmas fruit cakes for the benefit of their primary charity, the Pine Castle School for Re- tarded Children. . . . Bill Canova, a young cousin of Judy Canova, has entered the industry here. . . . Mrs. John H. Mackey, widow of the well-known industry figure in Florida, died at the home of Mr. and Mrs. John L. Crovo, former exhibitors, where she had lived for many years. . . . O. O. Ray, Jr. has been promoted from office manager to salesman at the U-I branch. . . . Norm Levinson, lively Metro publicity man, returned from a fall vaca- tion in New York and New Haven. . . . French Harvey, publicity and advertising manager for Florida State Theatres, un- derwent a successful leg operation in a New Orleans hospital. Kansas City The Orpheum theatre, purchased last year by the Trianon Hotel Company, will be remodeled for dining space, but the ornate ceiling of the theatre will be re- tained. ... A new civic center has been planned for east Twelfth Street near the Tower theatre, which was recently re- modeled for Todd-AO. . . . Rex Cole gave the Lambert theatre at Princeton, Mo. a new life. ... A planning meeting for the Will Rogers Memorial Hospital drive was held Oct. 29 in Kansas City. M. B. Smith of Commonwealth Theatres, Inc. was made exhibitor chairman, replacing Senn Law- ler, and Martin Stone chairman of TV and radio promotions. . . . Carl G. Pierson, head of the Vendo Co., manufacturer of vending machines, died after a heart at- tack. . . . Following a stroke, Mrs. Ella Metcalf, who with the late Mr. Metcalf operated the Gaiety at Ash Grove, Mo., died at her home. . . . Beverly Miller attended the Tri-State convention in Mem- phis. Los Angeles The local Film Row Club continues its work on behalf of the Budlong School for Handicapped Children. The club has given the school a hydraulic lift. A1 Lapi- ( Continued on opposite page ) 30 MOTION PICTURE HERALD, NOVEMBER 17, 1956 THEY'LL BE RUNNING THE VARIETY CLUB in Washington. The new governors of Tent No. 11 sit for their portrait. Seated, dough guy Sam Galanty, first assistant chief barker Hirsh De La Viez, chief barker Marvin Goldman, second assistant chief barker Clark M. Davis, and property master George Nathan. Standing, George A. Crouch, Jake Flax, Harold Saltz, Herbert Gillis, Nathan D. Golden, Jack Foxe and J. E. Fontaine. Another board member is Frank M. Boucher. ( Continued from opposite page ) dus is seeing to it that they are provided with popcorn regularly and B. L. Shearer is making and installing new draperies for the school. . . . Marvin Dunagan, who operates two theatres in Blythe, bagged a 1,200-pound elk while on a hunting ex- pedition in Colorado. . . . The Pan Pacific theatre has been acquired by Milt Lefton, who also operates the Oriental, Congress, and Gordon theatres. . . . Buena Vista is now headquartered in the Sonney Build- ing on Cordova St. . . . Stanley Livingston has been named manager of the Roxy the- atre in Glendale. . . . Mel Evidon, Favorite Films sales manager, flew to Phoenix on company business. . . . Hank Hoffman of Columbia’s home office was here to super- vise the moving of the company’s local exchange into their new building on 21st Street. . . . After a very fruitful hunting trip, Bill Heineman, UA vice-president, and Jim Velde, UA general sales manager, are back at their desks. . . . Lippert film buyer Charlie Maestri was down from San Francisco on a buying and booking assignment. Memphis Here booking were Lloyd Hutchins, Maxie, Trumann, Ark.; Mr. and Mrs. How- ard Sanders, Ken, Marshall, Ark.; Leon Roundtree, Holly at Holly Springs, and Valley at Water Valley, Miss.; Mr. and Mrs. Sam Becker, Joy, Hayti, Mo., and Mr. and Mrs. Marvin McCuiston, Prin- cess, Booneville, Miss. . . . B. F. Busby has leased the Grant theatre at Sheridan, Ark., to T. H. and C. L. Burton. . . . Paul Harrington has closed his Springview drive-in, Kuttawa, Ky., for the winter. . . . Ruffin Amusements Co. has closed the Sunset drive-in, Martin, Tenn., for the season. Miami Cinerama will have its Florida premiere at the Roosevelt theatre, Miami Beach, December 5, with the proceeds of the ben- efit opening to go to the University of Miami School of Medicine, . . . The Cap- lan brothers, who leased the Roosevelt to Stanley Warner for the Cinerama instal- lation, have taken over the Variety the- atre, Miami Beach, from the Claughton Circuit. A policy of stage shows and mu- sical concerts in addition to special film attractions has been announced. . . . Flo- rida State Theatres sneaked “Friendly Persuasion” at three houses as a Saturday night dividend. . . . The Olympia and Beach theatres will begin a two-a-day reserved seat policy for the showing of “The Ten Commandments” December 14. . . . Mrs. Lillian Claughton, successful bidder for the showing of “War and Peace” at her Royal and Trail theatres, has returned from New York after a visit. Milwaukee Guest speaker at the November 5 meet- ing of the Better Films Council of Mil- waukee County was Howard D. Lee, principal of the Atwater School, Shore- wood. . . . Harold Pearson, executive sec- retary of Wisconsin Allied, was the speaker before the state projectionist union meeting at Wisconsin Rapids No- vember 7. . . . Miss Karen Ullenberg has joined the staff at the Wisconsin Allied office. . . . Morey Anderson, branch man- ager at RKO, is in St. Joseph’s hospital for observation. . . . Wisconsin Allied went on record to congratulate the Coca Cola Co., for the very fine plug they gave theatres October 19 on the Eddie Fisher show telecasted from the lobby of a thea- tre. . . . The Plainfield theatre is being auctioned off November 14, all the equip- ment and the building. . . . Owen Berg- told, son of Louise Bergtold, Westby, has been elected an assistant cashier of the Northwestern National Bank in Minne- apolis. Minneapolis Loew’s, Inc., has purchased a 25 per cent interest in station KMGM-TV, according to Don Menard, general manager of the station. In a second transaction, the sta- tion purchased rights to show 725 MGM films made before 1949. The transactions were completed last week in New York. . . . The Leola theatre, a neighborhood house, was burglarized of $55 in change. . . . Chick Everhart will build a 300-car drive-in at Walker, Minn., with opening set for next spring. Everhart also oper- ates the conventional State at Walker. . . . Vernon Johnson recently opened his new Grand-Vu theatre, a conventional house, at Pollock, S. D. Ralph Pielow’s Quad States Theatre Service here will handle buying and booking for the house. . . . Leo Giacometto has been named man- ager of the Belle theatre at Belle Fourche, S. D., succeeding Harold Remp. New Orleans Mary Louise Weiss Heck, 64, wife of Mike Heck, Sr., operator of By-Heck Pop- corn Company, died November 6 at Hotel Dieu a few hours after she was rushed there following fainting spells. Besides her husband, she is survived by a son, Mike, Jr., who is in charge of Transway’s shop, and two daughters. . . . Warner Bros, gave a special trade showing of “Baby Doll,” in the 20th-Fox screening room November 14. . . . Barney Woolner, president of Woolner Bros. Pictures, is in Hollywood signing a cast for the com- pany’s second film, which will be shot in Central America starting January 15, 1957. Their first film was “Swamp Wo- men.” . . . C. J. and J. J. Tringas engaged The Pike Booking Company, McComb, Miss., to handle the buying and booking for their Ranch drive-in, Pensacola, Fla. . . . Rebuilding of the Melroy, Taylorsville, Miss., which was badly burned in March of this year, is practically completed. L. R. McIntosh of Mize, Miss., is the owner. . . . The Pix, Collins, Miss., whose interior was badly damaged by a fire in August, 1955, is being reconditioned by N. Solo- mon Theatres and Pike Booking Company, which recently acquired operation of the theatre. Johnson Theatre Service is han- dling the replacement of booth equip- ment. Oklahoma City Barton Theatres is remodeling the cir- cuit’s general offices on SW 30. . . . The Ritz theatre, Shawnee, Okla., after being closed for remodeling, reopened Novem- ber 10. . . . The Variety Club of Houston, Texas, elected officers at its regular meet- ing November 1. Re-elected chief barker was Paul Boesch. Other officers are: Mitchell Lewis, first assistant barker; Mike Conti, second assistant; Morris Ros- enthal, dough guy; Augie Schmitt, proper- ty master. Members of the crew elected are John D. Carpenter, Dick Gottlieb, Jack Groves, Les Hunt, Fred Nahas, and Les Kamin. Associate barkers elected to the crew are Earl Stonecipher, Pat Foley, Tom Millane, and Felix Tiejirna. . . . The Aurora drive-in, at Aurora, Mo., was burglarized November 2. Taken in the break-in were five cartons of cigarettes, a large quantity of candy, a carton of wieners and a carton of matches. Philadelphia The Riviera, key house in the Manyunk section of the city and which was dark- ened earlier this year, has been turned ( Continued on following page ) MOTION PICTURE HERALD, NOVEMBER 17, 1956 31 (Continued from preceding page) over to a new little theatre group and will be called the Philadelphia Civic the- atre, operating as a non-profit organiza- tion for the production of stage offerings only. . . . The Absecon drive-in, near Atlantic City, N. J., closed down for the winter season with Walter Reade’s Atlan- tice drive-in nearby announcing that it will remain in operation the year round. . . . Rube Shor, president of National Al- lied, was in Hahnemann Hospital here for observation. . . . The Laurel, Laureldale, Pa., in suburban Reading, which has been closed for sometime, has reopened. . . . Sylvan Cohen, theatrical attorney who was elected chief barker of the local Vari- ety Club for the coming year, was named chairman of the charity drive for the ben- efit of the Tent’s camp for handicapped children. . . . Alvin L. Kosoff, former book- er with 20th Century-Fox here, has left the industry to become director of com- mercial sales for Travel Tour. Pittsburgh “Giant” gave the Stanley a brand new high of $41,000 in its first week, topping the previous champ, “House of Wax.” . . . The Penn brought in “Friendly Persua- sion” ahead of schedule when both “The Opposite Sex” and “Julie” rated only sin- gle weeks in the big de-luxer. . . . “The Ten Commandments” won’t be shown here until February, and the Stanley hopes to snag it then. . . . Local actor Sammy Schwartz, who had a role in Para- mount’s “The Vagabond King,” has decid- ed to forget show business and settle down here. . . . “Samurai” has been set for the Studio art theatre in Bellevue beginning Thanksgiving Day. . . . Christmas book- ings will bring “La Strada” into the Squirrel Hill; “Teahouse of the August Moon” into the Penn, and “Baby Doll” in the Stanley, according to present plans. . . . “The Killers,” a re-issue, followed “Between Heaven and Hell” into the Ful- ton, and another re-issue, “Rebecca,” is now on the Harris screen before that house gets “You Can’t Run Away From It.” . . . Norbert Stern, head of the Asso- ciated Drive-in Theatres, reported trying to buy the legitimate house, the Nixon, or building a new theatre downtown for both stage shows and big films. Portland Mrs. J. J. Parker, the first lady of exhibition here, has installed Todd-AO in her Broadway theatre. “Oklahoma!” opened November 9 at an invitational press preview. The film is running on a two-a-day policy. Manager of the house is Herb Royster. . . . Darlene Bally has married and is now Mrs. Throckmorton. She is back as secretary to Mrs. J. J. Park- er. .. . Jack Matlack handled the promo- tion for the “Oklahoma!” premiere. . . . Hildy Peterson, branch manager for Northwest Releasing, has booked the stork and will not be booking films for a while. . . . Northwest Releasing bosses, Volchock and Engerman, are promoting the Benny Goodman stage show of one-nighters in Eugene, Portland, Seattle, Vancouver and Spokane, the latter part of this month. . . . Mary Foster, managing director of the Guild theatre, was in town from San Francisco to confer with house manager Nancy Welch. Providence Bill Trambukis, Loew’s State manager, acted as master-of-ceremonies at the an- nual Halloween party, sponsored by the Providence Junior Chamber of Commerce, held at the Cranston street armory. Over 5,000 children attended the affair. . . . Re- cent visitors to this area, included Joseph Mansfield, United Artists exploitation man, who was working with Loew’s State on the forthcoming “Shark Fighters”; Abe Bernstein, U.A. man, who was setting the stage for “Attack,” and Floyd Fitzsim- mons, MGM exploiteer, who was assisting in making the publicity tie-ups for “Julie” and “The Opposite Sex,” soon to be seen in this city. . . . Jim McCusker, chief engi- ner at Loew’s, recently returned from a late vacation to Florida. . . . Guy Lombar- do has been slated for a personal appear- ance at Rhodes-On-the-Pawtuxet. . . . Many of the surrounding drive-ins are featuring only one complete show nightly. San Francisco Opening day attendance at the Para- mount for “Giant” was the highest open- ing day in over ten years, according to Earl Long, theatre manager. . . . Fred MacMurray and his wife, June Haver, were in town. Fred exhibited Angus cat- tle at the Grand National Livestock Show at the Cow Palace. ... In connection with “Love Me Tender,” the Fox will give away, during Thanksgiving week, 1,000 records of the title song by Elvis Presley. . . . Two new German films, “Keepers of the Night” and “A Day Will Come,” re- place “Intermezzo” and “A Bill of Di- vorcement” at the Rio. ... Ed Frisbie is reviewing films at the Examiner for vaca- tioning Hortense Morton. . . . Walt Dis- ney’s “Secrets of Life” replaces “Lust for Life,” in its final week at the Stage Door. . . . The Warfield sneaked “Teahouse of the August Moon” amid rave comment. . . . Jimmy Stewart was in the preview audience for his picture “The Spirit of St. Louis” at the St. Francis. St. Louis Carson Rodgers, of Cairo, 111., one of the owners of the Rodgers chain of thea- tres, recently had the 33rd degree con- ferred on him by the Masonic Lodge. . . . The grand opening of the Canna theater Gillespie, 111., was celebrated recently. It is leased and operated by Louis Odorizzi of Staunton, 111., operator of the Sunset drive-in, Mt. Olive, 111. . . . The Sky-View drive-in, Litchfield, 111., recently closed for the season. The Frisina Amusement Company, owner of this theatre as well as the Capitol theatre, also of Litchfield, has opened the latter downtown house on a full seven-day-a-week schedule. Russell Hogue is in charge as manager. . . . Em- mett Barton has been named manager of the Times theatre, Jacksonville, 111. Mr. Barton has been connected with the Fox theatre chain for 14 years. Toronto Lome Moore, manager, Odeon, North Bay, was selected as winner of a $50 prize for the best campaign on “Trapeze.” The announcement by Steve R. McManus, Odeon Ontario district manager, said that 12 houses submitted entries. Prize money was donated jointly by Odeon and United Artists, with UA’s Canadian publicity chief, Archie Laurie, chairing judging panel. . . . Alice Fairweather, well-known industry figure in the Maritimes, died in Saint John, N.B., after a lengthy illness. She was 76. For many years she was sec- retary of the Maritime Film Board of Trade, and also served as a member of the New Brunswick Board of Censors. . . . Managerial changes in Famous Players’ District “B” houses, were announced by Dan Krendel. The changes followed re- signations of Hammy Bowes from the Capitol, Sarnia, and Norman Gray, Al- goma, Sault Ste. Marie, who have gone into other businesses. Herb Chappell moves from the Palace, Guelph, to the Capitol, Sarnia. Murray Summerville, formerly assistant to Bill Trudell, Capi- tol, London, becomes manager of the Sault Ste. Marie house. Lloyd Taylor, formerly associated with Famous Ontario drive-in operations, takes over management of the Palace, Guelph. Vancouver “Solid Gold Cadillac” is giving the Vogue solid business on its holdover. . . . The Vancouver group of Famous Players boys, back from the Western Canada meeting held in Edmonton, were loud in their praise for the demonstration on con- cessions put on by Jack Fitzgibbons, head of Theatre Confections, Ltd., and his crew. The latter included Frank Troy, TCL Vancouver manager. TCL is a sub- sidiary of Famous Players Canadian. . . . With the resignation of Jack McNicol, manager of the Columbia, New Westmin- ster, Famous Players has lost another old timer. Jack and his family are moving to Hollywood. . . . Owen Bird, president of B. C. Exhibitors Association, and Myron McLeod, Powell River exhibitor, will represent the association and the local branch of the Canadian Picture Pioners at the national meetings to be held in To- ronto late this month. . . . Shirley Bowie, secretary to Frank Troy, manager of The- atre Confections, is flying to Germany to become the bride of Flying Officer Jerry Davidson of the R.C.A.F. . . . The father of Ted Ross, assistant booker at Famous Players district office, died of injuries when he was struck by a car. Washington A. Julian Brylawski, head of the real estate department for Stanley Warner Management Corp., was elected to his 34th term as president of MPTO of Metropoli- tan Washington, D. C. Other officers elect- ed were: Marvin Goldman, 1st vice-presi- dent; Joseph Bernheimer, 2nd vice-presi- dent; Harry Bachman, secretary; Lloyd Wineland, Sr., treasurer. Board of direc- tors includes: Orville Crouch, George A. Crouch, Bernard Lust, Harry Roth and Gerald Wagner. . . . The Variety Club held its annual elections on November 5, in the Willard Hotel. New officers and board of governors for 1957 include: chief barker: Marvin Goldman; 1st asst, chief barker, Hirsh de La Viez; 2nd asst, chief barker, Clark M. Davis; property master, George Nathan; dough guy, Sam Galanty. . . . Allied Artists and the Ontario theatre had a contest in connection with “Friendly Persuasion,” to find the voice with the most “friendly persuasion.” 32 MOTION PICTURE HERALD, NOVEMBER 17, 1956 An International Association of Motion Picture Showmen- Walter Brooks , Director MANAGERS — Must Provide "Executive Coverage" DAN KRENDEL uses the phrase above to describe his theory of a manager’s duties, in a recent issue of Famous Players-Canadian’s na- tional “Ballyhoo Bulletin.” It’s an apt phrase, and a proper title for the man- ager’s responsibility. Dan suggests, in a somewhat light vein, “that we move our managers out of the privacy of their en- closed offices and place them in a glass enclosure right in the foyer or lobby in plain view of their ticket buying cus- tomers.” And, he admits, that’s not such a crazy idea, for the manager also provides the “personality” of a theatre, as well as “ex- ecutive coverage.” The most important single function of a theatre manager is to be on the floor where he can keep a constant eye on what goes on around him, and meet personally the people who pay his salary. It is the only way in which he can know at first hand what his cus- tomers want in the way of screen enter- tainment— or what they don’t want, and why. It is the only way in which he can tell whether the members of his staff encourage attendance — or discourage it. “You simply can’t operate a theatre from behind a set of closed doors, and that’s why ‘executive coverage’ doesn’t mean supervision by proxy. The theatre office is not merely a place to do paper work, during non-operating hours. When the theatre is open for business, let the customers know that we consider them important enough to justify personal at- tention. You’ll be surprised how many of the important people in your town will start calling you by your first name — and get a kick out of it.” We’ll go along with that theory — for we’ve long been convinced that the man- ager’s office shouldn’t be a hideaway, nor should proper “executive coverage” be hard to find, and recognize, by the casual patron, who might have a compliment or a complaint to make. We learned, years ago, that a few vocal “complaintants” make more noise than many who merely go along and keep their comments to them- selves— but it is well worth the effort to SMALL BUSINESS? Just how "small" is small business? The Government's definitions vre quite amusing, when you contemplate the meaning in terms of film business. The Small Business Ad- ministration, in 1953, called a small business "one which is independently owned and which is not dominant in its field of operations." But they qualify this by quoting some figures that are confusion worse con- founded. They say "a small business em- ploys less than 500"— the only theatre we know that employs more than 500 is the Radio City Music Hall! A "small" retailer's sales must not exceed $1 million, while a "small" wholesale business must gross less lhan $5 million. By these standards, 98% of the nation's 4,250,000 business enterprises are "small"— in the legal sense. Who will be the first of record to tell us the whole story of "How i Obtained a Small Business Loan for a Motion Picture Theatre"? At this writing, we don't know a single example— and it would be illuminating to describe the detail of the process, and the results obtained. It should be a small situa- tion, in a one-theatre town, to give the proper perspective. And it should reveal all of the figures, for there are no secrets with the Government— when you ask for a "Small Business" Loan. You have to answer all the questions, and it must be public record, with proof that you could not secure neces- sary financing from your local bank. give the majority a chance to air their views, and you won’t suffer by doing it. We can always identify the manager of a British cinema in a photograph, for he is wearing a “tux” and looks like a manager, even to a stranger. You know he is giving his theatre the kind of “ex- ecutive coverage” that Dan Krendel talks about, and that this includes many things not generally found in a manager’s book, on this side of the water. Theatres in England keep that “personality” that is part of good showmanship, by putting the manager on a pedestal. TIME magazine expounds on “What’s wrong with color TV?” — and comes up with some answers. They say that “Pre- mature Tub Thumping” causes the slump, since customers are not ready to buy, nor the television sources ready to supply the necessary quantity or quality. The President of General Electric is quoted as saying “If you have a color set, you’ve almost got to have an engineer living in the house.” And in spite of vastly in- flated figures put out for promotional pur- poses, one big manufacturer doubts if there are even 75,000 color sets in use, out of a total of close to 40 million reg- ular sets in American homes. Nor does the public feel willing to pay the price — one buyer is quoted as saying, at Rich’s department store in Atlanta, “I know the grass is green at Ebbets Field, but it isn’t worth $400 to find out how green.” Zenith has not yet produced a color set, and their president, E. F. McDonald, Jr., offers the conclusion, “Color TV has been slow to take hold for the simple reason that the industry has not yet produced a good enough color picture to make the people pay the extra price.” THE CENSUS Bureau says there are now 1,381,000 more females in the United States than males. Six years ago, there were only 600,000 more females, so the ladies are gaining on us. And that is very interesting in an industry which acknow- ledges that we are losing the ladies as loyal patrons. Exhibitor leaders deplore the fact, and explain it by saying that we make too many pictures with “man” appeal — the ladies don’t like horror films, or gruesome subjects. Several authorities have clamored for more “family” films — which are the kind that Mother takes the family to see, and which we’ve neglected in recent years as a part of our product allocations. If there are more women, there should be a greater demand today than ever before, so it’s a poor time to discount their patronage. — Walter Brooks MANAGERS' ROUND TABLE SECTION, NOVEMBER 17, 1956 33 Commander Kane lends Karen Steele a gracious assist as she slips into a compression chamber at the U. S. Navy frog man training base. The “Shark fighters” TV boom for "Sharkfighters" premiere, as Karen Steele is interviewed over WTAR-TV in Norfolk, as promotion for Loew's State theatre. Dice game for "Sharkfighters" at Loew's State in Cleveland, with bystanders rolling "shark eyes" to win guest tickets and a free shark's tooth. ON DICE WIN UICKT SHIRKS I0CTK * <5U£$t TICKET TftStl VICTOR MATURE Mwiwi® Karen Steele, co-starred with Victor Mature in "Sharkfighters' is greeted aboard the U.S.S. New Jersey by Commander Dentner, at Norfolk Navy Yard. At the U. S. amphibious training base at Little Creek, Karen Steele brightens the day for six frog men who came up for air and found a welcome. 34 MOTION PICTURE HERALD, NOVEMBER 17, 1956 SI oivmen in on As this is written, Martin George Smith is being hosted and toasted by the Allied Theatre Owners of Ohio, in convention at the Deshler-Hilton hotel in Columbus, for his forty-three years in our business and his great service to Allied, both nationally and state-wide. We extend our heartiest congratulations and wish we could be there, with happy memories of the many miles we’ve traveled together and the friendship we cherish, for a showman in action. ▼ And as this is read, Martin Quigley, Jr., editor of the Motion Picture Herald, will be in Toronto, to attend the general lunch- eon session of the Motion Picture Theatres Association of Canada, and to present the Quigley Grand Award plaque for small situations, to John McKim, now in the head office of Odeon Theatres (Canada) Ltd., as assistant advertising director. More of this news, later, with pictures of the presentation, and comment for the press. Norm Levinson sends a fine cooperative page, as done by Bob Heekin, city mana- ger, Jim Levine, manager of the Florida theatre and French Harvey, advertising chief for Florida State Theatres in Jack- sonville, for “The Opposite Sex” with a satisfied sponsor mighty pleased with the promotion for mutual benefits obtained. It’s a natural for cooperative advertising. Jules Curley writes from the adver- tising department of Stanley Warner’s Pittsburgh zone to ask about “Tonight at 8:30” which the Walter Reade circuit originated to sell single showings of spe- cial pictures to an advance-sale audience, and then writes a postscript to say that he has just received the material he wants direct from the Walter Reade office in New Jersey! Which leaves us pleased and satisfied with Round Table service! T Arthur Herzog, Jr., reports that Con- tinental’s underwater opus, “Secrets of the Reef,” opened at the Telenews theatre, in Detroit, with prices hiked to 90^- and stu- dent tickets at 60^* — but with a promotion build-up that has seldom been equalled in Detroit. 500 supermarkets are cooperative advertisers, and the Cranbrook Institute of Science circularized 3,100 members, urg- ing attendance. 5,000 copies of a “cast of characters” — all fish, have been distributed through various sources. 4,500 “table tents” have been placed in 50 restaurants for the run of the picture, on Fridays. Currently, 20th Century-Fox is in the middle of the biggest disc-jockey cam- paign for the national promotion of “The Best Things in Life Are Free.” Local contests have been set up, over periods of two to for weeks each, in 23 cities, in which listeners endeavor to guess the identity of various recordings. Paul Pearson, manager of Schine’s Capi- tol theatre, Newark, N. Y., has a good idea for selling Gift Books of tickets to dealers who are introducing new cars. The auto- motive trades like a “gimmick” when the new models come out, to persuade people to take a trial ride and talk to a salesman, so the ticket books catch on. It can be done several times a year, and off-season with the usual book sales. T Schine theatres also use their stages, to introduce new car models, with the co- operative dealer renting the theatre out- right, inviting a house full of prospects, and unveiling the new car with all proper stage craft, as part of a free show. Quite naturally, this brings in a hard-to-get crowd, and there is an abundance of news- paper and other sponsored advertising value for the theatre. ▼ Schine theatres report a good business, renting their theatres for political rallies, and using the stage, which attracts all such gatherings. It’s found business, brings the theatre to the attention of leading citizens, and creates community interest in which the theatre can take part without taking sides. Joe DeSilvia, manager of Schine’s Madison theatre, Rochester, rented the theatre and sold them the evening show, outright, as a draw. We hasten to correct a social error. Last week, we slipped on some caption information — now we have it straight. Above, Mort Nathanson, United Artists publicity manager, and his assistant, Nat Rudich, view a television trailer to boom Clark Gable in "King and Four Queens." Mort is the placid pipe smoker — not annoyed with our mistakes. Now here’s what we have been waiting for — a contest at Loew’s Warfield theatre, San Francisco, promoted by Bill Elder and Bob Butz — and the prize offered is five shares of Loew’s stock! The winner has to guess the volume of trading a week in advance, and the closing price of the stock, as well as indicating seven state- ments regarding the stock market as either “true” or “false.” This should be promotion for “Solid Gold Cadillac” but actually it was for “The Power and the Prize” — which doesn’t follow the market trend. If you are interested in surveys — the ice cream trades have conducted their own, and find they are selling more ice cream to more purchasers than ever before in history, because there are more people in the present census, with more money to spend for ice cream, in all flavors, than at any time since 1776. The greatest weak- ness in film industry is that we can’t keep up with the new arrivals — or even with our previous record for pleasing their parents. Cinerama's Seattle staff celebrates in "Morgan's Cellar" — a humorous nightly show on KTVW-TV, with Warren Slee, public relations; Bill Sison, stage manager; John Langstead manager of the Para- mount theatre, where Cinerama is now in its third month; Virginia Panetto, supervisor of informa- tion; Bill Freeman, chief projectionist, and Ed Sison, chief sound engineer. Cinerama makes news, wherever it is, and especially when promoted by long-time experts. MANAGERS’ ROUND TABLE SECTION, NOVEMBER 17, 1956 35 Good Entries From Odeon Merchants Ask Return Of "Shopping Nights" A trend, across the country, and across Canada, as well, is the request from local merchants to restore “shopping nights” — at least one night per week, in communi- ties where the stores have been closing at the end of every business day. It’s not difficult to see that, in spite of more people with more money to spend, the downtown stores have suffered from their lack of at- tention to nearby customers, who have other things to do, other places to go, and who have been patronizing the new shop- ping centers, out on the highways. We saw the results, up home in Penn- sylvania, where the Friday night schedule to keep the stores open has just been put in effect — after several years of closing. Now, the entire business men’s associa- tion is unanimous in asking the family to “come downtown and shop” on Friday nights — and they run all sorts of attrac- tive sales and stunts, to get them out of the house. The paradox is that more peo- ple have more money, but they spend it in places where they never went before. Dan Krendel reports the result in Van- couver for a very good instance— with both Ivan Ackery and Charlie Doctor getting on this business bandwagon, with benefi- cial results. “Their boxoffices have been jingling like mad,” says Dan, and only be- cause these two good showmen did some- thing about it. They saturated the city with clever advertising, and stressed the suggestion, “Shop and See a Show” with free parcel-checking in the theatres, as a special. The Ack’s receipts jumped $800 above the opening week of “Moby Dick” and Charlie’s receipts for the Friday night Earle M. Holden, city manager for the Lucas and Avon theatres, Savannah, wants to suggest that we celebrate the 50th “Jubilee” year of motion pictures with a commemorative stamp to fit the occasion — and believes the Post Office De- partment would go along with the idea. ▼ Free photographs of James Dean will be given to early arrivals at the Roxy theatre next Saturday morning, to cele- brate the sixth week of “Giant” in the big house on 50th Street, and you can be well assured there will be a waiting line, beginning at 8:30 A.M. H. D. Breighner, manager of the Wat- seka theatre, Watseka, 111., calls seven numbers at random every evening, to find out if they know what’s playing, and thus obtain free guest tickets for right answers. were $150 over previous Fridays, on his 26th day of “The King and I.” Friday night shopping is good for mer- chants, and for both theatres and restau- rants, who will go to a lot of trouble to help sponsor the idea of “a night out” for the family. The thing to do is to contact your Businessmen’s Association and your newspapers, and remember — you are the showman who puts the oomph! in this en- deavor. If you have a parking lot on a convenient and cooperative basis — then offer free parking for tickets and sales checks. The trend is here, and what you do with it, is wide open for managers. We have often reported deals with bus and transportation companies, whereby if a family comes downtown, they get a re- bate ticket good for their fare home. The bus companies will go for it, because it encourages more traffic, which they miss as much as any of us, when the family stays home, glued to the TV set. We hardly realize that every business is af- fected by television, and that some of them are harder hit than we are, because we do have the weapons to fight back, if we have the energy and enthusiasm to carry on. Don’t let anyone tell you that motion pictures are not the public’s best entertainment. The merchants miss the night shopping they previously had — because they’ve not been getting the volume of business, and their trade has been gravitating away to new shopping centers. We are not the only ones who are undergoing this period of transition and change in business con- ditions. Everybody has to adjust. Good entries in the fourth quarter for the Quigley Awards — from Odeon Thea- tres (Canada) — and both large and small situations represented. But in the mail are three that we think are worth special mention in these dispatches. From E. L. Lome Moore, manager of the Odeon, North Bay, comes his campaign on “Trapeze” which qualifies for both quar- terly and annual judging. It’s a full ex- hibit of all the things a good showman can do with a good picture, with a total playing time of ten days, including a three day holdover, and a total of 10,754 admis- sions in a theatre with 603 seats. That’s good going, and the excellent coverage has paid off. Two campaigns, one from George Sprat- ley, manager of the Odeon, Guelph, and one from Geoff Jones, manager of the Roxy theatre, Newmarket, Ontario, are devoted to the J. Arthur Rank film, por- traying the story of the British war hero, Douglas Bader, wih Kenneth More — a fine actor, in the role. This picture has been a sensation in England and is clearly an equal sensation in Canada, with very special outdoors and public relations ac- cented, in various events, for the theatre stage and elsewhere. Much excellent newspaper reaction is shown in tear- sheets attached with both entries. Guelph has a population of 35,000 while Newmar- ket is a town of 5,000. Mitchell Wolfson, Wometco Theatres, station WTVJ, all of Miami, are going all out for a “Crusade for Children” which will aid all handicapped children in south Florida. The Wometco interests have a great art department, which functions un- der the separate corporate name of Ad- vertising Service Company. This is a long shot of the big fashion show which Chet Friedman staged outdoors, at the Lawrence Plaza Shopping Center, for the .premiere of "The Opposite Sex" in Toronto. Down on the runway were the starlets on tour for the MGM picture, modeling new fashions for the admiring throng, end for complete coverage across Canada, via television, radio and the press. 36 MOTION PICTURE HERALD, NOVEMBER 17, 1956 Medina ina ^rpproac It THE SHARKFIGHTERS— Samuel Gold- wyn, Jr., United Artists. Cinemascope, in Technicolor. Your eyes open wide with terror and excitement — Man Against Tiger Shark! Victor Mature and Karen Steele, in a picture made for exploitation. One knife against a thousand teeth — it had to end with this savage, startling, showdown! No poster larger than the 6-sheet, but you can build lobby display and theatre front according to pressbook suggestions. Sen- sational comic herald tells and sells the story in pictures, with a strong center- spread pictorial display ad. Newspaper ad mats are in good assortment for size and style, and the complete campaign mat for small situations gives you seven ad mats and slugs, and two publicity mats, all for 35c at National Screen. Plenty of merchandise tieups, with sharkskin shoes and belts, both expensive, but you can buy 50 shark’s teeth for $1, plus an equal number of free booklets, with di- rections for use. In case you need some choppers! The 34-page Dell comic book is an added starter which will intrigue the younger set, with excitement and adven- ture in prospect. This is sort of a junior size “Moby Dick” — which should be a good recommendation for it — without seeing the picture, and judging from the excellent pressbook. BETWEEN HEAVEN AND HELL— 20th Century-Fox. CinemaScope, in color by DeLuxe. From the best-selling novel of young love in war, comes the story of the foul-ups who became the hell-fighters of the Pacific. Robert Wagner, Terry Moore, Broderick Crawford, Buddy Ebsen — and an army! Fifty cent paper back edition duplicates the expensive hardcover copy that was sensational — and the distribu- tor’s big staff is out in the field to help you merchandise the movie book. 24-sheet is made to create pictorial art work for your marquee and lobby display at a minimum cost, with other posters follow- ing the same theme. A full-color standee from National Screen will capture the action and catch the eye. Newspaper ads are numerous and in the advertising style that sells the picture, with a special drive- in and small-town mat, selling for 35c at National Screen, which contains eight ad mats and slugs, and two publicity mats. There’s a special “Southern Edition” of the pressbook, aimed at Georgia, Alabama, Mississippi, the Carolinas, Louisiana, Ten- nessee, Florida and Texas, and that’s pretty unusual in advertising slants. They refer to the fierce, fighting, flaming fury of the Dixie Daredevils — and that may very well be a selling approach worth the special handling, since we haven’t seen the picture. A free radio transcrip- tion is included in the “Southern Section” for Dixie disc jockeys. THE OPPOSITE SEX— MGM. Cinema- Scope, in Metrocolor. The Bare Facts, Set to Music. Very frank! Very funny! Very feminine! June Allyson as the Wife. Joan Collins, the Flirt, Dolores Gray, the Gos- sip. Ann Sheridan, the Career Girl. Ann Miller, the Chorus Girl. Plus, Agnes Moorehead, Charlotte Greenwood, Joan Blondell, Sam Levene, and a host of guest stars, with their orchestras. There’s only one thing on their minds — MEN. These are the bare facts — when they’re good, they’re very very good, but when they’re bad — they’re sensational. 24-sheet and all accessories feature the five gals in their working clothes. One manager recently sent us an accordion-fold throwaway us- ing five teaser ads, Nos. 1001 to 1005, with the outside fold reading “The Oppo- site Sex” — as men seldom see them (In their undies — but as proper as the Ladies Home Journal!) You can print it your- self, but the folding is a hand-process good herald from Cato Show Print and a natural for cooperative advertising. Buy the herald blank and print it locally with a sponsor to pay all costs. All newspaper ads follow the leading theme, of women — this is a musical adaptation of Clare Booth’s play, “The Women,” which was pure comedy — now with music. Don’t try to be suggestive, this is a perfectly clean picture. THE SILENT WORLD— Columbia Pic- tures. The greatest true adventure of our time. Pre-sold to millions via Capt. Jacques-Yves Cousteau’s world-famed, best selling book, in many different edi- tions. The film won the 1956 Cannes Film Festival top award, world’s foremost inter- national motion picture award. Two years in filming, in the Indian Ocean, the Red Sea, the Mediterranean and Gulf of Aden. 5000 dangerous dives; 19 miles of film excitement, sights never before seen by human eyes! Launched in this market with top preselling, TV, radio, newspaper and magazine promotions. “Hitch Hiking in the Deep” was a syndicate newspaper feature that reached millions. The 6-sheet and other posters are provided with pic- torial art that will dress your lobby and front display. The four-page herald keys the campaign, for serious readers as well as small fry, and will attract the hard-to- get occasional movie patrons. Newspaper ad mats, some of them quite large, are justified by what you have to advertise — and there is a choice for size and style to please all tastes. The composite mat has seven ad mats and slugs, for small situations, plus two publicity mats, all for 35(* at National Screen. A special 35<* pocketbook edition contains 32 pages of full-color photographs as reproduced from National Geographic Magazine. News Travels 6,000 Miles To Land On This Page We read in the Daily Film Renter (Lon- don, England) of an exhibitor in San Francisco, California (not identified in the overseas dispatches) who really did something about television (and that in- terests our British cousins!). They say, he found a unique way of fighting back at TV, by taking a couple of old Selznick films — “The Bill of Divorcement” and “In- termezzo”— and selling them hard, with the line, “You haven’t seen the picture if you saw it on TV.” They say, “The real humour of the situ- ation is that the local TV promoters are squealing like mad because they have been fouled. Just at the moment they were particularly sensitive to criticism — when the film appeared on TV it was butchered, and the kind of advertising which this exhibitor has been using is calculated to hurt them where it hurts most. It is this kind of spirit we should like to see more of — and nice to know it comes from a small man fighting for his existence, and having the courage to tackle his problem in a fresh and virile way. We have never doubted the capacity of the trade to fight their own battles, and that’s why we ap- plaud a small San Francisco cinema, for he showed he had guts, if nothing else.” Lee Z. Henry writes from his Home theatre, Zephyrhills, Florida, to say how much he enjoyed the recent convention in Jacksonville, which they described as “a big convention for the little man.” We are sorry that these conventions come out of season for our trip to Florida, but we remember the ones we have attended at the Roosevelt, and how well conducted these Southern meetings are for practical and beneficial results. ▼ President J. H. “Tommy” Thompson, of the Theatre Owners and Operators of Georgia, has announced from Hawkins- ville that a committee has been named to present annual awards to newspapers in his area for the best stories they publish about movies. This is another of Tom- my’s good ideas for newspaper benefits — he was also responsible for taking 40 Georgia newspaper editors to the Atlanta convention a year or so ago, with imme- diate response in as many newspapers across the state. SAVE MONEY ON PREVUES Use Filmack's New, Deluxe 3 Frames With Copy, | Photos and j Off Stage Talk Use as Prevues, Advance or Cross Plugs! Used by many circuitsl Clf JLV ACU 1327 S. Wabash rlLfnAwlV chieiti, m. MANAGERS' ROUND TABLE SECTION, NOVEMBER 17, 1956 37 CLASSIFIED ADVERTISING Fifteen cents per word, money-order or check with copy. Count initials, box number and address. Minimum insertion $ I -50. Four insertions for price of three. Contract rates on application. No border or cuts. Forms close Mondays. Publisher re- serves right to reject any copy. Film and trailer advertising not accepted. Classified advertising not subject to agency commission. Address copy end checks: MOTION PICTURE HERALD, Classified Dept., Rockefeller Center, New York (20) USED EQUIPMENT EQUIPMENT BUY OF LIFETIME! SUPER SIM- plex Projectors, LL-3 pedestals, 18" magazines, Mag- narc Lamphouses, National 40 amp. Rectifiers, coated lenses, changeovers. Simplex "E” sound system. Com- plete outfit — excellent condition $3500. Time deals available. S.O.S. CINEMA SUPPLY CORP., 602 W. 52nd St.. New York If). EXCELLENT COATED PROJECTION LENSES— many brand new! Wollensak, “Sunray-’ Series I: — 3:!4”, 5", 5%", 6", 734" — $35.00 pair. Superlite Series III ”C” coated 234", 3", Sy4" $150.00 pr. Others available — tell us your needs. Trades Taken. Wire or telephone order today. S.O.S. CINEMA SUPPLY CORP., 602 W. 52nd St., New York 19. STUDIO EQUIPMENT KI.IEGL 5000W STUDIO SPOTS ON STANDS, $300.00 value, $175.00; B & H Studio Camera Sound Recording Head, $1995.00; New Tripod Triangles, $16.95; Aerosol Dulling Spray, kills annoying glare and highlights, $1.59: Auricon Pro-200 16mm Sound Cameras, complete, $1600.00 value, $795.00; Mitchell 35mm Standard Tracking Camera, $995.00; Moviolas from $195.00; Hallen synchronous magnetic 16mm re- corder, $1495.00 value, $695.00; American Cinema- tographer’s Handbooks, U> price, $2.50. S.O.S. CIN- EMA SUPPLY CORP., 602 W. 52nd St., New York 19. NEW EQUIPMENT ATTENTION HOLMES USERS! 1000W T-20C13 Mog. prefocus lamps $25 dozen ($3.95 each); inter- mittent movements $24.50; Star sprocket assembly $10; sound lens $9.95; EE14070 vertical drive shaft w/5 gears, bearings $9.75; 2000' magazines, upper & lower (rebuilt) $25.00 set. S.O.S. CINEMA SUPPLY CORP., 602 W. 52nd St., New York 19. POSITIONS WANTED I CAN MAKE YOUR INDOOR OUTDOOR THEA- tres pay. Experienced exploiteer, all phases show busi- ness. Seeking supervisory or city manager position. Excellent references. Go anywhere. BOX 2939, MOTION PICTURE HERALD. ~ ATTORNEY-ACCOUNTANT, 3(b TEN YEARS diversified accounting, business, legal background. Seeks challenging position. BOX 2941, MOTION PIC- TURE HERALD. HELP WANTED MANAGERS WANTED: THEATRE MANAGERS wanted for Conventional and Drive-in theatres open entire year in New Jersey. Top salary. Many benefits including retirement plan, group insurance, and hos- pitalization. Apply WALTER READE THEATRES, Mayfair House, Deal Road, Oakhurst, N. J., or call Kellogg 1-1600. MANAGER WANTED FOR CONVENTIONAL house. Desire exploitation minded man under 35 years of age. State experience and qualifications. P. O. Box 562, Lake Charles, La. BOOKS RICHARDSON’S BLUEBOOK OF PROJECTION. New 8th Edition. Revised to deal with the latest tech- nical developments in motion picture projection and sound, and reorganized to facilitate study and refer- ence. Includes a practical discussion of Television especially prepared for the instruction of theatre pro- jectionists, and of new techniques for advancement of the art of the motion picture. The standard textbook on motion picture projection and sound reproduction. Invaluable to beginner and expert. Best seller since 1911. 662 pages, cloth bound, $7.25 postpaid. QUIGLEY BOOKSHOP, 1270 Sixth Avenue, New York 20, N. Y. DON’T WASTE IN THESE TOUGH TIMES. Hundreds of ways to save money in theatre opera- tion, all based on practical theatre experience, are yours in the Master Guide To Theatre Maintenance. One of them alone may be worth far more to you than the $5. the book costs. Send for your copy Today. QUIGLEY BOOKSHOP, 1270 Sixth Avenue, New York. SEATING SEAT COVERS: SEWED COMBINATIONS, 95<: up; all colors. Send $1.50, old cover, will duplicate, best match. Vinyl leatherettes; all colors: 54 inches wide; $1.10 yd. up. Also precut 24x27; 2 dozen minimum order 44f up. Complete line upholstery materials, mystic tapes, mohairs, corduroys, velvets; low prices; send for samples. MANKO FABRICS CO., INC., 156 W. 28th St., N. Y. Legion Approves 9 of 12 New Productions The National Legion of Decency this week reviewed 12 pictures, putting six in Class A, Section I, morally unobjectionable for general patronage; three in Class A, Section II, morally unobjectionable for adults, and three in Class B, morally ob- jectionable in part for all. In Section I are “Dance With Me, Henry,” “Daniel Boone, Trail Blazer,” “Everything But the Truth,” “Friendly Persuasion,” “The Great American Pastime” and “Suicide Mission.” In Section II are “Brass Legend,” “Scan- dal, Inc.” and “The Silken Affair.” In Class B are “The Desperados Are in Town,” be- cause it “tends to justify untruthfulness in plot solution”; “The Girl He Left Be- hind” because it “tends to condone im- moral actions” and “Wicked as They Come” because of “low moral tone; sug- gestive sequence.” Anti-Trust Suit Filed By Portchester Theatre A $300,000 triple-damage suit was filed last week in New York District Court by Westchester Playhouse, Inc., against Par- amount Pictures, United Artists, and Pre- fect Theatres, Inc., charging anti-trust vio- lations. The plaintiff alleged on behalf of the Embassy Theatre, Portchester, that the defendants conspired to favor Prefect’s Greenwich Theatre, a direct competitor of the Embassy, by refusing to allow the plaintiff to compete against Prefect for purchase of the defending distributors’ pictures. Jacob Wilk Dies; Was Warner Vice-president Jacob Wilk, 70, former vice-president and Eastern story editor for Warner Broth- ers, died in New York November 12 at Mt. Sinai Hospital. Mr. Wilk joined Warn- er Bros, in 1929 and retired from the com- pany in April, 1952. He started his career as assistant dramatic editor on the Min- neapolis Tribune and did publicity there for the Metropolitan Opera House. In 1910, he became associated with W. A. Brady and four years later joined World Film Co. as publicity director. In the fol- lowing years he was associated with mo- tion pictures and the stage and also sold films to English exhibitors and English pictures to U. S. theatremen, before join- ing Warner Bros. Dan B. Miner LOS ANGELES : Private funeral services were held Tuesday at Forest Lawn for Dan B. Miner, 74, who died November 10 of a heart ailment. He founded Los An- geles’ oldest advertising agency, which bears his name, was director of the Los Angeles Chamber of Commerce. He was a widely recognized historical authority. Victor Young HOLLYWOOD: Victor Young, 56, famed composer of innumerable musical scores for motion pictures, died here November 11 of a heart condition. He wrote the score for “Around the World in 80 Days.” His scores included “For Whom the Bell Tolls” (1943); “The Big Clock” (1945); “Golden Earrings” (1947) and “The Star” (1952). William D. Farrell YAKIMA, WASH.: William Downing Far- rell, 67, operator of theatres here died November 13 following a heart attack. A native of Ellensburg, Wash., he also operated theatres in Sunnyside, Wash. Robert W. Lea Robert W. Lea, vice-president and spe- cial consultant of Olin Mathieson Chemi- cal Corp. and a member of the boards of directors of Universal Pictures Company and Decca Records, died suddenly at his home in New York November 12. Famous Players Dividend TORONTO: Famous Players Canadian Corporation Ltd., has declared a dividend of 37 Ms cents on the common stock for the quarter ending December 31, 1956, pay- able Dec. 13 to shareholders of Nov. 22. 38 MOTION PICTURE HERALD, NOVEMBER 17, 1956 FILM BUYERS RATING Film buyers of independent circuits in the U. S. rate current product on the basis of its performance in their theatres. This report covers 144 attractions, 4,240 play dates. Titles run alphabetically. Numerals refer to the number of engagements on each attraction reported. The tabulation is cumulative. Dagger (f) denotes attractions published for the first time. Asterisk (*) indicates attractions which are listed for the last time. EX means Excellent; AA — Above Average; AV — Average: BA — Below Average PR — Poor. ‘Alexander the Great (U.A.) Ambassador’s Daughter, The (U.A.) Animal World, The (W.B.) ‘Anything Goes (Par.) Attack (U.A.) Autumn Leaves (Col.) Away All Boats (U-l) Back from Eternity (RKO) *Backlash (U-l) Bad Seed, The (W.B.) Bandido (U.A.) Between Heaven and Hell (Fox) Beyond a Reasonable Doubt (RKO) Bhowani Junction (MGM) Bigger Than Life (Fox) Birds and the Bees (Par.) . ‘Blackjack Ketchum Desperado (Col.) ‘Bold and the Brave (RKO) Burning Hills, The (W.B.) Bus Stop (Fox) Catered Affair, The (MGM) Cockleshell Heroes (Col.) ‘Comanche (U.A.) ‘Come Next Spring (Rep.) ‘Come On, The (A. A.) Congo Crossing (U-l) ‘Conqueror, The ‘Court Jester, The (Par.) ‘Crashing Las Vegas (A. A.) ‘Creature Walks Among Us (U-l) Creeping Unknown, The (U.A.) ‘Crime Against Joe (U.A.) Crime In the Streets (A. A.) D-Day the Sixth of June ( 20th- Fox ) Dakota Incident (Rep.) Davy Crockett and the River Pirates (B.V.) Day of Fury ( U-l ) Earth vs. Flying Saucers (Col.) Eddy Duchin Story The (Col.) Fastest Gun Alive (MGM) First Texan, The (A. A.) First Traveling Saleslady (RKO) ‘Forbidden Planet (MGM) Foreign Intrigue (U.A.) Francis in the Haunted House (U-l) Gaby (MGM) Girls in Prison (A.I.P.) ‘Godzilla, King of the Monsters (Trans.) Goodbye, My Lady (W.B.) Great Day in the Morninq (RKO) Great Locomotive Chase, The (B.V.) Guys and Dolls (MGM) ‘Harder They Fall, The (Col.) High Society (MGM) ‘Hilda Crane (20th-Fox) Hold Back the Night (A. A.) ‘Hot Blood (Col) Hot Rod Girl (A.I.P.) I'll Cry Tomorrow (MGM) Johnny Concho (U.A.) Jubal (Col.) EX AA AV BA PR 2 — 13 12 1 1 — 7 10 9 10 — 5 8 18 3 3 3 A 4 7 16 16 7 3 10 1 1 4 25 27 21 6 2 — 1 2 4 — 18 4 23 7 12 10 4 — 3 — — 1 1 3 5 1 4 4 — — — — 1 7 3 1 8 6 15 6 — — 1 5 12 2 13 19 5 14 — 3 1 2 5 1 3 16 16 2 — 5 24 14 18 42 16 14 4 — — 3 12 10 12 — 1 10 8 — — 1 8 15 21 — 2 6 27 1 6 A 1 14 1 7 7 17 13 14 15 12 — 10 9 13 10 I 3 1 1 — 1 5 5 4 3 1 1 — 5 6 1 1 8 1 — 9 31 3 3 — 1 5 5 2 — — 3 9 13 — — 5 II 5 — 17 9 3 1 2 32 30 5 2 4 26 25 4 1 — 2 6 1 12 C 5 1 1 18 1 15 D 4 1 6 — 1 5 2 3 — 12 21 5 2 — 1 13 17 6 — 10 2 1 — — 4 3 5 2 — 4 1 1 1 1 8 — 1 9 7 3 — 14 16 14 9 20 12 10 6 10 — 5 4 29 25 17 12 5 1 — — — 9 9 9 — — 3 1 3 — 5 16 15 7 — 13 3 1 14 1 1 39 1 1 1 1 1 4 4 22 3 1 25 3 34 2 ‘Kettles in the Ozarks (U-l) King and I, The ( 20th- Fox ) Kiss Before Dying, A (U.A.) Last Wagon, The ( 20th- Fox ) Leather Saint (Par.) Lisbon (Rep.) Magnificent Roughnecks (A. A.) Man in the Gray Flannel Suit ( 20th- Fox ) Man Who Knew Too Much (Par.) ‘Massacre (Fox) ‘Maverick Queen, The (Rep.) ‘Meet Me in Las Vegas (MGM) ‘Miami Expose (Col.) ‘Miracle in the Rain (W.B.) Moby Dick (W.B.) ‘Mohawk (Fox) ‘Naked Hills (A. A.) ‘Navy Wife (A. A.) ‘Never Say Goodbye (U-l) ‘On the Threshold of Space (Fox) ‘Our Miss Brooks (W.B.) fOver-Exposed (Col.) Pardners (Par.) ‘Patterns (U.A.) Pillars of the Sky (U-l) Price of Fear ( U-l ) Proud and Profane, The (Par.) Proud Ones, The (Fox) Quincannon, Frontier Scout (U.A.) Raw Edge (U-l) Rawhide Years, The (U-l) ‘Red Sundown (U-l) Rebel in Town (U.A.) Reprisal (Col.) ‘Revolt of Mamie Stover (Fox) (Rififi (UMPO) Rock Around the Clock (Col.) Run for the Sun (U.A.) Safari (Col.) Santiago (W.B.) Satellite in the Sky ‘Scarlet Hour (Par.) Screaming Eagles (A. A.) (Search for Bridey Murphy (Par.) Searchers, The (W.B.) (Secret of Treasure Mountain (Col.) ‘Serenade (W.B.) Seven Men From Now (W.B.) (Showdown at Abilene (U-l) Solid Gold Cadillac, The (Col.) Somebody Up There Likes Me (MGM) Star of India (U.A.) Star in the Dust (U-l) Storm Over the Nile (Col.) ‘Stranger at My Door (Rep.) ‘Swan, The (MGM) Tea and Sympathy (MGM) That Certain Feeling (Par.) These Wilder Years (MGM) ‘Timetable (U.A.) (Toward the Unknown (W.B.) Toy Tiger ( U-l ) Trapeze (U.A.) ‘Tribute to a Bad Man (MGM) 23 Paces to Baker Street (Fox) (Unguarded Moment (U-l) ‘Uranium Boom (Col.) Vagabond King (Par.) . Walk the Proud Land (U-l) Werewolf, The (Col.) While the City Sleeps (RKO) ‘World in My Corner (U-l) ‘World Without End (A. A.) EX AA AV BA PR 2 18 13 16 3 30 20 20 16 3 — 1 3 2 — 9 18 2 — — 3 3 5 5 — 2 — 30 5 22 29 6 14 8 1 8 2 17 25 8 2 — 1 2 1 4 — 4 4 1 1 3 6 9 23 17 9 16 A 6 10 L 22 26 7 21 17 II 4 — 5 9 6 2 — 1 I — 2 2 — 1 12 27 1 23 3 16 9 7 13 16 — 4 9 1 1 I 13 7 28 12 3 12 3 7 — 2 1 1 II 1 22 17 1 8 4 — 27 20 15 10 — 2 2 6 2 1 5 3 1 — 5 22 8 7 — 1 1 9 9 5 — 3 1 1 7 2 1 — — 1 1 1 16 22 3 26 1 10 1 22 14 1 1 — 4 7 3 3 6 19 14 6 — 2 22 10 12 — — 3 1 4 7 — 2 6 7 / 3 C 6 22 . I 18 3 L 0 1 1 4 O 8 18 — 9 17 3 1 — — 15 1 1 — — 3 4 1 2 3 20 25 2 — — 1 13 — — 1 7 16 — — — 2 5 4 — 2 2 6 3 3 12 17 14 7 8 2 2 — II 14 25 17 — 3 4 8 3 2 4 1 1 12 3 22 3 12 2 9 30 35 3 — — 2 13 14 15 1 3 13 II 20 — 1 3 4 4 5 — — 4 3 6 — 8 20 9 — 1 1 5 1 — — 1 8 19 6 — — 5 15 29 1 — 7 3 2 TRAILER MADE EVERY THIRD CUSTOMER! V. TRAILER COST?... AVERAGING LESS THAN THE PRICE OF ONE ADMISSION TICKET DAILY! Survey after survey by independent, reliable sources proves con- clusively that trailers SEW UP ONE-THIRD of the motion picture audi- ence . . . and it COSTS BUTTONS when compared to other expenses and what they achieve. WOMAN’S HOME COMPANION Survey showed 31 per cent went to the movies because of TRAILERS! nmionfu S?Ciee/l service PHIZf BP BY Of THf WO US THY SINDLINGER Survey showed 34.2 per cent went to the movies because of TRAILERS! NATIONAL THEATRES CIRCUIT IN 21 STATES Survey showed 43 per cent went to the movies because of TRAILERS! 'Ttaileti — £ ' hour men *5 £ocko ^aleimen / MfMXM mm i EXHIBITOR Today and Tomorrow" —An Address by Martin Quigley, Jr., before the MPTA of Ontario ALLIED MEETS IN DALLAS HEVIEWS {Pro : THE GREAT MAN,, RUNNING TARGET. THE GREAT AMERICAN PASTIME. ROCK PRETTY BABY. RUMBLE ON THE DOCKS. THE PEACEMAKER. THE MAN IS ARMED. PAPA MAMA THE MAID AND I. THE DOCTORS Entered as second-class matter January 12, 1931 at the Post Office, Veto York City. V. S. .1. . under the ac lished weekly by Quigley Publishing Co.. Inc., 1270 Sir tit Arcnue. RockcicUcr Center, New York 20, ,V. Y. a year in the Americas, $10.00 a year Foreign. Single ropy, 25 cents. All contents copyrighted l'»5r. v v Subscription prices: S5.00 Publishing Company. Inc. "Beautiful Geisha girl born to make man happy" says the rascal Sakini. Captain Fisby is "being made happy" by Lotus Blossom as he telephones his irate Colonel to report that all is under control in the Okinawan village he has come to supervise. ( Left to right: Machiko Kyo, Glenn Ford , Marlon Brando) I THIS SCENE MADE STONE- FACE ED SULLIVAN ROAR WITH -Z> LAUGHTER! So he’s made the trailer to tell the world about M-G-M’s "THE TEAHOUSE ft OF THE AUGUST MOON”! M-G-M proudly c/m \6$> ^%0 TM CINEMASCOPE and METROCOLOR a w - •Starring ^/FALBEff 7.^^ FOP-P NEG^V ^UKO SAWA**0 * 7?4 40^ ;%srW Screen Play by JOHN PATRICK Based on a Book by VERN J. SNEIDER and the Play by JOHN PATRICK Directed by DANIEL MANN Produced by JACK CUMMINGS TWO BIG TRAILERS SELL M G M’s TEAHOUSE IN ADVANCE! 5-MINUTE EXPLOITATION FILM 1. "OPERATION TEAHOUSE” The intimate story of how the famed Pulitzer Prize play was filmed. A special camera crew was sent to Japan to make candid-camera footage of the beautiful native backgrounds, with appealing inside shots of the stars, director, producer and hundreds of villagers. It’s a sure-fire ticket-seller. Run it as far in advance as possible prior to the regular trailer. SPECIAL REGULAR TRAILER 2. "ED SULLIVAN LAUGHS” This specially narrated trailer is one of the cleverest you’ve ever put on your screen. Ed Sullivan capitalizes on his "stone-face” reputation in a hilarious selling job for this great entertainment. (Available in Magnetic Stereophonic, Perspecta Stereophonic or 1-Channel Sound) Next Week Warner Bros, flood THE BOARDS WITH THE MOST SPECTACULAR FULL-MONTH TEASER 24-SHEET POSTING IN ITS SHOWMANSHIP HISTORY ! /Jv'f/S'' 1111 — PACKING THE PARAMOUNT! TAKE A TIP FROM 20th! More of the same is coming! JAYNE MANSFIELD for Christmas! Tne Girl Can t Help It COLOR by DE LUXE Cl N EMaScOPE starring Tom Jayne Edmond EWELL • MANSFIELD • O’BRIEN OPENING DAY... 7:32 A. M. 20th Century-Fox presents LOVE ME TENDER CinemaScopE starring Richard EGAN • Debra PAGET introducing Elvis PRESLEY co-starring ROBERT MIDDLETON • WILLIAM CAMPBELL • NEVILLE BRAND MOTION PICTURE HERALD /MART IS QUIGLEY , Edilor-in-Chie f and Publisher Vol. 205, No. 8 MARTIN QUIGLEY, JR., Editor November 24, 1956 North of the Border THOSE concerned with improving trade relations within the motion picture business in this country need look no further than to Canada for a splendid example. Our good neighbors to the North are currently demonstrating that even in this period of acute problems exhibitors and distributors can keep their dealings with each other on a friendly and business-like basis. The bitterness and sharp words that so often have char- acterized disputes in the trade in the United States seems wholly absent in Canada. Instead of each side blaming the other for current conditions, for the past year a joint committee has been handling exhibitor grievances. In the period only one dispute between an exhibitor and a dis- tributor required attention cf the joint committee. That dispute was promptly adjusted to the satisfaction of the parties concerned. The relatively smooth course of trade relations in Can- ada shows that even the existence of properly organized machinery for handling disputes tends to make it possible for the parties to come to terms by themselves. A good grievance machinery, patterned perhaps on the Canadian model, is urgently needed in the film industry in the United States. ■ a ■ Slices of the Melon SINCE it is Thanksgiving week, perhaps reference to “slices of turkey,” rather than “slices of melon” should be made in connection with the imminent sale of a number of post-1948 features to television. The problem that has often blocked such sales in the past is not a reluctance on the part of the producer-dis- tributor to have competition to his current theatrical at- tractions. Rather it is a matter of satisfying all the groups which want additional payments when TV sales are con- cluded. The 1948 date came into being as a result of negotia- tions of the American Federation of Musicians. Earlier films were cleared for television when it was agreed that the musicians union would share in the proceeds. At the present time many union and professional groups whose members participate in film making want addi- tional payments on TV sales. The Screen Actors Guild for example is considering recommending to its member- ship that negotiations in each instance be for two con- tracts— one covering theatrical presentation and the other television. Actors who appear in films especially made for television already have won additional payments for “re- runs,” i.e., the use of the same film repeatedly in the same TV area. Screen writers are also interested in extra payments. Of even greater potential economic import is the stand of the IATSE. In one way or another it will seek addi- tional compensation for its members out of television re- ceipts when the next basic agreement is negotiated. The conclusion which is inescapable is that the feature producer and studio executive must enter all negotiations with a keen appreciation of the factors involved. Certainly steps must be taken to insure that costs do not rise to the point that feature picture making is seriously handicapped. The indirect and deferred costs need to be watched just as much as the direct and immediate ones. Dietz on Advertising HOWARD DIETZ, vice-president of Loew’s, Inc., in charge of advertising and publicity, has made a reply to some recent criticism of motion pic- ture advertising in a letter to the magazine of the Screen Producers Guild. Mr. Dietz made some important points which are often overlooked by critics within and without the industry: “Motion picture advertising will not be improved by side-line experts. . . . Nowhere did I read a comment on the fundamental approaches to a campaign. A campaign must stem directly from the character of the picture. Some pictures flourish with mere ballyhoo, others exposition.” Film advertising, as Mr. Dietz noted, must be built around a fundamental approach to each attraction. Con- structive criticism of advertising is always welcome. But criticism for criticism’s sake is not. It never should be forgotten that selling a motion picture differs from all other selling. The records achieved by the film advertis- ing departments, despite the difficulties involved in sell- ing something as intangible as entertainment, may be compared favorably with these of any other industry. ■ ■ ■ THOUGHT of the Week — Now that two more highly re- garded newspapers, the Louisville Courier- Journal and the Louisville Times, have issued statements announcing that they have banned “misleading and untrue” motion picture advertising it is time for action lest a few cam- paigns make a spectacle of the whole industry. Those re- sponsible for advertising standards in the industry ought by now to realize that all is not well. Ill QUOTABLE QUOTE: “I still wouldn’t trade my business for anybody else’s in this town — satisfaction-wise, that is.” — Charles L. Jones, ISorthwood theatre, Northrvood, Iowa. — Martin Quigley, Jr. Enthusiasm To the Editor: Both A1 Lichtman and Jerry Wald in Motion Picture Herald of November 10 agree that our real danger is not television in the sense we feel, but our lack of enthu- siasm. You can see it in the trade papers, in the pressbooks and in the theatres, and, of course, its roots stretch deep into the studios because too many of the pictures are uninspired, acting, story-wise and pro- duction-wise. From the studio to the home office, to the theatres, the effort is “to save the penny” (not the dollar as it used to be). This is resulting in many long faces and surely will help sink us down to the level of television entertainment. We get duly enthused over “The Ten Commandments,” “Giant,” “Around the World in 80 Days” and actually keep ex- pecting a steady flow of pictures like “Tea- house of the August Moon,” “Friendly Persuasion,” “Written on the Wind” yet in all reality how can there be. If there were, even those would pale by compari- son, to one another. We must make people enthusiastic about going out to the movies to our theatres, and not sit back as we are doing, till the next big picture bursts forth. Robert Tap- linger of Warners (again Motion Picture Herald of November 10) plans to re-do the pressbook which is now nothing but an illustration of one ad approach in vary- ing sizes (either too big or too small) and repeating one style only. This, of course, is long overdue. The first aim of a pressbook is to create enthusiasm. Name three this year you could place in any dentists’ office, beauty parlor, high school cafeteria, Kiwanis luncheon, women’s club, union meeting, card party, church social, Boy Scout gath- ering, and come up with 50 per cent en- thusiastic would-be patrons even after looking at page after page of big ads. Sure, you’d get a group here and another there, but our theatres are mighty big to fill with one-slant sex ads they’re making these days. Again, in The Herald this week, Walter Brooks mentions “Teenage Rebel” as real- ly a family picture and not as the press- book says, for those over 16, and about juvenile delinquents. So it goes, and our films keep running to an ever dwindling audience — except we’ve got millions of people who surely must get tired of that little old box every night, and would welcome a change, for example a chance to really see Florida, not like television shows it, but in Cine- mascope and color and perhaps with Ed- die and Debbie and their new baby, just as the average married couple never has another chance when the family begins a “Honeymoon for Three” (there’s a hot idea for RKO), as a followup to “Bundle of Joy.” So, let’s start making enthusiastic pic- tures— pictures that entertain. Remember how often lately have we heard said of a picture, the acting was terrific, bound to win an award, but it’s awful depressing (or brutal, or dirty). And did anyone in the film industry see the ad Hallmark Greeting Cards had in Life a few issues ago? The young draftee sitting on his bunk in his barracks looking at a “miss- ing you” card from home. One picture is worth a thousand words! Why aren’t our ads this effective? — JOHN P. LOWE, Man- ager, Garden Theatre, Greenfield, Mass. • Shorts' Value To Walter Brooks: It was a great lift to me to read your an- nual articles on short subjects. I say your annual articles, because that is about as often as short subjects get an unusual amount of recognition. Your editorial this year on “Disjointed Progrems and the Short Subjects,” in The Herald of Octo- ber 27 is perhaps the best of many, many good ones you have written. It is authori- tative and manifests the knowledge of the short subject business, some of which you learned at Educational. I have, of course, only one very slight criticism, and that is that you forgot the two-reel comedies, the grandpappy of all motion pictures. Here at Columbia we are still making those good belly-laugh films that theatre patrons have enjoyed for so many years. As you stated, unfortu- nately the exhibitor does not take full ad- vantage of these films despite the fact that the public, according to the best evidence, loves them. Only two weeks ago I previewed two of my latest There Stooges comedies, and believe me, they brought the house down. As a matter of fact, I believe that in my 30 years of comedy making I have never had better comedies than those we are turning out now. I know that you are rendering a good service to the exhibitor in telling him about the short subjects, which he seems to take for granted at times. I know that if theatres would book and advertise shorts as “Added Attractions” they would glean extra dollars at the box office. Laughter denotes pleasure, and what greater service can you render to the public than to give them laugh packed films. All shorts need is a good “selling” job. — JULES WHITE, Columbia Pictures Corp., Hollywood, Calif. MOTION PICTURE HERALD November 24, 1956 CANADIAN industry has a busy week of meetings 12 RKO to offer 14 films for release in six months 12 "THE EXHIBITOR today and tomor- row"— address by Martin Quigley Jr. in Toronto. 13 B & K and majors win jury verdict in Chicago trust suit 16 ALLIED States convention opens in Dallas Tuesday 17 MPEA reports U. S. billings rise in South America 17 BISHOPS find decrease in number of objectionable films 20 UNITED ARTISTS convention brings field men to New York 20 STAR TOURS and TV will sell Rank films in United States 22 BRITISH film group denies discrimina- tion charges 22 PARAMOUNT gears new product for color and excitement 24 SERVICE DEPARTMENTS Film Buyers' Rating 3rd Cover Hollywood Scene 25 Managers' Round Table 37 The Winners' Circle 32 National Spotlight 33 IN PRODUCT DIGEST SECTION Showmen's Reviews 161 Short Subjects 163 The Release Chart 164 MOTION PICTURE HERALD, Martin Quigley, Editor-in-Chief and Publisher; Martin Quigley, Jr., Editor; Charles S. Aaronson, Managing Editor; Floyd E. Stone, Photo Editor; Vincent Canby, News Editor; Ray Gallagher, Advertising Manager; Gus H. Fausel, Production Manager. Bureaus: Hollywood, Samuel D. Berns, Manager; William R. Weaver, Editor, Yucca-Vine Build- ing, Telephone HOIlywood 7-2145; Washington, J. A. Otten, National Press Club; London, Hope Williams Burnup, Manager; Peter Burnup, Editor; William Pay, News Editor, 4 Bear St., Leicester Sq. Correspondents in principal capitals of the world. Member Audit Bureau of Circulation. Motion Picture Herald is published every Saturday by Quigley Publishing Company, Inc., Rockefeller Center, New York City 20. Telephone Circle 7-3100; Cable •ddress: "Quigpubco, New York”, Martin Quigley, Presi- dent; Martin Quigley, Jr., Vice-President; Theo. J. Sullivan, Vice-President and Treasurer; Leo J. Brady, Secretary. Other Quigley Publications: Better Theatres and Better Refreshment Merchandising, each published thirteen times a year as a section of Motion Picture Herald; Motion Picture Daily, Television Today, Motion Picture Almanac, Television Almanac, Fame. 8 MOTION PICTURE HERALD, NOVEMBER 24, 1956 WHEN and WHERE On the onzon LOEWS BOARD MEET At the regular monthly meeting of the Loew's board in New York Wednesday, Richard M. Crooks, a partner in the stock exchange firm of Thompson & McKinnon, was elected a director. At the same time, the directors declared a quarterly dividend of 25 cents per share, payable December 24 to stock of record December 6. The treasurer reported that es- timated earnings for the year ended August 31, 1956, were ap- proximately 90 cents, compared with $1.03 for the prior year, and that earnings for the first quarter, ended November 22, of the new fiscal year will be about 30 cents, against five cents for the similar period last year. For the official rec- ord, no other action was taken by the board. ASSIGN NEW JUDGE New York Federal District Court Judge Edward L. Palmieri has been assigned to preside over all future motion picture industry cases involving the industry consent decrees. The announcement was made at the hearing this week in Judge Pal- mieri's court pertaining to an application by Stanley Warner Theatres to purchase the Majes- tic theatre. Providence, R. I., from the Comerf ord Theatre Cir- cuit. Judge Palmieri signed an affidavit to the effect that the government has no opposi- tion to the purchase, and said that it would be filed this week with the anti-trust division of the Justice Department. FREE FILMS TO REFUGEES The 10 major motion picture distribution companies have agreed to provide free films at Camp Kilmer, N.J. where some 5,000 Hungarian refugees are being housed. The request for the service was made by Eric Johnston, president of the MPAA. Through the facilities of the Army and Air Force Motion Picture Service, all current films playing the circuits will be made available for the en- tertainment of the refugees. PLAN STATUS REPORT The business building coor- dination committee of the Mo- tion Picture Association of America is attempting to set up a meeting with the Council of Motion Picture Organizations and top exhibition leaders to present a "status report" on the MPAA's six-point program designed to boost the box of- fice, it was reported this week. ATTENDANCE RISE Business in the film houses of the nation is showing fine im- provement and will continue to show an improvement if the pro- ducers continue to slant a good part of their product to the younger element of the popula- tion, according to Leonard H. Goldenson, president of Ameri- can Broadcasting - Paramount Theatres, Inc., who has long urged "new faces" for inclu- sion in films. "GIANT" TOP GROSSER With approximately 30 new openings this past week and its tremendous sustaining power in all of its holdover engage- ments, George Stevens' "Giant" has established itself as War- ner Bros. ' top grosser of all time, out-distancing all pre- vious Warner releases, the com- pany announces. Second week holdovers on "Giant" every- SEARS DIES AT 59 Gradwell L. Sears, 59, former president of United Artists, died Thanksgiving Day at his home in New Rochelle, N.Y. of lung cancer. He retired from United Artists and other industry participations in 1950 after a long career which started im- mediately following World War I, in which he saw service. He worked for World Film Co., then with Republic Distributing Corp. and the Selznick Company. In 1920 he joined First National Pic- tures, went to Warner Bros, and rose to head the Warner sales organization. He became United Artists head in 1946. He is survived by his widow, a son, a daughter, his mother, a half-brother and six grandchildren. November 25-27: 44th annual convention of the Theatre Owners of North and South Carolina, Hotel Charlotte, Char- lotte, N.C. November 27-29: Allied States Association, Fall board meeting and annual conven- tion, to be held at Statler Hotel, Dallas, Texas. November 30: Eighteenth annual dinner of the Motion Picture Pioneers honoring Robert J. O'Donnell as Pioneer of the Year, Waldorf-Astoria Hotel, New York City. December 17: Annual Christmas party .of the Des Moines Variety Club, Jewish Community Center, Des Moines, la. December 22: Film Row Club s annual Christmas dance, Ambassador Hotel, Los Angeles. January 29-31: Allied States Association, national drive-in convention, Nether- lands-Plaza Hotel, Cincinnati, Ohio. February 1-2: Allied States Association, annual winter board meeting, Terrace Plaza Hotel, Cincinnati. Febuary 26-27: Annual convention of the Kansas-Missouri Theatre Association, Pickwick Hotel, Kansas City, Mo. March 3-5: Theatre Owners of America, mid-winter board meeting, Blackstone, Hotel, Chicago. March 6-7: Second annual convention of the United Theatre Owners of Oklahoma, Biltmore Hotel, Oklahoma City. where are equaling or closely matching the big opening weeks. In addition, the film is main- taining strong returns in such longer holdover engagements as New York, Chicago, Los Angeles, Cleveland, Miami, Pittsburgh, New Orleans, Boston, Washing- ton, San Francisco and St. Louis-where it has been running anywhere from three to six weeks . TIFFANY-STYLE The next bright star to pop up over the bounding horizon-what with these big pictures-could turn out to be (with profitable results) the bidding of a tardy farewell to the department store type of advertising copy in favor of the Tiffany variety. A multi-carat personality will warrant multi-carat coverage. M MOTION PICTURE HERALD, NOVEMBER 24, 1956 9 Herald picture NEW COMPANIES made news last week in New York. Above, Kenneth Hargeaves, president of Rank Film Dis- tributors of America, introduces himself and representa- tive Leslie Roberts and tells how his company will en- deavor to "break down exhibitor resistance". It probably will have six offices, 18 pictures, a New York theatre (the Sutton), and its own publicity chief (Geoffrey Martin). Right, above, announcing Am-Par Pictures: Irving H. Levin, president; and Sidney Markley, film production vice- president of American Broadcasting-Paramount Theatres, its owner. Right, Budd Schulberg, president of Schulberg Produc- tions, with his brother Stuart, vice-president. The company's pictures will portray the American scene truthfully, realis- tically, and probably mostly through Mr. Schulberg's stories. Herald picture wee in p~ ictared MAKING PICTURES in New York may be a bit more trouble but it's worth it in terms of production realism and extra value and sur- prisingly the cost is no greater, producer Wil- liam Berke told news writers there over cock- tails last week. He has completed "Four Boys and a Gun" and "Street of Sinners" for United Artists. A tele- vision man lately (110 plays) he is a booster for the picture of mod- est length. Herald picture THIS IS THE CREW FOR '57-Variety Tent 17, Dallas. Seated are Charles Weisenberg, second assistant; W. L. Marshall, property master; Edwin Tobolowsky, chief barker; Don C. Douglas, first assistant; M. J. Rachof- sky, dough guy. Standing, Duke Clark, Jack Underwood, Clyde Rem- bert (1956 chief barker), Jake Elder, John K. Hicks, Ben Gold, Ed Gall, ad- visory directors. Two other crewmen not available for the picture are Alex Keese and Paul Short. ON A SILVER PLAT- TER, naturally, at New York's class house, the Plaza, where MGM's "Lust for Life" was in its eighth week, one chilly evening mana- ger William Evans served coffee to his customer friends in queue. SEND-OFF to some Olympic stars, at the Warner studio. Susan Hayward and Kirk Douglas pose on the set of "Top Secret Af- fair" with Andy Stanfield, Thane Baker, Ted Wheller, Greg Bell and Gordon McKensie. The athletes were studio guests en route to the Olympics in Australia. TESTIMONY, above, at the Washington exchange, for Columbia's "Hey Rube!" drive. Branch manager Ben Caplon with exhibitor Harold Wood, division manager Sam Galanty, and exhibitors Sam Bendheim, Samuel Northington, Frank Stover, and Dave Kamsky. "LOVE ME TENDER" 's opening at the Paramount New York drew, among thousands, 20th- Fox's ad chief Charles Einfeld, United Paramount vice-presi- dent Edward Hyman, and Jack Bloom of 20th-Fox. SIGNING, in a Tokyo tea house of course, for MGM's "The Teahouse of the August Moon". In array, regional di- rector Seymour Mayer, producer Jack Cummings, Toho Company vice-presi- dent Kumaichi Teramoto, and Daiei president Masaichi Nagata. Canada Industry Has A Very Busy Week RKO to Offer 14 for Release In 6 Months . . . Three annual conventions in Toronto climaxed Thursday by an- nual Canadian Pioneer Award pres- entation to Oscar Hanson TORONTO: Four important meetings at the King Edward Hotel highlighted a busy week for the motion picture industry here, starting Monday with the annual convention of the Motion Picture Theatres Association of Ontario. The chief feature Tuesday was the annual convention of the National Committee of the Motion Picture Exhibitor Associations. On Wednesday the Motion Picture Industry Council of Canada held its yearly meeting. The events were capped on Thursday by the annual dinner of the Canadian Motion Picture Pioneers. Presents Award to McKim Speaker at the MPTA convention Monday was Martin Quigley, Jr., editor of The Herald. His subject was “The Exhibitor — Today and Tomorrow.” Mr. Quigley also presented the Quigley Award Plaque for 1956 to theatre manager John McKim. President of the association is Lionel Lester. Mr. McKim won the award for small situations for his showmanship at the Odeon theatre, Ladysmith, British Colum- bia. He has since been promoted to the Odeon circuit home office in Toronto. At the annual dinner and dance of the pioneers Thursday, the “Pioneer of the Year” award was presented to Oscar R. Hanson, the only living member of the three founders of the group. Mr. Hanson founded the Canadian Pioneers in 1940 with Ray Lewis, late editor of the Cana- dian Moving Picture Digest, and Clair Hague, then manager of Universal Films. Additionally, Tuesday, the Toronto Vari- ety Club met and the Canadian Council of Christians and Jews held its annual banquet. At the meeting on Monday, the incum- bent board of directors was reelected. President Lionel Lester told of a letter sent to the Fowler Commission opposing pay-as-you-see television. Reports on Membership Russ Simpson, reporting for the mem- bership committee, said that while there had been 31 new members, four of them drive-ins, the association had lost 24 mem- berships. There are a total of 346 paid- up members in the association. Jack Clarke, on finances, said there will have to be something done about increas- THE WINNER and his silver plaque, John McKim, left, with Martin Quigley, Jr., at the MPTA of Ontario convention. ing the membership fees since the associa- tion has operated at a loss for three years. Mr. Lester said that discussions are go- ing on with the major bus companies to- ward the eventual elimination of railroad express for the shipment of films. The question of the cost of press books and mats charged for by Canadian film dis- tributors, brought up by Jack Weiser, Osh- awa, was taken to the national committee of the Canadian Exhibitor Association. Group Optimistic Optimism pervaded the annual meeting of the national committee of the Canadian Exhibitors Association Tuesday. Morris Stein was reelected chairman of the meet- ing, which was noteworthy for its spirit of harmony and absence cf 'contention. “We’ve reached the bottom of business,” said Owen Bird, Ladner, N. C., exhibitor, “There is no direction for us to go now, other than up.” Mr. Bird also operates the West Coast Booking Association. Provin- cial governments across Canada will be approached by the exhibitor associations on the question of the amusement tax, it was announced. F. G. Spencer was elected eastern vice-president while Duane Mac- Kenzie was named western vice-president. Secretary-treasurer is Dick Main. Arch Jolley continues as executive secretary of the organization. Student Admissions Set ATLANTIC CITY: A 50-cent student ad- mission ticket to the Hamid and Apollo film theatres will be available, the At- lantic City High School Parent-Teacher Association was told at its first meeting of the school year. The program will be in- augurated at Thanksgiving. HOLLYWOOD: Fourteen productions, representing a total expenditure of $33,- 000,000, will be released by RKO Radio Pictures during the first six months of 1957, it was announced this week by Wal- ter Branson, vice-president in charge of worldwide distribution, following confer- ences with Daniel T. O’Shea, president, and William Dozier, vice-president in charge of production. Spearheaded by the aviation film, “Jet Pilot,” starring John Wayne, the group lineup runs the full entertainment gamut, including spectacle, historical drama, ad- venture, romance, comedy, melodrama, science fiction and themes appealing to youth. The films include: “Public Pigeon Number One,” starring Red Skelton and Vivian Blaine, set for January 9 release; “The Young Stranger,” with James Mac- Arthur, January 16; “I Married a Wo- man,” starring George Gobel, Diana Dors and Adolphe Menjou, January 30; “That Night,” Galahad Production starring John Beal, Augusta Dabney and Shepperd Strudwick, February 6; “Jet Pilot,” with John Wayne and Janet Leigh, February 20; “Run of the Arrow,” with Rod Steiger and Ralph Meeker, February 27; two sci- ence fiction films, “The Cyclops,” starring James Craig, and “X the Unknown,” both March 13. Also set for 1957 exhibition are “The Day They Gave Babies Away,” starring Glynis Johns and Cameron Mitchell, March 27; “Tarzan and the Lost Safari,” Sol Lesser Production starring Gordon Scott, April 3; “The Lady and the Prowl- er,” a John Farrow Production starring Diana Dors, Rod Steiger and Tom Tryon, April 17: “The Girl Most Likely,” starring Jane Powell and Cliff Robertson, May 22; “The Violators,” Galahad Production star- ring Arthur O’Connell, June 12; “Esca- pade in Japan,” starring Teresa Wright and Cameron Mitchell, July 3. RKO will release four more pictures during 1956, including “Bundle of Joy,” starring Eddie Fisher and Debbie Rey- nolds; “The Silken Affair” starring David Niven and Genevieve Page; “Man in the Vault,” starring William Campbell and Anita Ekberg, and “Guilty.” Remodel Ohio Theatre CANTON, OHIO: Henry Hellriegel, Cleve- land theatre contractor, is remodeling the Valentine theatre here for the building owner, Larry Heller, who plans to open and operate the theatre himself. The house, formerly leased to Joe Calla, has been closed recently. 12 MOTION PICTURE HERALD, NOVEMBER 24, 1956 THE EXHIBITOR T oday and T omorrow Highlights of an address at the 1956 annual convention of the Motion Picture Theatres Association of Ontario in Toronto, November 19th by MARTIN QUIGLEY, JR. Editor of MOTION PICTURE HERALD RIGHT at the beginning I want to make it clear that I am an optimist . — a realistic optimist — in connec- tion with the topic I have chosen. The exhibitor is fundamentally a mer- chandiser of theatrical entertainment. Therefore, in any consideration of his position it is well to look first at the prod- uct he has to offer. Many commentators are led into error about the future pros- pects of the motion picture exhibitor by failing to start their consideration at the beginning. That is, by looking at the prod- uct that is now available and is likely to be forthcoming. The product available today is as good or better than ever before. This doesn’t mean that there is more product but it does mean that of the product that is available, more ranks in the first-class than ever in the past. In recent weeks there have come to the theatrical market such attractions as “War and Peace,” “Giant,” “Around the World in 80 Days,” “The Ten Commandments.” In the recent past — “The Seven Wonders of the World” and perhaps the best musical “The King and I” and a variety of other important at- tractions. Those that I have named will gross worldwide more than any equal number of pictures that can be named in the entire fifty years of the feature film. Certainly no industry that is producing that kind of product is dead or dying. Outlook Promising The outlook for quality product in the future is certainly as promising. The studios in Hollywood realize that pictures have to be better to compete successfully for the public’s time. Studios in Britain, on the Continent and even in other parts of the world are learning more and more how to make films that will appeal in the international market. The production of pictures has gone through a tremendous evolution. In times past a small number of great studios with numbers of stars under contract dominated production. Today most all of that is past. For the most part pictures are being made independently. Most of them are being made wholly with studio financing but the creative artist, the producer and director, enjoy a greater measure of au- tonomy than ever before and have a greater stake in the financial success of the picture. Let it be assumed, therefore, that the motion picture exhibitor of tomorrow will have good product to show. The next point to consider is the place in which this product is to be exhibited. The exhibition plant worldwide, objec- tively speaking, has not kept up with the times. There are, of course, many excep- tions. Some theatres are good. Some are bad and many fall in various in-between categories. It is axiomatic that the good product should be shown in the best possible cir- cumstances. All of us know that a considerable num- ber of theatres in operation today are over-age by the calendar. The factor of obsolescence is one that cannot be ignored. During the boom days of World War II many theatres were kept in operation that should have passed away and been re- placed. A part of the heavy mortality of theatres in the U. S. since 1947 is due to the fact that many theatres were ob- solete. The activity of the producers in striving for new techniques has complicated the problem of keeping the theatre plant mod- ern. The theatre has had to adjust to the techniques. Some theatres have had phy- sical limitations that have made such ad- justments difficult or impractical. Apart from product and the exhibitor plant itself, the exhibitor today and to- morrow faces some peculiar problems of the times. The motion picture business- has become more and more a weekend and holiday or vacation business. One of the gravest problems, in my opinion, to be faced is what should be done to im- prove attendance at mid-week. In times past, when recreation facilities in the home were more limited, when many GUEST SPEAKER: Martin Quigley, Jr. With him at the Ontario MPTA luncheon, Lionel Lester, president; and Morris Stein, left, chairman of the National Committee, Motion Picture Exhibitors Association of Canada. families owned no automobile and very few owned two cars, when most patrons lived within walking distance of their neighborhood theatre, an exhibitor could expect to do as much as half a week’s business in the five days of Monday through Friday. Few theatres do that well in mid-week any more. The pattern of through-the-week attendance has been broken. Whether it can be restored to the state it once was is problematical. How- ever, I do not feel that the future welfare of the exhibitor need necessarily be linked with mid-week business. Runs Changing Another factor of significance is that motion picture exhibition is no longer the unity that it was. By that I mean the dif- ference and distinction between the vari- ous theatres and runs is greater than it ever was and is likely to be even more sharply defined in the future. In the old days it was pretty much a difference of time for seeing an attraction and a dif- ference of admission price that distin- guished the first from the other runs. Each of the various types of exhibition situations must adjust as circumstances in- dicate to changing conditions. Each thea- tre needs to adjust with population changes. Each theatre needs to keep mod- ernized. The introduction of the new tech- niques has required new equipment and in some instances entirely new theatres. Only a few short years ago Cinerama, CinemaScope and Todd-AO were un- known. What will the future bring? Cer- tainly there will be other techniques to enhance the story telling capabilities of the motion picture medium. Internal Negotiations The exhibitor must have pictures to show in his theatre. Therefore, as I have outlined, the interest in product is basic and fundamental. The exhibitor must ex- hibit pictures in attracting locales and so the physical conditions and equipment of his theatre are of vital importance. However, the only way an exhibitor can get pictures to show in his attractive and modern theatre is by doing business with distributors. Distribution of motion pictures consists ( Continued on page 16) MOTION PICTURE HERALD, NOVEMBER 24, 1956 13 The Big J o r From 20th For Christmas ! THE GREA TEST PROGRAM IN OUR ENTIRE HISTORY! * NOW EVERYBODY CAN PLAY IT! NOW EVERYONE CAN SEE IT! One of the most important dramatic presentations ever! J^nastBsla COLOR by DE LUXE CinemaScopE starring INGRID BERGMAN • YUL BRYNNER • HELEN HAYES Produced by Directed by Screenplay by BUDDY ADLER • ANATOLE LITVAK • ARTHUR LAURENTS The world’s outstanding attraction at popular prices ! RODGERS and HAMMERSTEIN present Oklahoma ! CIINIEN/IAScIOPEE Color by TECHNICOLOR GORDON MacRAE • GLORIA GRAHAME • SHIRLEY JONES GENE NELSON • CHARLOTTE GREENWOOD • EDDIE ALBERT JAMES WHITMORE • ROD STEIGER Produced by Directed by ARTHUR HORNBLOW, JR. • FRED ZINNEMANN The nation’s sensation! The hottest name in show business! Love Me Tend.@ff starring RICHARD EGAN • DEBRA PAGET and introducing ELVIS PRESLEY Produced by Directed by Screenplay by ’ DAVID WEISBART . ROBERT D. WEBB . ROBERT BUCKNER BOOK IT EARLY . . SCHOOL S OUT DECEMBER 20- Heavenly holiday happiness! Entertainment for everybody! The Girl Can't Help It :in Starring TOM EWELL with b\o° MaScOPE COLOR by DE LUXE AYNE MANSFIELD • EDMOND O’BRIEN Stars JULIE LONDON • RAY ANTHONY • BARRY GORDON and 14 ROCK ’N’ ROLL HEADLINERS! Produced and Directed by FRANK TASHLIN Screenplay by FRANK TASHLIN and HERBERT BAKER THE EXHIBITOR: Today and Tomorrow (Continued from page 13) of two related but not necessarily insepar- able functions. The first might be called distribution properly speaking. That is, the system of physically handling and get- ting the prints to and from theatres and providing for billing and the like. The other phase of what the industry calls distribution is merchandising. That is, the selling of the pictures to exhibitors and to the public. Automation Near So far as the first phase is concerned, that is, physical distribution, we are on the threshold of the age of automation. The industry grew up like Topsy with exchanges in every key city. For reasons of prestige, every company historically felt it had to have its own exchange. Streamlining and simplification of physical distribution is inevitable and long overdue. The new methods will probably introduce some economies but will also be marked by an increase in efficiency. Ultimately, in many areas, it is likely that the physical handling of most film will be under one roof. Sales operation may be expected to remain distinct. The paper work formali- ties of notification, shipping, orders, bills and the like, will probably more and more be handled by automatic machinery. The exhibitor, understandably enough, is not directly concerned with these tech- nical phases of distribution. To him the important question is, “How Much?” Here there is room for improvement on both sides. You all know of exhibitors who have finished a good run of an outstanding at- traction and have had nothing left in the cash box. Then, too, there are exhibitors who in retaliation or otherwise have sub- stantially under paid for pictures. No one has yet figured out a way of making features without using people and money. Public Main Target We look forward to the time when dis- tributors and exhibitors will work to- gether, at least most of the time, with their attention to their main target. That is — the Public. At present and in the past exhibitors and distributors have spent too much time and trouble in negotiations with each other. The motion picture in- dustry, even at this late date, should fol- low the example of so many other indus- tries who realize that their prime work is not in making the best deal among them- selves but rather in merchandising their product to the public. Again, as a realistic optimist, I do not believe that exhibitors and distributors can never improve their business relation- ship simply because efforts in the past have not been conspicuously successful. The fact that past efforts to improve trad- ing practices in the motion picture busi- ness were generally failures is due rather to the circumstances prevailing. It is abun- dantly clear that circumstances are chang- ing. The men also are changing. Many of the old animosities will become dim with the passage of time or, if in some cases they do not, again in time there will be a change of men. It is true that each branch of the indus- try— production, distribution and exhibi- tion—has fundamental problems. The real measure of the success or failure in meet- ing those problems is the result at the theatre window where tickets are sold. That is the payoff. The measure of a com- mercial business is not in esteem and awards nor in critics’ comments but rather in the action of the public. Seek Good Entertainment The public seeks good entertainment. The bedrock strength of the motion pic- ture industry and the motion theatre op- erator is that human nature does not change. Entertainment supplies a realistic human need. Customs of people change as do the places where they live. The type and method of motion picture theatrical presentation must adjust with the change in times. But this we can say without fear of serious contradiction. The theatrical presentation of motion pictures is a per- manent part of world life. We do not know for sure whether the theatres of tomorrow will be projecting film made photograph- ically as they do today. The presentation may be electronic or in some manner not yet dreamed. Yet long after all prophets of doom are forgotten and home television finds its rightful place in the household along with the telephone, electric refriger- ator, radio, vacuum cleaner and other devices and gadgets, there will be theatres — thousands of them — in every country of the world providing motion picture en- tertainment. After all the motion picture medium theatrically presented is simply the best devised medium for the dramatic recrea- tion of reality. What the writer, dramatist and entertainer of the future can conceive may be best presented in theatres. We trust that the exhibitors in this room feel as our friend, Charlie Jones of the Northwood Theatre in Northwood, Iowa, does when he says, “I still wouldn’t trade my business for any one else’s in this town — satisfaction-wise, that is.” House Tax Group To Hear Coyne WASHINGTON : Robert W. Coyne, special counsel of the Council of Motion Picture Organizations, will testify November 29 for COMPO on the repeal of the remain- ing federal admissions tax before the House Ways and Means Committee excise tax subcommittee, according to the pres- ent schedule of committee officials. The subcommittee is scheduled to hold hear- ings all next week on rates and other as- pects of excise tax legislation. B &K, Majors Win Chicago Suit Verdict CHICAGO: A Federal jury has returned a verdict here in favor of Balaban and Katz Corp. and the major film distribu- tors in an anti-trust suit filed against them by the Tower Building Corp., owners of the building housing the Tower theatre here. The jury found in favor of the de- fendants on all counts. The plaintiff had sought $700,000 tripled, or $2,100,000, which Judge Julius J. Hoff- man had ruled permissible under the anti- trust laws. Suit was filed against Loew’s, Inc., Columbia Pictures Corp., Paramount Pictures, Inc., Paramount Film Distribut- ing Corp., RKO Radio Pictures, Inc., 20th Century-Fox, United Artists Corp., Uni- versal Film Exchange Distributors, War- ner Bros. Pictures Distributing Corp., Bal- aban & Katz, Chicago Orpheum Co., RKO Theatres, Inc., Warner Bros. Circuit Man- agement Corp., Warner Brothers Theatres, Inc., and the Winston Theatres Corpora- tion. The Tower Building suit had charged the aforenamed “monopolized first run downtown and first outlying runs” and “in a conspiracy put the Tower theatre in a run subsequent to the Loop and subse- quent to the first outlying runs, thus giv- ing the Tower theatre an inferior playing position to B & K and Warner Bros, the- atres.” The suit charged further that while B & K formerly operated the Tower thea- tre it did not own it and consequently favored the Tivoli and the Southtown the- atres, both of which it owned and op- erated. The suit placed similar charges against Warner Bros. Theatres and named the Avalon and Capitol as the key thea- tres in the case. A special deal also was charged with H. Schoenstadt & Sons, with reference to the Picadilly theatre, putting it ahead of the Tower. Warners Promoting "Baby Doll" Heavily A comprehensive advertising and pub- licity report on Warners’ forthcoming re- lease of Elia Kazan’s Newtown production of “Baby Doll,” starring Karl Malden, Carroll Baker and Eli Wallach, has been prepared by the Warner Bros, advertising and publicity department as an advance aid preceding the pressbook on the pic- ture. The report, which contains all pub- licity breaks and ideas already accomp- lished plus those in the planning stages, is being distributed in a special folder to the company’s field exploitation and dis- tribution forces, in addition to leading theatre operators throughout the country, circuit and independent. 16 MOTION PICTURE HERALD, NOVEMBER 24, 1956 See, Learn and Know the Theme Of Allied States Convention . . . Annual meeting opens in Dallas Tuesday after board sessions, with Colonel Cole to be honored and equipment exhibit scheduled DALLAS: This week the city of Dallas generally and the new Statler Hilton Ho- tel in particular were making themselves ready for the invasion of more than 500 theatre men from all parts of the coun- try for the annual convention of Allied States Association, to be held here Tues- day through Thursday. Board Meets First Conversations and discussions relating to the exhibitor’s place in the sun are scheduled to get under way even before Tuesday, however, with the Allied board of directors in session here Saturday, Sunday and Monday. The theme of the convention itself is “see how, learn how, so that you will know how.” The meet- ing also will be honoring a native Texan, Colonel H. A. Cole, veteran Allied leader, for his “40 years of devotion to the mo- tion picture industry and to Allied States.” Robert Morrell, convention coordinator, announced here this week that at the trade show to be held in conjunction with the convention more than 10 nationally known corporations will exhibit over $1,- 000,000 worth of equipment. Miracle Equipment will be one of the largest dis- played, having six booths. Among the prime topics on the agenda of the board meeting will be the issue of whether or not an agreement can be reached with the Council of Motion Pic- ture Organizations on Allied’s rejoining COMPO. A number of regional units of Allied have been paying their dues to COMPO despite the fact that the national association does not take part in COMPO activities. Shor Will Speak Roy Kalver, recently reelected president of Indiana Allied, will deliver the key- note address to the convention proper at the opening luncheon Tuesday. Other main speakers will include Ruben Shor, national Allied president; Julius Gordon, prominent Texas exhibitor and general convention chairman; Colonel Cole, and Abram F. Myers, Allied general counsel. The theme of the convention, said Mr. Morrell, relates mainly to film buying clinics, availabilities and runs, although there will be other sessions devoted to discussions of new approaches to advertis- COLONEL H. A. COLE ing methods, concessions operations and new products. Sessions during the con- vention will open at 9 A.M. and run to 5 P.M. Mr. Morrell emphasized that there will always be complete question and an- swer periods “so conducted that in reality the clinics will be composites of various exhibitors and their similar problems and how they were solved.” The agenda for the convention has been prepared from reports received at the Washington headquarters of the associa- tion from regional unit leaders. In addi- tion to the question of COMPO, the unit leaders also asked that discussions take place on the status of the industry as a whole, the Motion Picture Association of America’s business building ideas, arbitra- tion and the Senate Small Business Com- mittee report on industry trade practices. Other subjects which will be on the agenda, it is expected, will be the possi- bility of consolidation with Theatre Own- ers of America, trade practices, buying and booking, and how to increase box of- fice receipts through new approaches to selling films. Mayor R. L. Thornton of Dallas will de- liver a greeting to delegates at the conven- tion’s first general session Tuesday after- noon. This will be followed by a welcome by Mr. Shor and Mr. Kalver’s keynote speech. Wednesday will be devoted primarily to film buying clinics — for large towns, small towns, and drive-ins — with time also for inspection of exhibits. The film buy- ing clinics will be carried over through Thursday morning, while Thursday after- noon will be another business session. The convention will conclude with the annual banquet Thursday night. Says Billings Are Up 35°/o in South America Gross billings in local currency for American producer-distributors in South America “on an average are up from 30 to 35 per cent” this year, according to Robert J. Corkery, vice-president of the Motion Picture Export Association, who recently returned to New York from a 12-week trip through that market. Mr. Corkery’s opin- ion was presented following a more de- tailed report given to the board of direc- tors of the MPEA. At that time, the ex- ecutive went into the problems confront- ing member companies in Argentina, Bra- zil, Peru and Colombia, the countries which he toured. “Despite the problems of controls on admission prices and the inflationary economy in these countries, business for U.S. companies is up over last year,” Mr. Corkery said. “Negotiations to boost ad- mission prices will bear fruit by the end of the year in Argentina,” Mr. Corkery added, declaring that he is hopeful that the 10 peso ceiling on CinemaScope and other “special effects” product would be lifted and a sliding scale on admissions put into effect. In Brazil, business is “up substantially despite a depreciated economy,” Mr. Cor- kery stated. “In Colombia, the exchange and economic problems are very serious,” he said, adding that “negotiations there have been very favorable,” and that he is “hopeful adjustments will take place.” Mr. Corkery said he presented to the MPEA board of directors a report which included mention of discussions with South American governmental leaders concerning motion pictures and how each country’s regulations affects them. The MPEA board of directors, who met in New York last week, also heard reports sent into the home office by Irving Maas, vice- president, currently in Tokyo on Far East affairs. They also discussed an import regulation problem in Malaya. " Teahouse " in Japan MGM has booked “The Teahouse of the August Moon” to open simultaneously in all 12 key cities in Japan on January 4, 1957. MOTION PICTURE HERALD, NOVEMBER 24, 1956 1 7 Universal's New Box Office Rock, Pretty Baby” was “sneak the Young Audience simply the Adults Raved and Praised ! NOW... SHOWMEN EVERYWHERE CAN CASJT-Ij SENSATION OF OUR GENERATION 19 PREVIEWED AT THE ACADEMY THEATRE IN PASADENA ! v on the “Wide Appeal” of. . . STARRING SAL MINEO An important NAME in the TEEN-AGE MARKET following “Rebel Without a Cause” and “Giant”! JOHN SAXON That new sensation of the TEEN-AGERS from “The Unguarded Moment”! LUANA PATTEN Directed by RICHARD BARTLETT • Screenplay by HERBERT MARGOIIS and WILLIAM RAYNOR Produced by EOMOND CHEVIE • A IVERSAL-ItftNATIAL HCIURL Bishops Find Decrease In Objectionable Films . . . Catholic Committee on Motion Pictures, however, see "lurid" ads and "intensity" of offensive films matters for concern WASHINGTON : The number of films rated as “objectionable” by the Legion of Decency in the past year showed a “marked decrease” from the previous year, but the Catholic Committee on Motion Pictures reported that “lurid” advertising and the “intensity” of offensive motion pictures “offer serious concern.” The committee’s report was made public here, following a reading by Bishop William A. Scully of Albany, chairman, to the Catholic bishops of the United States at a closed session last week at the Catholic University of America. Urges Ban on “B” Film The committee also recommended that Catholics avoid films placed in the Le- gion’s B category (morally objectionable in part for all). Bishop Scully said that “although the number of films in the objectionable clas- sification showed a decrease . . . the inten- sity of objectionability both in theme and treatment of a large segment of our Amer- ican-made films offered serious concern to the members of the hierarchy.” “Moral retrogression” has also been noted in advertising, the bishop told the assembled prelates. Many films are ex- ploited “which through lurid and salacious details incite the baser nature of man and are alien to his rational nature as a child of God. “This grievous violation of decency and obvious dishonesty through misrepresenta- tion (already noted by trade and secular journalists) call for immediate remedy by the motion picture industry, lest our films here and abroad be characterized as a complete glamorization and deification of the flesh.” Bishop Cites “ Damage ” The Bishop cited the “damage to souls” caused by pictures in the Legion of De- cency’s B category (morally objectionable in part for all) which are short of total condemnation. He exhorted “our Catholic people to form a right conscience about at- tendance at films in the B classification and to avoid all of them completely. Only through loyalty and fidelity to the ideal of the Legion of Decency can a moral and wholesome screen based on the Judaeo- Christian concept of life be realized, espe- cially for our American youth.” During the past year the Legion re- viewed and classified 328 motion pictures of which 269 were domestically-made and 59 were from abroad, the bishop stated. Of American films, 88 or 32.71 per cent were A-I (morally unobjectionable for general patronage); 117 or 43.50 per cent were A-II (morally unobjectionable for adults) ; 62 or 23.05 per cent were B and one (produced without a Motion Picture Code Seal) was C (condemned). One film, “Storm Center,” was separately classified. Ten foreign films, or 16.95 per cent, received A-I typing; 24, or 40.68 per cent were A-II; 18, or 30.51 per cent were B, and seven, or 11.86 per cent, were con- demned. Last year, 92 American films, or 33.45 per cent, rated B classification, while four were condemned. At the time the Legion noted the largest percentage of offensive films in its history. The Episcopal Committee also announced the election of a new member, Bishop James A. McNulty, Paterson, N.J., to suc- ceed Bishop Charles H. Helmsing, Spring- field-Cape Girardeau, Mo., who has com- pleted his term. Other members include: Bishops John K. Mussio, Steubenville, O.; Timothy Man- ning, Los Angeles; and Hubert M. Newell, Cheyenne, Wy. British Producers to Seek Spanish Market LONDON BUREAU BFPA’s director-general Sir Henry French is planning a visit to Spain in an endeavour to stir up the moribund market there. Accompanied by technical advisers here and by the Rank Organisation’s resi- dent Spanish representative, he will have talks in Madrid with Government of- ficials and leaders of the Spanish trade. British producers find extreme difficulty in getting their earnings out of Spain but they are reluctant to abandon the mar- ket, especially now that American pro- ducers have ceased trading there. They feel Sir Henry’s endeavour may well be worth while not only in regard to current earnings but to amounts due in earlier years. Following previous BFPA negotiations with Spanish banking interests British re- mittances from Spain reached an annual total of £ 150,000. Since then, however, they have fallen well below that figure, due — according to the Spaniards — to a severe shortage of sterling. • Following the Royal Performance at Metro’s Leicester Square Empire at which Field Men to Attend U.A. Convention A United Artists field men’s convention, bringing together exploitation representa- tives from every territory in the United States and Canada, will be launched in New York November 29, it was announced this week by Roger H. Lewis, national director of advertising, publicity and ex- ploitation. The three-day session at the Park Sheraton Hotel will unveil plans for new promotional procedures and set a detailed exploitation program to back United Art- ists’ roster of approximately 48 releases for the coming year. The conference, the first of its kind held by U.A., will imple- ment the company’s campaign to revise and stimulate promotion at the local level. The format combines talks by executives with workshop forums involving discus- sion by field men of every facet of the advertising, publicity and exploitation operation. Home office officials participating in the meetings include Max E. Youngstein, vice- president; William J. Heineman, vice- president in charge of distribution; Mr. Lewis, and Mori Krushen, exploitation manager. The field sales force will be represented by James R. Velde, general sales manager; Milton E. Cohen, eastern division manager, and A1 Fitter, western division manager. Among executives who will conduct various phases of the meeting are Alfred H. Tamarin, assistant national director of advertising, publicity and exploitation: Mort Nathanson, publicity manager; Jo- seph Gould, advertising manager; Leon Roth, west coast publicity coordinator; Lige Brien, director of special events, and Samuel Cohen, foreign publicity manager. Seven individual sessions slated for the three-day period will cover the local cam- paign, the advance campaign, the publicity campaign, the ad campaign, exhibitor liai- son, television and radio, tieups, branch liaison, trade publicity and coordination with production in Hollywood and over- seas. Other topics to be discussed during the comprehensive promotional seminar are book and music exploitation, press- books, accessories, world-wide market trends, personal appearances, relationships with critics and editors, and community relations. “The Battle of the River Platte” was screened, Reginald Bromhead — president and chairman of the Trade Benevolent Fund — received a letter from Bucking- ham Palace with the thanks of the Queen and expression of her pleasure at the financial result. Benevolent Fund account- ants are still dealing with the box office take and other sources of money for the Royal occasion. 20 MOTION PICTURE HERALD, NOVEMBER 24, 1956- c/0 CTL CO Cd Qd .... Hm:., 1270 Sixth Aremte. Rockefeller Center, .Mere York 20. .V. I’. Subscription prices. $5.00 r in the Americas, $10.00 a year foreign. Single copy. 25 cents. All contents copyrighted 1956 by Quigley Publishing Company, jnc T Mfcir THE IRON PETTICOAT COCKTAIL! Mix equal parts of "Hope Happiness” and "Hepburn Hilarity.” Audiences will shake well with laughter. A sure-fire recipe for pixilated patrons and bulging box-offices! Go get it! n BOB HOPE * KATHARINE HEPBURN hilariously teamed for the first time in THE IRON PETTICOAT” -»h NOELLE MIDDLETON * JAMES ROBERTSON JUSTICE * ROBERT HELPMANN Produced by BETTY E. BOX " Directed by RALPH THOMAS Filmed by HARRY SALTZMAN in association with REMUS FILMS LTD. • VistdVision • Technicolor • An M-G-M Release A / i I AT *50 T THE WORL at the Victoria, N * ELIA KAZAN’S PRODUCTION OF TENNESSEE WILLIAMS’ BOLDEST K he Ticket... d Premiere Y. December 18th STORY -NATIONWIDE FROM WARNER BROS. FOR NEW YEARS ZOtKs Our Stars For A One of the most important dramatic presentations ever! COLOR by DE LUXE C|NemaScoP£ starring INGRID BERGMAN YUL BRYNNER HELEN HAYES The world's outstanding attraction at popular prices! RODGERS & HAMMERSTEIN’S OKLAHOMA! Color by TECHNICOLOR C|NemaScoP£ Heavenly holiday happiness! Entertainment for everybody! THE GIRL CAN’T HELP IT COLOR by DE LUXE Q N EM A ScOpE starring TOM EWELL * W JAYNE MANSFIELD EDMOND O’BRIEN 0 The nation's sensation! The hottest name in show business! LOVE ME Cl N EmaScoPE starring RICHARD EGAN DEBRA PAGET and introducing ELVIS PRESLEY MOTION PICTURE HERALD AlARTIN QUIGLEY, Edhor-in-Chief and Publisher Vol. 205, No. 9 MARTIN QUIGLEY, JR., Editor December 1 , 1 956 How Long Is Long ? OF LATE a number of critics and commentators in- side and outside the industry have been asserting that some recent releases are “too long.” It is time to examine the validity of these observations. Fundamentally there arises the question of “How long should a motion picture be?” That is a question that ob- viously defies a precise answer. Clearly the first obliga- tion of length on a film is to tell its story well in the man- ner desired by its producer and director. Correct length is like Lincoln’s reply to the query, “How long should a man’s legs be?” The sage President was reported to have replied: “Long enough to reach the ground.” That’s how long a film should be — to reach the ground. From practical considerations of operating schedules there may be determined what an exhibitor — or a majority of exhibitors — considers the ideal length of a feature. That is often put down as 90 minutes. Such a length allows an exhibitor, with a newsreel, short and coming attractions, to keep his show time to approximately two hours. In operations where double bills are the rule, a 90-minute running time is all that is convenient unless the show is to run three and a half hours or more. However strong an argument can be made for a 90- minute ideal film, certainly all stories cannot be told in this length. Departures from “normal” in running time also have a certain advantage with some patrons on the score of novelty. It is unnecessary for the industry to become concerned that three to three and one-half hour features might be- come the rule. At present there is nothing to indicate such a probability. The long film is, by its nature, extremely costly to make. Print charges are huge and distributors as well as exhibitors can readily calculate the potential loss in number of shows per week for very long films. THERE is one point where the criticism could be mis- leading to producers. A complaint that such and such a film is “too long” is almost a cliche phrase. It is to be realized that many critics consider anything over one and one-half hours “too long” (and even some films shorter than 90 minutes). On the other hand there is little or no evidence that the public shares the critics’ views on length. In fact the popu- larity of the double bill and the surveys that many spend all evening before a television set indicate quite the con- trary. Many ticket buyers like a long show. They are not like the critics who go to the movies anywhere from sev- eral times weekly to daily. The public’s screen appetite is not sated. The same may not be said for all critics. The long pictures currently in circulation — “War and Peace,” “Giant,” “The Ten Commandments” and the road- show “Around the World in 80 Days” — would not be the same in 90-minute length. For some pictures the story dictates a long running time; for others the precise mood desired requires considerable length. Let’s not worry too much about length. Quality and box office appeal are still the only solid measures of a picture’s stature. ■ ■ ■ Columbia’s New Home Office IN THESE days of readjustment in the industry the general and financial press often “plays up” pessimistic news. On the other hand too frequently favorable omens for the future are overlooked. A significant invest- ment in the future of the industry is symbolized by the formal opening of the new Columbia Pictures home office building this week in New York City. The office building, owned by Columbia, houses the New York staffs of the company and its subsidiaries in eight and a half floors. Previously the offices were in five differ- ent locations. The opening of the new home office at 711 Fifth Avenue is in interesting contrast to the one-room Columbia office at 1600 Broadway where the firm was established as the CBC Film Sales Company over 36 years ago. In those days the entire staff numbered nine persons. There are now over 700 in the home office and in the various subsidiaries in New York. Harry and Jack Cohn and the other present members of the organization who remember the one-room begin- nings may be especially proud of the impressive new loca- tion. Even more important than the physical setup is the fact that Columbia is keeping pace with developments in the entertainment industries and its over-all staff is con- tinually expanding as new projects are launched. B ■ ■ BEARING importantly on a problem which exhibition must face, that of shifting populations and the greater emphasis on suburban living, is a report to hand from the Portland, Ore., field office of the U.S. Department of Commerce. The report indicates declining business in most phases of retail activity in the central business district of Portland, includ- ing 21.9 per cent drop in motion picture business. This is not lost business, it is rather shifted business, with theatres in the outlying, or suburban areas gaining where the cen- tral business district falls off. The study as released in- dicated that many people, who formerly went “downtown” for their entertainment, now seldom leave their home areas, and since they find their shopping needs quite adequately met at home, it is in the pattern of living today that they will expect to find their entertainment also provided near home. — Martin Quigley, Jr. o Letters to the ^Jdercilcl On Lichtman View To the Editor: I read with interest A1 Lichtman’s memoirs on the industry and noted that when he starts producing and selling pic- ures on his own the only person he will be friendly to and favor will be A1 Licht- man. He says that the smaller accounts should be serviced directly by the various exchange offices. Little does he know what goes on in the lower echelons of distribution and exhibi- tion. Many of these smaller owners today are spending so much time doing all the work they can do themselves that they could never take the time necessary to visit the exchange centers. I myself with two thea- tres spend a day a week in each theatre doing the day-off relief in the booth, and I know of at least five other owners in the San Diego area alone that work their booths full-time just to keep their theatre doors open. What would happen if there were no salesmen on the road? Revenue would drop off for the compa- nies. Why? Because they could not possi- bly do the job from the branch offices that the salesmen are now doing in secur- ing not only contracts but dates on pic- tures, shorts, etc., that probably would be passed by the boards. These could not pos- sibly be pushed from the offices with the proper results. Take Buena Vista Corporation opera- tions for example. I have never met nor seen the salesman that covers my territory. He is not on the road. He sticks to his phone or runs to the several dominant chains in the Los An- geles exchange area. I have played four out of the total number of features that have been released by the company and those were sold to me by a booker that was sent to San Diego for some obscure reason or other. There are other theatres in the San Diego area that have not played all the Disney product either. Just imagine what Disney could really do if they really tried to sell their product through salesmen traveling the territory. Or just imagine what would happen to sales generally if all the salesmen now traveling the country districts were cut off. As it now is most companies are work- ing with small sales staffs and all have more than a normal number of accounts to service. The only contact the small independent exhibitor has with the various film com- panies today is through his salesman. He is the only one he can turn to for advice and relief when the going gets too tough for him. Mr. Lichtman says, “Present national methods of operation have to be so altered that policies will be installed so that a theatre may buy product on a basis of its ability to pay for it.” Just try to buy any of the big pictures he has listed such as “The King and I,” “Giant,” “The Ten Commandments” or many others that I can name for a small house. I have heard that orders have gone out at various times, “Don’t fool with the smaller ac- counts on this picture — they can’t meet our terms. Just go for the larger ac- counts.” No, Mr. Lichtman, you are in part on the wrong track. It’s about time for the producers to realize that there are other people in the great industry in addition to themselves. The small independent exhibitor, from whom a good part of the monies stem, is the forgotten man. Give him a chance to make a buck or two and you will see a lot more enthusiasm and honest-to-God work in exploiting and selling the pictures that you plan to make and distribute. — LEO A. HAMECHER, Ramona and Hillcrest Theatres, San Diego, Calif. • Incentive To the Editor: May a countryman take exception to the position taken by some of our high-pow- ered executives? I refer to the objection to producers owning theatres. Of course there should be some legal controls, but if a producer had 200 theatres crying for pic- tures there would be more and better pic- tures made — just like a man with a large family to feed. And producers — with 200 theatres — wouldn’t sell pictures to tele- vision for $75,000, because it would actu- ally cost them more than that in theatre receipts. — D. S. McDONALD, Interstate Enterprises, Quitman, Ga. • "Time" on the Fire To the Editor: The “Time Goes to a Movie” editorial in The HERALD of November 17 is a fine editorial and one which a lot of movie pa- trons should have the opportunity of read- ing. It expresses my sentiments with re- gard to the Time motion picture reviewer exactly. I think that there are a number of news- paper editors who would reprint your edi- torial even though uninterested in movies, as they sometimes seem to be, because you have Time dead to rights on this one. — EDWARD SCHOENTHAL, City Manager of the Fremont Theatres, Fremont, Ne- braska. MOTION PICTURE HERALD December I, 1956 STELLINGS of TOA in New York for film company talks 12 CAROLINA exhibitor group holds meeting in Charlotte 12 ALLIED STATES tackles industry problems at Dallas convention 13 UNITED ARTISTS holds fieldmen's convention in New York 23 CANADIAN industry parleys are marked by optimism 24 BRITISH exhibitors' hopes rise for ticket tax remission 26 COLUMBIA predicts gross increase for 1956-57 fiscal year 27 LEGION condemns "Baby Doll," scores Code approval 27 FILM SPACE in national magazines, 1945-55 — a graph 28 LACY KASTNER honored in Columbia foreign sales drive 28 ABC-TV to use production facilities of Warner Brothers 33 SERVICE DEPARTMENTS Film Buyers' Rating 3rd Cover Hollywood Scene 29 Managers' Round Table 45 The Winners' Circle 32 National Spotlight 36 IN PRODUCT DIGEST SECTION Showmen's Reviews 169 Short Subjects Chart 170 The Release Chart 172 MOTION PICTURE HERALD, Martin Quigley, Editor-in-Chief and Publisher; Martin Quigley, Jr., Editor; Charles S. Aaronson, Managing Editor; Floyd E. Stone, Photo E-ditor; Vincent Canby, News Editor; Ray Gallagher, Advertising Manager; Gus H. Fausel, Production Manager. Bureaus: Hollywood, Samuel D. Berns, Manager; William R. Weaver, Editor, Yucca-Vine Build- ing, Telephone HOIlywood 7-2145; Washington, J. A. Often, National Press Club; London, Hope Williams Burnup, Manager; Peter Burnup, Editor; William Pay, News Editor, 4 Bear St., Leicester Sq. Correspondents in principal capitals of the world. Member Audit Bureau of Circulation. Motion Picture Herald is published every Saturday by Quigley Publishing Company, Inc., Rockefeller Center, New York City 20. Telephone Circle 7-3100; Cable eddress: "Quigpubco, New York”, Martin Quigley, Presi- dent; Martin Quigley, Jr., Vice-President; Theo. J. Sullivan, Vice-President and Treasurer; Leo J. Brady, Secretary. Other Quigley Publications: Better Theatres and Bette* Refreshment Merchandising, each published thirteen times a year os a section of Motion Picture Herald; Motion Picture Daily, Television Today, Motion Picture Almanac, Television Almanac, Fame. 8 MOTION PICTURE HERALD. DECEMBER I, 1956 On the Olt onzon WHEN and WHERE December 17: Annual Christmas party of the Des Moines Variety Club, Jewish Community Center, Des Moines, la. HOLIDAY GROSSES The four-day school holiday Thanksgiving weekend gave Broadway and neighborhood theatres a substantial atten- dance increase, with most man- agers contacted reporting business for the extended pe- riod ahead of the Thanksgiving weekend last year. "The Ten Commandments" at the Crite- rion, and "Around the World in 80 Days" at the Rivoli were re- ported complete sellouts for Thursday through Sunday. The four-day gross for the Ri- voli was estimated at $22,500 and at $40,000 at the Crite- rion. "Giant," starting its seventh week at the Roxy, grossed an estimated $42,000 for the four days. "Love Me Tender" had a four-day gross at the Paramount of $27,000. MORE SALES TO TV? Paramount Pictures is nego- tiating with a group of 30 tele- vision stations in top U.S. markets for the sale of its pre- 1948 film library, it was re- ported last weekend. Among the stations seeking to acquire the backlog, which is said to be over the 700 mark, are the two DuMont Broadcasting Corpora- tion TV stations in New York and Washington, and KTLA, Los An- geles. The production - dis- tribution company owns sub- stantial interests in DuMont Broadcasting and in the west coast station. No purchase price was reported. Namenson, Julius Sanders, Rob- ert W. Coyne, D. John Phillips and Mort Sunshine. "SECONDS" FOR "GIANT" In 13 cities where George Stevens' Warner Bros, produc- tion, "Giant," went into a sec- ond week, nine per cent of the theatre-goers returned to see the film a second time, accord- ing to a survey taken by Warner Bros. The survey also estab- lished that this figure in- creases with the length of the run. Where the picture has played more than two weeks, 11 per cent of the audience were found to be repeaters, said Warners. And so goes Warner's new all-time record-breaker. STARS AS PROMOTERS The policy of stars getting out and actually helping to sell their films to the public counts heavily in the launching and the box office returns, as indicated by reports from Ohio where personal appearances and other drum-beating by Doris Day helped run up near-record business for "Julie, " her Arvin production for MGM release. "The development of bigger and better TV shows, along . with other factors, is making it smart business for stars to get out and sell their pictures," December 22: Film Row Club's annual Christmas dance, Ambassador Hotel, Los Angeles. January 8: Cleveland Motion Picture Ex- hibitors Association, general meeting to elect new officers, Cleveland, O. January 29-31: Allied States Association, national drive-in convention, Nether- lands-Plaza Hotel, Cincinnati, Ohio. February 1-2: Allied States Association, annual winter board meeting, Terrace Plaza Hotel, Cincinnati. February 26-27: Annual convention of the Kansas-Missouri Theatre Association, Pickwick Hotel, Kansas City, Mo. March 3-5: Theatre Owners of America, mid'-winter board meeting, Blackstone, Hotel, Chicago. March 6-7: Second annual convention of the United Theatre Owners of Oklahoma, Biltmore Hotel, Oklahoma City. June 23-25: Annual convention of the Mis- sissippi Theatre Owners Association, Edgewater Gulf Hotel, Edgewater Park, Miss. Miss Day said. "Even where they have no participation in the profits, it is more impor- tant to their own careers, as well as their relationship with the studio, to cooperate in promotions. " SCHARY LEAVES MGM AT YEAR END TAX APPEAL A petition for repeal of the five per cent admissions tax will be presented to Mayor Wag- ner December 7 by a committee representing New York City theatre owners, it is announced by the Independent Theatre Owners Association and the Metropolitan Motion Picture Theatres Association. Serving on the committee are: Harry Brandt, IT0A president; Solo- mon M. Strausberg, MMPTA pres- ident ; Eugene Picker, Emanuel Frisch, Sol Schwartz, William Loew’s, Inc. announced in New York Wednesday the termination of the serv- ices of Dore Schary, vice-president and production head at MGM studios, ef- fective at the end of this year. Mr. Schary, whose contract had another year to run, will remain with the production company to complete "Designing Wo- man," which stars Lauren Bacall and Gre- gory Peck. Associated with MGM since July, 1948, Mr. Schary previously was with RKO Ra- dio Pictures and Vanguard Films, Inc., and has been producing and writing mo- tion pictures since 1932. Announcement of future plans for MGM studio opera- tions will be made soon by Joseph R. Vo- gel, president of Loews, Inc., who left New York late Wednesday for Hollywood. The announcement said nothing of a suc- cessor to Mr. Schary as head of the stu- dio and production head, but it is be- lieved that Benjamin Thau, vice-president and veteran studio executive, will be placed in administrative charge by Mr. Vogel following the president's arrival at the studio. Mr. Schary's contract with MGM was for $200,000 anually and ran to January, 1958, after which he was to have gone on advisory status for another 10 years at a salary of $100,000 per year. MOTION PICTURE HERALD, DECEMBER 8. 1956 9 THE BIG SECRET now— but December 7 the trade will know it, and December 14 the millions, over television's "Strike It Rich" in Lustre Creme's $35,000 "Sweepstakes." Editor Martin Quigley, Jr., second from left, hands to Lustre Creme merchandising manager Samuel Lindley, Jr., in New York, the name of the top actress in the Herald- Fame annual Money Making Star poll. With them, William Ruggieri, also a Colgate- Palmolive executive; and James Filling, Mr. Lindley's assistant. HERALD picture A THIRD YEAR the Chicago industry March of Dimes chairman, Illinois Allied president Jack Kirsch receives a briefing for the January drive from Mrs. Joseph Rosenbaum, women's division. wee l A STAR ALONE. On the set of MGM's "Ten Thousand Bed- rooms", the somewhat pensive listener to happy producer Joe Pasternak is Dean Martin, who may be remembered as part of a team renowned as Martin and Lewis. OPENING Skouras Theatres' Syosset, Long Island, the other evening, president Spyros S. Skouras, second from left with civic officials John Schulz, Louis Waters, John Martin. ROYALTY RECOGNIZED, in 20th-Fox's picturization of a great and enduring stage success, "Anastasia." Dowager Empress Helen Hayes acknowledges Ingrid Bergman as a Romanoff. The picture is the holiday choice of the Roxy, New York. HERALD picture MESDAMES Stan Brown, M. J. E. Mc- Carthy, Roy Reid, and Robert Kronen- berg of Los Angeles Variety as they be- gan preparing their second annual "Tin Can Luncheon" for 100 Variety Boys' Clubs deserving fam- ilies. IT WAS ANNUAL MEETING TIME at Minnesota Amusement Company the other day, and above you may see all the boys and their bosses. Guests at the Minneapolis home office included AB-PT vice-president Edward Hyman and assistants Bernard Levy and Al Sicignano; Mark Dupree of Florida State Theatres; and all the friends from Film Row. PIONEER OF THE YEAR , and hon- ored as such Friday evening, at annual banquet in New York, by the Motion Picture Pioneers; Robert J. O'Donnell, of Variety Interna- tional and Texas. PROGNOSIS: it's films from here on, National Telefilm Associates president Ely Landau last week in New York told the Radio and Tele- vision Executives Society. With him, NTA's Oliver Unger. OPENING "The Magnificent Seven" in New York: Japanese consul-gen- eral Jun Tsuchiya, Edward Kingsley, head of Kingsley International, who is presenting the film in association with Columbia, and Josh Logan, director. GENE TUNICK , since 1954 United Artists Philadelphia manager, now is eastern dis- trict manager. TOA Sets Meeting With Film Companies . . . Stellings, at Charlotte con- vention, announces series of con- ferences to seek "reconciliation of differences" in industry CHARLOTTE: In the highlight of his speech here Tuesday before the annual convention of the Theatre Owners of North and South Carolina, Ernest Stell- ings, president of Theatre Owners of America, announced that he was leaving for New York to “spend the next several days in conference with the heads of the national producing and distributing com- panies"— thus to implement the first point in the five-point TOA program for the bet- terment of all segments of the motion pic- ture industry. Pledges Reconcilation The first point of the five-point pro- gram, which Mr. Stellings was in course of enunciating when he announced his New York trip, pledges TOA to seek means for “a reconciliation of the differences that ex- ist between various segments of this busi- ness.” (The meetings which Mr. Stellings was to hold in New York were to be the first of their kind since the Spring of 1955, when top TOA officials joined with their Allied States Association counterparts in a series of individual talks with the heads of the distributing companies. The results of those meetings were generally held to have been inconclusive.) The Stellings address came on the sec- ond and last day of the convention at the Hotel Charlotte here and marked his first appearance before his “home” unit as president of the national association. The four other points touched upon by Mr. Stellings included: Plans to increase box office returns — comprising plans developed by TOA and plans developed by the production-distri- bution companies; Arbitration and conciliation — and Mr. Stellings’ declaration that it is his “plan and purpose to pursue and push to a suc- cessful conclusion a program of arbitration that is acceptable to both exhibition and distribution”; Institution of a public relations program “combined with a publicity campaign,” to supplement the box office building cam- paign “for the purpose of creating better public relations with the general public for our theatres and attractions”; and Efforts to bring about the production of more good pictures during the year which, to some extent, will “automatically cause the spread of good pictures throughout the HOPES TALKS MIGHT LEAD TO ROUNDTABLE Ernest Stellings, president of The- atre Owners of America, on his ar- rival in New York Wednesday after- noon said his talks with film company heads would cover public relations and trade practices "with everything leading up to an industry roundtable conference, perhaps." Mr. Stellings immediately began his series of con- ferences, saying that before his de- parture Saturday he would "attempt to see" Walter Branson, RKO Radio; Charles Reagan, Loew's Inc.; A. Mon- tague, Columbia; Spyros Skouras, 20th-Fox; Alfred DafF, Universal, and Barney Balaban, Paramount. He also hoped to set up similar meetings with executives at United Artists, Allied Ar- tists and Republic. A meeting with Warner Brothers was delayed because Benjamin Kalmenson, executive vice- president, was in Hollywood. year instead of having them released in two or three short periods of time, as has been done recently.” In connection with the last point, Mr. Stellings added that TOA will continue its efforts toward securing a more orderly release of top pictures. In the early part of his address, Mr. Stellings reminded the delegates that “the original TOA program for this year listed as possibly the most important — especially from a viewpoint of urgency— the improve- ment of relationships existing between ex- hibition and the other branches of this industry. It is my confirmed belief that no industry or any major portion of an industry can progress very far unless that industry works together as a whole. . . . “If we, as exhibitors, are to be supplied enough good pictures, we must return to production and distribution sufficient rev- enue to make possible the production and distribution of good product to attract people to our theatres and thereby make exhibition profitable and provide money for the creation of product for future re- lease.” The TOA president acknowledged the presence at the convention of William Gehring, Alex Harrison, Harry Ballance and Paul Wilson, all of 20th Century-Fox. “They represent a company,” he said, “headed by a man who has indicated to me every desire to cooperate with exhibi- tion in every way. I know that these gentlemen feel the same way as does Spyros Skouras because they follow the policy which he represents. Others in dis- tribution feel the same way. I have been immeasurably encouraged by the attitude expressed to me on the part of distribu- tion— an attitude indicating a desire to co- operate with exhibition that our industry may progress, may prosper, and may con- tinue.” Elaborating on the box office building efforts, Mr. Stellings said that because pro- duction and distribution had also devel- oped certain ideas “similar to those of TOA” — and since “neither plan has de- veloped to the point where it is a definite program” — meetings on this project were being held in New York Tuesday. “It is my hope,” he said, “that out of these two pro- posals will come one advertising, publicity and promotion campaign which, during 1957, should materially help in returning, to the theatre box offices of the country, many patrons who have for one reason or another stayed away.” Mr. Stellings praised the production plans of Stanley Warner and American Broadcasting-Paramount Theatres, as well as the increase promised by 20th-Fox. In conclusion he reported that TOA has com- pleted setting up committees to carry out the program outlined, and added, “By this time next year, I am confident we will see the accomplishment of many of the aims listed in the TOA program this year. Gehring Gives Advice Mr. Gehring, vice-president of 20th-Fox also addressed the convention Tuesday afternoon, making a plea for all exhibitors to unite under one banner. “We haven’t time for disagreement in this industry,” he said. “I advocate one organization, not a TOA, an Allied or Metropolitan, but one big exhibitor group.” Elected president of the Carolina unit was Howard McNally, of Fayetteville, N.C., who succeeds Jack D. Fuller, of Columbia, S.C. Also elected were Robert Bryant, first vice-president; and Harold Armistead, second vice-president. New directors are R. E. Angle, R. L. Baker, H. E. Buchanan, Frank Beddingfield, George Carpenter, J. B. Harvey, W. H. Hendrix, R. A. Howell, Sam L. Irvin, Wade McMillan, Haywood Morgan, Hugh Smart, Roy Helms, Mr. Stellings, and J. K. Whitley. Mrs. Lucille Price was re- elected executive secretary. Monday, the opening day of the conven- tion, was given over to clinics designed to help exhibitors improve their operations. Speakers included Jack Brunagel, Perry Reavis, Horace Denning, L. C. Fitzgerald and Norris Hadaway. Petrillo, Walsh Named James C. Petrillo, president of the American Federation of Musicians, and Richard F. Walsh, president of the Inter- national Alliance of Theatrical and Stage Employees, will serve as co-chairmen of the Labor Committee for the Entertain- ment Industry Tribute to Jimmy Durante, it was announced by Harry Brandt, chair- man of the coordinating committee. 12 MOTION PICTURE HERALD, DECEMBER I, 1956 Optimism and Conciliation Give Allied Convention a "New Look" by MARTIN QUIGLEY, JR. DALLAS: Allied’s 1957 convention was “a new look” convention. The approach to industry problems taken by the board, November 24-26 and the 270 delegates, wives and equipment representatives during the con- vention November 27-29 was in some respects as modern as the architecture of the new Statler Hilton, where the sessions were held. Although Allied’s veteran leaders as always dominated the meetings there were “new faces” in prominent roles including Roy L. Kalver as keynoter and Hugh McLachlan, chairman of the committee which made significant progress on the road to standardization of the new techniques. Both the board and the convention gave consideration to the usual sources of trade friction but also manifested a conciliatory approach to many problems which had caused bitterness in the past. It was gen- erally recognized that the most important thing for both producer-distributor and exhibitor is to stimulate theatre attend- ance. The pessimistic mood of many of the delegates was considerably altered during the convention, espcially as a re- sult of the encouraging address of Albert E. Sindlinger, who said there was a huge ready audience for pictures and that rather than closing theatres the industry actually needed thousands more in the proper locations. Actions taken included: 1. Appointment of a committee to try to heal the breach with COMPO; 2. A reaffirmation of a close working arrangement with TOA; 3. Approval of the AB-PT production plans, including the circuit’s preemptive rights; 4. An indication that Allied’s attitude toward arbitration may be reviewed; 5. Recognition that feature sales to TV are inevitable but that there should be a five or 10-year clearance; 6. Agreement on film standards for as- pect ratios and encouragement of 65 and 70mm film; 7. Encouragement of new product plans, including the one sponsored by Moe Kerman for making at least 10 fea- tures in 1957; 8. Special recognition for Col. H. A. Cole, in whose honor the Dallas conven- tion was held. The Allied board, meeting Sunday, Mon- day and Tuesday morning, took action on a variety of issues, but even so did not have time to complete all the business on the agenda. It thus scheduled a further meeting to be held Thursday, the conclud- ing day of the convention. The board, however, did: Authorize president Ruben Shor to ap- point a committee of three (Abram Myers, Trueman Rembusch and Wilbur Snaper) to meet with a COMPO group December 10 to discuss ways and means of bringing about a reconciliation between the two organizations; Decide that it would not consider at this time a merger with Theatre Owners of America, although it will continue coop- erative activities with that exhibitor or- ganization; Authorize the president to appoint a committee to review the arbitration situa- ation, study previous drafts of arbitration plans and make any suggestions for future action; Pass a resolution which insures Allied’s support in any fight to eliminate complete- ly the Federal admissions tax; Authorize the president to use his discre- tion on the 1957 convention site; Approve a resolution recently passed by the Independent Theatre Owners of Ohio calling for the production of more family pictures; Endorse American Broadcasting-Para- mount Theatres’ desire to retain preemp- tive rights to their own pictures should that company go into production; and Decide to make some sort of appeal to the film companies to give fair clearance — at least five or 10 years after national release — before selling the pictures to tele- vision. The board’s position on a merger with TOA, on which there has been much spec- ulation recently, was clarified in a state- ment issued by Mr. Shor at the conclusion of the first weekend board meetings. Said Mr. Shor: “Prior to discussion of a possible merger between Allied and TOA, the board had approved a policy of cooperating with TOA in matters of common interest con- cerning which the two organizations hold a similar view. “Friendly relations between Allied and TOA leaders have existed for some time and the board has authorized explorations looking to an exchange of information and, when mutually agreeable, coordination of action with TOA, on particular subjects. “Time Is Not Ripe ” “In the circumstances, the board decided that the time was not ripe for any action looking to an amalgamation with any other organization. Meanwhile, explora- tions in search of common ground and ex- periments with cooperative action will be continued.” Concerning the appointment of an arbi- tration committee, Mr. Shor said that be- cause of his definite retirement as Allied president February 1, he was uncertain whether he would appoint the committee now or leave it to his successor. He said too that the decision on the 1957 conven- tion site would be made after he confers in New York with officials of the Theatre Equipment and Supply Manufacturers As- sociation. One of the issues left open by the board in its initial meetings was the report of the Emergency Defense Committee, in order to await recommendations of the film clin- ( Continued on following page ) THE OFFICERS. In array in Dallas, recording secretary William Carroll, treasurer Irving Dollinger, president Ruben Shor, general counsel and board chairman Abram F. Myers, and secretary Julius Gordon. MOTION PICTURE HERALD, DECEMBER I, 1956 13 ALLIED HERALD picture RUBE SHOR is the speaker with guest-of-honor Colonel H. A. Cole at his side. ( Continued from preceding page ) ics which dominated convention activities Wednesday and Thursday. With some 200 delegates in attendance, the convention was officially launched at the Tuesday luncheon following which Roy Kalver, of Decatur, Ind., made his keynote address. The convention's theme — “see how, learn how, so that you will know how” — related largely to film buying clinics, availabilities and runs. There also were clinics on ad- vertising methods, new approaches to in- creasing box office receipts, concessions op- erations and talks on personal problems affecting individual theatre situations. The climax came at the Thursday evening ban- quet honoring the prominent Texan and Allied veteran, Colonel H. A. Cole. Preceding Mr. Kalver’s keynote, Ray Miller, representing the Mayor of Dallas, made a brief welcoming address, as did Mr. Shor and Julius Gordon. Kalver Predicts Survival The keynote featured a prediction that independent exhibitors will survive their current trials, an admonition to “fight back” when competition is toughest to re- win lost patronage, and a blast at the pol- icy which has resulted in the sales of film company libraries to television. “Many feel that we are experiencing (our competition’s) maximum onslaught,” Mr. Kalver told the convention, “and while unfortunately, there will be casual- ties, through reappraisal and readjustment of our business and our thinking to meet changing conditions, most of us will sur- vive.” “However,” he continued, “we are not going to remain upright very long unless we start fighting back. We have to start telling people how much more enjoyable it is to enjoy fine new pictures in the thea- tre than to see the run-of-mine television entertainment in the home. It is here that the motion picture business has fallen down badly. In the effort thus far we have had little or no support from the film companies. Now they are displaying in- terest in promoting theatre attendance, as witness the proposal for an Oscar Derby, and that is good news indeed.” Mr. Kalver reminded the exhibitors however, that “it is inevitable that chang- ing conditions must bring changes to our mode and philosophy of (theatre) opera- tion” and suggested that many long-estab- lished exhibition practices may have to be changed — length of runs, number of week- ly changes, types of programs, admission prices. “There must be an intelligent reap- praisal of all these to keep flexible and up-to-date,” he said. He predicted that the drive-in will “loom larger in the enter- tainment picture” of the future. The address called for a “return to san- ity” in film selling, and charged that some selling methods are “illegal and immoral” because terms that cannot be fulfilled are entered into knowingly. The “most reas- onable solution,” Mr. Kalver said, “will be *he return of autonomy to branch man- agers, so they will be cloaked with author- ity to make deals based on their custom- er’s ability to pay.” Discussing exhibitor efforts to get out- side aid in their differences with distribu- tors, Mr. Kalver referred to last summer’s hearings before the Senate Small Business Subcommittee, saying he thought them “extremely effective in bringing to the at- tention of our senators the seriousness of our manifold problems.” The speaker reviewed Allied efforts to follow up on the subcommittee’s sugges- tion that exhibition and distribution get together and try to settle their differences, saying that Mr. Shor’s attempts to arrange meetings with company heads were “brushed off.” “Nothing has come of the Committee’s recommendations,” he said, “except shameful reprisals heaped upon the ex- hibitors who dared appear at the hear- ings as witnesses.” He termed recent sales of film backlogs to television “the most unkind cut of all,” asserting that “the best surveys indicate that theatres suffer a 15 to 25 per cent decline in gross when pictures of the cali- HEBALD picture Julius Gordon welcomes the men and women of Allied. bre of ‘30 Seconds Over Tokyo’ and ‘Mu- tiny on the Bounty’ are shown on local TV stations.” “We cannot understand the thinking be- hind this stupid policy,” Kalver said. “The fast-buck boys are not only dissipating the reissue value of these great properties but surely they must realize the great damage they are doing to the theatres playing their current releases, most of them on percen- tage.” He asserted there is a continuing need for an increase in production of “family type” pictures, saying that many of the low budget films being produced now lack public appeal. Commends MPAA Efforts He urged that more advertising be keyed to the availability of the films advertised in theatres. The Motion Picture Associa- tion was commended for its current efforts to develop business building programs and exhibition was said to be ready when called upon to aid in this project. Mr. Kalver was critical of some film advertis- ing, saying its needs change because the public “is bored and unimpressed” with the sameness of the language and ap- proach, with the result that “they don’t be- lieve our ads any more.” He said that placing of theatre ads off the amusement pages of local newspapers also needs to be considered by exhibitors in search of a new approach. “If we are to survive and succeed,” he concluded, “old differences must be re- solved, old antagonisms eradicated. There must be created a true tolerance and sym- pathetic understanding for each other’s problems.” Wednesday morning began the film clinics, to be reported on at the end of the convention. The note of optimism continued through Wednesday when Hugh McLachlan told delegates that the battle over stand- ardization is finished, and Albert E. Sindlinger, in one of the principal ad- dresses of the afternoon said there was no reason for any theatres to close “when ( Continued on page 23, col. 1) 14 MOTION PICTURE HERALD, DECEMBER I, 1956 Uandl STAND BY FOR TAKE-OFF, MR. EXHIBITOR! Xou are cordially invited to participate in our campaign for new boxoffice highs in the Charles J. Feldman 7th Annual Drive . . . And to propel your enthusiasm up to our altitude we have carefully assembled thirteen of our very strongest pictures for this Drive . . . pictures carefully designed to fit the needs of every kind of theatre in every type of situation. With this profit-packed product, your theatre and our mutual know-how, TOGETHER we are going to give your boxoffice a jet-powered boost that’ll keep you • • • STARRING rock hudso LAUREN BAC STARRING ROBERT STACK DOROTHY MALONE MAUREEN O’HARA JOHN FORSYTHE TIM HOVEY ROBERT KEITH • GRANT WILLIAMS w 00 LLb, ALBERT ZIJGW frank faylen i FS TREMAYNE • PHILIP BOURNEUF herb meadow .UTKf, “■■SSS* t. * •* *> ron/aisa GEORGE NADER JULIE ADAMS MARIANNE COOK ELSA MARTINELLI GIA SCALA CO-STARRING SYDNEY CHAPLIN • GRANT WILLIAMS • Produced bv AARON ROSENBERG dean jagger KEENAN WYNN JULIE LONDON JOANNE GILBERT * ED WYNN JIM BACKUS • RUSS MORGAN 7 , . r ,os£ fERRER . W AL »»< l0St FtRR® Directed by ]OSt Ft Bill Hi 5 i i v f * i sf 3 I ^ «1 f i 1 u I J i ilillkUliTiu! e - - THE WONDERFUL STORY OF TODAY’S Geii^ratioji STARRING SAL MINEO JOHN SAXON LUANA PATTEN mm |M|i| with FAY WRAY !2 Wonderdufrunes. including —V- — STARRING ERROL FLYNN CORNELL BORCHERS -SSK'.WES MARTIN BENSON **LHKT “KING" COLE . j .... ai rfrt 1. COHEN CINemaScO co-starring CHILL WILLS DEAN STOCKWELL Directed by .JOSEPHINE HUTCHINSON RETTY LYNN • JOHN LARCH ABNER BIBERMAN • bitten by RjGHT CAN1PBEU Produced by WILLIAM ALLAND mit; !jf| dlfefw-! Ji r it It 1 ■. : tm fill! ' Directed by DOUGLAS SIRK- CHARLES GRAYSONand VINCENT B. EVANS- ROSS HUNTER ■hitl. t 4 H yu * ! UHUH* 1 * u!w i w 5 H \\ Efjfrf -fty? ii Mi! t i±A4, » A 9 i frf * f * • * ♦ * •» Jt L tt -* -k-^- starring CO-SIARRING WILLIAM REYNOLDS • RUSS MORGAN . RLftKt EDWARDS • Sowp“>H 8L#*E EDWARDS 0i«m»,bwe rob£r1 mm >• EDWARD ANDREWS • Screenolav by GEORGE 7UCKERMAN ALBERT ZUGSMITH 0tC.30tl STARRING STARRING Screenplay by RICrmr albert zugsmith Directed by JACK ARNOLD • Produced by Cinemascope TECHNICOLOR. CO-STARRING PIPER LAURIE MARTHA HYER lo&ttm / w h KEU-'f t with ONSLOW STEVENS • HERBERT ANDERSON • FRANK WILCOX Directed by ROBERT Z. LEONARD • Story and Screenplay by EVERETT FREEMAN • Produced by ROBERT ARTHUR k r> va mA $ . . . and these Rctunes currently In 'Release: AWAY ALL BOATS IN vistaVision*.- technicolor^ "WALK THE PROUD LAND" IN CINEMASCOPE • TECHNICOLOR® "THE UNGUARDED MOMENT" TECHNICOLOR® TIIRIIPh BEAST OF THE AMAZON" IN EASTMAN COLOR "THE MOLE PEOPLE" PILLARS OF THE SKY" IN CINEMASCOPE • TECHNICOLOR® "THE KILLERS" SLEEPING CITY RE-RELEASE L1THO IN U ALLIED ( Continued, from page 14) 98,000,000 people in this country want to go to the movies in a week.” Henceforth the standard for Cinema- Scope pictures, according to Mr. Mc- Lachlan, will be the aspect ratio for Cin- emaScope pictures with optical prints. He urged all exhibitors to install the small teeth on their projector sprockets to ease the print shortage, pointing out the ex- hibitor should be willing to pay the $75 to $100 necessary when producers have discarded, in the pursuit of standardiza- tion, equipment costing hundreds of thou- sands of dollars. Need Not Fear Innovation Mr. McLachlan said that exhibitors equipped for other wide screen projection need fear no new innovations, as all Hol- lywood films will be photographed so that they may be satisfactorily projected at aspect ratios of 1.66 to 1, 1.75 to 1, or 1.85 to 1. All big-film projection will be on the 65 or 70mm projectors, the Allied speaker said, reporting that Paramount planned no further use of the horizontal projector (sometimes known as the “Chinese pro- jector”) and that 20th Century-Fox would not release films on 55mm. The latter company, he said, would use release prints — if it decided on large measure re- lease prints — that could be projected on the 70mm projectors. “We need big film and I am for it,” Mr. McLachlan told the Allied delegates. Some late model projectors can be adapt- ed for its use, he said. He also predicted that by the time of the Allied drive-in convention in Cincinnati there would be announced a new projector to handle both the 70mm and 35mm film. He said he hoped that the M-G-M wide film process would be demonstrated at that convention. Reports on Lamp Test Mr. McLachlan also announced reports of a test with a new projection lamp that gave 89 per cent coverage of a 110-foot screen with 21-foot lamberts brightness and 100 per cent coverage and 27-foot lambers on a 61-foot screen. In his address Mr. Sindlinger said, “I am appalled at the pessimism in this busi- ness; 6,000 additional theatres should not close. There should be 6,000 more theatres in the proper locations,” Mr. Sindlinger pointed out. The reason why only about one third of the people each week who want to go to a picture actually attend is that the pub- lic is not sufficiently stimulated by the appeal of the attractions available, the speaker asserted. In some cases multiple bookings of the same attraction into many theatres aggravates the problem, Mr. Sindlinger indicated. He also criticized the use of film clips and personal appear- ances of film stars on television programs, claiming that often members of the tele- vision audience get a wrong impression of a film publicized on TV and decide not to see it in a theatre. The networks in particular and tele- vision in general are having plenty of trouble of their own. One of the strongest programs of television this season, the film “Wizard of Oz” was not very satis- factory to the sponsor, according to Mr. Sindlinger. He said that the film company lost a great potential theatre revenue by having the film shown on television and the theatres that night lost $2,000,000 in revenue. The analyst pointed out the importance of having more films and film advertising appealing to women. At the afternoon session other speakers were Jack Jackson and Jack Braunagel, who gave details of the Tudor Pictures plan to produce at least 10 mass-interest action pictures during 1957. The films are being financed by Moe Kerman. It is hoped that 1,500 to 2,000 theatres will con- tract in advance for the pictures at 25 per cent over the flat rental paid usually for similar product, it was pointed out. Bud- gets are planned at $125,000 per picture. William Nolte will be in charge on pro- duction and Paul Leslie Heil is the writer. Plans Talent Contest Mr. Braunagel said he plans in Arkan- sas a large scale talent contest, with the winner assured of $1,000 and an appear- ance in one of the films. He urged exhibi- tors in other states to make similar talent contest arrangements. Total registration at the convention reached 270 Wednesday including ex- hibitors, wives and equipment and re- freshment representatives. Theatre own- ers present were estimated to number ap- proximately 150. Entertainment highlights of the conven- tion include a “Western Night” sponsored by Pepsi-Cola, a cocktail party sponsored by National Carbon Co. and a concluding banquet sponsored by Coca Cola. " Commandments " Source Books Shown at USC HOLLYWOOD: An exhibit of source books used in the research for Cecil B. DeMille’s production of “The Ten Com- mandments” is now open to the public at the University of Southern California Library it is announced by USC. Titled “Books Make Pictures,” the display will show how books and libraries are used in the basic research necessary for making films like “The Ten Commandments” au- thentic in every detail, according to Dr. Lewis S. Stieg, University librarian. Ar- rangements were made by Dr. Albert S. Raubenheimer, USC educational vice- president, who first suggested having the exhibit, and Henry S. Noerdlinger, re- search consultant to DeMille. UA Field Men Hold Meeting The first field men’s convention in Unit- ed Artists’ history was held this week at the Warwick Hotel, New York. The meet- ing was to review every facet of the adver- tising, publicity and exploitation opera- tions and develop a comprehensive field promotion program for the coming year, according to the company. The sessions, bringing together 12 dis- trict exploitation men from major market areas in the United States and Canada, lasted three days and top-echelon execu- tives, department heads and staff person- nel participated in them. The permanent field men, operating un- der the supervision of Mori Krushen, ex- ploitation manager, include: Bernie Young, New York; Max Miller, Philadel- phia; Bill Shirley, Buffalo; Joe Mansfield, Boston; Bill Gandall, Pittsburgh; Howard Pearl, Detroit; Wally Heim, Chicago;. Ad- die Addison, New Orleans; Bill Prass, Den- ver; Bill Scholl, Los Angeles; Earl Keete, Seattle, and Archie Laurie, Toronto. The convention opened with a welcome luncheon and succeeding sessions com- bined addresses on various phases of the promotional operation with workshop forums involving the field men. Ohio Child Group Wants Rating System on Films COLUMBUS, OHIO: An appeal to Ohio newspapers to carry a rating system on films, indicating which are suitable for the whole family, will be made by the Ohio Child Conservation League in its current campaign to have producers make more family-type films. Mrs. Robert Caine, the- atre chairman of Worthington, said, “We are not hoping or asking for nothing but Walt Disney-type films. We do hope for more good movies that can be enjoyed by all ages.” In an interview in the Colum- bus Citizen, Mrs. Caine said parents and theatre owners agree there are not enough good films made during a year “to fill the needs of family movie demands — and of these, many good ones are given the wrong type of buildup.” The current campaign of the League was helped recently by the Independent Theatre Owners of Ohio in its resolution asking producers to make more family-type films. "Kin g" Opens Dec . 27 “The King and Four Queens,” Russ-Field- Gabco Productions’ Western drama star- ring Clark Gable and Eleanor Parker, will have its premiere performance December 21 at New York’s Mayfair theatre. The United Artists release was produced by Robert Waterfield and directed by Raoul Walsh. MOTION PICTURE HERALD, DECEMBER I, 1956 23 Optimism Marked Canadian Parleys . . . Four days of meetings held in Toronto by industry groups; name coordinator for Oscar contest, separate from U.S. plan by HARRY ALLEN, Jr. TORONTO: Optimism pervaded four days of industry meeting here. So strong was the optimism that one independent, Owen Bird of British Columbia, took exception to statements by important industry fig- ures predicting a radical reduction in the number of theatres. Mr. Bird, speaking at the National Com- mittee of Motion Picture Exhibitors As- sociations of Canada, said these gentlemen could speak for their own companies, but should not make blanket predictions that included the enterprises of others. Oscar Contest Set He admitted, “We’ve pretty well hit the bottom of business, and there is no direc- tion for us to go now — but up.” Indicative, however, of how the indus- try was continuing to work together was the decision during meetings of the Mo- tion Picture Industry Council of Canada to appoint H. C. D. Dick Main, Sutton West, Ont., exhibitor, coordinator of the coming year’s Oscar contest in Canada. This contest will be conducted indepen- dently of that in the U.S. Last year, sparked by Charles Chaplin, United Artists general manager in Can- ada, the contest included some 400 exhibi- tors. This year 1,000 exhibitors are ex- pected to pay one cent a seat toward par- ticipation in the contest. Mr. Main begins his work December 1. He will be paid and will open an office with paid assistants. The week of meet- ings began with the annual meeting of the Motion Picture Theatres Association of Ontario, at which the whole incumbent board of directors was returned, with Lionel Lester continuing as president. Others are: Russell Simpson, vice-presi- dent; Angus Jewell, secretary; and Jack Clark, treasurer. Arch H. Jolley remained as executive secretary. Plan Membership Drive Russell Simpson, head of the member- ship committee, reported there were 349 member theatres compared with 346 last year, although 31 had joined. The num- ber lost through closings was 24 and this year there was 108 independents com- pared with 117 last year. He said there would be a membership drive. The luncheon speaker of the MPTOA, was Martin Quigley, Jr., editorial director of the Quigley Publications. Mr. Quigley said there was no doubt that motion picture theatres were here to stay. He compared TV with other ap- pliances in the house. He spoke of the five great films that were currently on view that would gross more than any five pictures in the industry’s history. Asks More Production The meeting of the National Commit- tee of Canadian Exhibitors heard a com- plaint by Douglas Miller of Alberta of the complete absence of selling and exploita- tion ideas of the sort that used to accom- pany each picture from its distributor. Morris Stein, chairman, who was re- elected to his post, agreed. “We’ve got a lot of big advertising minds in our busi- ness but they can’t seem to get out of the old habits.” The motion was taken to the floor of the Motion Picture Industry Coun- cil of Canada, the next day. It was unanimously agreed at the meet- ing each exhibitor association across the country would approach its provincial government on the question of the amuse- ment tax. Toll TV was decided as no threat to the industry, so long as each ex- hibitor association did something now. The good feeling between distributors and exhibitors was commented upon at both the meetings of the exhibitors’ as- sociation and at the Motion Picture In- dustry Council of Canada. Harmony Is Cited J. Duane McKenzie, president of the Saskatchewan association, said that dis- tributor-exhibitor relations had improved greatly in his province and adjustments had been made in many cases. Morris Stein, eastern general manager of Famous Players Canadian, spoke also of the obvi- ous good feeling now predominant in the industry. His statement harkened back to last year’s meeting when exhibitors com- plained at the treatment received from distributors. Today the distributor is at- tempting to help the exhibitor, Mr. Stein said. The issue of drive-ins operating without charging admission was brought up dur- ing the meeting of the MPIC. Distribu- tors were asked to stop supplying film to the Circus drive-in, Winnipeg, operated by Max Schnier. The distributors said there was nothing they could do about refusing to supply film to Mr. Shnier. It was revealed that other drive-ins fol- lowed the Shnier lead, then none made any money. Mr. Shnier had made money on the operation of his snack bar. Exhibitors also asked distributors to have all film placed on nitrate, rather than acetate. Clare Appel, executive sec- retary of the Motion Picture Distributors Association of Canada, explained this was impossible as there were still some dis- tributors who had an investment in ace- tate film. Most of the majors had elimi- nated their stock of acetate, he said. On the social side, there were the Vari- ety Club elections of Tent No. 28, and the Pioneer of the Year Awards. Two new canvasmen were elected. They were Chet Friedman and Ralph Dale. Reelected were Herb Allen, George Altman, Clare Appel, Joe Bermack, Jack Fitzgibbons Jr., A1 Troyer, N. A. Taylor, Dan Krendel and Ernest Rawley. Five persons were also inducted into the club during the meetings. They were J. Duane McKenzie, Harry Hurwitz, Andy Rouse, Bob Stern and F. Gordon Spencer. Honor Oscar Hanson Oscar Hanson was presented at a ban- quet with the Pioneer of the Year Award, top honor of the Canadian Picture Pioneers. He was honored for his work with the Pioneers’ Benevolent Fund. Mr. Hanson is the only living founder of the Canadian Picture Pioneers. His award was presented by Premier Leslie Frost of Ontario. First member of a craft in the industry to be honored was James A. Whitebone, a projectionist of Saint John, who re- ceived an ancillary award. His award, presented by John J. Fitzgibbons, was ac- cepted by Gordon Spencer. The Winnipeg branch was given a spe- cial award for its contribution to the work of the Pioneers. Hye Swartz, president of the Winnipeg Branch received the award on behalf of the branch before the 400 persons of the industry who attended the dinner. Ritchey Plans Product Discussions in Europe Discussions on new Allied Artists prod- uct with distribution outlets in England and on the Continent, and a review of ex- panded European operations instituted early this year, will comprise the agenda of Norton V. Ritchey, president of Allied Artists International Corp., who left New York this week by air for London. In the British capital, Mr. Ritchey will confer with Macgregor Scott, general sales man- ager of Associated British Pathe, Allied Artists International distributor in Great Britain. He also will meet with Edwin J. Smith, International vice-president in charge of European operations, and C. George Dickinson, the company’s repre- sentative in Great Britain. Mr. Ritchey’s European itinerary includes stops in Paris; Frankfurt, Germany; Rome, Zurich, The Hague and Brussels. 24 MOTION PICTURE HERALD, DECEMBER I. 1956 % HOLLYWOOD SNEAK PREVIEW AUDIENCE REACTIONS THROUGH ON-THE-SPOT FILM COVERAGE! WE WANTED YOU TO SEE AND HEAR FOR YOURSELF THE ENTHUSIASM OF YOUNGSTERS AND ADULTS ALIKE //_/ branch manager to screen ASK YOUR Cf-t B RANCH fncino Theatre, California, November 9tht. this special film/ PS. ASK, TOO. WHEN •• WILL BE SNEAK-PREVIEWED ROCK, PRETTY BABY” IN YOUR EXCHANGE CITY! Hop es for Tax Cut Rise in Britain . . . Treasury Secretary reports to Commons that Chancellor of Exche- quer Macmillan has begun review of entire tax structure by PETER BURNUP LONDON : Hopes have suddenly been raised for a substantial remission in enter- tainment tax in all sections of the industry here. Answering a series of questions in the House of Commons, the Financial Sec- retary to the Treasury gave an express assurance that Chancellor of the Exche- quer Harold Macmillan’s promised review of the whole structure of the tax had al- ready begun. Weigh Effect on Closings The Financial Secretary stated also that the number of theatres already closed and those about to do so and the “connection between this and the incidence of the tax” was being taken into consideration in the review. Informed trade executives, however, at- tach equal importance to certain behind- the-scenes proceedings on what is known as the Films Committee of the Conserva- tive Party; i.e., the Government Party. Government whips — men charged with keeping Cabinet Ministers informed of what their supporters are feeling — at- tended a meeting of the committee and were then told emphatically that its mem- bers could not support a statutory Eady levy unless it were accompanied by an appropriate tax reduction. The intensive lobbying campaign by members of the Industry’s Tax Campaign appears now to be bearing fruit. An alli- ance between Tory M.P.’s who support tax reduction and Labour Members is re- garded as being in no way beyond the bounds of possibility. NATKE’s Sir Tom O’Brien — it’s his expressed belief that up to 1,000 theatres will be driven to close down failing tax remission — has been particularly industrious in pressing the trade’s claim on his brother Labourites. Meanwhile, the Industry’s parlous condi- tion was spectacularly highlighted by an unexpected announcement that the Rank Organisation will close down its Tower Cinema in the flourishing London work- ing-class suburb of Peckham. • The Motion Picture Association of America is the latest participant in the publicly conducted controversy over the British Film Producers Association’s re- fusal to permit American-producers of British films membership of the Associa- tion. In a 700-word press statement the MPAA says that Sir Henry French, direc- tor-general of the BFPA, has cleft the British film producing industry from top to bottom but MPAA companies and their numerous British associates are trying to close this breach. Under the heading “The Other BFPA” the statement gives the following facts: (1) MPA companies have distributed 24 per cent of all British first-features reg- istered since April 1, 1948. 49 of these were produced by the majority of the members of the BFPA itself. (2) Since 1948, MPA companies have spent more than £22 million on British films. (3) These films, distributed by MPA companies in the U.K. now earn 20 per cent of all rentals earned here by British films, and consequently receive 20 per cent of the Film Production Fund. (4) The MPA companies return 62 per cent of this to the British producers and co-producers whose films they distribute. “This, therefore,” continues the state- ment, “is where the MPA companies’ Brit- ish films come from, and where they go. It is not a matter of ‘films that the Amer- ican companies make here’ and hasn’t been for the past eight years. It is a vast, grow- ing and profitable partnership between British producers on the one hand and the production-distribution units of the MPA companies on the other, through which British producers utilise the resources and distribution facilities of the MPA compa- nies to put British films on the screens of the world, where they belong.” “But the director general of the BFPA,” concludes the statement, “continues to deny this important section of British film production a place in the organised film producing industry, that is, the BFPA. It is the MPA’s hope that the two BFPA’s can become one and that the organisation which claims to represent British film pro- ducers as a whole will, at long last, actual- ly do so, thus uniting the industry and making it strong.” SIR HENRY ANSWERS AD TAKEN BY WARWICK Meanwhile, the Warwick-BFPA contro- versy takes on daily a more embittered complexion. Sir Henry French has been moved to issue an exceedingly curt and acid retort to the advertisement which the Irving Alien-Cubby Broccoli firm took in trade sheets here to denounce their exclu- sion from the BFPA. Declaring that he is “not going to be drawn into an argument with the two American gentlemen,” Sir Henry proceeds as follows: “I did not say that Warwick was not a British company. Of course it is. But like many other companies it is American con- trolled. Nor did I say that films made by Warwick in this country are not legally British films. What the person who drafted the Warwick letter does not appear to know is that in France, Italy and else- where they are not regarded as British films and my letter was not concerned with legal technicalities in Britain but with facts, as I know them, about other countries. “One of these facts is that the numbers of licences available for British films have hitherto been fewer than they would have been because of the fear that a large pro- portion of films made by American con- trolled companies might be included as well as genuine British films.” Sir Henry French is accepted as a doughty and subtle controversialist. His exchanges with Warwick are known to be watched and carefully canvassed in Board of Trade enclaves which may well be not distasteful to Sir Henry. The leaders of his Association have long wanted to be ven- tilated in official circles the very matters which Irving Allen and Cubby Broccoli have now so eagerly brought forward to general attention. RANK'S U.S. SUBSIDIARY REVIEWS MPAA ROLE On his return from New York, Kenneth Hargreaves, president of the newly-form- ed Rank American Distribution subsidiary, stated that the possibility of his company joining the Motion Picture Association would come under review between now and his return to New York in January. Mr. Hargreaves stated that until he reached New York he had not appreciated that his company might be eligible for MPA membership. He added that during his American visit he had been greatly impressed by the measure of goodwill ex- tended to the Organisation. • Following J. Arthur Rank’s announce- ment that he will close 79 of the Group’s 550 cinemas comes news of the closing of nine Associated British Cinema houses. They include the Public Hall, Carlisle; Ritz, Erith; Coliseum, Liverpool; County, Lancaster; Picture House, Birmingham; Hippodrome, Nuneaton. ABC are expected to close another 20 houses in the near future. In the ten months up to October 31, 142 cinemas were closed in Great Britain. • The Essoldo Circuit has bought the 1,800-seater Garrick theatre, Southport, bringing the circuit to over 176 houses. At the company’s head office in Newcastle, it was stated that the theatre would continue to present live shows for the time being but it would be equipped to show films. Essoldo is the biggest independent cinema circuit operating in Britain. 26 MOTION PICTURE HERALD, DECEMBER I, 1956 Columbia Year Gross Ahead , Holders Told The gross income of Columbia Pictures and its subsidiary companies for the fiscal year ending June 30, 1957 “will be sub- stantially ahead of the previous 12-month volume of $91,145,571,” it was announced this week by Jack Cohn and A. Schneider, executive vice-president and first vice- president and treasurer, respectively. The Columbia executives, presiding over the company’s 33rd annual stockholder’s meeting in New York in the absence of Harry Cohn, president, said that in the 13-week period of the current fiscal year ended September 29, 1956, the company’s net profit was $843,000, or 71 cents per share. This compares with $899,000 and 77 cents per share earned in last year’s first fiscal quarter. Mr. Schneider said that the profit before income taxes during the 13-week 1956-57 first quarter was $2,003,000 in comparison to $1,763,000. Estimated Federal, state and foreign income taxes totaled $1,160,000 in comparison to $864,000. The earnings per share are based on the 1,095,411 shares outstanding as of September 29, 1956. At the same time Mr. Schneider re- vealed that Screen Gems, the wholly- owned subsidiary of Columbia Pictures, may acquire 52 more features from its parent company’s pre-1948 films for dis- tribution to television. Mr. Schneider added that the subsidiary released 104 Columbia features to TV in 1955 and a package of 52 so far this year. He added that the company’s pre-1948 film library still contains 686 features “suitable for television exhibition.” He said the library also has 304 post-1948 films. Columbia, said Mr. Schneider, has retained the services of H. M. Gartley & Associates, public relations agency, “to tell the Columbia story to the public and attempt to make the company more attractive to stock- holders.” At the stockholders meeting, the pre- sent board of directors was reelected. The board consists of Harry Cohn, Jack Cohn, N. B. Spingold, A. Montague, A. Schnei- der, L. M. Blancke, Donald S. Stralem, A. M. Sonnabend and Alfred Hart. The stockholders ratified a new contract with Mr. Schneider until 1962 and approved an option of 35,000 shares of stock to Mr. Schneider. German Heads Polio Drive W. J. German, of W. J. German, Inc., has been appointed chairman of the Mo- tion Pictures Division of the 1957 Nation- al Foundation for Infantile Paralysis campaign, it is announced by Harris A. Dunn, general chairman of the drive. New York Variety Club Elects Harold Klein International Variety Clubs will launch a three-month membership drive, begin- ning December 1, in honor of internation- al chief barker John H. Rowley, it is an- nounced by Harold J. Klein, chief barker of Variety Club Tent No. 35, New York. Mr. Klein was reelected chief barker of Tent No. 35 to serve for 1957. Other of- ficers elected for the coming year are Richard Brandt, first assistant; Larry Mor- ris, second assistant; William Bower, property master; Jack H. Hoffberg, dough guy; George Brandt, Charles Alicoate, Irv- ing Dollinger, Sherwin Kane, Martin Kornbluth, Jack Levin, Martin Levine, Ira Meinhardt, Charles Okun, David Picker, Harold Rinzler, Jack Rosen- feld, Burt Robbins, Ernest Sands, Cy Sey- mour, Robert Shapiro, Spyros S. Skouras, Charles Smakwitz, Morton Sunshine, Saul Trauner and George Waldman, canvas- men. David A. Levy and Morris Sanders are lifetime honorary canvasmen. "Hymn" Opens February 14 In Home Town of Hero The world premiere of Universal’s “Bat- tle Hymn,” starring Rock Hudson as Colonel Dean E. Hess, USAF, celebrated flying ace, will take place February 14 in Marietta, Ohio, birthplace of Colonel Hess, it has been announced by the company. Plans are now being made for the Gover- nor of Ohio, also a native of Marietta, to proclaim a statewide celebration the day of the opening. Among those scheduled to be present for the opening ceremonies are the Colonel and his family, Rock Hudson, Martha Hyer, producer Ross Hunter, the Governor of Ohio and a large contingent of Air Ferce officials from Washington. The premiere of the film will take place in all three theatres in Marietta — the Colony, Ohio and Putnam. Mexico-Hungary Film Pact Is Discussed MEXICO CITY: A cinematographic pact between Mexico and Hungary is in the making, according to trade figures here. Congressman Jorge Ferritis, chairman of the National Cinematographic Board, re- portedly has been talking with an un- named representative of the Hungarian film industry. The local trade under- stands that if the deal is consummated, it will be patterned after the Franco-Mexi- can co-production program. Davis RKO Art Head HOLLYWOOD: George Davis, president of the Society of Motion Picture Art Di- rectors, has been named head of the RKO Studio Art Department, it is announced by Raymond A. Klune, executive manager of studio operations. Legion Hits "Baby Doll " And Code The National Legion of Decency has placed the film, “Baby Doll,” in its C or condemned classification and also has at- tacked the picture as a violation of the Production Code. Immediately following the decision, Warner Bros., the film’s dis- tributor, and Elia Kazan, its producer-di- rector, issued statements in defense of the new motion picture. Statement by Legion In its statement, the Legion said, “The subject matter of this film is morally re- pellent both in theme and treatment. It dwells almost without variation or relief upon carnal suggestiveness in action, dia- logue and costuming. Its unmitigated em- phasis on lust and the various scenes of cruelty are degrading and corruptive. As such it is grievously offensive to Christian and traditional standards of morality and decency.” The Warner statement said, “Our agree- ment with Newton Productions called for the delivery to us of the motion picture, ‘Baby Doll,’ produced and directed by Elia Kazan, from an original screenplay by Tennessee Williams, respected and experi- enced craftsmen whose artistic talents and integrity are well known. “ ‘Baby Doll’ has been given the custom- ary Code Seal of Approval by the Motion Picture Association. It has been shown at special previews to leading creative talent of theatre and screen, to exhibitors and to representative members of the press and various organizations eliciting highly fa- vorable reaction. Expect Public Agreement “These advance comments acclaim ‘Baby Doll” as a motion picture which in story, direction and acting provides superior adult entertainment. We expect that the public will concur with these authoritative opinions.” The Legion also said the film “is an ob- vious violation of the spirit and purposes of the Motion Picture Code,” but never- theless bears its Seal of Approval. “The subject matter of the film indicates an open disregard of the Code by its admin- istrators,” the organization added. Taylor Mills, public information direc- tor for the MPAA in New York, issued the following statement on the Legion’s an- nouncement: “The Production Code Ad- ministration obviously feels that ‘Baby Doll’ meets the requirements of the Code or it would not have issued a seal to the picture.” Geoffrey Shurlock, Code Ad- ministrator on the coast, declined com- ment. MOTION PICTURE HERALD, DECEMBER I, 1956 27 Film Publicity and the National Magazines This graph, prepared by Life magazine, shows the number of editorial pages devoted to motion picture copy by the national magazines in the years from 1945 to 1955. According to the data, pages devoted to motion picture news in all the magazines hit a low point of 475 pages in 1950, about the time television was achieving full national growth. Since then, however, there has been a steady increase, including a sharp rise in 1954. The total for 1955 was almost 600 pages, more than the total in 1945. Kastner To Be Honored by ColumbiaDrive A new Columbia Pictures International sales drive honoring the international company’s president, Lacy W. Kastner, was announced last week. Called the “Lacy Kastner Leadership Drive,” the campaign will run from November 26, 1956, to May 25, 1957. The new competi- tion will be judged on a newly-instituted point system which awards a specific number of points for specific categories. Separate quotas will be set up for each territory as regards billings and numbers of playdates. Sub-branches which reach their quotas will also participate in the awards, it is announced. Commenting on the forthcoming drive, Columbia Pictures Corporation’s execu- tive vice-president Jack Cohn, in whose honor the last drive was conducted, urged the International sales organization to top last year’s record-smashing results. “From one associate to another,” he said in a message to the International organization, “I am sure that with honor to Mr. Kastner as your incentive, final results will show that ‘Foreign’ has once more turned in a great record!” Bulletins, standings and all other per- tinent news material on the sales drive will appear in a regular house organ which will be distributed regularly throughout the organization during the life of the campaign, which is the first international drive to honor Mr. Kastner. Cleveland Holiday Business Is Good CLEVELAND: Holiday business was good in the first run downtown theatres, opera- tors here report. Neighborhood theatre business was spotty, but business in the territory was excellent wherever the pro- gram included a top attraction such as “Love Me Tender” or “Friendly Persua- sion.” Heavy attendance was reported for “This Is Cinerama” at the Palace, “The Ten Commandments” at Loew’s Ohio, “Oklahoma!” at Loew’s Stillman, and “Giant,” in its third week at the Allen. Holiday evening business in the neighbor- hood houses was affected because of radio- TV announcements of heavy snowfall in the eastern part of the state in the Ashta- bula area with predictions of spreading into Cleveland. Roads were reported hazardous and the public was advised to stay at home. Skouras to Head March of Dimes Spyros P. Skouras, president of 20th Century-Fox, will serve as national chair- man of the Motion Picture and Theatre Industry Division of the 1957 March of Dimes, it was announced this week. Basil O’Connor, president of the National Foundation for Infantile Paralysis, de- scribed the appointment as “a major step forward towards what we of the March of Dimes hope and pray will be a deci- sive campaign to advance the protection of the people of this country now and henceforth against paralytic polio through the use of Salk vaccine and to extend the maximum benefit of our scientific knowl- edge to those who are stricken. To Fight Red Union Abroad The Hollywood AFL-Film Council re- cently announced a nationwide campaign to inform the American public that a number of motion pictures produced abroad by American interests or with American financing are employing Com- munist union members in preference to members of anti-Communist unions. The Council said that the titles of all such pic- tures made from now on will be widely publicized along with the names of the companies involved and the American in- terests therein. Special targets at the outset of the drive will be pictures made in Italy and France where there are competing groups of unions in the entertainment industry, one group part of the Communist Party’s ap- paratus, the other group being anti-Com- munist. The Free Trade Union Commit- tee of the AFL-CIO, which has been try- ing to help democratic unions in Europe, brought the situation to the Council’s at- tention. Glaubinger Named U.A . Manager in Buffalo Albert R. Glaubinger, sales manager for United Artists in Boston, has been elevated to the post of branch manager in Buffalo, it was announced by William J. Heineman, vice-president in charge of distribution. Mr. Glaubinger succeeds Stanley S. Kositsky, who has been named as branch manager in Philadelphia. 28 MOTION PICTURE HERALD, DECEMBER I, 1956 THIS WEEK in PRODUCTION . . . Started — 3 Allied Artists — Attack of the Crab Monster (Roger Corman Prod.). Columbia — The Brothers Rico (William Goetz Prod.). United Artists — Last Gun in Durango (Peerless Prod.). . . . Completed — 12 American International — Voodoo Woman (Carmel Prods.). Columbia — The Night the World Exploded; The Young Rebels; The Bewitched. Independent — West of Suez (Amalgamated Prod.); One Man's Secret (Amalgamated Prod.). RKO Radio — The Violators (Gallahad Prod.). United Artists — Jungle Heat (Bel-Air Prods.); Cross- Up (Security Pictures); The Trial of Benjie Galt (Grand Prod.). Warner Bros. — A Face in the Crowd (Newton Prods.); The Sleeping Prince (LOP Prods.). . . . Shooting — 28 Allied Art'sts — Daughter of Dr. Jekyll (Film Ven- turers, Inc.); Love in the Afternoon. Columbia — The Haunted; Garment Center; The Bridge on the River Kwai (Horizon-American); The Admirable Crichton (London Films); The Golden Virgin (Valiant Films). Independent — II Crido (Robert Alexander Prod.). Metro-Goldwyn-Moyer — Action of the Tiger (Blau- Meyer Prods.); This Could Be the Night; The Seventh Vow (CinemaScope); Gun Glory (Cinema- Scope, Metrocolor); Silk Stockings (CinemaScope, Metrocolor). Paramount — The Tin Star (VistaVision); The Joker (VistaVision). RKO Radio — Escapade in Japan (Color) 20th Century-Fox — Conquest (CinemaScope; DeLuxe Color); Oh, Men! Oh, Women! (CinemaScope, De- Luxe Color); Island in the Sun (Zanuck, Cinema- Scope, DeLuxe Color); Boy on a Dolphin (55mm, CinemaScope, Color); Heaven Knows, Mr. Allison (CinemaScope, DeLuxe Color). United Artists — The Sweet Smell of Success (Hecht- Hill-Lancaster Prod.). Universal-International — Joe Dakota (Color); The Man of a Thousand Faces (CinemaScope); Night Passage (Technirama). Warner Bros. — The Story of Mankind; Shoot-out at Medicine Bend; Lafayette Escadrille. HOLLYWOOD BUREAU The production prospect, which got to looking pretty rosy along about August with as many as 50 features in camera stage here or elsewhere under American auspices, has been graying off slowly in recent weeks without conspicuous cause. This week, for instance, the shooting total stands at 31, due to completion of 12 films last week, offset by only three starts. The happy advent of Thanksgiving pos- sibly accounts in part for the small num- ber of beginnings, and the imminence of Christmas and New Years may account for a further decrease in the production of major-schedule attractions. But if the total doesn’t skyrocket in January, as ap- pears probable, the fine momentum ac- J S. cene ALL-STATION SHOW ROUSES INTEREST Hollywood, Monday Esteemed Editor: Folks in show business around here still are talking about the world’s first all-sta- tion telecast conducted by a commercial sponsor, which occurred here and throughout Southern California on the night of November 10. On that night, from 11 o’clock to midnight, all 12 of the tele- vision stations that serve the six or seven million Californians resident in the lower half of this long state televised a Christ- mas Show sponsored by the Riviera Con- vertible Sofa Bed Company. The seven Los Angeles stations, the two San Diego stations on the south and the three in the Santa Barbara latitude on the north, carried to an uncounted listening audience a top-calibre program — Art Link- letter, emcee; Gene Nelson, Hildegarde, Weire Brothers, Paul Gilbert, David Rose and Orchestra, others of this stature — per- formed on the biggest stage in Columbia Broadcasting System’s great Television City. Several Reasons Cited The reasons why folks in show business around here still are talking about it are several, varying with the viewpoint of the individual doing the talking, and perhaps uppermost among them is the quality, the kind and the potentialities of the produc- tion. In point of quality, it was strictly network. In kind it followed the variety pattern, keeping the Christmas theme in touch but by-passing Santa Claus costum- ing, jingle bells, the usual trappings of a program built for children (which this one wasn’t) and pitching the material and the commercials at the mature consumer of grown-up merchandise. In potentiali- ties it was as many-sided as show busi- ness itself. The Riviera Convertible Sofa Bed quired in mid-Summer shall have been wasted. William Goetz Productions, releasing through Columbia, started “The Brothers Rico,” featuring Richard Conte and Diane Foster, with Lewis J. Rachmil as produc- er and with Phil Karlson directing. “The Attack of the Crab Monsters” is a Roger Corman production for Allied Art- ists, with Corman also directing the cast, which includes Richard Carlson, Pamela Duncan, Russell Johnson, Leslie Bradley, Mel Welles, Dick Cutting and Ed Melson. “The Last Gun in Durango,” starring George Montgomery, is a Peerless produc- tion, for United Artists release, produced by Robert E. Kent and directed by Sidney Salkow. Company, a two-year-old fast-growing concern, spent about $100,000 on the proj- ect, with the George Patton Agency han- dling the whole matter. About $75,000 of the $100,000 went for time and talent. The remaining $25,000 went for billboards, newspaper ads, television and radio spot announcements, and other promotion. The expenditure gave the Riviera Convertible Sofa Bed Company an absolute monopoly on the attention of everybody in Southern California, who turned on his television set and tuned in any channel on the dial during that hour. See Potentiality Most of the folks in show business around here are talking, of course, about the potentialities of the program within the television industry. Actors ponder on its effect on employment if the example is followed by other advertisers. Station staffs foresee both good and bad conse- quences, as possible emulation may affect them. Station managers, confronted with a dozen diversified considerations, are at sixes and sevens about it. Conceivably, it could alter materially the whole world of television, or it could run into Federal Communications Commission trouble and just fade away. But the motion picture exhibitors in the area regard the all-station telecast with kindly eye. They think it would be nice if more advertisers — even all advertisers — would follow the example of the Riviera Convertible Sofa Bed Company, especially if they would buy up those hours around 7, 8 and 9 P.M., when a potential theatre- goer, turning to his television log to see what he can find for free, now has a choice of as many productions as there are stations in his town (in Los Angeles, seven) . An Even Chance The exhibitors figure it is seven times as easy to drag a set-owner away from one program as it is from seven, and if all stations were offering the same program at the same time, the theatre box office would have an even chance of winning the typical citizen’s time. Although nobody expects this ideal state of affairs actually to come about, it’s a pleasant thought. And in view of the enormous sales response to the company’s telecast — so tremendous that the ocmpany is preparing to open two new stores in San Francisco, and will do an all-station telecast for northern California when they’re ready — the thing could happen. That would be, exhibitors say, the day. — William R. Weaver MOTION PICTURE HERALD, DECEMBER I, 1956 29 20 th CENTURY- FOX The Man In The Gray Flannel Suit I 1 Love Me Tender I now brings you I ITS CROWNING I ACHIEVEMENT I for selected engagements at Christmas 1956 and New Year’s 195 7. . . The latest and the greatest from 20th the productive company ! which brought you this year Carousel I he King and 1 1 Bus Stop I Oklahoma ! I INGRID BERGMAN YUL BRYNNER HELEN HAYES PRODUCED BY DIRECTED BY SCREENPLAY BY BUDDY ADLER • ANATOLE LITVAK • ARTHUR LAURENTS THE WINNERS CIRCLE Pictures which were reported as doing above average business in key theatres of the cities of the nation for the week ending November 24 were: Film Leaders At Services For Sears Many prominent industry members at- tended funeral services in New Rochelle for Gradwell L. Sears, former president of United Artists, who died Thanksgiving Day at his home in Har- rison, N. Y. Mr. Sears headed United Artists from 1946 to 1950, and at the time of his death was a vice-pres- ident of the corpora- tion. Mr. Sears began his career in the industry as salesman for the World Film Company in New York, after which he was asso- ciated with various distributing com- panies. In 1920 he joined First National Pictures and was southern and western division sales manager for Warner Broth- ers from 1931 to 1937. He was a vice- president of Vitagraph (Warner) from 1935, and general sales manager from 1937 to 1941, and president of Vitagraph from 1938. He joined United Artists in 1941 and was elected to the board of directors of the company in 1944. He had been with the film industry actually since his school days in Hannibal, Mo. where he was born in 1897. There he worked as a film projectionist while attending high school. Later he studied for a year at the University of Missouri, worked briefly for the Wells Fargo Ex- press Company, then saw active service in France as a first lieutenant in the Army in World War I. A member of the Westchester Country Club and the Philadelphia Gun Club, he had won many prizes in trap and skeet shooting. He was also a member of the Motion Picture Pioneers Club. Mr. Sears is survived by his widow, a son, a daugh- ter, his mother, a half-brother, and six grandchildren. Larry Golob Dies at 52 Larry Golob, 52, national publicity di- rector of Warner Bros. Pictures, Inc., died in New York November 25. He died in his sleep. He joined First National Pic- tures in 1923, at the age of 19. When that company merged with Warner Brothers, Mr. Golob joined the latter company Albany: Giant (W.B.). Atlanta: Giant (W.B.); Love Me Tender (20th-Fox); The Opposite Sex (MGM); You Can’t Run Away From It (Col.). Boston: Curucu and The Mole People (Univ.) (double bill); Giant (W.B.) third week: Oklahoma! (Magna) 10th week; Rififi (UMPO) 2nd week; Richard III (Lo- pert) 2nd week. Buffalo: Friendly Persuasion (A. A.) 2nd week; Giant (W.B.) 3rd week; Love Me Tender (20th-Fox); The Opposite Sex (MGM); War and Peace (Para.) 4th week. Chicago: Attack (U.A.); Bullfight (Janus) 4th week; Cha-Cha-Cha Boom! (Col.) 2nd week; Friendly Persuasion (A. A.) 5th week; Giant (W.B.) 5th week; Love Me Tender (20th-Fox); Secrets of Life (B.V.) 3rd week; The Sharkfighters (U.A.); The Teahouse of the August Moon (MGM). Cleveland: Giant (W.B.) 3rd week; Okla- homa! (20th-Fox) 3rd week; The Opposite Sex (MGM); The Ten Commandments (Para.) 2nd week. Columbus: Giant (W.B.); You Can’t Run Away From It (Col.). Denver: Friendly Persuasion (A. A.); Giant (W.B.) 2nd week; Oklahoma! (Magna) 5th week; Secrets of Life (B.V.) 2nd week; War and Peace (Par.) 4th week. Des Moines: Giant (W.B.) 2nd week; Love Me Tender (20th-Fox); Oklahoma! (Mag- na). Detroit: Giant (W.B.) 3rd week; The Oppo- site Sex (MGM); You Can’t Run Away From It (Col.). Hartford: Friendly Persuasion (A. A.); Giant (W.B.) 2nd week; Love Me Tender (20th- Fox); Lust for Life (MGM); Reprisal! (Col.); Rififi (UMPO); Secrets of Life (B.V.). Indianapolis: Friendly Persuasion (A. A.) 2nd week; Giant (W.B.) 2nd week; Love Me Tender (20th-Fox); Oklahoma! (Magna) 13th week; The Opposite Sex (MGM). Jacksonville: Everything But the Truth (Univ.); Friendly Persuasion (A. A.) 2nd week; Love Me Tender (20th-Fox); The Sharkfighters (U.A.). Kansas City: Giant (W.B.) 3rd week; Julie (MGM) 2nd week; 1984 (Col.) 2nd week; Oklahoma! (Magna) 6th week; Secrets of Life (B.V.) 2nd week. where he worked for 28 years as succes- sively, director of fan magazine publicity, director of field exploitation, eastern pub- licity director and, recently, national pub- licity director. Surviving are his widow, Henrietta; his mother, Fannie, both of New York City, and a sister, Rose Golob, of Washington, D.C. Harry N. Stone TACOMA, WASH.: Harry N. Stone, man- ager of John Hamrick’s Temple theatre and for many years a familiar figure in the theatre business here, died Novem- ber 13 at his home. In 1928, after several years doing contract work for local thea- Memphis: Giant (W.B.); Love Me Tender (20th-Fox); Teenage Rebel (20th-Fox). Milwaukee: Giant (W.B.) 2nd week; Julie (MGM). Minneapolis: Giant (W.B.) 2nd week; Lust for Life (MGM); Runaway Daughters (AIP) and Shake, Rattle and Rock (AIP). New Orleans: Giant (W.B.) 3rd week; Huk (U.A.); Oklahoma! (Magna); The Opposite Sex (MGM); You Can’t Run Away From It (Col.). Oklahoma City: Friendly Persuasion (A. A.); Giant (W.B.) 2nd week; Love Me Tender (20th-Foxj; Oklahoma! (Magna) 15th week; Teenage Rebel (20th-Fox) 2nd week. Philadelphia: Between Heaven and Hell (20th-Fox); Giant (W.B.); The Opposite Sex (MGM) 2nd week. Pittsburgh: Fantasia (B.V.) (Reissue); Friendly Persuasion (A.A.) 2nd week; Giant (W.B.) 3rd week; Love Me Tender (20th-Fox); Samurai (Fine Arts); Wages of Fear (DCA) 2nd week. Portland: Friendly Persuasion (A.A.); The Girl He Left Behind (W.B.); Giant (W.B.); Oklahoma! (Magna) 2nd week; War and Peace (Par.) 4th week. Providence: Giant (W.B.); Runaway Daugh- ters (AIP) and Shake, Rattle and Rock (AIP). San Francisco: Friendly Persuasion (A.A.) 3rd week; Giant (W.B.) 3rd week; Love Me Tender (20th-Fox) ; The Opposite Sex (MGM) 2nd week; You Can’t Run Away From It (Col.). Toronto: Lust for Life ((MGM) 3rd week; Oklahoma! (Magna) 31st week; The Oppo- site Sex (MGM); The Ten Commandments (Par.). Vancouver: The Bad Seed (W.B.) 2nd week; Giant (W.B.); The Gold Rush (U.A.) (Re- issue). Washington: Fantasia (B.V.) (Reissue); Friendly Persuasion (A.A.) 2nd week; Giant (W.B.) 3rd week; Oklahoma! (Magna) 3rd week; The Opposite Sex (MGM); The Power and the Prize (MGM); Secrets of Life (B.V.) 2nd week; The Sharkfighters (U.A.); The Solid Gold Cadillac (Col.) 6th week. tres, he became district manager for Fox Intermountain theatres. Later he moved to California and the employ of National Screen Service Corporation, most recently in the Los Angeles branch. John Howard Grainger NEW ORLEANS: John Howard Grainger, 56, assistant manager for Columbia Pic- tures here since 1944, died November 21 at Baptist Hospital following several years of poor health. He had been in the busi- ness since 1920, and served with the old Goldwyn company, Metro-Goldwyn- Mayer and Monogram Southern Exchange, all in New Orleans. 32 MOTION PICTURE HERALD, DECEMBER I. 1956 Says Showmen Interested in Story Content HOLLYWOOD : Completion of a personal poll of exhibitors by James H. Nicholson, president of both Sunset Productions and American International Pictures, reveals a significant departure from the long-es- tablished booker’s query of “Who’s In It?” 2 to “What’s It About?” and “Let’s see the pressbook and ads.’’ Mr. Nicholson, meeting with circuit heads and independent exhibitors on a } recent eastern trip, reports that exhibitors told him they were less interested in es- tablshed star names than in the story con- tent and the exploitability of the product with which they must woo the audience in in these days of intense competition for exploitable product. “The modern exhibitor is no longer im- pressed by promises,” Mr. Nicholson said, “He likes proofs, particularly ad proofs, so he can gauge the possibilities on the basis of his audience experience. He wants to have the selling angles pin-pointed. He insists on knowing the story angles. He asks for the selling tools and buys pictures because of the ads. If the ads have sell- ability and the picture has unusual ingre- dients, he’ll set a date fast.” “The star system isn’t dead,” he con- tinued. “It is just very sick. This does not minimize the importance of good actors. It only means that the public now buys on a combination of factors instead of on basis of affections for a star.” Ontario MPTA Opposed To Toll Television TORONTO: Exception to toll TV in Canada was taken by the Motion Picture J Theatres Association of Ontario in a letter to R. M. Fowler, chairman of the Royal Commission on Broadcasting. The asso- ciation, of which Famous Player Canadian Corporation is a member, followed the lead set earlier by the Theatre Owners’ Association of Quebec. Famous Players, which has the Telemeter franchise, sup- ported toll TV before the Royal Commis- sion. Among the points of exception list- ed: toll TV will provide little opportunity for Canadian talent; it will concentrate feature exhibition in a few hands; it will eliminate service to minority audiences; because of toll TV’s failure to make head- way in the United States, Canada will be the ground of demonstration for the dollar potential; it will “destroy the relationship between talent and audience” by eliminat- ing studio guests. There is a lack of de- mand for toll TV, cites the sixth objection. And lastly, toll TV would eventually ac- cept advertising and thus affect the CBC and other non-fee operations adversely, it was indicated. United Artists Circuit Reelects George Skouras BALTIMORE: George P. Skouras was relected president of United Artists Thea- tre Circuit at an abbreviated stockholders meeting here this week. All the board of directors and other officers of the com- pany were reelected during the short ses- sion. Questioned regarding a proposal put forth early last summer for the consoli- dation of the circuit with other theatre in- terests, Mr. Skouras declared there was “nothing new” but that plans are still pending. Last July it was announced that the circuit and Skouras Theatres, headed by Spyros S. Skouras, were discussing plans to merge their theatre and industry affiliations. Rowley United Theatres of Texas was also reported involved in the merger plans, which, if materialized, would create a single operation to- talling close to 400 theatres. United Art- ists Theatres Circuit currently operates 20 theatres; Skouras, 41 theatres; Rowley, 47, and the other interests reported in the proposal, Randforce, 31 theatres; Metro- politan, five; United California, 95, and Prudential, 55. “A committee is engaged with research into the details,” a spokes- man for the stockholders announced after the meeting. Mr. Skouras mentioned no date for future announcements about the merger plans, he said. Cites Advantages of Technirama Process “A splendid future” is foreseen for Technirama, new Technicolor wide-screen process, by Marcello Girosi, executive pro- ducer of Titanus Films’ “The Monte Carlo Story,” which United Artists will release here in 1957. Marlene Dietrich and Vit- torio De Sica star. Mr. Girosi describes the new process, which employs film trav- eling horizontally through the camera as “two-fold in its benefits.” The first of these, he said is “the wonderful detail, the superb focus, which catches natural beauties, and details as much as a thou- sand feet away.” The second, he added, was “the possibility of printing in any format required, such as CinemaScope, VistaVision, regular 35mm etc.” He also told a trade press conference at Hamp- shire House in New York last week that the process is being studied currently by several American producers with a view to its use in the near future. Longview, Wash . Repeals Theatre Admissions Tax LONGVIEW, WASH.: The five per cent tax on theatre admissions has been re- pealed by the City Council h^re. The move is expected to cost the city $7,000 per year in revenues. Longview’s four theatres, all owned by Sperling Theatres of Seattle, had made repeated requests for tax relief to offset declining attendance at the re- spective houses. ABC , Warner In Studio Deal BURBANK, CALIF: Leonard Goldenson, president of American Broadcasting- Paramount Theatres, and Jack L. War- ner, president of Warner Bros. Pictures, Inc., have announced that arrangements have been concluded whereby the full fa- cilities of Warner Bros. Studios will be made available to producers of filmed pro- grams for the ABC Television network. New cutting rooms, offices and projection rooms will be constructed to accommodate the production of the television programs, it was announced. Mr. Goldenson further stated that ABC- TV live programs will continue to ema- nate from the ABC-TV Center in Holly- wood, which will remain the site of the company’s west coast main offices. The newly-consummated deal is expected to bring many of ABC’s independently pro- duced programs to the Warner Studios for filming, according to Mr. Goldenson and Mr. Warner. The deal with ABC is on a non-exclusive basis permitting filming by Warner Bros, as producers for other networks and sponsors. Mr. Warner also announced that in line with the stepped-up television activity on the Warner lot, Warners have completed arrangements to produce an ad- ditional weekly one-hour show, plus two half-hour shows for ABC presentation. The hour-long show is planned as a new- type Western, while the half-hour shows will be a mystery story and an adventure drama. The new Warner shows will be produced under the supervision of Robert Lewine, ABC’s vice-president in charge of programming, and William T. Orr, ex- ecutive producer of the “Cheyenne” and “Conflict” dramas for ABC. Illinois Variety Club Elects New Officers The following officers and crew for 1957 were elected by members of Variety Club of Illinois Tent 26, at their annual meeting last week: Louis Reinheimer, chief barker; Nat Nathanson, first assist- ant chief barker; Harry Balaban, dough boy Sam Levinsohn, properly master; Jack Kirsch, international canvasman. Canvasmen elected include: Robert Cohn, Charles Cooper, E. L. Goldberg, Jack Rose, Ralph Smitha and David Wal- lerstein. Five past chief barkers who will automatically serve with the crew are: Joseph Berenson, John J. Jones, Jack Kirsch, Irving Mack and Manuel Smer- ling. Elected as delegates and alternates to the 1957 Variety International Conven- ion in New Orleans in April are: dele- gates: Jack Kirsch and Louis Reinheim- er; Alternates: Sam Levinsohn, Irving Mack, Dick Sachsel and Mayer Stern. All officers are elected for a twelve- month period. MOTION PICTURE HERALD, DECEMBER 8, 1956 33 WITH PARAM THE STORY... ...a giant adventure of the Southwest’s most exciting days... I THE STARS... a ...timely in marquee value, * great in colorful performances . . . SION • BAXTER GILBERT C0- starring TOM ROLAND • TRYON ■ Albany “Love Me Tender’’ was previewed in the 20th-Fox offices for disc jockeys, rec- ord dealers and others, prior to the Palace opening. . . . John Billia took over and relighted the Orvis in Massena, which Joseph C. Agresta had closed some months ago. Billia leased the Palace in Fort Cov- ington to projectionist Kenneth Therrien. . . . Attorney Lewis A. Sumberg, a Vari- ety Cub crewman, was chairman at a mee+ing to launch the Big Brother part of the Denial Drive for Camp Thacher. Public collections will be made in Janu- ary. This is Tent 9’s 14th annual money- raising campaign for the boys’ camp. . . . Erly Realty Development, Inc., in which Donald L. Lynch, county clerk, and Julian B. Erway, former district attorney, are associates, submitted an application to Mayor Erastus Corning for an indoor-out- door theatre project on business-zoned land near an entrance to the Thruway and in the neighborhood of a motel which Neil Heilman, veteran drive-in operator, is building. Atlanta Mr. and Mrs. Bernie Shapiro, owners of the Southern Poster and Printing Co., left Atlanta for Chicago and then went to Hol- lywood on a pleasure trip. . . . R. V. Gra- ber, Allied Artists special representative, has returned to New York after spending several weeks in the local office. . . . The City Commission of Anniston, Ala., has adopted an ordinance reducing the 10 per cent municipal tax on motion picture theatres to five per cent. The new legisla- tion continues the 10 per cent tax on sport attractions and visiting shows. . . . Two Wilby-Kincey theatre managers in Birm- ingham, Ala., are being promoted effective Jan. 1. Norris Hadaway, manager of the Alabama theatre, will come to Atlanta as district manager for Alabama, Georgia and Tennessee, and also to be assistant to James Harrison. William Coury will take over manager theatres in Columbus, Ga. . . . B. J. Henn has reopened his Henn theatre, Andrews, N. C. Charles Iverton was appointed manager. . . . Tom Lucy, Exhibitor Service Co., has taken over the buying and booking for the Belmont Hill, Smyrna, Ga. . . . Herman Rhodes is back in Atlanta after visiting his drive-ins in Columbus and Montgomery. Boston A1 Glaubinger, former sales manager at UA, has been promoted to branch mana- ger in the Albany and Buffalo branches with headquarters in Buffalo. ... A daughter to Mr. and Mrs. William Rose at the Barton, Vermont Hospital. The parents operate the Starlite drive-in, Or- ford, N. H. . . . Don McNally has closed his conventional house, the Memorial theatre, Barton, Vt. . . . Henry Stone of Manchester, N. H., has purchased the property housing the Opera House, Sun- cook, N. H. It is rumored that he will re- open the theatre and operate it. . . . Irving .“Mac” Farber has closed the Church St., Boston, office of Royal Pic- tures Corp. He has not announced fur- ther plans. . . . Beacon Hill theatre is playing the French version of “Rififi” after beginning the engagement with the dubbed version. ... A fourth child was born to the wife of Abraham Grabose, owner of the York theatre, Athol, Mass. . . . Norman Glassman put on a party at his Rialto, Lowell, Mass., for the Disabled Veterans of America — 1,100 children at- tended. ... A bomb scare emptied the Palace theatre, Cranston, R. I., of 200 pa- trons. . . . The Colonial theatre, Haver- hill, sold two weeks ago by the New Eng- land Theatres, Inc., will be operated by the Haverhill Operating Co., who also operate the Paramount, same city. Frank Colburn, manager at the Paramount, will supervise the Colonial. Buffalo The 11 new directors of Tent 7, Variety Club of Buffalo, will meet sometime be- fore the first of the new year to select officers for 1957. Here are the new direc- tors selected at the recent election: V. Spencer Balser, Harold Bennett, Ike Er- lichman, Samuel Geffen, Myron Gross, Marvin Jacobs, George H. Mackenna, Charles B. Kosco, Francis Maxwell, Jack Mundstuk and Murray Whiteman. . . . Robert T. Murphy, manager of the Cen- tury theatre, announces that “War and Peace” has been selected by the Buffalo Scholastic Legion of Decency to receive the organization’s film citation award. . . . Edward F. Meade, manager, Shea’s Buf- falo, announces the start of the sale of gift books of theatre tickets in all the Shea theatres here and in Niagara Falls. . . . Shea’s North Park is showing a series of “art” films every Friday night. Thea- tre supervisor Carl J. Rindcen is selling block tickets for the series of four per- formances and these are obtainable at all Shea box offices. Charlotte Charlie Trexler is the new chief barker of the Charlotte Variety Club. Ray Ervi is the first assistant; Ho Hi Holston, sec- ond assistant; Bob Simril, property mas- ter, and John Vickers, Sr., dough guy. . . . Republic manager Cy Dillon just returned from a trip to Florida. . . . Scott Lett, Howco sales manager, made a swing through southern exchanges. . . . Phil Con- way, Buena Vista exploitation man, came here to plant publicity material on new Disney releases with Charlotte newspa- pers. . . . Frank Beddingfield, of Consoli- dated Theatres, announced plans for building a new drive-in on the Monroe Rd., about seven miles from the center of the city. However, plans to build are pending, dependent upon the approval of the zoning commission. Chicago Between the Thanksgiving holiday and a series of new films in Loop houses, the- atre business took a noticeable turn for the better. “Love Me Tender” had a big opening at the Oriental. “The Teahouse of the August Moon” opened very strong at the Woods. “Attack” did $10,000 at its opening at the State Lake theatre on Thanksgiving Day. . . . Edward H. Seguin has been appointed director of advertising and publicity for Balaban & Katz thea- tres. Seguin has been with the organiza- tion for more than 20 years. . . . The Vari- ety Club of Illinois has announced that a Xmas party for children of members will be held in the clubrooms in the Congress Hotel, Saturday afternoon, December 22. Chief barker Jack Kirsch has appointed William Margolis and Dick Sachsel co- chairmen in charge of arrangements. . . . Ray Thompson, manager of the Chicago theatre, is vacationing in Florida. . . . The Villa theatre, operated by Henry Eiren- berg as a Spanish theatre, has been com- pletely remodeled inside and out. . . . American-International Pictures held a meeting of its midwest franchise holders in the Conrad Hilton Hotel, November 29- 30. . . . “Doc” Banford is still in the hospi- tal following surgery six weeks ago, but he is recovering rapidly now and hopes to be up and about soon. . . . Peggy Gates of MGM was married November 24 to Charles Jones, a member of the Chicago police force. Cleveland Downtown holiday business was gen- erally very good and better than last Thanksgiving Day business in spite of radio and TV warnings that the crippling snowstorm of the northeast part of the state was moving to Cleveland. Neighbor- hood business was reported spotty, de- pending upon the picture shown. And in towns west of Cleveland where there was no storm threat, business generally was reportedly good. . . . Most Greater Cleve- land subrun houses have boosted admis- sions 10 cents to a 70 cent top from 60 cents, and to a 60 cent top from 50 cents. . . . The Salesmen’s Club of Cleveland an- nounces a pre-Christmas party to be held December 15 with an 8:30 P.M. screening in the 20th-Fox screening room, followed by a late dinner at Harvey’s Barbecue. In charge of arrangements are club president Aaron Wayne, Irwin Marcus of NSS and Jim Levitt of U-I. . . . Cleveland Motion Picture Exhibitors Association announced a general meeting to be held January 8 for election of officers. Henry Greenber- ger of Community Circuit has been presi- dent for two years. . . . Mrs. Elizabeth Reiff, mother of Howard Reiff, one of the owners of Modern Theatre Circuit, will celebrate her 90th birthday December 4 at her winter home, 9116 Carlisle Ave., Mi- ami Beach, Fla. Flying down for the ( Continued on page 38) 36 MOTION PICTURE HERALD, DECEMBER I. 1956 Ecos^w> office appeal etermine *oX' 0f the . B it into the top ,y boohing ^ 3utterfield CirCU «iChiGA» i „ KALAMAZOO, THE STATE in T^ndous Crowds Brought Ke cord Bus me - TNr THE CAIHE HUTU** • TOPPING THh been boo.ed !*• «“9* IHE silent weed *as Butterf.ie^ houses: ^ IEHEEE - sa|i"“'“ creeli MICHIGAN -Battle PALr:>'LM-EansinS GL“EY _E°rt Huron ISSS-— PLUS SUBJECTi. •XHB KESULli thb_.bbbect_i ( Continued from page 36) event will be Howard and her son-in-law and daughter. Mr. and Mrs. Jim Watson. . . . Mrs. Tillie Kaplan, 75, mother of Bet- ty Kaplan, secretary to MGM branch man- ager Jack Sogg, died this week after a month’s illness. Columbus The Ohio Federation of Child Conser- vation Leagues has begun an active cam- paign for more family movies. The pro- ject is spreading throughout the state. . . . Donald Hooten, manager of RKO Grand, has inaugurated a series of Saturday morning cartoon shows with five cartoons per show. . . . Manager Robert Sokol of Loew’s Broad reported good business for the Tom and Jerry cartoon shows held Friday and Saturday morning during the Thanksgiving holidays. . . . Special stu- dents’ price was in effect for the showing of MGM’s “Lust for Life” at Loew’s Ohio. . . . Clyde Moore, theatre editor of the Ohio State Journal, is recuperating fol- lowing a week’s hospitalization with a back ailment. . . . “Giant” proved such a strong attraction in its first week at RKO Palace that manager Ed McGlone held the Warner Brothers’ attraction for a second week. Des Moines Numbers of Film Rowers have been at- tending Iowa football games this fall at Iowa City and are now making plans to attend the Rose Bowl game January 1. . . . Evelyn Tellis of Universal is back at the office following an illness. ... It took two screening rooms to hold the exhibitors who came to see Dave Gold’s advance showing of “Love Me Tender.” . . . Chuck lies, Variety’s assistant chief barker, has taken over the club duties of Frank Rubel during Rubel’s absence. Rubel is vaca- tioning in Florida. With his customary perception, Frank chose the beginning of real winter in Iowa to leave the place. . . . Dorothy Pobst has announced the date for the WOMPI Christmas party — December 12 — at the Polk Federal Savings & Loan banquet room. . . . Joleen Ingram of Para- mount was absent from her desk during the week because of illness. . . . The Iowa theatre at Buffalo Center has been closed by Charles Recker, who operated the house for the last 25 years. Recker said lack of patronage and support has made it impossible for him to continue in the theatre business. . . . Stock sale in Greater Marcus, Inc., which operates the Marland theatre in Marcus, was a great success — the issue was oversubscribed by almost $500. The theatre equipment is now said to be debt free. Detroit Opening of “The Ten Commandments” at the Madison was attended by Charlton Heston and son Fraser. . . . Helping to improve one of Detroit’s blighted down- town streets, Saul Korman’s National theatre has been refurbished and will carry first run features. . . . “Fantasia” will re-run at the Krim with four-track sound as in the original presentation. . . . Mr. and Mrs. James Koslow have added a Cinemascope screen to their Petoskey Northland drive-in. . . . Impending family life will take Thelma Korts from Para- mount after 11 years. . . . The Star in Brooklyn is being operated by Richard Spangle. . . . Republic salesman Bert Holmes has been in Art Centre Hospital following an operation. . . . Another con- valescent is Rex Kinnie, of Whitmore Lake. . . . William Green, Cinerama, is reported doing better at New Grace Hos- pital. Hartford Erwin Neumann’s plans to build an outdoor theatre at Dayville, eastern Con- necticut community, continue to hit oppo- sition. Latest development finds a group of objecting Dayville residents filing a protest with the State Police Commis- sioner at Hartford. . . . Upswing in re- gional theatre business has apparently en- couraged two independent operators to resume performances in several houses. The Carberry, Bristol, Conn., has been re- opened by Joseph Faith, while Edward Berube has reopened his Strand, Willi- mantlc, Conn. Both theatres are on a subsequent run policy. . . . Two small- town situations, the Rialto, Winsor Locks, and the Colonial, Southington, both in Connecticut, are now screening three ma- jor attractions on Sunday matinees. The move is first of its kind in this exchange territory. . . . Irving Mendelsohn, UA Connecticut manager, and Mrs. Mendel- sohn are marking their 25th wedding anniversary. . . . Margaret McKinnon, sec- retary to Henry Germaine, Paramount manager, has returned to her desk after a two-month illness. Indianapolis Thanksgiving helped first run theatres here to the best all-around week they’ve had this fall. “Giant” is still big in its sec- ond week at the Indiana and the Circle is doing a great business with “Love Me Tender” at regular prices. . . . Dale Mc- Farland, general manager of Greater Indianapolis, and Fred Waring, who is playing the Circle Friday night, both celebrate their wedding anniversaries Dec. 2 but will preview the event while Waring is in town. Waring was married in Indianapolis on his last visit here. . . . A1 Hendricks, manager of the Indiana, was called to Amarillo, Texas, last week by the death of his father there. . . . Bill Coxer, assistant manager of Loew’s, is vacationing in Dayton, his home town . . . Dr. Marvin Sandorf, owner of the Twin drive-ins, became the father of twin boys Nov. 18. . . . Roy Kalver, Hugh McLach- lan, Trueman Remhusch and Wm. A. Car- roll were representing Indiana exhibitors at the National Allied convention this week in Dallas. Jacksonville “Love Me Tender” smashed all local box office records during its first few days at the Florida theatre. . . . Tim Crawford closed the Arcade theatre for three days while hundreds of Hot Point dealers in the Southeast used it for an annual sales meeting and stage show. . . . Jim Carey, manager of Loew’s Normandy, began the pre-Christmas sale of gift ticket books to drive-in theatre patrons. . . . Joe Gatrell, manager, Colony, Winter Park, was on crutches temporarily following successful leg surgery. . . . Lorraine Jackson, former manager of the Victoria theatre, New Smyrna Beach, has shifted to the Beach- am theatre, Orlando. . . . Show people from all parts of Florida attended funeral services in Daytona Beach on November 25 for James L. Cartwright, 51, senior supervisor for Florida State Theatres, who died of a heart attack in a Daytona Beach hospital November 23. Kansas City Dates for the Kansas-Missouri Allied Theatre Owners convention have been set for Jan. 29-30 at the Hotel Phillips in Kansas City, Mo. . . . Val and Bud Mercier plan to build a drive-in near Ste. Gene- vieve, Mo., where the town’s only theatre recently closed. Val Mercier operates the Mercier theatre in Perryville, Mo., and the Hilltop drive-in at St. Mary’s, Mo., and his brother operates the Mercier at Fredrick- town, Mo. . . . The Paola theatre, Paola, Kans., reopened after remodeling. ... It is reported that the Gypsum theatre at Gypsum, Kans, is to be reopened by Clem- ent Anderes of Elmo, Kans., for three- shows-a-week operation. . . . Lyric thea- tre at Boonville, Mo., will be 100 years old in 1957. A new sign for the front in- cludes the name, Thespian Hall, the orig- inal title of the theatre, which served as a hospital during the Civil War. Clyde Patton is manager. Los Angeles Herb Jack, seating equipment vendor, and Bundy Smith, theatre supply repre- sentative, have both moved their offices to 1977 South Vermont Ave. . . . Manny Feldstein of the Dietrich-Feldstein Thea- tres, was back from a trip to Manhattan. . . . Representatives from this area to the Colosseum of Motion Picture Salesmen’s national convention in St. Louis were Wayne Bateman, U.I.; Jerry Persell, Kranz-Levin.; Jules Gerelick, U.I., and Jules Needleman, Columbia. . . . Kranz- Levin Pictures have sold their exchange here to D.C.A., which assumed control Nov. 19. . . . Over 950 persons on Film Row received free chest x-rays from the L.A. Tuberculosis Mobile Unit which was stationed on the Row from Nov. 19 through the 21. Project was sponsored by the Film Row Club. . . . Burglars broke into the Metropolitan Theatres office and made off with quite a bit of money from the safe. The thieves then proceeded to the Pacific drive-in headquarters across the street and robbed that office as well. . . . Booking and buying on the Row were Ernest Martini, Bakersfield; Joe Marko- witz, Encinitas; Bill Alford, Palm Springs, and Joe Hernandez, Guadalupe. Memphis Police reported thieves stole a large number of speakers and light bulbs from the 61 drive-in at Memphis. Theft was reported by manager James E. Shane. . . . Scott Lett, southern manager, Howco, was a Memphis visitor. . . . W. D. Mitchell bought the Bailey theatre at Cabot, Ark., from J. C. Speer. . . . Louie and Henry Haven, brothers, who operate theatres at Forrest City, Wynne, Brinkley and Mari- anna, Ark., were in Memphis on business. . . . W. F. Ruffin, Jr., Ruffin Amusements ( Continued on page 40) 38 MOTION PICTURE HERALD, DECEMBER I. 195* ] ONLY till MATURE DAYS [iwu/ carrying the torch for EKBERG! A WARWICK PRODUCTION Roserve It Now for New Year’s Eve... GnemaScoP^ COLOR BY TECHNICOLOR LUNCHEON IN ATLANTA, for national officers of Women of the Motion Picture Industry, Mrs. Stella Poulnot, president, and Mildred Castleberry, corresponding secretary, both seated. Speaking to them, Mrs. Jackie Cowart, president of the Atlanta unit. ( Continued from page 38) Co., Covington, Tenn., chain operator, was a Memphis visitor. . . . Lyle Richmond, Richmond. Senath. Mo.; M. E. Rice, Rice, Brownsville; Amelia Ellis, Ellis at Milling- ton; and Aubrey Webb, Webb, Ripley, were among visiting exhibitors. Milwaukee A premiere showing of Elvis Presley’s first movie, “Love Me Tender,” was held at the Fox-Wisconsin theatre here this week with a contest as the highlight. . . . Russell Leddy, operator of the Orpheum theatre, Green Bay, will retire from the business as of December 1. . . . Ben Mar- cus is taking over the operation of the Orpheum, Green Bay. this month. . . . Ranee Mason, new circuit head of the Michigan Copper country, was in the city this week doing his booking and buying. . . . Morey Anderson, branch manager at RKO, is back to work after his recent check-up. . . . “Giant,” in its second week at the Warner, is still doing very big business. Minneapolis Albert H, Rosen, formerly of this city, was in briefly for the opening of “The Chalk Garden” with Ruth Chatterton and Judith Anderson at the Lyceum. He is the brother of Eph Rosen, assistant branch manager of MGM. . . . “War and Peace” will break in 11 28-day houses in the Twin Cities on Christmas day. . . . Hy Chap- man, branch manager of Columbia, spent the Thanksgiving weekend in Des Moines. . . . Volk Brothers are spending $1,100 for refacing of the canopy at the neighborhood Nile theatre. . . . “Teahouse of the August Moon” will be the Christ- mas attraction at the Loop Gopher. . . . Gen Kudzia, booker at Republic, vaca- tioned in Chicago. . . . Peter Ildved and George Severn have purchased land for a drive-in at Baudette, Minn. They also operate the conventional Grand theatre in Baudettte. . . . Mrs. Arlys Wagner has leased the Majestic theatre at Clear Lake, S. D., from J. E. Wilson. New Orleans John F. Saunders, Manley’s district manager of southeast zone, after a two week’s visit here, departed for a visit in Dallas, to be followed by a trip through northeastern Texas into Shreveport, then back home to Memphis. He is accompa- nied by Mrs. Saunders. . . . Republic Pic- tures held a special screening of “Above Us the Waves” at the 20th-Fox screening room. . . . The business men’s clubs in Homer, La., which has a population of very near 5,000, were so eager for the re- opening of one of the town’s two closed theatres — the Pelican and the Paula, that they joined W. P. Florence in a drive to sell season tickets which resulted in the reopening of the Paula. ... A small fire which started in the janitor’s closet on the third floor of the Saenger theatre building in Mobile, Ala., touched off the automatic sprinkler system, water soaked the walls, loosened the plaster and gathered in the orchestra pit in the auditorium. Damage by the fire was of little consequence. . . . A group of 85 San Antonio civic and busi- ness leaders were here to visit MPA’s re- modeled studios headed by C. J. Mabry. Oklahoma City The Moonlite drive-in at Stillwater, Okla., closed for the season November 17. Children under 12 were admitted free on that day. In addition, all adults received a free pass which is good at the Leachman or Aggie theatres in Stillwater. . . . The Ritz theatre at Tulsa, Okla., has opened a full-time free nursery for its patrons. The new service was announced by Warren Patton, general manager of Tulsa’s Down- town Theatres, who said the nursery fa- cilities could accommodate children un- der five years old. If the nursery proves successful, similar facilities will be estab- lished at the Orpheum, Patton said. . . . The Airline drive-in held a dusk-to-dawn holiday show November 21. No film was shown twice. Philadelphia Mrs. Beatrice Z. Miller, former mem- ber of the State Board of Motion Picture Censors, became the first woman State Representative to Harrisburg and will take her seat in January. . . . Kerry Cronin, son of Comerford Theatres comp- troller Tom Cronin in Scranton, Pa., won scholastic honors at the Scranton Prep- aratory School. . . . Tri-State Buying and Booking Service here is now servicing Don Mowery’s Cumberland drive-in, New- ville, Pa. ... A drive-in theatre with a capacity of 1,000 cars will be constructed immediately on the new Causeway at West Beach Haven, N. J. It was leased for a long term of years by Beach Haven Drive-In Theatres Co. from Jerome and Herbert L. Shapiro. . . . The Variety Club Camp for Handicapped Children will be one of the beneficiaries of the newly- founded Buss Feuerstein Memorial Fund of which Variety Club Barker-elect Syl- van M. Cohen is the secretary, and thea- tre architect David Sumowitz the treas- urer. Other industry members on the sponsoring committee for the Fund in memory of a prominent Philadelphian who died last month, are Jack Beresin, former international chief barker of the Variety Clubs, and Norman Silverman, Republic branch manager. Pittsburgh The Harris has set “Anastasia” as its Christmas picture. . . . “Hollywood or Bust” gets the nod at Christmas for the Stanley to be followed by “Baby Doll.” . . . Bob O’Hare is the new Studio theatre manager, replacing Jack Kiefer, who went to Florida to look over the film situation there. . . . “Inherit the Wind” returned the Nixon to its legitimate stage show policy after six months with “Oklahoma!” . . . The Fulton gets “Written on the Wind” for the holidays. . . . “Fantasia” is a surprise click in the Squirrel Hill. . . . Thieves carted away a safe containing between $300 and $500 from the Shadyside theatre. . . . Starlet Betty Creech spent a day here plugging the forthcoming Penn film, “A King and Four Queens.” . . . The city’s two major deluxe houses, the Stanley and Penn, are both doing well with their held- over hits, “Giant” and “Friendly Persua- sion.” . . . Harold Cohen, Post-Gazette movie critic, and his wife Stephanie, now appear Monday, Wednesday and Friday nights over KDKA-TV in a “man and wife” program. Portland Good films will get the customers out of their homes and into the theatres. This was proven again here last week and looks like a duplication this week. The town is loaded with big films and good cam- paigns by house managers. All first runs did terrific business despite the single bill- ing, wind-blown rain, and transient at- tractions. . . . “Oklahoma,” “Giant,” “War and Peace,” “Friendly Persuasion,” “Love Me Tender” and “Lust for Life” are bowl- ing over anything that stands in their way with big takes. . . . Hamrick Theatres city ( Continued on page 42) 40 MOTION PICTURE HERALD, DECEMBER I, 1956 f fr* . , C 1 1 G western 1 1 1 1 tjiat s off beat ...but ooxorrio o \\*y '.NX's ROBERT L. JACKS presents ANTHONY QUINN as the also starring KATY JURADO PETER DOUGLAS JOHN WHIT DOUGLAS GUINN "BIG BOY featuring WHITNEY • FOWLEY • LARCH • BISSELL • SPENCER • WILLIAMS Story and Screenplay by RICHARD CARR • Produced by ROBERT L. IACKS Associate Producer RICHARD CARRUTH • Directed by HARRY HORNER ( Continued from page 40) manager Will Hudson and other exhibitors have recovered from the shock of learning of the death of Harry N. Stone, Hamrick’s Temple theatre manager in Tacoma, Wash. Stone had many friends here and will be missed by the industry. Providence The Avon Cinema was the site of a twin-premiere, when “The Red Inn” and George Orwell’s “Animal Farm” were screened for the first time in this state. . . . The Uptown recently inaugurated a new give-away featuring Dunbar’s stain- less steel flatware. ... In conjunction with the screening of “Giant” at the Majestic, the management is exploiting a special “early-bird” matinee, with doors opening at 10 A.M. . . . The Veterans’ Day holi- day, a full holiday in Rhode Island, plus a warm spell following a record-breaking cold wave, brought hundreds of motorists out on the highways over the weekend. Attendance at in-town houses proved somewhat disappointing while drive-ins benefited. . . Joseph Jarvis, owner-man- ager of the Gilbert Stuart, Riverside neighborhood house, recently elected to the East Providence School Committee by an overwhelming majority, was literally swamped with personal and written mes- sages, telephone calls and telegrams, congratulating him on his victory. San Francisco Bob Palmer, formerly with the Para- mount, is now publicist for the American Broadcasting Company in Hollywood. . . . “Giant” continues to break house records at the Paramount. . . . “Oklahoma!’ is in its final three weeks at the Coronet; “Around the World in 80 Days” is next. . . . Mac Cooley, former manager of the Laurel in Oakland, has been transferred to the Fruitvale theatre. He is replaced by Ray Maginot. ... A Betty Gamble shorts drive is underway at Universal- International. . . . Barney Ross, Universal- International district manager, has been visiting the YMCA, presumably to lose a few pounds. . . . The Christmas plum at Loew’s Warfield is “The Teahouse of the August Moon.” . . . Visitors on the Row included Ward Stoopes, Cortland theatre, and Pete De Cenzie, El Rey in Oakland. St. Louis Mario Odorizzi of Staunton, 111., has been appointed assistant manager of the Canna theatre at Gillespie, 111., of which his brother, Louis Odorizzi is the mana- ger. The theatre, which was opened re- cently, still needs some improvements be- fore it is entirely complete. It features a modern and attractive concession stand. ... The Phil-Kron theatre Bloomington, 111., has adopted the plan of admitting a carload of patrons for $1. . . . The Lincoln and Empress theatres at Decatur, 111., are following the pattern of a number of other motion picture houses in central Illinois by printing a theatre clock in the Decatur newspapers. ... A big new screen has been installed at the Heart drive-in, Kansas City, Mo. . . . Louis Lepovitz, 43, a former manager of the Eastown theatre in Des Moines, died recently at McAllen, Tex. . . . The Civic Club at Lancaster, Mo., has been conducting a financial campaign to raise money for the purchase of equip- ment and for opening the movie theatre in that city. Toronto Odeon’s Mercier, Montreal, is carrying a policy of vaudeville along with its regular film program. . . . The Globe, Ottawa, owned by Hyman Bessin, is closed for renovauons. . . . James Cameron, Lake- head supervisor for Famous Players, speaking to the Saskatoon Kiwanis Club, said that a movie theatre is an essential part of the business life of a community. . . . Annual meeting of the Quebec division of the Canadian Picture Pioneers was held Tuesday, the day before the annual meet- ing of the Quebec Allied Theatrical In- dustries. . . . Baby boys were born recent- ly to the Irving Hermans, Toronto, and the Tom Clearys, Montreal. Herman is publicity director for Warner Bros, in Canada, while Cleary handles like chores for Consolidated Theatres, Montreal. . . . Roy Tash of Associated Screen News, which supplies 80 per cent of Canadian newsreel content, is photographing the goodwill tour around the world being made by the Hon. Paul Martin, Minister of Health and Welfare. . . . J. Kent Craig, operator of three houses in Hamilton, Ont., has leased the Capitol, Paris. Vancouver “Giant” is just that at the Orpheum, a real blockbuster, which is making it tough for everything else downtown. It looks for a new house record. . . . Charlie Chap- lin gave the small Studio its best week’s business in a year on the reissue of “The Gold Rush.” . . . George Brewerton, Cam- bie owner, is making a success of his for- eign film policy. He uses extra space in newspapers and makes use of all foreign language papers, both here and in the Fraser Valley area. . . . Orin Jacobson, vice-president of IATSE, was a local vis- itor, his object being to merge the two projectionist unions in Vancouver and Victoria. . . . Beverly Parker replaced Shirley Bowie, who is getting married, as secretary at Theatre Confections, Ltd. . . . Dorice Santich resigned as secretary at the Orpheum and was succeeded by Nor- ma Smith. . . . Fred Steffin, operator of the Century at Bonnyville, Alberta, will open his new Pen-Mar theatre, a 700-seat house in Penticton, this month. Washington Jack Foxe, Loew’s Theatres, shared hon- ors in United Artists’ showmanship sweepstakes award on “Alexander the Great”. . . . Sam Galanty, Columbia Pic- tures mideast division manager, recently presented a $500 check to Samuel H. Northington, manager of the Century theatre, Petersburg, Va., for a winning en- try on the campaign on “The Harder They Fall”. . . . Jack Susman, salesman at Co- lumbia Pictures, has transferred to the Variety Club of Washington, from the Al- bany Tent. . . . Frank G. Helmick, 62, a motion picture projectionist for almost 40 years, died last week. He had been an operator for Gem Theatres since 1918. . . . Approved for Variety Club membership are: regular: Gilbert F. Newman; and as- sociate: Jack Kay and Harold K. Melni- cove. Presley Sets House Record Elvis Presley reportedly took San Fran- cisco by storm with the 20th Century-Fox film “Love Me Tender” with an army of teen-agers lined up in front of the Fox theatre long before opening time Thanks- giving Eve. Approximately 200 teens lined up at the Fox window at 10 A.M., the day before Thanksgiving despite the fact classes were not excused until 3 P.M., at which time the rush began. The box office parade continued up to the last show and the stampede resumed the next morning in spite of the fact that more than 50,000 persons were at Kezar Stadium for the city’s high school football championships. The 4,651-seat Fox re- ported a gross of $22,500 with business continuing excellent into the second week. Fox officials reported the picture was do- ing 50 per cent better than any other film with a comparable budget exhibited at the theatre in the last five years. In Memphis, Presley’s home town, the film broke all known theatre attendance records. The first day there was three times average attendance; the second day, six times the average, and the third day, five times average. Tom Young, 20th-Fox branch manager, reported that the reac- tion was the same in such communities as Columbus, Ga.; Sardis, Miss.; Atlanta, Ga.; Charleston, S. C., and Trenton, Tenn. Official Urges Tight Drive-in Licensing ATLANTIC CITY, N. J.: A top Federal highway official suggested tight licensing of drive-in theatres might be necessary to control screen placement if the drive-ins “don’t police themselves better.” The warning came from C. D. Curtiss, Federal Commissioner of Public Roads, in an ad- dress here before the annual meeting of the American Association of State High- way officials. He did not make clear whether he was talking about Federal or state licensing, but presumably he was referring to state licensing since he was addressing a group of state officials. Reade Files Anti-Trust Suit Against Loew's An anti-trust suit asking damages total- ing $1,200,000 was filed by Walter Reade Theatres this week in Federal court in New York against Loew’s and Loew’s Theatres and Realty Corp. The suit charges that the defendants violated anti- trust laws by imposing “unreasonable clearances’’ on product for Reade’s Wood- bridge Drive-In, Woodbridge, N. J. Other exhibitors were named as “co-conspira- tors” in the suit but not as defendants. 42 MOTION PICTURE HERALD, DECEMBER I, 1956 Loveliness is the mark of the star; to preserve this loveliness in every frame of every print : Mr is the task of the motion picture industry. ri«t§IfS m This calls for the industry's finest talents. It involves settings, dress designers, lighting ■ experts, make-up artists, cameramen, film | processors. Co-operation in all these areas is manifest in the Eastman Technical Service for Motion Picture Film ... in Kodak’s ability to supply a motion picture film for every purpose. * Motion Picture Film Department EASTMAN KODAK COMPANY Rochester 4, N. Y. Divisions at strategic centers. Inquiries invited. East Coast Division Midwest Division West Coast Division 342 Madison Ave., New York 1 7, N. Y. 1 30 E. Randolph Drive, Chicago 1, III. 6706 Santa Monica Blvd., Hollywood 38, Calif. ii ■ You’ll be a Friend to thousands upon thousands —and they'll be a Friend to you —by supporting our Industry's own tuberculosis hospital where NO CHARGE is ever made to patients. Everyone in our industry is eligible. Support it with your CHRISTMAS SALUTE contribution NOW! Sponsored and Operated by the MOTION PICTURE INDUSTRY for the Entire E ntertainment k World A i \ * All patients are from Amusement Industry. WILL ROGERS More than 1500 TB cases have been cured. Successful in 94% -plus of our cases. MEMORIAL HOSPITAL Most pleasent living conditions for patients. and RESEARCH No finer care and treatment anywhere. Constant Research. LABORATORIES, Saranac Lake, N. Y. NATIONAL OFFICE: 1501 BROADWAY, NEW YORK 36, N. Y. ONCE-A-YEAR Time to help your Industry Friends CHRISTMAS SALUTE Will Rogers Hospital gratefully acknowledges the contribution of advertising production by Paramount Pictures, and of space by this Publisher An International Association of Motion Picture Showmen — Walter Brooks , Director FRIENDLY PERSUASION — Good Selling Approach jL LLIED ARTISTS have a good pic- L\ ture, with a provocative title, in X A. “Friendly Persuasion” — which is the Thanksgiving attraction in 250 first- run theatres across the country, including the Radio City Music Hall. The new Gary Cooper picture, directed by William Wyler, will not only make friends and influence people to “go out to the movies” — and like it, but the inference in the title is conducive to good sponsorship with co- operative advertisers. There are a lot of things you can do with “friendly persuasion” — including the selling of theatre tickets at the box office wicket, and convincing local merchants and organizations of the wisdom and nec- essity of tieups in which they participate with your theatre. Gimbel’s have already led the way with their array of cooper- ative newspaper pages in the metropolitan press — all aimed at “friendly persuasion” in seeing their point of view. The pressbook and sales kit at hand show that the policy of “friendly persua- sion” began with the notion of persuading Gary Cooper to sing — and he does! And then, more seriously, there are suggestions for cooperative newspaper pages and for merchant tieups that will click in any community. “Friendly Persuasion Week” can be the most unique business week your town has ever had. There is much to be gained in proving that your town is a friendly town— which will be reflected in sales personnel and even your cashier, or that man who stands in the lobby, supervising everything, can be equally friendly, in keeping with a nice ocassion. Product, as a problem, is being solved by processes now under way, with big and little pictures more numerous and the lists growing from hundreds of inde- pendent sources. Plant, which includes the physical theatre, is improving, of nec- essity, for the grim fact is that the public won’t go for outmoded presentations— which date back twenty or thirty years. And, the one way in which the manager can be secure in his situation is to culti- NEW ENTERPRISE Something new in the “Friendly Persua- sion" pressbook from Allied Artists, which attracts special attention in this corner. They engaged the services of a national promo- tion organization, Ruder and Fink, who maintain 35 publicity and merchandising representatives in as many key cities, for public relations and tieins at the local level. We recall that these partners came out of picture business. By signing up a complete national organi- zation with their first motion. Allied Artists gained a lot of ground in obtaining this kind of coverage from scratch, which is now augmented by their own field men, engaged in exploitation for current playdates on a national basis. We glance over the list of 35 representatives for Ruder and Fink, and many of them seem familiar names— such as, for instance, Mr. Nathan Wise, in Cin- cinnati, who is a Quigley Grand Award win- ner—and there are others. We've always believed that there should be a national affiliation of thoroughly ex- perienced publicity and public relations peo- ple, who know our business and are proper showmen, that could take assignments such as this, and also be able to convey our skills, to other lines, for proper fees. We have the know-how, and we need the way to broaden out, and to provide a backlog for post graduates in our school of experi- ence. As we grow up, we have old grads looking beyond their horizons. vate exactly those community relations which are won by “friendly persuasion.” As we contemplate our mail, and the reports of good showmanship from 7429 active members of this Round Table, we grow more certain that it is the personality of the manager, in contact with people, that will keep the theatre above board and operating profitably. VIRGINIA Motion Picture Theatre Asso- ciation, meeting in convention in Rich- mond on January 16th, will have “Why the Picture Did Business for Me” as a topic of discussion — and that is of interest here, because the Herald, since 1916, has had a department of exhibitor comments — the original — entitled “What the Picture Did for Me.” And the Round Table, in its entirety, five pages a week, fifty-two weeks in the year, is a description of “What I Did for the Picture.” We com- pliment another exhibitor group for put- ting showmanship front and center in their annual meetings. HERE’S a happy gift for children, ad- vertised in national magazines. It’s “TV Joe” — a coin bank that sits on the televi- sion set at home, so the kiddies can come along and drop in their pennies, probably to pay the installments on the set, when they fall due. Perhaps Father won’t tell them all the story — but he may tap Joe’s bank when it’s time to dig down — and the whole idea is a foot in the door towards Toll-TV, which will require another slot, when the youngsters have the habit, and you can convince them about the price of tickets. We’re in favor of “TV Joe” be- cause he may also prove to the small-fry that even the home movies aren’t free. OUR FAVORITE children’s charity— the Foster Parents’ Plan, which Bing Crosby and others embraced during the promo- tion of “Little Boy Lost” — has received an urgent cable from Hungary, asking “Please airship 1,000 diapers sorely needed by Hungarian refugee babies. Others need blankets, towels, sheets, but diaper situa- tion is desperate.” And so, with the active cooperation of Jack and Jill Diaper Serv- ice, and Eliscu Pins — the needed diapers were delivered in Hungary the very next day, and even that was none too soon, but wonderful response to an urgent cable, from little ones in need. — Walter Brooks. MANAGERS' ROUND TABLE SECTION, DECEMBER I, 1956 45 o Loew’s Theatres had ballyhoo floating around town for the open- ing of "The Opposite Sex" at the Capitol theatre, on Broadway. Above, you see the center of interest, with Jeff Richards, leading man in the picture, ready to hand the towel to a beautiful model, who is bathing in bubbles of publicity. And below, a full-length view of the spectacular display that toured Times Square. Playing Opposite In Des Moines, the Iowa Light & Power Company pointed up promotion for "The Opposite Sex" at the Des Moines theatre, with this excellent exploitation in a cooperative win- dow display, to put across the idea of making life easier. In Buffalo, the Lafayette theatre had this display in the lobby to prove how friendly local sponsors were in provid- ing prizes for early patrons and a lucky youngster, for the premiere in town of Allied's "Friendly Persuasion." This Jeff Richards gets around — here he is in Charlotte, N. C., with A. B. Craver, manager of the Plaza theatre, where "The Opposite Sex" opened — and the girl in the car is Karen Stevens, Tom Baldridge's secretary. Howard Rutherford, manager of Loew's, Indianapolis, is proud of this gimmick, which he used for Columbia’s "You Can't Run Away From It" — and which was plenty provocative for publicity purposes — with the right girl to ride herd. Pushing "Man From Del Rio" with one of San Francisco's famous turn-table cars as background. The "Sheriff" and the "Lady Poke" turn one of the cars around at the end of the line — as a news pic- ture for the United Artists theatre. 46 MOTION PICTURE HERALD, DECEMBER I, 1956 Sk owmen in s^lcti on A new magazine of much interest to theatre managers is “Catholic Preview” — published by Stephan L. Saunders, owner of the Carmel theatre, Carmel, N. Y., and member of this Round Table. He formerly published the pocket-size “Prevue” for movie fans, and intended for distribution through theatres, but this was discon- tinued. Now, the new issue is planned as constructive information for the Catholic audience for motion pictures and other entertainment, and will have intensive and extensive circulation on a paid subscrip- tion basis. We believe it will help to con- solidate a potential audience of thirty-five million Catholics — which, incidentally, is just about the round number which Sind- linger estimates as the total attendance at motion picture theatres, last week. T MGM is mailing direct from Toyko a 1957 “Teahouse” calendar to exhibitors and newspaper people all over the world. It is very handsome and can be posted as a year long reminder of the star-power, beauty and rich humor of “Teahouse of the August Moon.” The cover is very Japa- nese, and each of the twelve monthly leaves features a beautiful color scene from the picture. ▼ Fruita, Colorado, celebrated the build- ing of a tower for their organization of “ground observers” and Mr. and Mrs. Bob Walker of the Uintah theatre, entertained fifty of the “observers” at a picture show, according to the Fruita Times, at hand. But we can’t figure out from the news story what is it they “observe” — unless it is the program at the Uintah. Sonny Shepherd, managing director of the Carib theatre, in Miami, is having fun with the run of “Love Me Tender,” and some of the publicity is springing from local columnists, who are running a con- test to find a rhyming word for “Yelserp” which is part of the lyrics in one of Elvis’ songs, with the winners getting movie passes. Very large front page stories in the Miami Daily News devoted to the Elvis pelvis and the wiggler’s debut. ▼ P. H. Bontessa, manager of the Orpheum theatre, Mitchell, Indiana, installs a special Christmas display on the lawn of his home each year, which attracts attention from the whole town. He has 23 Christmas char- acters, mostly Walt Disney types, and the display rated a four-column write-up and picture in the Indianapolis Star and an- other in the Louisville Times. This has been an annual feature of his Christmas season for several years. Eric H. Rose, manager of the Trans-Lux Colony theatre, on New York’s East side, keeps up with the construction of many new apartment houses in his neighborhood by sending out complimentary tickets, which are sponsored by Flatiron Maid Service, who also have a reason to be in- terested. It’s a fine reciprocal deal, with ev- erybody happy with the results obtained. ▼ Lou Cohen, manager of Loews Poli theatre, Hartford, sent Elvis Presley charm bracelets to loyal newspaper men, with news of “Love Me Tender” as a coming attraction. “Charmed, I’m sure,” was the response from each so favored. ▼ Sam Fried, manager of the Walker theatre, Brooklyn, submits his campaign on “Towards the Unknown” as an entry for the Quigley Awards, and photographs for an upcoming picture page. He started flight operations at Floyd Bennett Field, and zoomed to good business, with the co- operation of the Air Force. ▼ George H. Mackenna, general manager of Basil’s Lafayette theatre, in Buffalo, had particularly strong window displays in a string of seven local music shops, as part of his promotion for “Friendly Persuasion” — featuring the sound-track albums, in which Gary Cooper sings! ▼ Sol Sorkin’s showing for “Giant” at the RKO Keith’s theatre, Syracuse, was giant in stature, even in comparison with the average of Sol’s showmanship on these premises. He gets tear sheets from local papers, and lots of record and disc-jockey tieups as his regular routine — this time building on the James Dean lead. Another picture from Toronto, where John McKim received his Quigley Grand Award plaque last week, and here he shows it to Frank Fisher and Ted Forsyth, Odeon circuit executives, at the presentation. ▼ Murray Spector, always in the mail with examples of good showmanship at the Stanley Warner Central theatre, Jersey City, where he contrives cooperative deals with eager sponsors, and piles up publicity resulting from local tieups, for which he is justly famous in these Round Table pages. ▼ The Towne theatre in Milwaukee worked out a radio deal with Bill Bram- hall, popular announcer on station WISN, and featured a contest as promotion for “Tea and Sympathy” which resulted in finding local members of the family of Tom Laughlin, one of the stars of the picture, who live in Milwaukee. T Woody Sherrill, salesman for 20th Cen- tury-Fox films in Kansas City, gets out his own mimeographed letter to potential con- tract signers, which is the first such ex- ample we’ve seen, and deserving of the praise it gets from Alex Harrison, in the home office. Very pertinent and personal selling approach. HERALD picture Helen Bortz, manager of the Stanley Warner theatre in Reading, Pa., devised this clever stunt, using a two-part, life-size cut-out of Tab Hunter and Natalie Wood, as good promotion for "The Girl He Left Behind." Girls and boys posed with their counterparts, as the above pictures indicate, and a tie-in with a local photography store provided more than 50 pictures and created a lot of talk about town. One of these pictures isn’t very clear — but you get the idea. One of the characters is local — the other is cut- out, in each pose. MANAGERS' ROUND TABLE SECTION, DECEMBER I, 1956 47 "War and Peace" In Push Across Canada Small City Campaign At Small Cost Famous Players Canadian Corporation had an exceptionally successful campaign on “War and Peace,” reported in a letter which Jerry Pickman, Paramount adver- tising-publicity-exploitation vice-president, has received from James R. Nairn, FPC director of public relations and advertis- ing, in Toronto, who lined up a special crew to handle exploitation and brought them to New York to attend the world premiere of the Ponti-DeLaurentiis prod- uction and to sit in on a special meeting Pickman held with field men. It Started in New York “We have covered all our key dates and, at the Eastern and Western Division meet- ings recently held in Niagara Falls and Edmonton, managers from the smaller cities came forward to urge us to send the field men to them. We contacted Ad- vance Patterns in New York and received a list of Canadian outlets for their pat- terns inspired by Audrey Hepburn’s cos- tumes in ‘War and Peace.’ We also contacted the Bantam book distributors and the distributors of the Bernard Geis book. Our art department made the silk screened cards for the pattern tieup and the truck banners. The Natasha haircut has become quite the rage here and we actually have hairdressers competing to advertise it. We produced our own art on this tieup. Our field men first contact the manager of the theatre playing ‘War and Peace’ and arrange a screening for opinion makers. Accompanied by the managers, they visit the publishers of the newspapers and owners of radio stations. They try to keep their visits on this level. They also visit editors, disc jockeys, etc., presenting them with copies of ‘War and Peace.’ Visits to department and book stores have resulted in many windows, store interior displays, stories, pictorial layouts in the press and radio and TV cooperation. We now have a supply of the Columbia LP record, copies of which are given to all important disc jockeys as well as the ‘45’ record, which they are constantly playing. We are also having successful showings of the costumes you sent us. Continued Across Canada “We find that our managers are most happy to have one of our own people come in to assist them, and everywhere our men have been most cordially received. Ar- rangements were made in advance for Bert Brown and Jimmy Cameron to speak at service club luncheons. Both are fluent speakers and in their talk they manage to get in generous plugs for ‘War and Peace’ without being too obvious about it. In our theatres we have a special stu- dent price for all performances. In most situations we are able to go through the local boards of education and get the co- operation of teachers of English and history. “Attached is a copy of a recent issue of the Toronto Telegram, which gave us the front page of the second section. This is one of Canada’s largest newspapers. The paper has written a letter to all high school principals in Ontario offering them free study guides for ‘War and Peace’ in any quantity. The paper pays for the entire promotion! We felt that those won- derful clips from ‘War and Peace’ recently sent us should be on TV. Our men visited the stations and screened the clips which were very well received. “Our full page ad in color on ‘War and Peace,’ was well worthwhile. Not only did we get a paid circulation of 1,500,000 as an insert in 28 Canadian newspapers but we had a follow-up in a later edition which not only boosted ‘War and Peace’ but ‘The Ten Commandments.’” T James C. Cartledge, city manager for Georgia Theatres in Augusta, sends a full copy of the teen-age supplement in the Augusta Chronicle and Herald, with an ex- cellent front page titled, “Go Modern, Go Movies” — which we’ll try to reproduce as a small cut, to show you the good design. Wonderful how Georgia papers so often lead in the publication of special movie sections. J. C. Baumgardt, manager of James- town Amusement Co. Lyric theatre in Lancaster, Ohio, reports a fine campaign on “The Opposite Sex” in his town of 25,000 population, for a total cost of only $15 cash. That’s pretty unusual, but he used extra ingenuity and initiative to ob- tain the result. In the first place, he asked for and got three dresses and one suit, original costumes from the picture, which were flown to him by the MGM studio in Hollywood, by courtesy of MGM’s field exploitation staff, under the direction of Emery Austin, in New York. “Fashions for the Opposite Sex” was the theme of the merchandising promotion with the local hospital cooperating in their drive for funds. Radio spots and newspaper publicity supported the fact that June Allyson’s gowns and Ann Sheri- dan’s suit would be worn by local models. Then, the gowns and the suit were taken to the high school sewing group, for their study and admiration, all with suitable plugs for the picture. He estimates they had about 90% coverage in the town, that day, with Hollywood fashions as a topic. We especially like the stage setting pro- vided for the fashion show, and will use a picture o* it to show you how it was done. Men’s Fashions were shown and sponsored by the American Legion Post, just to keep the promotion from going en- tirely to “The Opposite Sex” — and that rated a news picture in the local paper. A total of 150 fashions and costumes were worn and displayed. United Artists' contest pays off — Lige Brien, special events director for the company, hands steam- ship tickets to Mr. and Mrs. A. E. Neininger, of Ellwood City, Pa., who won a trip to Paris in a letter- writing contest as promoion for "Gentlemen Marry Brunettes." The lucky couple sailed on the S.S. United States, for an all-expense vacation, as the guests of the producers. 48 MOTION PICTURE HERALD, DECEMBER I, 1956 Medina incj ^rpproac, It FRIENDLY PERSUASION — Allied Art ists. Color by DeLuxe. William Wyler's production starring Gary Cooper, “will pleasure you in a hundred ways.” One of the most enjoyable family films ever made. Co-starring Dorothy McGuire and intro- ducing Anthony Perkins, the best boy of the year, with an all star cast, including Marjorie Main, as “the Widow Hudspeth.” From the best selling book by Jessamyn West, which has been twice reprinted in “Reader’s Digest.” Powerfully presold with over 200,000,000 readers in national magazines alone. The plush publicity car- pet has been rolled out for the friendliest motion picture. “Friendly Persuasion” does it, because Gary Cooper sings! You’ll be delighted with “Samantha,” the goose, who steals the picture. 24-sheet sells Coop- er and the idea that this is a “friendly pic- ture.” Other posters also have all the pic- torial art to create lobby and marquee dis- play, on your own premises and policy. An Indiana farm, created in California’s San Fernando valley, is a delight to the eye, and the heart. Your audience will marvel at the beauty of these scenes, and will thank you. William Wyler is the director who gave you “Roman Holiday,” “Best Years of Our Lives,” “Mrs. Miniver,” and other Award winners. Even Dimitri Tiom- kin, who composed the music for the pic- ture, has won three Academy Awards in his own right, and has been nominated ten times. We don’t have to tell you any- thing about Gary Cooper, because your audience knows the answers. Newspaper ad mats have been supplied in very gen- erous style, and reduced to the best sell- ing approach with the experience in the early runs. You can get all you want in any size or shape, mostly too big for small situations, and there’s no composite mat at 35c, which there should be for a family picture. Lots of merchandising tieups, in- cluding a line of hats for the ladies from John Frederics, foremost creator of millin- ery. You can create these styles yourself, for they follow Quaker fashions. There are nine recordings from the picture, three fine albums from Coral, Unique and Dot, and sheet music, for tieups. A friendly public relations firm has been hired to help you in 35 key cities. A study guide for schools is available in the usual manner from Publication Press. You can key the campaign by making yours a friendly town and setting up cooperative ad pages on this theme, as explained in the press- book. A movie edition of the original book is available for your public library. Slo- gans, service clubs, opinion makers, will go all the way to boost the picture that has this exceptionally friendly approach. 4-H and farm clubs are highly important. There is no herald, and should be one. So you can use oversized ad-mats and print your own with the help of a cooperative advertiser. WAR AND PEACE — Paramount. Vista- Vision, in color by Technicolor. The great- est novel ever written, magnificently pro- duced on the screen. One of the two or three best pictures of all time, to our ever- lasting credit. Produced entirely in Italy, with a cast including more than fifty speaking parts. Audrey Hepburn has never been seen to better advantage; Henry Fonda, Mel Ferrer and many others crowd the marquee with names. Based on the famous novel by Leo Tol- stoy, which will have a greater audience than in its one hundred years. For the first time, the public can see and visualize the impact of this great piece of writing. Color as you have never seen it; spectacle as it is often attempted and seldom achieved; acting that will stand out in your mind and memory for years to come. 24-sheet and all of the posters and acces- sories are calculated to sell a great prop- erty. Make sure that you see it the same way, and don’t spare your efforts. Tabloid herald, in two colors on two sides, from Cato Show Print. Giant cut-out standee from National Screen. Poster art can be made dramatic in your own lobby and marquee displays, using your ingenuity. Newspaper advertising is extravagant, ex- tensive and assorted for size, shape and style. Plenty to choose from, and lots of opportunity for you to make your own selection, based on what you want to make a real smash with the year’s hit picture. There are so many newspaper mats that we ask you to study the whole group, and do it conscientiously. The complete cam- paign mat, selling for 35c at National Screen, has eight ad mats and slugs, three publicity mats, sufficient for small thea- tres, but this isn’t a small picture, so don’t treat it that way. Every book dealer is your friend, for there are eight editions of the famous book, including a “picture story book” and the Bantam pocket book, which sells for 75c instead of a quarter, and worth the difference. Suggestions for public library tieups and schools are in- cluded in the giant pressbook. Seventeen magazines, in their school editions, have enrolled 17,000 high school teachers in their campaign for “War and Peace.” Special school bulletin board dis- plays are recommended, and displayed for teachers. The picture is a natural for school “co-ops,” and will get unusual at- tention. A pattern tieup sells fashions such as are worn by Audrey Hepburn in the early Russian sequences, an era of lux- ury. LIFE magazine and other publica- tions have given “War and Peace” about the biggest pre-selling in film history, with many pages of color to illustrate the story. You’ll find that fine color on your big screen, and television will never have it. Get out your special work and careful study departments to properly handle anything as big as this attraction. Walter Reade Managers Are Contenders Paul Raise, assistant advertising man- ager for Walter Reade Theatres, writes from Mayfair House in Oakhurst, where Reade Theatres have a baronial estate, to say that they are stirred by our comment concerning diminished exploitation effort, and to prove the contrary, he submits some recent campaigns from their man- agers, that show conclusively these show- men are in there, fighting. In the lot, are good exhibits from George Kemble, of the Community theatre, Hud- son, N.Y., where we visited one summer day, on the occasion of a world premiere. He has a fine house, that really looks right in the role of a Community Theatre. His campaign on “Walk the Proud Land” — which had the world premiere there — is one the judges will contemplate in the fourth quarter for the Quigley Awards. It’s an exceedingly large exhibit, and we remember all the detail of it. George also submits his campaigns on “Eddie Duchin Story”, “Bus Stop” and a local “fish story” staged as promotion for “Moby Dick.” John Balmer, manager of Mayfair the- atre, Asbury Park, who was a winner in the Walter Reade managers’ contest, shows his work with “The King and I” — very fine — as well as “Moby Dick”, “Bus Stop” and other pictures. Michael Dorso, man- ager of the Community theatre, Kingston, N.Y., has some real evidence of his show- manship in half a dozen campaigns, and we’ve known this theatre to be noted for good stunts in the past. An old friend of the Round Table once built an imaginary bridge across the Hudson at this point, as a front page newspaper story for “Walter Mitty” — one to remember! Charles Sutton, manager of the Park theatre, Morristown; Bert Greene, man- ager of the Strand theatre, Freehold; Julie Stern, manager of the Paramount, Asbury Park, and Bob Hynes, manager of the Strand theatre, Plainfield, are others whose work is included in this lot of good material, from Walter Reade’s domain across and along the Hudson. The circuit can be celebrated for having founded the idea — and the architectural style. TEASERETTES / we catching on fast f / PHnUpI These short, snappy talking traileretfes ore just what you've been waiting for. No contracts, no returns. Write J * g > for information! ■ FILM ACK !■■■■■■■ 1327 S. WABASH CHICAGO. ILL. MANAGERS' ROUND TABLE SECTION, DECEMBER I, 1956 49 CLASSIFIED ADVERTISING Fifteen cents per word, money-order or check with copy. Count initials, box number and address. Minimum insertion $ I -50. Four insertions for price of three. Contract rates on application. No border or cuts. Forms close Mondays. Publisher re- serves right to reject any copy. Film and trailer advertising not accepted. Classified advertising not subject to agency commission. Address copy and checks: MOTION PICTURE HERALD, Classified Dept., Rockefeller Center, New York (20) USED EQUIPMENT EQUIPMENT BUY OF LIFETIME! SUPER SIM- plex Projectors, LL-3 pedestals, 18" magazines, Mag- narc Lamphouses, National 40 amp. Rectifiers, coated lenses, changeovers. Simplex “E” sound system. Com- plete outfit — excellent condition $3500. Time deals available. S.O.S. CINEMA SUPPLY CORP., 602 W. 52nd St., New York 19. EXCELLENT COATED PROJECTION LENSES— many brand new! Wollensak, “Sunray” Series I: — 3;i4", 5", 5%", 6", 7%" — $35.00 pair. Superlite Series III “C” coated 2%", 3", 3 $150.00 pr. Others available — tell us your needs. Trades Taken. Wire or telephone order today. S.O.S. CINEMA SUPPLY CORP., 602 W. 52nd St., New York 19. SEATING SEAT COVERS: SEWED COMBINATIONS. 95<: up; all colors. Send $1.50, old cover, will duplicate, best match. Vinyl leatherettes; all colors; 54 inches wide; $1.10 yd. up. Also precut 24x27; 2 dozen minimum order H( up. Complete line upholstery materials, mystic tapes, mohairs, corduroys, velvets; low prices; send for samples. MANKO FABRICS CO., INC., 156 W. 28th St., N. Y. NEW EQUIPMENT ATTENTION HOLMES USERS! 1000W T-20C13 Mog. prefocus lamps $25 dozen ($3.95 each); inter- mittent movements $24.50; Star sprocket assembly $10: sound lens $9.95: EE14070 vertical drive shaft w/5 gears, bearings $9.75; 2000' magazines, upper & lower (rebuilt) $25.00 set. S.O.S. CINEMA SUPPLY CORP.. 602 W. 52nd St., New York 19. HELP WANTED WANTED: MANAGER FOR UPPER NEW YORK State key situation. Top salary paid. Answer giving complete background and experience. BOX 2943, MO- TION PICTURE HERALD. BUSINESS OPPORTUNITIES FRANCHISED TERRITORIES NOW OPEN — NO investment of money required. If you know your film territory, have high integrity and will work, we have a golden proposition to make. Write complete quali- fications to NATIONWIDE THEATRE PROMOTIONS, 326-328 N. 7th St., Allentown, Pa. THEATRES CHOICE THEATRE IN SUBURBAN CONNECTI- cut town. Modern building, excellent central loca- tion. A very clean, enticing operation. S. LOEB & SON, 37 Trumbull St., New Haven, Conn. BOOKS RICHARDSON’S BLUEBOOK OF PROJECTION. New 8th Edition. Revised to deal with the latest tech- nical developments in motion picture projection and sound, and reorganized to facilitate study and refer- ence. Includes a practical discussion of Television especially prepared for the instruction of theatre pro- jectionists, and of new techniques for advancement of the art of the motion picture. The standard textbook on motion picture projection and sound reproduction. Invaluable to beginner and expert. Best seller since 1911. 662 pages, cloth bound, $7.25 postpaid. QUIGLEY BOOKSHOP, 1270 Sixth Avenue, New York 20. N. Y. SAVE MONEY, PREVENT WASTE, PUT THE Master Guide To Theatre Maintenance in the hands of your managers and assistant managers. Cost $5.00 — could save you a thousand times as much. QUIGLEY BOOKSHOP, 1270 Sixth Avenue, New York 20, N.Y. STUDIO EQUIPMENT KLIEGL 5000W STUDIO SPOTS ON STANDS, $300.00 value, $175.00; B & H Studio Camera Sound Recording Head, $1995.00; New Tripod Triangles, $16.95; Aerosol Dulling Spray, kills annoying glare and highlights, $1.59; Auricon Pro-200 16mm Sound Cameras, complete, $1600.00 value, $795.00; Mitchell 35mm Standard Tracking Camera, $995.00; Moviolas from $195.00; Hallen synchronous magnetic 16mm re- corder, $1495.00 value, $695.00; American Cinema- tographer’s Handbooks, y2 price, $2.50. S.O.S. CIN- EMA SUPPLY CORP., 602 W. 52nd St., New York 19. Loew Theatre Opens In Milan, Italy MILAN, ITALY: MGM’s Metro-Astra theatre here had a gala opening Novem- ber 30. The event will increase Loew’s International’s worldwide circuit of show- cases to 55. This is the company’s fourth theatre opening in the past few weeks and is part of its theatre expansion program designed to meet the requirements of the overseas market. Arthur M. Loew, presi- dent of Loew’s International, will fly to Milan to attend the opening ceremonies. The theatre has been completely refur- bished. Legion Approves 7 of 13 New Productions The National Legion of Decency this week reviewed 13 pictures, putting two in Class A, Section I, morally unobjection- able for general patronage; five in Class A, Section II, morally unobjectionable for adults; five in Class B, morally objection- able in part for all; and one in Class C, condemned. In Section I are “Revolt at Fort Laramie,” and “Secrets of Life.” In Section II are “Guilty,” “The Last Man to Hang,” “Running Target,” “Three Violent People” and “A Woman’s Devotion.” In Class B are “Blonde Sinner” because of “suggestive costuming and sequence”; “Love Me Tender,” because of “suggestive actions and sadistic sequence”; “Rumble on the Docks” because it “tends to glamor- ize criminal activities and to lower respect for established law and order”; “The Wild Party” because an aura of low moral tone surrounds this film which contains offen- sive treatment by reason of unnecessary brutality and suggestiveness in costuming and situations. This rating is predicated on an amended version of the picture,” and ‘Zarak” because “despite substantial changes made by the producers, the ver- sion presently exhibited still retains grossly suggestive costuming, dancing and situations.” In Class C. Condemned, is “The Snow Was Black” as “completely morally unacceptable.” Toronto Variety Club Elects 1 1 to Crew At a regular meeting of Variety Club, Tent 28, Toronto, the following were elect- ed to serve as crew for the coming year: Herbert Allen, George Altman, Clare Ap- pel, Joe Bermack, Ralph Dale, Jack Fitz- gibbons, Chester Friedman, Dan Krendel, Ernest Rawley, N. A. Taylor and A1 Troy- er. Installation of new officers takes place December 13. Boston Oarage Set BOSTON: The promoters of the garage under Boston Common are preparing to go ahead with plans for the delayed proj- ect after many months of litigation and opposition, it was learned here. Theatre men here have long desired the 6,000-car garage, which would relieve parking problems and serve as a boon to business. Westinghouse Buys 650 Britannica Films Purchase of the entire library of 650 Encyclopaedia Britannica Films by West- inghouse Broadcasting Co. was announced at the weekend by Donald H. McGannon, president of the broadcasting company. The library was acquired for $200,000 from the Trans-Lux Television Corp. for a term of five years, Mr. McGannon re- ported. The contract stipulates that new subjects produced by EB Films during that period be included in the purchase, as well as revisions of current reels. Each of the four television stations owned by Westinghouse will obtain a complete set of the films for use in special program- ming, tied in with local affairs of im- portance, he said. The films of the library average 11 minutes in length. Modern Art Museum Issues Booklet “A Report on the Film Library, 1941- 1956” is the latest booklet published by the Museum of Modern Art. In it Richard Griffith, curator of the Museum’s Film Library, describes “the twin battles of preservation and circulation fought during the past five years.” Included are a list of films acquired since 1951, an outline of the circulating film program, and a list of donors to the collection, contributors to the film preservation funds and Museum film exhibitions since 1935, among other pertinent information. 50 MOTION PICTURE HERALD, DECEMBER I, 1956 FILM BUYERS RATING Film buyers of independent circuits in the V. S. rate current product on the basis of its performance in their theatres. This report covers 104 attractions, 3,321 playdates. Titles run alphabetically. Numerals refer to the number of engagements on each attraction reported. The tabulation is cumulative. Dagger (]) denotes attractions published for the first time. Asterisk (*) indicates attractions which are listed for the last time. EX means Excellent; AA — Above Average; AV — Average; BA — Below Average PR — Poor. Ambassador's Daughter, The (U.A.) Animal World, The (W.B.) Attack (U.A.) Autumn Leaves (Col.) Away All Boats ( U-l ) EX AA AV BA PR — 7 II 10 10 — 5 9 18 3 — 4 8 2 — — 7 II II 5 25 30 23 6 2 King and I, The (Fox) Kiss Before Dying (U.A.) Last Wagon, The (Fox) Leather Saint (Par.) Lisbon (Rep.) Magnificent Roughnecks (A. A.) Man in the Gray Flannel Suit (Fox) Man Who Knew Too Much (Par.) Miami Expose (Col.) Moby Dick (W.B.) (Mountain, The (Par.) Opposite Sex, The (MGM) Over Exposed (Col.) Back from Eternity (RKO) Bad Seed, The (W.B.) Bandido (U.A.) Best Things in Life Are Free, The (Fox) Between Heaven and Hell (Fox) Beyond a Reasonable Doubt (RKO) Bhowani Junction (MGM) Bigger Than Life (Fox) Birds and the Bees (Par.) (Boss, The (U.A.) .... Burning Hills, The (W.B.) Bus Stop (Fox) Catered Affair, The (MGM) Cockleshell Heroes (Col.) Congo Crossing (U-l) Creeping Unknown, The (U.A.) Crime in the Streets (A. A.) fCry in the Night (W.B.) D-Day the Sixth of June (Fox) Dakota Incident (Rep.) Davy Crockett and the River Pirates ( B.V. ) Day of Fury (U-l) Earth vs. Flying Saucers (Col.) Eddy Duchin Story, The (Col.) Fastest Gun Alive (MGM) First Texan, The (A. A.) First Traveling Saleslady (RKO) .... Foreign Intrigue ( U.A.) Francis in the Haunted House (U-l) Gaby (MGM) Girls in Prison (A.I.P.) Goodbye, My Lady (W.B.) Great Day in the Morning (RKO) Great Locomotive Chase, The (B.V.) Guys and Dolls (MGM) (He Laughed Last (Col.) High Society (MGM) Hold Back the Night (A. A.) Hot Rod Girl (A.I.P.) I'll Cry Tomorrow (MGM) It Conquered the World (A.I.P.) Johnny Concho (U.A.) Jubal (Col.) 12 4 1 2 43 2 4 20 19 II I I I I 13 9 8 I 13 10 20 3 I I I 5 I 9 I 17 35 29 2 I 14 I 10 4 I 14 12 24 I 13 39 5 4 25 7 8 12 3 4 I 6 I 19 I 27 24 13 10 15 4 15 2 35 5 3 5 12 31 27 7 3 5 21 13 2 13 9 16 10 2 5 4 3 II I 6 3 21 3 7 12 15 5 5 2 15 4 13 8 7 I 8 I 3 5 9 1 1 3 6 5 12 7 6 5 17 I II 9 15 7 2 2 I I 22 34 I I 5 2 4 6 14 14 2 18 13 I 7 I 1 3 2 14 5 1 2 2 8 1 3 2 6 8 3 9 10 I 5 14 I 3 2 Pardners (Par.) Pillars of the Sky (U-l) Power and the Prize, The (MGM) Price of Fear (U-l) Proud and Profane, The (Par.) Proud Ones, The (Fox) Quincannon, Frontier Scout (U.A.) Raw Edge (U-l) Rawhide Years, The (U-l) Rebel in Town (U.A.) Reprisal (Col.) Rififi (UMPO) Rock Around the Clock (Col.) Run for the Sun (U.A.) Safari (Col.) Santiago (W.B.) Satellite in the Sky (W.B.) Screaming Eagles (A. A.) Search for Bridey Murphy (Par.) Searchers, The (W.B.) Secret of Treasure Mountain (Col.) Seven Men From Now (W.B.) Showdown at Abilene (U-l) Solid Gold Cadillac, The (Col.) Somebody Up There Likes Me (MGM) Star of India ( U.A.) Star in the Dust ( U-l ) Storm Center (Col.) Storm Over the Nile (Col.) Tea and Sympathy (MGM) Tension at Table Rock (RKO) That Certain Feeling (Par.) These Wilder Years (MGM) Toward the Unknown (W.B.) Toy Tiger ( U-l ) Trapeze (U.A.) 23 Paces to Baker Street (Fox) Unguarded Moment (U-l) Vagabond King (Par.) Walk the Proud Land (U-l) (War and Peace (Par.) .. Werewolf, The (Col.) While the City Sleeps (RKO) 22 2 22 AA AV BA PR 24 24 17 3 1 12 2 — 9 21 4 1 3 3 6 6 3 — 30 10 6 1 1 30 14 8 8 17 26 8 2 — — 4 4 21 20 1 1 4 1 1 2 1 4 6 2 1 30 14 3 2 13 21 3 1 1 4 1 4 7 22 21 1 10 4 28 20 15 10 2 2 6 2 1 6 3 3 5 22 8 7 3 1 2 — 1 16 22 3 1 — 14 1 1 4 13 3 3 6 19 17 6 2 25 1 1 14 — 3 7 4 3 6 7 1 3 C 24 1 18 1 5 A D 1 9 18 0 3 i 1 15 2 i 6 8 5 2 3 23 29 4 — 1 13 — 1 7 16 1 c — 2 1 5 0 4 9 4 4 — 2 3 — II 15 25 18 3 4 1 1 5 1 5 4 1 12 22 12 3 33 36 3 — 3 14 II 20 2 8 7 2 — 4 3 7 9 24 9 1 6 1 — 1 1 5 1 — 1 10 19 6 ^qutinFRONT! . . . in your lobby and foyers with these brand new, custom-made King-Size Displays of theJGng ,nd FOUR C\UEENS Custom-Made DISPLAY . 50 x IA 80! FULL COLOR They're so special, so big, so far out in front of other advertising ... that they speak for themselves! Here's your Big chance to really splash your theatre with color and showmanship . . . and to pre-sell and exploit your attraction . . . in a different way! Designed especially for this picture, these huge Displays are the latest word in advance selling! £j,£AN°* The King Tangle With Flesh And Flame In The I Hottest Western Ever J Made1 I \Ci€€/t SERVICE 'PR/Zf BP BY Of Wf /BOOS TRY IT'S A WHOPPER OF A DISPLAY! Huge ... crowd-stopping ... so colorfully new... this Standee is specially designed and aimed to 'sock 'em in the eye' right away! Clark Eleanor fnABLr Parker | r theJ^nc FOUR C\)UEEJVS Jampack your Doors . . . fill your Foyers . . . with great crowd-catching panels and screens! Its tremendous approach in such a special way gives you a head start in your campaign ! CLABK r.UAHOH Ct-A*K Eleanor Gable Pah ft r Gab us p abac a TMsJGfto ' rotnt Cj or cats row C^urrNs Clark Eleanor Clark Eleanor Gable Parker Game Parker TiirJZma thtJ&no .w poor QjvrcNS roim F\uexms mmuscjs; r^.'PEChMB£R 8* mp- - ^ HER Selected itors for D BETTER REFRESHMENT MERCHANDISING: automatic Vending in the Theatre Merchandising Scheme as second-class matter January York City, L . S, .4., under the act of March 3, 1879. / r. Sew York 20, X . Y Subscript on prices: $; copyrighted 1956 by Quigley Publishing Coni pa » v, f lA M LUST FOR LIFE NATIONWIDE OFFICE HIT! The Story Thus Far! Your Theatre Can Write The Next Glowing Chapter! CURRENT ENGAGEMENTS: NEW YORK — 3rd Month. All time record! BEVERLY HILLS, CAL. — 3rd Month. Equalling all-time tops! OAKLAND, CAL. — 3rd Month. Equalling all-time tops! MADISON WIS.— 3rd Week. Very Big! PORTLAND, ORE.— 3rd Week. Fine business! CINCINNATI — 3rd Week. Excellent! MINNEAPOLIS— 3rd Week. Terrific! ROCHESTER, N. Y.-3rd Week. Big! BOSTON— First 4 days all-time house record! ST. LOUIS— 2nd Week. Excellent! ATLANTIC CITY— 2nd Week. Big! GREENSBORO, N. C.-2nd Week. Very Big! DURHAM, N. C.— Close to “Guys And Dolls”! COMPLETED ENGAGEMENTS: WASHINGTON, D. C.-8 Weeks. New M-G-M record! SAN FRANCISCO— 8 Weeks. 2nd biggest in house history! DETROIT— 7 Weeks. One of the biggest! PITTSBURGH— 7 Weeks. Record-breaking run! BALTIMORE— 6 Weeks. Very Big! KANSAS CITY, MO.— 5 Weeks. Record-breaking run! CHICAGO— 5 Weeks. 2nd highest M-G-M record! BUFFALO— 5 Weeks. Excellent engagement! SAN DIEGO— 4 Weeks. Fine business! SEATTLE— 4 Weeks. Fine business! ATLANTA— 4 Weeks. Fine business! SALT LAKE CITY-3 Weeks, 5 days. Top M-G-M grosser! HOUSTON— 3 Weeks. Fine business! DENVER— 2 Weeks, 5 days. Ditto! DALLAS— 2 Weeks, 5 days. Ditto! MILWAUKEE-2 Weeks. Ditto! M-G-M presents In CINEMASCOPE and METROCOLOR KIRK DOUGLAS LUST FOR LIFE Co-Starring ANTHONY QUINN JAMES PAMELA DONALD ' BROWN w.» EVERETT SIOANE Screen Play by NORMAN CORWIN Based on the Novel by IRVING STONf Directed by VINCENTE MINNELLI Produced by JOHN HOUSEMAN {Available in Magnetic Stereophonic, Penpecta Stereophonic or 1-Channel Sound) V . LUST FOR LIFE COULD WELL WIN ACADEMY AWARD ! BOB MURPHY in Minneapolis Tribune Ti )» You’ll hear it more and more about M-G-M’s most honored picture! Ahead of ’em all for the holidays -or any day! NEXT BRINGS YOU... FOR CHRISTMAS... THE WORLD’S MOST PUBLICIZED BLONDE t- i j Or JAYNE MANSFIELD •i* 20th the big name company which BROUGHT YOU THE HOTTEST NAME IN SHOW BUSINESS FOR THANKSGIVING ' C VI E . THE G < '-Juest - /•HO I'l « * f MOTION PICTURE HERALD MARTIN QUIGLEY, Edit or-in-C hie f and Publisher k MARTIN QUIGLEY, JR., Editor Vol. 205, No. 10 f December 8, 1956 Allied in Transition THIS is a time of change in the industry. Changes are taking place in production, distribution and exhibi- tion. So it is not surprising that changes also should be apparent in exhibition organizations. Allied — judging from the action of its board and resolu- tions passed at the Dallas conventon last week — has “a new look.” Naturally, at this time it is impossible to know how long the “new look” will prevail. Allied has made no sharp break with its past traditions or policies. Now there is what seems to be a new approach. Some may believe that the tone of the Dallas meeting, contrasting as it did with many other Allied sessions, may be due only to the remoteness of Texas from Allied strong- holds, to the fact that a high percent of the exhibitor dele- gates were officers, directors or old-time “stalwarts,” to the southern hospitality or to other reasons unconnected with policy of the organization. On the other hand many believe nothing Allied says or does — be it agreeable or not to outsiders — is done with- out a reason. One possible explanation is that, at least for the present, Allied leaders believe that what is sometimes called “the statesmanlike approach” should be utilized. No one knows how long Allied will keep this outlook. However, full ad- vantage should be taken of what seems a propitious time for achieving all-industry benefits and possibly a new or at least different era of exhibitor- distributor relations. First and foremost, ways and means of cooperating with Allied and other exhibitor groups to the end of building box office attendance should be worked out. Next, distributors should listen with a receptive and open mind to a proposal for the establishment of an indus- try arbitration system which probably will be made jointly by Allied and TOA before the tulips bloom again in New York. So much time has been spent in the past on arbitra- tion negotiations, any new discussions should be brief, with prior agreement that approval or rejection will be made within precise time limits. Moreover, if exhibitors want a full share in drafting the program for arbitration they should be willing to bear a proper proportion of the costs of any system. This might be a wise guarantee that the system would be kept simple and inexpensive. As often noted here, the existence of an arbitration system will not eliminate trade frictions but it should lessen them. The time, money and energies now taken up with trade dis- putes might better be spent by exhibitors and distributors alike in merchandising pictures to the public. Allied’s convention resolutions covered a variety of topics, as reported elsewhere in this issue. Points taken, even where agreement by all may not be anticipated, were understandable. That could not be said of all Allied reso- lutions in the past. One effect of Allied’s “new look” is certain to be closer liaison with TOA. Other effects will depend on the atti- tude of the leaders in exhibition and distribution about improving trade relations. Both sides might well try adopt- ing a more conciliatory attitude. It might prove construc- tive and it might make business relationships more pleasant. ■ ■ ■ MPAA Credit Report THE report prepared for the Motion Picture Associa- tion by A. J. Wood & Company of a survey in Marion County, Indiana, confirms the prevailing industry opinion that granting admissons on credit would not ma- terially boost attendance. Whether the research methods used have complete validity or not is something for the pollsters to debate. The MPAA survey throws no light on the movie attendance habits of the 14 per cent of the people polled who indicated an interest in a credit card plan or the 28 per cent interested in a ticket book. Nor was there any weighing of the psychological factor of hav- ing a card or a book as a reminder to attend pictures more often. This factor is of marked importance according to the circuits which use movie ticket books sold in advance at discount prices. The MPAA survey seems weak in its arguments for rejection of ticket books, paid for at time of sale. Famous Players Canadian and the Odeon circuit, to cite two examples, have long established and successful ticket book plans in operation. Those circuits value such books as a stimulus to attendance, or a means of providing patrons with something they can buy for gift purposes and as a means of taking in, especially at Christmas time, a not insignificant amount of cash. ■ ■ ■ Music Makers IN ANY consideration of the assets of the motion pic- ture industry today it would be a mistake to over- look or minimize the significance of the effects of films on music and record sales. Despite all the hullabaloo about millions glued nightly hour after hour to TV sets the mounting sales of records are influenced much more by films and film personali- ties than by television. Although producers, distributors and exhibitors are making an increasing use of film music for exploitation purposes much more could and should be done in this re- gard. That does not mean that necessarily every film title should be turned into a popular song. However, when practical this has proved to be an effective publicity in- strument. There are in addition many ways in which film music can be turned into an advantage in building ticket sales at the box office. — Martin Quigley, Jr. MOTION PICTURE HERALD December 8, 1956 Unfair Critics To The Editor: Motion picture exhibiting is a new phase in my life. I have been in the business for only six years and have been reading the trade journals and letters to the editor with a great deal of interest. It seems that everyone is trying to find something that may help our present deplorable situation. May I add the thoughts which have come to me lately? Motion picture exhibitors and film com- panies spend a great deal of money ad- vertising their products in the Metropoli- tan newspapers and national magazines, but the motion picture editors and critics employed by these big publications seem to delight in picking a picture apart and very seldom have words to give a picture a boost. This attitude apparently has caught on with the public, because some patrons seem to look for faults in the pic- ture they see instead of going to movies for entertainment. The production of most pictures is good but never has been technically perfect and a critic or patron who is looking for something to criticize in a picture can usually find it. Why don’t critics evaluate and report the entertainment value of the picture and write a few kind words once in a while? When a picture is of poor entertainment quality no one wants to know it more then the exhibitor himself, but when almost every new picture is panned by the critics and it becomes a popular habit to pick technical faults in a picture instead of going to the movies for entertainment there is something wrong. It seems like many of the “oldies” that are being shown on elevision receive better notices than our new and much better pictures do today. My theatre is in a small town about 200 miles from the metropolitan area where the daily newspapers are published which cover this area. Recently the movie critic of one of its papers, who very seldom has a kind word to say about any picture, went with his children to see a picture the second time and reported that he enjoyed the picture. His first notice on the picture was a comment that it was too long and he had a hard time keeping awake. After seeing it a second time he admitted it was a whale of a picture. That’s the kind of critics we have in this territory, which doesn’t help business one bit. If COMPO wants a project which could help the exhibitors I don’t think it could do better than start criticizing the critics and bringing unreasonable notices to the attention of the publisher of the papers or magazines in which they appear. If film critics would become film editors and just criticize and evaluate the entertain- ment qualities of a picture, I think it would give their reading public a differ- ent attitude toward pictures and would be giving us a helping hand, or is that oo much to ask? — DONALD T. DAW- SON, Orpheum Theatre, Ortonville, Minn. • Service First To the Editor: An important consideration for exhibi- tors is the imperative need for the attain- ment of the highest possible standards of service in our theatres, and what is more important, to maintain these stand- ards zealously. For there are still situa- tions where service is apathetic, even negligible. Oddly enough, many theatre men are aware of this, yet nothing concrete is ever done to rectify it. No attitude could be more myopic than this. Too many times patrons have been cold-shouldered in the- atres, brushed off even when they present- ed a legitimate complaint, or could not find a member of the managerial staff in attendance. If we want to rebuild our attendance, we must go after it. This is something we must do more than talk about; we must act! We must invoke a nationwide drive by circuits and independents alike, to convince our pa- trons and those we have lost that it is still preferable to relax in a theatre’s clean, comfortable surroundings instead of remaining home to watch television or seeking entertainment elsewhere. We must roll out the red carpet for the public and provide staffs that are atten- tive to their every whim. The underlying theme of courtesy and service should be drilled home to cashiers, doormen, ushers and sales attendants. Brusque employees who can’t conform to our requisites of pleasantness and courtesy should be weeded out. Managers and assistants should make it a must to greet and talk to as many patrons as possible, a vital factor in establishing goodwill for the the- atre and building up a steady following. And we must provide many more pa- tron services: check room facilities, a game or reading room where patrons can amuse themselves while waiting for a pic- ture to end so they can see the show from the beginning. Large first run theatres might improvise facilities for a nursery or playroom, where parents could leave the kiddies un- der the supervision of trained attendants while they enjoy the show. Properly ex- ploited, this baby-sitter service could well be responsible for increased attendance during matinees. — MELVIN AARONSON, New York, N. Y. Page WILLIAM HOLDEN is voted the money-making star of year 12 KENNETH MORE tops British exhibi- tors star poll 15 ALLIED convention outlines construc- five action 16 UNIVERSAL plans release of 12 films in four months 18 BENJAMIN THAU named head of MGM studio operations 27 UNITED ARTISTS charts 1957 promo- tion program 28 BRITISH film industry gets re ady for petrol rationing 30 SERVICE DEPARTMENTS Refreshment Merchandising 46-50 Film Buyers’ Rating 3rd Cover Hollywood Scene 33 Managers’ Round Table 41 The Winners' Circle 39 National Spotlight 35 In for DECEMBER Section begins opposite 50 MODERNIZATION as a Program SERVICE NEEDS of Sound Equipment REMODELING of a 30-Year-Old Theatre IN PRODUCT DIGEST SECTION REVIEWS (In Product Digest): Hollywood or Bust, Baby Doll, Four Girls in Town, The Cruel Tower, A Woman's Devotion, Ali-Baba Showmen's Reviews 177 Short Subjects 178 What the Picture Did for Me 179 The Release Chart 180 MOTION PICTURE HERALD, Martin Quigley, Editor-in-Chiel and Publisher; Martin Quigley, Jr., Editor; Charles S. Aaronson, Managing Editor; Floyd E. Stone, Photo Editor; Vincent Canby, News Editor; Ray Gallagher, Advertising Manager; Gus H. Fausel, Production Manager. Bureaus: Hollywood, Samuel D. Berns, Manager; William R. Weaver, Editor, Yucca-Vine Build- ing, Telephone HOIlywood 7-2145; Washington, J. A. Otten, National Press Club; London, Hope Williams Burnup, Manager; Peter Burnup, Editor; William Pay, News Editor, 4 Bear St., Leicester Sq. Correspondents in principal capitals of the world. Member Audit Bureau of Circulation. Motion Picture Herald is published every Saturday by Quigley Publishing Company, Inc., Rockefeller Center, New York City 20. Telephone Circle 7-3100; Cable address: "Quigpubco, New York", Martin Quigley, Presi- dent; Martin Quigley, Jr., Vice-President; Theo. J. Sullivan, Vice-President and Treasurer; Leo J. Brady, Secretary. Other Quigley Publications: Better Theatres and Bettec Refreshment Merchandising, each published thirteen times a year as a section of Motion Picture Herald; Motion Picture Daily, Television Today, Motion Picture Almanac, Television Almanac, Fame. 8 MOTION PICTURE HERALD, DECEMBER 8, 1956 WHEN and WHERE On the Oli onzon ALLIED IN REVERSAL Allied States Association's move to initiate industry talks for an arbitration system is a complete reversal of that or- ganization's position and "an abandonment" of its long-estab- lished policy to have film ren- tals and sales policies in- cluded in any set of rules for the industry, according to an official of Allied. The ex- hibitor association, at its Dallas convention last week, voted to seek an arbitration system "in accordance with the recommendations contained in reports of the Senate Subcom- mittee on Small Business, dated August 2, 1953, and July 27, 1956." See pages 16 and 17 for more Allied news. SEPARATE TALKS John L. Dales, of the Screen Actors Guild, commented this week in Hollywood on published reports concerning talks be- tween the talent guilds and Matthew Fox for a residual pay- ment formula which would enable Mr. Fox to sell approximately 75 post-1948 RKO features to tele- vision. "Because SAG," he said, "with thousands of members in- volved in any such deal, has problems different from Screen Writers Guild and Screen Direc- tors Guild, in the next round of negotiations will meet sepa- rately with Fox to discuss its own problems." He said the other guilds will hold joint meetings. NO TODD TICKET LINES Motion picture fans who buy tickets for "Around the World in 80 Days," which opens at the Cathay Circle theatre in Los Angeles next month, will be spared the crush and inconveni- ence of standing in the ticket lines. Michael Todd, producer of the film, which United Art- ists is releasing, is remodel- ing the theatre front in such a way that patrons can drive right up to the cashier's booth and order or pick up ticket res- ervations without leaving the car. If they come to see the performance, an attendant will whisk the automobile away to an adjacent parking lot. Believed to be an innovation for conven- tional "indoor" theatres, the new service is described as the "drive-in box office." RKO TAX CREDIT RKO Radio Pictures as of Jan- uary 1, 1956, had a tax credit of $10,800,000, of which $3,800,- 000 will be used up this year and $5,000,000 next year, accord- ing to Thomas F. O'Neil, board chairman and president of RKO Teleradio Pictures, the parent company. Mr. O'Neil added that capital expenditures for RKO in 1957 will be "very small" ; that the company amortizes its films at almost 80 per cent in the first year of release and the film is written off in two to two and a half years, and that pro- duction at RKO Radio next year may "go over 1956." BALDWIN TO EGYPT The board of directors of the MPEA has announced that it will send Charles Baldwin as its rep- resentative to Egypt to confer with the managers of the mem- ber companies' offices there on operational difficulties. The matter came up at this week's meeting of the MPEA board when a number of the directors point- ed up the difficulties they were experiencing in Egypt as French, Jewish and British personnel were being deported. The MPEA also took up the matter of the Japanese self-regulation situ- ation, but put off taking any action pending the arrival here next week of MPEA vice-president Irving A. Maas from Tokyo. Mr. Maas will make a personal report to the board next week, TAKE-HOME BOXES A Canadian theatre manager, unhappy over the monumental job of sweeping up empty popcorn boxes after every Saturday mat- inee, found a solution to the problem. "Take the empty boxes home," he told his young pa- trons, "write your name on the December 17: Annual Christmas party of the Des Moines Variety Club, Jewish Community Center, Des Moines, la. December 22: Film Row Club's annual Christmas dance, Ambassador Hotel, Los Angeles. January 8: Cleveland Motion Picture Ex- hibitors Association, general meeting to elect new officers, Cleveland, O. January 29-30: Annual convention of the Kansas-Missouri Theatre Owners Associ- ation, Hotel Phillips, Kansas City, Mo. January 29-31: Allied States Association, national drive-in convention, Nether- lands-Plaza Hotel, Cincinnati, Ohio. February 1-2: Allied States Association, annual winter board meeting, Terrace Plaza Hotel, Cincinnati. February 26-27: Annual convention of the Kansas-Missouri Theatre Association, Pickwick Hotel, Kansas City, Mo. March 3-5: Theatre Owners of America, mid-winter board meeting, Blackstone, Hotel, Chicago. March 6-7: Second annual convention of the United Theatre Owners of Oklahoma, Biltmore Hotel, Oklahoma City. June 23-25: Annual convention of the Mis- sissippi Theatre Owners Association, Edgewater Gulf Hotel, Edgewater Park, Miss. flap and bring it back the fol- lowing week. " He then awards prizes to the lucky names in a drawing held on the stage. The weekly lottery, reports the theatre manager, not only re- sulted in the virtual elimina- tion of post-performance card- board, but a remarkable in- crease in the consumption of popcorn. CINEMA ON RAILS India's first cinema-on- rails came into regular service recently with the Howrah-Delhi Janata express trains on the Eastern Railway. The cinema-on- rails is a specially-built, dual-purpose, integral coach fitted with a screen and projec- tion equipment for the exhibi- tion of 16mm films. MOTION PICTURE HERALD, DECEMBER 8, 1956 9 is wee l ictureS HIS FIRST. Gene Kelly in New York tells of "The Happy Road," MGM-financed comedy he made in France in French and some English for children and he hopes for the family, starring him and Barbara Laage and two ten-year-olds, and without music or even dancing. On his own, he prefers straight comedy; musicals he will continue to make under MGM contract. He starts next week on Sol C. Siegel's "Les Girls". AL FISHER, of United Artists New York office, this week begins super- vising field men as assistant exploita- tion manager, a new title. HERALD picture HERALD picture THE ACCEPTANCE. It is by Harold Klein, last week reelected New York Vari- ety chief barker. With him on the dais, Mar- tin Levine, Robert Shapiro, Phil Cohen, Larry Morris, Jack Hoffberg, and Rich ard Brandt. NATHANIEL LAPKIN, right, now is first vice-president for Stanley Warner Corporation. The board late last week ele- vated him. He helped the Cinerama, International La- tex and other diversification negotiations. HERALD picture HERALD picture EX-NEWSPAPERMAN and press agent: this helps in making pictures; it gives him the news peg, the topical slant needed these days as TV takes over routine entertainment, producer Lindsley Parsons said at Allied Artists in New York the other day, seconded by associate producer John Burrows, left. Mr. Parsons believes in shooting on location, in sequence, and in sell- ing personally. The producer should tell the exhibitor why he made a pic- ture, and show it to him. His probem is costs: "I don't mind that wages have increased four times but I do mind that the crew has increased four times." THE BRIDGE: producer Sam Spiegel, in New York before leaving to make "The Bridge on the River Kwai" in Ceylon, shows a sketch to Columbia vice- president Paul N. Lazarus, Jr., left. IN MEMORY OF Charles P. Skouras, who headed Fox West Coast, and National Theatres, and whose ebulli- ent personality was known the indus- try over: the $600,000 Charles P. Skouras Memorial Center at Nor- mandie Avenue and Pico Boulevard, adjacent to the Saint Sophia Greek Orthodox Cathedral (his project) in Los Angeles. Construction started this week. All Hands UUuNNEL >NNELl were old Hands AT THE Motion Picture Pioneers 18th annual New York banquet November 30 at the Waldorf . . . PIONEER OF THE YEAR was Texas circuit and Vari- ety International executive Robert J. O'Donnell, and in the picture above Pioneers' president Jack Cohn hands him the award plaque, as dinner chairman Sol C. Schwartz looks on. Story on page 39. IN THE BEST of spirits, some of the guests: upper left, Herman Robbins, Milton Rackmil; left, Charles Reagan, Ed Rowley, E. V. Richards, George Skouras; left below Sam Dembow, Jr., George Dembow, Mr. Schwartz, Mr. Cohn; below, Gus Eyssell, Ned Depinet. Vote William Holden Money-Making Star In Annual Exhibitor Selection for 'Fame' WILLIAM HOLDEN, Star of Stars by JAY REMER Perhaps there are some startling changes taking place in the motion picture in- dustry— perhaps 1956 is the exceptional year that proves the rule — perhaps the public is even more fickle than advertised. Whatever the reason, there are some stunning upsets in the latest Money-Making Stars poll conducted by the HERALD for “Fame.” Most important of all, there is a new Number One star, in addition to which five names were shaken loose from their illustrious positions and were replaced by four newcomers and one short-time absentee. As usual the men, for some in- explicable reason, dominated the winners by a huge majority, taking 18 of the top 25 spots. And the man among men is Academy Award winner William Holden, who has been laboring fruitfully since way back in 1939 when he made his debut in the prophetically-titled “Golden Boy.” In the 17 intervening years, he has not been exactly idle, but fate and fame finally caught up with each other. However, it should be consoling to all west coast luminaries that only 13 of their cohorts have made it to the top in the past quar- ter of a century. At any rate, Holden’s coup this year was aided mainly by “Picnic” and “The Proud and Profane” and to some degree by “Toward the Un- known” which was just getting started when polling time came ’round. The other exclusive nine in the Top Ten playing follow the leader are, in the usual order, John Wayne, James Stewart, Burt Lancaster, Glenn Ford, Martin and Lewis, Gary Cooper, Marilyn Monroe, Kim Novak and Frank Sinatra. Miss No- vak and the Messrs. Lancaster, Ford and Sinatra are the newcomers while Miss Monroe is the returning member. They replaced Grace Kelly, Marlon Brando, Humphrey Bogart, June Allyson and Clark Gable. The two ladies and Brando still remain in the top 20, however. The 25th annual Herald-Fame poll was conducted as were the previous ones — by direct mail ballot to all the exhibitors in the United States and Canada. The U.S. theatre men are split into circuit houses and independent houses and the final tally is the total of both. And although it would seem the choice of public and therefore exhibitor would have little to do with type of theatre, there is a definite differ- ence of opinion between the two. The accompanying tables illustrate this graphically. The exhibitor, of course, is the indi- vidual who would best know the box of- fice value of any star, because not only does he count the receipts but also he comes in direct contact with the paying customer. And the latter is, after all, the ultimate judge and jury no matter how often it changes its collective mind. However, there was unanimity on one subject and that was the selection of Bill Holden as the champion money-maker in the country. (Canada embraced the good- neighbor policy by voting the same way.) The recognition now coming his way from every direction took many years and a carload of pictures. The quality of these films kept fluctuating from year to year and even picture to picture until his most solid triumph as the Academy Award- winning meanie in “Stalag 17.” Since that propitious event nothing has stopped the man. In his first appearance two years ago in this annual story he placed a comfort- able seventh, last year he moved up three notches and this year another three. He cannot go any further so he’ll try to stay where he is with “The Bridge on the River Kwai.” The eighth consecutive appearance of John Wayne keeps his record intact. He has never been lower than four and has been top dog three of these fruitful years. Primarily seen in topnotch Westerns, it vas such a film that kept him rolling this year — “The Searchers,” of course. “The Conqueror,” too, was no slouch at the box ( Continued on page 14) EXHIBITOR CHOICES COMBINED CIRCUIT INDEPENDENT William Holden William Holden William Holden John Wayne John Wayne James Stewart James Stewart James Stewart John Wayne Burt Lancaster Burt Lancaster Glenn Ford Glenn Ford Glenn Ford Burt Lancaster Martin & Lewis Kim Novak Martin & Lewis Gary Cooper Gary Cooper Marilyn Monroe Marilyn Monroe Marilyn Monroe Gary Cooper Kim Novak Frank Sinatra Rock Hudson Frank Sinatra Martin & Lewis Kim Novak 12 MOTION PICTURE HERALD, DECEMBER 8, 1956 THE PLAYER WINNERS II. John Wayne V. Glenn Ford VII. Gary Cooper X. Frank Sinatra VI. Dean Martin & Jerry Lewis IX. Kim Novak VIII. Marilyn Monroe MOTION PICTURE HERALD, DECEMBER 8. 1956 13 MONEY MAKING STARS (Continued from page 12) office. A new venture, “The Wings of Eagles.” with his favorite director, John Ford, is ready for release and certain to keep him in the upper strata. James Stewart slipped a trifle from his stronghold last year as Number One but "The Man Who Knew Too Much” still re- mains in an enviable position. And he’s got two sure winners waiting to be de- voured. The first is another biography, the long-awaited version of Charles Lind- bergh’s “The Spirit of St. Louis,” and the other is a thriller, “Night Passage.” First of the newcomers is Burt Lan- caster who, this year, celebrated a decade as a Hollywood personality. Of course now he’s more than just a star what with his own producing company in which he modestly gets last billing after Messrs. Hecht and Hill. The former circus acro- bat apparently likes to mix up his roles as he moves sublimely from tongue-in- cheek adventure to off-beat drama and back again. This past year found him in two such diversifications — the happy-go- lucky oaf in “The Rose Tattoo” and the has-been aerialist in “Trapeze.” Directly behind him is another long- time favorite making his Top Ten debut. Glenn Ford made his first film in 1940 and thereafter appeared in a brace of good, fair and indifferent films, learning his trade in such varied items as the “Blondie” series, color Westerns, adven- ture yarns and an occasional “class” film. As the years progressed, so did his roles until he was getting a good deal of the cream. However, it was the sensational TOP ACTRESS The 25th annual Money-Making Stars poll was conducted in conjunction with Lustre-Creme's $35,000 Movie-Star Sweep- stakes contest in which the public was in- vited to pick the "Top Screen Actress of the Year." All those who chose Marilyn Monroe are eligible for the drawing and the winner will be announced December 14 on the Colgate-Palmolive show, "Strike It Rich," over the CBS Television network. The contest was promoted heavily by Colgate with dealer displays and tieups and in theatres by circuits and several of the major companies. “Blackboard Jungle” last year which made this Ford a favorite with the pub- lic. “Interrupted Melody,” “Trial,” “Jubal” and “Ransom” also helped. The country’s favorite cutups, Dean Martin and Jerry Lewis, continue to weave their magic monkeyshines and were successful enough to move up one spot this year. This was through the courtesy of their two annual outings in “Artists and Models” and “Pardners.” Un- fortunately, for the public at least, the boys have definitely decided (so they say) to go their separate, professional ways and only one of their joint ventures is awaiting public reaction — “Hollywood or Bust.” However, each has since made films on his own and next year’s results should be most interesting. Gary Cooper has the distinction of being a Top Ten winner more times than any THE NEXT FIFTEEN COMBINED CIRCUIT INDEPENDENT Rock Hudson Rock Hudson Audie Murphy Doris Day Doris Day Frank Sinatra Susan Hayward Marlon Brando Doris Day Marlon Brando Grace Kelly Susan Hayward June Allyson Susan Hayward June Allyson Grace Kelly Yul Brynner Jeff Chandler Audie Murphy Bing Crosby Marlon Brando Jeff Chandler June Allyson Grace Kelly Gregory Peck Jeff Chandler Gregory Peck Bing Crosby Gregory Peck Jane Wyman Yul Brynner Deborah Kerr Bing Crosby Ernest Borgnine Audie Murphy Randolph Scott Jane Wyman Ernest Borgnine Ernest Borgnine Randolph Scott Kirk Douglas Alan Ladd Alan Ladd Jennifer Jones Yul Brynner other performer in the history of the poll — 17 to be exact. And although he dropped two places this year, he can hardly be considered a casualty inasmuch as he’s appeared in every position from one to 10 over the years. “The Court Martial of Billy Mitchell” was his main event for the year, with “Friendly Per- suasion” just getting started. He also has a Billy Wilder film, “Love in the After- noon” currently shooting in which he co- stars with Audrey Hepburn and Maurice Chevalier. It should help keep his status, at the very least, quo. Marilyn Monroe, after a brief interlude in 11th position, returns for her third ses- sion among the elite. “Bus Stop,” inci- dentally, was the lady’s lucky candidate for the year and she’ll be throwing her lovely weight around soon in “The Sleep- ing Prince.” Newcomer number three and the only other female capable of overcoming the male supremacy is Kim Novak, a com- parative novice to films who wasn’t even n the top 25 in any previous year. Her first film, “Pushover,” was released in the summer of 1954, she was a Star of Tomor- row in 1955 and now places second only to The Monroe. Miss Novak had three blockbusters going for her this time out — “The Man with the Golden Arm,” “Picnic” and “The Eddy Duchin Story.” Her happy home studio, Columbia, has a one-two punch lined up that should keep every- body happy. They are “The Jeanne Eagels Story” and the adaptation of Rodgers and Hart’s famed musical, “Pal Joey” with Frank Sinatra. Caught Public Fancy Speaking of Mr. Sinatra, the crooner- turned-actor-turned-producer has finally wended his way into the land of the il- lustrious. For a man who, four years ago, was practically living a life of profes- sional solitary confinement, he has really caught the public’s fancy to the point where some of his strongest scoffers in the days of his youth are now his biggest boosters. The Academy Award for “From Here to Eternity” was undoubtedly the turning point and he has taken advan- tage of this brilliantly. Among the reasons for his latest coup are the aforementioned “Arm,” “Guys and Dolls,” his own “John- ny Concho” and “High Society.” The per- petually busy man recently completed “The Pride and the Passion”; is currently working on “The Joker,” a biography of night club comedian Joe E. Lewis, and will soon play the charming scoundrel, “Pal Joey.” Our neighbors in Canada concurred with the foregoing selections in eight of the 10 cases (although not necessarily in the same position). Doris Day and Bing Crosby replaced John Wayne and Gary Cooper north of the border and the com- plete list of winners, chronologically, are: William Holden, Glenn Ford, Martin and Lewis, James Stewart, Miss Day, Burt Lancaster, Frank Sinatra, Crosby, Marilyn Monroe and Kim Novak. l4 MOTION PICTURE HERALD, DECEMBER 8, 1956 NEWCOMER KENNETH MORE TOP STAR IN BRITISH FILM HOUSES by PETER BURNUP LONDON: In an overwhelming plurality of their votes, Britain’s exhibitors have named Kenneth More — star of J. Arthur Rank’s record-breaking and breath-taking “Reach for the Sky” — the world’s finest money-maker at their booths. No fewer than 4,162 theatre men — namely, 96 per cent of the country’s total — contributed to the Poll. They elected More leader not only in the exclusively British department of the Poll, but in the International field, in which he led by many lengths notabilities like James Stewart, Burt Lancaster, Audie Murphy and Jeff Chandler. Result Unquestioned The pre-eminence of Kenneth More not only in popularity but in money-making potentialities cannot be questioned. Com- ment is also made that his triumph at the Poll reflects the continuing box office ap- peal of British-made films, in spite of the launching here during the past 12 months of a considerable barrage of spectacular and multi-million-dollar Hollywood ven- tures. For Kenneth More was not alone in the nod of Fame accorded him by thea- tre men. By only exceedingly narrow margins other Britons, in the persons of Jack Haw- kins, Dirk Bogarde, Virginia McKenna and Norman Wisdom, missed inclusion with the elite of the Top Ten Internation- al Stars. British film-makers claim that on the Poll’s showing their outgivings have successfully sustained Hollywood’s recent mammoth assault on the country’s screens. At the age of 37, More — in each of the two immediately preceding years he stood at fifth place in the British Poll — is a breezy, brash person given occasion- ally (in the view of the uninformed) to disturbing boisterousness. Certainly, he is possessed of unquenchable vitality. Cer- tainly also, he began his professional career as a fifty-shilling-a-week comic at London’s little Windmill Theatre, which is approximately this town’s equivalent of a Minsky burlesque show. But that is only a fraction of the truth of the man More. Future Assured His starry future as a screen-actor is assured. He has revealed himself as pos- sessed of the infallible, though undefin- able, quality of heartwarming appeal and charged as occasion demands with tender- ness. He has just finished, as the star, a picture of J. M. Barrie’s “The Admirable Crichton.” He is committed to a number of other films. But the pattern of his future remains his own secret. A sturdy air of stability marks most KENNETH MORE of the rest of the British nominations. Jack Hawkins comes back in second place, following his return in “Touch and Go” and “The Long Arm” from filming in America. Dirk Bogarde — last year’s Number One — has spent most of the year on the Lon- don stage, but remains in screen box office favor on the strength of his appearances in reissues of “Doctor in the House” and “Doctor at Sea.” The country’s so-called Clown Prince and the acknowledged leader in the slap- stick business — Norman Wisdom — to- gether with dependables like Anthony Steel, Alec Guinness and John Mills — remains in high esteem. Newcomer to the List John Gregson, an established Rank employee who never seems to have found a vehicle apt to his merits despite a worthwhile novitiate in North Country repertory, comes in note- worthily. The most notable newcomer, without question, is Australian-born Peter Finch in the seventh place. “The Battle of the River Plate” is his newest success. Comment has been made frequently in this place of the disturbing scarcity of feminine pulchritude in the elite nomina- tions by the country’s exhibitors. In the International list theatre men could find room only for Doris Day on this occasion. rn their list of British nominees, Virginia McKenna ousts the redoubtable Diana Dors and is the only woman found worthy of inclusion therein. Miss McKenna owes her status in the roster clearly to her performance in the well received “A Town Like Alice.” At the age of 25 she has become an actress of distinction. There are those who speak of her as the typical English girl, which (in view of many), commendable though it be, is no warranty of success on the screen. She made her film debut in a not-so-successful version of “The Second Mrs. Tanqueray”; followed that up with parts in “The Cruel Sea” and the Dirk Bogarde Mau-Mau picture, “Simba.” She had a part in a memorable stage produc- tion of “A Winter’s Tale” alongside Diana Wynyard and John Gielgud, and later won for herself the dubious honor of being hailed as Britain’s TV actress of the year for her appearance in “Romeo and Juliet.” THE MONEY MAKERS British exhibitors participating in the "Motion Picture Herald” -"Fame” poll vote for three groups : the top ten British players, the top ten international players, includ- ing both American and British stars, and Western stars. The vote: BRITISH INTERNATIONAL WESTERN Kenneth More Kenneth More James Stewart Jack Hawkins James Stewart John Wayne Dirk Bogarde Burt Lancaster Audie Murphy Virginia McKenna Audie Murphy Jeff Chandler Norman Wisdom Jeff Chandler Kirk Douglas Anthony Steel Doris Dayt Danny Kaye Randolph Scott Peter Finch Robert Mitchum Alec Guinness Martin & Lewis Joel McCrea John Gregson Frank Sinatra Frank Sinatra John Mills Robert Mitchum Glenn Ford MOTION PICTURE HERALD, DECEMBER 8, 1956 15 Allied Convention Notable for Its Construetive Work by MARTIN QUIGLEY, JR. DALLAS: The 1957 Allied States Associa- tion annual convention at the Statler Hil- ton Hotel here ended last Thursday with — in the words of Abram F. Myers, board chairman and general counsel — “the pas- sage of more resolutions and more con- structive ones” than at any previous oc- casion in the organization’s history. It was a notable convention from several standpoints, not the least of which is the fact that it honored — on his home ground — prominent Allied leader, industry vet- eran and Brooklyn-born Texan, Colonel H. A. Cole, “for his 40 years’ devotion to the motion picture industry and Allied States.” The five-day meeting, although dominated by many well-known Allied names, also witnessed the emergence of a number of new names from the ranks of the younger members — keynoter Roy L. Kalver and Hugh McLachlan, among others. And, as was noted by Mr. Myers, it was notable for its resolutions, especially the one which proposed, with or without the cooperation of Theatre Owners of Ameri- ca, to seek initiation of negotiations with the film companies on an arbitration sys- tem. This resolution, although it made no mention of Allied’s long-held stand for inclusion of film rentals as an arbitrable item, was so worded as to indicate an abandonment of that principle. If the more than 200 delegates had accomplished noth- ing else in Dallas — which they did — this resolution alone would have insured the meeting a prominent place in Allied his- tory. An Important Speaker: Albert Sindlinger, whose thesis, as a research man, was that there should and will be more theatres. In the right locations. A Man Who Knows Colonel Cole is Abe Beren- son, who set the pattern for the evening dedicated to Al- lied's “first exhibitor of Texas". The Honored Guest was Colonel H. A. Cole, seen above acknowledging the plaudits of the final banquet, held to honor his long years of devotion to exhibition. With him, Abram F. Myers and Julius Gordon, who in- troduced him. The Keynote Speaker was Roy L. Kalver; and his portention was that this is the maximum assault; there will be casualties; we must fight back and we will survive. 16 MOTION PICTURE HERALD, DECEMBER 8, 1956 SPEAKERS, among the many: Beverly Miller and William Car- roll at the upper left; Benjamin Berger with Jack Kirsch upper right; Abram F. Myers, left; and at the right, Irving Dollinger, whom many believed the board, meeting January in Cincinnati, might well elect president. (All pictures by the Herald) ALLIED RESOLUTIONS The following is a resume of each of the 11 resolutions passed by the delegates at the annual convention of Allied States Association last week in Dallas: Resolution No. 1. Commended Ruben Shor, Allied president, for “his persistence in the face of much discouragement in working for a top level conference” while “respectfully” reminding the film com- panies that “theatres are the industry’s immediate points of contact with the pub- lic” and called upon them “to consult and work out a joint long-range program of recovery with the exhibitors through their established organizations.” Resolution No. 2. Authorized Allied States — with the cooperation of Theatre Owners of America, if possible, “or by itself if need be” — to initiate new negotia- tions with the film companies “looking to the establshment of an arbitration sys- tem ... in accordance with the recom- mendations contained in the reports of the Senate Select Committee on Small Busi- ness.” The latter did not find that film rentals were an arbitrable item. Resolution No. 3. Cited the “no review” film rental terms of MGM’s “I’ll Cry To- morrow” and “High Society” which have been “imitated by certain other distribu- tors with respect to top pictures,” and called upon “the film companies to aban- don rigid national policies in the licensing of films and to clothe their branch mana- gers with authority, and issue to them specific instructions to base film rentals upon the ability of exhibitors to pay.” Resoluton No. 4. Condemned the alleged practice of distributors of failing to make pictures available to some exhibitors “on their accustomed availabilities” and called for more prints where needed and a dis- continuance of shipping prints from one exchange to another “for a temporary financial gain.” Resolution No. 5. Empowered the Allied board to “explore the feasibility of estab- lishing legal clearances for theaters over television . . . bearing in mind that the four-year time lag in supplying pictures to television may not always prevail. . . .” Resolution No. 6. Urged the film com- panies to consult with exhibitor organiza- tions before consolidating film exchanges, reducing sales forces or curtailing services so that the exhibitors’ minimum require- ments would be taken care of. Resolution No. 7. Commended the work of the Joint Committee Against Pay TV, especially the part played by Allied’s Trueman T. Rembusch, and the part played by the late Alfred Starr, as TOA repre- sentative, and asked TOA to name a new representative so that the committee might continue to function “expeditiously and efficiently.” Resolution No. 8. Deplored those few ex- hibitors who for temporary financial gain have “risked the good will and lowered the standards of the business” by running so called “sex” pictures and called upon them “to mend their ways before they do irreparable harm to our business.” Resolution No. 9. Called upon MGM and Warner Brothers to set the example for the rest of the companies by making two types of trailers for each picture, one for sophisticated metropolitan audiences and one for small town theatres specializing in action pictures. Resolution No. 10. Reaffirmed the previ- ously taken stand in favor of production by formerly affiliated circuits “under prop- er safeguards.” Resolution No. 11. Called upon the Fed- eral Government and Congress to reduce the excess profits tax from 30 to 20 per cent; to tax corporations with less than 10 stockholders as partnerships; to liberalize depreciation allowance, and to allow estates of small business men to pay estate taxes over a period of 10 years. MOTION PICTURE HERALD, DECEMBER 8. 1956 17 Universal to Release 12 in Four Months . . . Feldman announces list at executive sales conference at stu- dio; to offer 33 films in full year, meeting is advised HOLLYWOOD: Universal Pictures will release 12 pictures during the first four months of 1957, representing the strongest group of box office attractions ever as- sembled by the company, Charles J. Feld- man, vice-president and general sales manager, announced this week at the opening sessions of Universal’s sales ex- ecutive conference, held this week here. Seven in Color Of these 12 pictures, seven are in color and seven are in CinemaScope with the company’s first black-and-white Cinema- Scope production scheduled for release in April. Mr. Feldman said that a total of 33 pictures would be released during 1957 and that the first four months period “will make manifest what the continued growth of our company during these recent years means in terms of our customers’ busi- ness.” The schedule for the first four months is as follows: “Written on the Wind,” Technicolor, starring Rock Hudson, Lauren Bacall, Robert Stack and Dorothy Malone. Janu- ary. “Four Girls in Town,” CinemaScope, Technicolor, starring George Nader and Julie Adams. January. “Rock, Pretty Baby,” with Sal Mineo, John Saxon and Luana Patten. January “The Great Man,” starring Jose Ferrer, Dean Jagger and Keenan Wynn. Febru- ary. “Istanbul,” CinemaScope, Technicolor, starring Errol Flynn and Cornell Borch- ers. February. “The Night Runner,” with Ray Danton and Colleen Miller. February. “Battle Hymn,” CinemaScope, Techni- color, based on the life of Col. Dean E. Hess, starring Rock Hudson, Martha Hyer and Dan Duryea. March. “Gun for a Coward,” CinemaScope, Eastman Color, starring Fred MacMurray, Jeff Hunter and Janice Rule. March. “Mister Cory,” CinemaScope, Eastman Color, with Tony Curtis and Martha Hyer. March. “The Incredible Shrinking Man,” star- ring Grant Williams and Randy Stuart. April. “Kelly and Me,” CinemaScope, Techni- color, starring Van Johnson, Piper Laurie and Martha Hyer. April. “The Tattered Dress,” CinemaScope, starring Jeff Chandler, Jeanne Crain and Jack Carson. April. Edward Muhl, vice-president in charge of production, announced during the meet- ing that the diversified number of story properties in various stages of preparation will enable studio executives to put into production a well-rounded program of pic- tures designed to appeal to all types of audiences. Augmenting the story proper- ties, the company will emphasize name personalities for its 1957 program, two- thirds of which will be filmed in Cinema- Scope or color or both, it was announced. Among the properties in preparation are several biographies including “Ata- turk,” “Boj angles,” “The Col. Everest Story,” “The Charles Russell Story,” “The Man Who Rocked the Boat,” story of Wil- liam J. Keating, former district attorney in New York, and “The Way Back,” story of Audie Murphy’s readjustment to civilian life. Novels and plays on the schedule are William Faulkner’s “Pylon,” Erich Maria Remarque’s “A Time to Love and a Time to Die,” F. Hugh Herbert’s “For Love or Money,” Robert Wilder’s “Ride a Tiger,” Eugene O’Neill’s “Emperor Jones,” “Song of Norway,” and many others. Universal will mark the beginning of its 45th anniversary year in 1957 with its “Seventh Annual Charles J. Feldman Drive,” starting December 30, 1956, and running for 18 weeks to May 4, 1957, it was announced by Alfred E. Daff, executive vice-president, at the conference. Aware of Responsibility Mr. Daff said, “We at Universal are keenly aware of our responsibilities to our exhibitor customers from coast to coast to provide them with a steady flow of top box office pictures which can be translated into important grosses. Everything will be done to help our exhibitor customers meet the challenge of the competing media for the entertainment dollar, and special efforts will be made to achieve the maxi- mum potential audience available to each release offered in the coming year. “We have a mutual stake in the future of our great industry and we recognize our part of the responsibility in providing the continuous flow of popular product that attracts the regular moviegoer as well as appeals to the great potential audience. The product offered in the seventh annual Feldman Drive and the campaign plans developed to sell these pictures to the mass movie going audience will serve as a great demonstration of the great faith that the entire Universal Pictures organization had in the future of our great motion pic- ture industry.” In the forthcoming sales drive, more than $50,000 will be distributed to the company’s division, district, branch and office managers, salesmen and bookers for the best billing results achieved during the drive period, it was announced. In addition to the overall prize money, the branch managers will vie for 18 different “Man of the Week” awards in the form of special gifts and prizes. Stel lings Is " Enthusiastic " About Talks Ernest G. Stellings, TOA president, who recently completed conferences with the presidents and general sales managers of most of the distribution companies, this week expressed himself as “enthusiastic about their willingness to cooperate” in the fulfillment of those aims which Mr. Stellings announced at his election. Mr. Stellings said: “I found that they are as concerned with the troubled state of distributor-exhibitor relations and general industry problems as we exhibi- tors are, and that they are willing to do more than their share to improve those conditions.” He added: “I conveyed to the people with whom I talked that TOA is willing to dedicate itself completely to industry efforts aimed at promoting the selling of more tickets at our box office and that we will aid in any sound way to accomplish that objective. We are appreciative of this opportunity to bring our thoughts to the company heads and general sales man- agers, and we shall follow up these confer- ences with what we feel are good, con- structive and definite industry programs. “We of TOA greet with enthusiasm the resolution we have read in the trade press, adopted at the National Allied Convention in Dallas, that Allied is to take proper and necessary steps in cooperating with TOA to initiate negotiations with the film companies looking to the establishment of an arbitration system in the motion pic- ture industry.” Mr. Stellings was referring to the rec- ommendations contained in the reports of the Senate Select Committee on Small Business dated August 2, 1953, and July 27, 1956. This parallels the action taken by the TOA board and by the general body at its last convention. Mr. Stellings described these as “states- manlike moves aimed at bettering indus- try conditions by way of affording to all exhibitors the benefits of a sound system of conciliation, and, where conciliation failed, an easily available tribunal where all exhibitors may air their grievances and have them adjudicated in an effective, speedy and inexpensive manner.” 18 MOTION PICTURE HERALD, DECEMBER 8, 1956 MANY, MANY BIG PICTURES WITH IMPORTANT AND EXCITING ENTERTAINMENT VALUES TO INSURE THE BRIGHTEST OF BOXOFFICE FUTURES FOR THE WORLD ROUND \}hree thousand and two hundred years ago on Mount Sinai THE TEN COMMANDMENTS were engraved on stone. Today they are engraved on film. Scene upon scene now exists in permanent Vista- Vision record to dramatize the most vital human story that I have directed in 41 years of picture- making and 20 years on the stage. The scenes made in Egypt are big — big in idea, big in move- ment, big in massed humanity, warm in color. In Hollywood, we have brought to life the personal struggle between the very human people who were swept along on this great tide of history. This struggle has never stopped — the struggle between Moses, the man, and Rameses, the king. Moses, played by Charlton Heston, stands as the symbol of individual freedom under God. Rameses, played by Yul Brynner, stands as the symbol of the dictator who owns everything, including the souls and bodies of those he rules. Theirs was the Cecil B. Che veil Co starring Cl N-Y U, SIR CEDRIC HARDWICKE • NINA FOCR • MARTHA DIRECTED By CECIL B. Of MULE • WRITTEN FOB 1HE SCREEN BY AENEAS Mac ME, JESSE L LASKY, Jfi, JACK GAfilSS, FREORIC M. ® Photographs hy Karsh , Ottawa first great clash between these two giant concepts. And they are still fighting in the world today, just as they fought their first engagement 3,200 years ago on the very ground where our cameras turned. The collision of these giant forces forms a story which sees spiritual power arrayed against earthly power, devotion facing passion , love against hate, the inspired opposed to the ruthless — showing the weakness and the glory of man and the wonder of God. On film is traced the events that brought about the giving of the tablets of stone. In them is formed the deep meaning, the enduring inspiration of the words that came flaming from Mount Sinai — THE TEN COMMANDMENTS. For they are the foundation of freedom's triumph over the forces of darkness. The Ten Commandments are not laws. They are the law. • be_Milleis mmaiidmmts n ui BRA SCOTT -JUDITH ANDEHEDN • VINCENT PHICE FRANK BASED UPON IDE HOLY SCRIPTURES AND OTHER ANCIENT ANO MOOERN WRITINGS • PRODUCED BY MOTION PICTURE ASSOCIATES, INC. DEAN JERRY MARTIN • LEWIS in a HAL WALLIS PRODUCTION HOLLYWOOD OR BUST co-starring PAT CROWLEY • MAXIE ROSENBLOOM Guest Star ANITA EKBERG BURT KIRK LANCASTER • DOUGLAS in a HAL WALLIS PRODUCTION GUNFIGHT AT THE O.K. CORRAL co-starring RHONDA FLEMING • JO VAN FLEET JOHN IRELAND Directed by JOHN STURGES • Screenplay by LEON URIS Music Composed and Conducted by Dimitri Tiomkin TECHNICOLOR® Directed by FRANK TASHLIN . Written by ERNA LAZARUS New Songs by Sammy Fain and Paul Francis Webster TECHNICOLOR® BURT KATHARINE LANCASTER • HEPBURN in a HAL WALLIS PRODUCTION THE RAINMAKER co-starring WENDELL COREY • LLOYD BRIDGES EARL HOLLIMAN • CAMERON PRUD’HOMME Directed by JOSEPH ANTHONY • Screenplay by N. RICHARD NASH Based on his play produced on the New York stage Music score by Alex North • TECHNICOLOR® co-starring NEVILLE BRAND • ROBERT MIDDLETON Introducing ELAINE AIKEN Produced by PAT DUGGAN . Directed by HENRY LEVIN Written by HARRY ESSEX and ROBERT SMITH AUDREY HEPBURN FRED ASTAIRE and FUNNY FACE co-starring KAY THOMPSON with MICHEL AUCLAIR • ROBERT FLEMYNG Choreography by EUGENE LORING and FRED ASTAIRE Music and Lyrics by GEORGE and IRA GERSHWIN Additional music and lyrics by Roger Edens and Leonard Gershe • Produced by ROGER EDENS Directed by STANLEY DONEN . Written by LEONARD GERSHE Songs staged by Stanley Donen TECHNICOLOR® CORNEL WILDE • MICHAEL RENNIE DEBRA PAGET • JOHN DEREK RAYMOND MASSEY in OMAR KHAYYAM co-starring YMA SUMAC MARGARET HAYES • JOAN TAYLOR Produced by FRANK FREEMAN, Jr. . Directed by WILLIAM DIETERLE Written by BARRE LYNDON .TECHNICOLOR® JACK PALANCE ANTHONY PERKINS THE LONELY MAN Through these gates - Boxoffice Attractions With Every BOB VERA HOPE • MILES PAUL DOUGLAS BEAU JAMES The Life and Times of Jimmy Walker co-starring ALEXIS SMITH • DARREN McGAVIN From the best-seller by GENE FOWLER Produced by JACK ROSE • Directed by MELVILLE SHAVELSON Screenplay by JACK ROSE and MELVILLE SHAVELSON TECHNICOLOR® m RICHARD KILEY SSS CARMEN SEVILLA in FLAMENCA Produced by BRUCE ODLUM Directed by DONALD SIEGEL Written by RICHARD COLLINS TECHNICOLOR® ANTHONY PERKINS • KARL MALDEN in FEAR STRIKES OUT Based on a story by James A. Piersall and Albert S. Hirschberg Produced by ALAN PAKULA • Directed by ROBERT MULLIGAN Screenplay by TED BERKMAN and RAPHAEL BLAU JERRY LEWIS as THE DELICATE DELINQUENT co-starring DARREN McGAVIN • MARTHA HYER Written and Directed by DON McGUIRE Produced by JERRY LEWIS DONALD O’CONNOR ANN BLYTH RHONDA FLEMING « THE BUSTER KEATON STORY CO -starring PETER LORRE Written by SIDNEY SHELDON and ROBERT SMITH Produced by ROBERT SMITH and SIDNEY SHELDON Directed by SIDNEY SHELDON BUSTER KEATON, Technical Advisor CHARLTON HESTON • ANNE BAXTER GILBERT ROLAND >N THREE VIOLENT PEOPLE co-starring TOM TRYON FORREST TUCKER • BRUCE BENNETT with ELAINE STRITCH . Produced by HUGH BROWN Directed by RUDOLPH MATE Screenplay by JAMES EDWARD GRANT Based on a Story by Leonard Praskins and Barney Slater TECHNICOLOR® INSIDE THESE GATES in addition to all the foregoing attractions which are finished or in final stages of production, these outstanding pictures are rolling: HENRY FONDA • ANTHONY PERKINS BETSY PALMER . MICHEL RAY In a Perlberg-Seaton Production THE TIN STAR co-starring Neville Brand • John Mclntire Produced by William Perlberg and Seorge Seaton. Directed by Anthony Mann. Screenplay by Dudley Nichols. From a story by Barney Slater and Joel Kane. VistaVision. FRANK SINATRA MITZI GAYNOR • JEANNE CRAIN in THE JOKER co-starring Eddie Albert From Art Cohn's best-selling biography of Joe E. Lewis. Produced by Samuel Briskin. Directed by Charles Vidor. Screenplay by Oscar Saul. Music by Sammy Kahn and James Van Heusen. VistaVision. JAMES STEWART • VERA MILES in Alfred Hitchcock’s FROM AMONGST THE DEAD (Tentative Title) Produced and directed by Alfred Hitchcock. Screenplay by Maxwell Anderson. VistaVision. Technicolor®. CLARK GABLE • DORIS DAY In a Perlberg-Seaton Production TEACHER’S PET Produced by William Perlberg. Directed by George Seaton. Written by Fay and Michael Kanin. VistaVision. The Don Hartman Production of Eugene O’Neill’s DESIRE UNDER THE ELMS Produced by Don Hartman. Directed by Delbert Mann. Screenplay by Irwin Shaw. VistaVision. SHIRLEY BOOTH • ANTHONY PERKINS SHIRLEY MacLAINE in The Don Hartman Production of THE MATCHMAKER Produced by Don Hartman. Based on Thornton Wilder's Broadway play. VistaVision. YUL BRYNNER in the colorful musical THE BUCCANEER VistaVision. Technicolor®. Produced under the Supervision of CECIL B. DeMILLE. » Benjamin Thau Named MGM Studio Head Benjamin Thau, vice-president and an executive of MGM since 1932, was ap- pointed administrative head of the studio this week by Joseph R. Vogel, president of Loew’s, Inc. Mr. Vogel also announced that E. J. Mannix, general manager, will work in close association with Mr. Thau, as will J. J. Cohn, Lawrence Weingarten, Marvin Schenck, Kenneth MacKenna and Saul Rittenberg, who will function as executive staff. In confirming the selection of Mr. Thau as head of the studio, Mr. Vogel said, “Mr. Thau is one of the best known executives in the motion picture industry and perhaps one of the least known to the public.” Mr. Thau originally was brought to the studio by L. B. Mayer and he worked closely with the late Irving Thalberg and Mr. Mayer, who later made him his execu- tive assistant. Prior to his new appoint- ment, he was in charge of contractual negotiations and the studio’s relations in various other ways with the stars and other personalities. Before coming to Loew’s, Inc., Mr. Thau was with the Keith Vaudeville Booking Office and later with the Orpheum Circuit Booking Agency. W ilby Honored at Dinner in Atlanta ATLANTA: R. B. Wilby, president of Wilby-Kincey Theatres and a director of American Broadcasting-Paramount Thea- tres, was honored at a dinner at the Capi- tal City Country Club here Tuesday. He will retire January 1. Among the friends and associates attending the dinner were Leonard Goldenson, president of AB-PT; Mike Kincey of Wilby-Kincey Theatres, Charlotte, and E. V. Richards, New Orleans. Hutner Named Warner National Publicity Head Meyer M. Hutner has been appointed national publicity manager for Warners and. Charles S. Steinberg has been ad- vanced to home office publicity manager, it was announced this week by Robert S. Taplinger, Warner vice-president and director of advertising and public rela- tions. Mr. Steinberg will assume many of the duties of the late Larry Golob. Mr. Hutner recently joined Warners as a spe- cial assistant for liaison with leading in- dependent producers associated with the company. A successor to Mr. Hutner will be announced by Warner Brothers in the very near future. Fox 39 -Week Is $3,182,099 Twentieth Century-Fox Film Corpora- tion and wholly-owned subsidiaries have reported consolidated earnings of $3,182,- 099 for the 39 weeks ended September 29, 1956. This amounted to $1.20 per share on the 2,644,486 shares of common stock outstanding, as compared with earnings for the 39 weeks of 1955 at $4,446,851, or $1.68 per share on the same number of shares. Total income for the period end- ing September 29, 1956, was $87,157,860. This compares with income of $86,832,411 for the same period in 1955. The earnings for the third quarter ended September 29, 1956, amounted to $1,025,429, equal to 38 cents per share, compared with $1,656,051 for the third quarter of 1955, equal to 62 cents per share. The earnings for the second quar- ter ended June 30, 1956, amounted to $1,- 695,931, equal to 65 cents per share. Felix Variety Club Barker in Denver DENVER: Jack R. Felix, branch manager for Allied Artists, has been elected chief barker of Variety Tent 37 here for the coming year. Others named include James R. Ricketts, Paramount branch manager, first assistant chief barker; Robert G. Sweeten, Centre manager, second assistant chief barker; Joe B. Stone, National Thea- tre Supply branch manager, dough guy; Bruce Marshall, Columbia salesman, prop- erty master. Rounding out the crew will be Duke Dunbar, attorney general of Colo- radio; Marvin Goldfarb, Buena Vista dis- trict supervisor; Fred Knill, office manager Gilbraltar Enterprises; Phil Isaacs, Para- mount division manager; Robert Lotito, publicity man. MPAA Told Credit System Unacceptable A survey conducted by the A. J. Wood research organization of the Marion Coun- ty-Indianapolis area to find the public’s reaction to a credit card plan for theatres has indicated that a system of charge ac- count admissions does not offer “promise of appreciably increasing movie attend- ance,” Eric Johnston, president of the Motion Picture Association of America, in- formed the board of directors yesterday. In view of what he called “the disap- pointing result,” Mr. Johnston recom- mended to the board that no further action be taken on a credit card plan. The MPAA head, in his report to the MPAA directors, which was presented by Ralph Hetzel, vice-president, as Mr. John- ston was delayed, said that two plans of credit were studied: a charge plan similiar to that in department stores whereby the patron would receive a credit card good for any theatre and be billed monthly by some central agency: a plan whereby a patron could be issued a “movie scrip” book for $10.00 containing $12.50 worth of admissions, with the original purchase price being paid for by cash or by charge as in the other plan. The company sales managers were also appraised of the Wood survey results in a meeting at MPAA headquarters in New York to hear an analysis of the report from the distribution sub-committee that supervised the survey. The subcommittee included William C. Gehring, chairman; Charles M. Reagan and Charles Feldman. Mr. Gehring will shortly leave for In- dianapolis and Marion County to meet with exhibitors there to report on the survey results. The study was initiated and financed by the MPAA after consulta- tion and in cooperation with these exhibi- tors. A total of nearly 1,400 personal in- terviews were held, with key questions asked of those 18 years old and over. Ohio Manager Aids In Veto of Tax PORTSMOUTH, OHIO: Phil Zeller, city manager for the Columbia and Garden theatres, here, is said to have been in- strumental in getting the City Council to pass an ordinance eliminating the three per cent admission tax as of January 1, 1957. Mr. Zeller said of this: “I have been trying for the past three years to get this tax removed and have been putting a lot of hard work and long hours in doing so. I appeared before the City Council on a number of occasions, and had Bob Wile, executive secretary of the Independent Theatre Owners of Ohio, at one time ap- pear before the City Council.” MOTION PICTURE HERALD, DECEMBER 8, 1956 27 UA Charts Promotion Program for 1957 . . . New York meeting of field men hears stress on company's very vigorous merchandising policy as responsible for grosses Max E. Youngstein, vice-president of United Artists, stating that there is no limit to his company’s potential growth, said the goal of U.A. was “to maintain the rate of expansion achieved since 1951 under the Arthur Krim-Robert Benjamin executive group.” Mr. Youngstein offered an optimistic picture at the company’s first national field men’s convention at the Warwick Hotel, New York, November 29-December 1. The conclave, taking the general form of a workshop seminar, was aimed at blueprinting a 1957 promotional program that “will rank as the best and most com- prehensive in the company’s 37-year his- tory,” he said. Stress Merchandising Stressing the importance of the com- pany’s vigorous merchandising policy in its successful operations over the past five years, Mr. Youngstein added that he is confident that the next 12 months will demonstrate more clearly than ever the ability of United Artists to sell and pre- sell its product. “Over the past few years,” he told the field men, “we have developed a series of multiple-picture agreements with the top stars and producers and di- rectors. As of today, we have 96 pictures completed, in production, or being pre- pared for production. The ace-in-the-hole that has helped us attract so many of the best people is our proven ability to mer- chandise a picture.” Appraising U.A.’s position as it faces the future, Mr. Youngstein declared that the company is uniquely equipped to meet changing market conditions and new problems. “We have the flexibility, the manpower, and the credit,” he said. “To- day we are a valued customer, not only of the banks, but of the big talent agencies as well. Our ability to achieve this kind of a position is a wholesome sign for the entire industry.” Staff Faces Challenge Mr. Youngstein paid tribute to the work done by the company’s exploitation men. “Today, more than ever,” he said, “the emphasis in selling and pre-selling must be on the local level. The best creative efforts of our home office staff are mean- ingless unless they are intelligently and aggressively carried into the field. The work of you field men in translating ideas into action has been a vital factor in U.A.’s performance as the Number One merchandising company.” Mr. Youngstein declared that the 48 features indicated for release during 1957, represent an investment of $42,000,000. “The development of the widest possible market for this superb product lineup is the challenge that we face in the next 12 months. This convention will create the tools that will help you get the job done.” During the three-day conclave, field men saw screenings of forthcoming United Artists releases, and a number of TV featurettes. They also examined ads, posters and special accessories that will pre-sell upcoming product. Ad Policies Are Defended By Youngstein Max E. Youngstein, replying to recent- ly published charges that motion picture advertising is “lurid,” told a convention of the company’s field men in New York last week that the yardstick for film ad- vertising should be the same as that ap- plied to other industries. Attacking the “ holier-than-thou-compounded-by-stupidi- ty attitude of the film industry’s critics,” Mr. Youngstein declared that “we are the direct descendants of the circus and we will continue in that vein. The policy at U.A.,” he said, “is that ads must meet our own standards of good taste, which we feel are equal to anyone’s. But it is our decision to make and our’s alone. “We are a circus business, a ballyhoo business that depends on excitement and vitality. It is absurd to compare our ad- vertising to the Cadillac ads and the dainty displays in Vogue. Sustaining this vitality and excitement is the key to our whole promotional plan. We don’t intend to be deflected by prissy and irrelevant considerations of elegance or tone. “The proper gauge of an ad,” Mr. Youngstein said, “is how many tickets it sells. We and we alone are the authorities on this. We don’t condone or employ vul- garity, but on the other hand we don’t expect to become defensive, humble, weak or furtive. When there are decent sex elements in our pictures, we intend to say so in our ads. If there’s rough ac- tion, our ads will tell about that, too.” Thomas Heads Rank London Distributors LONDON : Frederick L. Thomas, managing editor of The Cinema, has been named general manager of the J. Arthur Rank Film Distributors, it was announced here. Mr. Thomas was in professional stage man- agement and worked for Lloyd’s insurance prior to his appointment in 1930 as pub- licity manager of Western Electric Com- pany. In September, 1935, he was named director of advertising and publicity of Paramount Film Service, Ltd., later be- coming general manager of Cinema Press. EXECUTIVE array: the speaker, Max E. Youngstein, vice-president; with him, sales chief William Heineman, and advertising-publicity-exploitation director Roger Lewis. 28 MOTION PICTURE HERALD, DECEMBER 8. 1956 0 MOTION PICTURE HERALD, DECEMBER 8, 1956 uioD-aswzi- • aaui-i-uJui-ocrw -za-zi-ujzcizuw M©TTD®K1 [?> 0 (£ IT 05 [R @ , trort' for SHARPER PROJECTION! T.M. REG U V PAT. 0^- CURVED FILM GATE FIELD-PROVEN! . . . Projectionists and exhibitors now using the Simplex XL curved gate agree it’s a must for better projection of wide screen films. The gate is available on all new Simplex XL projectors or as a simple field adaptation to XL’s in service. It uses existing aperture plates, is easy to thread, easy to remove for cleaning. Regular or water-cooled curved gates are available for Immediate Delivery . . . con- tact your nearest N.T.S. branch! MANUFACTURED BY INTERNATIONAL PROJECTOR CORPORATION DISTRIBUTED BY NATIONAL THEATRE SUPPLY SUBSIDIARIES OF GENERAL PRECISION EQUIPMENT CORPORATION the Be SURE that they were designed specifically for use with pro- jection arc lamps, and are not just general purpose rectifiers. The one way to be sure is to buy only those that were engi- neered and manufactured by arc lamp specialists. Be SURE that the selenium stacks are FULL SIZE . . . adequate to the job expected. Be SURE that the stacks are DAMP PROOFED . . . that they will withstand wet climate and winter storage, and be sure that the damp-proofing meets the exacting specifications as de- manded by the military services. Be SURE that AMPERAGE OUTPUT can be readily changed DUR- ING LAMP OPERATION as with the 3 easily accessible rugged 8-point dial switches illustrated. Be SURE that they have Type Ft glass-type insulated transformers which means that they will withstand up to 150° F higher temperatures than Type A cotton insulated transformers. Thus they will permit emergency operation of both lamps on one rectifier. Be SURE that they are capable of being adjusted to compensate for line phase unbalance. Be SURE that they include a heavy duty fan and line control relay. Be SURE that they carry a GUARANTEE that you can depend on. NO OTHER RECTIFIER GIVES YOU ALL THESE ASSURANCES THE NEW "RfD ARROW" Selenium Rectifier 90 »o 135 Ampere and 120 to 180 Ampere 3-phase; 70 to 90 Ampere and 90 to 135 Ampere single phase models. Engineered for complete dependability, utmost economy and peak efficiency in converting A.C. current to D.C. for use with angle or coaxial trim high intensity lamps. THE STRONG ELECTRIC CORPORATION 1 City Park Avenue Toledo 1, Ohio Please send free literature on Strong Rectifiers. Name Theatre City and State Name of Supplier BETTER THEATRES SECTION The Finest Rectifier Ever Offered at Such a Low Price! 3 Wide screens are here to stay! Stereophonic Soundls, too! Producers with new techniques are filling your big screens with sharp-focus, spectacular pictures. Big screens need Stereophonic Sound to complete the revolution of improvement which is renewing the interest of millions in talk- ing pictures. Stereophonic Sound is better than sound from any single loud- speaker assembly. * Three channel, four channel, or six channel FOR THE BEST in multi- or single channel, mag- netic or photographic sound systems... buy • THE WESTREX • WESTREX Standard • WESTREX Economy Westrex Corporation 111 Eighth Avenue, New York 11, N. Y. Hollywood Division: 6601 Romaine Street, Hollywood 38, Calif. STUDIO RECORDING SYSTEMS THEATRE SOUND SYSTEMS 4 MOTION PICTURE HERALD. DECEMBER 8. 1956 for DECEMBER 1956 GEORGE SCHUTZ, Editor Brighter Pictures: Progress for the Industry by Proxy EDITORIAL INDEX: REMODELING OF THE PATCHOGUE THEATRE, PATCHOGUE, N. Y 6 THEATRE REMODELING AS A PROGRAM OF EXHIBITION MODERNIZATION (Part 1) by Ben Schlanger 8 "MISTER CHAIRMAN!", By Curtis Mees 10 CHARLIE JONES SAYS: LET'S ALL JOIN THE FIGHT (BUT KEEP THE PUBLIC OUT!) 18 BETTER PROJECTION DEPARTMENT: REGULAR SERVICE IS NEEDED FOR TOP QUALITY OF SOUND, by Gio Gagliardi .. 11 ABOUT PRODUCTS 20 BETTER THEATRES is published the first week of the month, with each regular monthly issue a bound-in section of Motion Picture Herald; and in an annual edition, the Market Guide Number, which is published under Its own covers in March as Section Two of the Herald. QUIGLEY PUBLICATIONS, Rockefeller Center, New York 20, N. Y., Circle 7-3100. Ray Gallo, Advertising Manager. Hollywood: Yucca-Vine Building; HO 7-2145. One of the most significant aspects of ef- forts during the past few years to advance motion picture technology, is marked im- provement of light sources, lenses and screens. Manufacturers of these vital in- struments of the art have accounted for a tremendous gain in technical competence that constitutes a practical triumph regard- less of how we measure it, by the scale of wide-screen or by traditional standards. This permanent, intrinsic progress has come gradually and steadily; and by its very evolutionary character, it may have covered more ground than is generally real- ized. Quite a few installations could now produce screen light readings considerably above those regarded as figures to strive for only a few years ago. A new theatre, the Syosset in the Long Island town of that name, exemplifies what has been happening. This is a 1400-seat Skouras operation opened in November with “Oklahoma!” in the Todd- AO proc- ess. The screen is a new Raytone type with an aluminized surface having a rated gain confined to 1.20 and side-to-side dis- tribution approaching that of a diffusive screen. The picture is 59 feet wide, with a curvature of only a few feet, and is lighted by Ashcraft Super Cinex lamps pulling ap- proximately 150 amperes. Center reflected light was measured at 18 foot-lamberts. SMPTE recommendations, set up many years ago with the relatively small picture of that time in mind, call for 10 to 12 foot- lamberts. • In this and other areas of the art, equip- ment manufacturers continue to advance motion picture technology basically. Some of this progress is related to the industry’s own new interest in making the theatrical screen a finer and a more powerful medi- um. But only some of it. In substantial degree, the pattern of technical improve- ment is reminiscent of the past. Equipment manufacturers themselves still contrive to do much for this business with just a little encouragement. • It is interesting to note, incidentally, new provisions for the projection of a Todd- AO picture at the Rivoli theatre in New York. For “Around the World in 80 Days,” the American Optical Company’s lenticular screen was installed. Lamps are Gretener Ventarcs, originally developed in Switzerland for the Eidophor television process and modified for motion picture application at the Rivoli. These lamps use 12mm “Uitrex” positive carbons with a rotary (graphite disc) nega- tive. They are operated at 230 amperes, 75 volts, for the Michael Todd production. At this wattage, the screen reading is re- ported to be 30 foot-lamberts at center, 20 at the sides. The picture is 60x30 feet, ap- proximately the size of the Syosset image for “Oklahoma!” but with a curvature of 13 feet, which of course, is significant with reference to side-to-side distribution. In the Rivoli operation, the 12mm “Uitrex” positives, specially made by the National Carbon Company, are said to burn at the rate of 60 inches per hour. They are made in 27-inch lengths. The disk forming the negative electrode, 220mm in diameter and 6mm thick, lasts 6 hours. With this positive burning rate, light output is rated at better than 65,000 lumens. Provisions for cooling the aper- ture area are elaborate, involving a re- frigeration plant to provide extremely cold air, which is blown through tiny cop- per tubes into the aperture. <7. S. 5 ( \ s ( r I ( This thirty-year-old theatre BEFORE MODERNIZATION: VIEW 1A— compare with View 1 on opposite page. VIEW 2— compare with View 2 on opposite page. VIEW 3 — compare with Views 3A and 3B on opposite page. VIEW IB— compare with View 1 on opposite page. Architect for modernization: _ MAURICE SORNIK, New York I HIS is a case of selective remodeling to produce effective mod- ernization at a cost warranted by location. Patchogue is a city of some 20,000 on the south shore of Long Island. The Patchogue theatre, a Prudential Theatres operation, has been a prominent playhouse of the region since its erection about 30 years ago. Comparison of pictures on this page of the property before re- modeling, with those on the opposite page taken afterward, show the areas chosen as critical and how they were treated. The mar- quee was rebuilt on the existing frame, with lamp sockets re- tained above an "egg-crate” diffuser. Terrazzo replaces mats on concrete. Plaster covers the ornate vestibule ceiling, with sus- pended receptacle downlights. Reconstruction of the balcony was a major change in the auditorium. Though reseated with Heywood-Wakefield "rocking chairs,” on 42- instead of 36-inch platforms, it has 90 more seats than before. The original metal auditorium ceiling was retained as not too invasive with its cen- tral chandelier cut off. Downlights were installed with recep- tacles having removable tops for relamping (R-40 reflectors) from above. In place of balcony soffit luminaires are flush re- ceptacles with wide-angle Holophane lenses. The old auditorium walls and arch were obliterated as noted on opposite page. VIEW 4— compare with View 4 on opposite page. 6 MOTION PICTURE HERALD, DECEMBER 8. 1956 VIEW 2— Loge after remodeling. is this one now! VIEW 1 — Entrance after remodeling. VIEWS 3A, above, 3B (below) — Auditorium after remodeling. VIEW 4— Rear of auditorium after remodeling. Ornamental side walls of the auditorium have been covered with stretched dark green self- figured rayon fabric, the for- ward wall and arch with hung rayon in cocoa brown (both installations by Novelty Scenic Studios, New York). The screen platform was extended, in steps, and a screen 50 feet wide in- stalled outside the arch. A silver satin traveler closes the new screen opening at intermission, illuminated by Par-38 red, white and blue spotlamps on dimmer, concealed by a ceiling beam. The main floor was reseated with Heywood-Wakefield padded back chairs upholstered in dark green velour. With five fewer main floor rows than for- merly, total capacity is 1200. BETTER THEATRES SECTION 7 THEATRE remodeling as a program of EXHIBITION modernization By BEN SCHLANGER, Theatre Architect and Consultant That our theatres are rundown, obsolete, too shabby and un- comfortable to attrack patronage is an old story. Exhibitors must be tired of hearing it by this time. This editor is tired of telling it. Nor do we believe it explains reduced attendance as much as it often is meant to do. It is not altogether a fable, however; and much of the point of it lies in the very fact that it is an old story. Obsolescence began for most of the exhibition plant while the rest was being built. A large part of it was ill-planned in the first place. And nearly all of it has been carried over, as is, into the age of television and two-car garages on every plot. We are trying to modernize the art, and theatres are part of the art itself,, and partly its package. The adjoining article is chiefly concerned with its former function, but recognizes the other needs of modernization in suggesting that remodeling, where extensive revisions are necessary, be handled as a long-term program. For portions of this, and for smaller projects and re-equipping, loans are available, in "distress" situations, through the U. S Small Business Administration. This aid has resulted from appeals made by TOA and Allied States.— George Schutz. Zor a decade, and in a broad sense longer, very little has been done about the obsolescence of our motion picture theatres. In more recent years, uncer- tainties created by the competition of home television, plus the “growing pains” of new techniques, have discour- aged basic modernization. But in the ten-year period prior to 1946, obsoles- cence was taking its toll despite the fact that this was a prosperous period for most exhibitors. Exhibition tended to see no need for improvements when business was good without them. Some of us, at least, now think we can perhaps see through these clouds of un- certainty, even if only dimly. Indoor motion picture presentation has gone through severe and protracted tests, from which has emerged some indication of where and ichy and how it can endure as a profitable medium of entertainment. The first phase of home television com- petition—the “live” and TV-film show —is now a known quantity. A second phase— exhibition of motion picture re- leases—can be to some degree evaluated. It is altogether possible, I think, that color TV. and even pay-as-you-see tele- casting of new motion picture releases (should it come), will not be sufficiently competitive to make further sizable in- roads into indoor motion picture exhibi- tion. This appraisal is predicated on technological progress giving the theatri- cal motion picture greater creative scope and physical impact. JUSTIFYING REMODELING To take advantage of a growth in the theatrical screen capable of meeting com- petition from a less novel, yet a more competent home screen, the industry must modify its exhibition plant. Home television competition dictates revisions also in matters of comfort and con- venience. And the very newness of tele- vision, relative to motion pictures, ad- vises that theatres, in architecture and decor, give their screen identification with the tastes and institutions of these new times. Fundamentally, I don’t think we can longer think in terms of different classes of motion picture theatre operation. All screen theatres are confronted with the same competition, therefore there will have to be incorporated into all thea- tres, the features that make the patron aware of a unique experience in plea- sant surroundings with at least the de- gree of comfort available at home. Not only the uncertainties which face exhibitors, but also the high costs of construction have discouraged erection of new motion picture theatres. There- fore those existing theatres which are well located, and which possess good parking facilities where needed, have in- creased in value considerably. Their increased value has little or no practical vane, however, unless a modernization program is carried out. The cost of construction has tripled since 1939. A budget for modernization will, of course, vary according to the amount of neglect and obsolescence en- countered. If such items as restrooms, lobby and foyer approaches, air-condi- tioning and external appearances have been neglected, the budget will be rela- tively large when you add modernization of the auditorium and its seating, a most important and commonly neglected area that must be included. REASONABLE EXPENDITURE A new motion picture theatre, fully equipped and furnished, under present conditions will cost, in most parts of the U. S., about $350 a seat. Before 1939, when most existing theares were con- structed, this figure was about $125. It would be most logical, therefore, to in- vest as much as $125 a seat for an exist- ing theatre of good structure and good basic plan, in locations that are still po- (Continued on page 14) 8 MOTION PICTURE HERALD, DECEMBER 8, 1956 New Prefabricated Steel Trusses Amazing Strength Trusses Are Assembled on the Ground and Raised in Groups of Two Speedy LOW-COST Erection Sizes Tower Screen No. Height Width Face 56-60 56 60 36x60 56-75 56 75 36x60 56-90 56 90 40x90 64-90 64 90 45x90 64-105 64 105 45x105 64-120 64 1 20 45x120 New Ez-Erect Steel Trusses are designed to give theatre operators the two most important features of screen tower construction — exceptional strength and economy of erection. Ez-Erect Trusses are designed so that they can be shipped in just two sections by any common carrier. The trusses are assembled on the ground and raised in groups of two. You need little mechanized equipment. Easy to pour, trench type foot- ings are used instead of complicated forms. You can have almost un- limited width. Ez-Erect Towers are engineered to withstand wind forces of 100 mph. Ballantyne Dub’l-Cones Give The Sound Patrons Deserve Amplification Systems Designed For Drive-Ins Listen to it and compare it with other speakers, and you'll agree with the hun- dreds of drive-ins that use Dub’l-Cones exclusively. You’ll get not only the ad- vantage of quality sound, but also lower maintenance costs as well. That’s because Dub’l-Cones are built and en- gineered with every known device and improvement for long life and easy, more economical service. Many, many systems are adaptations from public address or other sound sys- tems. These systems don’t give enough power for even average sound. In con- trast, Ballantyne's KX, RX and MX systems were designed and engineered exclusively for drive-ins. When field wire undergoes normal deterioration, Ballantyne surplus power systems drive through partial shorts. The result is plenty of volume a whole lot longer. Complete Drive-In Theatre Eq u i p m e n t — Projectors- Arc Lamps- Generators-Signs-Rectifiers Soundheads. 1712 Jackson Street Omaha, Nebraska BETTER THEATRES SECTION 9 MISTER CHAIRMAN!” ... it could be YOU as a theatre manager active in community affairs! By CURTIS MEES U I ow good are you at communicating your ideas to others? And how good at getting others to communicate their ideas to you, in the way they really in- tend having them understood? Do you think you are reasonably successful in this respect? Or have you never thought —or tested— your effectiveness at com- munications? Today, in every walk of life, communi- cations, be they good or faulty, are the keystone of solutions to most of our problems. The vital factor, so often overlooked, is whether or not we are ac- tually “communicating” with others in the vein we intend. For example, we feel that we are communicating to you in this article something of value to your business life (as well as your social life), but we have no way of knowing whether our point is getting across, or whether you are idly skimming across the lines while giving your inner attention more closely to the message your wife gave you as you left the house this morning, or to the letter you intend writing the sales- manager regarding the lousey gross you had on his picture last week. Those other “communications” may be taking precedence over ours! We as exhibitors, therefore, should be concerned with all phases of communica- tions and endeavor to upgrade both the quality and direction, as well as the quantity of our messages regardless of the medium, be they verbal, written or visual communications. As prominent civic-minded people in our respective communities, we are fre- quently looked to and called upon for leadership in various projects and at meetings. These activities require ef- fective communication of ideas, as well as the ability to induce others to share their thoughts with the group in its dis- cussions. As responsible leaders in our own field of the motion picture indus- try, it behooves us to produce as many capable spokesmen as possible to present the exhibitor’s side of the story if and when Distribution and Production meet with us on industry conditions. Poor communication has sabotaged many an industry effort, as witness the recent endeavor of the major distribu- tors in New York to promote a national press trip to Hollywood as part of a build - up of public interest in the movies. With the very best of inten- tions, the group undertaking to put over the project failed to get across to the producers — as well as the exhibitors— their enthusiasm for the potentials which they envisioned in their prelimi- nary meetings! What was a very promising idea, there- fore, died on the vine because the pro- ducers could not be made to see how the plan could benefit them, as well as all other branches of the industry. Many reasons might be advanced for their thinking, but the sum and substance of the complaint lies in faulty communica- tion. And in a small effort to minimize such failures in the future, at the “top brass” level, but particularly at the level of theatre and civic groups involving theatre managers, we want to examine certain basic factors common to all good communications. PREPARING FOR CONFERENCES Since these generally involve some form of conference where group think- ing is brought to bear upon the problem of the moment, we call the meeting to order. As chairman of the meeting, we turn the gavel over to you . . . and may you lead a most instructive and profit- able conference in pursuit of solutions of the problems vexing your group! Initial preparations for any confer- ence start with determination of the number of persons who will take part, and include selection of a room large enough for the meeting as well as the related questions of seating, of hearing and visual requirements. As a showman, fully aware of the mean- ing of comfort, your first thought should be to obtain a room which offers as much comfort as possible, with seating arrange- ments which will give every conferee a good view of the proceedings while be- ing in a position to join in the discus- sions and to hear every word that is said without straining. If any special equipment is to be used in conjunction with your conference, such as blackboards, charts, projectors and screens, as well as sound equip- ment, this should be arranged for and planned as part of the physical setup so that no last minute hunts need be made for places to hang charts, raise the pro- jector to a suitable level, or find electrical outlets convenient to the equipment as it is to be used. Details? Perhaps, but according to such details may your con- ference fail or succeed. Paper and pencils should be on hand. Refreshments may well be available nearby for those breaks which liven up extended meetings— and relieve tension that can thwart agreement. Arrange- ments should be made for distribution of identifying cards for all members of the group if some persons may not know each other. Place cards might be need- ed if it is advisable to seat people ac- cording to a plan designed to keep the conversation flowing and to create a har- monious relationship within the group. The secretary for the occasion should send out announcements of the confer- ( Continued on page 15) 10 MOTION PICTURE HERALD, DECEMBER 8, 1956 Better Projeetm A Department nn PROJECTION & SOUND Regular Service Is Needed for Top Quality of Sound By GIO GAGLIARDI DURING THE LAST COUple of years there has been a tendency on the part of theatre management to try to decrease the fre- quency of inspection calls made by the service engineer. Generally the excuse for this procedure arises from a desire to curtail expenses. Unfortunately the attempt to “cut cor- ners” in this area of operation very often backfires in the face of management, sometimes with costly breakdowns, but principally with a general let-down in the standards of quality of the sound be- ing reproduced in the theatre. As far back as 1935, the great varia- tions which existed in recording charac- teristics between studios were recognized as a factor which tended to produce poor quality of sound in different theatres, which used different types of sound equipment. At that time the Academy stepped in with the request that the stu- dios unite behind a standardization pro- cedure for sound recording. But this standardization could only become ef- fective if the theatres themselves in- stalled, or modified, their sound equip- ment in accordance with rules and standards prescribed and laid down by the Academy. These requirements were not too com- plicated and they made good sense. First, the mechanical equipment such as the soundheads, were to be built so as to insure perfectly smooth passage of film. The wows, or flutter, was to be reduced to an inaudible point. Second, the amplifiers were to have a reserve of undistorted power which would permit them to handle bursts and peaks of sound without distortion or overload. Third, the stage speakers were to be of a type dividing low- and high-frequency power output into two sections to pre- vent unit distortion and to preserve and present the best available quality to the public. Fourth, auditoriums were to be checked and treated acoustically so that echoes were eliminated and the reverbe- ration was kept within the desired limits. The Academy conducted many listen- ing tests and eventually issued data and curves which were to be used in con- junction with all leading makes of speaker equipment and which would produce the desired optimum quality in all theatres which followed the properly prescribed procedure. It is well known that these rules for standardization served the industry magnificently. Sound in most of our theatres between 1935 and 1950 became the criterion of quality. When wide-range or high-fidel- ity was mentioned, theatre sound was held up as an example for all others to envy and emulate. This high-grade reproduction, how- ever, was not attained without plenty of expense and work. Good equipment had to be installed, and this equipment had to be checked and serviced at regu- lar intervals so that it could perform continuously at peak efficiency for faith- ful reproduction of sound. EARLY SIMPLIFICATION Due to advancements in technology and in manufacturing procedure, the standardized equipment installed during that period became much more reliable and simplified than the equipment of the early 1930’s. Amplifiers, though smaller in size, could deliver greater amounts of power reliability over greater periods without continuous attention. Voltage produce • MORE BRILLIANT ILLUMINATION • SHARPER, BRIGHTER PICTURE • PERFECT COLOR BALANCE in any lamp, on any size screen, in any theatre or drive-in. There's a Lorraine Carbon for your particular lamp FREE! new LORRAINE CARBON CHART of recommended amperages voltage and arc gaps. ASK FOR TEST SAMPLES AT OUR EXPENSE CARBONS, Inc. BOONTON, N.J. BETTER THEATRES SECTION II preamplifiers became more stable and less complicated. In fact, the entire cir- cuitry and switching necessary between machines, amplifiers and stage were sim- plified to such an extent that serious trouble teas seldom encountered. Nowadays, however, the entire situa- tion has changed. With the arrival of stereophonic pictures, the carefully standardized sound reproduction setup had to be abandoned. First came the necessity for operating projectors in syn- chronism. Then came the flood of ste- reophonic three-, four- and six-track magnetic and optical conversions and new installations. These new processes caught the manu- facturers and the theatres unprepared for completely integrated new equipment. As a matter of fact, the economics of the industry demanded that as much of the older equipment as possible be ab- sorbed. Today, practically every theatre which was equipped for magnetic sound is faced with the necessity of operating with apparatus considerably more deli- cate and complicated than it had before. Furthermore, since the previous single optical channel has been increased to three, four or more magnetic channels, the possibility of unbalance, electrical breakdown, or switching trouble has been increased many, many times. This is especially true because often equipment from different manufacturing sources is being used in one installation, thus requiring more complicated switch- ing between the separate systems, such as single optical, three channel Perspecta, parallel magnetic, and three-, four- and six-channel magnetic sound on com- posite prints or separate magnetic film. Looking upon the complexities of the new multi-channel equipment, some peo- ple have questioned its possible advan- tages. All I can say is that, even after three years of field experience, it seems to be the consensus of both technical people and lay listeners that the im- provement in quality which can be achieved in a theatre due to multi-chan- nel magnetic reproduction is so great that it should more than compensate for its complications. THE PRICE OF QUALITY The improvement in quality of sound reproduction which may be promised by multi-channel equipment cannot be re- alized, however, unless the proper equip- ment has been installed, and unless it is checked and maintained in proper bal- ance. An analogy may be drawn between precision machine products and the new sound equipments. In order to obtain higher quality tools and machines it is necessary to aim for closer and more stringent tolerances in the finishing of materials. This can be obtained only by closer and more frequent inspections. So it is now with our newer type of sound recording and reproduction. If we are to encourage the studios to pro- duce finer recordings we must be able to reproduce sound in theatres under much closer and more stringent toler- ances. Obviously this requires thorough and frequent inspections. When “Fantasia” was first released in 1940, it made use of multi-channel opti- cal recording, using three sets of stage horns and a whole series of auditorium surround speakers. At that time it was acclaimed as the greatest advancement in sound reproduction. However, the com- plications of equipment and its size and cost precluded its common acceptance. Then came Cinerama, making use of seven magnetic tracks and channels, which were considerably improved and simplified over the previous “Fantasia” system. Cinerama’s high quality of mu- sical rendition has a terrific impact upon the audience and has become a guiding example and a trade-mark for the best in multi-channel theatre sound reproduc- tion. It was probably due to the success of these pioneering efforts that Cinema- Scope was introduced exclusively with THE TRULY AMAZING LIGHT PROJECTING SYSTEM 140-165 AMPERES • 40% MORE LIGHT THAN EVER BEFORE 13.6 MM HIGHER POWER! CARBON ARC LOWER COST! FASTER SPEED OPTICS! CONTROLLED FILM HEAT! NOW YOUR DRIVE-IN CAN HAVE THE BRILLIANT LIGHT OF NDOOR THEATRES U. S. Distribution through INDEPENDENT THEATRE SUPPLY DEALERS • Foreign: WESTREX CORPORATION • Canada: DOMINION SOUND EQUIPMENT, LTD C. S. ASHCRAFT MANUFACTURING CO., INC. 36-32 THIRTY-EIGHTH STREET, LONG ISLAND CITY 1, NEW YORK 12 MOTION PICTURE HERALD, DECEMBER 8, 1956 four-track magnetic sound. The success which followed CinemaScope need not be described. The great improvement in fidelity made it possible for bvery the- atre to achieve a quality of sound which none had ever experienced before. Musical scores and other audio mate- rial now could contribute intrinsically to the total impact of the performance. But unfortunately heated controversy over the necessity, even value, of stereophonic sound developed between exhibitors and some producers. Because of cost consid- erations in theatre installations and in studio and processing procedure, multi- channel picture releases were distributed only partly as multi-channel magnetic, and principally as single-channel optical sound track prints. KEEP EQUIPMENT READY! During; the last few months there seems to have been a considerable de- crease in the distribution of magnetic prints. This may give rise to a desire to curtail the attention given to theatre magnetic equipment. All these factors have aggravated the confusion now ex- isting in studios and exchanges and, even more so, among motion picture theatres. Since it is practically impossible to predict the type of print which may be served to thousands of theatres, it is utterly ridiculous to permit any of the theatre’s systems to get out of proper condition. It is well known that if switching and amplifier facilities are seldom used, they tend to deteriorate and become rather frequent sources of trouble. Hence these sections of equip- ment require consistent and more special- ized attention. The decrease in multi-channel Cine- maScope releases seems to have given magnetic reproduction something of a set-back. However, it is certain that the recent increase in the six-channel Todd- AO installations, and the possibility of MGM six-channel productions will give full range magnetic recording and re- production a new lease on life. Certain- ly it is impossible to conceive how the scoring of Oklahoma ! and Carousel could be as beautifully and effectively reproduced from one track optical re- cording as it is by multi-channel mag- netic systems. It is undisputable that when the stu- dios utilize their utmost efforts, the best quality will result from magnetic multi- channel recording and reproduction. The theatre equipment used for this pur- pose will function only at its best when properly installed and properly main- tained. For our industry there should be no compromise with optimum qual- ity of sound. Scene from “Anastasia," 20th Century-Fox CinemaScope production. Make your theatre HABIT- FORMING with the PERFECT-PICTURE PAIR PERFECT-PICTURE CINEMASCOPE LENS Clearest, brightest, distortion-free projection of all anamorphic proc- ess films. Highest light transmission — 92%! No vignetting! Uniform light and uniform magnification throughout entire screen area! Com- plete line — neighborhood theatres to longest-throw drive-ins. Academy of Motion Picture Arts and Sciences Honorary Award for Optical Service to the Industry SINCE 18 5 3 SEE THE BIG DIFFERENCE . . . FREE DEMONSTRATION Write today for demonstra- tion, and for Catalogs E-123 and E-141. Bausch 8C Lomb Optical Co., 67912 St. Paul St., Rochester 2, N. Y. (In Canada: General Theatre Supply, Toronto.) PERFECT-PICTURE PRIME LENS Sure, a good feature will bring pa- trons in . . . but it’s how well they see it that helps decide whether they’ll pick your theatre to come back to. Build repeat patronage with B&L Super Cinephor Projec- tion Lenses — full detail, brilliant contrast — the quality standard prime lens for all theatre and drive- in projectors. BETTER THEATRES SECTION 13 Theatre Remodeling as Exhibition Modernization (■ Continued from page 8) tentialh suitable. Such a figure could, with good reason, be increased in in- stances where seats and carpets are badly worn and by now written off. All parts of the theatre are important in a modernization program, but this discussion is concerned chiefly with that most vital part of today’s motion picture theatre, the auditorium. The seating, sightlines, lighting, acoustics and visual conditions for the projected picture es- tablishes the degree to which the patron will be impressed with the dramatic dif- ference between home screen perform- ances and full-scale, ultimate realiza- tion of the art in a theatre. It is not enough to accept the mere ability to see and hear the performance. Even if you already have installed a larger screen, there are psychological values which should be exploited by other instruments of technique. The whole presentation should be one de- serving the term high-fidelity— hi-fi, let us say, in both sound and picture, with all the sounds of the story as true as life, the music of the score faithfully that of a great orchestra, the scene and its peo- ple utterly real with detail and color and freedom from invasion by mechanical trappings and architectural forms. That kind of expression of the art is exclusively a property of the theatre— preferably a public theatre, for obvious economic reasons, but also for psycho- logical reasons. These are the condi- tions which can make— and keep— going to the motion picture theatre a unique experience, rewarding in stimulation and emotional satisfaction to a degree far out of the reach of screen dramatics contrived elsewhere. Here it seems to me necessary to get in a few words about screen technique it- self. Although something like four years of technical investigation and de- velopment have gone by since the in- dustry started to take the medium out of the swaddling clothes that had become a straitjacket, there is still great indefinite- ness as to where the business is going with what. Important progress has been made, however, and certain possibilities beyond this have emerged. The pro- jected picture has become wider. Will the film itself be widened? It would, of course, be ideal, strictly as a matter of the screen image, if the pic- ture were projected from film, say 55mm to 65mm wide, even if the image were no wider than 35 feet. As matters stand at this time, however, that would seem to be impracticable. But we do have cer- tain product printed down to 35mm from wider negative, and it would seem only good business for exhibition to urge standardization of this procedure. PICTURES OVER 40 FEET At the same time, there is no evading the fact that 35mm film, no matter how printed, cannot accommodate a photo- graph big enough for projection, with proper resolution, to a width more than 35 feet. “High-fidelity” projec- tion cannot be achieved with that kind of magnification. It requires some technique like CinemaScope 55mm prints, VistaVision horizontal projec- tion, Todd-AO 65mm or 70mm tech- nique, or the MGM-Gottschalk wide- film method now underway. Thus far, these four systems are in the roadshow category, and apparently there is no basis for predicting when they might become available for more or less general exhibition. But it can be stated with complete technical authority, that owmen the the world over hav/e acclaimed new PERLUX screen/ TRADE MARK See the difference ! Acclaimed it and installed it ! From Marble Arch to Mexico City, the new ‘Perlux’ screen has This unretouched photograph shows an aluminised screen (left) and RANK PRECISION INDUSTRIES LTD GAUMONT-KALEE DIVISION Mortimer House. 37-41 Mortimer Street. London W 1, England Cables : 'RANK ALEE LONDON' * here are some of the cinemas where the 'Perlux' screen is already packing 'em in! Odeon. Marble Arch. London: Alhambra. Frankfurt: Capltole. Brussels: Savoy. Antwerp: St. George Theatre, Lisbon: Wepler Cinema. Paris; Rex Cinema. Olten. Switzerland: • gives a brilliant picture tor every seat • eliminates picture greyness • is white at all angles • gives colour films a breath-taking beauty • gives black and white films startling definition The new ‘Perlux ’ screen marks the greatest advance In cinema presentation since the Wide Screen ! Send for full details to: — (right) the new ‘Perlux’ screen had a phenomenal success. And no wonder — The screen which diis is the screen that’s right because it’s white. Splendlde, Berne: New Paseo Cinema. Mexico City. 14 MOTION PICTURE HERALD, DECEMBER 8, 1956 if a theatre has an auditorium of a size properly calling for a picture over 40 feet wide, it is important for that thea- tre to employ a method of projection comparable to those systems in point of magnification. Otherwise that theatre is denied a screen image of a quality avail- ble to a small theatre with 35mm print-down. Now it seems somewhat feckless to contemplate expenditures for modern- ization of auditoriums if we cannot de- termine that we shall be able to have a picture sized for desired impact with resolution necessary to realism. The seating plan is substantially affected by those conditions, and they determine what should be done about interior forms and surfaces. To provide opti- mum vision, with comfort, and to blend the screen image with the enclosure are first in auditorium modernization. The acoustical and lighting improve- ments for the auditorium are also an integral part of auditorium moderniza- tion and therefore cannot be done eco- nomically, or most effectively, before a solid approach is ma*de to the picture projection problem. All of this leads to setting up a program of modernization, with certain items to be executed at once, other items to follow in the order that external factors permit. [To be continued in Better Theatres for January] Mister Chairman! ( Continued from page xo) ence well in advance of the meeting to insure full attendance; and if possible this might be followed up later by tele- phone calls or other messages. Arrange- ments should be made for the recording by this individual of the conference as it is held, with detailed notes of the questions and answers. If your conference is to involve the serving of a meal, appropriate arrange- ments for all the service, including menus, facilities and the time allotted to this, should be made well in advance. And the program should make allowance for the interruption which this will bring to the emotional as well as to the physical continuity of the project. PLANNING THE AGENDA Thorough planning and inspection of the completed arrangements prior to the opening of the conference will assure a minimum of embarrassment from defec- tive or misplaced equipment and a maxi- mum of enjoyment from those partici- pating in the program, all to the credit of the chairman— you. The knowledge that everything conceivable has been ac- counted for beforehand will lend assur- ance in your role as a leader. As chairman of this conference, you have the responsibility of preparing an outline of the subjects to be brought up for discussion, and of the principal ob- jectives being sought; and to see that thoughts do not stray too far afield from the agenda! As concisely and enthusiastically as possible, you should prepare a state- ment to open the meeting which will define the problem in its simplest form. I bis will then be followed up, in your planning, with your approach to a solu- tion as it may be arrived at within the group. Questions to bring out the points of importance in reaching a solu- tion should be listed so that you may toss them out to feed the discussion and keep it always on the right track. If yours is to be a meeting, a restricted sort of conference where opinions are not sought so much as directives, with the reasoning therefore to be developed, you would have one type of planning, and cpiite another if an open conference, at which group thinking is to produce an acceptable solution to your problem. Each calls for its own line of attack. Let us assume that in the broad sense what is to follow will be a real confer- ence', for that is most likely to be the r\ to f'nd e*Ped , cVe- C ,et *hen *• •, rePr°‘ d c°'°r * n 0 reaV.s«co'W tre screen Q very 'mP W L , rouble- • F°rS’e°V „dW [eep,oieC*on*-"' aVe«i P°,,s' LaVezzi Machine Works 4635 WEST LAKE ST. • C H I C A G O 4 4, I L L. BETTER THEATRES SECTION 15 * Ham Changed ...HAVE YOU? Sure, you're still selling entertainment, but what else do you offer? Smart exhibitors have profited by letting us freshen-up their theatre seats . . . replacing all worn and broken parts. It costs so little and there's no inter- ruption of your show schedule. Call today for a free estmate. M ay we give you an estimate’ WRITE, WIRE or PHONE ALPINE 5-8459 MANUFACTURERS— roam Rubber A: Spring Cushions, back and seat covers. DISTRIBUTORS— Upholstery fabrics and general seating supplies. theatre seat seruice to. 160 Hermitage Avenue Nashville, Tenn. Ym Guatantee of Consistent Quality and Outstanding Service For Every Theatre Need! NATIONAL THEATRE SUPPLY 29 Branches Coast to Coast type of assembly involving theatre managers (and it can be modified to meet other occasions). In such a conference, you as the chairman, are expected to lead the dis- cussions, “keeping the ball in motion” at all times, but not to dictate, or in any way force your own opinions on the group. As a matter or fact, it will be in the best interests of the conference if you restrict your role to that of a moderator and refrain from injecting your own opinions, no matter how strongly you may feel on the subject. By so doing you can maintain a status of relative impartiality and secure better cooperation from the side opposing your own views so long as they are kept quiet. You will, therefore, need to study up on all sides of the coming discussions, trying to learn every facet of the problem and its possible solutions. And in doing this, you will load your program with interesting questions which will stimu- late free and open discussion. 'Sou will also want to formulate a simple set of rules governing the conduct of your conference, so that everyone will have an opportunity to be heard, and that no one person or faction will be permitted to monopolize the proceedings. CONDUCTING THE MEETING Having thoroughly planned your agenda and personally inspected the facilities set up for the conference, you should have no trouble on that score. Introductions are always in order at meetings involving any persons who are not in frequent constant contact with one another. Make your own name and position clearly known to all, possibly (if it is a large group) by writing it on the blackboard you have set up for the use of anyone desiring to present some figures. Follow that with a round-the- table introduction of the others. Here a seating plan will be of assistance in the event vou forget someone’s name at the moment. Once the ice is broken, you should out- outline your rules of procedure, putting all on notice that everyone should be heard from, which requires that each should restrict his statement to a reason- able period of time, and to the primary problem at hand. Naturally it is most important that some concrete results be forthcoming from the conference, and this is dependent upon the acceptance by all of the decisions made by the ma- jority. After getting the rules and regulations out of the way, your sole speech making should come in your opening statement defining the problem for discussion. Show your conferees the importance of the problem, the manner in which it af- Insist on EPRAD IN-THE-CAR SPEAKERS! • Tops in Sound! • Lowest Maintenance Cost! • Trouble-Free Service! Write for FREE Literature EPRAD 1207 CHERRY ST. • TOLEDO 4. OHIO "The Voice of the Drive-In" Coming Attraction!! THE NEW SUPERIOR PROJECTOR (MMMMMMMMHMMMMMMMT • Curved Anti-Buckle Film Gate • Water Cooler Aperture Support • Adjustable Lens Optical Center For all Apertures • Sealed Ball Bearings • Improved Type Intermittent BLUE SEAL SOUND DEVICES P. O. Box 1008, New Canaan, Conn. YOUR QUESTIONS ARE INVITED. If you have a problem of design or maintenance, the editors of BETTER THEATRES will be glad to offer sugges- tions. Please be as specific as possible so that questions may be answered most helpfully. Address your letter to BETTER THEATRES SERVICE DE- PARTMENT, Rockefeller Center, New York. 16 MOTION PICTURE HERALD, DECEMBER 8, 1956 V > fects them personally, and the desirabil- ity of group action in arriving at a solu- tion. Point out that compromise is in- evitable, or there would be no need for a conference if all were in agreement; and that an open mind to understand the other fellow’s viewpoint is essential to a comprehension of all phases of both the problem and its ultimate solution. •You can then sit down, after tossing out an opening question to the group. From that point on your responsibility will be to see that the rules are obeyed and that the discussion stays alive and on the right track. It is up to you to draw out that silent individual who lets the discussion fly on all sides without con- tributing anything to it himself. Direct- ing an easily answered question his way should bring him out of his shell. Nearly every group has one or two individuals who tend to talk too much, and they, too, present a special problem to the chairman. Tact and diplomacy are required to soften the blow, but it is up to you to call the attention of the voluble speaker to the fact that he is run- ning over his allotted time. CLOSING THE MEETING As group thinking progresses toward a final decision, it might be advisable to pause momentarily and summarize the various points which have received heavy support and carry the discussion forward along those lines. Possibly no one will be entirely satis- fied with the final solution, but at least each has had an opportunity to be heard. Therefore, at the conclusion of the con- ference it is most desirable that an ac- curate and full summary be made by the chairman, detailing the specific items of agreement, and again asking for their individual acknowledgement of accept- ance of the principles involved. When the conference breaks up the members will then feel that their time has not been wasted. All this has presumed your being chairman of such a conference. Sooner or later, quite likely, that distinction will fall to your lot if you show interest in community affairs and the problems of your business. But even if you are only one of the members of the conference, you should realize that much depends upon your own attitude and the degree of participation you take in such as- semblies. Appreciating how much de- pends upon wholehearted co-operation as well as willingness to examine the other fellow’s viewpoint, perhaps you will en- ter the conference room with a deter- mination to contribute something worth- while to the discussions, thereby deriving more benefit from it for yourself and for those whose interests you represent. • GREATER LIGHT • GREATER CONTRAST • GREATER SHARPNESS Watch your “B.A.” climb when you install Super Snaplite Lenses. Give your patrons the benefit of pictures at their best. You can’t beat the Super Snaplite f/1.7 when it comes to putting a clear, sharp picture on your screen. Ask your Theatre Supply Dealer about these fine lenses. For more information ask your dealer or write for Bulletin 222. "You Get More Light with Super Snaplite" COItPOICilTION NORTHAMPTON, MASSACHUSETTS J? GAUMONT-KALEE ' cinema seating Competitively priced seating that never falls below the highest standards of design and comfort. Rank Precision Industries Ltd. provide EVERYTHING for cinemas, film laboratories and studios. Rank Precision Industries Ltd. Gaumont-Kalee Division, 37-41 Mortimer Street, London W.1 England Cables: "RANKALEE LONDON" Distributed in Canada by: Dominion Sound Equipments Ltd . 4040 St. Catherine Street West, Montreal 6, Quebec. Europe's leading manufacturers and exporters of cinema equipment BETTER THEATRES SECTION 17 4 A COMPLETE LINE OF STAGE EQUIPMENT- MANUFACTURED TO GIVE A LIFE-TIME OF SERVICE • Steel Tracks • Curtain Machines • Stage Rigging • Orchestra Lifts • Turn-Tables • Cycloramas • Counter Weight Systems • Asbestos Curtains • Stage Lighting • Stage Curtains • Stage Settings Free Consulting Service Write For Data m INDUSTRIES. INC., HARTSEUE. ALA. STAR'S SENSATIONAL VALUES in MOTION PICTURE EQUIPMENT Quality At Its Best . . . At Tremendous Savings A complete line of rebuilt ond guar- anteed Simplex, Century, Brenkert ond Motiogroph projectors, R.C.A. sound systems, ore lomps, rectifiers, screens, cccessories ond other type picture equipment. Write Us today for your particular need. Star CINEMA SUPPLY CO ,621 W. 55th St. • New York 19, N. Y Let's All Join the Fight (But Keep the Public Out!) says . . . owner-manager of the Northwood theatre in Northwood, la. about six years ago one of the leading men in motion picture production was quoted in one of the na- tion’s top magazines as forecasting the closing of about 6000 theatres across the country. Immediately all over the land the rest of the industry raised a great cry of “traitor.” We had mass meetings, gave out counter-information and col- lectively let off a lot of steam that the predictions just weren’t so. Thousands of theatres did fold, partly because of the increase of new forms of competition, partly because of new pattern of living, partly from obsolescence, and partly from an overburden of taxation. We seem to be continuing in the same direction under circumstances not much different, just a renewed and in- vigorated assatdt of the same conditions. And again our public relations are fol- lowing the same pattern— people of au- thority saying, as a foregone conclusion, that our industry will suffer thousands of more casualties in one way and an- other. And again we are counter-attack- ing, but now within our own camp. When are we going to quit bickering? When are we going to focus our atten- tion on the common enemy? • The “war correspondents” and ob- servers are again predicting that our flank will be turned, that we’ll suffer another defeat and that many will leave the battlefield broken and bleeding. When are we going to form an industry alliance, recognize our foe, retrain, re- new our faith in ourselves and our lead- ers and get back into the battle as an industry, with a determination that once brought us from a penny peep show to the greatest show on earth. When do we attack? For years we have needed a strong man. Not a strong man for production, a strong man for distribution, a strong man for exhibition, but a man big enough to command the respect neces- sary to unite us. All armies are made up of good soldiers, good platoon leaders, good cooks, gold bricks, and guard house bums. Armies have ever been such. But when bleeding, frost-bitten and defeated men were whimpering at Valley Forge there was a commander-in-chief who gave them sympathy and strength and en- couragement and leadership. He united his forces, gave them all the ammunition that was available and doubtless taught some of them how to use it. His forces were rallied, the tide was turned, and after a long uphill pull a cause was saved that has been the light of the world. Men could again hold their heads high. They knew who the enemy was and they believed in their cause. Sure they wanted to quit when they lay cold and broken in drafty log huts that winter, but the chief never gave up the fight and his faith and fortitude brought them back. • Strong leadership is needed today in our industry. When public interviews are given in which it is said that four or five or six thousand theatres are going to close, we can see that the speaker is not speaking with much authority. The very fact that he uses such a range of figures shows he is merely an estimator. He talks in generalities, but his opinions are accepted at face value because of his position in the industry. Or they may draw angry refutation from those af- fected. In neither case has he done any- one any good. He is left uncorrected when several thousand drive-ins go into operation and leave our audience-attracting potential practically as great as it ever was. He has left a false impression that endures to give us a bad press for a long time. No general is such a person. It seems an industry, too, can have G - 13s— Officers in Charge of Latrine Rumors. • Now let’s step down into the ranks and see what the expendable boys think about this war. I know a guy who came back from a real shooting war and picked a small town theatre as the job that could provide a living for him and his family. He’s thought up as many good 18 MOTION PICTURE HERALD, DECEMBER 8, 1956 ideas in showmanship and promotion as a whole year of production of press books. His theatre is his castle. He has no delusions of grandeur, no ambitions to hog it all. I doubt if he thinks he’s being deserted at a lo-nely outpost, but he wants someone to show him cause to have faith. He wants again to be proud of being an important part of his com- munity. • Another guy I know is equally imag- inative in running his small town, drought-stricken theatre. Originality is his second name. Like most small opera- tors, his family’s future is at stake. He is one of the front-line troops, and he doesn’t like being looked upon as an- other expendable. What he wants is as- surance that his efforts are necessary, a fighting chance to save a good cause. He wants united effort of all forces under leadership he trusts. Not all are second-class privates. We know more than one fellow with several theatres who finds himself over-exposed and over-extended on this, our battle- front, because his industry does not or- ganize for a collective fight. His opera- tions may look quite impressive, but they are merely the husk of a fading dream. • We're a motley crowd, all right. All types. The “lone raider” is among us. The honest but clumsy plugger. Like the army, we have the gold-brick. But also as in the army, most of us are good soldiers who can follow a leader, taking our lumps as we go. Our sounding off may not be as serious as it sometimes sounds. Griping doesn’t necessarily mean mutiny. Some of the most incorrigible gripers are the very soldiers whom you can count on to hold up their end under fire. But some of the publicity that has been given this industry by its own people has been like sniping from be- hind the lines. Who is for who? . . . okay, rvhom ? When do we hear that old ral- lying cry? If our objectives are the same— and let’s hope they are— we should be able to work together toward a gradual solution of our common problems. The rank and file must see that the objectives of the leadership is a prosperity in which they will have a share in some adequate meas- ure. Given that, and the kind of leader- ship which seeks those objectives with sincerity and vigor and smart tactics, the majority of us will fall in line. . . Grip- ing a little, of course— but just to keep from going stale. You can't make the pic better ... but you can make it click better S88S • 1! How? Squeeze more of the entertainment value — for more of your patrons — out of every product you show. Give the side- seat patrons a break — don’t let your "half-there” screen rob them of half the emotion. Fill more seats. Find out fast about the 1 SS4 m jj VICRA-LITE llliiiiiii LENTICULAR SCREEN "the screen of JSUi j ^ optical precision" See your theatre supply dealer; write today for factual booklet, containing sample swatch L. E. CARPENTER & COMPANY VICRA-LITE SCREEN DIVISION . Empire State Building, NewYork 1. N.Y. Your soft drinks may be king-size . . . BUT EVERY PERFORMANCE STILL MUST BE PERFECT! Perfect performances depend so much on the quality of service your equipment receives. Giving the best service is the day-by-day job of every expert RCA Theatre Service Engineer. And he alone has behind him all RCA’s tremendous technical resources. RCA SERVICE COMPANY, INC. A Radio Corporation of America Subsidiary Camden, N. J. BETTER THEATRES SECTION 19 about Products . . 'Ar news and views of the market and its sources of supply TO PROCURE FURTHER INFORMATION about products described editorially, postcards of the Theatre Supply Mart insert I pages 23-241 may be employed. Convenient reference numbers are given below and in the insert. Emergency Plug-In Light With Automatic Charging Postcard reference E26 a new emergency light- ing unit, which operates automatically upon failure of line power, and also au- tomaticalh prepares itself for the next blackout, has been marketed by the Exide industrial division of the Electric Storage Battery Company, Philadelphia. Following an emergency discharge, the unit, catloged as the “Lightguard,” auto- matically recharges its storage battery at a high rate until restored, then at a trickle-rate to maintain itself in a state of constant readiness. A temperature-comp- ensated thermal voltage-sensing relay eliminates the need for a manual switch. Requiring addition of water only two or three times a year, the battery of the “Lightguard” is equipped with colored pilot balls which tell at a glance the approximate state of charge. Mounted on the front panel are a spring-return test switch and two indicator lamps to show when the unit is ready to operate, and when the battery is on automatic high-rate charge. The case is made of 20-gauge sheet steel and finished with smooth, baked gray hammertone enamel, which resists acid and corrosion. Weight of the entire unit, writh one lamp mounted on the case, is 37 pounds. The standard style has one 25-watt sealed beam lamp, direc- tionally adjustable, mounted on the case. One additional lamp can be mounted on the case, or two additional lamps can be connected remotely to light adjacent areas. A total of three lamps can be powered by the unit. New Screen for Gain in Distribution Plus Light Postcard reference E27 a new type of screen for indoor theatres, named the “Wonder- lite,” has been developed by the Rav- tone Screen Corporation, Brooklyn, N. Y. The first installation was made in the new Syosset theatre, Syosset, N. Y., which opened November 20th. The screen, which has been in devel- opment for over a year, gives a “modified high-gain” with the light distribution characteristics of a matte white screen, according to the announcement, which further points out: “In actual fact, the new screen surface gives a brightness gain of 1.25 when compared with a matte white diffusive screen of .85 reflectance. To Ray tone’s knowledge, this is the first time that the high gain qualities of a metallic screen have been combined with the fine per- formance characteristics of a matte white screen.” In light distribution tests at the Ray- tone plant, the manufacturer reports, center-to-side readings at angles of zero, 30 and 45 degrees gave readings ap- proximating those of magnesium car- bonate and the Raytone Special White screen at both of the angles of incident light. With the 59-foot screen (picture size) of the Syosset lighted by Ashcraft “Super Cinex” lamps at 150 amperes, the center reflection reading of the “Wonder- lite” screen was reported to be 18 foot- lamberts. Outdoor Signal Light For Drive-In Promotion Postcard reference E28 an outdoor signal light visible for two miles or more is being; offered by the Sireno Company, New York, for advertising highway businesses like restaurants, motels and drive-in thea- tres. The lamp, called “Revolvo-Ray,” operates in a full-circle sweep, giving 60 flashes per minute, in clear light, or 20 MOTION PICTURE HERALD. DECEMBER 8, 1956 colored, according to the plexiglas dome on top. Domes are available in red, blue, green, amber or clear plastic of gauge suited to outdoor use in any climate. Except for the dome, the unit is con- structed of aluminum. The dome clamps on and is readily removable for relamp- ing. It operates on regular 6o-cycle line power, and the manufacturer states that a 100-watt lamp is sufficient for a bril- liant light at night and an effective one in daylight. Miniature Train Company Bought by Allan Herschell Postcard reference E29 purchase of the Minia- ture Train Company, Rensselaer, Ind., has been announced by the Allen Her- schell Company, North Tonawanda, N. Y., prominent manufacturers of amusement riding devices. R. D. Robert- son, who joined Miniature Train in 1936 and has been vice-president and general manager of the company for many years, has been named vice-president of Her- schell in charge of the miniature train division. Two types of trains for outdoor use will be made, both powered by gasoline motors, according to the announcement —the G-12, a kiddie unit having one model; and the G-16, an adult size, in four models. The machinery and equip- ment will be moved from Rensselaer to North Tonawanda. ALTEC ENGINEER DIES K. A. Pitt, Altec Service Company field engineer attached to the company’s southern division, died recently in Knox- ville, Tenn. Joining Altec in 1938, he served theatres in various parts of the country before the Tennessee area. PRIVATE EXHIBITION Portable vacuum cleaners of heavy-duty commercial type on display during "open house" held recently at the plant of the Spencer Turbine Company in Hartford, Conn., manufacturers of turbo compressors, organ blowers and commercial vacuum cleaners. Mo-dteA^wxe at Jtaai CoAX! II Replace Obsolete Systems or Equip New Theatres with DEVRY DUAL PROJECTION & SOUND OUTFITS Rebuilt Like New by S.O.S. — Includes 2 projectors with built-in soundheads, 3,000 ft. upper magazines, pedestals, 2 Series II coated lenses, 1 KW arc lamps, rectifiers with tubes, 30 watt sound film amplifier, booth monitor speaker, 2-way speaker system for low and high frequencies, automatic electric changeovers and foot switches . . . ALL FOR ONLY $2495. Other dual projection and sound outfits from S895 BEST VALUES in Metallic Seamless Screens, Aperture Plates, and Everything for CinemaScope S.O.S. CINEMA SUPPLY CORP. ARC LAMPS GALORE All in good condition Strong Mogul, Brenkert Enarc $350 PR. Forest U.T., Ashcraft "E," Ballantyne $300 PR. Can be rebuilt to look and operate like new for $200 per pr. A Handbook every Theatre Manager should have — The Master Guide to Theatre Maintenance For the first time the information you want when you want it — for general instruction, for use on the job — - in a hard-cover book of handy pocket size. THOROUGHLY INDEXED FOR QUICK REFERENCE PRICE POSTPAID “ Dear Mr. Madell: I would like to compli- ment you on com piling such fine information. If this book is not too expensive, ive would like to place one in the hands of each of our theatre managers .” — H. W. Loeffler, Central States Theatre Corporation. Edited and published by AARON NADELL. Order from — QUIGLEY BOOKSHOP, 1270 Sixth Ave., New York 20, N. Y. NEW • SNAP-LOK ' PLASTIC LETTERS Snap on and off frames easily; spring clip keeps its gripping power after being used 20,000 times. Tests show these 4"-6”-8" letters stay on frames even in a 60-mile wind. WRITE FOR FREE CATALOG ADLER SILHOUETTE LETTER CO. I 1 843 - B W. Olympic Blvd., Los Angeles 64 ROTATING CARBON SAVERS 9 — 10 — 11 — 13.6 mm “USE-A-STUB” pushes rotating carbons to with- in Vi" of flame side of silver carbon jaws. RKO uses stubs down to iy2*. DeLuxe "USE-a-STUB" for RCA & Ashcraft Arcs Ask for information on all Standard carbon savers — specify lamp make and size— from $2.50 up. “USE-a-STUB” SOLD AT ALL GOOD DEALERS l_.DOC FAIGE & ASS’CTS, 630—9 Av.. N.Y.C. BETTER THEATRES SECTION 21 Absolutely the biggest bargain any theatreman can invest in today is a CRON-O-MATIC Fully Automatic Carbon Saver. It costs only $42.50 and will save you an average of $400.00 a year. It permits you to use up positive carbon stubs of any length, without preparation. When the stub is entirely consumed the new carbon goes into use without affecting the lamp operation in any way. Burring stubs of average lengths (314") down to saves you 22.2% on your carbon bill. Designed for use with Ashcraft "D" or "E", Brenkert-Enarc, Peerless Magnarc, or Strong Mogu projection lamps. If your dealer can't sup- ply you, order direct. PAYNE PRODUCTS CO. | i Cron-O-Matic Division ) 2451 W. Stadium Blvd., Ann Arbor, Mich. □ Send literature on the CRON-O-MATIC Ship CRON-O-MATIC □ C.O.D. inc. postage. □ Remittance herewith | NAME , THEATRE j STREET I I CITY & STATE Export: Frazar &. Hansen. Ltd. San Francisco. New York, Los Angeles. r “ROBIN -ARC” i SELENIUM | RECTIFIERS FOR IN-DOOR OF DRIVE-IN ROBIN COMPLETE THEATRES PROJECTION BOOTH EQUIPMENT are dependable, assure un- limited performance and maintenance is negligible. They are economical to op- epate and amortization is realized within three years. Amplifiers Sound Systems Rectifiers WRITE FOR DATA Motor Generators J. E. ROBIN, INC. Ballast 267 RHODE ISLAND AVE. Rheostats EAST ORANGE. N. j. L. J RCA In-Car Speakers Now Have Unbreakable Casing Postcard reference E30 Use of non-breakable, chip-proof, colorfast casing material, named “Impac,” for housing of in-car speakers, has been announced by RCA. This in-car speaker case will not “age” with service, according to A. J. Platt, sales manager for theatre equipment of the RCA Theatre and Sound Products Department. The “Impac” casing mate- rial is the same as that introduced in RCA Victor portable radios, he said. The “Impac” in-car speaker was de- veloped. the announcement points out, to meet a need for an instrument ca- pable of retaining its original shape, color and overall appearance “despite the weather abuse and wear-and-tear handling inherent in drive-in opera- tions.” The two-tone color pattern of the housing permeates the “Impac” material. The speaker unit is the regular RCA in-car mechanism adapted to practically all types of conventional junction boxes and speaker hangers. Use of “Impac” for the housing, it is stated, allows design of a lightweight, streamlined case “ap- preciably easier for patrons to handle and to hold.” The design features a tapered “tear-drop” shape and a lattice- pattern speaker grille, front and back, to provide quick, positive handling. T he case is finished in a pearl sand and silver sage color pattern. • IN NEW SALES POSTS A. & M. Karagheusian, Inc., New York, manufacturers of Gulistan carpet, has named John P. Perkins, Midwest divi- sional manager with headquarters in St. Louis, manager of woven carpet sales, a new position; John Shevlin, New York branch manager, manager of Tufted car- pet sales, also a new position; Charles F. Mallinson, Seattle manager, to succeed Mr. Shevlin as New York branch mana- ger. All will make their headquarters at the company’s New York office. • RAYTONE SCREEN FOR TODD-AO A “Special White” Raytone screen, 24x49 feet, and Ashcraft “Super Cinex” lamps have been installed at the Uptown theatre, Washington, D. C., for the en- gagement of “Oklahoma” in the Todd- AO process. NEW "WHITE" TYPE SCREEN FOR HIGH REFLECTANCE First installation on the European continent of a "Perlux" screen, developed by Andrew Smith Harkness, Ltd., one of the Rank Precision Industries group. This installation is at the recently opened Alhambra Cinema, Frankfurt, Germany, where the screen width for CinemaScope is 50 feet. "Perlux" screens have since been installed at the Capitole, Brussels; Wepler, Paris; Savoy, Antwerp; Rex, Olter, Switzerland; Splendide, Berne; New Paseo, Mexico City; and St. George, Lisbon. The new screen is made of poly-vinyl chloride sheeting with a coating which, the manufacturer states, has high reflectivity without the directional limitations of aluminized high-grain screens. The new screen is marketed through the Gaumont-Kalee Division of Rank Precision Industries. 22 MOTION PICTURE HERALD, DECEMBER 8, 1956 — tfettAeaM MART THEATRE SUPPLY /Vi #1 IV I ■MSBaHHMHBBBHBHiBan WITH BUSINESS REPLY POSTCARDS FOR CONVENIENT INQUIRY • INDEX OF PRODUCTS ADVERTISED IN THIS ISSUE: refer to Advertisers Index for postcard reference numbers. • INDEX OF PRODUCTS DESCRIBED EDITORIALLY in this issue (following page) with postcard reference numbers. 1 • KINDS OF EQUIPMENT AND SUPPLIES listed and numbered on following page for further use of inquiry postcard. ADVERTISERS NOTE: See Italic type under advertiser'* name for proper reference number where more than one kind of product is advertised. Reference Adv. Number Page 1 — Adler Silhouette Letter Co 21 Changeable letter signs: Front- lighted panels for drive-ins (Ml. back-lighted panels I IB), and changeable letters f T 0 1 . All deal- ers. 2 — American Seating Co 18 Auditorium chairs. NTS. 3 — Ashcraft Mfg. Co., C. S 12 Projection arc lamps. UnafRIiated dealers. 4 — Ballantyne Co., The 9 Drive-In screen towers I4AI, in-car speakers I4BI, amplifiers I4CI. Un- affiliated dealers. 5 — Bausch & Lomb Optical Co 13 Projection lenses. Direct, branches and unaffiliated dealers. 6— Blue Seal Sound Devices . 16 Projectors. Direct. Reference Adv. Number Page 7 — Carbons, Inc 11 Projection carbons. Franchise deal- ers. 8 — Carpenter & Co., L. E 19 Projection screens. Direct. 9— Eprad 16 In-car speakers. Direct. 1 0 — Faige & Associates, Inc., Doc 21 Carbon savers. Direct. 11 — International Projector Corp. 2nd Cover Curved film gate. NTS. 12 — Kollmorgen Optical Co 17 Projection lenses. NTS and all deal- ers. 1 3— LaVezzi Machine Works 15 Projector parts. All dealers. 14 — Mitchell Industries, Inc., Hubert .. 18 Stage equipment. Direct. 15 — National Theatre Supply . ... ... 16 Distributors. 1 6 — Payne Products Co 22 Carbon savers. NTS and unaffiliated dealers. Reference Adv. Number Page 17 — Rank Precision Industries, Inc., Gau- mont-Kalee Div 14, 17 Projection screens I17AI, audito- rium chairs 117 Bl. Direct. 18 — RCA Service Co. 19 Projection and sound equipment maintenance service. 19— Robin, Inc., J. E 22 Rectifiers. Unaffiliated dealers. 20 — S. O. S. Cinema Supply Corp 21 Distributors. 21 — Star Cinema Supply Corp 18 Distributors. 22 — Strong Electric Corp 3 Rectifiers. Unaffiliated dealers. 23— Theatre Seat Service Co ... 16 Chair rehabilitation service. 24 — Wagner Sign Service, Inc. 16 Changeable letter signs: Front- lighted panels for drive-ins 124 Al, back-lighted panels I24BI, and changeable letters I24C1. All deal- ers. 25 — Westrex Corp 4 Foreign distributors. For information concerning products, write corresponding reference numbers and your name and address in spaces provided on postcard and mail. Card requires no addressing or postage. To Better Theatres Service Department: Please have literature, prices, etc., sent to me according to the following reference numbers in Better Theatres for December 1956- NAME THEATRE or CIRCUIT STREET ADDRESS CITY To Better Theatres Service Department: Please have literature, prices, etc., sent to me according to the following reference numbers in Better Theatres for December 1956- NAME THEATRE or CIRCUIT STREET ADDRESS CITY STATE STATE Market Information Service CONTINUED FROM PRECEDING PAGE PRODUCTS DESCRIBED EDITORIALLY IN THIS ISSUE: EMERGENCY LIGHT with automatic charging: Story on page 20 POSTCARD REFERENCE NO. E26 MEDIUM-GAIN SCREEN with "matte" distribution: Story on page 20 ... . POSTCARD REFERENCE NO. E27 OUTDOOR LIGHT for drive-in promotion: Story on page 20 POSTCARD REFERENCE NO. E28 IN-CAR SPEAKERS with non-breakable casing: Story on page 22 POSTCARD REFERENCE NO. E30 CLASSIFIED LIST OF EQUIPMENT AND SUPPLIES: Indicate on postcard by number ADVERTISING 101 — Display frames 102 — Lighting fixtures 103 — Changeable letters 104 — Attraction signs 105 — Theatre name sign AIR SUPPLY 201 — Air-conditioning, complete 202 — Air washers 203 — Blowers and fans 204 — Compressors 205 — Unit conditioners 206 — Filters 207 — Heaters, unit 208 — Outlets (diffusers) ARCHIT'RE & DECORATION 301 — Acoustic material 302 — Decorating service 303 — Wall fabric 304 — Mirrors 305— Wall paneling DRIVE-IN THEATRES 401 — Admission control system 402 — Electric ca ->le (underg'd) 403 — In-car heaters 404 — In-car speakers 405— Insect control 406 — Lighting fixtures (outd'r) 407 — Screen paint 408 — Screen towers 409 — Signs, ramp and traffic 410 — Stadium seating 41 I — Vending carts FLOOR COVERINGS 501 — Asphalt tile 502 — Carpeting 503 — Carpet lining 504 — Linoleum 505 — Mats, rubber GENERAL MAINTENANCE 601 — Blower, floor cleaning 602 — Carpet shampoo 603 — Ladders, safety 604 — Lamps, germicidal 605 — Sand urns 606 — Vacuum cleaners LIGHTING 701 — Black-light supplies 702 — Dimmers 703 — Downlighting equipment 704 — Luminaires (See also Advertising Stage) PROJECTION and SOUND 801 — Acoustic materials 802 — Amplifiers 803 — Cabinets, accessory 804 — Cabinets, carbon 805 — Cabinets, film 806 — Carbon savers 807 — Effect projectors 808 — Exciter lamps 809 — Fire shutters 8 1 0 — Hearing aids 81 I — Lamps, reflector arc 812 — Lamps, condenser 813 — Lenses, condenser 814 — Lenses, projection 815 — Lenses, anamorphic 8 1 6 — Magazines 8 1 7 — Microphones 8 1 8 — Motor-generators 819 — Non-sync, turntables 820 — Photoelectric cells 821 — Projectors, standard 822 — Projectors, 16-mm. 823 — Projector parts 824 — Rectifiers 825 — Reels 826 — Reflectors (arc) 827 — Rewinders 828 — Rheostats 829 — Screens 830 — Screen frames 831 — Speaker systems (screen) 832 — Speakers, surround 833 — Splicers 834 — Splicing cement 835 — Soundheads, optical 836 — Soundheads, magnetic 837 — Stereopticons 838 — Rewind tables SEATING 901 — Auditorium chairs 902 — Upholstering fabrics SERVICE and TRAFFIC 1001 — Crowd control equip't 1002 — Directional signs 1003 — Drinking fountains 1004 — Uniforms 1005 — Water coolers STAGE I 101 — Curtains and drapes I 102 — Curtain controls & track I 103 — Lighting equipment 1 104 — Rigging and hardware I 1 05 — Switchboards TICKET SALES I 201 — Box-offices 1 202 — Changemakers 1203 — Signs, price 1204 — Speaking tubes 1205 — Ticket boxes 1206 — Ticket registers TOILET ROOMS 1301 — Hand driers, electric 1302 — Paper dispensers 1303 — Soap dispensers (See also Maintenance) For information concerning products, write corresponding reference numbers and your name and address on other side of postcard and mail. Card requires no addressing or postage. FIRST CLASS PERMIT NO. 8894 (Sec. 34.9, P. L & H) NEW YORK, N. Y. BUSINESS REPLY CARD Ne Postage Stamp Necessary If Mailed in the United States Postage will be paid by — QUIGLEY PUBLISHING COMPANY ROCKEFELLER CENTER 1270 SIXTH AVENUE NEW YORK 20. N. Y. FIRST CLASS PERMIT NO. 8894 (Sec. 34.9, P. L & R.) NEW YORK, N. Y. BUSINESS REPLY CARD No Postage Stamp Necessary if Mailed in the United States Postage will be paid by — QUIGLEY PUBLISHING COMPANY ROCKEFELLER CENTER 1270 SIXTH AVENUE NEW YORK 20. N. Y. FILM BUYERS RATING I Film buyers of independent circuits in the U. S. rate current product on the basis of its performance in their theatres. This report covers 106 attractions, 3,306 play dates. Titles run alphabetically. Numerals refer to the number of engagements on each attraction reported. The tabulation is cumulative. Dagger (j) denotes attractions published for the first time. Asterisk (*) indicates attractions which are listed for the last time. EX means Excellent; AA — Above Average; AV — Average: DA — Below Average PR — Poor. Ambassador's Daughter, The (U.A.) Animal World, The (W.B.) Attack (U.A.) Autumn Leaves (Col.) Away All Boats ( U-l ) Back From Eternity (RKO) Bad Seed, The (W.B.) Bandido (U.A.) Best Things in Life Are Free, The (Fox) Between Heaven and Hell (Fox) Beyond a Reasonable Doubt (RKO) Bhowani Junction (MSM) Bigger Than Life (Fox) Birds and the Bees (Par.) Boss, The (U.A.) Burning Hills, The (W.B.) Bus Stop (Fox) Catered Affair, The (MGM) Cockleshell Heroes (Col.) Congo Crossing (U-l) Creeping Unknown, The (U.A.) Crime in the Streets (A.A.) Cry in the Night (W.B.) D-Dav the Sixth of June (Fox) Dakota Incident (Rep.) Davy Crockett and the River Pirates (B.V.) Day of Fury (U-l) fDistant Drums (W.B.) (reissue) Earth vs. Flyinq Saucers (Col.) Eddy Duchin Story, The (Col.) Fastest Gun Alive (MGM) First Texan, The (A.A.) First Traveling Saleslady (RKO) Foreign Intrigue (U.A.) Francis in the Haunted House (U-l) Gaby (MGM) Girls in Prison (A.I.P.) Goodbye, My Lady (W.B.) Great Day in the Morning (RKO) Great Locomotive Chase, The (B.V.) Guys and Dolls (MGM) He Laughed Last (Col.) High Society (MGM) Hold Back the Night (A.A.) Hot Rod Girl (A.I.P.) I’ll Cry Tomorrow (MGM) It Conquered the World (A.I.P.) Johnny Concho (U.A.) Jubal (Col.) EX AA AV 25 12 5 1 2 43 1 2 4 I 20 19 7 5 4 7 30 I 13 16 9 8 I 13 10 20 3 I I I 5 I 9 I 17 36 29 2 14 I 10 4 I 14 12 24 2 13 39 7 4 25 12 9 12 12 25 9 8 12 4 7 I 6 I 19 I 28 27 13 10 15 4 15 2 35 5 3 5 5 12 31 27 8 3 6 22 13 2 13 10 16 13 2 8 5 3 1 1 I 7 3 BA 15 18 2 1 1 8 21 3 12 13 15 5 5 2 15 4 13 1 1 7 I 8 I 3 5 9 I I 3 8 6 12 7 7 5 18 1 I I 10 15 8 2 2 I I I 23 34 PR 1 1 3 2 5 2 1 1 5 2 5 6 17 14 2 18 13 I 7 I 3 2 14 5 1 2 2 8 1 4 2 6 8 3 10 10 2 5 14 I 3 2 King and I, The (Fox) Kiss Before Dying, A (U.A.) Last Wagon, The (Fox) Leather Saint ( Par. ) Lisbon (Rep.) EX AA AV BA PR 30 24 26 19 4 — 1 12 2 — 9 23 4 2 — 3 3 6 6 — 3 — 30 1 1 Magnificent Roughnecks (A.A.) Man in the Gray Flannel Suit (Fox) Man Who Knew Too Much (Par.) Miami Expose (Col.) Moby Dick (W.B.) Mountain, The (Par.) — —621 22 30 14 8 8 2 17 26 8 2 — — —44 7 21 20 II 4 — 12 2 1 (Oklahoma (Magna) Opposite Sex, The (MGM) Over Exposed (Col.) 3 — I — Pardners (Par.) Pillars of the Sky ( U-l ) Power and the Prize, The (MGM) Price of Fear (U-l) Proud and Profane, The (Par.) Proud Ones, The (Fox) 7 30 14 3 — — 2 14 24 3 — 116 4 — — —17 — 22 22 I I 4 — 28 20 15 10 Quincannon, Frontier Scout (U.A.) 2 2 6 2 Raw Edge (U-l) Rawhide Years, The (U-l) Rebel in Town (U.A.) Reprisal (Col.) Rififi (UMPO) Rock Around the Clock (Col.) Run for the Sun (U.A.) — 17 3 3 — 5 23 8 7 — 4 12 — — 15 3 — — 16 — — — 22 22 14 I I — 4 13 4 3 Safari (Col.) — 6 19 Santiago (W.B.) — 2 25 Satellite in the Sky (W.B.) — — 3 Screaming Eagles (A.A) — 3 6 Search for Bridey Murphy (Par.) — — — Searchers, The (W.B.) 6 28 18 Secret of Treasure Mountain (Col.) - I I Seven Men From Now (W.B.) — 1 3 20 Showdown at Abilene (U-l) — I 17 Solid Gold Cadillac, The (Col.) — 8 8 Somebody Up There Likes Me (MGM) 2 3 23 Star of India (U.A.) — — I Star in the Dust (U-l) — I 7 Storm Center (Col.) — — — Storm Over the Nile (Col.) — — 2 18 13 7 7 2 5 6 4 2 5 31 13 16 I 5 6 14 4 3 5 I 1 2 4 6 4 Tea and Symoathy (MGM' Tension at Table Rock (RKO) That Certain Feeling (Par.) These Wilder Years (MGM) Toward the Unknown (W.B.) Toy Tiger (U-l) Trapeze (U.A.) 23 Paces to Baker Street (Fox) — 9 5 5 — — —23 — — II 15 25 18 — 3 5 12 7 — I 7 19 I II 12 22 12 4 9 33 36 3 — I 3 14 II 20 Unguarded Moment (U-l) 2 11 7 2 Vagabond King (Par.) 4 3 8 Walk the Proud Land (U-l) War and Peace (Par.) Werewolf, The (Col.) While the City Sleeps (RKO) 9 I I I I 24 6 5 10 1 1 2 I 19 ORALIE CRIED... THE BIRDIE TEASED.. RUBY FOUGHT... SABINA WAITED FOR HIM WITH A SMILE... v TftNGLES WITH FLESH AND FLAME ■ \ X% • QJlark QJable • £leanor Parker COLOR by De Luxe with JEAN WILLES BARBARA NICHOLS • SARA SHANE GnemaScoP^ an d FOUR INO BEERS Also Starring To "Urn Fleet Screennlav Directed by Executive Producer ROBERT WATERFIELD Produced by DAVID HEMPSTEAD Screenplay by MARGARET FITTS and RICHARD ALAN SIMMONS Based on a story by MARGARET FITTS • Music composed and conducted by Alex North • A RUSS-FIELD-GABCO Production DECEMBER 15, 195 6 :■■■ • FOLLOWING PAGE 36 . - - is - ca .1 • . vc-v ••;••• ■•■•* . *" ■ r :.vr . .. • ' THE RAINMAKER. ANASTASIA. BUNDLE OF JOY. ABOVE US THE WAVES * NRY. DON’T ROCK THE ROCK. NIGHTFALL. ROCK ROCK ROCK the 1*0x1 Office, Xetv York Cit !2ro Sixth Avenue. Rockefeller C . Single copy, >5 cents. AH cotUe i ’‘fi,lcr rlu act of - jri 20, V. Y. Sul *ed J956 by Quigley KSSSaH ~y ■ i . - SSK5 NEW YORK BROADWAY IN USUAL PRE-HOLIDAY SLUMP BUT TEAHOUSE HOT I 99 —VARIETY, Dec. 5, 1956 (Biggest advance reserved seat sale in history of the Music Hall) LOS ANGELES PANTAGES TOPS RECORD HIGH SOCIETY GROSS!” 4th Week M-G-M presents in CinemaScope and METROCOLOR MARLON GLENN MACHIKO BRANDO ' FORD * KYO In ?? THE TEAHOUSE OF THE AUGUST MOON” Co-starring EDDIE ALBERT with PAUL FORD . JUN NEGAMI • NIJIKO KIYOKAWA MITSUKO SAWAMURA • Screen Play by JOHN PATRICK Based on a Book by VERN J. SNEIOER • And the Play by JOHN PATRICK Directed by DANIEL MANN • Produced by JACK CUMMINGS (Available in Magnetic Stereophonic, Perspecta Stereophonic or 1-Channel Sound) CHICAGO WOODS TOPS RECORD- BREAKING BLACKBOARD JUNGLE! 4th Week FIRST 3 DATES OF TEAHOUSE’ TERRIFIC! The Most Publicized Picture! LIFE Two great breaks! Two full pages of Kyo in close- up department. Previously full page of Brando as Sakini. LOOK Ed Sullivan cover and feature in Japan. Photo of Brando and Glenn Ford, plus announcement of TEAHOUSE on Sullivan’s TV show. WOMAN’S HOME COMPANION Four great breaks! Eddie Albert and Family. Color shot in “round-up of pictures.” Color pictures of Kyo as geisha girl for January. 4 full pages of Kyo in January. AMERICAN WEEKLY Two great breaks! Zolotow series on Brando starts January 6th. Already published Glenn Ford article. THIS WEEK Four great breaks. First article included mention of film. Second article included still of Brando as Sakini. Third article included Kyo and mention of film. Fourth article, Berg’s visit to Japan, featuring Brando. PARADE Feature including still of Brando as Sakini with credit. TIME Two great breaks. Still of Brando as Sakini with credit. And current issue excellent review with photo. GOOD HOUSEKEEPING Ruth Harbert review in January issue. COLLIER’S Brando Japan photos in December 21st issue. COSMOPOLITAN Two great breaks! “Outstanding picture of Month.” Also, in round-up of movie reviews in January. HOLIDAY Kurnitz glowing review with art. CHARM Review and stills set for January issue. SEVENTEEN Picture of the Month with art. GLAMOUR Two great breaks! Glenn Ford in Japan and previously a preview with art. PARENTS’ Two great breaks! Awarded Film Family Medal; two-column spread with scene stills in Movie Guide. Following issue Director Daniel Mann article. ARGOSY Movie of the Month “Heartily recommended” in review. N. Y. TIMES MAGAZINE Layout of movies “based on Broadway plays” including half- page photo of scene from film. PAGEANT Four- page spread on Machiko Kyo with credit. WOMEN’S WEAR Layout from film emphasized costumes. CORONET “Movie of Month” for January with profile of Glenn Ford. PLUS HIGH POWERED AD AND PROMOTION CAMPAIGN! Special footage and great plug on Ed Sullivan show! (See naee IQ 'i IT IS TRUE THERE HAS BEEN NO MOTION PICTURE LIKE Baby doll' ‘Baby Doll’ is real. All its people are wrong and right, magnificent and foolish, violent and weak— the way all people are. It is not meant to be moral or unmoral, only truthful. It is bold. But it is real. ♦ Honesty and reality are the outstand^ ing characteristics of every Elia Kazan production. They have earned him two Academy Awards and three N. Y. Film Critics Awards. They have earned him world-wide respect. ♦ Outspoken and unusual drama is basic to all of Tennessee Williams’ writ- ing. For it, he has won two Pulitzer Prizes and three N. Y. Drama Critics Awards. They have earned him world- wide respect. ♦ Together, these two have now created in ‘Baby Doll’ a special kind of dramatic appeal— a theme and mood and characters that can be compared with no other. ‘Baby Doll’ is essentially the story of three people: a married girl of nineteen, ELIA KAZAN'S production of TENNESSEE WILLIAMS' 1 BABY DOLL' starring KARL MALDEN • CARROLL BAKER ELI WALLACH • Story and Screenplay by TENNESSEE WILLIAMS • Directed by ELIA KAZAN • A Newtown Production who is not yet a woman— a husband twice her age— and a stranger. ♦ The leading roles are played by Karl Malden, Carroll Baker and Eli Wallach. Their performances are certain to be much discussed when the picture is shown. ♦ ‘Baby Doll’ is intimate drama— and different. ‘Baby Doll’ is earthy humor- 75 r and different. ‘Baby Doll’ is tender beauty —and different. There has been no motion picture like ‘Baby Doll’. ♦ Warner Bros. — the presenters of ‘Baby Doll’— have previewed it for a great many outstanding figures from many walks of life. In their considered judg- ment, enthusiastically given, ‘Baby Doll’ is certain to fulfill the public’s highest expectations. k X World Premiere Tuesday Deo. i8th>Victoria,N.Y.»$50 the Ticket The World Premiere and the Supper-Dance following at the Waldorf-Astoria are for the benefit of the Actors’ Studio 1 CINemaScoPE COLOR by DE LUXE and Qutil 8tar« JULIE LONDON RAY ANTHONY -BARRY GORDON AND 14 ROCK 'N' ROLL HEADLINERS! Screenplay by FRANK TASHLIN and HERBERT BAKER Produced and Directed by FRANK TASHLIN THE THEATRES WILL BE when this one starts FOR CHRISTMAS MOTION PICTURE HERALD MARTIN QUIGLEY , Editor-in-Chiej and Publisher Vol. 205, No. I I MARTIN QUIGLEY, JR., Editor December 15, 1956 World Trade- A Necessity MOST industries are anxious to develop a good inter- national market for their products. In some in- stances dependence on world trade is great. For the motion picture the world market is a necessity. In this issue of The HERALD appears the 11th annual World Market Section. While every weekly issue chronic- les important happenings affecting the film trade through- out the world, it is appropriate that special attention be given once a year to the men and institutions carrying on motion picture activities worldwide. There never was a time when an understanding of audience trends in many countries was so important to all major producers as at present. This World Market issue features reports on latest developments in major markets written by The HERALD’s own correspondents. Also there are comments of leading producers and other industry figures on the future out- look. Trends in picture making and new theatre construc- tion are illustrated. No nation can have a successful film industry of any considerable stature unless its films are exported. Before World War II it was often said an advantage Hollywood had was that it did not really need a foreign market. Whether such an assertion was ever true is debatable. In any case the point is immaterial now because for years Hollywood has been dependent on the world market not only for its well-being but also its survival. The necessity of achieving some success in the inter- national film market is as pressing on other major pro- ducing countries as it is on the United States. Some coun- tries, on account of relatively small domestic markets, have an even greater need of foreign revenues. PROGRESS in the international market inevitably will be uneven because the quality and box office appeal of pictures vary one from another. How- ever, Britain, Italy, Germany, France and Japan — to men- tion only some of the larger film producing countries — have all been expanding their international markets. One of the notable events of 1957 will be the opening of the J. Arthur Rank distributing company in the United States. This country is the last major market where the British have established their own selling and merchandis- ing organization. The motion picture is an international medium in every sense. Its stories range the world. Its players, writers and other creative workers of all kinds are of every nation- ality. The appeal of a good film is universal. A truly great film will have a following for all time. This is an appropriate occasion for a re-dedication of efforts to improve cooperation and eliminate to the fullest extent possible governmental restrictions hampering ex- pansion and development of the world film market. JACK COHN The death of Jack Cohn so soon after the 18th annual Motion Picture Pioneers' dinner at which he presided as usual comes as a special shock to his legion of friends. In a sense the organization which he founded typifies the man. He was good-hearted, kind, thoughtful for every associate and contemporary in trouble or need. He also was proud, as he had every right to be, of those who had built the motion picture industry. For him those who labored in relatively obscure posts in the industry were just as much pioneers as those who dominated ma- jor companies. The business could not have been built without the privates, corporals and sergeants, just as it needed its captains and generals. Jack Cohn was a man to remember. The Motion Pic- ture Pioneers, as well as Columbia Pictures of which he was co-founder, will keep bright his memory. His family and his multitude of friends have been left that richest and most enduring legacy — a good name, well-deserved. 1957 Tax Repeal Drive ROBERT W. Coyne, special counsel of COMPO, has opened the drive for full repeal of the Federal admissions tax in a statement filed last week with the House Ways and Means Committee. All branches of the industry should unite behind this campaign. Accord- ing to COMPO the 10 per cent admission tax on tickets priced over 90 cents affects a total of 1,363 theatres in- cluding naturally the larger first runs. These theatres, Mr. Coyne estimated, gross approximately one-fifth of the total theatre gross in the United States. In addition these key houses have importance in establishing pictures through successful engagements. It is important for every theatre from second to last that the first run houses be in sound financial condition. The repeal of the admission tax would be a constructive step in assisting these theatres during this difficult time. This campaign has the complete backing of the industry. Even small exhibitors who do not stand to benefit directly recognize the wisdom of working for the elimination of this discrimination against the larger theatres. Another point is that the existence of the tax might make it con- venient for some future Congress to lower the admission affected by the tax from the 90 cents figure, as was done in the past. The just and proper course is to secure the elimination of the tax on all motion picture admissions. Every ex- hibitor should be ready to follow the requests of the COMPO tax committee and do his share of the campaign work. Martin Quigley, Jr. cJletterS to the ^Jderaid Instead of Stamps To the Editor: There’s an old saying, “Money talks.” To the theatre industry it usually shouts out loud! Much has been written these past few weeks about the trading stamp boom and the probable invasion into the nation’s theatre box offices. It seems a little frightening at times. When we think of our business going for such gimmicks as stamps, particularly when you consider that the stamp sellers will reap the largest benefit. Everyone, it seems, is looking for a gimmick that will stimulate business. But no one seems, however, to take the time and trouble to test, try, and prove such gimmicks for long range effect. Trading stamps may help, of course. With little or no effort on the exhibitor’s part. The stamp agents will do the work and reap the biggest share of the profits. There is no showmanship, ballyhoo or Hollywood glamour in stamps, but they doubtless will bring in a few extra bucks to the box office. The “Hollywood Movie Money” certifi- cates, which we are using locally, appears to have many advantages over stamps. It gives us a chance for some free institut- tional advertising with copy on both sides of the certificates. Then, too, the prestige of the movie star’s picture on the certifi- cates make quite a hit with their fans in the community. You see, we’ve been selling these certifi- cates to the merchants for the past three years. They give them to their customers at the rate of two per cent on a $1 pur- chase. (Same percentage ratio as trad- ing stamps.) The customers accumulate enough of the certificates to equal the price of a theatre admission ticket, then redeem them at our box office. They can also be spent at the snack bar. They make quite a stir with adults and teenagers as well as the kiddies. Merchants like the tieup, because we give them free screen advertising. We run an explanatory trailer on Movie Money. Then follow it with a list of mer- chants who issue free certificates. We’ve been through the trial and error period. Many changes have been made in the plan. We’ve got it now to where its work- able. Hollywood Movie Money will work in any size situation. But it will require a big organization to operate it successfully. Why couldn’t producers, distributors, movie stars and exhibitors — all take part in the promotional activities connected with “Hollywood Movie Money”? And why shouldn’t we all work together on such a worthwhile common cause — self benefit and survival? Already some theatre owners have be- come interested in Hollywood Movie Money, strictly on the basis that we’re using it here. One major studio represen- tative has shown considerable interest in the plan. Several movie stars have sent their picture for use on the certifi- cates. Why not put Hollywood Movie Money to work in full force throughout the na- tion? With a plan something like this: Several weeks prior to a picture’s premiere — sell Hollywood Movie Money to merchants in the premiere area. Stars of the film could be used on the Movie Money. Over a period of time Hollywood Movie Money would be known, collected and used in just about every town and hamlet in the nation. Large crowds of absentee public would flock back to the nation’s theatres. There- by creating more revenue for the ex- hibitor, more film rental for the producer, and more lasting popularity for the stars. Result — less opposition from that buga- boo television and a restored state of health for our motion picture industry. Let’s not surrender to the trading stamp craze — at the expense of many more mil- lions of dollars and more closed theatres. Instead, let’s create our own business stimulator and fill our theatres with pay- ing customers. In one of the greatest concentrated ef- forts of showmanship and ballyhoo ever undertaken to focus public attention on and interest in our theatres, let’s fill every theatre in the nation. Let’s keep filling ’em! Hollywood Movie Money can do it. But it will require cooperation. As you can see, this is an ambitious pro- gram. It needs organization. — J. ARTHUR TURNER, Jones Enterprises, Inc., Le- banon, Oregon. • Will Smoking Help? To The Editor: In these days of television entertainment in every living room, I was somewhat im- pressed by a statement made by a middle- aged woman about smoking. She stated, “Mr. Martina, if you allowed smoking in your theatres I believe you would double your existing attendance figures. Smoking was one advantage that television had over an indoor theatre whereby you are deprived of this pleasure for two or three hours or more. I would like to know if there is any truth in her statement from you theatre men who may have some experience. — C. V. MARTINA, Martina En- terprises, Albion, N. Y. MOTION PICTURE HERALD December 15, 1956 THE WORLD MARKET: Eleventh annual survey of the present and future of mo- tion pictures in the international field. Following page 36. COUNTRY-by-country reports 3 ATTENDANCE chart 6 BRITISH market 17 HOME office views 20 OPINIONS from abroad 28 FILM INDUSTRY begins fight for total elimination of tax 12 NEW YORK CITY officials study plea for tax repeal 12 PRODUCTION CODE revisions are approved by MPAA board 13 JACK COHN'S death in New York saddens film industry 16 TRADING STAMPS were used as business aid 20 years ago 17 BRITISH industry gets look at govern- ment's 10-year plan 18 BOX OFFICE CHAMPIONS for the month of November 21 SERVICE DEPARTMENTS Film Buyers' Rating 3rd Cover Hollywood Scene 25 Managers' Round Table 37 The Winners' Circle 24 National Spotlight 30 IN PRODUCT DIGEST SECTION Showmen's Reviews 185 Short Subjects Chart 187 The Release Chart 188 MOTION PICTURE HERALD, Marlin Quigley, Editor-in-Chiel and Publisher; Marlin Quigley, Jr., Editor; Charles S. Aaronson, Managing Editor; Floyd E. Stone, Photo Editor; Vincent Canby, News Editor; Ray Gallagher, Advertising Manager; Gus H. Fausel, Production Manager. Bureaus: Hollywood, Samuel D. Berns, Manager; William R. Weaver, Editor, Yucca-Vine Build- ing, Telephone HOIlywood 7-2145; Washington, J. A. Often, National Press Club; London, Hope Williams Burnup, Manager; Peter Burnup, Editor; William Pay, News Editor, 4 Bear St., Leicester Sq. Correspondents in principal capitals of the world. Member Audit Bureau of Circulation. Motion Picture Herald is published every Saturday by Quigley Publishing Company, Inc., Rockefeller Center, New York City 20. Telephone Circle 7-3100; Cable address: “Quigpubco, New York", Martin Quigley, Presi- dent; Martin Quigley, Jr., Vice-President; Theo. J Sullivan, Vice-Presidertf and Treasurer; Leo J. Brady, Secretary. Other Quigley Publications: Better Theatres and Bette* Refreshment Merchandising, each published thirteen times a year os a section of Motion Picture Herald; Motion Picture Daily, Television Today, Motion Picture Almanac, Television Almanac, Fame. 8 MOTION PICTURE HERALD. DECEMBER 15. 1956 WHEN and WHERE On the OJ'i onzon December 17: Annual Christmas party of the Des Moines Variety Club, Jewish Community Center, Des Moines, la. SEASONAL PREMIERES A rash of premieres of big pic- tures has come along to liven up the Holiday season and brighten the already sparkling marquee lights of Broadway. "The Rain- maker" had its New York premiere December 12 with a gathering of celebrities and top news cover- age. The next night December 13, Ingrid Bergman's "Anastasia" opened impressively at the Roxy, with equal fanfare. Paramount exploitation men did full jus- tice to the former, ditto 20th- Fox publicists for the latter. Next week, on December 18, War- ners' "Baby Doll" has its bene- fit premiere. And on December 19, RKO's "Bundle of Joy" opens with a gala benefit premiere at the Capitol Theatre for First Aid for Hungary Inc. and CARE. Here, they are four in a row of timely seasonal events which highlight effectively the fact that in times of Holiday cheer, motion pictures are still the topnotch entertainment choice of the vast majority of the gen- eral public seeking a change of pace . ALLIED-COMPO TALKS Officials of the Council of Motion Picture Organizations and Allied States Association re- ported a "friendly and construc- tive" discussion this week about Allied's possible re-affilia- tion with COMPO. A statement is- sued at the end of the meeting said there had been "unanimity of thought on general principles and some particulars." Each group now will report back to its own organization. None of the participants would indicate whether there had been agreement on terms for Allied's re-affi- liation, but the statement is- sued by the group did say that the participants had agreed that the present economic state of the industry "calls for the maximum possible cooperation which is obtainable." REPORT ON MR EAST The American film companies may suspend shipments to India if that government persists in maintaining its extremely high duty on imported motion picture product, Irving A. Maas, Motion Picture Export Association vice-president, reported in New York this week on his return from a three-month survey of the Far East. The Indian government, said Mr. Maas, recently doubled its import duty on films from f ive-and-a-half cents to just under 11 cents per foot. "The doubled duty makes it among the highest duties in the world, and in relation to the market, the highest anywhere." Business in the Far East generally, he said, has been reported as "holding up very well. " ABOUT POST-1948 FILMS With the actors guild with- drawing from the actor-direc- tor-writer negotiating team that met with the producing as- sociations to discuss terms for sharing in proceeds from sale of post-1948 features to televi- vision, and with no further meetings scheduled, the proba- bility of late pictures popping up on television in large num- bers to blight theatre box of- fices appears to have slimmed off for the present. Save for such as may be liquidated by banks, and perhaps by television syn- dicators who picked up some late product in mass buys, no post- 1948 features are likely to show up on TV in any predictable pe- riod. Proposals to combine the business-build- ing plan adopted by the Council of Motion Picture Organizations and Theatre Owners of America with the program advanced by the MPAA advertising and publicity direc- tors committee received enthusiastic approv- al Wednesday at a meeting of exhibtior leaders and MPAA advertising-publicity members in New York. It is proposed that the combined plan be conducted under the sponsorship of COMPO. As the first step in the combined program, detailed plans will be made immediately to hold a series of regional meetings at which opinion-makers will be given a constructive picture of the motion picture industry by in- December 22: Film Row Club's annual Christmas dance, Ambassador Hotel, Los Angeles. January 8: Cleveland Motion Picture Ex- hibitors Association, general meeting to elect new officers, Cleveland, O. January 29-30: Annual convention of the Kansas-Missouri Theatre Owners Associ- ation, Hotel Phillips, Kansas City, Mo. January 29-31: Allied States Association, national drive-in convention, Nether- lands-Plaza Hotel, Cincinnati, Ohio. February 1-2: Allied States Association, annual winter board meeting, Terrace Plaza Hotel, Cincinnati. February 26-27: Annual convention of the Kansas-Missouri Theatre Association, Pickwick Hotel, Kansas City, Mo. March 3-5: Theatre Owners of America, mid-winter board meeting, Blackstone, Hotel, Chicago. ‘ March 6-7: Second annual convention of the United Theatre Owners of Oklahoma, Biltmore Hotel, Oklahoma City. April 2-3: Annual convention of North Central Allied, Nicollet Hotel, Min- neapolis. June 23-25: Annual convention of the Mis- sissippi Theatre Owners Association, Edgewater Park, Miss. dustry representatives. The first meeting is tentatively set for New York later in the winter. In addition a committee will be ap- pointed to work on combining the MPAA and COMPO plans into one over-all pro- gram for the industry. Whole hearted support was expressed by the industry representatives who attended the meeting, which was presided over by Roger H. Lewis, chairman of the MPAA committee. Among those who spoke were Kenneth Clark, Philip Gerard, Jerome Pick- man, Walter Reade, Jr., Wilbur Snaper, Harry Brandt, D. John Phillips, Harry Mandel, Harry Goldberg and Charles E. McCarthy. COMPO, TOA, MPAA AGREE ON PLAN MOTION PICTURE HERALD, DECEMBER 15, 1956 9 wee l in ictureS SIGNIFYING OPENINGS and screenings in New York's Catskills and Chicago's Loop. MGM's "Teahouse" which also is the New York Radio City Music Hall's holiday feature, drew appropriate crowds. RKO's "Bundle of Joy" at Grossinger's, the resort at which Eddie Fisher began his career and later married, drew appropriate press com- municators and entertainment personalities. Below, Eddie and his mother and Jennie Grossinger. AWARDS. Father James Keller gives to Cecil B. DeMille, left, the Christoph- er Award for "using his God-given talents in a positive and constructive way" ("The Ten Commandments"). Gregory Peck accepts from Mary Pickford, right, the Thomas Alva Edi- son Award to "Moby Dick," the "film best serving the national interest." Miss Pickford is a trustee of the Edi- son Foundation, which appraises and rewards worthy national mass media. INTERVIEWS. Y. Frank Freeman, Jr., left, tells newsmen in New York the people want pictures big and won- derful or small and unusual. Producer of Paramount's $3,000,000 "Omar Khayyam," he'll stay "big." T. Koide, right, who represents Japan's Shochiku company, and its producers group is in New York to help prepare a Japa- nese Film Festival and ascertain pub- lic preference, which so far is elusive. The Festival will be January 20-25 at the Museum of Modern Art, and pub- licity will feature visiting Japanese stars. HERALD picture HERALD picture HERALD picture NEGOTIATIONS Warner. Signifying ABC-TV film pro- ducers will use the studio, president Jack L. Warner and AB-PT president Leonard Goldenson on the Burbank lot. Above, in New York as they signed to transfer the home office from lacklustre Film Row to swank 666 Fifth Avenue; builder Norman Tish- man, Warner vice-president Benjamin Kalmenson, and at- torney Harold Berkowitz. HOLIDAY CONTRIBUTION , left, to New England Va- riety's Jimmy Fund from The- atre Candy Company owners Philip, and Samuel Lowe, Jr. Accepting is Fund treasurer Michael Redstone. HERALD picture DEAL. Signing in New York to secure foreign distribution of 20 American International pic- tures: Philip Lewis, American Trading Associa- tion president. With him, AlP's president James Nicholson, sales manager Leorr Blender, and vice-president Samuel ArkofF. SOCIAL ONLY, it said here, the luncheon at which United Artists sales manager James Velde the other day met some 50 Cleveland exhibitors. At the left, Bert Lefkowich and Marshall Fine, Mr. Velde, Meyer Fine, Frank Murphy, Henry Green- berger, and U-A branch manager Danny Rosenthal. SCREENING, of course "Around the World in 80 Days" as an evening climax, Mike Todd in Baltimore made friends and certainly made mention during a hectic 15 hours. At the left, friends who flank him are exhibitors Morris Mechanic, I. M. Rappoport, Maryland censor C. Morton Goldstein, exhibitor Elmer Nolte. PICTURE, which United Artists is "dating" for the holidays: "King and Four Queens," star- ring, as you see, Clark Gable and Eleanor Parker. It opens at the Mayfair, on Broadway, December 2T. Film Industry Begins Campaign For Total Elimination of Tax New York City Officials Study Tax Cut Plea . . . Coyne makes appeal to Ways and Means subcommittee; Treasury representative reports department opposed to any tax cuts now WASHINGTON: The preliminary lines have been drawn here for the motion pic- ture industry’s forthcoming battle for the complete elimination of the 10 per cent Federal admission tax. Friday last week Robert W. Coyne, spe- cial counsel for the Council of Motion Pic- ture Organizations, filed a statement with an excise tax subcommittee of the House Ways and Means Committee, asking for repeal of the 10 per cent tax now being carried by 1,363 theatres. Outlines Treasury Position This was followed Monday by the ap- pearance before the subcommittee of Dan T. Smith, top policy assistant to Secretary of the Treasury Humphrey, who said flatly that the Treasury is opposed to any tax cuts at the present time — in excise rates, individual or corporate income taxes. The Treasury statement served to con- firm long-held suspicions that any motion picture industry drive for further admis- sions tax relief next year would again meet Treasury opposition. Nevertheless, Representative A. J. Forand (D., R. I.), subcommittee chairman, following Mr. Smith’s appearance immediately an- nounced that he felt his group still would recommend tax relief wherever present excise taxes were found to be discrimina- tory or burdensome. Referring to the theatres now being taxed, Mr. Coyne’s statement said, “Lo- cated for the most part in large centers of population, these 1,363 theatres have an importance out of all proportion to their number. For these theatres not only gross approximately $200,000,000 yearly, but also exert an enormous influence in establishing the attraction value of the pictures they play. “Keys” Important to All “These are the top key run theatres of all the nation’s 19,000 active movie houses. The advertising which they give to the pictures they play provides the principal stimulant to public attendance at all of the other theatres that play the picture subsequently. It is obvious therefore that it is upon the profitable operation of these theatres that the motion picture industry must depend for its continuance as a healthy business.” The City of New York’s Board of Esti- mate and Mayor Robert F. Wagner met in executive session Tuesday to discuss a re- quest by a joint committee of motion pic- ture theatre owners for a repeal of the municipality’s five per cent tax on admis- sions. William R. Peer, executive secretary to the Mayor, said that the Board of Esti- mate also conferred on the appointment of a citizens’ committee to investigate the advisability of repealing the tax and to see if it imposes any “hardships” on mo- tion picture theatres. The Mayor told exhibitors at a special meeting last Friday he would appoint a committee to study the tax effect on thea- tres, feeling that the Board of Estimate would go along with him after being told of the exhibitors’ oral and written argu- ments. The joint committee of New York City exhibitors, composed of representatives of the Independent Theatre Owners Associa- tion and Metropolitan Motion Picture Theatres Association, plus Robert W. Coyne, special counsel for the Council of Motion Picture Organizations, presented Mayor Wagner with several briefs to sup- port their oral arguments for repeal of the five per cent levy. The statement pointed out that both Houses of Congress recognized the need for repeal of the admission tax on movie theatres as long ago as 1953, when they passed the Mason bill that was later vetoed by the President. In two subse- quent actions, the statement said, Congress “has inched forward to the attainment of that goal” by reducing the 20 per cent by half and by establishing complete exemp- tion from the tax first, in 1954, for thea- tres charging 50 cents or less and later, in 1956, for theatres charging admission prices of 90 cents and under. “What we are seeking now,” the state- ment continued, “and what we hope your committee will recommend, is that Con- gress will complete the job it set for itself in 1953. Such action by your committee and by Congress, we might point out, would only be consistent with recom- mendations made by the Senate Select Committee on Small Business, which, fol- lowing hearings during the life of the 83rd and 84th Congresses, made strong recom- mendations that the entire admission tax be repealed.” City Budget director Abraham Beame, who also attended last week’s meeting, said that the tax brought the city about $20,000,000 on revenue in 1954-55 and 1955- 56. A yield of about $10,800,000 is estimated for the 1956-57 fiscal year, he said. The budget director said that the levy on motion picture theatre admissions alone yielded about $5,500,000 in 1954-55 and 1955-56 and could be expected to pro- duce the same amount approximately on 1956- 57. Mr. Coyne, in his statement before the Mayor, recited the financial state of the motion picture industry and the increas- ing competition from television, especially since the recent sale or lease of thousands of backlog films to TV stations. He cited figures supplied by the city’s fiscal officials to support his contention that the film houses were in real financial trouble. He said that the city’s revenue from the admission tax was $2,496,183 for the first seven months of 1956, as against $2,829,211 for the same period last year. The decline of $33,028, or nearly 12 per cent, was characterized by Mr. Coyne as significant because it took place at a time when nearly all other major industries and retail businesses in the city were at record peacetime prosperity. Declaring that he would not burden the committee with a detailed exposition on the general merits of his request, Mr. Coyne said it was his hope that the state- ment “would reinstate with your commit- tee and its staff, and with the Joint Com- mittee on Internal Revenue Legislation, the study now in the files with only such additional information as will make the existing material currently relevant.” The Treasury Department’s Mr. Smith, asked whether the department feels pres- ent individual, corporate and excise tax levels must be maintained, answered that “so far as I know now, I see no basis for a proposal for the reduction of any taxes at the present time.” What was not clear in the wake of Mr. Smith’s testimony was what the White House would do about the cabinet com- mittee report recommending tax relief for small business. Presumably, Mr. Smith’s statement was broad enough to cover op- position to this tax relief, too, though most Administration officials feel the White House has committed itself to recommend- ing some relief for small business. 12 MOTION PICTURE HERALD, DECEMBER 15, 1956 Revision of Production Code Is Approved by Board of MPAA A revised Production Code embodying thoroughgoing changes evolved during eleven months of work by a special committee on self - regulation of the Motion Picture Association of America was approved and adopted by the MPAA board of directors in New York Tuesday. The effect of the changes is to clarify the basic Code provisions and to put its contents into more logical sequence, thereby providing a document for the guid- ance of Hollywood that is clearer and more concise than the old. Some of the subjects formerly prohibit- ed as entertainment screen material but now permissive under well defined specifi- cations are the following: mercy killings; drug addiction and traffic in habit-forming drugs; kidnapping of children; abortion; nudity in infants; miscegenation, and sur- gical operations, including the showing of childbirth. In addition, the changes tighten up many former Code provisions by enlarg- ing on their injunctions and by substituting more explicit language than was used pre- viously. In this category is an addition to The reasons underlying the Code, an ex- position of the moral principles upon which it is based, have been a part of the docu- ment since its beginning. In the revision approved by the MPAA board these rea- sons remain with minor changes of word- ing. They are printed in full annually with the text of the Code in International Mo- tion Picture Almanac, the 1957 edition of which will be published this month. the section on National Feelings enjoining producers from employing anything in their pictures which tends to incite bigotry or hatred among peoples of differing races, religions or national origins.” Provisions which have been tightened up by new or more specific wordage include those on depictions of murder, brutality, sexual promiscuity, adultery and illicit sex, “open-mouth kissing,” seduction and rape, prostitution and white slavery, vul- garity, blasphemy and profanity, depiction of religious personages even if poseurs. The board took no action at its meeting Tuesday on proposed changes in the ad- ministration of the Code which would have altered appeals procedure and would have added representatives of exhibition and independent production to the present ap- peals body consisting of members of the board of MPAA. Eric Johnston, Associa- tion president, told a press conference at which the Code changes were announced, that the administrative changes will con- tinue “under advisement.” He said this is but one of several revi- sions of the Code since its adoption in 1930 and that, even though it is the “most sweeping” of them, the result is still “not the ultimate Code.” “It has been brought up to date,” Mr. Johnston said, “as to language and ar- rangement. But it remains a living docu- ment and will be subject to changes in the future.” He added, however, that “it is everything the MPAA had in mind at this time, except for administrative changes.” He said that all industry ele- ments participated in the changes, both in Hollywood and New York. The committee which drafted the re- vised Code consisted of Barney Balaban, chairman; Daniel T. O’Shea, A. Schneider and Johnston. Its subcommittee members were Robert J. Rubin, Paul Quinn, Ray Bell, Kenneth Clark and Sidney Schrei- ber. GENERAL PRINCIPLES: 1. No picture shall be produced which will lower the moral standards of those who see it. Hence the sympathy of the au- dience shall never be thrown to the side of crime, wrong-doing, evil or sin. 2. Correct standards of life, subject only to the requirements of drama and enter- tainment, shall be presented. 3. Law — divine, natural or human — shall not be ridiculed, nor shall sympathy be created for its violation. PARTICULAR APPLICATIONS: I. CRIME: 1. Crime shall never be presented in such a way as to throw sympathy with the crime as against law and justice, or to in- spire others with a desire for imitation. The following is the text of a statement issued by Mr. Johnston when he an- nounced the revisions at his Tuesday press conference: “Some time ago a committee of the board was appointed to make a study of the Code and to recommend any revisions that it considered to be desirable in light of experience and of present-day condi- tions. “The Production Code consists of two main elements: (1) the underlying moral principles, and (2) the provisions that deal with policy matters. “As the Code’s basic principles are un- changing, the revisions relate to policy matters only. “Policy provisions have been revised from time to time, but this is the first time since the Code was adopted in 1930 that a comprehensive survey has been under- taken by the board. “The revisions of the Code follow these main lines: ( Continued on page 15, col. 2) 2. Methods of crime shall not be expli- citly presented or detailed in a manner calculated to glamorize crime or inspire imitation. 3. Action showing the taking of human life is to be held to the minimum. Its fre- quent presentation tends to lessen regard for the sacredness of life. 4. Suicide, as a solution of problems oc- curring in the development of screen dra- ma, is to be discouraged unless absolutely necessary for the development of the plot, and shall never be justified, or glorified, or used specifically to defeat the ends of justice. 5. Excessive flaunting of weapons by criminals shall not be permitted. 6. There shall be no scenes of law-en- forcing officers dying at the hands of crim- (Continued on following page) TEXT OF REVISED CODE FOREWORD: Motion picture producers recognize the high trust and confidence which have been placed in them by the people of the world and which have made motion pictures a universal form of entertainment. They recognize their responsibility to the public because of this trust and because entertainment and art are important influences in the life of a nation. Hence, though regarding motion pictures primarily as entertainment without any explicit purpose of teaching or propaganda, they know that the motion picture with- in its own field of entertainment may be directly responsible for spiritual or moral progress, for higher types of social life, and for much correct thinking. On their part, they ask from the public and from public leaders a sympathetic un- derstanding of the problems inherent in motion picture production and a spirit of co- operation that will allow the opportunity necessary to bring the motion picture to a still higher level of wholesome entertainment for all concerned. MOTION PICTURE HERALD, DECEMBER 15, 1956 13 TEXT OF REVISED PRODUCTION CODE (Continued from preceding page) inals. unless such scenes are absolutely necessary to the plot. 7. Pictures dealing with criminal activi- ties in which minors participate, or to which minors are related, shall not be ap- proved if they tend to incite demoralizing imitation on the part of youth. 8. Murder: (a) The technique of murder must not be presented in a way that will in- spire imitation. (b) Brutal killings are not to be pre- sented in detail. (c) Revenge in modern times shall not be justified. (d) Mercy killing shall never be made to seem right or permissible. 9. Drug addiction or the illicit traffic in addiction-producing drugs shall not be shown if the portrayal: (a) Tends in any manner to encour- age, stimulate or justify the use of such drugs; or (b) Stresses, visually or by dialogue, their temporarily attractive effects; or (c) Suggests that the drug habit may be quickly or easily broken; or (d) Shows details of drug procure- ment or of the taking of drugs in any manner; or (e) Emphasizes the profits of the drug traffic; or (f) Involves children who are shown knowingly to use or traffic in drugs. 10. Stories on the kidnapping or illegal abduction of children are acceptable under the Code only (1) when the subject is handled with restraint and discretion and avoids details, gruesomeness and undue horror, and (2) the child is returned un- harmed. D. BRUTALITY: Excessive and inhumane acts of cruelty and brutality shall not be presented. This includes all detailed and protracted pres- entation of physical violence, torture and abuse. ni. SEX: The sanctity of the institution of mar- riage and the home shall be upheld. No film shall infer that casual or promiscuous sex relationships are the accepted or com- mon thing. 1. Adultery and illicit sex, sometimes necessary plot material, shall not be ex- plicitly treated, nor shall they be justified or made to seem right and permissible. 2. Scenes of passion: fa) These should not be introduced except where they are definitely essen- tial to the plot. (b) Lustful and open-mouth kissing, lustful embraces, suggestive posture and gestures are not to be shown. (c) In general, passion should be treated in such manner as not to stimu- late the baser emotions. 3. Seduction or rape: (a) These should never be more than suggested, and then only when essential to the plot. They should never be shown explicitly. (b) They are never acceptable sub- ject matter for comedy. (c) They should never be made to seem right and permissible. 4. The subject of abortion shall be dis- couraged, shall never be more than sug- gested, and when referred to shall be con- demned. It must never be treated lightly or made the subject of comedy. Abortion shall never be shown explicitly or by in- ference, and a story must not indicate that an abortion has been performed. The word “abortion” shall not be used. 5. The methods and techniques of pros- titution and white slavery shall never be presented in detail, nor shall the subjects be presented unless shown in contrast to right standards of behavior. Brothels in any clear identification as such may not be shown. 6. Sex perversion or any inference of it is forbidden. 7. Sex hygiene and venereal diseases are not acceptable subject matter for the- atrical motion pictures. 8. Children’s sex organs are never to be exposed. This provision shall not apply to infants. IV. VULGARITY: Vulgar expressions and double mean- ings having the same effect are forbidden. This shall include but not be limited to such words and expressions as chippie, fairy, goose, nuts, pansy, S.O.B., son-of-a. The treatment of low, disgusting, unpleas- ant, though not necessarily evil, subjects should be guided always by the dictates of good taste and a proper regard for the sensibilities of the audience. V. OBSCENITY: 1. Dances suggesting or representing sexual actions or emphasizing indecent movements are to be regarded as obscene. 2. Obscenity in words, gesture, refer- ence, song, joke or by suggestion, even when likely to be understood by only part of the audience, is forbidden. VI. BLASPHEMY AND PROFANITY: 1. Blasphemy is forbidden. References to the Deity, God, Lord, Jesus, Christ, shall not be irreverent. 2. Profanity is forbidden. The words “hell” and “damn,” while sometimes dra- matically valid, will if used without mod- eration be considered offensive by many members of the audience. Their use shall be governed by the discretion and prudent advice of the Code Administration. Vn. COSTUMES: 1. Complete nudity, in fact or in sil- houette, is never permitted, nor shall there be any licentious notice by char- acters in the film of suggested nudity. 2. Indecent or undue exposure is for- bidden. (a) The foregoing shall not be inter- preted to exclude actual scenes photo- graphed in a foreign land of the natives of that land, showing native life, pro- vided: (1) Such scenes are included in a documentary film or travelogue depict- ing exclusively such land, its customs and civilization; and (2) Such scenes are not in them- selves intrinsically objectionable. VIII. RELIGION: 1. No film or episode shall throw ridi- cule on any religious faith. 2. Ministers of religion, or persons pos- ing as such, shall not be portrayed as comic characters or as villains so as to cast disrespect on religion. 3. Ceremonies of any definite religion shall be carefully and respectfully han- dled. IX. SPECIAL SUBJECTS: The following subjects must be treated with discretion, restraint and within the careful limits of good taste: 1. Bedroom scenes. 2. Hangings and electrocutions. 3. Liquor and drinking. 4. Surgical operations and childbirth. 5. Third degree methods. X. NATIONAL FEELINGS: 1. The use of the flag shall be consis- tently respectful. 2. The history, institutions, prominent people and citizenry of all nations shall be represented fairly. 3. No picture shall be produced that tends to incite bigotry or hatred among peoples of differing races, religious or na- tional origins. The use of such offensive words as Chink, Dago, Frog, Greaser, Hunkie, Kike, Nigger, Spig, Wop, Yid, should be avoided. XI. TITLES: The following titles shall not be used: 1. Titles which are salacious, indecent, obscene, profane or vulgar. 2. Titles which violate any other clause of this Code. XII. CRUELTY TO ANIMALS: In the production of motion pictures in- volving animals the producer shall consult with the authorized representative of the American Humane Association, and invite him to be present during the staging of such animal action. There shall be no use of any contrivance or apparatus for trip- ping or otherwise treating animals in any unacceptably harsh manner. 14 MOTION PICTURE HERALD, DECEMBER 15, 1956 " Anastasia " Opening Big In New York A distinguished array of notables from the entertainment world, society and the diplomatic corps attended Thursday’s benefit world premiere of 20th Century- Fox’s “Anastasia” in CinemaScope and color by Technicolor, at the Roxy theatre in New York. All proceeds from the gala opening went to the Judson Health Cen- ter. The opening was one of the highlights of New York's pre-Christmas social and entertainment season. Starring are Ingrid Bergman, Yul Brynner and Helen Hayes. The Buddy Adler production was pro- duced in European locations under the di- rection of Anatole Litvak. It marks Miss Bergman’s first film appearance under American production auspices in seven years. Mr. Litvak and playwright Arthur Lau- rents, who wrote the screenplay for the drama, headed the list of celebrities pres- ent. Entertainment world personalities on hand included Marilyn Monroe, Kirk Douglas, Gene Kelly, Jose Ferrer and Rosemary Clooney, Laraine Day and Leo Durocher, George Raft, Vivian Blaine, Jack Palance. Joan Caulfield, Gloria Swanson and Lena Horne. Also Mary Martin, Johnny Ray, Douglas Fairbanks Jr., Cleo Moore, Don Ameche, Phil Silvers, Thelma Ritter, Robert Alda, Dagmar, Raymond Massey, Lee Ann Mer- riweather, Natalie Schaefer, Myrna Loy, Arlene Dahl, Shirley Jones, Anne Jeffreys and Robert Sterling. Cinema Lodge Holiday Show Set For Rogers Hospital Cinema Lodge of B’nai B’rith will spon- sor, with the cooperation of the American Guild of Variety Artists, a special Christ- mas show for the patients of the Will Rogers Memorial Hospital to be presented at the hospital December 18, it was an- nounced by Robert K. Shapiro, president of Cinema Lodge. This is the third con- secutive year the organization has spon- sored such a show, which was conceived by Burton Robbins, past president. Plan Romson Film HOLLYWOOD: Helen Ainsworth and Guy Madison have purchased Leo Katcher’s novel “The Hard Man” and plan to film it early next Spring for their independent company, Romson Productions. Madison will star and Ainsworth will produce. Romson’s initial film, “Reprisal!” is now in release. Their recently completed “The 27th Day” is set for release this Spring, both by Columbia. U.A. Holding Regional Meets on 7957 Promotion A series of regional field meetings with exhibitors, branch personnel, editors and TV-radio officials to expedite United Art- ists’ 1957 promotion program is currently being conducted by Roger H. Lewis, U.A.’s national director of advertising, publicity and exploitation. The conferences, cover- ing every major market area in the U.S. and Canada, are designed to stimulate the- atre, newspaper, magazine and TV-radio support of the company’s advertising, pub- licity and exploitation campaigns for the coming year. The meetings were launched last weekend in Toronto and others are set for Atlanta, New Orleans and Dallas. Drive-in Ban Suit Barred in Chicago CHICAGO : A suit to bar the erection of a drive-in theatre on the east side of Mil- waukee Avenue between Dempster Street and Golf Road for at least 11 years was filed in Circuit Court here last week. The action was filed on behalf of the River- grove Theatre Corp., Velma Entertain- ment Corp., Business Assoicates, Inc., and Harold Abrahamson and his mother, Mrs. Theresa Abrahamson, under the firm name of Norwood Enterprises. The plaintiffs al- lege that a purchase agreement with the defendants for two outdoor theatres has a non-competition covenant which would bar operation of a theatre on the Milwau- kee Avenue site. CODE REVISED ( Continued from page 13) “(1) Provisions of the Code have been made simpler and more precise; “(2) Provisions of the Code have been rearranged into more logical order; “(3) Certain provisions have been strengthened- “(4) Certain new provisions have been added to deal with treatment of subjects not previously covered; and “(5) Certain subjects, now prohibited, are made permissive under conditions which assure restrained and careful treat- ment. “A few years ago I made the observa- tion that the Production Code was intend- ed to be — and has been — a flexible, living document — not a dead hand laid on artistic and creative endeavor. “The revisions, I think, bear out and justify this statement and demonstrate once more our faith in and adherence to the voluntary system of self-regulation in the industry.” Mr. Johnston said the Code committee had spent many weeks in study and de- liberation before reporting to the board. Martin Quigley, who drew up the original Code document in 1930, acted as a consul- tant to the committee on revisions. Tax Change Delay Sought By the SAG HOLLYWOOD: Screen Actors Guild counsel William Berger has asked the Col- lector of Internal Revenue in Washington for a 30-day delay in presenting to Con- gress certain proposals for changes in the corporation tax laws, which are construed as threatening independent film produc- tion in the U. S. and which would spur the making of films abroad, it was announced by the Guild. Mr. Berger said that one proposal of the Internal Revenue Department, as outlined in advance notices to tax counsels, would drastically affect independent production companies set up by individuals, stars, or others, whose salary is the principal source of revenue. The Collector is scheduled to present its proposals to Congress Decem- ber 15, and SAG has requested a delay until January 15 in order that it may have time to study the proposals and submit its views. It is repored that other Guilds, the tele- vision networks and individuals are mak- ing similar requests. The newly proposed corporation tax laws as prepared by the Collector would affect approximately half the film production in Hollywood involv- ing financial arrangements. It is estimated that the proposed tax restrictions would apply to 90 per cent of the numerous in- dependent film and television companies formed in the last few years by stars and independent producers. The changes virtually would outlaw companies that depend for financing on personal-service contracts involving the owner. Most of the earnings of such com- panies would be regarded as personal in- come earned and would come under the personal holding-corporation tax. It is much higher than the straight corporation tax schedule, which has a maximum levy of 52 per cent. The revised regulations virtually would eliminate the savings by subjecting the bulk of the earnings to the personal hold- ing corporation tax. According to tax spe- cialists, that corporate revenue in excess of 80 per cent of total income derived as the result of personal-service guarantees would be taxed at the rate of 75 per cent on the first $2,000 and 85 per cent on the remainder. The personal income tax maxi- mum is 92 per cent. Palance to Produce Actor Jack Palance has formed an in- dependent company, Cody Productions, to produce “Pistolero” for United Artists. Greene-Rouse Productions will co-produce the film with Palance, who is scheduled to star in the picture. MOTION PICTURE HERALD, DECEMBER 15, 1956 15 Jack Cohn's Death Saddens Industry . . . Co-founder of Columbia was 67, one of industry's leaders; estab- lished the Motion Picture Pioneers and Charity Foundation Jack Cohn, 67, co-founder and exec- utive vice-president of Columbia Pic- tures Corporation, died December 8 at Midtown Hospital in New York. Death re- sulted from a pulmonary embolism fol- lowing minor surgery he had undergone early last week. Funeral services were conducted at Temple Emanu-El in New York December 11. Burial followed in Old Mt. Carmel cemetery in Brooklyn. All offices of Columbia Pictures, Columbia Pictures International and Screen Gems, the television subsidiary, throughout the world, were closed December 11. Mr. Cohn, who was born in New York, joined with his brother Harry and Joseph Brandt in 1920 to found CBC Film Sales Company which eventually became Co- lumbia. He had been in the film industry since 1908, when he worked for Carl Laemmle’s Imp Company, one of the earliest film firms, which was soon to amalgamate with the Universal Com- pany. On Universal Weekly He eventually became editor and pro- ducer of the Universal Weekly, first of the independent newsreels. While in that position he conceived the idea of estab- lishing bureaus in key cities to facilitate the coverage of spot news. During this pe- riod, he also was recognized as one of the outstanding film editors in the industry. In 1913 he was put in charge of all pro- duction for Imp studio. He was responsible for such early successes as “Traffic in Souls” and “Crashing Through to Berlin.” In 1919, Jack and his younger brother Harry, who had entered the industry and was working in a production capacity at Universal studio on the west coast, de- cided to go into business for themselves. They invited Mr. Brandt to join them and in 1920 they opened for business as the CBC Film Sales Company, using a single room as their headquarters. When CBC was formed, it started oper- ations by producing and distributing short subjects. Mr. Cohn drew up plans for a film series which would serve as a “fan magazine of the screen,” showing scenes of the stars in their non-working hours. In the spring of 1920 the first Screen Snap- shots was released, and today Columbia JACK COHN, at his New York desk a while ago, as the industry knew him and The HER- ALD camera saw him. is still producing the series, the oldest in existence. By 1924 the name of the company had been changed to Columbia. Harry Cohn moved to California to take charge of pro- duction and the studio operations, while Jack stayed in New York to oversee the sales department. In 1939 Jack Cohn founded the Motion Picture Pioneers, an organization for men who had served in the industry for more than 25 years. Subsequently he established the Foundation of the Motion Picture Pioneers, a charitable organization de- signed to aid needy ex-members of the in- dustry. He served continually as presi- dent of both groups. Among the 22 honorary pallbearers at Mr. Cohn’s funeral were Barney Balaban, L. M. Blancke, Simon H. Fabian, William German, Leonard Goldenson, Dr. Maxi- milian Goldstein, Max Gordon, Eric John- ston, Otto E. Koegel, Joseph McConville, Sr., A. Montague, Martin Quigley, Herman Robbins, Samuel Rosen, A. Schneider, Nicholas M. Schenck, Charles Schwartz, Mendel Silberberg, Spyros Skouras, A. B. Sonnabend, N. B. Spingold and Donald S. Stralem. Mr. Cohn is survived by his widow, the former Jeanette Lesser; two sons, Ralph M. , head of Screen Gems, and Robert L.; two brothers, Harry and Nat; a sister, Mrs. Anna Fraum, and three grandchildren, Jan Marcia, Bruce V. and Thomas F. An- other son, Joseph H. Curtis, died in 1954. More than 1,000 persons attended the funeral at which many industry figures paid tribute to Mr. Cohn. In his tribute Ferdinand Pecora, former Justice of the New York Supreme Court, said that “the many outstanding personable qualities which distinguished Jack Cohn, gained for him the admiration of all who came with- in the ever-broadening circle of his ac- quaintances. The presence of so many of his friends who are crowded into this spa- cious Tabernacle today is a far more elo- quent tribute to the memory of Jack Cohn than any tongue could utter.” In the eulogy delivered by Dr. Julius Mark, Senior Rabbi of the congregation, he said “that which made the life of Jack Cohn exceptional was that he never per- mitted his material prosperity to blunt his values of the spirit. He was a wonder- ful human being, warm-hearted, kind, generous. He truly loved his fellow men.” TO A Brief to » Loan Agency Asks Change Theatre Owners of America has pre- pared a brief for presentation to the Loan Policy Board of the Small Business Ad- ministration with seven recommendations pertaining to revision of the general loan policies of the agency, according to the latest TOA bulletin. The brief, prepared by Philip F. Har- ling, an executive of Fabian Theatres, recommends: That in order to help the national ec- onomy, the SBA revise its rules to permit it to grant regular mortgage loans up to 20 years to qualified motion picture ex- hibitors. That the maximum sum that may be loaned by the SBA for such mortgage pur- poses shall be $2,000,000 on any one thea- tre property; that the SBA secure proper legislation in order to enable it to increase the revolving fund; that proper legislation be enacted at the request of the SBA whereby the policy board would guar- antee for a fee a mortgage loan by an in- dependent, qualified lending institution; that the SBA seek proper legislative au- thority to guarantee mortgage loans; that the SBA revise its rules requiring a state- ment of inability to obtain private financ- ing as a condition precedent to filing an application for a mortgage loan on a theatre property. Mr. Harling states in the TOA bulletin that “one of the most important needs of the theatre today is to obtain mortgage financing and refinancing. All the lending institutions have, for the past six years, closed their doors to theatre owners. This is common knowledge and has been brought about partly by the impact of television on the motion picture industry, and more recently due to the unfavorable condition of the mortgage market.” 16 MOTION PICTURE HERALD. DECEMBER 15. 1956 Stanley Shows Year Profit of Trading Stamps for Theatres Were Used to Promote Business More Than 20 Years Ago $3,194,200 S. H. Fabian, president of Stanley Warner Corporation, reported last week that the combined operations of the thea- tre circuit and the Cinerama and Interna- tional Latex divisions showed a net profit for the year of $3,194,200 after all charges including deductions of $4,722,800 for de- preciation and amortization of fixed assets, patents and good will; $1,908,200 for amortization of the cost of Cinerama pres- entations and $2,816,400 for Federal and foreign income taxes. This compares with a profit of $3,065,- 800 earned during the prior year, when depreciation and amortization totaled $4,- 759,200, Cinerama amortization was $1,- 037,500 and Federal and foreign taxes amounted to $3,650,000. The net profit for the year is equivalent to $1.47 per share on the $2,166,800 shares of common stock outstanding on August 25, 1956. The earnings for last year were equivalent to $1.39 per share on the com- mon stock then outstanding. Theatre ad- missions, merchandise sales and other in- come totalled $96,234,200, an increase of $3,823,700. In discussing the theatre division, Mr. Fabian said that the outlook for improved box office receipts in the near future is brighter than it has been for several months. “There has been much talk about the ‘lost’ theatre audience,” he said, “and that TV has detoured the public away from going to the theatre. The fact is clear that America still loves to go out and see a movie. This audience is not ‘lost’ but waiting for the pictures of its choice. The outstanding pictures of today are playing to capacity audiences, al- though there is an over-all decline in at- tendance. TV competition cannot be ig- nored as the major element in this re- duced patronage, but it is not the only factor, nor is it the decisive factor in de- termining the future of our business. We believe the decline in attendance arises to a large extent from the existing shortage of acceptable motion pictures.” Big Newspaper Campaign Set for "Four Queens" A heavy national newspaper advertising program comprising $100,000 worth of large-space displays in 59 newspapers with a combined circulation of 21,390,000, has been set by United Artists for Russ- Field’s “The King and Four Queens,” it was announced last week by Roger H. Lewis, U.A.’s national director of adver- tising, publicity and exploitation. The campaign is scheduled for 21 cities as a curtain-raiser for Christmas premieres of Walter Brooks’ informative article in the October 20 issue of the The HERALD on the current trading stamp situation continues to elicit a widespread pro-and- con reaction among readers, who appear to be rather evenly divided between the damners and the praisers of this decades- old business-building expedient. Last week was published the observa- tions of F. P. Gloriod, who cited his ex- perience with the controversial stamps. Now comes word from Ohio exhibitor Martin G. Smith, an industry veteran who numbers himself among the nay-sayers. He told Mr. Brooks that back in 1930 and 1932 his exhibitor firm had scant success with them. Mr. Smith also sent several exhibits from his files as corroborating evidence. These include newspaper ads and actual booklets of 1932 vintage. Printed in St. Louis, the booklets were issued by such typical houses as the Moon theatre, Vin- cennes, Indiana, and the Lyric theatre, Syracuse, N.Y. And 1932, as the old-timers remember well, was the rock-bottom year of the Great Depression. People were still going to the film houses in great numbers but they didn’t have as much money to bring along with them; accordingly, ad- mission prices were down to a minimum everywhere. The pink cards carry the legend: “Our policy is always to give you the best there is in entertainment, and to do this costs money. Our prices are already on a very low schedule and cannot be reduced, but we have worked out this profit-sharing plan which will help you get free admis- sions to our theatre and afford much fun. Get your friends to save the stamps for you. Save them yourself. Teach the children to save them. Be thrifty. Paste the stamps in the books as soon as you get them. Loose stamps do not count.” the film. Cities include Atlanta, Boston, Buffalo, Chicago, Cincinnati, Cleveland, Dallas, Denver, Detroit, Kansas City, Houston, Los Angeles, Milwaukee, New Orleans, New York, Philadelphia, Pitts- burgh, St. Louis, San Francisco, Seattle, and Washington. The CinemaScope film stars Clark Gable and Eleanor Parker and was directed by Raoul Walsh. Legion Approves 9 Of 16 New Films Of the 16 productions reviewed last week by the National Legion of Decency, two have been put in Class A, Section I, morally unobjectionable for general pa- tronage; seven have been put in Class A, Section II, morally unobjectionable for adults; six in Class B, morally objection- FREE THEATRE TICKETS East Side Amusement Stamps Will admit you FREE, any time except Sundiys and Holidays, to the Eo»l Auditorium and Garden Theatres, and to the new Eastwood Theatre, when completed EVERY TIME YOU SPEND TEN CENTS OR MORE ON THE EAST SIDE, ASK FOR EAST SIDE AMUSEMENT STAMPS. GET ONE STAMP FOR EACH TEN CENT PUR- CHASE. Thirty stamps are good lor Ten Cents on the price of admission when presented at the ticket office of any of our theatres East Auditorium Theatre Japanese Garden and Garden Theatre Eastwood Theatre Our magnificent New Motion Picture Theatre, now under construction on East Broad- way, near Woodville 8treeU (Will be opened on or about February 1st.) Shown above is a typical newspaper ad- vertisement for trading stamps, circa 1920, and sent in to us by Ohio exhibitor Martin G. Smith. As can be seen, the showmen of 1920 weren't slow when it came to merchandising. The legend of Mr. Smith’s pink booklet go on to offer a profit-sharing stamp for each 10 cents spent on admission. A 20- cent admission brought two stamps, and also two were offered for a 25-cent ad- mission; three for a 35-cent admission, and so on. Patrons were enjoined by the exhibitor to “paste these in the booklet given you. When filled present at the box office. Get one admission FREE.” Special awards were offered: two tickets, four tickets, eight tickets and season passes. Also held up as patron lures were cash awards from $1 to $10, each given on the condition that the man- ager open the seal in the presence of the patron. able in part for all; and one in Class C, condemned. In Section I are “Above Us the Waves” and “Rock, Rock, Rock.” In Section II are “Bundle of Joy,” “Calling Homicide,” “Don Giovanni,” “High Ter- race,” “Hot Shots,” “Istanbul” and “Night- fall.” In Class B are “Black Whip” be- cause of “excessive brutality; suggestive sequence”- “Four Girls in Town,” because of “light treatment of marriage”; “The Girl Can’t Help It,” because of “suggestive costuming and sequences”; “The Magni- ficent Seven” because of “suggestive se- quences”; “Rock, Pretty Baby,” because of “suggestive sequences; tends to encourage questionable moral behavior patterns,” and “The Widow” because of “suggestive sequences.” In Class C, condemned, is “Baby Doll.” The explanation for the classification of “Baby Doll” was pub- lished in detail last week. MOTION PICTURE HERALD, DECEMBER 15, 1956 17 British Industry Gets Look at 10-Year Plan . . . Government's new bill would provide for statutory Eady levy and remove some restrictions on NFFC lean powers by PETER BURNUP LONDON : The government’s 10-year plan for the production industry here has been revealed in the Cinematograph Films Bill presented last week in the House of Lords. It is understood that the bill will be given a second reading in the House of Commons December 20. Provides Fund for 10 Years The bill provides for a statutory British Film Production Fund for the next 10 years with an estimated first year’s yield of £3.75 million and not less than £2 million nor more than £5 million in suc- cessive years. The loan making powers of the Na- tional Film Finance Corporation are ex- tended for a further 10 years. The quota provisions for the existing Acts of Parlia- ment are also renewed for 10 years. The section of the bill relating to the Production Fund — i.e., the so-called Eady Levy — is what is known as an “enabling” measure. That is to say that it is framed in flexible form and leaves the practicalities of the levy machinery to be laid down in regulations subsequently made by the Board of Trade. IF ill Designate Exemptions The Board, for example, will have pow- ers to provide for exemptions from pay- ment of the levy and in an accompanying memorandum it is stated that every at- tempt will be made to devise rules in that regard which are as fair and as accept- able as possible. The levy will be collected by the Cus- toms and Excise Department. Failure to pay will not be a criminal offense and the Customs and Excise will seek to re- cover unpaid levies as simple contract debts. But the bill gives considerable power nevertheless to the Excise authori- ties, including the right to enter an ex- hibitor’s premises. They are entitled also under the bill to summons an exhibitor failing to comply with a request to show records of business and, unless the ex- hibitor proves that he has a reasonable excuse for the failure, to enable a prose- cution to take place leading to a fine not exceeding £100. An exhibitor could also be fined £100 and imprisoned for three months if he were found guilty of providing a deliber- ately false document in connection with his returns to the Excise authorities. The bill provides for the Production Fund to be administered by an agency which will have some three to five mem- bers, none of which will have a financial interest in the film industry. The Fund hitherto has been controlled by a body nominated by the industry itself. l\etv Powers for Film Bank The provisions in regard to the Film Bank — the National Film Finance Corpor- ation— include powers which will remove the present restrictions to loans to per- sons unable to obtain money from other sources. In other words, the corporation is empowered to make loans to producers in competition with banks, insurance com- panies, or other financial institutions. The corporation is enjoined in the bill, how- ever, “to exercise and perform their func- tions so as to avoid defaults in respect of loans.” Provision is made also for the Board of Trade to dispose of the corpora- tion as a going concern if that should be practicable and desirable. The section of the bill relating to the new statutory Eady Levy and its “en- abling” form is greeting with satisfaction particularly by exhibitors. CEA’s officers anticipate being asked into consultation with the Board of Trade before the regu- lations— which will be “as fair and as acceptable as possible” — become law. There are those optimists, too, who see in the exemption clauses a bright promise of early entertainment tax remission. For, so their argument runs, there would be an immense number of theatres legitimate- ly entitled to exemption if substantial tax remission is not forthcoming; so large a number indeed that the whole levy fabric would be in jeopardy. But no matter how heavy a burden the levy places on exhibitors, producers have now a Government pledge of a subsidy of up to £5 million annually for the next 10 years. That is far beyond the hopes of a majority of hard-pressed producers. FILM PRODUCTION FUND ISSUES 1955-56 REPORT The sixth report of the British Film Pro- duction Fund, released two days before the Film Bill was read, shows that in the year to July 28, 1956, exhibitors paid into Fund under the Eady Levy £2,562,263. Total exhibitor collections since the in- ception of the scheme, in 1950, now total £14,790,451. In the sixth year a total of £2,318,197 was distributed to producers and/or dis- tributors and of this sum £2,052,053 was paid to 45 recipients in respect of 609 applications relating to feature films. £266,144 was paid to 84 recipients in re- spect of 738 applications relating to films of 3,000 ft. and under. Payments in respect of individual features have ranged be- tween £111,741 and £1 and to individual shorts, excluding serials, between £8,210 and £2. A further distribution of £104,- 774 remains to be made. As previously announced £427,747 was paid during the sixth year to British sub- sidiaries of the major American compa- nies here and British companies were allo- cated £1,796,046. RANK MAKES DEAL WITH BIG BRAZILIAN CIRCUIT In a message from the Latin American headquarters of the Rank Organisation it is announced that John Cowan, head of the Organisation there, has concluded an important deal with the Ribeiro circuit of Rio de Janeiro for the early release of their initial line-up. The Ribeiro circuit of 56 theatres in Rio de Janeiro and 150 in the whole country is one of the leading circuits in that part of the world. The deal, it is claimed, will provide the Rank Organisation with a first-class outlet for its product in Brazil. Further indication of the steady expan- sion of the Rank Organisation’s distribu- tion activities in South and Central Amer- ica is seen in an announcement that the Organisation will open its own branch in Havana early in December. The office will be in the care of Ralph Alexander who was recently appointed manager. • Anthony Downing has been appointed publicity controller for J. Arthur Rank Overseas Film Distributors. He will suc- ceed Geoffrey Martin who will leave for the United States shortly in charge of publicity and public relations for Rank Film Distributors of America, Inc. Mr. Downing was European director of pub- licity for five years at Selznick. FRENCH INCREASE BRITISH DUBBING LICENSES TO 30 The following is a summary of the agreement reached between the Centre National de la Cinematographic and the British Film Producers’ Association in re- gard to the issue of French licenses for dubbed British films: The number of dubbing licenses for the 12 months October 1st, 1956 to September 30th, 1957 for all British films shall be increased to 30. The number of licenses for the three months July 1st to September 30th, 1956 will be increased to 10, making 40 for July 1st, 1956 to September 30th, 1957, which will be regarded as one period. Of the 40 licenses not less than 90 per cent shall be given to films made by Brit- ish film producers as determined by the B.F.P.A. In addition, licenses will be granted for British films entered for the Cannes Film Festival, 1957. 18 MOTION PICTURE HERALD, DECEMBER 15, 1956 FOR A TEAHOUSE-FULL OF HAPPY PATRONS . . . M-G-M proudly pref^w-k: %/M/ fim v® CINEMASCOPE and METROCOLOR c°* starring 75440^ Ax A ^ ! ny %£AL6E^ '"’'Paul foRP * NEQ^V ^asss«5» A WONDERFUL BEGINNING! (First 3 terrific!) Music Hall, N.Y. Woods, Chicago Pantages, Los Angeles And more coming. Screen Play by JOHN PATRICK Based on a Book by VERN J. SNEIDER and the Play by JOHN PATRICK Directed by DANIEL MANN Produced by JACK CUMMINGS (Available in Magnetic Stereophonic, Perspecta Stereophonic or 1-Channel Sound) RKOMay Shift Structure to Meet Needs * Box Office CHAMPIONS for NOVEMBER The box office champions are selected on the basis of re- ports from key city first run theatres throughout the country. “RKO Radio Pictures, in the interests of efficiency, is considering the reshaping of its entire production and distribution structure to meet changing trends and con- ditions in the foreign and domestic mar- kets,” it was announced this week by Dan- iel T. O’Shea, president. “Steps to modernize distribution proce- dures have been under consideration for for quite some time,” he said. “Various plans are under study, including the pos- sibility, eventually, of aligning some ele- ments of RKO’s domestic and Canadian distribution facilities with those of some other organization.” Mr. O’Shea said addi- tional announcements will be forthcoming early next year. The announcement came following a series of policy meetings held in Palm Beach, Fla., last week with Thomas F. O’Neill, president and board chairman of RKO Teleradio Pictures; Walter E. Bran- son, vice-president in charge of world wide distribution; Michael G. O’Neil; Ed- ward L. Walton, administrative vice-presi- dent; William Dozier, vice-president in charge of production, and Raymond Klune, executive manager of studio operations. Mr. O’Shea also said, “RKO will con- centrate on four high budget pictures with important star casts during the first part of 1957.” They will include “Stage Struck,” with Henry Fonda and Susan Strasberg; “On My Honor,” Paul Gregory producing; “Galveston,” Edmund Grain- ger producing, and “The Naked and the Dead,” also Paul Gregory. All will be filmed in color with an aggregate budget of $10,0000,000, it was reported. MGM Plans Special "Teahouse" Trailer In addition to the regular color trailer for “The Teahouse of the August Moon,” MGM is getting out a special advance color trailer designed to create special interest in the attraction well ahead of its opening date and particularly before the regular trailer is shown at the theatre booking the picture. Known as “Operation Tea- house,” the 400-foot subject is being made available also in 16mm black and white so that exhibitors can use it for promotion on TV and other places where the small- sized film will attract wide attention. “Op- eration Teahouse” describes the early phases of production and shows candid camera shots of the stars, scenes of the beautiful Japanese countryside, numerous colorful characters appearing in the pic- ture, the fine cooperation of American and Japanese technicians and certain hilarious sequences from the finished screen pro- duction. Friendly Persuasion Allied Artists Producer and Director: William Wyler. Associate Producer: Robert Wyler. Writers: Jessamyn West and Robert Wyler. In De Luxe Color. Cast: Gary Cooper, Dorothy McGuire, Marjorie Main, Robert Middleton, Anthony Perkins, Walter Catlett, Richard Eyer. Giant Warner Bros. Producers: George Stevens and Henry Gins- berg Director: George Stevens. Writers: Fred Guiol and Ivan Moffat, from the novel by Edna Ferber. In WarnerColor. Cast: Eliz- abeth Taylor, Rock Hudson, James Dean, Carroll Baker, Jane Withers, Chill Wills, Mercedes McCambridge, Sal Mineo. Lust for Life Metro-Goldwyn-Mayer Producer: John Houseman. Director: Vin- cente Minnelli. Writer: Norman Corwin, from the novel by Irving Stone. In Metro- color. Cast: Kirk Douglas, Anthony Quinn, James Donald, Pamela Brown, Everett Sloane, Niall MacGinnis, Noel Purcell, Hen- ry Daniell. Warners Home Office To Move Next Year Warner Bros. Pictures has taken a long- term lease for office space in the new 38- story, air-conditioned building now under construction at 666 Fifth Avenue, New York, it was announced by Norman Tish- man, president of Tishman Realty & Con- struction Co., Inc., and Benjamin Kalmen- son, executive vice-president of Warner Bros. Occupancy is scheduled for the Fall of 1957. The present Warner building at 321 West 44th Street, where the com- pany has maintained its general offices for more than 30 years, has been sold. The closing of title will take place when War- ners takes possession of the new head- quarters. The move is part of a combined expansion and streamlining program, ac- Oklahoma! Magna-Todd-AO Producer: Arthur Hornblow, Jr. Director: Fred Zinnemann. Writers: Sonia Levien and William Ludwig. In Eastman Color. Cast: Gordon MacRae, Gloria Grahame, Gene Nelson, Charlotte Greenwood, Eddie Albert, James Whitmore, Shirley Jones, Rod Steiger, Barbara Lawrence, Jay C Flippen, Roy Bar- croft, James Mitchell, Bambi Linn. The Solid Gold Cadillac Columbia Producer: Fred Kohlmar. Director: Richard Quine. Writer: Abe Burrows. From a play by George S. Kaufman and Howard Teich- man. Cast: Judy Holliday, Paul Douglas, Fred Clark, John Williams, Hiram Sherman, Neva Patterson. (Champion for the second month). War and Peace Paramount-Ponti-DeLaurentiis VistaVision Producer: Dino DeLaurentiis. Director: King Vidor. Writers: Briget Boland, Robert Westerby, King Vidor, Mario Camerini, En- nio De Concini and Ivo Peril li. Color by Technicolor. Cast: Audrey Hepburn, Henry Fonda, Mel Ferrer, Vittorio Gassman, John Mills, Herbert Lorn, Oscar Homolka, Anita Ekberg (Champion for the second month). cording to the company, so all its admin- istrative and executive offices in the east can be coordinated under one roof, with the exception of the shipping department. Offices will be established for independent producers whose productions the company is distributing, it was reported. Canada Circuit Shifts Four Toronto Houses TORONTO: Four additional theatres have been added to the first run circuit of Twentieth Century Theatres here, making it a nine-house day-and-date series. The four theatres added are: the Century, from B & F; the Oakwood, from Famous Players, and the Odeon and Midtown from the circuit’s second run series of theatres. MOTION PICTURE HERALD, DECEMBER 15, 1956 21 CO-SIARRING ENDELL n n UtO suddenly. . . happiness flooded through her! she was crying . . . he was crying . . . GIRECTEB B Y JOSEPH ANTH SCREEN PLAY BY BASED ON HIS PLAY PRODUCED ON IHE NEW YORK S1ACE MUSIC SCORE BY ALEX NORTH ymmagt THE WINNERS CIRCLE Pictures which were reported as doing above average business in key theatres of the cities of the nation for the week ending December 8 were: Allied to Ask Producers to Create Stars Allied States Association will urge pro- ducers and distributors to “create new stars of today” and to release top pictures in an orderly release pattern to combat and offset the recent decline in motion picture theatre business, according to Julius M. Gordon, secretary of the na- tional exhibitor organization, and head of Jefferson Amusement Company, of Beau- mont, Tex. Mr. Gordon, speaking in New York this week prior to returning to his home, said “business in my territory and theatres has been way off compared to last year be- cause the ‘big’ pictures aren’t available and the films which we do buy don’t hold up at the box office.” National Allied has a great desire for the producers and distributors to take cognizance of this problem, Mr. Gordon stated, adding that the theatre men’s asso- ciation has urged, and will continue to urge, the companies “to stop holding back ‘big’ films and to release the product avail- able in regular, orderly manner so that there will be no feast or famine periods, no hills and valleys in business periods.” Mr. Gordon also said that National Al- lied is highly concerned about the slow, and sometimes lacking development by the producers of “new faces.” “We will continue to urge the producers to create new talents which appeal to today’s audi- ences, the teenagers and older persons,” he said. “Build up youngsters with talents into stars in proper motion picture vehi- cles,” Mr. Gordon said, adding that “ex- hibitors all over would be only too happy to participate, help and advise the pro- ducers on the box office potentials of the new faces.” The prominent Texas exhibitor said he personally feels that new talents could be developed by the individual studios “who should return to the days when they had stables of performers. When a studio had a large number of contract players on call for its own film productions, more films were available to theatres and a definite number of these players had enough work to become ‘stars’ and box office names.” Reduce Sunday License Fee in Boston Theatres BOSTON: An ordinance passed by the Boston City Council and signed by Mayor John B. Hynes reduces the Sunday license fee for theatres here, effective January 1, 1957. Instead of the former $10 weekly fee, the new rate is $100 annually. There is no change in the weekday theatre li- cense fee, which remains at $100 annually. Albany. Giant (W.B.) 3rd week; Private’s Progress (CDA) ; Love Me Tender (20th- Fox). Atlanta: Giant (W.B.) 3rd week; The Man From Del Rio (U.A.). Boston: Lust for Life (MGM) 2nd week; Oklahoma! (Magna) 12th week; Shake. Rattle and Rock, Runaway Daughters (AIP); The Ten Commandments (Para.) 2nd week. Buffalo: Giant (W.B.) 5th week; Julie (MGM); Private’s Progress (DGA) 3rd week; War and Peace (Para.) 6th week. Chicago: Giant (W.B.) 7th week; The Grand Maneuver (UMPO) 4th week; Julie (MGM) 2nd week; Love Me Tender (20th-Fox) 3rd week; Reprisal (Col.) 2nd week; The Teahouse of the August Moon (MGM) 3rd week. Columbus: Giant (W.B.) 3rd week. Denver: Death of a Scoundrel (RKO); Giant (W.B.) 4th week; Oklahoma! (Magna) 7th week; War and Peace (Para.) 6th week. Des Moines: Giant (W.B.) 4th week; Okla- homa! (20th-Fox) 3rd week. Detroit: Love Me Tender (20th-Fox) 2nd week; The Ten Commandments (Para.) 2nd week. Hartford: Canyon River (A. A.); Giant (W.B.) 4th week; Julie (MGM); Lust for Life (MGM) 3rd week; Rififi (UMPO) 3rd week; Seventh Cavalry (Col.) Indianapolis: Giant (W.B.) 4th week; Lust for Life (MGM); Oklahoma! (Magna) 14th week. Jacksonville: The Black Sleep (U.A.); Hold Back the Night (A. A.); Julie (MGM); Odongo (Col.). Kansas City: Giant (W.B.) 5th week; Okla- homa! (Magna) 8th week. Memphis: Giant (W.B.); Love Me Tender (20th-Fox) ; Lust for Life (MGM). Harry Bachman, Exhibitor, Industry Veteran, Dies WASHINGTON: Harry Bachman, 53, died here December 10. He was president of the Circle Theatre Corp., operating the Circle theatre. He began his motion pic- ture career here with Educational Films in the early 1920’s, and later managed Warner theatres in Hagerstown, Md., and Baltimore. He was secretary-treasurer of the Motion Picture Theatre Owners of Metropolitan Washington for 15 years and had been on the board of governors of the Variety Club tent. Huntley Gordon HOLLYWOOD: Huntley Gordon, 69, one- time screen star, whose career in motion pictures started in Vitagraph days, died December 7 at his suburban Van Nuys home. Absent from films since 1938, he later was a talent agent for the radio pro- Milwaukee: Friendly Persuasion (A.A.) 2nd week; Giant (W.B.) 4th week; Love Me Tender (20th-Fox) 3rd week. Minneapolis: Giant (W.B.) 4th week; Julie (MGM) 3rd week; Oklahoma! (Magna) 2nd week. New Orleans: Death of a Scoundrel (RKO); Friendly Persuasion (A.A.) 2nd week; Love Me Tender (20th-Fox) 2nd week; Opposite Sex (MGM) 3rd week. Oklahoma City: Friendly Persuasion (A.A.) 2nd week; Giant (W.B.) 4th week; Love Me Tender (20th-Fox) 3rd week; Okla- homa! (Magna) 17th week; War and Peace (Para.) 2nd week. Philadelphia: Friendly Persuasion (A.A.) 3rd week; Giant (W.B.) 3rd week; The Opposite Sex (MGM) 5th week. Pittsburgh: Giant (W.B.) 6th week; The Ship That Died of Shame (Cont.). Portland: Friendly Persuasion (A.A.) 3rd week; Giant (W.B.) 3rd week; Oklahoma! (Magna) 4th week. Providence: Giant (W.B.) 3rd week; Lust for Life (MGM). San Francisco: Death of a Scoundrel (RKO); Everything But the Truth (Univ.); Giant (W.B.) 5th week; The Sharkfighters (U.A.). Toronto: Julie (MGM) 2nd week: Oklahoma! (Magna) 33rd week; The Ten Command- ments (Para.) 3rd week. Vancouver: A Cry in the Night (A.A.); Giant (W.B.) 3rd week; Love Me Tender (20th-Fox). Washington: Fantasia (B.V.) (Reissue); 3rd week; Friendly Persuasion (A.A.) 4th week; Giant (W.B.) 5th week; Man from Del Rio (U.A.); Oklahoma! (Magna) 5th week; Secrets of Life (B.V.) 4th week; The Solid Gold Cadillac (Col.) 8th week; The Ten Commandments (Para.) 2nd week; You Can’t Run Away from It (Col.). gram, “Screen Guild Players,” and was studio contact with the Motion Picture Re- lief Fund. His widow, Gene Gordon, sur- vives him. Arthur Lange WASHINGTON: Arthur Lange, 67, film composer, died here last weekend. He con- ducted the Santa Monica Symphony Or- chestra for the last 10 years and, earlier, had headed music departments at MGM, 20th-Fox, and RKO-Pathe studios. He also composed scores for a number of indepen- dent films. Harry N. Stone TACOMA, WASH.: Harry N. Stone, well known manager of the Temple theatre here, died December 1 of a heart attack. He was formerly with Fox Inter-Mountain theatres and National Screen Service Corporation. T 24 MOTION PICTURE HERALD, DECEMBER 15, 1956 this week m ^Jdo((itwood ^Scene PRODUCTION ° . . . Started — 5 Columbia — Hellcats of the Navy (Morningside Prod.). Independent — The Beginning of the End (Am-Par Pic.); Valerie (Hal R. Makelim Prods.). 20th Century-Fox — The She Devil (Regal Films). United Artists — Mark of the Vampire (Gramercy Pics.). . . . Completed — 5 Allied Artists — Love in the Afternoon. Columbia — Garment Center. Paramount — The Tin Star. Universal-International — Joe Dakota (Color). Warner Bros. — Shoot-out at Medicine Bend. . . . Shooting — 27 Allied Artists — Attack of the Crab Monster (Roger Corman Prod.). Columbia — 3:10 To Yuma; The Brothers Rico (William Goetz Prod.); The Haunted; The Bridge on the River Kwai (Horizon-American); The Admirable Crichton (London Films); The Golden Virgin (Valiant Films). Independent — Johnny Trouble (Motion Pictures by Clarion); II Crido (Robert Alexander Prod.). Metro-Goldwyn-Mayer — Action of the Tiger (Blau- Meyer Prods.); This Could be the Night; The Seventh Vow (CinemaScope); Gun Glory (Cinema- Scope, Metrocolor); Silk Stockings (CinemaScope, Metrocolor). Paramount — The Joker (VistaVision). RKO Radio — Escapade in Japan (Color). 20th Century-Fox — The River's Edge (CinemaScope, DeLuxe Color); Island in the Sun (Zanuck, Cine- maScope, DeLuxe Color); Boy on a Dolphin (55mm, CinemaScope, Color); Heaven Knows, Mr. Allison (CinemaScope, DeLuxe Color). United Artists — Last Gun in Durango (Peerless Prod.); The Sweet Smell of Success (Hecht-Hill- Lancaster Prod.). Universal-International — The Man of a Thousand Foces (CinemaScope). Warner Bros. — The Pajama Game (WarnerColor); The Black Scorpion (Melford-Dietz); The Story of Mankind; Lafayette Escadrille. Christopher Awards to " Commandments " Makers The Christophers last week presented special awards to Cecil B. DeMille and five others who “are primarily responsible” for the production of Mr. DeMille’s “The Ten Commandments.” Mr. DeMille, Henry Wilcoxon, associate producer, and script writers Jesse L. Lasky, Jr., Aeneas Mac- Kenzie, Jack Gariss and Fredric M. Frank were given the special citation “because of the picture’s unique significance in re- lating eternal truths to modern problems.” Coast Agencies Merge HOLLYWOOD: Famous Artists Corpora- tion and the Jaffe Agency have merged into a single company to be known as Famous Artists Associates, it has been an- nounced. Sam Jaffe will be president of the new organization, and Charles K. Feldman has been named chairman. HOLLYWOOD BUREAU Production of feature pictures main- tained its level, at 32 in shooting stage, on the strength of five beginnings offset by five completions. Among the new undertakings of the week “Valerie” is a standout on several counts. It is the second feature to be pro- duced by Hal R. Makelim, whose Makelim Plan was front-page exhibitor news for more than two years and will have an im- portant place in the industry history of the mid-1950 period, and whose first feature, “The Peacemaker,” produced for Makelim Plan purposes, is currently in United Artists release. For his second production, also to be distributed by U.A., Mr. Make- lim has selected a quite different subject and a much more exploitable cast. Sterling Hayden, Anita Ekberg and Anthony Steele are his top players, and Robert Fellows is co-producer. Gerd Oswald, directs. Special importance attaches to “The Beginning of the End,” the first produc- tion by Am-Par Pictures Corporation, the company set up by American Broadcast- ing-Paramount Theatres. Bert L. Gordon is producer-director of the picture, which has Peter Graves, Peggie Castle, Morris Ankrum and Richard Benedict in leading roles. Production is at Republic. Ronald Reagan, more active in televi- sion than in theatrical films recently, re- turns to the scene of his original acclaim in “Hellcats of the Navy,” a Morningside production for Columbia release, in which he’s to be seen with Nancy Davis, Arthur Franz, William Leslie and others. The producer is Charles Schneer, and the di- rector is Nathan Juran. “Mark of the Vampire” is a Gramercy Pictures production for U.A. release, with John Deal, Ken Tobey, Herb Vigran and Dabbs Greer. Jules Levy and Arthur Gardner are the producers, Paul Landres the director. “The She Devil” is a Regal Films pro- duction, for 20th-Fox release, with Kurt Neumann as producer-director and with Mari Blanchard, Jack Kelly and John Dek- ker as principals. Charles Schnee to Launch Four Features at MGM HOLLYWOOD: Charles Schnee will launch four special top-budget features for MGM early next year for coming sea- son releases. First on Mr. Schnee’s newly- revised shooting schedule will be MGM’s long-projected prison melodrama, “House of Numbers,” starring Jack Palance in a dual role. Others planned are “The Com- pany of Cowards,” set to roll in January; “Until They Sail,” to start in February, and “The Moment of Truth.” Clarion Starts First of 15 Films Planned “Johnny Trouble,” first film under the production banner of Motion Pictures by Clarion, a division of Clarion Enterprises, has gone into production at the Paramount Sunset Studio. Financed independently, the film is the first in a program of 15 productions to be turned out by the in- dependent producing company set up three weeks ago by actor John Carroll. The film stars Ethel Barrymore and newcomers Stuart Whitman and Carolyn Jones. Producing and directing the com- edy-drama is John H. Auer, who is also vice-president of the film. The film is based on a Ben Ames Williams story. Mr. Whitman is the first of a group of eight players to be signed to term con- tracts according to long-range plans which call for all of them to tour the country on behalf of the pictures in which they appear. Mr. Carroll’s plan is “to make the product that the man with a dollar to spend for a picture wants to see.” These are times, he feels, when the people who see the pictures and the people who make them benefit mutually from contact. Writ- ers, producers and directors likewise will travel the country in the interests of ex- hibitors playing the product. Calls It Blunder Mr. Carroll gave it as his opinion that one of Hollywood’s gravest blunders to date has been its ignoring of exhibitor advice. He says, “The man with the dollar in his hand to pay for a picture is the man whose likes and dislikes count. Your Hollywood producer, with his mind on artistic awards and professional opinion, doesn’t get to know that man — but the exhibitor does. The exhibitor sees him come into the theatre, watches him as he watches the screen, and talks to him, or listens to him, as he leaves. Nobody is so well qualified as the exhibitor to know what the man with the dollar wants. The Carroll company states that it has not made or sought a distribution deal. With abundant funds on hand to proceed with, the company is in no hurry to talk terms with distributing companies. The 15 pictures on the company’s initial list of undertakings are to be made from properties acquired by actor Carroll in the course of 14 years at MGM and five at Republic. Mr. Carroll feels that the market for good -pictures was never brighter than today. \ MOTION PICTURE HERALD, DECEMBER 15, 1956 25 People in 1 Ike fit eivd Branson Sees Big Overseas Year for RKO ‘•RKO had a fine year abroad in 1956 and everything indicates next year will see a further increase in the company’s overseas business,” according to Walter Branson, vice-president in charge of world- wide distribution. Mr. Branson added: “Exhibitors around the world who promised to book the prod- uct of the new RKO when they learned of our reactivation plans, are now, after see- ing the results of our initial efforts, com- ing through with major contracts for these pictures as well as for the many fine in- dependent productions we are distribut- ing.” The RKO vice-president noted that in 1956 RKO established many new box of- fice records abroad with such pictures as Howard Hughes’ “The Conqueror,” Walt Disney’s “20,000 Leagues Under the Sea” and “The Lady and the Tramp.” Accord- ing to Daniel T. O’Shea, president of RKO, the company plans to turn out about 15 or 16 films during 1957 and is seeking outside deals for an additional eight to ten re- leases from independent producers. It was also announced that RKO plans to release 14 pictures — representing a total expendi- ture of $33,000,000 — during the first six months of next year. RKO will also release several Walt Dis- ney full-length features in Latin America, the Far East (excluding Japan), Austral- asia and Switzerland. U.A. Foreign Earnings Up United Artists’ foreign earnings in the first quarter of the current fiscal year, which began December 1, 1956, will be the highest ever in the history of the com- pany, in the opinion of Arnold M. Picker, vice-president in charge of foreign distrib- ution. Recently returned from a lengthy trip abroad, Mr. Picker, declining to re- veal actual figures, stated that he still “has confidence in the future for the mo- tion picture in the foreign market despite economic and political problems in a num- ber of countries. “The world is still going to see films as they are the best entertainment medium presented,” Mr. Picker declared, citing the success the company is having in the for- eign market with the release of “Trapeze,” “The Ambassador’s Daughter” and “Alex- ander the Great,” to name a few films which his company has released abroad this past year. George Weltner, president of Paramount Film Distributing Corp. and James Richardson, treasurer, left New York by plane this week for London. Sidney Newman, advertising-publicity di- rector of Skouras Theatres, and Alfred H. Tamarin, assistant national director of advertising, publicity and exploita- tion for United Artists, have accepted posts as National Publicity Co-Chair- men of the amusement industry’s Broth- erhood Drive for 1957. Guy Biondi has been named campaign co- ordinator for Michael Todd’s “Around the World in 80 Days,” it was announced by Roger H. Lewis, United Artists di- \Nrit Halts CinemaScope " Oklahoma " in Canada TORONTO: Famous Players Canadian Corporation and Twentieth-Century Fox Corporation, Ltd., are prevented by an interim injunction obtained by Odeon Theatres Canada, Ltd. from showing the CinemaScope version of “Oklahoma.” Odeon’s injunction, issued without notice by County Judge Peter J. Macdonald, acting in the capacity of a judge of the Supreme Court, restrains the companies from releasing the version to anyone other than Odeon. An argument will be held in Toronto to have the restraining order con- tinued until trial of the action. Famous Plaoyers is showin gthe Todd-AO version at the Tivoli, Toronto, where it is now in its 33rd week. Admission Tax Halved At Philadelphia Houses PHILADELPHIA: The efforts of the The- atre and Amusement Association of Phila- delphia to reduce the city’s amusement ad- missions tax proved successful this week when the City Councl passed the 1957 bud- get with a provision calling for a 50 per cent cut in the amusement tax, from 10 to five per cent. The drive was led by indus- try leaders William Godman, Lester Krie- ger, Morris Wax, Lewen Pizor and Samuel Shapiro. Wy/erf Peck Plan Film Academy Award winning director Wil- liam Wyler has joined forces with actor Gregory Peck, and will direct “Thieves Market” in Spain commencing March 15 as a joint venture with Melville Produc- tions, Inc., it was announced by Mr. Peck this week. rector of advertising, publicity and ex- ploitation. The appointment becomes ef- fective immediately, Mr. Lewis also announced. Robert J. O’Donnell, vice-president and general manager of Interstate Circuit, Dallas, Texas, has been named to the board of directors of the National Milk Bowl, famed site for “little” football, according to an announcement by The Milk Bowl, Bryan, Texas. A complete story of the screen career of Joan Crawford by Lawrence J. Quirk, of the editorial staff of Quigley Publica- tions is the lead article in the December issue of Films in Review. Ritchey Says Great Britain Gross Gains by WILLIAM PAY LONDON: Allied Artists-Monogram busi- ness in Great Britain last year improved 25 per cent and resulted in higher box office returns than in any other period in the history of the company, Norton Rit- chey, vice-president in charge of foreign distribution, said here last week at a press conference just before he left for the Con- tinent. He was optimistic about the future. “The company’s fiscal year ending last March,” said Mr. Ritchey, “was the best ever. Business improved 25 per cent in Britain and a little more in the United States. Concerning production, he said that last year the company made 16 pictures and that this figure will be maintained next year. He then referred to the success of the company’s Anglo-U.S. productions and, in particular, to their relations with Associated British Picture Corporation. Allied Artists recently participated in Marcel Heilman’s film, “Let’s Be Happy,” with Vera-Ellen and Tony Martin, and will make at least one other picture dur- ing 1957 in cooperation with Elstree Studios. Theatre Reopens ELLENSBURG, WASH.: The Pix theatre has reopened after being closed for some months past. It is now being operated by MidState Theatres. 26 MOTION PICTURE HERALD, DECEMBER 15, 1956 . . . the original exhibitors' reports department, established October 14, 1916. In it theatremen serve one another with information about the box office performance of product — providing a service of the exhibitor for the exhibitor. ADDRESS REPORTS, What the Picture Did for Me, Motion Picture Herald, Rockefeller Center, New York 20. Buena Vista DAVY CROCKETT, KING OF THE WILD FRON- TIER: Fess Parker, Buddy Ebsen — We didn’t do well on it because most people thought Davy was just a kid’s hero and the show would be for kids, too, hut those who did come found out it was a real picture. Played Saturday, Sunday, November 10, 11. — Harry Hawkinson, Orpheum Theatre, Marietta, Minn. LADY AND THE TRAMP: Cartoon Feature — Very good entertainment for everyone. Had a very good child attendance. Be sure and pick this one up. Played Sunday, Monday and Wednesday, November 4, 5, 7. — Roman Noecker, Amuzu Theatre, Fonda, Iowa. 20,000 LEAGUES UNDER THE SEA: Kirk Doug- las, James Mason — A very good show, but did below average business because we played it too late. Disney was too high in rental terms to play any sooner. Played Friday, Saturday, November 2, 3. — Roman Noecker, Amuzu Theatre, Fonda, Iowa. Metro-Goldwyn-Mayer BHOWANI JUNCTION: Ava Gardner, Stewart Granger — I consider this a waste of film and talent. Box office average. Played Sunday, Monday, Octo- ber 21, 22. — -Roman Noecker, Amuzu Theatre, Fonda, Iowa. FASTEST GUN ALIVE: Glenn Ford, Jeanne Crain, * — Played over Thanksgiving weekend with Bowery Boys on bill, making an above-average gross for these days. Has all the elements of “High Noon” (UA) — plus. A sure bet for any theatre that features action films. Played Thursday, Friday, Saturday, November 22, 23, 24. — Moz Buries, Canyon Theatre, Bingen, Wash. FOREVER DARLING: Lucille Ball, Desi Arnaz— Is this going to start another “heavenly messenger” cycle like we suffered through a few years back ? This picture would have been twice as good if James Mason had been left out. Played Sunday, Monday, September 16, 17. — Frank R. McLean, Roxy Theatre, Coulterville, 111. STRATTON STORY, THE: James Stewart, June Allyson — Another good show that didn’t pay for it- self. We think the reason was a cold wave coming through that kept people in front of their television sets. Of course, we ate beans come Thursday. Played Wednesday, November 14. — Harry Hawkinson, Orphe- um Theatre, Marietta, Minn. Paramount LEATHER SAINT : John Derek, Jody Lawrence — Those who came — which were few — enjoyed it and told us so. Business off. Played Thursday, Friday, Saturday, October 4, 5, 6. — Roman Noecker, Amuzu Theatre, Fonda, Iowa. THAT CERTAIN FEELING: Bob Hope, Eva Marie Saint — Bob is very good in this, but guess our people don’t care too much for him — anyway that is what our box office said. Played Sunday, Monday, October 28, 29. — Roman Noecker, Amuzu Theatre, Fonda, Iowa. WAR AND PEACE: Audrey Hepburn, Henry Fon- da- This is a pretty long picture but has good op- portunities to tie up with high schools as the stu- dents appreciate it. — Harland Rankin, Rankin Enter- prises, Chatham, Ont., Canada. RKO Radio CONQUEROR THE: John Wayne, Susan Hayward — A bigger waste of money on any one film will be hard to find. Apart from being a costume drama again its two stars looked so out of place and char- acter, it would have been no further surprise to find Jerry Lewis and Judy Holliday in the parts ! Too noisy for big houses — too slow for the action places. It will take selling. Played Wednesday, Thursday, Friday, Saturday, October 17, 18, 19, 20. — Dave S. Klein, Astra Theatre, Kitwe/Nkana, Northern Rho- desia, Africa. I WALKED WITH A ZOMBIE: James Ellison, Frances Dee — Used with “King Kong” and did above normal business, but this one did not hold up its end of the program — not enough thrills and chills to keep the audience interest at the peak “King Kong” left it. Played Thursday, Friday, Saturday, November 1, 2, 3. Donald L. Rexroad, State Theatre, Falconer, N. Y. KING KONG: Fay Wray, Robert Armstrong — Used this with “I Walked with a Zombie” and walked in with a home-run weekend. I’m still trying to figure out what or why. To have given this to TV when it still has this much business in it is unbelievable. Business about 30% above average. Played Thursday, Friday, Saturday, November 1, 2, 3. — Donald L. Rex- road, State Theatre, Falconer, N. Y. KING KONG: Fay Wray, Robert Armstrong — For an oldie it still is box office. Don’t pay too much and you can bank well on Monday. Played Sunday, Mon- day, Tuesday, November 18, 19, 20. — Joe Meyer, lone Theatre, lone, Calif. Republic ETERNAL SEA, THE: Alexis Smith, Dean Jagger — A very good picture about John Hopkins, but we didn’t do well at all on it. If this keeps up, I will quit Wednesday nights, because my theatre patrons are not visiting me often enough. Played Wednes- day, November 21. — Harry Hawkinson, Orpheum The- atre, Marietta, Minn. 20th Century-Fox LEFT HAND OF GOD: Humphrey Bogart, Gene Tierney — Here is a powerful, moving drama which rates with the best of its type. An outstanding per- formance by both Bogart and Tierney contribute greatly to the success of the picture. The story was tactfully handled from start to finish. We screened the picture for the local Catholic church here and they gave their approval of the film. General com- ment— WONDERFUL. Played Monday, Tuesday, Wednesday, Thursday, November 12, 13, 14, 15. — W. L. Parrent, O’Brien Theatre, Pembroke, Ont., Can- ada. MAN WHO NEVER WAS, THE: Clifton Webb, Gloria Grahame — Here's a real honey — one that should have your best playing time. True war stories always make better film fare, and this one is so well pro- duced, so full of suspense and good acting, the story so exciting, that I cannot fail to bring them in, es- pecially with Webb to attract and the newcomer, Ste- phen Bovd, who was real terrific in his first job for Fox. Sell it as the hoax that practically won the war for the Allies ! One disadvantage was Gloria Grahame, who was out of place in this one and she looked as if someone had punched her in the mouth — if they didn’t, they should have after this part. Played Tuesday, Wednesday, Thursday, Friday, Saturday, Oc- tober 2, 3, 4, 5, 6. — Dave S. Klein, Astra Theatre, Kitwe/Nkana, Northern Rhodesia, Africa. MAN IN THE GRAY FLANNEL SUIT, THE: Gregory Peck, Jennifer Jones — Outstanding produc- tion with top performances that played to capacity °11 the time. Excellent acting, fine story, absorbing for its. entire two and a half hours run, which is a sure sign of a good movie. The only complaints we received were op Jennifer JoneV performance. Her continual marked sneer in this film really upset our patrons. Looked as if she had a bad smell under her nose. Smaller houses will find this heavy, but when a movie like this comes along, it’s the duty of all ex- hibitors to play it. Played Sunday, Monday, Tuesday, Wednesday, Thursday, Friday, Saturday, October 21, 22, 23, 24, 25, 26, 27. — Dave S. Klein, Astra Theatre, Kitwe/Nkana, Northern Rhodesia, Africa. United Artists AMBASSADOR’S DAUGHTER THE: Olivia de Havilland. John Forsythe — This is the type of picture foreign producers need to crack the American market — more than acceptable. Second feature “The Swan” (MGM) a nice production. Played Sunday, Monday, Tuesday, November 18, 19, 20. — Moz Buries, Canyon Theatre, Bingen, Wash. ATTACK!: Jack Palance, Eddie Albert — Real action here, this has everything. Our people here like war pictures. — Harland Rankin, Rankin Enterprises, Chatham, Ont., Canada. FORT YUMA: Peter Graves, Joan Vohs — Thanks to all the laboriously developed new recording techniques, we can now hear a tomahawk split open a skull in high fidelity ! This is another Indian-maid-loves-heart- less-white-man-with-tragedy-for-all epic. It isn’t much, but it got by, and that’s something in this day and age. Played Friday, Saturday, November 16, 17. — Frank R. McLean, Roxy Theatre, Coulterville, 111. Universal ABBOTT & COSTELLO MEET THE KEYSTONE KOPS : Bud Abbott, Lou Costello — Crazy doings by Abbott and Costello in the silent era. Did good busi- ness.— Agha Rafique Ahmed, New Majestic Theatre, Hyderabad, West Pakistan. FRANCIS IN THE HAUNTED HOUSE: Mickey Rooney, Virginia Wells — Below average. It doesn’t have anything like the other Francis series and too many dark scenes. Be sure and watch rental terms. No Sunday picture. Played Sunday, Monday and Wed- nesday, November 11, 12, 14. — Roman Noecker, Amuzu Theatre, Fonda, Iowa. Warner Bros. GOODBYE, MY LADY : Walter Brennan, Brandon de Wilde — A wonderful movie, but it should have been in color. Played Tuesday, Wednesday, October 23, 24. — Roman Noecker, Amuzu Theatre, Fonda, Iowa. GOODBYE, MY LADY : Walter Brennan, Brandon de Wilde — If you have a town which goes for the boy-dog-man pictures, then by all means play this one. They filmed it in black and white, which in a way was a shame, as the swamp scenes would have been tremendous in color. In some locations this pic- ture would have to be double billed, although we certainly had no complaints here. Played Friday, Saturday, November 16, 17. — W. L. Parrent, O’Brien Theatre, Pembroke, Ont., Canada. LONE RANGER, THE: Clayton Moore, Jay Silver- heels — Thanks, Warners ! I could almost forgive you for the many times you've cut my throat. Now, how about a sequel, and then another sequel to follow that, with about a dozen more later? This could be the start of a series that would help keep the little people in business. Mr. Goldenson and his buddies may be ready to write off the little theatres, but we SHOWMEN will stay open if we get decent pictures. Plaved Friday, Saturday, September 14, 15. — Frank R. McLean, Roxy Theatre, Coulterville, 111. MOBY DICK : Gregory Peck, Richard Basehart — A superb picture with equally superb acting throughout. Most of my patrons expressed their complete enjoy- ment of the picture. Do not book it on a weekend, as it definitely is not suited for your weekend patrons. Played Monday, Tuesday, Wednesday, November 19, 20, 21. — W. L. Parrent, O’Brien Theatre, Pembroke, Ont., Canada. SANTIAGO : Alan Ladd, Rossana Podesta — After looking at the trailer on this one, I quite frankly was afraid of the results, but at the end of the playdate we found we were favorably surprised. Our second day built over the first, which is always a good gauge with any attraction. An excellent action pic- ture which will more than please the majority of your patrons. Played Thursday, Friday, November 22, 2**. — W. L. Parrent, O’Brien Theatre, Pembroke, Ont., Canada. . MOTION PICTURE HERALD, DECEMBER IS, 1956 27 Universal proudly announces tire WORLD PREMIERE • February 14tli in Marietta, Olno; borne town of Col. Dean Hess. Territorial openings immediately following. Universal -International presents ROCK HUDSON. BJKTTLE HYMN Oke fjati on ci i Spotiicilit 'poiua Albany Leo Rosen, ex-general manager of Sehine’s WPTR and former Fabian, Hell- man and Warner man, announced the pur- chase of the Rock Hill drive-in, near Mon- ticello, from Harry Lamont. Rosen will reopen 550-car in the spring for operation by Cinema Drive-In, Inc. Lamont con- ducted it for five seasons, after purchas- ing it from Joe Lefkowitz. . . . Lewis A. Sumberg, attorney and crew man, is chair- man of the Variety Club’s annual Denial Drive for Camp Thacher. Entertainment committeemen arranged a night screening for members and wives, Dec. 14, and a cartoon shew and Christmas party for lit- tle barkers and friends the afternoon of Dec. 16. . . . WCDA-TV, Albany, control- led by the Lowell Thomas-Frank Smith group, proposes reactivation of WMGT, Pittsfield, Mass., Jan. 1, if Federal Com- munications Commission approves. . . . Mel Berman, Tri-State Automatic Candy Corp. general manager, came here from Buffalo to call on accounts with branch manager George H. Schenck. . . . The first run Olympic, Utica, a unit of Kallet The- atres, will be closed for the week before Christmas to permit re-seating and re- furbishing. Atlanta The Haines City Women’s Club, of Haines City, Fla., sponsored a theatre party at the Florida theatre. . . . Free ad- missions to the Florida theatre, Holly- wood, Fla., were presented by manager Fred Lee to all members of the safety patrol squads of four schools. . . . James Matthews, manager of the Capital theatre, Plant City, Fla., has been appointed by the Jaycees to serve as teenage driving road-e-o chairman for 1956-57. . . . Bert Middlebrooks is the new owner of the Barbour drive-in, Louisville, Ala. . . . Phil Richardson, head booker for McLendon Theatres in Alabama and Florida, was in booking for the circuit. He reported that the circuit has closed the Clayton theatre, Clayton, Ala. . . . Mary Lane Heard, sec- retary to Charlie Touchon, U.A. office manager, will become the bride of Thomas H. Lamoureaux December 22. They will move to Columbus, Ohio. . . . H. F. Brown is the owner of the Phillips theatre, Eagle- ville, Tenn., which was closed recently. Boston Buena Vista had a “Cinderella” lunch- eon at the Sheraton Plaza Dec. 11 for cir- cuit heads, buyers and bookers, in con- junction with the re-release of Disney’s “Cinderella.” Herbert Shaefer, northeast manager, was in charge of ceremonies. . . . Irving Lashin of Bridgeport, Conn., has taken over the Community theatre, Me- chanics Falls, Me., setting an opening date for January. . . . Another theatre closed for over a year, the Bethel, Vt., will be opened in January by A1 Randall, the property owner. The theatre had previ- ously been operated by Jack Champlain. . . . Manny Youngerman, UA’s new sales manager, has arrived to replace A1 Glau- binger, who is now branch manager at Buffalo. . . . Frances Greenberg, Girl Fri- day at Embassy Pictures, will be married to Benjamin Rubin of Boston March 17. . . . Norman Glassman, Lowell, Mass., ex- hibitor, was awarded a distinguished service placque by the Disabled Veterans of Greater Lowell for his outstanding work with children in the area. Buffalo An impressive ceremony was held last Sunday in the Variety club of Buffalo headquarters in Delaware Avenue when a memorial plaque was dedicated in honor of departed barkers. Participating in the ceremonies were the club’s four chaplains. . . . A number of Buffalo exchanges are getting ready for their annual Christmas parties. Paramount will celebrate Dec. 17 in the Stage Door. RKO folk will hold forth Dec. 21 in La Marque. The MGM bunch will hold their party in the exchange in Franklin Street, Dec. 21. The gang at United Artists also will celebrate in their own offices, Dec. 18 and the Warner Bros, branch party will be held in the Town Casino Dec. 17. . . . Jim Fater, U-I sales- man, is back on the job after being laid up with a leg ailment. . . . Jack Kelly, U-I office manager, who came to town from Kansas City, is now residing in the village of Kenmore. . . . Max Rosing, former co- manager of the Roosevelt theatre, is now residing in Miami, Florida and brother George is operating the house. . . . Jere Spandau and his wife leave Jan. 5 for a cruise to South America. Jere is a mem- ber of the local U-I sales staff. Charlotte Arthur P. McNally, father of Howard NcNally, president of the Theatre Owners Association of North and South Carolina, was stricken with a heart attack in his Fayetteville home. At last report he was “resting as well as could be expected.”. . . W. L. Hill, Jr., son of W. L. Hill, operator of the Rialto theatre in High Point, has been appointed to the U.S. Naval Acad- emy at Annapolis. . . . The Charlotte Vari- ety Club and the Charlotte News were to co-sponsor a Christmas carol sing in the Charlotte Coliseum Dec. 14. . . . Johnny Vickers, Sr., and Charlotte News pub- lisher Thomas L. Robinson are co-chair- men. . . .“Love Me Tender” played to such sensational business at the Carolina that it was held for 15 days. The box office receipts set a new record. . . . Doris Day’s “Julie” earned an exceptionally good three-week record at the Plaza. Chicago Christmas shopping was considered as the reason for a slight tapering off in loop business, although some theatres main- tained an above average quota. . . . “Giant,” one of the films reported as hold- ing its own, will continue at the Chicago theatre through Christmas day, to be fol- lowed by “Baby Doll” opening on De- cember 26. This will mean nine weeks for “Giant,” a record run of the year. . . . William J. Blanchard was buried Decem- ber 7 at St. Mary’s Cemetery. He was a member of Chicago Moving Picture Ma- chine Operators’ Union Local 110. ... A heart attack proved fatal to Elmer Benesch December 7. . . . Herman Stern died this week. Mr. Stern at one time managed the Dearborn theatre, now known as the Surf. . . . Two members of Film Row, who had been hospitalized, were able to go home this week. They are Fred Mindlin and Leon Lee. . . . Several holiday parties will highlight Film Row activity. Jack Kirsch, president of Illinois Allied, will host a noonday buffet in the organization’s offices December 21. Cleveland Max Mink, managing director for Cine- rama in Cleveland, says this city leads the country in advance sales. Tickets are now selling as far ahead as April. . . . “Giant,” which has done phenomenal busi- ness at the Allen theatre, closes its local first run at the end of its sixth week to make way for “Love Me Tender.”. . . James A. Velde, United Artists general sales manager, and Gene Tunick, eastern district manager, met the Cleveland ex- hibitors at an informal luncheon Decem- ber 5 in the Statler Hotel. . . . Frank J. Slavik, in exhibition from usher to thea- tre owner since 1929, sold his Mumac the- atre, Middlefield, O. to Stan Robinson, a newcomer, and will devote full time to his other interests including an ice cream business and a restaurant. . . . Eleanor Rushworth, secretary to RKO district manager Hatton Taylor, recently wel- comed two new grandchildren, bringing the total to six — three girls and three boys. . . . Carol Masek, daughter of Na- tional Theatre Supply manager Frank Masek, was married this week to Ted Bauman of this city. And not to be out- done, son Bill, attending Miami Univer- sity at Oxford, O., announced his engage- ment to Susan Coomb of Massilon. . . . Spending the Christmas holidays in Miami Beach will be the Leonard Greenbergers of the Fairmount theatre and the Irwin Shenkers of Berio Vending Co. and their families. Columbus Indianola, North Side neighborhood house which has been dark for several weeks, reopened with A1 Jarvis as man- ager and Jack Needham as booker. The Indianola, operated by Frank Marzetti of the neighborhood Linden, has resumed family-type features following several months of art film policy under direction ( Continued on page 32) 30 MOTION PICTURE HERALD, DECEMBER 15. 1956 THE BIG ROCK H ROLL PICTURE OF THE YEAR! THE TOP CIRCUITS AND THE TOP SHOWMEN LOEWS WARNER'S PARAMOUNT RKO and FOX West Coast 60 ROCK, ROCK, ROCK IN DECEMBER book it NOW THE KING OF ^ ROCK'N'ROLL ALAN FREED The GREATEST ROCK ’N’ ROLL MUSIC PLAYED BY BIGGEST ROCK ’N’ ROLL GROUPS THIS SIDE OF HEAVEN! SEE-FRANKIE LYMON and THE TEEN-AGERS SEE-Love/y LA VERN BAKER SEE -The inimitable CHUCK BERRY 21 -New Rock 'N' Roll Hits- 21 Already heading lor hit parade "Baby, Baby - sung by Franfc/e y °n and The Teenagers ant/ "Tra La La" sung by La Vern Balt© Produced by Max J. Rosenberg and Milton Subotsky A » Directed by WiN Price A Vanguard Production *cl*a»e JIMMY CAVALLO AND HIS HOUSE ROCKERS ♦ the three CHUCKLES « CONNIE FRANCIS • CIRINO AND the bowties • THE M00NGL0WS • THE FLAMINGOS • JOHNNY BURNETTE TRIO • WITH ALAN FREED’S 18 Piece ROCK ’N’ ROLL BAND ANO INTRODUCING TUESDAY WELD .CONTACT YOUR LOCAL DCA EXCHANGE FOR FURTHER INFORMATION ( Continued from page 30) of Charles Sugarman, who operates the art World. Jarvis formerly was general manager of Miles drive-ins here and was associated with United Paramount Thea- tres. . . . Ralph L. F. McCombs, former music editor and assistant theatre editor of the Columbus Citizen, has been named manager of the Columbus Symphony Or- chestra. . . . Carl Erickson, glass crafts- man and owner-manager of the nation- ally-famous Erickson Glass Works at Bremen, Ohio, is the principal actor in Walt Disney’s “True Life” film made at Williamsburg, Virginia for nationwide television showings next February. . . . RKO Palace held a special Saturday morning teen-agers showing of “Love Me Tender.” Denver Robert Selig, Fox Inter-Mountain The- atres division manager, has been placed in charge of theatre projects for Hunga- rian refugees. Two Hungarian families have already been brought here, are lo- cated and have jobs. Ted Halmi, born in Hungary, a U.S. citizen, long time in theatre publicity, is also active in the re- lief work. . . . Duke Dunbar, Colorado attorney general formerly secretary of the old Film Board of Trade, was operated on for kidney stone — recuperating satisfac- torily. . . . Bill Lay, former booker at Bailey Dist. Co., is now office manager at Apex Films. . . . Fred Hall has closed the Variety, Akron, Colo., leaving the town theatreless. . . . Hal Fuller, Dimension Pic- tures owner, was in from his Salt Lake City headquarters, making the trip with his son, Forrest, in the son’s plane. ... Ed Shulman, Cleveland theatre owner, was in for conferences with Jimmie Church, manager of the Vogue. . . . Mr. and Mrs. Kelloff have taken over the Uptown, Pue- blo, Colo., which has been operated by the Cooper Foundation Theatres for 25 years. . . . The Monaco drive-in, Denver, cancelled bookings except for weekends. Des Moines Pearl Robbins, veteran of 32 years with the Paramount exchange on Film Row, has announced his retirement and plans to spend his time traveling with Mrs. Rob- bins. He was honored with a luncheon at Paramount which was attended by Phil Isaacs, division manager from Denver, and M. E. Anderson, Omaha branch manager. His fellow workers gave Pearl a suede jacket. . . . A. H. Blank, Tri-States chief, was one of five men presented recently with a Silver Beaver award from the Tall Corn council of the Boy Scouts. Blank has been in scouting for the past 11 years and active on the Tall Corn council. . . . The former Princess theatre at Humeston has been selected as the home of a new com- munity center to be established for enter- tainment of young and old. It will be operated by the Humeston Community Development Committee. ... A trade-at- home program spurred by a series of seven free movies at the Rose theatre has been set up at Audubon, according to the- atreman John Renfelt. Thirty-one mer- chants are participating. . . . The Iowa theatre at Hopkinton has been reopened after being dark for nearly a year. The house is under supervision of John Loop, assisted by Duane Billings. It will show four days a week. . . . Don Beal, Warner shipper, has resigned to become editor of the Iowa Federationist, A.F.L. paper in Polk county. Taking over Don’s duties at Warners is Verne Stevens, former assis- tant shipper. Roy Howser, formerly of NSS, is now assistant shipper. . . . Bill Bell, Columbia assistant booker, has left to become head booker for Fox. Detroit Unusual booking setup caused by long running first runs forced “Friendly Per- suasion” to make its first Michigan ap- pearance at the Majestic in Grand Rapids. . . . The Kingston and Ritz in Cheboygan will pack in the kids for a December 15 Christmas party hosted by Carl Johns and his wife. . . . Robert Buermele’s daughter has undergone a second eye operation. . . . Plans for Allied’s national board meeting in May were snagged temporarily when it was found that the city’s two top hotels were booked solid. Plans are working to get into the Whittier for the May 7, 8 and 9 meetings. . . . Michigan Allied voted to increase dues and a schedule of the new rates has been sent to members. . . . David Morgan has switched from Columbia to RKO’s selling staff. George Sampson, Jr. has left that organization for Philco. . . . The small son of Richard Spangle, Brook- lyn owner, was injured seriously by a hit-and-run driver. . . . Murray Schlanger has come in from Des Moines to 20th-Fox, replacing George Goodman who will work the western Michigan territory. . . . I. J. London died of a heart attack. The former circuit operator was the uncle of Milton London, Michigan Allied president. Hartford George LeWitt, pioneer Connecticut theatre owner, is finally getting the green light for his long-projected Berlin, Conn., outdoor theatre project. Superior Court Judge John P. Cotter has issued a per- manent injunction restraining the sub- urban town of Berlin and its Zoning Com- mission from enforcing an ordinance ban- ning outdoor or drive-in theatres. . . . Allen C. Morrison, veteran Hartford the- atre owner, who figured in a $1,000,000 film suit in 1932, is dead at Palm Beach, Fla. Morrison formerly owned the Ma- jestic (now the E. M. Loew’s) and Prin- cess theatres. In 1932, he was plaintiff in a damage suit for $1,000,000 against four film companies and distributing firms, claiming the defendants illegally withheld films from the Majestic. . . . Morris Rosen- thal, manager of Loew’s Poli, New Haven, has returned to his desk following sick leave in Miami. Sidney H. Kleper was re- lief manager. Indianapolis Zaring’s Egyptian, the city’s oldest de luxe neighborhood theatre, was closed Saturday by the Levitt Bros., who ac- quired it this year from the A. C. Zaring estate. ... A survey to determine the public acceptance to the proposed credit plan test in Marion County resulted in a negative report, Joe Cantor, chairman of the exhibitor committee cooperating on the project, announced. ... Ed Bigley, UA branch manager, gave a luncheon at the Marott Monday to enable exhibitors to meet James Velde, general sales man- ager. . . . Paramount will hold a Christ- mas party at the Variety Club Dec. 17 and Universal Dec. 20. . . . Pete Fortune has redecorated the Cinema and will switch to a single feature policy. . . . George Marks closed the Palace at Montpelier Dec. 1. . . . A1 Hendricks, manager of the Indiana, reports “Giant” has done more business than any film since “The Robe.” It will hold for a fifth week, through Dec. 20. Jacksonville Sheldon Mandell, co-owner and man- ager of the downtown, first run St. Johns theatre, publicized the house’s closing un- til December 21 for a $45,000 remodeling job, including new seats, TV lounge, lobby redecoration and exterior refurbishing. . . . Fred Hull’s MGM staff staged a gay pre-Christmas party in the MGM Build- ing on Saturday afternoon. . . . FST city manager Robert Heekin and Jim Levine, Florida theatre manager, journeyed to Miami to attend a ticket-selling forum conducted by Paramount’s Jerry Pickman in connection with the opening of “The Ten Commandments.”. . . Phil Longdon, Fox salesman, returned to his duties after a stay in a Daytona Beach hospital. . . . Norm Levinson, local MGM publicist, and Judson Moses, MGM representative in At- lanta, returned from Miami where they set up exploitation plans with Harry Bot- wick and Howard Pettengill, FST officials, for the Florida premiere of “Teahouse of the August Moon.”. . . Arv Rothschild had a large Christmas matinee and party at the Roosevelt theatre for the Negro chil- dren whose parents are employed by the St. Regis Paper Company. Kansas City Roxy theatre, located in the heart of the downtown shopping center of Kansas City, offers young patrons a Saturday spe- cial providing for admission of two chil- dren on one ticket before noon with a TV show on the mezzanine in addition to the regular program. . . . Thursday dinner patrons at the Hotel Cody in Leaven- worth, Kans. receive passes to the Holly- wood theatre in that city. . . . The Holly- wood gave pictures of Elvis Presley to weekend viewers of “Love Me Tender.” . . . Drive-ins in Greater Kansas City re- maining open for the winter are offering three-in-one programs with extras like four cartoons or a fourth film. . . . The Rockhill, Kansas City art theatre, present- ing “Stars of Russian Ballet,” is giving all profits on the film to the Hungarian refugee relief fund. . . . Dickinson Thea- tres has transferred Leo Kolvin from the Kaw theatre at Marion, Kans. to the 81 drive-in at Salina. LeRoy Palmer from Joplin, Mo., is now at the Kaw in Marion, and has been succeeded at the Glen thea- tre in Joplin by Galen Stewart from Salina. Los Angeles The Theatron Corp. has taken over the operation of the Empire and Adams the- atres from Dave Irvine. They recently ac- quired the Maynard theatre here. . . . Morris Safier has been named western (Continued on page 34) 32 MOTION PICTURE HERALD, DECEMBER 15, 1956 r Sponsored and 1 Operated by the MOTION PICTURE INDUSTRY for the Entire k Entertainment j World A Be generous this year. Give more than before to keep your Hospital going and growing. You’re only asked once yearly, you know, but the protection to you is continuous. Employers, boost the Salute in your Company . . . Executives, boost the Salute in your Department . . . Employees, boost the Salute in your con- science and your heart. * tvVtyV) WILL ROGERS MEMORIAL HOSPITAL and RESEARCH LABORATORIES National Office: 1501 Broadway, New York 36, N. Y.-SarOfTOC Lake , N. Y. Will Rogers Hospital gratefully acknowledges the contribution of advertising production by M-G-M, and of space by this publisher. ( Continued from page 32) sales chief for Trans-Lux with offices to be established at 1968 So. Vermont Ave. . . . Variety Tent 25 elected the follow- ing officers: Bill Srere, chief barker; Lloyd Ownbey, first assistant; Mort Scott, second assistant; Bernie Wolf, property master; Jack Berman, dough guy. . . . George Bowser, former general manager of Fox West Coast, has opened offices in the Film Building. . . . The Glendora theatre has been purchased by Sid Pink from Willard Blunt. . . . Columbia moved to the plush new building on 20th St. . . . Fire broke out in the concession stand of Sam Deck- er’s Elmiro theatre in Santa Monica .... A1 Olander, Associated Theatres, flew to Chicago to attend the concessions conven- tion there. . . . Harry Thomas, Continental Films, returned from a swing through Northern California. . . . Doc Bradley, West Coast Automatic Candy Co., is back from Roswell, N. M., where he visited his son Jimmy, who attends school there. Memphis Warner Bros.’ “Giant” and 20th-Fox’s “Love Me Tender” continued to break records in Memphis last week. . . . C. A. Nicholson of Oklahoma City, father of Howard Nicholson, Paramount branch manager here, died in Oklahoma City. . . . Mrs. Margaret Lifsey, former manager of the Globe and Tudor theatres in New Orleans, who moved to Memphis after her retirement about five years ago, died in Memphis last week. . . . C. N. Eudy of the Houston at Houston, Miss.; Roland Adams of the Rebel, drive-in at Oxford, Miss.; Guy B. Amis of the Princess at Lexing- ton, Tenn.; Whyte Bedford of the Ford at Hamilton, Ala., and L. F. Haven, Jr. of the Imperial at Forrest City, Ark., were among visitors to the Memphis Film Row during the week. Miami South Florida’s newest theatre, the Hol- lywood at Hollywood, Fla., owned and operated by Claughton, opened December 7. Invited guests and the press were en- tertained by Mrs. Lillian Claughton at a cocktail party and a tour of the theatre preceding the opening. . . . Mrs. Mitchell Wolfson will play hostess to 225 children of the employees of the Wometco Circuit at her annual Christmas party Dec. 23. All employees of the Wometco Circuit and TV station WTVJ will be entertained at a Christmas party December 22 in the studio of the station. . . . Sidney Meyer, co-owner of the Wometco Circuit, and Mark Chartrand, its public relations head, are both celebrating birthdays during the yuletide season. . . . Paul Hepner, former manager of the Normandy theatre, is now the manager of the Strand. . . . Martin Davis has been transferred from the Park- way to the Tower theatre. Jas. Elliott, who formerly managed theatres for Sid- ney Lust in the Washington, D. C. area, is the new manager of the Parkway. Milwaukee Russell Leddy, Green Bay, who has re- tired from the industry after 43 years, left December 10 for California to visit Mrs. Leddy’s son, who is a doctor there, and their grandchildren. . . . The Mikadow theatre in Manitowoc, which was com- pletely gutted by fire last spring, has been rebuilt into a very modern theatre with all new equipment and will reopen about January 1. . . . F. J. McWilliams, referred to here as the elder statesman, will retire from the industry after 50 years January 1. His son, Jack, will take over the opera- tion of the Portage theatre in Portage, Wis. . . . The Towne theatre at Florence, Wis., closed in November. It was oper- ated by Mr. Jensen. Harry Melcher bought the equipment. . . . Mr. and Mrs. Tony LaPorte, Avalon theatre, returned from a vacation trip south to visit their son who is in the service. Minneapolis North Central Allied will hold its next annual convention April 2-3 at the Nicol- let hotel, Minneapolis, it was announced by Stan Kane, NCA executive counsel . . . Appointment of two new assistant managers was announced by Harry Weiss, RKO Theatres district manager. Guy Hagenstein has been assigned to the RKO Orpheum, Minneapolis, and Joseph E. Hitlz, to the RKO Virginia, Champaign, 111. . . . Ben Berry is the new assistant manager at the loop Gopher, Minneapolis. . . . Kathryn Gordon has been named booker at Paramount replacing Earl Fain- blit, who is leaving for California. Roland Yatckoske, booking clerk, also has been named a booker, and Bill Anda is the new booking clerk at the exchange. . . . Mrs. C. J. (Alice) Dressell, wife of the branch manager of RKO, passed away. She had been ill for some time with cancer. . . . Charles Pryce closed his Alma at Alma, Wis., because of the “higher cost of oper- ating, higher film rentals and lack of pa- tronage,” according to a newspaper ad in that city. . . . Virgil Edmundson is the new owner of the Time at Kenyon, Minn. He also operates the Delano at Delano, Minn. New Orleans Paramount branch manager William Holiday attended the company’s southeast division meeting in Atlanta. The meeting was under the direction of Hugh Owen, vice-president and eastern sales manager of Paramount Film Distributing Corp., as- sisted by Jake Jacobs from the home of- fice. . . . Herb and Sue Hargroder, Beverly drive-in, Hattiesburg, Miss., attended the Allied States Association convention in Dallas. . . . The J. G. Broggi Buying and Booking Service advised Transway that the Dan, Breaux Bridge, La., will be closed following the last showing on the night of December 31. Broggi also asked Transway to suspend service to the Lane drive-in, Arnaudville, La., owned by J. H. Naquin due to closing for the winter. Re- opening is scheduled for March 3. . . . Mrs. Gene Barnett, local WOMPI publicity chairman, reported that the following members were appointed by Mrs. Stella Poulnot of Atlanta, president of WOMPI, to serve on committees for the year 1956- 57: Miss Gertrude Davis, extension com- mittee: Mrs. Anna Oliphint, finance: Mrs. Gene Barnett, by-laws; Mrs. Connie Auf- demorte, publicity, and Mrs. Marie Ber- glund, nominating committee. . . . Doyle Maynard, owner of the Don, Natchitoches, La., and co-owner of the Don, Alexandria, acquired the operation of the Delta thea- tre, Oakdale, Louisiana, from Mrs. Isa- belle Guillory. Oklahoma City United Theatre Owners of Oklahoma held its regular monthly meeting Decem- ber 3, with 16 members attending. Bern- ard McKenna, president and a delegate to the National Allied convention in Dallas, gave a report on the convention. . . . Mrs. Avis Waldron Holman, owner and man- ager of the Dream and Waldron theatres, at Lindsay, Okla., died December 1. . . . “Oklahoma” will end its Oklahoma City engagement New Year day, Phil Keough, manager of the State theatre, announced. The film will have played here more than 20 weeks. . . . The Criterion theatre had a special showing especially for girls of “Love Me Tender” Dec. 1. . . . The Bison theatre here was robbed of $33 Decem- ber 3. Philadelphia Eddie Fisher will be feted by the Phila- delphia Variety Club, Tent No. 13, Dec. 17, with an open-to-the-public luncheon at the Bellevue-Stratford Hotel in recog- nition of his “devotion to humanitarian causes as an entertainer.” Proceeds of the luncheon will go to the club’s Heart Fund, and those in charge of arrangements in- clude Maxwell Gillis, Sylvan M. Cohen, Harry A. Romain, David Supowitz, George T. Beattie, Michael Felt, Leo Posel and Lester Wurtele. . . . City Council, in pass- ing the Administration’s financial program for 1957, approved a budget recommenda- tion calling for a 50 per cent cut in the city’s amusement admissions tax, from 10 to five per cent. The drive for the admis- sions tax reduction was led by the Theatre and Amusement Association of Philadel- phia headed by industry leader William Goldman, Morris Wax, Lewen Pizor, Sam- uel Shapiro and Lester Krieger. . . . The Hamilton, originally opened on Sept. 11, 1916, and last operated by the Stanley Warner Theatres, closed and will be turned into a commercial property. . . . Robert Folliard, RKO district manager, announced the wedding of his daughter, Patricia Folliard, and Air Force Lieuten- ant John Dugan, an engineer in Pitts- burgh, Pa. . . . Bill Lyons, MGM studio publicity department member, was in for several days before returning to the West Coast. ... Ed Rosenbaum, veteran movie exploiteer, came out of his retirement to handle the local campaign for “Rock, Rock, Rock,” which had its local opening at some 30 neighborhood houses in the territory. . . . Fire caused damage of sev- eral thousand dollars to the Avenue, Del- mar, Del., which has been dark for the past two years and is owned by the Lee Insley Estate, Salisbury, Md. Pittsburgh “Hollywood or Bust” replaced “Giant” which gave the Stanley a hefty six-week run. Incidentally, the extended run of “Giant” forced “The Girl He Left Be- hind” off the Stanley schedule, and the Tab Hunter film will probably play either the Harris or Fulton. . . . “The Girl Can t Help It” will follow “Written on the Wind” as the Fulton’s first 1957 booking. . . . The Mervis Brothers have taken over the op- eration of the Hippodrome theatre, North Side neighborhood house. . . . Four Japa- nese models visited Pittsburgh in behalf (Continued on opposite page) 34 MOTION PICTURE HERALD, DECEMBER 15, 1956 ( Continued from opposite page ) of the Penn’s forthcoming “Teahouse of the August Moon”. . . . “Magic Fire” will be the Christmas booking in the Studio theatre. . . . The Win Fannings, (he’s the assistant film critic on the Post-Gazette) due back this week from a four-week vacation in Europe. . . . The Borough Council of nearby McKees Rocks killed off the ten per cent amusement tax, something that Pittsburgh’s City Council failed to do. Portland Mrs. Tom Walsh, Wife of a J. J. Parker executive, is working for the Portland Symphony Orchestra. . . . “Love Me Ten- der” went from high business the first week at the Orpheum to low business the second week. . . . A1 Learman was in Hol- lywood looking for talent for his forth- coming Home Show. . . . Dorothy Mae Johnson (Miss Oregon of 1955) just got a bit role at Paramount. . . . Earl Keate, UA representative in this area, has re- turned from a trip to New York City. . . . RKO branch manager Dick Lange is doing a good job selling product to TV stations here. . . . Portland’s fourth TV station, KGW-TV, goes on the air Dec. 17. Providence Phil Nemirow, RKO Albee manager, presented photographs of Elvis Presley to the first thousand patrons at the opening of “Love Me Tender”. . . . Three horror films were offered by the Castle theatre at their recent “Spookathon”. . . . The Avon Cinema presented an all-Disney show with the feature, “Secrets of Life” and the shorts, “A Cowboy Needs a Horse” and “Cow Dog”. . . . Incidentally, Nelson Wright, manager of the Avon Cinema for the past four years, is leaving theatre business to enter private industry. He plans to join a Chevrolet agency in nearby North Attleboro. . . . Sgt. George Blessing, amusement inspector and film censor for the city of Providence, was recently pro- moted to lieutenant. ... It is reported that Stanley Warner will take over the reins at the Majestic about December 15. San Francisco Wayne Glasco, assistant at the Cinema, has taken over at the Peerless from Ralph Dostal, who also owns the Cinema. . . . New steno at Warner Brothers is Deanne Pearson. Judy Jacobs is also new; .she hails from the New York exchange. Nor- man Moray, sales manager, was a recent visitor. . . . Jack Voorheis is new at Para- mount. ... A cigaret dropped into a ventilator filled the Guild theatre with smoke and drove a capacity crowd out- doors. . . . “The Teahouse of the August Moon” was previewed for editors of high school papers in the area. . . . C. J. Zern is the new Altec Service branch manager, replacing Marty Goulsen who resigned. The Centre theatre recently opened its doors in Sacramento. . . . Emilia Hodel, drama critic of the News, plans a Mexico vacation late this month. St. Louis J. Wesley McAfee, president of the Union Electric Company of St. Louis, was given a vote of confidence by the Municipal Theatre Association, where he is a mem- ber of the board of directors and a first vice-president. The resolution was adopted in connection with the current investiga- tion of a $35,000 lobbying feed paid by the Union Electric. . . . The Belt drive-in theatre, St. Joseph, Mo., makes it a point to admit all children free at all times. . . . Hal Malone, 41, who went to Des Moines, la., two months ago from East Chicago, Ind., where he was manager of the Vogue theatre, died at his home in Des Moines. He is survived by the widow and two daughters. . . . The Skyview drive-in at nearby Belleville, 111., now is open only on Fridays, Saturdays and Sundays. . . . A fire at the Movieland theatre at Hope, Kan., November 28 caused damage esti- mated at $2,000. . . . Mr. and Mrs. Robert Freukes of St. Louis have purchased the Grafton theatre at Grafton, 111., and have been doing some extensive remodeling. Toronto Three Quebec women theatre owners, Mrs. Mirella Perron of Dorion, Mrs. Mar- guerite David of Longueuil and Mrs. Delo- res Moderis of Lachine entered pleas of not guilty on charges of admitting chil- dren under 16 to a movie theatre. The case will be heard later. . . . Norman Simp- son, formerly salesman in the Winnipeg branch of Paramount Film Service was appointed to the position of Saint John Branch manager succeeding Robert Mur- phy. Murphy tendered his resignation to take a position in Montreal. Norm is a brother of Russ Simpson who resigned several years ago as Toronto branch man- ager to become general manager of the Ottawa Valley Circuit for the O’Brien family. Succeeding Simpson as salesman in the Winnipeg branch is Alf Glass, pre- viously head booker in Winnipeg. . . . Plenty of people moved into the down- town area of Toronto on the occasion of the first night of night-shopping offered by both major department stores, Eaton’s and Simpson’s. Little effect was seen at the theatres though. . . . Aime d’Hondt, former theatre manager at Delhi, Ont., for years, received the appointment of rec- reation director by the Delhi municipality for the winter program. Vancouver First snow and cold spell took its toll last week, with business at downtown first runs off quite a bit from normal. . . . Best of the new entries is “A Cry in the Night” at the Strand. “Giant,” on its third week at Orpheum, is holding strongly and stays for a fourth session. . . . The Cascade drive-in at Burnaby is the lone drive-in open in the province now and will fold for the season at Christmas after a below average season. . . . Yvonne Lexier, sec- retary at Empire-Universal Films, was married to Ron Wheeldon of Winnipeg. Miss Lexier was formerly with MGM in Winnipeg before moving to B.C. . . . The Vancouver branch of the Canadian Pic- ture Pioneers, at its annual dinner and business meeting at the Devonshire Hotel, elected Ivan Ackery, Orpheum manager, president for 1957. Don Foli, of the Studio, was named vice-president, and Jimmy Davie of International Film Distributers, was reelected secretary-treasurer. Retir- ing president is Hank Leslie, of the Or- pheum. New members inducted were Frank Soltice, manager of the Pines drive- in, Penticton; and Shirl Wilson, manager of Perkins Electric for Western Canada. . . . Mabel Grant, local booker for Astral Films, was the winner of $250 on a local radio quiz. . . . Violet Hosford, 20th-Fox booker, is back from a Chicago vacation. Washington Herndon Edmonds, 20th Century-Fox, and Joseph Walsh, Exhibitor Service, were in the class of 1956, Motion Picture Pio- neers. . . . Local women named to national WOMPI committees were Lucille Traband, finance committee; Nelia Turner, by-laws committee, and Eileen Olivier, nominating committee. . . . K-B Theatres will import British films to supply their MacArthur theatre, and also to distribute around the country. First of these will be the Boult- ing Bros.’ “Josephine and Men” which will have an American premiere December 21 at the MacArthur theatre. Marvin Gold- man, a partner in K-B Theatres, is making the arrangements. . . . Sidney Lust Thea- tres will again have toy and food matinees for needy families. The Allen, Cheverly, Hyattsville and Kaywood theatres were scheduled to have their matinees Decem- ber 12 and the Viers Mill Dec 14. Founded by the late Sidney Lust, this will be the 22nd year for these matinees. . . . The Hungarian Relief Fund of the American Red Cross will benefit from the opening of “Seven Wonders Of the World” Decem- ber 27 at the Warner theatre. . . . Robert Dean Shepp, formerly manager of the Newton theatre, has joined the Sidney Lust Theatres chain. .. . . Sam Galanty, mideast division manager of Columbia Pictures, returned from Cincinnati con- ferences. Take Holiday Series Artists-Producers Associates and the Stanley Warner Theatres jointly an- nounced the acquisition of “The Big Fun Carnival” film series by Stanley Warner for Christmas season bookings through the circuit. The series of 12 pictures, pro- duced by Artists-Producers, is of 90-minute variety programs for children’s matinees, starring Marian Stafford, Jared Reed and the Bunin Puppets. E. M. Loew Wins Point HARTFORD: E. M. Loew, the theatre cir- cuit operator, is entitled to a permit to construct a concession stand for a proposed outdoor theatre at New Haven, the State Supreme Court of Errors here has ruled. Mr. Loew, however, must still obtain per- mission from the State Traffic Commission before proceeding with his stated intention of erecting a drive-in theatre. Ban Drive-in PITTSBURGH: The City Planning Com- mission banned the construction of a new drive-in to be built on a tract of land on the north side of Pittsburgh. A petition of more than 1,000 residents protested the changing of their community from a resi- dential to a commercial classification. MOTION PICTURE HERALD, DECEMBER 15, 1956 35 Preamplifier Cabinet with slide-in preamplifiers for optical and multichannel magnetic sound § SIEMENS SOUND EQUIPMENT KLANGFILM SYSTEM world famous for superior sound solid dependability years ahead design ease of maintenance Loudspeaker Assemblies with spherical wave horns for theaters of all sizes SIEMENS &HALSKE AKTI E NGES E LLSCH AFT BERLIN • MUNCHEN Magnetic Sound Reproducer mounts readily on various types of projectors ^ Please address inquiries to Siemens & Halske AG Wernerwerk fur Funktechnik, Ton und Film, Karlsruhe, Germany STEREOPHONIC SOUND' IS BETTER THAN ANY SINGLE CHANNEL SOUND Give your customers the best Get the full dramatic brilliance of sound of today’s top-rated motion pictures! The new Westrex Stereophonic equipment repro- duces the full range, tone and quality recorded on the film. This new equipment is simpler in design and cheaper to install and maintain. Prices are 5% to 30% lower than comparable 1955 equipment. *Three channel, four channel, or six channel FOR THE BEST in multi- or single channel, magnetic or photographic sound systems ...buy • THE WESTREX • WESTREX Standard • WESTREX Economy Westrex Corporation 111 Eighth Avenue, New York 11, N. Y. Hollywood Division: 6601 Romaine Street, Hollywood 38, Calif. The World Market Bright With Future Promise for Motion Picture Industry by VINCENT CANBY Around the world in 22 countries, the future of the motion picture business seems as bright with promise as at any time since the end of World War II, ac- cording to The HERALD’S 11th annual survey of world market conditions. There are several notable exceptions in the general picture of happy prospects but the reasons in these isolated cases are special and individual, rather than the results of any global influences. Television, the post war baby which brought panic to the United States industry five years ago, now is beginning to walk upright in several other countries, particularly in Italy, Canada and Australia. American films con- tinue to dominate the world’s theatres (most of which now accept the new screen techniques as a matter of usual course) but perhaps on a slightly smaller scale. Worldwide interest in the product of a number of other nations is growing. Jap- anese films this year continued to win in- ternational awards. Indian films also made headway outside the domestic mar- ket. The correspondent in Mexico City has reported the local product competed with American product more strongly than ever before. Co-productions between na- tions go on — the most notable of the year being the Italian-American production of “War and Peace” which brought credit to both Italy and the United States. It is perhaps ironic that at the very time its production skills were being so widely acknowledged, the Italian industry found production capital so hard to come by. Over-Abundance in France Also ironic is the fact that French pro- ducers, who this year made such a success- ful showing in the U.S. market, found themselves “over-produced” at home. Talk now is that there will be an unofficial moratorium on all feature production there for maybe six months. On the exhibition side, business was booming at Japanese theatres. Attendance also was up in Argentina, Germany, Hol- land, Ireland, Israel, Mexico, New Zealand and Switzerland. It was holding steady in France, Belgium and Venezuela and was estimated to be down only in Denmark, Italy, Norway and Canada. The unusually cold European summer was credited — along with strong U.S. product — for the good showing in Ireland, France and Holland. Exhibitors in Brazil and Argentina con- tinue to be hamstrung by various govern- mental restrictions, the ceiling on admis- sion prices in particular, though the Ar- gentine correspondent reports this situa- tion should be eased shortly. An ominous note is heard from Italy, where there were reports of new moves to tax the industry even further, described as being indicative of the government’s attitude towards all the entertainment media. A country-by-country report on these and other facts follows: ARGENTINA by NATALIO BRUSKI in Buenos Aires From the Argentine exhibitor’s point of view, the outlook for 1957 is very favor- able. This estimate is based on the assump- tion the ceiling on admission prices will be lifted, as has been promised, and that there will be an increase in the number of top films imported from the United States and abroad. Oddly enough, the very circumstances (high construction costs and the admission price ceiling) which have resulted in the complete curtailment of construction of new theatres, also have led to the high level of business at existing theatres. In the last year in Buenos Aires several legitimate houses were converted to mo- tion pictures — and with success — proving once again that this is the most popular form of entertainment in this country. Offsetting, to a certain extent, the ab- normally low admission price structure in Buenos Aires, has been the fact that the city is notoriously “under-seated.” That is, the population has been increasing stead- ily, while the number of theatres has not. Thus, exhibitors have been able to in- crease their business despite the price freeze. Distributors, however, have not been so lucky, and the outlook for them will not get any better unless the value of the peso should suddenly improve in relation to the dollar. Attendances in Buenos Aires, the focal point of all film business here, increased to 56,840,303 for the first nine months of this year from 53,258,166 for the corre- sponding period last year. Total atten- dance in 1955 was 69,050,047. AUSTRALIA by FRANK O'CONNELL in Sydney Undoubtedly, the major event of the year in Australia was the introduction of television. Still only a few weeks old (at the present writing there are only an es- timated 12,000 sets in Sydney and 8,000 in Melbourne), the impact of the new medi- um has yet been slight, even with the Olympic games here boosting sales. The public is not rushing to buy sets, princi- pally because of the high prices and poor quality of the programs. Another of the year’s significant events here was the opening of drive-ins in New South Wales. Metro, with a twin drive-in, and the exhibitor combine headed by Hoyts, entered the field simultaneously with both rushing the openings even be- fore construction had been completed on the individual plants. Australians are accepting them with their usual reserve. As with conventional theatres, drive-ins are reaping a substantial portion of their profits from concession sales. Circuits Reap Big Profits This year, as last, the major circuits have announced record profits, and while the exchanges do not publish figures, it is known that several of them — at least — have had an excellent year. The trading outlook for the next 12 months does not look as bright as it did this time last year, owing largely to the presence of TV. Some exchanges are re- ported to have sold various properties to the television stations, but so far there has been nothing new, or even reasonably new, on the home screens. Some execu- tives feel that a number of smaller thea- tres must close in the near future. More and more theatres are converting ( Continued on page 6) WORLD MARKET 3 ■ . THE OVERSEAS ATTENDANCE PICTURE In all but tiro or three countries of the world, total attendances at motion pic- ture theatres are either increasing or holding at a steady level. The following figures are the most complete and recent tabulations available. The total 19o6 figures are, of course, estimated. COUNTRY 1954 1955 1956 Argentina (Buenos Aires) 53,258,166 (9 mos) 56,840,303 (9 mos) Brazil 250,000,000 300,000,000 Denmark 56,000,000 54,000,000 50,000,000 France 400,000,000 400,000,000 Germany (West) 780,000,000 820,000,000 Germany (East) 310,000,000 340,000,000 Holland 65,055,000 66,025,000 68,666,000 Ireland 25,662,000 (6 mos) 26,305,000 (6 mos) Israel 15,500,000 20,000,000 Italy 820,000,000 815,000,000 Japan 829,000,000 900,000,000 Mexico 173,897,454 180,000,000 New Zealand 37,368,000 39,000,000 Norway 33,845,344 33,178,694 Switzerland 35,000,000 36,000,000 Yugoslavia 68,125,000 (8 mos) THE OUTLOOK ( Continued from page 3) to the wide ratios and it is expected that greater calls will be made on the show- manship potential in the industry. TV may have plenty on the ball, but it is felt that the film industry has the longer and better experience in selling its product and that this experience will be brought more and more into play in the coming months. BELGIUM by MARC TURFKRUYER in Brussels The Belgian film trade has never had any serious cause for complaint concerning public interest in motion pictures, and there seems to be no reason for pessimism concerning the 1957 outlook. Although television is making steady progress here — the number of sets has risen from 50,000 last year to about 100,000 this year — it has not seriously affected motion picture at- tendance. German films are making enormous progress here, especially in the Flemish areas. Since last year, the number of German films released in Belgium has nearly trebled. There has been a slight decrease in the number of Italian films released here. British and American film companies face, in addition, stiff competi- tion from producers in France, where pro- duction has reached its pre-war level. Film men here generally look forward to the new year with confidence. Upcom- ing product seems to be of such high qual- ity that neither TV nor anything else will be able to match it. Ten new theatres were built here during the year. The total number of attendances, although they declined slightly in 1955 from 1954, should stay about the same this year as last. Total receipts, however, should be somewhat higher, due to the top films of- fered and to the increased prices which have been asked for them. BRAZIL by R. EKERMANN in Sao Paulo The production branch of the industry in Brazil seems to exist in permanent crisis. Exhibition, while not quite as chaotic, is not in a very much better position, due for the most part to the ceiling on admission prices which have not been changed for years. CinemaScope, Superscope and Vis- taVision films have special higher admis- sion ceiling, but, unfortunately, the same does not hold true for stereophonic sound prints. The ceiling on admission prices, as well as other cost factors, have served to dis- courage any theatre construction except by the large circuits, who stand to acquire the best product and thus are insured of fairly good returns. As yet there are no attendance figures for the current year, but in 1955 they were up about 20 per cent over the totals of 1954, at which time 250,000,000 admissions brought a gross of 1,600,000,000 cruzeiros at the nation’s 3,500 theatres. Although 71 features were planned for production here this year and next, only 15 have been completed and it is not ex- pected that more than 35 will have been made by the end of next year. The prin- cipal reason for the production decrease is that due to inflation, capital is attracted to other, more profitable sections of the economy. With such low admission prices (the average ticket costs the equiva- lent to about 20 minutes of work under the minimum wage), capital invested in film production is not quickly returned. Local producers are continuing their ef- forts to obtain laws aimed at protecting and regulating the local industry, and to spur local production. An official bank al- ready is financing production, providing about 30 per cent of the average budget. CANADA by HARRY ALLEN, JR. in Toronto Motion picture business in Canada in 1957 has more signs of hope than of prom- ise. Industry leaders are predicting that more than half of the theatres in Canada will be out of business within a decade. And if the preliminary figures for Cana- da’s 1955 theatre gross is any criterion, then a still further softening may be ex- perienced by the industry in the next year. The 1955 gross showed a 10.5 per cent drop, less than the 14.6 per cent drop shown for 1954, but still an indication that business in 1956 will be down. Business in the bigger theatres has never been better. People still attend theatres, paying no attention to the price, but being concerned first with the quality of the film. The big pictures of 1956 are drawing them. The same films that are box office winners south of the border pull in the customers this side of the border. Native production is barely crawling. It is confined mainly to commercial pro- duction for industry, TV and the output of documentaries by the state-owned Na- tional Film Board. Most hopeful sign on the production horizon is the possibility that the two major TV film series being produced, with the co-sponsorship of the Canadian Broadcasting Corporation, may be used as the basis for features. This chance is remote. The only other major production was that by the Stratford Fes- tival group of “Oedipus Rex” by Leonid Kipnis. Further productions are expected in this direction. As of November, 1956, there are 1,752 theatres operating. There have been 118 new theatres during 1956, with 305 others closed for economic and other reasons. Many of the closed theatres were two- and three-day houses, operating in town halls with small seating capacities, while most of the new theatres stayed open most or all of the week and their seating was uniformly larger. Of the total number of houses being operated, 235 are drive-ins. DENMARK by BORGE SLOT in Copenhagen The situation for Danish exhibitors is far from encouraging. Attendances, which declined from 56,000,000 in 1954 to 54,- 000,000 last year, are expected to drop still further to about 50,000,000 this year. In ( Continued on page 10) 6 WORLD MARKET T*< • <* Film -making in BRITAIN "INTERPOL," a t the right, stars Anita Ekberg and Victor Mature, seen in Rome; and Trevor Howard. In "LET'S BE HAP- PY," lower right, Vera-Ellen and Robert Flemyng are seen on Scof- ish location. IT'S "THE BATTLE OF THE RIVER PLATE" above; and the scene is the mortally smashed bridge of HMS Exeter. The Powell - Pressbur- ger film features An- thony Quayle, John Gregson, Peter Finch. "THE GOLDEN VIRGIN" has Joan Crawford and Rossano Brazzi, right, and Heather Sears. "THE BABY AND THE BATTLESHIP," above: John Mills and baby Martyn Garrett are piped ashore. "SEA- WIFE" stars Richard Burton and Joan Col- lins and is an Andre Hakim picture for 20th-Fox release. "REACH FOR THE SKY" is the story of indomitable pilot Douglas Bader, one of the "few" in the Battle of Britain. Money Making Star Kenneth More has the role. WORLD MARKET 7 AROUND THE WORLD IN 80 DAYS Todd-AO • Technicolor Starring David Niven • Cantinflas • Robert Newton • Shirley Maclaine • Directed by Michael Anderson • Prod, by Michael Todd. BAILOUT AT 43,000 Starring John Payne • Karen Steele Paul Kelly • Directed by Francis D. Lyon Produced by William C. Thomas-Howard Pine • A Pine-Thomas-Shane Production. BAYOU Starring Peter Graves • Directed by Harold Daniels • Produced by Ed. I. Fessler and M. A. Ripps CRIME OF PASSION Starring Barbara Stanwyck • Sterling Hayden • Raymond Burr • Dir. by Gerd Oswald • Produced by Herman Cohen Executive Producer Bob Goldstein • A Bob Goldstein Productions Presentation. FOUR BOYS AND A GUN FURY AT SHOWDOWN GUN THE MAN DOWN HIDDEN FEAR Starring Frank Sutton • Tarry Green James Franciscus • William Hinant • Pro- duced and Directed by William Berke • A Security Pictures Inc. Presentation. Starring John Derek • John Smith • Dir. by Gerd Oswald • Executive Producer Bob Goldstein • Produced by John Beck A Bob Goldstein Prod. Presentation. Starring James Arness • Emile Meyer Robert Wilke • Harry Carey, Jr. • Directed by Andrew V. McLaglen • Produced by Robert E. Morrison • A Robert E. Morrison and Andrew V. McLaglen Presentation. Starring John Payne • Alexander Knox Conrad Nagel • Natalie Norwick • Anne Neyland • Directed by Andre De Toth Prod, by Robert St. Aubrey and Howard F. Kohn II. * A St. Aubrey-Kohn Pres. LAST GUN IN DURANGO LEGEND OF THE LOST LINE OF DUTY MEN IN WAR (Tentative Title) Starring George Montgomery • Directed by Sidney Salkow • Prod, by Robert E. Kent • A Grand Productions Presentation (Tentative Title) Technirama * Technicolor Starring John Wayne • Sophia Loren Rossano Brazzi • Produced and Directed by Henry Hathaway -A Batjac Production. Directed by Russell Rouse • Produced by Clarence Greene • A Greene-Rouse Prod. Starring Robert Ryan • Aldo Ray • Robert Keith • Directed by Anthony Mann • Pro- duced by Sidney Harmon • A Security Pictures Inc. Presentation. SPRING REUNION STEEL BAYONET Starring Betty Hutton • Dana Andrews Jean Hagen • Directed by Robert Pirosh Prod, by Jerry Bresler • A Bryna Prod. Widescreen Starring Leo Genn • Kieron Moore • Pro- duced and Directed by Michael Carreras A Hammer Film Production. STREET OF SINNERS Starring George Montgomery • Geraldine Brooks • Joey Faye • Produced and Directed by William Berke • A Security Pictures, Inc. Presentation. THE BRASS LEGEND THE BUCKSKIN LADY Starring Hugh O’Brian • Nancy Gates Raymond Burr • Directed by Gerd Oswald Produced by Herman Cohen • Executive Producer Bob Goldstein • A Bob Goldstein Productions Presentation. Starring Patricia Medina • Richard Denning • Gerald Mohr • Henry Hull Prod, and Directed by Carl K. Hittleman. THE HALLIDAY BRAND Starring Joseph Cotten • Viveca Lindfors Betsy Blair • Ward Bond • Bill Williams Directed by Joseph H. Lewis • Produced by Collier Young. THE KING AND FOUR QUEENS Cinemascope * Color by DeLuxe Starring Clark Gable • Eleanor Parker • Jo Van Fleet • Jean Willes • Barbara Nichols Sara Shane • Directed by Raoul Walsh Produced by David Hempstead Executive Producer Robert Waterfield A Russ-Field-Gabco Production. THE LOST LAGOON Directed and Produced by John Rawlins. THE MARK OF THE VAMPIRE Prod, by Arthur Gardner and Jules Levy 1 A Gramercy Pictures Production. THE PRIDE AND THE PASSION VistaVision * Technicolor Starring Cary Grant • Frank Sinatra Sophia Loren • Produced and Directed by Stanley Kramer. THE QUIET AMERICAN Written and Directed by Joseph L. Mankiewicz • A Figaro Inc. Production THE RIDE BACK Starring Anthony Quinn • William Conrad Directed by Allen H. Miner • Produced by Allen H. Miner and William Conrad • An Associates & Aldrich Production. THE SAGA OF SATCHMO Starring Louis Armstrong • Produced Edward R. Murrow and Fred W. Friend TIGER BY THE TAIL Starring Larry Parks • Lisa Daniely Constance Smith • Dir. by John Gilling Prod, by Robert S. Baker & Monty Berman TIME LIMIT Starring Richard Widmark • Directed by Karl Malden • Prod, by Richard Widmark Associate Producer Bill Reynolds A Heath Productions, Inc. Presentation. TOMAHAWK TRAIL Starring Chuck Connors • John Smith Susan Cummings • Lisa Montell • Directed by Lesley Selander • Produced by Howard W. Koch • Executive Producer Aubrey Schenck • A Bel-Air Production. TROOPER HOOF Starring Joel McCrea • Barbara Stanwy Directed by Charles Marquis Warr Produced by Sol Baer Fielding A Fielding Production. DANCE WITH ME HENRY Starring Bud Abbott and Lou Costello Directed by Charles Barton • Produced by Bob Goldstein. DRANGO Starring Jeff Chandler • Joanne Dru • Julie London • Directed by Hall Bartlett and Jules Bricken • Produced by Hall Bartlett Executive Producer Meyer Mishkin • A Hall Bartlett Production • An Earlmar Productions Presentation. ENEMY FROM SPACE Starring Brian Donlevy • Executive Pro- ducer Michael Carreras • Produced by Anthony Hinds • Directed by Val Guest A Hammer Film Production. FIVE STEPS TO DANGER Starring Ruth Roman • Sterling Hayden Produced and Directed by Henry S. Kesler [ HIS FATHER’S GUN Starring Dane Clark • Ben Cooper • Lori ' Nelson • Ellen Drew • Directed by Lesley Selander • Produced by Howard W. Koch Executive Producer Aubrey Schenck • A Bel-Air Production. HIT AND RUN Starring Hugo Haas • Cleo Moore Produced and Directed by Hugo Haas JUNGLE HEAT Starring Lex Barker • Mari Blanchard Glen Langan • Directed by Howard W. Koch • Executive Producer Aubrey Schenck • A Bel-Air Production. LADY OF VENGEANCE Starring Dennis O’Keefe • Produced and Directed by Burt Balaban. OPERATION MURDER Starring Tom Conway • Directed by Ernest Morris • Produced by The Danziger Bros. J PHARAOH’S CURSE Starring Mark Dana • Ziva Shapir • Diane Brewster • Directed by Lee Sholem • Pro- duced by Howard W. Koch • Exec. Prod. Aubrey Schenck • A Bel-Air Production. REVENGE Starring Mark Stevens • Directed by Mark Stevens • Produced by Harry Jackson. SAINT JOAN Starring Richard Widmark • Richard Burton • Jean Seberg • Anton Walbrook Barry Jones • Directed and Produced by Otto Preminger. SWEET SMELL OF SUCCESS Starring Burt Lancaster • Tony Curtis Susan Harrison • Directed by Alexander Mackendrick • Produced by James Hill • A Hecht, Hill and Lancaster Presentation. THE BACHELOR PARTY Starring Don Murray • E. G. Marshall Jack Warden • Phil Abbott • Larry Blyden Patricia Smith ■ Carolyn Jones • Directed by Delbert Mann • Prod, by Harold Hecht Associate Prod. Paddy Chayefsky • A Norma Productions, Inc. Picture • A Hecht, Hill and Lancaster Presentation. THE BIG BOODLE Starring Errol Flynn • Pedro Armendariz Rosanna Rory • Gia Scala • Directed by Richard Wilson • Produced by Lewis F. Blumberg. THE BIG CAPER Starring Rory Calhoun • Mary Costa James Gregory • Directed by Robert Stevens • Prod, by William C. Thomas & Howard Pine • A Pine-Thomas Production. THE DELINQUENTS Starring Tommy Laughlin • Peter Miller Dick Bakalyan • Directed by Robert Altman • An Imperial Productions, Inc. Presentation. THE DEVIL’S DISCIPLE Color Starring Burt Lancaster • Sir Laurence Olivier • Dir. by Alexander Mackendrick A Hecht, Hill and Lancaster Presentation. THE FUZZY PINK NIGHTGOWN Color Starring Jane Russell • Directed by Norman Taurog • Produced by Robert Waterfield • A Russ-Field Production. THE GIRL IN BLACK STOCKINGS Starring Lex Barker • Anne Bancrotr Mamie Van Doren • Ron Randell • Marie Windsor • John Dehner • Directed by Howard W. Koch • Executive Producer Aubrey Schenck • A Bel-Air Production. U A THE MONSTER THAT CHALLENGED THE WORLD Starring Tim Holt • Audrey Dalton • Hans Conreid • Directed by Arnold Laven • Pro- duced by Arthur Gardner and Jules Levy A Gramercy Pictures Production. THE MONTE CARLO STORY Technirama • Technicolor Starring Marlene Dietrich • Vittorio De Sica • Arthur O’Connell • Natalie Trundy Renato Rascel • Dir. by Samuel A. Taylor Produced by Marcello Girosi • A Titanus Film Production. THE PHOENIX Produced by James and Michael Carreras An Exclusive Films Production. THE TRIAL OF BENJIE GALT t Starring Sterling Hayden • John Dehner dl Constance Ford • Dir. by Sidney Salkow Produced by Jerome C. Robinson A Grand Production. * THE WILD PARTY Starring Anthony Quinn • Carol Ohmart Directed by Harry Horner • Produced by Sidney Harmon • A Philip Yordan and Sidney Harmon Production • A Security Pictures, Inc. Presentation. THEY CAN’T HANG ME Starring Terence Morgan • Yolande Donlan • Andre Morell • Ursula Howells Directed by Val Guest • Produced by Roger Proudlock • A Vandyke Production. THIEVES MARKET Starring Gregory Peck • Produced by Sy Bartlett • A Melville Production. K 12 ANGRY MEN ijc Starring Henry Fonda • Lee J. Cobb • Ed lit Begley • E. G. Marshall • Jack Warden Directed by Sidney Lumet • Associate aroducer Reginald Rose • Produced by Henry Fonda • An Orion-Nova Production. VOODOO ISLAND Starring Boris Karloff • Dir. by Reginald Le Borg • Executive Producer Aubrey Schenck • Produced by Howard W. Koch A Bel-Air Production. WAR DRUMS Color by DeLuxe Starring Lex Barker • Joan Taylor • Ben Johnson • Directed by Reginald Le Borg Exec. Prod. Aubrey Schenck • Prod, by Howard W. Koch • A Bel-Air Prod. WITNESS FOR THE PROSECUTION Starring Tyrone Power • Marlene Dietrich Directed by Billy Wilder • Produced by Arthur Hornblow, Jr. • An Edward Small Production. MEXICO: stars Carlos Baena and Yolanda Varel in "The Lovers." It Is a Unipromex picture. CHINA: rather explanatory, a scene from the documentary, "The Landscapes of Kweilin." THE OUTLOOK ( Continued from page 10) addition, there has been a decline during the last six weeks that has been described as “disastrous.” Television is rapidly becoming a major source of entertainment. The number of receivers in use rose from a total of 8,000 in January to approximately 40,000 in No- vember. Another reason for the decline in theatre attendances is the continuing blockade of the Danish market by the ma- jor American distributors — now in its 19th month. Spending money is scarce. Even several of the top American films which have gotten through the blockade have been flops at the box office. Twice this year negotiations designed to end the blockade were initiated, but both attempts ended in failure. Film rentals remain at a flat 30 per cent. Exhibitors received some tax relief in June, but it was not enough to pay for the increase in rentals being asked by the American companies. The Danish view- point is that the tax will have to be re- duced substantially before they can meet the U.S. demands. One small group of theatre men is willing to raise the figure to 40 per cent but they are not likely to influence the majority of exhibitors. It now seems very probable that the blockade will continue at least until April 1. American films share of the total gross here has been in a steady decline, going from 62.3 per cent in 1950 to 47.9 per cent in 1954 and 38.7 per cent in 1955. English, French, and especially German productions have made good gains. FRANCE by HENRY KAHN in Paris If production were the sole criterion, the French film industry would be flourishing and 1957 could be looked to with confi- dence. Unhappily this is not so. While production booms, the exhibiting side is not managing to keep pace. This means that films are in a backlog awaiting re- lease. As producers have to pay interest on loans, the financial burden is consid- erable. The result is the producers are seriously considering stopping all pro- duction for six months, which would ex- tend well into 1957. Such a policy would upset exhibitors since they are benefiting from the present market conditions. But in the long run it is estimated the industry cannot flourish if the production side is not healthy. If a rash of new films which cannot be re- leased for a year or more, the situation is not considered healthy. 1957, therefore, may be a difficult year. One hope is that exports will continue to develop. Exports are, indeed, the one bright spot on the commercial side. Cold Summer Helps Complete statistics for 1956 are not pos- sible to obtain but it is estimated that they will not vary considerably from those of 1955. In that year almost 400 million seats were sold. The first quarter was the best and exceeded expectations because of the extreme cold. On the other hand, the bad summer in France greatly helped the sec- ond and third quarters. The fourth quar- ter is expected to equal the last three months of 1955. There are 5,690 cinemas showing 35mm film. These are the latest figures avail- able. In the meantime it is known that there have been many new cinemas op- ened but these are balanced by cinemas which have closed. A consensus of opinion shows that the Parisian taste is no measuring stick for the whole of France. Many films which suc- ceed in Paris do not make a great impres- sion in the provinces. On the whole, the French, like most other nations, go to the movies to forget and enjoy a couple of hours entertainment. This means that the so-called “high brow” art films are not greatly appreciated un- less they are exceptional. If they have won an international prize then, of course, they can be expected to do good business. Comedies, when they are good, are always acceptable. Full length documentaries, when they are well made and full of in- terest are also popular with the general public. GERMANY by VOLKMAR VON ZUEHLSDORFF in Bad Godesberg The current year has been one of con- solidation for the German motion picture industry. Among the many hundreds of motion picture producing firms founded since the end of the war, all starting with nothing, some 20 leading companies have emerged which are well established today, along with twelve prominent distributors. In addition, out of formerly Reich- owned, UFA assets, several companies have finally been formed, one of which retained the UFA name, harking back to Germany’s brilliant motion picture years in the ’twenties, long before Hitler took over. Another one, the Bavaria Company in Munich, has already started its pro- duction program. The funds raised by selling these UFA assets to private own- ers are to be used in the common interest of the industry, in exactly what way, the Government will have to decide, perhaps by setting up a Motion Picture Credit Bank for production. The latter still suf- fers a chronic lack of capital, especially since public subsidies and credit guaran- tees have no longer been available since the beginning of this year. Still, with 112 features produced in 1955 and the 157 (including 13 co-productions) scheduled for the 1956-57 season, pre-war figures have again been reached, though nowhere near the record peak of the ’twenties. This is not to be expected. Be- sides the German offerings, which prob- ably will not materialize in full, there will be 388 foreign pictures on the market, among them 217 from America. What the industry is hoping for is not ( Continued on page 12) 10 WORLD MARKET M/t/. WlfVtirfy Edobtto^ • , - ^Oj Li St T^^Ii0^-Lv boats . ln*moTcop. ?°K CRO”'NG ’•chnicolor THE deadly MANTIS FOUR GIRLS IN TOWN Technicolor • CinemaScop* THE GREAT MAN GUN FOR A COWARD Eastman Color • Cin.moScop. THE INCREDIBLE SHRINKING man ISTANBUL Techo.co . peoptE ™E *“} «»-« N'°o'f T»«.««V P'«-tA“fo C«rt ,S«»Pe hftic p*f T«c K°C*’ TA^^1” , .J-rz*** f««n fHe ‘pro . tM«, * V^A^n.^ * tHf t*£ . g*^~ X. During the 1957 DAFF DRIVE DEC. 30 to MAY 4 ARGENTINA: a scene from "Death Floats on the River" with Nelly Panizza and Eduardo Cuitina. Argo produced, Atalaya release. ■'APAN: from among the many, "Street of Shame" which Nagata Masaichi presented at the Venice Festival. THE OUTLOOK ( Continued from page 10) so much a reduction of imports as for an increase of its own exports. These have gone up from $1,000,000 in 1952 to an es- timated $5,0000,000 in 1956, but this is still a far cry from the $30,000,000 to $35,- 000,000 earned by foreign product in Ger- many. Some circles here feel that it would be a fair gesture on the part of American in- dustry, which under the occupation en- joyed such unusual opportunities for building up a wholesome share in the Ger- man market, if it were in some way to re- ciprocate in the United States where Ger- man features, less favored, could find ac- ceptance only gradually by efforts involv- ing tremendous expense for merchandis- ing and publicity. Attendance figures in Germany, though still on the upward grade (820 million this year compared to 780 million last year), are expected to level off soon. Al- most half of the same 6,000 theatres are already equipped for CinemaScope. Tele- vision, which passed the half-million mark for registered subscribers September 1, may reach the first million next summer, and this means a sizable number of regu- lar fans. So far there is only one chan- nel, but a second one, to be financed by commercials, is in the offing. To curb competition, scenes from current pictures may not be shown by television in excess of six-minute runs. HOLLAND by PHILIP DE SCHAAP in Amsterdam Attendances here continue to increase, if only slightly. At present, there are ap- proximately 85,000 television receivers in all of Holland, but their effect on motion picture exhibition is not yet perceptible. Attendances increased from 65,055,000 in 1954 to 66,025,000 in 1955, and an even more important increase is expected for 1956, due to bad summer weather among other factors. Attendances for the first half of this year were up 4.4 per cent over the comparable period last year. American product continues to dominate the film scene here, and last year occupied 56.67 per cent of all screen playing time, compared with 56.55 per cent in 1954. Of total receipts, U. S. firms accounted for 55.06, while all others accounted for 44.94 per cent. Of the total of 449 films import- ed last year, 235 were American, 58 Brit- ish, 58 French, 45 German, 33 Italian, three Russian, and the rest from other areas. There has been no domestic feature pro- duction this year. There were 528 thea- tres in operation as of January 1, and during the year five new houses were built. Admission taxes in key cities re- main at the comparatively still level of 25 per cent. INDIA by V. DORAISWAMY in Bombay If the fortunes of Indian film producers continue as they have this year, 1957 should be one of their best years. Most of their 1956 productions have been good and few were financial flops, financially or otherwise. Color is playing an increasing- ly important part in domestic production and next year will probably see a new record set in the number of color pro- ductions. Gaevacolor still is the only proc- ess available in this country. It is expect- ed, however, that Eastmancolor might make its debut in the Indian commercial field in 1957. The effect of wide screen and other new techniques seems to have reached their limit as far as box office excitement is con- cerned. Television remains distantly in the very far future. One notable feature of 1956 has been the increasing participation by Indian films in international festivals. From all reports, the earnings of Indian films abroad have shown a steady increase. A record in this field might well be estab- lished in 1957. IRELAND by TOM SHEEHY in Dublin With no televison challenge, and a suc- cessful 1956 season to encourage them, Irish exhibitors should be optimistic. However, the current shortage of product and persistent rumors of the merging or closing of local distribution offices, sug- gesting further shortages, have caused some despondency. Much of the 1956 suc- cess is attributed to a wet year, and ex- perience showed that here the wide screen films of themselves draw little more box office than good, “ordinary” ratio screen features. The appeal of down-to-earth continental films grows and, with notable exceptions, American films are losing some of their grip, though still dominating the market. Admission taxes appear to be stabilized but a national credit-squeeze finance pol- icy is making money tighter. The ad- verse effect felt in other trades has not extended so far to box office receipts. In exhibitor eyes, 1957 will be a good or bad year for trading, depending on the avail- ability of good stories, irrespective of screen ratios or color or sound systems. While admissions for the first six months of 1955 numbered 25,662,000, those for the same period in 1956 were 26,305,- 000. It is reasonably sure that the same figures and trend hold for the second six- month peroid, though detailed figures are not yet available. These figures exclude attendances in rural 35mm cinemas and 16mm parish halls, both tax-free. Few new cinemas were built in the past year, but a number of them have been re- constructed. The latter reflect changes in suburban populations rather than an over- all increase in the number of filmgoers. The present Government and bank credit squeeze, which has hit the building indus- try especially, and the fact that a number of cinemas economically possible has now reached the saturation point, make the ad- vent of new cinemas most unlikely. ( Continued on page 16) 12 WORLD MARKET It's British Actor Edmund Gwenn in the Itahan-Spanish "CALA- BUIG," in which other stars are Valentina Cortese, Franco Fa- brizzi, and Juan Calvo. The musician at the left is Nero in Titanus' "Nero's Big Weekend," and he is played by Alberto Sordi. Some familiar names in the Italian-French film are Gloria Swan- son, Mr. De Sica and Brigitte Bardot. "THE NIGHTS OF CABIRIA" stars Giu- letta Masina, Ame- deo Nazzari, Franca Marzi, was directed by Federico Fellini, and its producer was Dino De Laurentiis (of "War and Peace"). Film -making in ITALY A scene, right, from Lux's "EM- PIRE OF THE SUN," a documen- tary about Peru. It's Anna Magnani in the Rizzoli - Pallavi- cini picture which Columbia will re- lease: "WHEN AN- GELS DON'T FLY." Co-starred are E1- eanora Rossi Drago, Antonio Cifariello, Luisa Rossi, Piero Boccia. Giorgio Listuzzi and Gabri- ela Pallotti in Titanus' "THE ROOF," a picture di- rected by renowned Vit- torio De Sica. They are non-professionals. "THE MONTE CARLO STORY," right, also Ti- tanus', features Truman Smith, Natalie Trundy, Jane Rose, Arthur O'Con- nell, Carlo Rizzo, all shown. , jk1 * A* " «!-v » to'-"*' A * 'V<<— . *. - 1 1 ' ' I -!» 1 - 1 1 & - 1 w ■ . WORLD MARKET 1 3 THEY’RE REALLY OKLAHOMA ! Gordon MacRae, Gloria Grahame, Gene Nelson BEYOND A REASONABLE DOUBT Dana Andrews, Joan Fontaine TARZAN AND THE LOST SAFARI Gordon Scott THE BRAVE ONE Michel Ray TENSION AT TABLE ROCK Richard Egan, Dorothy Malone, Cameron Mitchell THESILKEN AFFAIR David Niven, Genevieve Page MAN IN THE VAULT William Campbell, Karen Sharpe, Anita Ekberg JET PILOT John Wayne, Janet Leigh THE LADY AND THE PROWLER Diana Dors, Rod Steiger GUILTY? John Justin, Barbara Laage and Donald Wolfit THE YOUNG STRANGER James MacArthur, Kim Hunter, James Daly THE GIRL MOST LIKELY Jane Powell, Cliff Robertson, Keith Andes ROLLING AT RKO! BUNDLE OF JOY Eddie Fisher, Debbie Reynolds, Adolphe Menjou DEATH OF A SCOUNDREL George Sanders, Yvonne DeCarlo, Zsa Zsa Gabor THE CYCLOPS James Craig X— THE UNKNOWN Dean Jagger, Edward Chapman FINGER OF GUILT Richard Basehart, Mary Murphy, Constance Cummings ESCAPADE IN JAPAN Teresa Wright, Cameron Mitchell THAT NIGHT John Beal, Augusta Dabney, Shepperd Strudwick BACK FROM ETERNITY Robert Ryan, Anita Ekberg, Rod Steiger PUBLIC PIGEON No. 1 "Red" Skelton, Vivian Blaine, Janet Blair RUN of the ARROW Rod Steiger, Sarita Montiel THE DAY THEY GAVE BABIES AWAY Glynis Johns, Cameron Mitchell, Rex Thompson, Patty McCormack I MARRIED A WOMAN George Gobel, Diana Dors THE VIOLATORS Arthur O'Connell, Nancy Malone CARTOUCHE Richard Basehart, Patricia Roc, Akim TamirofF CHINA: a colored cartoon for children is "The Magic Brush." TURKEY: from "The Flame of Revenge," a Kemal Film. THE OUTLOOK ISRAEL by ALBERT D. MATALON in Tel Aviv Motion pictures remain the leading form of entertainment for the Israeli public in general. A fine picture can attract vast audiences and secure a long run of a num- ber of weeks. The new screen techniques, especially CinemaScope, are very popular locally. Despite the restless political and mili- tary situation here, new building and con- struction of all types has not slackened, but has, in fact, actually increased. Natu- rally, this is reflected in exhibition, and four new theatres have gone up. Exhibi- tors, like the general public, look forward to 1957 with confidence. Attendances last year were reported at 15,500,500 and this year are expected to increase to approximately 20,000,000. To- tal number of theatres is 150. ITALY by DR. ARGEO SANTUCCI in Rome All three branches of the Italian film industry face a multitude of problems. Exhibitors have to contend with a short- age of product, especially good product, and, in common with the other two branches, a general increase in all ex- penses. The latter is proving particularly troublesome to production and distribu- tion. In addition, production money is be- coming increasingly difficult to come by; there are more restrictions on the inter- national exchange of films, and there is a distinct possibility that various industry taxes may be increased. Indicative of the Government’s attitude towards all entertainment was a proposal for a new tax of 10 per cent on admission prices. The proposal was abandoned, how- ever, because of public opposition. Other developments on the Italian scene pose some question marks for the future. The outlook for 1957 is not at all promis- ing. Various sport attractions are becom- ing more and more popular. The competi- tion from television is expected to be very heavy next year and will probably be a decisive factor in 1958, when all the novel- ty of the new screen techniques will have disappeared. The record number of 820,000,000 admis- sions sold in 1955 is expected to decline to approximately 815,000,000 in 1956. There is little hope that the 1955 level will be attained again next year. An important factor in that 1955 record was the opening, in the course of that year, of many new cinemas in underdeveloped areas which had previously been without facilities. New construction in those areas has just about reached the saturation point. Gross receipts, however, are expected to in- crease due to the increase in admission prices. From the estimated 1956 total, of $197,000,000, they are predicted to go to $280,000,000 in 1957. JAPAN by A. C. PINDER in Tokyo With the best year in history behind them, Japanese exhibitors look to a record- breaking 1957 with new theatres opening on an average of three every two days and a probable 1,000,000,000 admissions in the offing. The past year has seen 850 new cinemas open their doors. The trend is toward bigger, gaudier theatres with special at- tention to the customers’ comfort. Some cities report a 30 per cent increase in the number of new theatres bait there are others which report increases of 70 per cent to 250 per cent in the past year. The total number of theatres in Japan is now over 5,500 and is still climbing. Admissions are up to the 900 million mark annually and total box office receipts are nearing $200,000,000, of which 45 per cent comes from imported films. Those theatres which have not yet con- verted to wide-screen are making plans to do so, with the exception of the “fourth- run” houses which feel it is beyond their means. Japanese movie-makers are follow- ing the trend in the new techniques. Japan specializes in “multi-theatres”; that is, a considerable amount of new construction houses four theatres under one roof, and sometimes a theatre is in- cluded in a new hotel building or a rail- way station. Competition from TV is neg- ligible; in fact many owners feel that TV advertising has raised their quality trade and thus added to theatre admissions. With the inauguration of the Japan Film Export Association, a drive is under way to export more of the estimated 500 fea- ture films that Japan will produce in the coming year. Imported films will be held below the 200 mark with almost 70 per cent going to American makers and the rest divided among European producers. Ways of converting and remitting blocked accumulated funds over a fairly long period of time have been worked out. Meanwhile such funds are earning interest for their owners. A number of American and European movie-makers are planning more produc- tion in Japan. Some of them will be joint ventures with Japanese companies. Taking everything into consideration, Japan is looking forward to the biggest year the industry has ever seen. LEBANON by IBRAHIM ZEIN in Beirut Next year is likely to be a decisive year for film production in Lebanon. Two local companies currently are working on features for domestic consumption and for export to the other Arabic-speaking countries. How they are received will tell the tale as far as future production is concerned. Although Egyptian-made Ara- bic films have long been popular here — and often with Lebanese stars — it will not necessarily follow that Lebanese films will be popular in the lucrative Egyptian mar- ( Continued on page 24) 16 WORLD MARKET BRITISH THEATRES HEALTHY BUT TICKET TAX DAMAGING by PETER BURNUP LONDON : Gross takings at Britain’s 4,324 theatres now operating, and with a seat- ing capacity of slightly in excess of 4 million, currently run at an annual aver- age of £100.7 million, with a net, after the deduction of the heavy entertainment tax prevailing, of £ 68.9 million. Despite a cut-back of £2.3 million in the annual gross recorded a year ago, the country’s theatres continue to offer a happy and probably unsurpassed mart for the offerings of the world’s film-mak- ers; and notably Hollywood. The estab- lished trading figures reflect also, in out- ward seeming, a stubborn robustness in the industry’s fiscal operations. It re- quires to be recorded, nevertheless, that beneath the flattering facade so displayed a variety of inimical circumstances are to be discerned. Period of Contraction They are indeed apparent to all in- formed observers and the whole industry here passes through a period of what some euphemistically characterize as “rationalization,” but which is more realistically accepted as severe and in- evitable contraction. The president of the Board of Trade lately informed the House of Commons that in the 10 months to October 31, 1956, 142 theatres had closed. The number of closures will rise rapidly in the course of the next six months and not all the houses concerned are the property of so- called small exhibitors. The powerful J. Arthur Rank Organization announces, for example, that up to 79 of its 546 thea- tres will shortly go dark. Associated British Cinemas — Mr. Rank’s principal competitor — plans shutting down between 25 and 30 of its 420 houses. The industry’s trades-union leader, Sir Tom O’Brien, prophesies that the holo- caust may well involve more than 1,000 theatres within the next two years, un- less some substantial entertainment tax relief is forthcoming. Dramatic emphasis apart, even cautious Mr. Rank admits that the toll of victims will run into hun- dreds unless tax remission is accorded the industry. Taxation Is Unfair Admittedly, the vicious and crippling burden of the tax is the greatest single threat to the industry’s existence. Its in- cidence— taking as it does up to 31.6 per cent of a theatre’s gross receipts — is not only onerous but unfairly discriminatory. For stage play theatres, circuses and the like bear a tax at much lower rates. Moreover the tax, imposed on admission tickets, has no relation to a theatre’s real income. That circumstance bears with peculiar severity on smaller houses, oper- ating in any event on narrow margins; but cases are recorded of theatres losing as much as £4,500 a year and being called upon to pay tax at the same time to the order of £7,500. The emphasis laid by industry leaders on the tax quandary is readily under- standable; for they are united, at the mo- ment, in a Petition of Right to the Gov- ernment— reinforced with an impressive set of accountancy arguments — demand- ing relief. The Chancellor of the Ex- chequer, six months ago, expressed sympathy with the petitioners’ claims and his officers in the Customs and Excise De- partment are currently engaged in a pre- cise examination into the whole pattern of entertainment tax incidence. But it is difficult to see in Britain’s present parlous economic position how the Chancellor, however much he may sympathize with the industry’s difficulties, can afford anything more than a token palliative for its disorders. Moreover, the tax is not the only debilitating factor. The rising costs with which theatre men have to cope and the impact of commer- cial television are others. Costs Up Sharply Following a worldwide economic pat- tern but intensified here, so it is claimed, by special circumstances attaching to the so-called Welfare State, theatre running costs have increased in cataclysmic fash- ion. By the beginning of 1946 wages were costing twice the figure for 1939: but in the last few months they have increased by a further 75 per cent. The full impact of the commercial TV system remains to be precisely assessed, but it is generally conceded that the com- mercial network has developed into a thriving enterprise in a matter of months. Its potential audience is estimated to grow at the rate of 640,000 a month. The average nightly TV peak-hour audience is set at 4.5 million for the BBC and 1.5 million for the commercial service. No less an authority than J. Arthur Rank, commenting on the cutback in at- tendance at his cinemas, remarked on “the lack of availability of sufficient box office films from Hollywood.” Mr. Rank went on to say: “These have tended to be fewer since the change in pattern of the American cinema industry, following the legal separation of exhibition and film production interests insisted upon by the U. S. Government some years ago.” That may well make for a global problem, but it makes also for a challenge to film-mak- ers other than in Hollywood. It is also one of the concomitants in a situation which leads to the aforementioned “ra- tionalization” process now in progress. Authorities like Sir Philip Warter — shrewd and prudent chairman of the As- sociated British Picture Corporation — agree that sections of the industry hither- to have been living on pipe-dreams of the abnormal conditions prevailing in the lush days of World War II and immedi- ately thereafter. And that the day of reckoning has now come. Potential Stretched The production potential of the coun- try’s film-makers is currently stretched to the ultimate. But the truth of the axiom postulated by stern economists in Queen Victoria’s expansive days — name- ly, “Export or Perish” — becomes more than ever clear in the case of British film- makers. They are required to compete — at home — with Hollywood’s best. Without the gloss which attends the latter, Britain’s producers may just as well pack up their studio props and leave the job to others. But urbane gloss costs more money than is to be garnered in the domestic market. That is the reason for a variety of Governmental and often self-destructive devices such as the Quota Act, the establishment of the of- ficial Film Bank known as the National Film Finance Corporation and the Brit- ish Film Production Fund more fa- miliarly known as the Eady Levy. Without the last-mentioned device, which the Government proposes making a statutory impost on all theatre box offices whether the house in question is making a profit or not, few producers here would survive. By a loophole of technicalities in the definition of what or what does not constitute a “British” film, astute Ameri- cans have lately made a considerable beachhead breach in the privileged pro- duction field. At the disbursement of so- called “Eady” money at the end of July last no less a sum than £427,747 was handed out to American-controlled “Brit- ish” production companies. Caused Controversy The propriety or otherwise of the transaction has been the occasion of bit- ter controversy here and may well lead to a statutory realignment of Quota and other matters. But at least — as Sir Michael Balcon, whose pictures now pass through MGM, has aptly pointed out — American capital has contributed con- siderably to the sustenance of British studios and their work people; and, by in- ference, sustained the good name of Brit- ish workmanship abroad. All that despite, the Rank Organization (Continued on page 20) WORLD MARKET 17 THE RANK ORGANISATION presents A MICHAEL POWELL & EMERIC PRESSBURGER production JOHN GREGSON ANTHONY QUAYLE PETER FINCH as CAPTAIN LANGSDORFF vistaVision technicolor with BERNARD LEE • IAN HUNTER Witten. Produced and Directed by MICHAEL POWELL and EMERIC PRESSBURGER THE BATTLE OF THE RIVER PLATE !n December 1939 . . . suddenly from the South Atlantic came the flash that exploded into splash headlines on every front page. Three daredevil little ships had challenged the German pocket battleship Admiral Graf Spee and sent her racing for the cover of a neutral port. For three incredible days the United States of America and the rest of the world watched Montevideo. Men of every nation have hailed the courage of the sailors who took those three ships against a pocket battleship. Many have pondered on the mystery of the raider’s end Now at last the full story is told ... a mighty battle re-created . . . and the secret of a fabulous diplomatic bluff revealed . THE BATTLE OF THE RIVER PLATE is a true and heart-gripping story. It is British picturemaking at its peak and international entertainment . . . guaranteed to give your patrons a new, different and spectacular production. Book it — sell it — show it — and prove that this tremendous story means tremendous business in the United States. THE R A N K ORGAN COMPANY EXECUTIVES’ OUTLOOK OPTIMISTIC by LAWRENCE J. QUIRK Expressions of an optimistic outlook for the future and reports of a strong busi- ness upswing during the past fiscal year throughout foreign exchanges, highlight- ed the observations of sales executives of the major companies’ foreign departments last week. Typical of the outlook was that ex- pressed by Lacy W. Kastner, president of Columbia International, who said that Columbia’s foreign business for the 22- week period up to October 22 was 21 per cent over the corresponding period in 1955. “I am confident that our business will continue on the same basis for the bal- ance of the fiscal year,” Mr. Kastner add- ed. “For the moment the European and Mid-East situations have not affected us, but I fear that the longer the canal re- mains blocked, the greater will be the economic repercussions in England, France and the rest of Europe. One result may be a dollar shortage, and we might find ourselves with less immediate dollar revenue.” With reference to the non-shipment of films to Spain and Denmark over the past year, Mr. Kastner noted the pending ne- gotiations with the governments of those countries over the unsatisfactory condi- tions and expressed the hope that these problems will be resolved shortly. He also noted that Columbia’s foreign business “has grown steadily with a solid increase in revenues each and every year.” Yeti' Problems Abroad A spokesman for Paramount said: “Business abroad has been up to last year’s level, which we consider excellent. This year, of course, there are several new problems, including an increased stringency on remittances from abroad, and a tightening of some government con- trols. Then, too, various foreign countries have sustained a dip in their economies.” The Paramount representative also noted a rise in nationalistic sentiments. This, he said, “was principally manifest- ed in attempts to limit our imports and increase our costs with a view to their helping their native film-makers to ex- ceed their past performance levels.” The Paramount spokesman added that he is optimistic that the MPEA’s efforts to aid the situation will be successful. He also noted the problem of controls on ad- mission prices in some foreign countries, “with arbitrary price ceilings even on our big specials, with a consequent de- crease in revenues.” He added that the MPEA was also attempting to correct this condition. “We have found,” he said, “that despite the indicated difficulties, our pictures have been very well received abroad. We expect an exceptionally fine reception of ‘War and Peace,’ for instance, especially in Europe, as the original novel is widely known there, an accepted classic that in many areas is almost obligatory reading.” “We still feel,” he concluded, “that mo- tion pictures are, and will continue to be, the basic entertainment medium abroad for the masses. In most countries the threat of TV is fairly remote and should be for some years to come. With the proper kind of pictures, we feel we can count on a continued strong business.” A Warner Brothers executive said his company had enjoyed “an all-time record business abroad in the past fiscal year, especially in Latin America.” “The accent is definitely on the up- beat,” the Warner spokesman added. “There are fewer and bigger pictures nowadays, hence more time to spend promoting them. This extended promotion time brings correspondingly more satis- factory results. We have the material and the talents to flood foreign newspapers and magazines with publicity, plus plenty of time to plan our programs. Accent on Ne iv Ideas “There is accordingly no rush, and ex- ploitation campaigns abroad are care- fully conceived and thought out for maxi- mum results. The accent today is also on new ideas, and we want them from bright young men abroad as well as in this coun- try. Some of those fellows in England. France and elsewhere are very talented at recasting our angles and other ideas for the local consumption.” According to a 20th Century-Fox spokesman, the company’s international organization has stepped up, and will con- tinue, its promotional analysis of the foreign market for its CinemaScope prod- uct. Through comprehensive tieups with publishers, for example, the company has aimed at pre-selling product derived from literary properties. The intensive 1956 sales campaign — The 20th Century-Fox Overseas Olympics Sales Drive — which has been tied in, ap- propriately enough, with the year’s major sports event, is certain to set an all-time record in overseas billings, the represent- ative stated. “Exceeding its most optimistic expecta- tions, the company has, in the less-than- four years since the initial announcement of the development of CinemaScope, achieved virtual saturation in installations in every country,” the representative added, “and it has surpassed the original ‘saturation’ point in many territories abroad.” “Under the leadership of World-wide head Spyros P. Skouras and Murray Sil- verstone, president of the 20th Century- Fox International and Inter-America Corporation, the overseas organization’s initial target was to achieve a high per- centage of installations among its regular customers. However, the instantaneous public and critical success of the anamor- phic process resulted in installations that went far beyond what anyone might have dared to hope for.” “Business overseas this year will be, we expect, as good as last year — in a word, excellent,” the representative concluded. Highly optimistic was the tone of the spokesman for Universal’s foreign organi- zation. “Barring unforeseen circumstances, we will continue to look to Europe as our main source of revenue. Further improve- ments in our always improving product will be our main weapon in the continued development of our prosperous European market. It is true that in some areas, like such Latin American countries as Brazil, Chile and Argentina, business dollar-wise is tempered by the differential in ex- change. “But this is more than offset by the ex- pansion we expect throughout South America. We at this company have every reason to feel positive and optimistic about the future,” the representatives said. “Take Asia. It is virgin territory, and lends it- self to any kind of expansion that sound exploitational and merchandising princi- ples can conceive. The Asian market will open up more and more. Japan, of course, is a flourishing market, and is of crucial importance. “Universal’s policy, we feel, is aggres- sive, and realistic at the same time. We are a sound company, prudent in our dealings, and the gains we make, we hold. We have every expectation of exceeding our last year’s business abroad.” BRITISH MARKET (Continued from page 17) — appreciative more than the next of that “Export or Perish” axiom — is committed now to an assault on the enclave of the U. S. The Organization is encouraged therein in the success which has attended similar attacks in behalf of Britain’s film outgivings on other territories, in- cluding Western Germany and, notably, South America. Looking at the munificent earnings which accrue to America’s pic- tures in this country, John Davis — the chief of the Rank Organization — demands a place in the American sun for his own offerings. Brightest aspect in this country’s other- wise bleak film prospect is the export market it has created for its motion pic- ture equipment. In the year 1955 Britain’s export of equipment reached the all-time record of £2,267,911. Prime mover there- in is the company known as Rank Pre- cision Industries, which deals in every- thing from seating and screens to lenses. The company is riding a tide of prosperity both in the home and export market. 20 WORLD MARKET Film-making in GERMANY On the African reservation, above, a scene from Oka- pia's "NO PLACE FOR WILD ANIMALS." It's "THE CAPTAIN OF KOPENICK" at the left, Real-Film's version of a famed military satire. And, at the right, a scene from "THE STALLION MAESTOSO AUSTRIA," O E F A ' s picturization of famed Viennese Lippzzaner- stallions. The singing Trapps, well known in America, may be seen above in "THE TRAPP FAMILY" which Wolfgang Reinhardt made for Divina- Gloria. Germany's most popular actor, O. W. Fischer, and young Oliver Grimm, star in "MY FATHER, THE ACTOR," a scene from which is at the upper right. Robert Siodmak directed for CCC. "STRESEMAN" is the title of Metor's story of Germany's peace advocate. At the right, Erich Schroeder in the title role. WORLD MARKET 21 YATES presents HERBERT iw— oonnUCT “"iisrffla. - A repubuc proouctj afSWE'O'- robert h * ** _ _ ^ r\ p(o(S*JCK