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A HERALD FEATURE

iduct Digest): ROMAN HOLIDAY, THE SWORD AND THE ROSE, THE CHARGE AT
E STARR, SPACEWAYS, JOHNNY THE GIANT KILLER, HUNDRED HOUR HUNT, NIGHT
DEVIL'S PLOT, THE MARSHAL’S DAUGHTER, GENTLEMEN PREFER BLONDES

Drive-In Snack Bar “Potential'

Stereo Sound Standardization

- . •

3-D Shutter Synchronization

! 1 , at the Post Office, at Nett York City, U. S. A., under the act of March 3, 1879. Pub-
1270 Sixth Avenue, Rockefeller Center, New York 20, N. Y. Subscription price: SS.00
Single Copy, 25 cents. All contents copyrighted 1953 by Quigley Publishing Company, Inc.

A FIRST FOR M-G-M!

For the first time in its history Theatre Arts Magazine devotes its cover ( the cover art is shown above ) and nine
inside pages to a motion picture. It’s “MAIN STREET TO BROADWAY,” soon to electrify all show business!

wr Imagine!
r|N FIRST WEEK OF

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RELEASE BOOKED IN

:xchange Centers
d all Key Cities)

Booked by

Top Circuits A

or America! M

It will play ^

250 Bookings
in first 3 weeks, m
I a tribute to a |

1 fine picture!

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GREATEST STAR ATTRACTION OF ALL TIME!

M-G-M’s Dramatic Love Story of Show Business With Famed Stars Playing True-Life Roles!

"MAIN STREET TO BROADWAY”

A LESTER COWAN Production

Starring

TALLULAH BANKHEAD
ETHEL BARRYMORE
LIONEL BARRYMORE
GERTRUDE BERG
SHIRLEY BOOTH
LOUIS CALHERN
LEO DUROCHER
FAYE EMERSON
OSCAR HAMMERSTEIN II
REX HARRISON

HELEN HAYES
JOSHUA LOGAN
MARY MARTIN
AGNES MOOREHEAD
LILLI PALMER
RICHARD RODGERS
HERB SHRINER
JOHN VAN DRUTEN
CORNEL WILDE

with TOM MORTON . MARY MURPHY

Screen Play by SAMSON RAPHAELSON • Story by ROBERT E. SHERWOOD • Directed by TAY GARNETT

A Metro-Goldwyn-Mayer Release

THE DLMO I FROM 20,000 FATHOMS'*

starring PAUL CHristian • PAULA RAYMOND • CECIL KELLAWAY • KENNETH TOBEY
Screen Play by LOU MORHEIM and FRED FREIBERGER Suggested by the sensational SATURDAY EVEA
Photography by Jack Russell, A.S.C. • Associate Producer BERNARD W. BURTON • Technical F

ACTUALLY TOPPING THE TOP
WARNER PICTURES OF THE PAST
3 YEARS (EXCEPT 'HOUSE OF WAX’

THE SCREEN’S TWO
BIGGEST ATTRACTIONS

/v\aR>lyN

co-starring I

cHARtES V

Produced by

SOL C. SiEGEl
play by

Screen

in one
smash
musical

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THERE’S NO BUSINESS LIKE 2i^,CENTURY-FOX BUSINESS!

MOTION

MARTIN QUIGLEY, Editor-in-chief and Publisher

V ol. 192, No. I

PICTURE HERALD

MARTIN QUIGLEY, JR., Editor

July 4, 1953

3-D Projection Simplification

A N important step in assuring the continuance of 3-D
motion pictures would be the simplification of the
A projection procedure. By now persons in the
industry — and many of the patrons — understand that to
provide a true stereo picture it is necessary to present
two images — one for the left eye and one for the right —
for fusion in the brain of the spectator.

When the Natural Vision system was being prepared
it was decided wisely that as little change in standard
booth practices as possible would be proposed. This
explains the use of standard projectors, interlocked, and
large film reels. That same 3-D projection system was
used in the 1951 Festival of Britain and at the New York
World’s Fair of 1939 and 1940. It may be found that the
use of interlocked standard projectors will continue to
be the best method for large theatres.

However, for small theatres a simplification seems
desirable. Synchronization frame by frame, in fact vir-
tually sprocket hole by sprocket hole, is required for
satisfactory 3-D screen effects. In addition, the two
projectors must be properly lined up, their lenses must
be matched and the light of each must be of the same
intensity. Such standards are realizable in practice only
through close supervision of good quality equipment in
perfect operating condition. One human error in thread-
ing a machine may spoil the whole 3-D illusion.

The obvious solution, at least for small theatres where
the problem of obtaining sufficient light on the screen is
not as great as in big theatres, may be to put both the
left and right eye images on one 35mm film. A number
of such systems have been demonstrated and suggested
during the past twenty years. Industry attention in the
United States has been drawn to such single strip sys-
tems by the recent showings of the Nord system, the
announcement of a Norling system and by other tests.

THERE are a limited number of ways in which the
two images can be placed on a single 35mm film, al-
though at least a dozen variations have been pro-
posed. Images can be put side by side. This results in an
unsatisfactory image ratio with the height greater than
the width. (This is the system used by Bofex for 16mm
3-D home movies.) The images can be put one above the
other, either compressed to occupy together the approxi-
mate area of a standard 35mm picture or each of them can
be almost as large as the standard frame. In these cases
a double lens or a beam-splitter must be employed to
project the images simultaneously. Systems which pro-
ject the two images alternately have resulted in objec-
tionable eye strain. Another method of locating the two
images on one frame consists of rotating the images 90°,
i.e., lengthwise side by side on the 35mm. Through an

optical system these images are twisted to normal in
projection. In a special category is the Polaroid vecto-
graph film method which has the two images on oppo-
side sides of the same 35mm film. This method would
eliminate the need for Polaroid filters at the projector.
Spectators for all these methods must wear viewers.

The whole problem deserves the attention of research
experts within the industry. If a practical method of
3-D projection simplification can be worked out and
standardized, even for thousands of theatres with a seat-
ing capacity under 1,500 seats, it should be done quickly

m h b

€J The way is now open for the development of a
theatre television network. The Federal Communications
Commission has approved the compromise suggested by
the industry in which the licensed common carriers will
be authorized to provide the transmission facilities
needed for a theatre television network service. Under
the FCC order of June 25 common carriers transmitting
exclusive theatre television programs may use frequen-
cies currently alloted to them or to other common car-
riers. The Commission will pass separately on the merits
of each application. The report correctly noted that
theatre television “will continue to expand or not, de-
pending upon public acceptance and support.”

a i b

4] Congressmen interested in the effectiveness of the
State Department’s film program abroad might attempt
to evaluate the impact of the program through the eyes
of the peoples abroad who are supposed to be influenced.
The latest of many disquieting reports about the film
program is a report April 29 in The Statesman, Calcutta
newspaper. That paper quoted a debate on film matters
in New Delhi of the Council of State. Included were
statements by one member that “he did not want the
import of foreign information films” and by another
member who “asked the Government to learn from
Soviet Russia” about propaganda film policy.

IJ Observers who have had an opportunity to com-
pare the effectiveness of the test reels for CinemaScope
in a large theatre with results obtained in the 20th
Century-Fox home office screening room have been im-
pressed by the adaptability of the process to small thea-
tres. On account of reduced proportions of the room in
relation to the size of the screen, the visual effects are
even more striking than in a very large theatre. The
20th Century-Fox Little Theatre seats 200 and the
CinemaScope screen used is 32 feet by 12 feet.

— Martin Quigley, Jr.

MOTION PICTURE HERALD

July 4, 1953

Job W ell Done

To the; Editor:

The lifting- of controls on the use of
copper and a general easing of the copper
supply situation has removed the primary
motive for which the Copper Drippings
Salvage Program was initiated in the Fall
of 1951. It is therefore felt that there is no
longer the urgent necessity to continue this
particular conservation action as an official
program of the National Production Author-
ity. The Copper Drippings Program was
an excellent contribution of conservation in
the defense effort and again demonstrated
that the motion picture industry is quick
to respond to an appeal to assist the national
defense effort.

The success of the Copper Drippings
Program has been largely the result of the
fine spirit of cooperation between all seg-
ments of the motion picture industry, includ-
ing the theatre projectionists, film carriers,
supply dealers, theatre managers, trade
associations, trade journals and Variety
Club members.

I wish to take this opportunity to express
my sincere appreciation to all those who
contributed so freely of their time and
energy in helping make this joint effort of
the motion picture industry a successful
one. Thank you very much for a job well
done. — Nathan D. Golden, Director,
Motion Picture, Scientific and Photographic
Products Division, National Production Au-
thority, Department of Commerce, Wash-
ington D. C.

Those Glasses

To the Editor :

Albert Sottile, president of the Pastime
Amusement Co., Charleston, South Carolina,
should be highly commended for his frank
statement concerning “Those Cheap Glasses”
which appeared on your Letters page in the
issue of June 20. This penny-per-thousand
piece of merchandise is annoying to the
patrons and embarrassing to the exhibitor.
More power to Mr. Sottile. — STACY D.
WILHITE, president, Mid-State Theatres,
Inc., Cookeville, Tenn.

W onderful Publicity

To the Editor:

There seems to be consternation among
some exhibitors and distributors throughout
America; but there is joy in Memphis,
Chicago and Dallas over the marriage of
talkies and depth.

I spent a few days in Memphis recently
when a very fine story broke on the front
page of both the Commercial Appeal and

"AS USEFUL TODAY
AS 29 YEARS AGO''

To the Editor:

This is our 29th year as a subscriber
to Motion Picture Herald, which
we find as useful today as it was
twenty-nine years ago. — C. A.
RODRIGUES, Gil Vicente, Por-
tuguese East Africa.

the Press Scimitar. The stories glowed
with enthusiasm as M. A. Lightman, Sr.,
president of Malco Theatres, discussed
CinemaScope and other interesting movie
highlights with the newspapers’ assistant
editors. On top of all this, a few days later,
Mr. Lightman and Mr. Young of Fox Films
scooped the first page of the second section
with a grand review on their CinemaScope
premiere showing.

Wonderful publicity such as this deserves
an abundance of cheers for Fox and Mr.
Lightman. Seldom, if ever, does the
amusement industry get pin-pointed on
Memphis newspaper front pages. It cer-
tainly speaks of powerful press agentry. — •
JOHN THOM A, Amusement Publicist,
Chicago, 111.

Championing Shorts

To Walter Brooks:

Being one of your many readers, I’m very
grateful to find that you again have cham-
pioned the short subject. Most of the trade
papers today, like the industry generally,
take the short subjects for granted. There-
fore, when I see such a constructive article
as you had in the June 13 issue, I am very
gratified. Elmer Rhoden is evidently a very
forward showman who realizes that there is
still profit in short subjects, as there always
has been when they are properly exploited.

In case you have overlooked it or did not
know it, we are among the first with 3-D
shorts. (See rear cover of your May 30
issue.) We have one playing with “Fort Ti”
and features the Three Stooges. No doubt
you remember the pie fight pictures. Well,
take a look at flying pies in 3-D ! — JULES
WHITE, Producer-Director Short Subjects,
Columbia Pictures Corp.

Can't Be Beat!

To the Editor:

I would like to say that Motion Picture
Herald can’t be beat by any other magazine.
— DON THOMPSON , Cherry Place, Ham-
burg, New York.

PATRON "donation" subject to ticket tax,
U.S. rules Page 12

COMPO continues with pressure on drive
for tax relief Page 12

MAJORS win dismissal of Hillside trust suit
involving prices Page 12

PROMOTION on a platter; music helps sell
pictures Page 13

TERRY RAMSAYE Says — A column of com-
ment on matters cinematic Page 16

PARAMOUNT has big opening of "Stalag
17" on Broadway Page 17

THREE suits in Cleveland seek to end all
clearances Page 17

VARIETY CLUBS' Rogers Hospital seeks
$400,000 yearly Page 18

UNIVERSAL reports net profit for 26 weeks
of $1,346,632 Page 18

CINERAMA stockholders approve deal
with Stanley Warner Page 23

DISNEY plans production of three features
using CinemaScope Page 23

NORLING announces new single film
process is now ready Page 23

BOX OFFICE Champions for the month of
June, 1953 Page 25

THEATRE TV frequencies to be allowed by
FCC Page 25

CINEMASCOPE reported in impressive
demonstration in London Page 28

NATIONAL SPOTLIGHT— Notes on indus-
try personnel across country Page 30

WALLIS and HAZEN dissolve successful
production company Page 34

RCA asks FCC to approve its compatible

color TV system

Page 36

SERVICE DEPARTMENTS

Film Buyers' Rating

3rd Cover

Hollywood Scene

Page 24

Managers' Round Table

Page 37

People in the News

Page 34

What the Picture Did for Me

Page 35

IN PRODUCT DIGEST SECTION

Showmen's Reviews Page 1901

Short Subject Page 1903

The Release Chart Page 1904

MOTION PICTURE HERALD, JULY 4, 1953

THE stiffest defense against
Communist infiltration yet
adopted by any Hollywood
Guild or union was proposed to
the Screen Actors’ Guild member-
ship Tuesday in a letter from the
board of directors outlining a pro-
posed new by-law. The letter also
condemned by name 24 members
who have refused to answer the
House Un-American Activities Com-
mittee’s questions concerning Com-
munist party membership. The
proposed by-law would rule ineli-
gible for membership in the Guild
any person who “is a member of
the Communist party or of any
other organization seeking the over-
throw of the Government of the
United States by force and vio-
lence.’’ It also would incorporate in
the application for membership a
statement to be signed by the ap-
plicant reading: “I am not now and
will not become a member of the
Communist party nor of any other
organization which seeks to over-
throw the Government of the United
States by force and violence.”

► A new plant for the manufacture
of a new synthetic base for photo-
graphic film will be built at the
Du Pont Company’s factory at
Parlin, N. J., the company an-
nounced Wednesday. Tests have
shown that the new base, chemi-
cally identified as a polyester, is
several times stronger and has
much greater dimensional stability
than any of the present types of
safety film base and has comparable
flame resistance. It has the added
advantage of a reduction in film
thickness, making' possible greater
footage per reel. Production in com-
mercial quantities is expected by the
middle of 1955.

► Many industry officials feel that
the final solution of the theatre
television proceedings was the best
possible one. If the industry had
prosecuted its bid for exclusive fre-
quencies, they say, the Federal
Communications Commission might
have rejected it, or if the Commis-
sion had approved it and no use
were made of the frequencies, they
would have been taken away. As it
is, sharing the common carrier fre-
quencies, the industry can take its
time and work up some firm plans.

“ The Quigley Award is to
Showmanship what the
Academy Award is to act-
ing and producing — J. J.

Fi+zgibbons, president and
managing director of Fam-
ous Players Canadian, in a
letter to stockholders of the
Corporation.

► The defeat may have been a po-
litically wise move, but anyway the
New York film publicists were
soundly beaten in baseball by the
New York newspapermen last week-
end. The occasion was the annual
get-together of publicists and news-
men at the Wayne Country Club.
The score was 18 to 10, and Carl
Fishman of Loew’s swears on his
press agent’s honor that the game
was on the level. Merchandising
opportunities were not missed. Mid-
way in the game Columbia’s A1
Rylander called a halt to distribute
caps worn by Tommy Rettig in
“The 5,000 Fingers of Dr. T.” Not
one to be outdone. United Artists’
never-sleeping publicity director,
Mort Nathanson was quick to offer
“Melba” toast to the players.

► “It is our best estimate that dur-
ing the next three years we will
have to spend several million dollars
for theatre alterations and new
equipment . . . we are confident that
the expenditures will not cause any
serious strain . . .” said Charles P.
Skouras, president of National The-
atres this week in a letter to stock-
holders in the company.

► General admission tax collections
in May, reflecting April business,
were off from April collections but
were still the second highest this
year. They were also down from
May 1952 collections, the Bureau of
Internal Revenue reported. The
bureau said general admission tax
collections in May amounted to
$23,410,788, compared with $25,160,-
355 in April and $25,221,046 in May
last year.

► The Mosher bill outlawing the
censorship of newsreels in Ohio was
overwhelmingly passed by the state
House of Representatives in Co-
lumbus Tuesday. The vote was
110 to 6. Already approved by the
Senate the bill now awaits the
Governor’s signature. The bill suc-
ceeded a wider measure which
would have entirely eliminated the
Ohio board of censorship but which
died in committee.

In BETTER THEATRES

Some drive-in operators put no limit on how much their refreshment stands
can contribute to total gross; others think they have reached the limit; and there
are those who just don’t know . . . that’s how Philip L. Lowe, Boston drive-in
owner and concessionaire, classifies attitudes toward snack sale potential. For
the benefit of all three groups, he analyzes eight factors by which that potential
may be measured, in the lead article of this issue, "In Refreshment Sales What
Is Your Potential?"

With 20th Century-Fox ostensibly adopting one system of placing magnetic
tracks on the film with the picture, and Paramount proposing another, the indus-
try is confronted with a new occasion to make urgent decisions regarding sound.
In "Crisis in Sound, 1953," the two systems are compared.

MOTION PICTURE HERALD, published every Saturday by Quigley Publishing Company, Inc. Rockefeller Center, New York City 20. Telephone Cli 5,e p” 0,0' ,C^'e , dB^dv'
"Quigpubco, New York", Martin Quigley, President; Martin Quigley, Jr., Vice-President; Theo. J. Sullivan, Vice-President and Treasurer; Raymond Levy Vice-President, Leo J. Brady,
Secretary; Martin Quigley, Jr., Editor; Terry Ramsiye, Consulting Editor; James D. Ivers, News Editor; Char es S. Aaronson, Production Editor; Floyd E. J^^oto Edrtor

MOTION PICTURE HERALD, JULY 4, 1953

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by the Herald

HUGH MACKENZIE, producer of "No
Escape" for United Artists release, said in
New York Monday independent producers
are ready to make films in new processes
and he is considering CinemaScope for
his next, "An Island Affair," to be shot in
Samoa, in Eastman color.

by the Herald

AT THE COMERFORD circuit show-
manship meeting in Scranton: seated,
J. J. O'Leary, president; A. W.
Schwalberg, Paramount; Byron Linn,
operations manager; Adolph Zukor,
Paramount; Frank C. Walker, board
chairman; Ed Fay, Providence ex-
hibitor; William C. Gehring, 20th-
Fox. Standing, Ray Moon, Ed Wal-
ton, Rube Jackter, Bill Brumberg,
James O'Gara, George Schaefer,
Frank Cahill, S. F. Seadler. See page
34.

ROBERT CLARK, left, executive pro-
ducer and director, Associated British
Picture Corp., was in New York a
week to examine latest techniques
and confer with Allied Artists execu-
tives.

by the Herald

THE MAN FROM ALTEC. This is E. O.
Wilschke, operating manager of Altec
Service Corp., attired in the latest com-
munications device, a versatile whimsy
complete with tubes, a dial, earphones, a
mike, and dreamed up by field engineers
Don Clarke and Nick Markanich, who just
returned from the outer spaces.

MRS. ELIZABETH CHADWICK and her son, Lee,
left, receive a scroll in Hollywood from Steve
Broidy, president of the Independent Motion Pic-
ture Producers Association. It testifies to the work
and ideals of the late I. E. Chadwick, founder and
organization president for 28 years.

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MOTION PICTURE HERALD, JULY 4, 1953

AFTER THE NEGOTIOTIONS. The scene at
the United Artists home office in New York as
Edelberto Carrera, Sr., president of the
Cuban theatre circuit bearing his name,
signed for the 1954 I ineup. Standing are
Alfred Katz and Louis Lober, foreign sales
executives; Arthur B. Krim, president; Sam
Bekeris, foreign department, and Edelberto
Carrera, Jr.

ALL-TIME RECORD CROWDS jam the Central theatre, Lima, Peru, for that latest
wonder of wonders from the North Americans, Warner Brothers' 3-D "House of
Wax." The audience reaction at the thriller's opening night was described as
"sensational."

by the Herald

APPEAL for support
by Irving Engel, for
the Joint Defense
Appeal film industry
division luncheon,
last week in New
York. A goal of
$100,000 was an-
nounced, and a din-
ner to achieve this
will be held in
October, aided by
the Cin ema Lodge,
B'nai B'rith. With
Mr. Engel at the
head table are Leon
Goldberg, William
German, Austin
Keough and Harry
Brandt.

by the Herald

WELCOME, for Mr. and Mrs. John J. Fitzgibbons, left, from Mr. and
Mrs. William Perlberg, at Paramount's New York preview of Mr. Perl-
berg's "Little Boy Lost," starring Bing Crosby. Mr. Fitzgibbons is the
Famous Players Canadian circuit president.

ROBERT GOLDFARB July 13,
in New York, will open the first
employment agency solely for
the amusement fields. Twenty-
five years in the industry, hold-
ing positions in sales, advertis-
ing and then finally as person-
nel manager at United Artists
and at RKO Radio^ — Mr. Gold-
farb is convinced the screen,
radio and television industries
need a central, personalized
clearing house of employment.
He knows the key men and the
personnel men, and what they
want, he said, .and he adds,
"We will tell the people who
come to us that they will work
hard at the beginning for less,
that there will be tension but
also great promise and that
they can't expect to get ahead
by being clock-watchers."

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MOTION PICTURE HERALD, JULY 4, 1953

COMP© PUSHES
TAX CAMPAIGN

Series of Meetings Hear
Fight Leaders; Gillette
Bill Would End Levy

The campaign against the Federal ad-
mission tax continued during the week with
unabated energy. The Council of Motion
Picture Organizations announced the spon-
sorship of a series of meetings for the past
week and next week for the purpose of keep-
ing the tax removal efforts alive.

The meetings were to be addressed by
speakers who will make it plain “that the
tax campaign leaders are confident that the
Mason Bill, H. R. No. 157, will be adopted
at this session of Congress,” COMPO an-
nounced.

Asked to Collect

Exhibitors have been asked to consider
the feasibility of conducting collections
among theatre audiences for the benefit of
the civilian population of Korea, a request
for such collections having been made by
Dr. Milton Eisenhower, president of the
American Korean Foundation.

Meanwhile it was reported this week that
chances for a House Ways and Means Com-
mittee vote on the Mason bill grew brighter.
However, it was reported that the outlook
remained dim for the passage of the bill this
year, even if reported by the Ways and
Means Committee. The Mason Bill would
exempt motion picture theatres from the
20 per cent admission tax.

One thing which has kept the Mason Bill
from a committee vote is that Chairman
Reed (R., N. Y.) has feared that extension
of the excess profits, which he opposes,
might be tacked on as an amendment either
on the House floor or in the Senate. How-
ever, as a result of developments Monday,
the excess profits tax extension apparently
will be voted out of his committee as a
separate bill, and he no longer needs to keep
other bills bottled up. The Mason bill,
which the Treasury opposes, would put
House leaders on the spot.

To “ Get Them Out Soon ”

Mr. Reed said Monday that there was a
“mass of bills” in the committee and that
he intended “to get them out soon.”

Even if the committee should act shortly,
however, it is believed that Administration
opposition, plus the fact that Congress has
a lot of “must” legislation to dispose of be-
fore it quits for the summer would make it
unlikely that the bill reaches the White
House this year. Congressional leaders have
indicated they want to finish this session by
July 31. It would be very difficult to sand-
wich in the Mason Bill, in the Senate es-
pecially, before then.

Meanwhile, however, Senator Guy M.
Gillette, (D., Ia.) introduced a bill to take

off the 20 per cent tax. He said that recent
hearings of the Senate Small Business Com-
mittee, of which he is a member, as well as
a large volume of mail from theatre opera-
tors, had convinced him the industry was in
“a perilous situation.” The Constitution
requires that all tax legislation originate in
the house, but the Senator said his bill could
be offered as an amendment to any tax bill
sent to the Senate for legislative action by
members of the House.

The first COMPO meetings were held
Monday in Cincinnati, Chicago and St.
Louis. Tuesday meetings were held in Al-
bany, Little Rock, Philadelphia, Memphis
and Salt Lake City. Wednesday there were
meetings in Washington, Charlotte, Jackson-
ville, Dallas and Cleveland. Thursday meet-
ings were scheduled in Richmond and
Pittsburgh.

Meetings next week have been set up as
follows: July 6, Oklahoma City and Los An-
geles; July 7, San Francisco, Denver and
Buffalo. Arrangements are being made for
meetings in Boston, New Haven, Minne-
apolis and Seattle.

At each meeting will be screened a 16mm.
print of the film shown by the Tax Commit-
tee at the April 26 hearing on the Mason Bill
by members of the Ways and Means Com-
mittee of the House.

Studio Workers Union
Studies Pension Plan

HOLLYWOOD : The studio workers union
is studying a formula for financing a pen-
sion fund in which funds will come primarily
from producer proceeds from reissues and
film sales to television. This plan is sched-
uled for presentation to the studios July 25
at which time contracts will be re-negotiated.
Several other proposals probably will be
made a t this time, including a general wage
increase and revisions in the present health-
welfare setup.

Majors II in
Price Action
By Hillside

The Hillside Amusement Company, New
Jersey, Monday lost its price discrimination
case against Paramount, Loew’s, RKO Ra-
dio, Warner Brothers, Universal and United
Artists. Federal Judge Sidney Sugarman
dismissed the complaint.

The suit was watched by the industry
because it was the first based solely on price
discrimination and because it was the first
invoking the Robinson-Patman Act on such
discrimination. The Hillside company oper-
ates the Mayfair theatre, Hillside, N. J.,
and it had charged the defendants favored
Warner theatres.

The court ruled the act doesn’t apply to
films because they are licensed, not sold.
Judge Sugarman added the plaintiff hadn’t
given evidence to prove conspiracy ; that
there was insufficient evidence of competi-
tion between the houses, this being necessary
to make comparisons; that evidence of dam-
age also was insufficient, this being neces-
sary to show as a result of discrimination.

Louis Nizer and John Caskey were coun-
sel for the defendants. Arthur Fink, counsel
for Hillside, said an appeal would be filed
by the plaintiff.

Blames Taxes as Reason
For Theatre Closing

Robert Bryant, operator of the Capitol
theatre, Rock Hill, S. C., which closed its
doors after 22 years, blamed the closure
primarily on burdensome Federal and state
taxes. Mr. Bryant, who also operates the
Pix theatre, Rock Hill, minimized the effect
television had on theatre patronage in em-
phasizing the tax burdens.

Install Studio Wide Screen

A wide screen and stereophonic sound
equipment have been installed in the main
projection room at the Samuel Goldwyn
Studios, Los Angeles.

PATRON "DONATION" SUBJECT TO
ADMISSIONS TAX, U. S. DECIDES

WASHINGTON: The Bureau of Internal Revenue Monday ruled that a "dona-
tion” taken by a theatre owner instead of an admission charge is subject to the
20 per cent admission tax. Some months back, in protest against the Federal admis-
sion tax, some exhibitors told patrons that they would not charge admissions but
would accept whatever donation the customer wanted to make. In the ruling this
week the Internal Revenue Bureau said that theatres are run for profit and that
theatre-goers are willing or accustomed to paying admission charges. "The fact
that the amount so paid is called something other than an admission charge, such
as a donation, does not alter its identity as a condition to admission," the Bureau
said. The Bureau said its "advice" had been requested on a proposition, after a
case arose where a theatre owner taking such donations refused to pay admission
taxes.

MOTION PICTURE HERALD, JULY 4, 1953

PROMOTION ON A PLA TTER
EVERY SONG A SALESMAN

Music from Non - Musical
Films Tremendous in
Snaring Patronage

by VINCENT CANBY

A new trend — promotion of dramatic,
essentially non-musical films through music
— is in the making. Last week compositions
from United Artists’ “Moulin Rouge,” 20th
Century-Fox’s “Ruby Gentry” and United
Artists’ “Limelight” provided the material
for three of the five best-selling phonograph
records across the nation.

Ever since Mabel Normand romped
through a silent epic entitled “Mickey,”
circa 1919, music has been used to good but
only occasional advantage in the promotion
of the non-musical film. Last week’s three-
out-of-five ratio would not be noteworthy
had the songs originated in the scores of
musical comedies, but coming as they did
from the scores of dramatic films, it is
slightly sensational.

Title Conjunction Always
Brings Box Office Results

There is probably no means of promotion
quite as effective as music. All, except the
stone deaf, are susceptible to a stray tune
or an improbable lyric. If the title of that
tune or the words of that lyric also happen
to be the name of a motion picture, the
results can be pure gold at the box office.

There is, however, a catch. Paraphras-
ing a famous statement by Howard Dietz of
MGM (“The public can be a flop”), the
public can also be slow. Luckily, United
Artists executives started early in the pro-
motion of “The Song from Moulin Rouge.”
It was recorded by Percy Faith on a Co-
lumbia label just two days before beginning
its 14-week run at the Capitol in New York.

By the time the film began its subsequent
nans, the tune was to be heard everywhere.
Each time the radio was turned on, there
was that melodic plug.

Public, and Executives
Sometimes Too Slow

In the cases of the thematic compositions
from “Ruby Gentry” (“Ruby”) and “Lime-
light” (“Terry’s Theme”), the public and
perhaps some executives were slow. The
pictures had played most of their money-
making runs before the tunes caught on. In
the case of “Ruby,” the number was not
recorded until after the film had gone into
release. Local recording companies would
not touch Charles Chaplin’s “Limelight”
music until a London record, recorded in
Britain by Frank Chacksfield, began to cre-
ate excitement in New York. American
recording firms jumped on the bandwagon,
but it was too late to do the film any great
amount of good.

MUSIC GETS 'EM
IF NOTHING ELSE

When Brandt’s Mayfair on New
York's Times Square was playing the
United Artists-Stanley Kramer pro-
duction "High Noon" last fall and
winter, that corner of the "cross-
roads of the world" literally pulsed
with the strains of Dimitri Tiomkin's
title song. The managers had placed
in the Mayfair outer lobby a juke box
on which there were 12 different re-
cordings of the song. Loudly but not
too raucously, the juke box bemoaned
the fate of being torn "twixt love and
duty" from 9 A.M. to midnight for
I I weeks. Total gross for the picture
was in the neighborhood of $310,000.

Fate and circumstances, an unbeatable
combination, together helped Italian Films
Export reap the maximum benefits from the
MGM soundtrack recording of sultry Sil-
vana Mangano’s “Anna,” from the picture
of the same name. The record last week
was number 11 on the best seller list with
over 500,000 individual platters sold. This,
of course, does not include the number of
records sold by six other artists. Recording
companies, incidentally consider a hit any
record whose sales go to 300,000.

Because “Anna,” the film, has played off
quite slowly (being Italian-made with Eng-
lish dialogue dubbed in, exhibitors have been
wary), the picture has gained immeasurably
by the popularity of the tune. An I.F.E.
spokesman asserted definitely that company
officials knew what a potential piece of ex-
ploitation material they had in the song.
Before the picture went into release, a deal
was made for MGM Records to distribute
the sound track recording. After that, said
the spokesman, I.F.E. notified MGM every
time the film got a new booking so that the
latter could plug the record. Working hand
in hand, each pushed the other’s product in
each succeeding area.

Hollywood Considering
Production Possibilities

Does Hollywood know what exploitation
potential lies within the scores of many of
its dramas? A United Artists official says
yes, that studio composers definitely are
“thinking thematically” these days, but that
nobody can foretell, especially in the pop
tune field, what the public will like.

The day is long past, it seems, when a
major producer will allow his product to
go out scored with only casually integrated
bits and snatches of Brahms, Beethoven and
Tschaikowsky and with the chase accom-

panied by a harried rendition of the William
Tell Overture.

The U.A. man also pointed out that the
structure of the music business has changed
considerably over the years. Back in the
late ’20s it was a million dollar baby, sitting
in a five and ten-cent store on a raised dais
before a noisy upright piano, who plugged
the sheet music for such early film successes
as “Charmaine” (“What Price Glory ?”) and
“Diane” (“Seventh Heaven”). Today the
recording industry, revived by the big
“name” bands of the ’30s, is kept alive by
the omnipresent disc jockey, the latter an
indirect result of television’s cutting into
radio’s time.

Ingredients of New
Song Hit Uncertain

The disc jockey, said the U.A. analyst,
has long hours to fill and thus is himself
susceptible to the blandishments of press
agent and public and can, on occasion, turn
an obscure theme melody of a motion pic-
ture into a major hit.

Nobody in Tin Pan Alley — or anywhere
else, for that matter — knows what it takes
to make a song hit. A high percentage of
past thematic hits from films have featured
odd or unusual musical instruments. The
haunting “Spellbound” theme was domi-
nated by a theramin ; “The Third Man”
theme (2,000,000 recordings sold world-
wide) brought new life to the zither, and
Richard Hayman’s current “Ruby” record-
ing relies on a harmonica to express the
dreams of a girl from the wrong side of
the tracks who wants to better herself, one
way or another.

The power of a catchy theme was graphi-
cally shown in New York last year in con-
nection with the “art housef’ release of
Mayer-Kingsley’s South African import.
“The Magic Garden.” A pleasant little
film but no blockbuster, “Garden” featured
a haunting refrain played on a pennywhistle.
This proved so popular the ads quickly
identified the film as “The Pennywhistle
Blues Picture.” Before the picture had
completely played off, it was called simply
“The Pennywhistle Blues,” which it might
have been from the start if we were all born
with crystal balls for heads.

Over 1,000,000 Records
Of “ High Noon” Sold

One of the biggest thematic successes, of
course, was the title song from United
Artists’ “High Noon,” sung in the picture
by Tex Ritter, the McCoy among Western
singers. Total number of records sold — by
all artists — is over 1,000,000. Mr. Ritter
does a similar chore for another U.A. re-
lease, the forthcoming Western spoof pro-
duced by Ken Murray, “The Marshal’s

( Continued, on page 16, column 3)

MOTION PICTURE HERALD, JULY 4, 1953

ROMANCE!

DRAMA!

COMEDY!

in M-G-M TRADE SHOWS!

BIG LEAGUER'
JULY 13th

The human story behind those who come to the Big League training camps in
search of fame and fortune. It has "Stratton Story” appeal, packed with thrills,
laughs, heart-throbs, excitement. Filmed at the New York Giants camp in Florida.

ALBANY

ATLANTA

BOSTON

BUFFALO

CHARLOTTE

CHICAGO

CINCINNATI

CLEVELAND

DALLAS

DENVER

DES MOINES

DETROIT

INDIANAPOLIS

JACKSONVILLE

KANSAS CITY

LOS ANGELES

20th-Fox Screen Room
20th- Fox Screen Room
M-G-M Screen Room
20th-Fox Screen Room
20th- Fox Screen Room
Warner Screen Room
20th-Fox Screen Room
20th- Fox Screen Room
20th- Fox Screen Room
Paramount Screen Room
20th- Fox Screen Room
Max Blumenthal’s Sc. Rm.
20th- Fox Screen Room
Florida State Screen Room
20th-Fox Screen Room
United Artists’ Screen Rm.

1052 Broadway 7/13

197 Walton St.. N. W. 7/13
46 Church Street 7/13

290 Franklin Street 7/13
308 S. Church Street 7/13
1307 S. Wabash Ave. 7/13

1632 Central Parkway 7/13

2219 Payne Avenue 7/13

1803 Wood Street 7/13

2100 Stout Street 7/13

1300 High Street 7/13

231 0 Cass Avenue 7/13

236 No. Illinois St. 7/13
128 East Forsyth Street 7/13
1720 Wyandotte St. 7/13

1851 S. Westmoreland 7/13

2 P.M.
2 P.M.
2 P.M.
2 P.M.
1 :30 P.M.
1 :30 P.M.
2 P.M.

1 P.M.
2:30 P.M.

2 P.M.
1 P.M.

1 :30 P.M.

1 P.M.

2 P.M.
1 :30 P.M.

2 P. M.

MEMPHIS
MILWAUKEE
MINNEAPOLIS
NEW HAVEN
NEW ORLEANS
NEW YORK
OKLAHOMA CITY
OMAHA
PHILADELPHIA
PITTSBURGH
PORTLAND
ST LOUIS
SALT LAKE CITY
SAN FRANCISCO
SEATTLE
WASHINGTON

20th- Fox Screen Room
Warner Screen Room
20th- Fox Screen Room
20th- Fox Screen Room
20th- Fox Screen Room
M-G-M Screen Room
20th- Fox Screen Room
20th- Fox Screen Room
M-G-M Screen Room
M-G-M Screen Room
B. F. Shearer Screen Rm.
S’Renco Art Theatre
20th- Fox Screen Room
20th-Fox Screen Room
Jewel Box Preview Thea.
RKO Screen Room

151 Vance Avenue 7/13

212 W. Wisconsin Ave. 7/13

1 01 5 Currie Avenue 7/13

40 Whiting Street 7/13

200 S. Liberty St. 7/13

630 Ninth Avenue 7/13

10 North Lee Street 7/13

1502 Davenport St. 7/13

1233 Summer Street 7/13

1623 Blvd. of Allies 7/13

1947 N. W. Kearney St. 7/13

3143 Olive Street 7/14*

216 E. First St., So. 7/13

245 Hyde Street 7/13

2318 Second Avenue 7/13

932 N. Jersey Ave., N.W. 7/13

12 Noon
1 :30 P.M.
2 P.M.
2 P.M.
1 :30 P.M.
2:30 P.M.
1 P.M.

1 P.M.

2 P.M.
2 P.M.
2 P.M.
1 P.M.
1 P.M.

1:30 P.M.

1 P.M.

2 P.M.

M-G-M presents “ BIG LEAGUER ” starring Edward G. Robinson • Vera-Ellen • with Jeff Richards
Richard Jaeckel • William Campbell • Carl Hubbell • Screen Play by Herbert Baker • Based on a Story
by John McNulty and Louis Morheim • Directed by Robert Aldrich • Produced by Matthew Rapf

★

THE GREAT DIAMOND
ROBBERY-JULY 28th

A new uproarious role in the career of the world’s funniest man, Red Skelton.
Now he’s a nervous diamond cutter, and he cuts up plenty in a mad scramble
of howls and hoodlums. Plus a gorgeous new leading lady, Cara Williams!

ALBANY

20th- Fox Screen Room

1 052 Broadway

7/28

P.M.

MEMPHIS

ATLANTA

20th- Fox Screen Room

197 Walton St., N. W.

7/28

P.M.

MILWAUKEE

BOSTON

M-G-M Screen Room

46 Church Street

7/28

P.M.

MINNEAPOLIS

BUFFALO

20th- Fox Screen Room

290 Franklin Street

7/28

P.M.

NEW HAVEN

CHARLOTTE

20th-Fox Screen Room

308 S. Church Street

7/28

1 :30

P.M.

NEW ORLEANS

CHICAGO

Warner Screen Room

1307 S. Wabash Ave.

7/28

1 :30

P.M.

NEW YORK

CINCINNATI

20th-Fox Screen Room

1632 Central Parkway

7/28

P.M.

OKLAHOMA CITY

CLEVELAND

20th- Fox Screen Room

2219 Payne Avenue

7/28

P.M.

OMAHA

DALLAS

20th- Fox Screen Room

1803 Wood Street

7/28

2:30

P.M.

PHILADELPHIA

DENVER

Paramount Screen Room

21 00 Stout Street

7/28

P.M.

PITTSBURGH

DES MOINES

20th- Fox Screen Room

1300 High Street

7/28

P.M.

PORTLAND

DETROIT

Max Blumenthal’s Sc. Rm.

231 0 Cass Avenue

7/28

1 :30

P.M.

ST LOUIS

INDIANAPOLIS

20th- Fox Screen Room

236 No. Illinois St.

7/28

P.M.

SALT LAKE CITY

JACKSONVILLE

Florida State Screen Room

128 East Forsyth Street

7/28

P.M.

SAN FRANCISCO

KANSAS CITY

20th- Fox Screen Room

1720 Wyandotte St.

7/28

1:30

P.M.

SEATTLE

LOS ANGELES

United Artists' Screen Rm.

1851 S. Westmoreland

7/28

P.M.

WASHINGTON

20th-Fox Screen Room
Warner Screen Room
20th- Fox Screen Room
20th- Fox Screen Room
20th- Fox Screen Room
M-G-M Screen Room
20th- Fox Screen Room
20th- Fox Screen Room
M-G-M Screen Room
M-G-M Screen Room
B. F. Shearer Screen Rm.
S’Renco Art Theatre
20th- Fox Screen Room
20th- Fox Screen Room
Jewel Box Preview Thea.
RKO Screen Room

151 Vance Avenue 7/28

212 W. Wisconsin Ave. 7/28

1 015 Currie Avenue 7/28

40 Whiting Street 7/28

200 S. Liberty St. 7/28

630 Ninth Avenue 7/28

10 North Lee Street 7/28

1502 Davenport St. 7/28

1233 Summer Street 7/28

1623 Blvd. of Allies 7/28

1947 N. W. Kearney St. 7/28

3143 Olive Street 7/28

216 E. First St., So. 7/28

245 Hyde Street 7/28

2318 Second Avenue 7/28

932 N. Jersey Ave., N.W. 7/28

12 Noon
1:30 P.M.
2 P.M.
2 P.M.
1 :30 P.M.
2:30 P.M.
1 P.M.

1 P.M.

2 P.M.
2 P.M.
2 P.M.
1 P.M.
1 P.M.

1:30 P.M.

1 P.M.

2 P.M.

M-G-M presents Red Skelton in “THE GREAT DIAMOND ROBBERY” * with Cara Williams
James Whitmore • Kurt Kasznar • Dorothy Stickney • Screen Play by Laslo Vadnay and Martin
Rackin • Story by Laslo Vadnay • Directed by Robert Z. Leonard « Produced by Edwin H. Knopf

Above: Advertisement appearing in all leading Jan magazines

NEED WE SAY MORE
THAN THIS FAN AD
ABOUT "LATIN LOVERS?”

It’s Lana Turner’s most sizzling picture!

TRADE

SHOWS

JULY 17th

LATIN

LOVERS

ALBANY-7/17-2 P.M.

20th- Fox Screen Room
1052 Broadway

ATLANTA-7/17-2 P.M.

20th- Fox Screen Room
197 Walton St., N.W.

BOSTON-7/17-2 P.M.

M-G-M Screen Room
46 Church Street

BUFFALO-7/17-2 P.M.

20th- Fox Screen Room
290 Franklin Street

CHARLOTTE- 7/17-1:30 P.M.

20th-Fox Screen Room
308 S. Church Street

CHICAGO— 7/17— 1 :30 P.M.

Warner Screen Room
1307 S. Wabash Avenue

CINCINNATI-7/17-2 P.M.

20th-Fox Screen Room
1632 Central Parkway

CLEVELAND-7/17-1 P.M.

20th- Fox Screen Room
2219 Payne Avenue

DALLAS- 7/17-2:30 P.M.

20th- Fox Screen Room
1803 Wood Street

DENVER-7/17-2 P.M.

Paramount Screen Room
21 00 Stout Street

DES MOINES-7/17-1 P.M.

20th-Fox Screen Room
1300 High Street

DETROIT- 7/17-1:30 P.M.

Blumenthal’s Screen Rm.

231 0 Cass Avenue

INDIANAPOLIS— 7/17— 1 P.M.

20th- Fox Screen Room
236 North Illinois Street

JACKSONVILLE-7/17-2 P.M.

Florida State Screen Room
128 East Forsyth Street

KANSAS CITY- 7/17-1:30 P.M.

20th- Fox Screen Room
1720 Wyandotte Street

LOS ANGELES- 7/17-2 P.M.

United Artists’ Screen Room
1851 South Westmoreland

MEMPHIS-7/17-12 Noon

20th-Fox Screen Room
151 Vance Avenue

MILWAUKEE- 7/17-1:30 P.M.

Warner Screen Room
212 West Wisconsin Avenue

MINNEAPOLIS-7/17-2 P.M.

20th- Fox Screen Room
1015 Currie Avenue

NEW HAVEN-7/17-2 P.M.

20th-Fox Screen Room
40 Whiting Street

NEW ORLEANS- 7/17-1:30 P.M.

20th-Fox Screen Room
200 South Liberty Street

NEW YORK -7/1 7 -2:30 P.M.

M-G-M Screen Room
630 Ninth Avenue

OKLAHOMA CITY-7/17-1 P.M.

20th- Fox Screen Room
10 North Lee Street

OMAHA-7/17-1 P.M.

20th-Fox Screen Room
1502 Davenport Street

PHILADELPHIA-7/17-2 P.M.

M-G-M Screen Room
1233 Summer Street

PITTSBURGH-7/17-2 P.M.

M-G-M Screen Room
1623 Boulevard of Allies

PORTLAND- 7/17-2 P.M.

B. F. Shearer Screen Room
1947 N. W. Kearney Street

ST. LOUIS- 7/17-1 P.M.

S'Renco Art Theatre
3143 Olive Street

SALT LAKE CITY-7/17-1 P.M.

20th-Fox Screen Room
216 East First Street, South

SAN FRANCISCO— 7/17— 1 :30 P.M.

20th- Fox Screen Room
245 Hyde Street

SEATTLE-7/17-1 P.M.

Jewel Box Preview Theatre
2318 Second Avenue

WASHINGTON-7/17-2 P.M.

RKO Screen Room
932 New Jersey Avenue, N.W.

I errr Raima

CUSTOMERS' WHIMS — Fan mail,
fifty percent against film interpola-
tions, has cancelled Ed Sullivan's
plan for cooperations with Hollywood on
his CBS-TV "Toast of the Town" show,
apparently to the surprise of all concerned
except the letter writers.

In view of the fact that, as most tele-
vision viewers must know, at least half of
their programs are either pre-canned on
film or selected theatrical pictures, it must
be assumed they are not against film but
that they are against it on a show which
has been all-live.

It is, however, perhaps only the expres-
sion of a lot of folk who like to take their
pen in hand, which can be far indeed from
anything more than a fraction. Anyone
knows who has had to deal with fan mail,
or engaged in a study of those "letters to
the editor" it is obvious that the writers
do not represent a norm or anything re-
sembling a cross section. But not only are
producers and editors vulnerable to the
mail but also many of our statesmen. And
especially radio and television advertising
managers and sponsors.

FANTASY SCIENCE — That challenging
title of "The Beast from 20,000 Fathoms"
beguiles reflection. Twenty thousand
fathoms is around 24 miles. The greatest
ocean depth known is about seven miles.
Therefore that atomic blast which aroused
the beast from his ages of hibernation
had to stir him up out of around 17,000
feet of mud. That would be a lot of
bomb and a lot of mud. What would be
Mr. Hickenlooper's attitude about letting
that sort of thing get into circulation!

CULTURE CONCENTRATE — Adding
to the impeding wonders we are now
threatened with packages of condensed
lectures, dialogue and music. This is
announced with all scientific dignity by
the N ewsletter of the National Associa-
tion of Educational Broadcasters discussing
a "Time Compressor" recording device
evolved at the University of Illinois by
which an hour of recording "can easily be
compressed into forty-five minutes. Com-
pressions of ten percent can not be
noticed, while more than fifty percent of
the time can be discarded without destroy-
ing understandability."

It is also interestingly alleged that:

"Scientists have known for sometime that
the ear is faster than the mouth. . . ."

No considerations are offered about
just how the rate of understanding might
compare with the capacities of either ear
or mouth.

Once again we see some of our educa-
tors in naif hope seeking some magic
method of producing culture and under-
standing. This observer has had much
experience with persons who have been
graduated by extrusion, but never one
educated by injection.

We have no details on the Illinois
method of speech compression, but there
could be great possibilities if they could
filter out the bologny.

TO BRITAIN'S GLORY — Reflection
brings one to consider a happy con-
trast between the unfortunate insti-
tutional endeavour of the British industry
with the futile boast of the ill-fated "The
Magic Box" and the sparkling achievement
of J. Arthur Rank's "A Queen is Crowned."
The coronation picture is perhaps the
greatest documentary performance of the
screen.

The coronation recording, all done with
high skills, has the advantage over the
prior effort, of being based on a sound
tradition. It required no calculated ro-
mancing, no inferences of meaning. It
presents facts without manipulation. They
do of course pertain much more to yester-
day than today, a realism about the Britain
that was, but it really was.

Unlike that propagandist effort built
around Friese-Greene, which set out to
portray him as the father of the motion
picture and Britain as its homeland, "A
Queen is Crowned" documents, through
the motion picture, the glory of Britain.

WAY OVER IN MALAYA— That far re-
gion to most of us means steaming tropics,
rubber and tin and all the political troubles
of Asia. So we have with interest tidings
from Nathan D. Golden, Department of
Commerce, that what they are really ex-
cited about is 3-D. It seems that the two
big and dominant circuits, Shaw Brothers
and the Cathay Organization, are racing
to the screen with third dimension features
and shorts with "public interest and press
sensational by Singapore standards." It's
a rich area for Hollywood exports. Malaya
is 6.4 -per cent literate.

FILM MUSIC

( Continued from page 13)

Daughter.” Exhibitors will note that it has
been recorded by Mr. Ritter on Columbia
label and is available.

For the forthcoming Gary Cooper-U.A.
picture, “Return to Paradise,” the title song
has been recorded by no less than seven
companies: Columbia, Victor, Capitol,

Decca, London, Coral and MGM. These
are going into release well in advance of
the picture so that both parties may benefit.
“The Moon Is Blue,” another from the same
company, has a title song which has been
recorded twice by Victor and once by Mer-
cury. U.A., for one, is not going to be
caught by a slow public.

The same Richard Hayman, who rose to
prominence with his hit recording of
“Ruby,” has done a similar job on the
thematic tune from Paramount’s “Shane,”
(“The Faraway H ills” ) . The recording
was Mercury’s fifth best-seller last week, is
doing a job for the exhibitor every time a
nickel is dropped in the slot, backed by
Mr. Hayman’s version of “Limelight.”

Thematic music from Universal’s “All I
Desire” has so far been recorded by four
companies, Decca, Columbia, Capitol and
MGM. A little late, but still being pushed
by its publishers, is the thematic music to
last year’s Oscar-winning MGM film, “The
Bad and the Beautiful.”

It is thus obvious that exhibitors, if this
theme music trend continues, will be pre-
sented with another, strong exploitation
procedure long overlooked in general pub-
licity programs.

Continuing the not-quite-so-unusual prac-
tice of promoting film musicals through
their scores, 20th-Fox has concluded a deal
with MGM Records for the release of songs
from the sound track of “Gentlemen Prefer
Blondes,” featuring Marilyn Monroe and
Jane Russell. Advance sale of the album
has reached 20,000. MGM also will release
the album of tunes from “The Bandwagon,”
the forthcoming MGM picture starring Fred
Astaire, Nanette Fabray and Tack Buchanan,
with a score by Arthur Schwartz and How-
ard Dietz,

Set Top Campaign for
"Robe," CinemaScope

A campaign “entailing the highest promo-
tional budget in the company’s history” will
be expended on “The Robe” and Cinema-
Scope, Charles Einfeld, 20th Century-Fox
vice-president, disclosed last week on his
return to New York from the coast. The
film will have its world premiere in New
York late in August.

Ballantyne's All-System
Package Hits New High

Orders for the Ballantyne Company’s all-
system package for showing 3-D, panoramic-
screen and stereophonic-sound films, have
passed the $2,000,000 mark, it has been an-
nounced by J. Robert Hoff, executive vice-
president. This amounts to orders to equip
335 theatres.

MOTION PICTURE HERALD, JULY 4, 1953

Seek to End
Clearances
li it It 3 Suits

CLEVELAND : Seymour Simon and his
associate attorney, Morton Barrisch, last
week announced the filing of three anti-trust
suits against all major distributors, seeking
total elimination of clearances in all cases
and in the case of the State theatre in
Uhrichville vs. distributors, involving Shea’s
New Philadelphia theatre as a conspirator,
additionally seeking $390,000 damages, at-
torneys fees and costs.

The plaintiff claims the 14-day clearance
granted Shea’s New Philadelphia theatre
over Uhrichville is a violation of the anti-
trust laws and an attempt at monopoly by
conspiracy to stifle competition.

Another plaintiff, the Gabon theatre, of
Gabon, owned by independent Cleveland
interests, seeks reasonable film rental and
the elimination of a seven-day clearance cur-
rently granted a first run in Mansfield by
all distributors except 20th Century-Fox.
Both the Gabon and Uhrichville suits have
been filed in Cleveland Federal Court.

In Toledo Federal Court, the Capitol
theatre, Delthos, is plaintiff against all dis-
tributors except 20th-Fox and Columbia and
seeks elimination of a three-day clearance
granted by alleged conspiracy to the Lima
first run Warner circuit house.

The first round in these suits was won
by Mr. Simon in Toledo Federal Court last
Tuesday when Judge Kloeb ruled in the
Delthos case that the defendant must pro-
duce subpoenaed documents relating to towns
other than those involved in the suit, the
object being for the plaintiff attorneys to
establish a concerted distributor policy.

Cincinnati Eliminates
Part of Ticket Tax

CINCINNATI : Following urgent pleas
from the Greater Cincinnati Independent
Exhibitors’ Association, the City Council
has exempted admissions of 50' cents or less
from collection of the three per cent city
tax. The exhibitor organization pointed out
that consistently declining business had
forced the closing of 27 area neighborhood
subsequent run theatres during the past 18
months.

See Record Year
For Color Corp.

Color Corp. of America is heading for
the biggest year in its history, vice-presi-
dent Sam Burkett stated in New York. Im-
provements in the process formerly known
as Cinecolor have attracted wide interest,
Mr. Burkett said.

The company flow has 13 pictures in its
laboratories and indications are that more
than 25 will be made this year in the Color
Corp. s process, thereby hitting a new rec-
ord, Mr. Burkett said.

PREMIERE OF "STALAG 17"

AS THE BAND PLAYED, the celebrities
marched in, and there were many. The
world premiere of Paramount's "Stalag 17"
had Broadway goggling Tuesday night. The
Astor Theatre was the scene of military
splendor, as a military band serenaded for
the Air Force Association's Widow Re-
habilitation Program, as arc lights flooded
the front of the house with daylight, and
as radio, newsreels, and news photogra-
phers recorded the arrivals. Above, left,
Barney Balaban, president of Paramount
Pictures, with Russell Holman, production
executive; above, right, A. W. Schwalberg,
president of the Paramount Film Distribut-
ing Corporation, with his wife; and, right,
Gloria Swanson; Adolph Zukor, chairman
of the board of Paramount; and David
Levison, Commander of the New York
State Wing of the Air Force Association.

Some of the personalities who appeared
at the radio microphone to speak to the
audience were Milton Berle, Eddie Fisher,

Joe E. Brown, Tex McCrary, Jinx Falken-
burg, Harvey Lembeck, Robert Strauss,
Thelma Ritter, Maggie McNellis, Benny
Fields, Peter Lawford.

NPA Film Division
In Sharp Cutback

WASHINGTON : The National Production
Authority’s film division has been trimmed
back drastically, effective last Wednesday.
Further cutbacks are still a possibility.

The Motion Picture, Scientific and Photo-
graphic Products Division has been operat-
ing with 22 persons, under Nathan D.
Golden as director. Early in June, as part
of the program to liquidate the defense
emergency agencies, all 22, including Mr.
Golden, got dismissal notices, effective June
30. It was understood that during the month,
the Administration would make more defi-
nite plans as to just what sort of set-up it
would keep to service private industry, and
that some of the dismissal notices just
handed out would be withdrawn.

Mr. Golden anticipated he would end up
with about 13 or 14 persons. But later he
was informed that the NPA division would
be continued for another 30 days, while the
permanent set-up is considered further, and
that he is to have only seven other people

in his division for this 30-day period. This
means his division has been cut by two-
thirds.

On August 1, the NPA set-up is slated
to be re-absorbed into the Commerce De-
partment as a business Services Administra-
tion. There is a possibility that further per-
sonnel cutbacks might be ordered when this
switch takes place.

Hersholf Is Reelected by
Hollywood Relief Fund

HOLLYWOOD : The Motion Picture Re-
lief Fund Tuesday reelected Jean Plersholt
president for the sixteenth consecutive term.
All other incumbents also were reelected.
The permanent charities committee has set
a 1954 campaign goal of $1,225,000. This
budget committee, set up under Carl Cooper,
chairman, includes representatives of the
committee’s 12 constituent industry groups.
The budget report proposed inclusion of 17
major charitable organizations among the
beneficiaries of the permanent charities
committee.

MOTION PICTURE HERALD, JULY 4, 1953

HOSPITAL SEEKS
$400,000 YEARLY

HONORING THE WORKERS. Certificates honoring their valiant efforts on behalf of the fund-
raising activities of the Variety Clubs — Will Rogers Hospital are presented to members
of the board of directors at a luncheon at the Hospital in Saranac, N. Y. Left to right:
Sam Switow, chairman of the exhibitor section of the Christmas Salute; A. Montague,
president of the Hospital; R. J. O'Donnell, chairman of the board; Charles J. Feldman, chair-
man of distributors for the Christmas Salute; Gene Picker, accepting a certificate for Joseph
Vogel, chairman of the coin box collection plan, and Herman Robbins, co-chairman of the
coin box plan.

Continuation of the present avenues of
fund-raising, with special emphasis on the
Christmas Salute and the coin box collec-
tions, so as to achieve a minimum annual
income of at least $400,000 was pledged by
the board of directors of the Variety Clubs-
Will Rogers Memorial Hospital last week-
end.

Meeting at the Hotel Al-Bur-Norm on
Schroon Lake, N. Y., after their annual visit
to the hospital at Saranac, the directors were -
elated at the progress made in the four
years since they assumed responsibility for
the institution.

The rehabilitation of the building in both
equipment and physical appearance was
apparent.

The annual reports submitted to the board
by the medical and research staffs, by S. H.
Fabian, treasurer ; by the fund-raising and
finance chairman, Fred Schwartz; and by

Above. A plaque honoring the memory of
Harold Rodner for his work on behalf of the
Hospital is unveiled in the newly decorated
lounge. Left to right: Mr. O'Donnell, Mrs.
Joseph Selzer, sister of the late Mr. Rodner;
Dr. Joseph Selzer, and Harry Kalmine, mem-
ber of the board. Above, left. Jack Beresin,
Variety International Chief Barker, presents
a check for $10,000 to A. Montague, presi-
dent of the Hospital, at the board of direc-
tors meeting at the Hotel Al-Bur-Norm,
Schroon Lake, N. Y.

the executive vice-president, Charles E.
Lewis, all indicated growth in both service
and support.

The medical reports stressed the results
achieved with the laboratory and X-ray
equipment recently supplied to the hospital.
The laboratory facilities are particularly
important in the development of the new

treatment techniques involving the anti-bi-
otic drugs and surgery. The hospital has
gained national prestige through its work in
this direction and plans are now being con-
sidered for collaboration with other medical
and research units engaged in the study of
tuberculosis.

On the financial side, the report showed
the remarkable success of the Christmas Sa-
lute idea in which contributions are solicited
from every member of the motion picture in-
dustry. The 1952 collections amounted to
$124,529.24, representing contributions by
101,000 individuals. Extension of this plan
is considered of vital importance along with
extra emphasis to be placed upon the coin
box collection plan. Under this plan special
coin boxes are placed in the lobbies of the-
atres soliciting contributions from the pub-
lic. Last year the boxes returned $44,193.

With the addition of special gifts includ-
ing a single contribution of $25,000 from
Samuel Goldwyn over and above the $18,-
870 received from the benefit premiere of
“Hans Christian Andersen,” total receipts
last year were $294,789.76. This total also
included $10,000 from the Variety Clubs In-
ternational approved at the recent convention
in Mexico City and presented to Abe Mon-
tague, president of the hospital board at
the meeting Saturday by Jack Beresin, In-
ternational Chief Barker.

Plaques honoring their work on the
Christmas Salute and the coin box collec-
tions were presented to Herman Robbins,
president of National Screen Service; Sam
Switow, Louisville exhibitor ; Charles J.
Feldman, general sales manager of Univer-
sal, and Gene Picker, Loew’s Theatres ex-
ecutive.

#7 miversal 9s
26- Week Net
$1*346*632

Universal Pictures’ consolidated net earn-
ings for the 26 weeks ended May 2 totaled
$1,346,632, after provision of $2,310,000 for
estimated Federal income and excess profits
taxes. After deducting dividends on the
preferred stock, the net earnings are equiva-
lent to $1.27 per share on the 961,698 shares
of the company’s common stock outstanding
on May 2.

The 1953 period’s net is $126,192 higher
than that of the same period last year when
the consolidated net was $1,220,440, after
providing $1,550,000 for income and excess
profits taxes ; after deducting dividends on
the preferred stock, the earnings in the 1952
period were equivalent to $1.14 per share on
960,498 shares of common outstanding.

The world gross of Universal increased
more than $4,000,000 during the first 26
weeks of this year over the same two quar-
ters of last year. The 1952 period showed
gross earnings of $30,377,422 against $34,-
476,837 for the 26-week period that ended
May 2.

MOTION PICTURE HERALD, JULY 4, 1953

something NEW
something BIG ,

from

Now. .A\^llt

In his FIRST ADULT LOVE STORY . . . bril- intensity of suspense . . . New in spectacular sweep
liantly played by a wonderful cast headed by a of mighty scenes... New in approach to fiery action
thrilling new romantic team! ... A picture new in ... and newest of all in BOX OFFICE POWER !

AVAILABLE TO SELECTED KEY RUNS EARLY IN AUGUST!

Mary Tudor and Charles Brandon, princess and com-
moner, the lovers whose romance made thrones tremble.

Produced by Perce Pearce • Directed by Ken Annakin
Screenplay by Lawrence E. Watkin • Distributed by RKO Radio Pictures

Wfolt Disney’s

SWORD

Get your copy of

the big showman’s

press book. See all

the special aids

and accessories.

Rose

from the famed adventure novel When Knighthood Was In Flower

Starring a new
romantic team

RICHARD

GLYNIS

JOHNS

TODD

AND

Measure of Excitement to Romance !

COLOR
V BY

TECHNICOLOR

Four-color double-truck in Look . . .
Full-color page in Life . . . Big color ads
in Collier’s, Red Book, Cosmopolitan,
McCall’s . . . Fan Magazines . . . and
in 57 Sunday newspaper supplements.

AN ALL LIVE ACTION PICTURE

BACKED BY A NATIONAL
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For that EXTRA THRILL . . .
"The Sword and The Rose”
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| J f r4» i ^ ^

('The Sword And The Rose' and
'Prowlers Of The Everglades' may be
booked as a combination or individually)

LITHO USA

Single Film
3-D Claimed
By Norling

A single film 3-D projection system re-
quiring about one-third or less the light
requirement of single film systems utilizing
the beam-splitting devices, was announced
in New York Monday by its inventor, John
A. Norling, president of Loucks & Norling
Studios, Inc.

According to Mr. Norling, “basic research
has been completed and no further invention
is required to build a prototype of the new
system which requires only straightforward
design and development to bring it into
being.”

He said that his system, which requires
a little more than 50 per cent reduction in
film image size, still requires less than that
needed in most beam-splitting systems and
much less light. His system, he continued,
will consist simply of an attachment which
can be fitted to any projector in a matter
of minutes, thus permitting a quick change
to standard projection method after showing
three-dimension films.

The Norling attachment will consist of
two separate lenses, permitting the full aper-
ture of each to be used, whereas the beam-
splitter method uses a single lens, permitting
less than half the effective aperture of the
projection lens to be utilized in projection
of the film image.

Another important feature, he said, is the
arrangement of the left and right eye images
on the film (side by side and turned at a
90 degree angle) to obtain equal illumina-
tion for corresponding areas. This, he de-
clared, cannot be done with a beam-splitter
working together with a single lens, since
the beam-splitter creates an unbalanced light-
ing condition by putting more light on the
one side and top of one image and less light
on the corresponding side and bottom of the
other.

Stresses Need for 3-D
Glasses for Children

DALLAS : The “urgency” of providing
some kind of adequate polarizing glasses
for use by children was pointed out by
Claude Ezell, founder of International
Drive-in Theatre Owners Association, in a
letter mailed to all distributing company
presidents and general sales managers. Mr.
Ezell suggested that regular cardboard
glasses specifically designed for children, or
that permanent glasses for both adults and
children, be made available. “As Polaroid
glasses are now made,” Mr. Ezell claimed,
“they will not and cannot possibly be made
to fit children, and it is through the young-
sters that drive-in theatres derive a great
amount of business. We have made a sur-
vey of this condition and have found that
parents have actually been urged by their
children to leave the drive-in theatre play-
ing 3-D and drive some distance to another
theatre, or go home to see TV.”

"Compatibility" Enthusiasm
Is Reported by Balaban

Exhibitor enthusiasm abroad for a “com-
patible” wide-screen and stereophonic sound
system was reported last week by Barney
Balaban, president of Paramount Pictures,
on his return from a 10-day visit to Europe.
He said there was a feeling of optimism
abroad, engendered, in part, by the new
technological developments in the U. S.
The “compatibility” of product for wide-
screen projection is claimed by Paramount
in its 1 to 1.66 aspect ratio and recently it
urged the industry-wide adoption of its five-
track stereophonic sound system.

Disney to
Film 3 in
CinemaScope

Walt Disney will make three features and
a number of short subjects in the Cinema-
Scope process it was announced in New
York Tuesday by 20th Century-Fox and
Walt Disney Productions. The contract for
the use of the photographic lenses was ne-
gotiated by Roy O. Disney, president of
Disney Productions and A1 Lichtman, dis-
tribution director of 20th-Fox.

The first feature to be made in the process
will be “Lady and the Tramp,” a full length
cartoon on which test shots have already-
been filmed. It is scheduled for release
late in 1954. The first live action feature
in the process will be Jules Verne’s “20,000
Leagues Under the Sea” on which produc-
tion will begin late this year. The third
feature title was not announced.

Among the short subjects will be a num-
ber in the new Disney series “People and
Places” including one to be filmed soon in
Switzerland. One of the “Adventures in
Music” series and several Donald Duck sub-
jects are also scheduled for CinemaScope
production, it was said. Under the terms
of the deal with 20th-Fox the Disney com-
pany can produce an unlimited number of
short subjects in the process.

3-D Discussions to Top
N. J. Allied Convention

The ramifications of 3-D will be the key-
note of the annual convention of the Allied
Theatre Owners of New Jersey, July 8-10,
in the Hotel Traymore, Atlantic City.
Speakers who are authorities on the various
phases of 3-D will address the group at an
afternoon session, which will be devoted en-
tirely to three-dimension discussions. A
record turnout is expected.

Change RKO 3-D Showing

RKO Radio’s first 3-D film, “Second
Chance,” will be shown to industry execu-
tives, magazine editors, and representatives
of the trade and news press, at the RKO
86th Street in New York next Wednesday,
July 8, instead of last Wednesday as orig-
inally announced.

Stanley Deal
On Cinerama
Ms Approved

Cinerama Productions 'stockholders au-
thorized the conclusion of the proposed deal
with Stanley Warner at a special meeting
held in New York last Thursday. The au-
thorization, it was explained, allows the
Cinerama Productions board of directors to
execute the agreement now being prepared
for signing.

The deal, which is subject to the approval
of the Department of Justice, calls upon
Stanley Warner, through a wholly-owned
subsidiary to assume operation of present
and projected Cinerama theatres as well as
finance the production of future Cinerama
features.

The agreement, it was learned, will not
be put into effect until approval is gained
from the Justice Department. Pending such
approval, if no further hitches develop before
signing, Stanley Warner will limit its par-
ticipation in Cinerama operations to the
extent of exhibiting Cinerama in Stanley
Warner theatres only. It was pointed out
that this would bar Stanley Warner from
opening Cinerama theatres in other situa-
tions and would delay production during the
interim period, while waiting for the green
light from the Justice Department.

More than 890,000 out of 984,000 shares
outstanding approved the deal, according to
a Cinerama spokesman, granting manage-
ment the necessary two-thirds vote required
in a deal of this kind which calls for the
transfer of assets to a new corporation. The
spokesman said there was no opposition.

Under the deal, it was stated, no stock
of Cinerama Productions, Corp., a closed
corporation, will change hands, but the Stan-
ley Warner Corp., will buy the 700,000
shares of Cinerama, Inc., now owned by
Cinerama Productions.

Regarding the allotment of box office re-
ceipts, the deal allows the Stanley Warner
Corp. to receive the larger portion of the
receipts until costs are recouped, with the
theatre circuit, through its subidiary, and
Cinerama Productions thereafter sharing
equally in proceeds from the exhibition of
Cinerama films. Up to 26 additional thea-
tres will be equipped for Cinerama in the
near future under the terms of the agree-
ment, with a goal of 50 ultimately planned
throughout the world, it was stated.

Polaroid Appoints Unit
To Advertise 3-D

In its first step in the campaign, to sell
3-D to the public, Polaroid Corp. announced
this week the appointment of Cunningham
and Walsh, Inc., as agency for advertising
and promoting Polaroid glasses for 3-D pic-
tures. Leonard Spinrad continues as press
representative for Polaroid Viewers. Be-
ginning immediately, a broad-scale education
program will be beamed at the public on
behalf of the industry.

MOTION PICTURE HERALD, JULY 4, 1953

by WILLIAM R. WEAVER

Hollywood Editor

NOT many recent happenings in these
parts have caused so much comment
as the dissolution last weekend of
Wallis-Hazen, Inc. That was the partner-
ship of Hal B. Wallis and Joseph H. Hazen
which provided the industry with the “Irma”
pictures, with most of the Martin & Lewis
pictures, and with other feature product of
stature. It was widely and correctly re-
garded as one of the most successful and
profitable independent-production companies
in the history of the community. Nobody
expected the dissolution. Nobody explained
it entirely, including the principals. But
nobody expects either of them to remain
long withdrawn from the business that has
rewarded them richly and continuously from
the beginning of their association.

Have Ready Most Recent
Martin and Lewis Film

The partnership has at least one piece of
unfinished business that everybody in town,
individual or corporation, envies them. They
own the recently completed Martin & Lewis
comedy, “Money from Home,” and they have
accepted no distributor’s offer for it so far.
It is, you’ll recall, the first 3-D picture
actually photographed in Technicolor, al-
though certain other 3-D jobs shot in other
color processes have had their prints devel-
oped by the Technicolor laboratories.

It has the Number One Money-Making
Stars of the latest Quigley Publications ex-
hibitor poll as its principals, and in all like-
lihood it would bring the highest price ever
paid for a completed motion picture if the
owners were disposed to auction it off. Of
course they are not. Their announcement of
dissolution said they will make a disposition
of the picture for release within 90 days.
You can’t tell anybody around here that this
state of affairs won’t get the Messrs. Hazen
and Wallis the choicest offers within the
power of the biggest and the best companies
in the business to make. They can be pretty
choice.

No Rumors of Reverses
Attach to This Case

The dissolution is the first in a long time
untinged with rumors of reverses. The part-
ners have prospered greatly and are known
to be, in the vernacular of the community,
loaded. They have in the hands of their dis-
tributor two or more completed and un-
released pictures (apart from the “Money
from Home” previously mentioned) and
some of their released product is still go-
ing the rounds. Money will be rolling in for
a long while if the former partners just

sit still, but it doesn’t figure that they’ll do
that.

The Messrs. Hazen and Wallis will be
back in business, this business, any minute
now, the Hollywood professionals figure.
It’s reasoned they won’t be permitted to quit
if they try to, the shortage of profit-makers
being what it is. So speculation is going
on merrily as to where they’ll decide to
move in when ready.

Raft of Reports on
Wallis-Hughes Deal

Reaching back a little on the calendar,
the dopesters come up with a raft of reports
about Producer Wallis and RKO’s Howard
Hughes having discussed a deal for the
former to head production for the latter.
The matter of autonomy, always a prime
consideration when an appointment of that
nature comes up, is said to have wrecked
that project, but a good deal of time has
passed and a number of important changes
have transpired since then.

Better-liked generally as a possibility,
however, is one of those 50-50 type deals
that Universal-International has made on
various important occasions, or something
similar with 20th Century-Fox, now dis-
cussing a multi-picture deal with Leonard
Goldstein for a kind of contributing-pro-
ducership. Or with MGM, which doesn’t
commonly go in for this sort of thing but
at the same time hasn’t any hard-and-fast
rules against it.

Reckoning, reasoning and speculation
aside, the Wallis-Hazen dissolution is im-
portant to exhibitors intimately and right
now. It closes off, however, momentarily or
protractedly, a source of money product.
Exhibition hasn’t enough of those to afford
the loss of even one. This could be the only
thing the Messrs. Wallis and Hazen forgot
in the considerations that led to thfir de-
cision.

THE week witnessed the start of seven
pictures, and completion of seven
others, leaving the shooting level at a mod-
erate 29.

The most imposing of the new undertak-
ings doubtless is “Hell and High Water,”
a 20th Century-Fox project going in
CinemaScope and color by Technicolor with
Richard Widmark, Bella Darvi, Victor
Francen, Robert Adler and others in the
cast. Raymond A. Klune is producing this
one, but the standout fact about it is that
Samuel Fuller is directing. This young man
is bound to come up with half a dozen ideas
for the use of CinemaScope that haven’t
been thought up yet, and some of them are
bound to make nice news.

iimimiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiimiiiiiiiiiiiiiii

THIS WEEK IN
PRODUCTION:

STARTED (7)

ALLIED ARTISTS

Bowery Bloodhounds

INDEPENDENT

Camel Corps (Edward
Small Prod., 3-D,
Eastman Color,
Wide Screen, U.A.
release)

Captain Scarface
(Lincoln Pic., Astor
release)

Return to Treasure
Island (Wisberg-
Pollexfen Prod.,

PatheColor, Wide
Screen)

REPUBLIC

Geraldine

20TH CENTURY-FOX

Hell and High Water
( CinemaScope,
Technicolor)

UNIVERSAL-

INTERNATIONAL

The Glass Web
(3-D)

COMPLETED (7)

ALLIED ARTISTS

West of Texas

Mexican Quest
(Lindsley Parsons
Prod.)

Fighter Attack
(Color)

INDEPENDENT

Riders to the Stars
(Ivan Tors Prod.,
U.A. release, East-
man Color)

SHOOTING (22)

COLUMBIA

The Nebraskan (3-D,
Technicolor)

Drums of Tahiti
(Esskay Pic. Co.,
Technicolor)

The Caine Mutiny
(Kramer Co.,
Technicolor)

A Name for Herself

INDEPENDENT

Paris Model (Ameri-
can Pic., Columbia
release)

Bait (Hugo Haas
Prod.)

Marry Me Again
(Alex Gottlieb,
Wide Screen)

Hondo (Wayne-
Fellows Prod.,
Warner release, 3-D
WarnerColor,
All-Media)

Carnival (King Bros.,
RKO release, Color,
3-D, Munich)

MGM

Rhapsody (Techni-
color, Wide Screen)
The Long, Long
Trailer (Techni-
color)

Knights of the Round

PARAMOUNT

Flight to Tangier
(Technicolor, 3-D,
Wide Screen)

Lost Treasure of the
Amazon (Pine-
Thomas Prod., 3-D,
Tech., Wide
Screen)

REPUBLIC

Shadows of Tomb-
stone

Table (Technicolor,

CinemaScope,

London)

The Flame and the
Flesh (Technicolor,
Europe)

Kiss Me Kate (3-D.
Technicolor)

Crest of the Wave
(London)

PARAMOUNT

Knock On Wood
(Technicolor,
WideScreen)

Red Garters (Wide
Screen, Techni-
color)

RKO RADIO

The French Line
(Edmund Grainger
Prod., Technicolor)

Son of Sinbad (3-D,
Color)

20TH CENTURY-FOX

Story of Demetrius
(CinemaScope,
Technicolor)

UNIVERSAL-

INTERNATIONAL

Border River
(Technicolor)

The Glenn Miller
Story (Techni-
color)

Universal-International’s Albert J. Cohen
began shooting “The Glass Web,” a 3-D
venture in the prosperous wake of the profit-
able “It Came from Outer Space.” This

( Continued on opposite page, column 2)

MOTION PICTURE HERALD, JULY 4, 1953

Theatre TV
Frequencies
Allocated

WASHINGTON : The Federal Commun-
ications Commission declared last Thursday
that common carriers transmitting only
theatre television programs should be per-
mitted to use the frequencies currently
allocated to other common carriers.

An FCC order on the question, however,
also stated that the Commission will pass
separately on the merits of each application
it receives for “authority to use common
carrier frequencies to render solely a thea-
tre television service.” Industry theatre tele-
vision spokesmen said it probably would be
some time before any application to set up
a theatre television common carrier is sent
to the commission.

Closes Theatre TV Hearing

The FCC order, which declared the thea-
tre television hearings officially closed, by-
passed the industry’s request for an FCC
policy statement asking other common car-
riers to cooperate in the resolution of fre-
quency conflicts and to provide intercon-
nection facilities where necessary.

“In reaching the conclusion that theatre
television should operate as a common car-
rier on frequencies allocated for such serv-
ices,” the FCC said, “We of course expect
that there will be cooperation among com-
mon carriers in resolving frequency con-
flicts.” If frequency conflicts and intercon-
nection questions should come up, the com-
mission went on, they may be more appro-
priately resolved “if and when they might
arise upon specific petitions.”

The FCC report recognized theatre tele-
vision “as an existing service which will
continue to expand or not depending upon
public acceptance and support thereof.” The
FCC report did not pass upon the adequacy
of existing common carriers to transmit
theatre television programs. “If the pro-
ponents of theatre television feel that exist-
ing common carriers cannot supply them
with the service they desire,” the FCC said,
“they are free to take the necessary steps
to establish a separate carrier to supply such
a service or to require existing carriers to
render a reasonable service.”

Consider Several Points

The commission said that in passing upon
applications for special theatre television
common carriers, it would consider, among
other points, whether the limited use pro-
posed constitutes an efficient, economical and
otherwise sound utilization of radio fre-
quencies; whether service on such a limited
basis to users will be adequate efficient and
rendered at reasonable cost ; public need and
demand for the service ; whether existing
radio and wire facilities are adequate to
meet the public demand.

Commissioner Doerfer did not participate.
Commissioner Hennock dissented, saying the

Bax Oifi ce Thampians
Far June* 1953

The Box Office Champions are selected on the basis of the gross revenue at hey city
theatres throughout the country.

FORT Tl

(Columbia) (3-D)

Produced by Sam Katzman. Directed by
William Castle. Written by Robert E. Kent.
Technicolor. Cast: George Montgomery,
Joan Vohs.

IT CAME FROM OUTER SPACE

( U niversal-Inter national ) ( 3-D )
Produced by William Alland. Directed
by Jack Arnold. Written by Harry Essex.
Cast: Richard Carlson, Barbara Rush,
Charles Drake.

YOUNG BESS

( Metro-Goldwyn-Mayer)

Produced by Sidney Franklin. Directed
by George Sidney. Written by Jan Lustig
and Arthur Wimperis. Technicolor. Cast:
Jean Simmons, Stewart Granger, Deborah
Kerr, Charles Laughton, Kay Walsh, Guy
Rolfe.

A QUEEN IS CROWNED

(Universal-International-Rank)

Produced by Castleton Knight. Written
by Christopher Fry. Technicolor. Nar-
rated by Sir Laurence Olivier.

SCARED STIFF

( Paramount-W allis)

Produced by Hal B. Wallis. Directed by
George Marshall. Written by Herbert Bak-
er and Walter De Leon. Cast: Dean Mar-
tin, Jerry Lewis, Lizabeth Scott, Carmen
Miranda, George Dolenz, Dorothy Malone.

SHANE

(Paramount)

Produced and directed by George Stev-
ens. Written by A. B. Guthrie, Jr. Tech-
nicolor. Cast: Alan Ladd, Jean Arthur,
Van Heflin, Brandon De Wilde, Jack Pal-
ance.

FCC had opened up the common carrier
frequencies to a limited theatre television
common carrier “by a process akin to de-
fault.” She also maintained that the theatre
television hearings should be completed by
“requiring the theatre television proponents
to establish affirmatively public interest jus-
tification for the service.”

The FCC order answered an industry
“compromise petition” filed last February
in an effort to answer FCC questions about
the industry’s original proposal to assign
special frequencies for theatre television
transmission.

HOLLYWOOD SCENE

( Continued from opposite page )

one has Edward G. Robinson, John For-
sythe, Marcia Henderson and Kathleen
Hughes, and is being directed by Jack Ar-
nold.

Edward Small went to work on a 3-D
production in Eastman color and for wide-
screen, titled “Camel Corps.” This one is
for United Artists release. Ray Nazarro
is directing a cast headed by Rod Cameron,
Joanne Dru and John Ireland.

Hal Roach, Jr., and Carroll Case are co-
producers of “Captain Scarface” which they
are making independently as a Lincoln Pic-
tures production for Astor release. Paul
Guilfoyle is directing a cast that includes
Barton MacLane, Leif Erickson, Virginia
Grey and Rudolph Anders.

Allied Artists’ Ben Schwalb launched
“Bowery Bloodhounds,” with Leo Gorcey,

Huntz Hall and the other regulars, and with
Edward Bernds giving the project his
skilled direction.

“Return to Treasure Island,” co-produced
by Aubrey Wisberg and Jack Pollexfen
(who really ought to adopt a pseudonym that
people can spell, pronounce and remember)
with E. A. DuPont directing Tab Hunter,
Dawn Addams, Porter Hall, Lane Chand-
ler and others. It’s going in Pathe color
and for wide-screen as well as standard.

United Artists Schedul es
Five August Releases

Topped by S. P. Eagle’s color by Techni-
color musical, “Melba,” starring Patrice
Munsel, five major productions will be
released in August by United Artists, it has
been announced by William Heineman, vice-
president in charge of distribution. “I, The
Jury,” the Mickey Spillane best-seller pro-
duced in 3-D, starring Biff Elliot, also will
be distributed in August.

“Melba,” filmed for wide screen and
stereophonic sound exhibition, will be
released August 7. “Captain Scarlett,” an
adventure thriller in color by Technicolor,
starring Richard Greene and Leonora Amar,
will be released on August 12. On August
14, “I, The Jury” will be released.

Burgess Meredith and Jean-Pierre Au-
mont star in “The Gay Adventure,” a
romantic comedy, which is set for distribu-
tion August 21. The final UA film to be
distributed during the month will be “War
Paint,” starring Robert Stack, Joan Taylor
and Charles McGraw, set for August 28.

MOTION PICTURE HERALD, JULY 4, 1953

THEY’VE SCALED MOUNT EVEREST.. BUT NOBODY HAS TOPPED

HOUDINI

ony Curtis and Janet Leigh • Technicolor

The hot one for July Fourth because as Life says, it’s “A fantastic career,
screened by George Pal, Hollywood’s expert in the amazing.”

STALAG

17.

William Holden

Don Taylor • Otto Preminger

This week at New York’s Astor on the giant screen! Followed next week
by West Coast Premiere at Warner’s Beverly, Los Angeles . . .

GEORGE STEVENS’

Alan Ladd • Jean Arthur • Van Heflin • Technicolor

The proven hit that has smashed records on the giant screen and will do
the same on any screen! Word-of-mouth wonder of ’53 . . .

HAL WALLIS’

SCARED

STIFF

Dean Martin and Jerry Lewis

Business is big — the fun’s gigantic! It’s the first for the boys on the giant
screen, their first with stereophonic sound . . .

PARAMOUNT

THE COMPANY WITH
THE TOP PICTURES TODAY!

IMENSION TOPPERS FROM PARAMOUNT

INCLUDE

'■fSi WM

Fernando Lamas • Arlene Dahl • Patricia Medina • Technicolor

Performing big wherever it has opened to date! Fifth week of strong
business at Broadway’s Victoria now . . .

SE RE

Rhonda Fleming • Gene Barry • Teresa Brewer • Guy Mitchell • Technicolor

Big-scope 3-D musical — sparkling with stars and scored with hit songs . . .

ARROWHEAD

Charlton Heston • Jack Palance • Katy Jurado • Technicolor

Plan now for this outstanding outdoor picture! Heston’s best — and
another stand-out role for Jack Palance of “Shane” fame . . .

CECIL B. DeMILLE’S

THE GREATEST SHOW ON EARTH

Technicolor. Academy
Award Best Picture of
the Year

Most fabulous boxoffice attraction in history is making history all over
again in its Academy Award release. . .

WILLIAM WYLER'S

ROMAN HOLIDAY

The electrifying del

Gregory Peck and Audrey Hepburn

debut of a new star, Audrey Hepburn — and Peck’s
sensational switch to comedy — make exciting marquee news.

CINEMASCOPE IS British TV

HIT IN LONDON " v‘"

Skouras Shows Process ,
Sees All British Houses
Equipped in 2 Years

by PETER BURNUP

LONDON : Spyros Skouras, president of
20th Century-Fox, unveiled his new Cinema-
Scope process here Monday before an
eager, over-flow audience at the 2,572-seat
Rank-controlled Tottenham Court Road
Odeon theatre.

The audience, one of the most remark-
able ever assembled for a similar occasion,
consisting of leading film and newspaper
executives, members of Parliament, bankers
and businessmen, was impressed but cautious
in initial comments. Shown, on a screen
imported from the United States, were
clips from “The Robe,” “How to Marry a
Millionaire” and panoramic shots of New
York, Paris and the recent Coronation.

Chretien Guest of Honor

The guest of honor at the initial showing
was Professor Henri Chretien, inventor of
the system. In his address to the audience,
Mr. Skouras frankly admitted that the
process represented the “biggest gamble” of
his life but, he added, never before had he
been on such an assured bet. James Pattin-
son, 20th-Fox sales director here, also spoke
to the assemblage. Shortly after the first
showing ,the company claimed to have re-
ceived 400 installation enquiries.

In a press conference preceding the
CinemaScope show, Mr. Skouras predicted
that within the next two years, the normal
period for a picture’s amortization, every
worthwhile theatre in Britain would be
equipped for CinemaScope.

Mr. Skouras said that both he and Earl
Sponable, 20th-Fox director of research,
who sat in on the conference, were heavily
impressed by the standardization of proc-
esses upon which British exhibitors, led by
Dr. Leslie Knopp, were insisting. Both
Mr. Skouras and Mr. Sponable insisted that
whatever standards of aspect ratio and the
like are determined, their screen and lenses
will meet the need.

Decline to Talk Cost

Each of them declined to be drawn, except
in general terms, on the cost of the Cinema-
Scope process to exhibitors. Twentieth-Fox
having abandoned its original plan of an
equipment package deal, cost were a matter
for manufacturers and their customers. Mr.
Skouras said that his enquiries showed that
costs would be lower in Europe, particularly
in Britain and Germany, than in the U. S.
He ventured the view that larger theatres
here could fully equip themselves for as little
as £4,000 with relatively lower costs for
smaller houses.

The shrewd point was put to Mr. Skouras

that exhibitors here ruefully recall the losses
many of them suffered when they rushed
heedlessly into sound systems which rapidly
became obsolete. After all, it was said to
the 20th-Fox chief, he had had the new
gadget in his hands only six months. Mr.
Skouras derided this attitude as pusillani-
mous and petty and reiterated his view that
CinemaScope would meet any standards gen-
erally imposed by the industry in the
future.

In any event, he fervently proclaimed :
“In a short six months, my company, with
its CinemaScope, has set folks talking again
about my films. ... We are staking
$30,000,000 on a program of 13 Cinema-
Scope feature. Isn’t that proof of our own
faith ?”

Mr. Skouras also claimed, on the author-
ity of Darryl F. Zanuck, that CinemaScope
would reduce production costs by at least
25 per cent. High praise was given West-
rex engineers for the stereophonic sound
system with which they equipped the theatre
for the demonstration.

T-M Shows
iYeir Shorts

A special trade press screening of the new
Universal-International short subject series.

“U-I Color Parade” was held at the home

•

office projection room Monday.

Running approximately 10 minutes each,
the subjects are in color by Technicolor and
will range over the entire field of human
interest. Approximately eight a year will
be turned out in the series.

Two of the series were shown to the press
this week, “King of the Sky” and “Fiesta
Frolics.” The former, produced by Joseph
O’Brien and Tom Mead, is a fascinating
subject. It treats of the training of a power-
ful American eagle to the point where the
bird goes out to capture a giant lizard. The
background is in Mexico.

The second subject, “Fiesta Frolics,” cap-
tures the gay and festive side of Mexico’s
character. Shown are flowers, fireworks,
and dances. Tom Mead produced. — M. H.

Stanley Warner Requests
Divestiture Extension

WASHINGTON : The Justice Department
has received a request from the Stanley
Warner circuit for an extension of its July
4 divestiture deadline. “An appreciable
amount” of additional time was requested
to dispose of approximately two dozen the-
atres, officials of the Department said. The
Justice officials currently have the matter
under advisement.

LONDON : Some of the first fine rapture
has departed from the hopes for sponsored
television. The Government holds to its in-
tention of authorizing a sponsored system
but the licenses will be found to be so
hedged with restrictions that some potential
sponsors have become uneasy about their
chances in the new field.

Encouraged by that circumstance, the
sedate BBC takes on more courage. The
Corporation’s director-general Sir Ian Jacob
announced this week an immense, 10-year
plan which calls for the establishment of 36
transmitters and will in due course offer a
choice of two separate programmes for the
nation’s viewers.

Fulfilment of the plan, admitted Sir Ian,
depends on financial help from the Govern-
ment. BBC’s financial reserves are running
perilously low. Last year they stood at
£3,500,000 but have fallen now to £1,700,000.
In 1954, they are likely to be exhausted.
Sir Ian asks for an additional annual Gov-
ernment grant of £1,000,000. He also has
in mind increasing the fee of domestic li-
censes from £2 to £3 per annum in an effort
to increase funds.

Meanwhile, behind-the-scenes planning is
in progress for film industry transmissions
to its own theatres as soon as the Govern-
ment issues the necessary licenses. The
powerful Associated British group has come
down heavily against sponsored TV but it
is difficult to see how it can stand aside if
its rival enter the field.

Sidney Bernstein’s Granada Circuit with
its 55 choicer theatres is the first overtly
to announce its plans. It has publicly stated
that it will welcome approaches from adver-
tisers who wish to use the Granada TV
service.

Export Association Signs
New Norwegian Pact

Eric Johnston, president of the Motion
Picture Export Association, has announced
the signing of a new Norwegian pact, re-
placing the old agreement, which expired
Wednesday. Mr. Johnston cabled from
Berlin, where he is attending a film festival,
announcing he had received confirmation
from Oslo of the new agreement from
Griffith Johnston, MPEA Scandinavian
representative, and George Weltner, presi-
dent of Paramount International Films. A
boost of from 30 to 40 per cent in the basic
film rental is provided in the new pact,
which is termed an “indefinite agreement,”
running initially to August 31, 1954. Ad-
ditional terms provide that five special films
may be withheld for special rentals and in-
creased admission prices; and independent
producers releasing through MPEA member
companies retain the right to approve ex-
hibition contracts for release in Norway.

MOTION PICTURE HERALD. JULY 4, 1953

. v - -

Thu**

Indeed

The ALMANAC is the ONLY
thumb-indexed reference
book in this industry. It is
referred to more often and by
more people than any other
reference book in the motion
picture and television fields
because:

Te,

<l) * ■

Great

(9>friS3i!

THE ALMANAC requires
much less time (and no dis-
couraging bother) to find
the information you need.
It is thumb-indexed in 15
organized sections, and . . .

• THE ALMANAC contains
a wealth of reliable and
useful information which
is not to be found in any
other reference book.

, {Vi)

No*-

Theatre"

There just isn’t anything
like it. It is the only
accepted “Who’s Who and
What’s What” for the en-
tire field. The revised,
expanded new edition will
be ready soon. To make
sure of your copy, send
your order NOW!

A QUIGLEY
j PUBLICATION

The 1953-54
Motion Picture
and Television

ALMANAC

QUIGLEY PUBLISHING CO.
Rockefeller Center, 1270 Sixth Ave.
New York 20, N. Y.

Please reserve a copy of the 1953-54

Motion Picture and Television ALMANAC

Enclosed please find check for $5.00 in full payment,
including shipping charges.

Mail to —

Name .
Address

Lone

State

ALBANY

Increased prices at the Strand and Palace
in Albany and at the Troy and Proctor’s in
Troy and the presentation of 3-D and other
special pictures at advanced scales, have
fanned the flames of discussion on the sub-
ject in area industry circles. Higher film
charges and operating costs are given as
■ 'the reasons for the upscaling. The sound-
ness of this explanation is generally ac-
cepted. The debate hinges on the timing
and timeliness of the increases. . . . War-
ner zone manager Charles A. Smakwitz
held out hope for a world premiere of the
“Moby Dick” remake, in Albany, where
Herman Melville lived from the age of 10
to 20. . . . Phil Baroudi, North Creek
exhibitor, has returned from Florida. . . .
A new drive-in, the Border, has been
opened at Chazy, three miles north of
Plattsburgh. . . . Le Grand Voudry, one-
time musician and later assistant manager
of the Strand and Ritz, died at his local
home recently, June 16, of a heart seizure.

ATLANTA

President William Richardson, Astor Pic-
tures of Georgia, back at his desk after a
spell of illness. . . . Don Hassler, office
manager same company, back after a sales
meeting of the Modern Talking Pictures in
St. Louis. . . . Louis Fletcher, for many
years with the Wilby-Kincey Theatres, died
at her home here June 20. . . . George M.
Jones, sales manager, Universal, back at
his desk after a vacation spent in Florida.

. . . Also back is John W. Mangham, presi-
dent of Realart Pictures, and Leonard
Burch, of United World Films. . . . Hal
Macon and family, owners of the State
theatre, Statesboro, Ga., back after a vaca-
tion spent in Savannah Beach. . . . Paula
Bird is the new secretary to Arthur C.
Bromberg, Monogram Southern Exchanges.

. . . The Umatilla theatre, Eustis, Fla., has
closed for the summer. . . . J. E. Adams
was appointed manager of the Turner thea-
tre, Ashburn, Ga. He replaces D. A. Luke
who has resigned that position after 17
years.

BOSTON

Tom Dowd, who resigned as manager of
the Beacon Hill theatre to assume the man-
agerial duties at the Avon Cinema in Provi-
dence, has returned to the Beacon Hill after
a month in the Rhode Island spot. One of
his first acts on his return was to hire Bob
Holland as his assistant. . . . Dianne Isaacs,
daughter of the Irving A. Isaacs, president
of Independent Exhibitors, Inc. was mar-
ried June 28 to Thomas A. Weil of New
York. . . . Arthur Lockwood, his wife,
two sons and a daughter have started off
in a specially built station wagon for a
summer’s tour through this country and
Canada, making the west Coast one of their
important destinations. They will return

Labor Day. . . . Placing the blame on the
20 per cent admission tax and the high cost
of booth operation, Ted Limber is, owner-
operator of the Olympia theatre, Bangor,
Maine, has had to shutter the house for the
first time in the 35 years of its existence.

BUFFALO

Elmer F. Lux, president of Elmart Thea-
tres and head of the local Common Council,
was general chairman of the annual family
outing of the Knights of Columbus last Sun -
day at the Auto Club’s country home in
Clarence. . . . Ardis Smith, former drama
editor of the Buffalo Evening News and
who in recent years has been associated
with Pathe and with air force films depart-
ment, is now back at the News and special-
izing on drama. . . . Richard Kemper,

Dipson theatres zone manager, and Mrs.
Kemper, attended the recent Atlantic City
pow-wow of the Saints and Sinners, when
Buffalo was selected as the convention city
for 1954. . . . Chairman Jack Goldstein
hopes to attract a record crowd at the annual
Gold Tournament and Outing of Tent 7,
Variety club of Buffalo, July 13 at the West-
wood Country Club. . . . Leonard Satz of
Raytone Screen, N. Y., was in for a look-
see at the Center where or.e of his com-
pany’s wide screens is about to be installed.
. . . Frank Lindcamp will introduce 3-D
and stereophonic sound July 8 at the Palace
in Rochester, when the attraction will be “It
Came from Outer Space.” . . . Buffalo’s
new UHF station, WBUF-TV, will start
telecasting its test pattern the first week in
August.

CHICAGO

Jim Gorman of the Telenews is in Estes
Park on vacation. . . . Eleanor Lebovitz
has joined the office staff of I.F.E. pictures

WHEN AND WHERE

July 8-10: 34th Anniversary convention,
Allied Theatre Owners of New Jersey,
Traymore Hotel, Atlantic City.

September 1-2: Annual convention, West
Virginia Allied Theatres Association,
Matz Hotel, Bluefield, West Virginia.

September 28 - 30: Conference, Texas
COMPO and International Drive-in The-
atre Owners Association, Adolphus
Hotel, Dallas.

November 12: Annual dinner, Motion Pic-
ture Pioneers, Hotel Astor, New York
City.

here. . . . L. B Sittler, assistant to James
E Coston, has had a heart attack and is in
Wesley Memorial Hospital. . . . United
Artists branch manager Harry Goldman
heads for Banff with his wife July 10. . . .
S. J. Gregory, Pete Panagos, and Lou Har-
ris of the Alliance Circuit left for the state
of Washington to supervise the opening of
two new drive-ins to be operated by their
west coast subsidiary, Mid-States. . . .

Theatres here have started to use National
Screen’s new service— 3-D trailers. . . .
Eight Sioux Indians ->were brought off the
reservation to Chicago for the world pre-
miere of “Great Sioux Uprising.” . . .
After this coming week, activity in the Fed-
eral Courts here is expected to slacken off,
with only emergency cases to be heard until
after Labor Day.

CINCINNATI

On petition of the Greater Cincinnati In-
dependent Theatre Owners Association, the
city council has exempted collection of the
municipal three per cent tax on all admis-
sions of 50 cents and under, with an esti-
mated annual loss to the city of $60,000. In
repealing this portion of the ordinance, some
council members emphasized the poor busi-
ness conditions of the subsequent run thea-
tres, 27 of which have been forced to close
in the last 18 months. . . . Herb Shriner
was here recently exploiting his picture,
“From Main Street to Broadway,” to be
shown here soon. . . . The Twin drive-in,
the only outdoor theatre within the city
limits, presented a stage show inducting 44
men into the military service, including 19
local recruits, and also exhibiting the latest
military equipment, plus local drum corps,
the event being given June 25, to commemo-
rate the third anniversary of the start of
the Korean War. . . . The annual Variety
Club golf tournament is set now to be held
in August at the Summit Hills Country
Club.

CLEVELAND

“A Queen Is Crowned” did such big busi-
ness in two weeks at the Tower theatre that
it was held over a third week. . . . Cinema-
Scope was unveiled at the Hippodrome
Thursday in a demonstration showing. . . .
Ted Barker, Loew theatre publicity director,
is on vacation in the west. . . . Sid New-
man, Warner contact department, has re-
sumed his usual activities having recovered
from a two-month illness. . . Dick

Wright, Warner theatre district manager,
and Nat Wollf, former Warner Ohio zone
manager, attended the funeral of Frank
Phelps in Columbus. . . . Heights theatre,
1600-seat neighborhood house located in
Cleveland Heights, closed June 30 when the
present lessee, Associated Circuit, failed to
renew its lease. . . . Mark Goldman, IFE
district manager, has appointed Murray
Baker, former Northio buyer-booker, as
( Continued on opposite page)

MOTION PICTURE HERALD, JULY 4, 1953

( Continued from opposite page )

sales representative covering Indianapolis
and Cincinnati territories. . . . Carole

Koberna, Imperial Pictures secretary, has
announced her engagement to Bdl Kuralak.
. . . Sam Gerace, manager of the Capitol
theatre, announces a Tornado Relief show
on July 14 with all proceeds turned over to
the Red Cross Tornado Relief Fund.

COLUMBUS

“The Beast from 20,000 Fathoms” moved
to RKO Grand after a big first week at
RKO Palace, marking the first time in sev-
eral months that a film has moved from the
Palace to the Grand. . . . Loew’s Ohio
did good business with the 3-D Western,
“Arena,” sparked by the local visit of Polly
Bergen. . . . “A Queen Is Crowned” went
into a third week at the World. . . . The
14 neighborhood theatres co-operating in
June Dairy Montli celebration include the
Avondale, Westmont, Beechwold, Boule-
vard, Ritz, Clinton, Cleve, Livingston,
Markham, Eastern, Cameo, Garden, Esquire
and Linden. . . . Loew’s Ohio had the new
improved-design Polaroid viewers for its
showing of “Arena.” . . . Phil Bradford,
former program manager of WCOL and
well known in local semi-professional
theatre groups, has joined the travel depart-
ment of City National Bank.

DENVER

Forrest Litzey, assistant manager of the
Chief, Greeley, Colo., was knocked out by a
blow on his head after he frustrated a
would-be holdup. . . . The Centennial race
track (horses) was granted a zoning appli-
cation to build a twin drive-in on their track
at Littleton, Colo. The theatre will be leased
to Television Theatres, with Tom Bailey,
Lippert Pictures franchise owner, as presi-
dent. . . . The Wolfberg Theatres officially
opened their new 1,000-car Valley drive-in
southeast of Denver, and will operate it
first run day and date with the North drive-
in and the downtown Paramount. . . . The
Fox Inter-Mountain division of National
Theatres is holding its summer convention
here July 7-9, including a CinemaScope
demonstration. Several meetings will be
held in various theatres. . . . Bus Amato,
20th-Fox booker, father of new daughter,
Virginia Lynn. . . . Ernie Zeigler, Uni-
versal auditor, New York, and Miss Donna
Raphael, former RKO secretary here, to be
married in Denver July 11.

DES MOINES

Byron Shapiro, Columbia branch manager,
has taken over as chief barker for Variety
club here. He replaces Bob Conn who is
now managing the Fox exchange in In-
dianapolis. Fellow barkers gave a farewell
party for Conn at the Standard club and
presented him with a gift. . . . Bonnie Lee
Draisey, of the Corral theatre in Perry was
married recently to William I. Parker of
the Navy who is stationed aboard the USS
Merrick. . . . Many exhibitors cancelled
their regular trips to Film Row because of
the extreme heat last week. . . . The
Schaller theatre at Schaller has been closed
and the building and business are for sale
by Mrs. Abbie Feldhans, owner, who has
been in poor health for some time. . . .
The Rocket theatre in downtown Des
Moines has ceased operations. Manager

S. A. Vogl is turning the theatre back to
Tri-States, which has made no decision on
what to do with the house. . . . Clayton
(Jack) Neary, 47, of Bettendorf, former
manager of the Orpheum theatre in Daven-
port, died in St. Luke’s hospital, Davenport,
after a long illness. . . . Dwight Hanson,
of Eddyville, has leased the theatre at Rock-
well City.

DETROIT

“Bright Road” was previewed at the
Broadway Capitol with Hollywood-size fan-
fare. Proceeds to charity. . . . Krim, in
suburban Highland Park, is conducting an
essay contest. Winners to get all-expense
trip to the Stratford (Ontario) Shake-
sperian Festival. . . . Going into a fourth
week is "A Queen Is Crowned,” at the
Telenews. Norman Wheaton reports
visitors from remote sections of Ontario.
This is the first to ever pass two weeks. . . .
Michigan theatre was dark one day for in-
stallation of its new “Futuramic” screen. . . .
Crowley’s department store tied in with
“Robe” promotion showing originals of
Dean Cornwell’s illustrations for the Lloyd
Douglas book. ... In spite of wire stories,
there were no deaths at the Flint Drive-in
hit by tornado. The crowd was dispersed
before the storm hit and damage to the
Drive-In was less than first reported. Other
Flint theatres were missed entirely.

HARTFORD

Loew’s Poli-New England Theatres Cir-
cuit has started Friday-Saturday vaudeville
policy at the first-run Loew’s Poli, Water-
bury, Conn. . . . I. J. Hoffman of New
Haven, B&Q Theatres executive, and Mrs.
Hoffman, have returned from an extended
tour of Europe. . . . Atty. J. W. Shulman
of the Shulman Theatres, Hartford, and his
wife, Pauline, will return from Europe
about Aug. 1. . . . Sam Harris, partner,
State theatre, Hartford, and Mrs. Harris,
are returning late in July from Europe. . . .
Manny Cassanaras, formerly assistant man-
ager at the Stanley Warner Circuit’s War-
ner theatre, Bridgeport, Conn., has been
named acting manager of the circuit’s Pal-
ace, South Norwalk. . . . George Hudak.
formerly house manager, E. M. Loew’s,
Hartford, has been named assistant manager
at the circuit’s Hartford drive-in, Newing-
ton, Conn. . . . The Strand Amusement
Circuit has started Wednesday matinee
children’s programs at the State, Torrington.

INDIANAPOLIS

William Hames, UA branch manager
here, has been transferred to Dallas. He
will be succeeded by Ed Bigley, who
arrived Sunday from Detroit. Bill Keith,
formerly 20th-Fox branch manager here,
also were transferred to Dallas two weeks
ago. . . . The Variety Club will hold its
annual golf tournament at the Indianapolis
Country Club Aug. 24. Claude McKean is
general chairman. . . . Russell Bleeke,

formerly with U-I, has succeeded Mary
Jane Larsen as booker at Allied Artists.
Miss Larson resigned to join Affiliated
Theatres. . . . Mrs. Marjorie Ryan has
succeeded Mrs. Catherine Miller, who re-
tired, as secretary to U-I branch manager
Sam Oshry. . . . Ken Collins has resigned
as Republic salesman because of personal
business. . . . Earl Cunningham, general

manager of the Fountain Square, and True-
man Rembusch, president of the Allied
Theatre Owners of Indiana, have returned
from Florida vacations.

JACKSONVILLE

The Five Points will roadshow "Three
Loves” in July. . . . Paramount’s former
head shipper, O. O. Ray, Sr., has returned
from retirement to substitute for Ed Tanney,
who is recovering from an operation. . . .
The Florida theatre gave children matinee
patrons a combined stage marionette show
and cartoon carnival. . . . Johnny Tomlin-
son, Warner salesman, returned from the
Miami area. . . . Mike Serabo, Warner
booker, relaxed at home during his vaca-
tion. . . . M. A. Baugh, head Fox shipper,
went home to Ellijay, Ga., during his annual
leave. . . . Gleena Adams, Florida State
Theatres, left for a tour of Hollywood
studios. . . . Bob Corbett, former Bir-
mingham, Ala., exhibitor, visited here prior
to taking over management of the Roxy
theatre, Orlando. . . . The Roosevelt

theatre has become the second Negro-
patronized house in Florida to set up for a
3-D showing of “House of Wax.” First
was the Carver in Orlando. . . . Arthur
R. Johnson has resigned from Benton
Brothers film express. . . . Mrs. Evelyn
Carter, Fox booker, has returned from a
Canadian sight-seeing trip.

KANSAS CITY

TV services are expanding rapidly in
Greater Kansas City. . . . The Electric,
downtown theatre in Kansas City, Kansas,
is now showing 3-D ; its first was “House
of Wax.” It’s the first Kansas City, Kan-
sas, theatre to be 3-D equipped. . . . Fox
Midwest’s program of Wednesday morning,
"Vacation Movies” for children, is reported
successful. In cooperation with the PTA,
the Catholic PTA, and other groups, tickets
are sold in advance. . . . Wheat harvest
in Kansas approaches completion — with
high average quality but low volume yields.
Hot weather and drought have damaged
many farm crops, including wheat. . . .
Dickinson circuit’s new drive-in, the Lea-
wood, opened June 26 with fireworks, prizes,
gifts to children. . . . The Midland fol-
lows its first 3-D presentation, “Arena,”
with another, “Man in the Dark.”

LOS ANGELES

Arnold Shaack, Ramona theatre, is off to
Chicago to spend a month's vacation with
his daughter and grandchildren. . . . Tom
Muchmore, operator of the Canoga theatre,
Canoga Park, raised over $1,200 for the
Catholic Foundation with a benefit show in
his theatre June 17 with such stars on the
stage as Desi Arnez and Lucille Ball. . . .
The most recent “proud pappa” to pass out
cigars on the Row was Jack Sonenshine,
Embassy Pictures, whose wife, Harriet,
presented him with a five pound daughter
named Bonita Rose. . . . Jack Jacobs,

National Screen Service, is in the Midway
Hospital recuperating from an eye opera-
tion. . . . Charles P. Skouras and his wife
returned from a five-week vacation in
Hawaii. . . . Lois Wirthwein, daughter of
Allied Artists western sales manager, Har-
old Wirthwein, was married to Jed L. Rid-
dell, a technician at station KLAC.

( Continued on following page )

MOTION PICTURE HERALD, JULY 4, 1953

MEMPHIS

New Daisy theatre, operated by Paul
Zerilla on Beale Street in Memphis exclu-
sively for Negroes, this week installed a
new 30 by 20-foot wide-screen, the fifth in
Memphis. The other four theatres now
using wide-screens are Malco, Luciann,
Lamar and Bristol. ... A large number
of mid-south drive-in operators have made
reservations for a luncheon July 7 at Hotel
Gayoso to hear Claude Ezell, Ezell & Asso-
ciates, drive-in operators in Texas, discuss
drive-in operations. . . . Most Memphis
branch managers and Mississippi salesmen
attended Mississippi Theatre Owners con-
vention June 28, 29 and 30 at Biloxi. . . .
W. & M. Film Service, which inspects and
ships film for Colonial Studios, Memphis,
had a fire which destroyed some valuable
film last week. Origin was undetermined
and damage was not estimated. . . . Twin
Oakes drive-in, Montecello, Ark., owned by
Russell J. Baxter, opens within the next few
days following its completion. . . . Jimmie
Thornton, owner Bruce theatre, Bruce,
Miss., is in Philadelphia attending a Meth-
odist meeting to which he is a delegate from
his church.

MIAMI

The Variety Club, Tent 33’s dinner on
June 28 at the Saxony Hotel, where the first
“Good Samaritan” Award was to be pre-
sented, was to be the town’s “plushiest
event,” according to Maurey L. Ashmann,
committee chairman. Col. Bill McCraw was
expected as toastmaster and the formal pre-
sentation was to be made by chairman Ash-
mann and chief barker, Ed Melniker.
Awardee was Robert Pentland, trustee on
the board of directors of Variety Childrens
Hospital and leader in most of the com-
munity’s worthy projects. . . . Bill Dock,
of Florida State Theatres, is back from a
vacation. . . . With the showing of “The
Beast from 20,000 Fathoms,” the lobbies of
the Beach and Florida had mechanical
dragons belching steam. . . . Vacationers
included Earl Rowlands, manager Boule-
vard; Keith Hendee, manager Gateway;
Bill Russell, manager Florida in Ft. Lauder-
dale; Bill Goller, manager Tower; Dick
Treccase, manager Surf with his wife, Janie,
from Wometco’s accounting department.

MILWAUKEE

At the time of this writing a big meeting
of COMPO was set for June 30 here in the
Warner screening room. . . . The board
of directors of the Allied Independent Thea-
tre Owners of Wisconsin will hold their
next board meeting at Trampe’s summer
home on Phantom Lake. Wives are also
invited. . . . New drive-ins opened re-
cently are Harry Melcher’s at Kaukauna,
and John O’Connor’s at Platteville. . . .
The Park theatre here, owned by Tony La
Porte, recently closed. ... To promote
“The Great Sioux Uprising,” which opened
at the Fox-Wisconsin last week, the Fox-
Wisconsin Amusement Corp. invited eight
Indians, who appeared in the picture, from
the Rosebud Reservation in So. Dakota, to
participate in exploitation here.

MINNEAPOLIS

Business is reported to be up in loop
houses with mid-week grosses definitely
above average. . . . Harry Rasmussen,

booker at Warners, was married to Ruth
Fenske. . . . Otto Burggraf and Wilfred
Liebl have opened their new 350-car Paul
Bunyon drive-in at Bemidji, Minn. A con-
tetst was conducted to select a name for the
ozoner. . . . North Central Allied has

scheduled four regional meetings with the
first one to be held August 3 at Fargo,
N. D. Other meetings are set for Minot,
N. D., and Marshall and Duluth, Minn. . . .
Harry Weiss, RKO Theatres district man-
ager, visited RKO situations in Iowa. . . .
The four drive-ins operated by Minnesota
Entertainment Enterprises in’ the Twin
Cities are admitting children under 12 free.

. . . Stuart Murray, Jr., former manager
of the Virginia theatre at Virginia, Minn.,
has been transferred to Grand Forks, N. D.,
by Minnesota Amusement Co. . . . State
officials including Gov. Sigurd Anderson
were on hand for the opening of Leo Peter -
son and Bert Johnson’s new State at Pierre,
South Dakota. House replaces one de-
stroyed by a fire which took place in Janu-
ary, 1952.

NEW ORLEANS

Wm. Keith, formerly with U.A. and 20th
Century-Fox here, and for the past year or
so 20th-Fox Indianapolis branch manager,
returned for a brief visit, enroute to his new
post: sales manager in Dallas branch. . . .
Masterpiece Pictures president, Milton
Dureau, upon his return from St. Louis,
where he attended Modern Talking Pic-
tures meet, advised that he has taken over
their short subject productions for this ter-
ritory. . . . Warner Bros, division man-
ager, John Kirby, and district manager,
W. O. Williamson, Jr., were here to confer
with branch manager, Lucas Conner and
staff. . . . Lonnie Davis is the new booker
for Pike Booking Co., a subsidiary of N.
Solomon Theatres, McComb, Miss. Harry
E. Thomas, who formerly held the post,
has been advanced to assistant to T. G.
“Teddy” Solomon, head of the circuit. . . .
The building which houses Tob McElroy’s,
Tem in Monroe, La., has been sold to out-
side interests. However, the theatre will
remain in operation until late in fall when
the new owner will convert it into a mer-
cantile establishment. . . . Chas. Waterall,
Jr., in charge of Waterall’s Richton, Miss.,
theatre, is on the mend after several weeks’
hospitalization for stomach trouble. . . .
Carolyn, New Hebron, Mississippi, has
closed its doors for the season, with reopen-
ing scheduled for the early part of Sep-
tember.

OKLAHOMA CITY

Billy Robinson has assumed his new post
as assistant manager for Video Theatres in
Shawnee. He was assistant manager at
Seminole, prior to being promoted to his
new job in Shawnee. . . . Stein Enterprises,
Inc., Baxter Springs, Kan., has been granted
a charter to operate indoor and drive-in
theatres. Louis E. Stein, Parsons, Kan., has
been named resident agent. ... A two-man
art exhibit was staged in the lobby of the
Frontier theatre during the showing of “The
Titan,” a film based on the life of Michel-
angelo. The two artists are Robert C. New-
berry, and Robert C. McKinney. . . .

“The Beast from 20,000 Fathoms” started
at the Midwest theatre Friday. The picture
will be shown at 14 theatres in various Okla-
homa towns during the months of June and

July-

Mabel Mitchell, secretary to R. D. Gold-
berg of the Goldberg Theatre Corp., relieved
Don Cook, manager of the Avenue theatre
while he was vacationing and is now subbing
for George Hollander, manager of the Ames.

. . . James Schlatter, manager of the Town
theatre, announced his daughter is home fol-
lowing her graduation from North High
School in Des Moines. . . . “Good Night
Ladies” had a poor five-day run on the stage
at the Omaha. . . . E. A. Schmidt, who runs
the Lorraine theatre at Armour, S. D., has
been ill at Mayo Clinic. . . . Don McLucas,
United Artists branch manager, stopped at
the Belair motor court at Denver on a trip
to the mountains. He discovered the owner
was one of his old accounts, Carl Knudsen,
ex-Seward, Neb., theatre owner. And at
Gunnison, Colo., he stayed at a place owned
by Karl Howe, former RKO branch man-
ager. . . . Herman Gould of Lincoln, pioneer
drive-in operator, has opened a new outdoor
theatre on Omaha’s West Center Street,
with his associates U. S. Representative
Roman Hruska of Omaha and Lancaster
County Commissioner Russell Brehm.

PHILADELPHIA

Stanley Warner closed down the Felton
after a try at week-end operations, and at
the same time places the Keystone on a
week-end schedule. . . . Irving Coopersmith
left the booking and buying department of
the Allied Motion Picture Theatre Service.

. . . Vito Gerard, student manager at the
Capitol, Scranton, Pa., left to join the armed
forces. . . . Theatre men in Reading, Pa., are
cooperating to help halt the wave of vandal-
ism among youth. . . . E. M. Scott, Jr., re-
opened the Milton, Milton, Del., with the
house, originally built 14 years ago, complete-
ly new and ultra-modern. . . . Barney Good-
kin resigned as assistant manager of William
Goldman’s Randolph. . . . Joseph Phillips, of
the Comerford Theatres advertising depart-
ment, Scranton, Pa., was named chairman
of the Better Business Bureau’s Advertising
Board of Review. . . . Jack Greenberg and
Jack Engel, who operate the Screen Guild
exchange, were awarded exclusive area
franchise by the Ballantyne Company, in-
cluding the 3-D equipment package. . . .
Harry C. Bondurant is selling his Caldonia
drive-in near Gettysburg, Pa. . . . The Per-
kins Panoramascope made its bow here at
William Goldman’s Randolph with the show-
ing of “Fort-Ti.” ... In Delaware, Muriel
Schwartz opened her Kent drive-in at Dover,
and Bill Derrickson opened his Midway
drive-in near Rehoboth Beach.

PITTSBURGH

A large crowd of state and city dignitaries
attended the opening of the Variety Club
Tent No. 1 Camp O’Connell for the 1953
season. More than 2,000 youngsters will be
cared for during the eight weeks. The new
$25,000 dormitory was officially opened at
the affair. . . . The club raised $52,000 at
its all-night telethon giving it $125,000
towards the $750,000 to build a wing to the
St. Rosalia Foundling Home. . . . Carl
Doser, chief barker of the Variety Club, is
making slow progress in the Presbyterian
Hospital. . . . Stan Harner, purchasing agent
for the Stanley Warner Company, enter-
tained a large crowd of film folks at the
Golden Wedding anniversary celebration of
( Continued on opposite page )

MOTION PICTURE HERALD, JULY 4, 1953

( Continued from opposite page)

his parents. . . . “The Crowning of a Queen”
queues were the order of things at the subur-
ban Squirrel Hill theatre. . . . “The Beast
from 20,000 Fathoms” did well in the Stan-
ley, mainly because of an excellent buildup
campaign staged by Henry Burger and Phil
Katz.

PORTLAND

Business is good at nearly all first run
theatres. Evergreen’s 3,400-seat Paramount
is getting the rep of being the 3-D house
with four already shown and plenty more
lined up. . . . Paramount field man Walter
Hoffman in town for a few days. . . . MGM
field man Allan Wieder and Columbia’s
Sammy Siegel also here. . . . Orpheum man-
ager Kenny Hughes off on vacation. . . . Guild
manager Marty Foster off to Seattle on busi-
ness. . . Jack Matlack, now in the promotion
ness, is handling all Universal-International
publicity in this area. He just returned from
a trip to Kansas City. . . . Will O’Connor,
Hamrick executive vice-president, was here
visiting city manager Marvin Fox. . . .
Bill Breeze, Liberty manager, off on two-
week vacation. . . . Paramount branch man-
ager Wayne Theriot off to Salt Lake City
for annual vacation. . . . Walter Tebbetts,
ace neighborhood operator, has installed a
large curved screen in the Laurelhurst.

PROVIDENCE

For the first time in over 20 years, this
city faces the position of having only four
first run movie houses operating. With the
closing of the Metropolitan theatre for the
summer, local movie-fans have only Loew’s
State, the Majestic, Strand and RKO Albee,
in the downtown area, to satisfy their desire
to see first run films. . . . Add to this the
Avon Cinema, a small art theatre in the East
side section, and that’s the sum total of the
houses to choose from. . . . Hurried installa-
tions of 3-D equipment at some open-air
theatres indicates that full advantage of the
current situation is not being overlooked by
them. . . . Surrounding members of the
“straw-hat” stock circuit, will bid for patron-
age during the next two months by present-
ing Hollywood stars in person. . . . During
the screening of “Salome” at the Cranston
Auto theatre, a full hour of Bugs Bunny
cartoons were offered.

SAN FRANCISCO

Theatres closed were El Camino, San
Rafael (Blumenfeld), to be dismantled and
replaced by Penney’s Department Store; and
Broadway, Burlingame (Fox West Coast).
. . . Gladys Beaupre, veteran guardian of the
reception desk and switchboard at Para-
mount Exchange, will vacation at Pismo
and in Southern California, starting July 13.
. . . Earl Long, United Paramount district
manager, celebrated the installation of large
screen with stereophonic sound at the Para-
mount by bringing “Shane” to the city in
Hollywood-style premiere. . . . Pete Vigna,
Fox West Coast manager of the Parkside,
took his place as a leader in the community
when he aided the “Clothes for Korea” drive
with a kiddie matinee and set the admission
as any article of clothing for Korean war
orphans. . . . Joseph Patrick Hanley, son of
Warner’s office manager, Joe Hanley, grad-
uated Magna Cum Laude from St. Joseph’s
College at Mountain View. He is studying
for the priesthood. . . . New father on the

street is Ed Knudsen, with the birth of his
first child, a daughter.

ST. LOUIS

A general meeting of all motion picture
theatre owners of St. Louis film trade terri-
tory was called by Edward B. Arthur, ex-
hibitor chairman for COMPO in the St.
Louis territory. Meeting was called at re-
quest of the Council of Motion Picture Or-
ganizations. . . . The Bloomer Amusement
Co. of Belleville, Illinois, has announced the
purchase of a 25-acre tract near the city
limits. Site will be used for 750-car drive-
in. .. . Officers and directors of the MPTO
of St. Louis, Southern Illinois and Eastern
Missouri held a meeting here last week to
discuss plans for 1953 meeting of the organ-
ization. . . . Edward Goodrick, Warner Bros,
shipping clerk, is now in convalescence at
home following his recent operation. . . .
Frank and Mrs. Plumlee of Farmington,
Missouri, back home after a New England
vacation. . . . Ben Kalmenson, general sales
manager for Warner Bros., and Roy Haines,
western sales manager, were in town recently
for a visit. . . . Recent wind storms forced
temporary closing of drive-ins in southern
Illinois.

TORONTO

Loew’s Uptown held two showings on a
Saturday night sneak-previewing “All I De-
sire.” . . . Wife of Tom Daley, manager,
University, passed away. Mr. Daley was on
holiday when the death occurred. . . . Fred
Trebilcock is relief manager at the Univer-
sity while manager Tom Daley is on a holi-
day. Astor, Toronto, is no longer a part of
the Twentieth Century Theatres booking
scheme. The theatre is now being operated
by Ben and Sam Ulster. . . . Janet Krendel,
daughter of Dan, was married. Dan is
Ontario supervisor for Famous Players. . . .
Michael Hirsch, father of Arthur, president
of Consolidated Theatres, Montreal, died in
Montreal. He also leaves a brother, Mar-
cus, manager of the Eglinton, Toronto. . . .
First to install stereophonic sound in the
city will be Loew’s Uptown. It will play
U-I’s “It Came from Outer Space.” . . .
The Maritimes Allied Exhibitors Associa-
tion was successful in preventing further
bingo games in Saint John, N. B. . . . Archie
Cohen has been named Montreal branch
manager for Warner Bros., succeeding Grat-
tan Kiely, manager, who resigned. Kiely
was manager for eight years.

VANCOUVER

Art Grayburn, Plaza manager, is on vaca-
tion in Calgary. . . . Edna Merrick, of the
Hastings in Portland, and Ed Marshall, of
the Capitol, are in New York on holidays.
. . . Betty Goodyer, JARO secretary, re-
signed to return to her native England. . . .
Wilf Little, Fraser projectionist, was hos-
pitalized for a major operation. . . . Mary
Lou Le Sage, Sovereign films secretary, has
retired from business to await a visit from
the stork. She has been replaced by Gloria
Jackson. . . . The Avon theatre, home of the
debated “Tobacco Road” show, is now
closed. . . . Irene Holowach, a member of
the Studio staff since it opened, has resigned
to join her husband at Prince Rupert, north-
ern B. C. She was replaced by Francis
Sugerman, formerly of the Orpheum as
secretary. . . . Wally Woolridge, of the
Strand, and his wife Bessie of the Colonial,

who were in London for the coronation, re-
port a fine time was had and that they will
visit Paris before returning. . . , Public
spirited citizens of Enderby in the B. C,
interior have undertaken construction of a
$40,000, 350-car drive-in theatre as a com-
munity enterprise. The structure is on an
11-acre tract less than 8 miles from the city.

WASHINGTON

The Variety Club Golf Tournament and
Dinner Dance will be held October 2 at the
Woodmont Country Club in Rockville, Md.
Co-chairmen for the affair are Sam Galanty,
George Crouch and Albert W. Lewitt.
Vice-chairmen are James H. Simon, Keith
Lewis and Lewis Jacobs. . . . Dr. Edward
Cafritz, a member of Tent No. 11, was hon-
ored at Providence Hospital, where he has
served for 30 years as a surgeon. . . . Pler-
bert Doherty, RKO booker, has resigned.
He will make his home in California. . . .
Ross and Sam Wheeler have taken over the
Kay Film Exchange. They will operate it
at 920 New Jersey Ave. N. W., along with
their Wheeler Film Exchange. . . . The
Variety Club Board of Governors meeting
was scheduled for July 13. . . . The Variety
Club’s annual dinner dance will be held this
year November 21, at the Statler Hotel.

MPAA to Consider Bid
For New York Shooting

The Motion Picture Association is plan-
ning to take under consideration the New
York Department of Commerce project to
seek to get Hollywood producers to allot five
per cent of their yearly production pro-
grams to activity in New York. It was re-
ported recently that an MPAA spokesman
told the Department that Eric Johnston,
president of the MPAA, probably would
assign someone from the Association to
confer with the Department while Mr. John-
ston is on his current European tour. Mr.
Johnston was unable to meet with Depart-
ment officials last week due to the pressure
of business before his departure for a busi-
ness tour of Europe.

AB-Paramoun+ Sues
Fanchon and Marco

HOLLYWOOD : American Broadcasting-
Paramount Theatres Corporation has filed
a suit here in Superior Court against Fan-
chon and Marco Corporation asking $140,-
000 for breach of its lease contract on the
downtown Paramount theatre. The corpora-
tion was said to have been negligent in
maintaining proper conditions during its 10-
year tenancy and in making proper account-
ing of profits under the contract terms,
which allegedly called for equal distribution.
Also named as a defendant in the suit was
the Partmar Corporation.

Set "Paradise" Premiere

“Return to Paradise, the color by Techni-
color production by Aspen Pictures starring
Gary Cooper, will have its world premiere
July 23 at the State-Lake theatre, Chicago,
it has been announced by William J. Heine-
man, vice-president in charge of distribu-
tion for United Artists, which is releasing
the film.

MOTION PICTURE HERALD, JULY 4, 1953

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Milton R. Rackmil, president of Universal
Pictures, and Alfred E. Daff, executive
vice-president, are on the coast for a
series of meetings with studio executives.
Accompanying Mr. Daff on the trip was
David A. Lipton, vice-president in charge
of advertising and publicity.

William C. Hames, United Artists branch
manager in Indianapolis, has been pro-
moted to branch manager in Dallas, re-
placing T. E. Laird, resigned, it has been
announced by B. G. Kranze, general sales
manager. Ed Bigley, city salesman in
Detroit, replaces Mr. Hames. Mannie
Brown, formerly of the Buffalo exchange,
will take over Mr. Bigley’s position.

Dr. Herbert T. Kalmus, president of Tech-
nicolor, Inc., has accepted an invitation to
serve on the Stanford Research Institute
board, it has been announced by Dr. J. E.
Wallace Sterling, president of Stanford
University.

Walter Reade, Jr-, president of Walter
Reade Theatres, has been reelected to the
board of directors of the Monmouth Coun-
cil of the Boy Scouts of America, Mon-
mouth, N. J.

W a! Us Dozen

Dissolved

HOLLYWOOD: Wallis-Hazen, Inc., has
been dissolved, effective July 26, and all its
employees have been released. Formed in
1948, the corporation recently completed a
five-year production-distribution deal with
Paramount Pictures.

Hal B. Wallis and Joseph H. Hazen,
partners in the dissolved company, an-
nounced the release channel for the recently
completed “Money from Home,” a Dean
Martin-Jerry Lewis comedy in 3-D with
color by Technicolor, would be made known
within 90 days.

Downing Heads Industry
Yeshiva Fund Drive

Russell V . Downing, president and man-
aging director of Radio City Music Hall,
has been appointed chairman of the Motion
Picture Industry Scholarship Fund at
Yeshiva University, New York, it has been
announced by Samuel Belkin, president of
the University. The committee raises funds
to enable students to receive an education
at the first American University under
Jewish auspices. Many distribution and cir-
cuit leaders throughout the area especially
are also members of the industry branch of
the Yeshiva University committee.

Walt Disney has arrived in New York on
his way to Scotland, where he will com-
plete production of his live-action film,
“Rob Roy.”

Robert J. Corkery, executive in the inter-
national department of the Motion Picture
Association of America, is in Rio de
Janeiro attempting to clarify the position
of American film distributors in Brazil’s
new approach to liquidating the indebt-
edness of all U. S. exporters under the
U. S. Export Bank’s $300,000,000 loan to
Brazil.

Jay Bonafield, executive producer for
RKO-Pathe, has been awarded one of the
top 16mm. awards of the annual Cleve-
land Film Festival for his production of
“Second Sight,” an RKO-Pathe Special.

Robert Conn, former 20th Century-Fox
branch manager in Des Moines, has been
appointed head of the company’s Indian-
apolis branch, replacing William Keith,
who has returned to Dallas as a sales-
man. Dave Gold, previously a sales
assistant in the Kansas City Exchange,
has been manager of the Des Moines
office.

Firestone Named Unity
National Sales Head

Len Firestone, eastern division sales
manager of Unity Television, has been pro-
moted to the newly created post of national
sales manager, it has been announced by
Archie Mayers, president. He will leave
soon on an extended trip to look over new
sites for Unity branch officers. Before join-
ing Unity, Mr. Firestone had served as a
station representative and worked for several
agencies.

Name Vallance and Thorp
Directors of Universal

Samuel H. Vallance and Harold I. Thorp
were elected to the board of directors of
Universal Pictures, at a meeting Monday
in New York. Mr. Vallance and Mr. Thorp
are members of the board of Decca Records,
Inc., which owns a substantial interest in
Universal. The board of directors of the
film company declared a quarterly dividend
of $1.06*4 per share on the 4*4 per cent
cumulative preferred stock, payable Sep-
tember 1 to holders of record on August 15.

Approve Drive-In Zoning

Nick Kounaris and Paul Tolis, Connecti-
cut exhibitors, have had their application
for zoning to build a 700-car drive-in on
the Meriden-Wallingford, Conn., town line,
approved by the Meriden Zoning Board of
Appeals.

Zukor Sees
Rebirth ot
Industry

SCRANTON : Forecasting a resurgence of
the industry, Adolph Zukor, chairman of the
board of Paramount Pictures, last Thurs-
day told 125 managers of Comerford Thea-
tres, Inc., “We are on our way back.” Rep-
resentatives of Warner, Columbia, United
Artists, Universal, 20th Century-Fox, Re-
public, MGM and RKO were also present
at the circuit’s convention at the Hotel
Casey here.

Mr. Zukor was introduced by Frank C.
Walker, chairman of the board of Comer-
ford, who described the speaker as an inti-
mate friend of the late M. E. Comerford,
founder of the circuit. The Paramount ex-
ecutive then paid tribute to Mr. Comerford,
whom he described as a man “who under-
stood the movie industry.”

After reviewing the history of the indus-
try, Mr. Zukor said “the future of the movies
is brighter now than it was 40 to 50 years
ago. Recent progress makes me believe that
the next 50 years will offer more to you
men in the industry now than we had to
look forward to 50 years ago.”

The pioneer said television “had taken
away our business” but Cinerama “was the
beginning of the rebirth of the picture busi-
ness.” Once again, Mr. Zukor called for
good stories and direction and said stars are
the key to success.

J. J. O’Leary, Comerford president, and
Mr. Walker were in charge of the conven-
tion, which devoted much of its time to a
discussion of the latest technical develop-
ments in the industry.

Speakers at the morning session included
S. F. Seadler, director of MGM advertis-
ing ; Alfred Schwalberg, president of Para-
mount Film Distributing Corporation;
Frank Cahill, director of projection and
sound for Warner Brothers, and Ray Moon,
assistant domestic sales director for Uni-
versal.

Other industry leaders who addressed the
convention were William Brumberg, man-
ager of field service for Warner Brothers;
Rube Jackter, assistant general sales man-
ager for Columbia; James O'Gara, eastern
sales manager for Republic ; George
Schaefer, independent distributor ; Edward
Walton, executive assistant to the president
of RKO, and William Gehring, executive
assistant general sales manager for 20th
Century-Fox.

Master Gets "Catherine"

Master Films, Inc., has acquired the
Western Hemisphere distribution rights to
the Spanish film production, “Catherine of
England.”

Form Dubbing Company

A new firm, the American Dubbing Com-
pany, Inc., New York, has been formed to
dub foreign feature films.

MOTION PICTURE HERALD, JULY 4, 1953

Metro-Gold wyn-Mayer

. . . 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.

BECAUSE YOU’RE MINE: Mario Lanza. Doretta
Morrow — Doubled with “Zanzibar”. We liked the
picture but the terms were outrageous considering the
B. O. Weather wasn’t bad. Played Tuesday, Wed-
nesday, April 21, 22. — R. B. Tuttle, Sky D'rive-In
Theatre, Adrian, Mich.

CALLING BULLDOG DRUMMOND: Walter Pid-
geon, Margaret Leighton — I liked this one, but the
patrons didn’t care much for it. Business was poor.
I think Pidgeon’s talent was wasted on this one. —

H. A. Corr, Community Theatre, Marwayne, Alta.,
Canada.

GLORY ALLEY : Leslie Caron, Ralph Meeker-
Doubled this with Republic’s “Rookies on Parade”.
Cold weather didn’t help and we took a beating at
the B. O. Played Thursday, Friday, April 16, 17. — R.
B. Tuttle, Sky Drive-In Theatre, Adrian, Mich.

LONE STAR, THE: Clark Gable, Ava Gardner —
My patrons enjoyed this one from M-G-M. Although
the weather was extremely warm and there was
competition, the picture drew nicely. I hope M-G-M
will make more like this. Played Friday, Saturday,
June 12, 13. — H. A. Corr, Community Theatre, Mar-
wayne, Alta., Canada.

MILLION DOLLAR MERMAID: Esther Williams,
Victor Mature — A million dollar picture. All of our
Esther Williams’ fans certainly went away happy after
this one. The story was a lot better than some of her
previous vehicles, and the Technicolor with the typical
M-G-M spectacles went over with a bang. Business
was very good and weather was very mild. Played
Saturday, Monday, Tuesday, May 30, June 1, 2. —
Robert Harvey, Capitol Theatre, North Bay, Ont.

MILLION DOLLAR MERMAID: Esther Williams,
Victor Mature — Excellent holiday entertainment which
has everything, color, romance, ballet and super water
displays by Esther and a chorus of swimmers. Yet
it failed to draw here, and did no more than average
business. Played Monday, Tuesday, June 1, 2. — Lew
Young, Norgan Theater, Palmerston, Ont., Canada.

MY MAN AND I: Shelley Winters, Wendell Corey
— Played this on a double bill and the second day we
couldn’t survive the rain and died — but good. Played
Tuesday, Wednesday, April 14, 15. — R. B. Tuttle, Sky
Drive-In Theatre, Adrian, Mich.

PRIDE AND PREJUDICE: G reer Garson, Laur-
ence Olivier — This reissue is still tops in entertain-
ment. Play it. Played Wednesday, Thursday, June
3, 4. — Lee Brewerton, Capitol Theater, Raymond,

Alta., Canada.

PRISONER OF ZENDA: Stewart Granger, Deborah
Kerr — A good picture with good cast and good color,
but the same old story that has been told too many
times on the screen. The color added a little to it,
but it was a flop at the box office and business was
below average. I don’t think it is a small town pic-
ture. Played Sunday, Monday, June 7, 8. — W. W.
Kibler, Caroline Theatre, Bowling Green, Va.

PRISONER OF ZENDA: Stewart Granger, Deborah
Kerr — Box office picked up as Fridays do, and the
picture was good. It was worth the price, but the
box office didn’t pay off. Doubled with “Frontier
Bad Men”. Played Thursday, Friday, April 30, May

I. — R. B. Tuttle, Sky Drive-In Theatre, Adrian, Mich.

PLYMOUTH ADVENTURE: Spencer Tracy, Gene
Tierney — We went out and worked on this one. Rained
opening night, and the price was too high. This was
a case where percentage would have been better than
any other terms. Played on double bill. Played Wed-
nesday, Thursday, April 28, 29. — R. B. Tuttle, Sky
Drive-In Theatre, Adrian, Mich.

SKY FULL OF MOON : Carleton Carpenter, Jan
Sterling — Strictly second feature entertainment which
we made the mistake of playing as the feature. Would
suit lower half of weekend bill. Business off. Played
Friday, Saturday, June 12, 13. — Lew Young, Norgan
Theater, Palmerston, Ont., Canada.

Paramount

COME BACK LITTLE SHEBA: Burt Lancaster,
Shirley Booth — Can only say “brilliant entertainment.”
Saw this in Los Angeles in March and was anxious
to date same on arrival home. Played Friday, Satur-
day, May 29, 30. — Lee Brewerton, Capitol Theatre,
Raymond, Alta., Canada.

OFF LIMITS: Bob Hope, Marilyn Maxwell — Think
it’s Plope’s best, and Marilyn is a dilly, but business
off. Played Friday, Saturday, Tune 5, 6. — Lee Brewer-
ton, Capitol Theatre, Raymond, Alta., Canada.

OFF LIMITS: Bob Hope, Marilyn Maxwell— Ran
this with Paramount news of Coronation. This gives
us a diversified audience and everyone went out
happy. Business was up considerably. The Coronation
picture drew the business, but the feature was good
and the patrons enjoyed it. Played Thursday, Fri-
day, Saturday, June 4, 5, 6. — J. M. Gow, Capitol Thea-
tre, Nanaimo, B. C., Canada.

SAVAGE, THE: Charlton Heston, Susan Morrow — *
Very good outdoor action picture of Red -White re-
lations, but somehow it didn’t have a big drawing
power, and we played it first run. Guess they’ve seen
too many like it before, although the previous ones
might not have been as good. Business fair. Played
Saturday, May 30. — Lew Young, Norgan Theatre,
Palmerston, Ont., Canada.

SCARED STIFF: Dean Martin, Jerry Lewis — It’s
the “Ghost Breakers” back with this dizzy pair.
Screwy but good. Played Friday, Saturday, June 12,
13. — Lee Brewerton, Capitol Theatre, Raymond, Alta.,
Canada.

SON OF PALEFACE: Bob Hope, Jane Russell—
This picture drew well because of Roy Rogers and
Trigger. Usually my patrons don’t care for Bob Hope,
but the other stars drew the business. — H. A. Corr,
Community Theatre, Marwayne, Alta., Canada.

RKO Radio

CLASH BY NIGHT: Barbara Stanwyck, Paul
Douglas — Sunday business was good, with Monday
egging it, as usual. Played on a double bill Sunday,
Monday, May 10, 11. — R. B. Tuttle, Sky Drive-In
Theatre, Adrian, Mich.

TARZAN AND THE SLAVE GIRL: Lex Barker,
Vanessa Brown — The local Legion sponsored this fea-
ture for the children. They seemed to think it was all
right, but the adults didn’t care for it. Played Tues-
day, June 2. — H. A. Corr, Community Theatre, Mar-
wayne, Alta., Canada.

Twentieth Century-Fox

BLOODHOUNDS OF BROADWAY: Mitzi Gaynor,
Scott Brady — The best Gaynor picture we have played
yet. It appealed greatly to' our small town audience
who particularly liked the little girl who danced as
Mitzi’s sister. Business good. Played Thursday, Fri-
day, May 28, 29. — Lew Young, Norgan Theatre,

Palmerston, Ont., Canada.

DESERT RATS: Richard Burton, James Mason —
A war picture depicting the courageous stand that
the British and Australian forces made during the
siege of Tobruk. Once again James Mason plays the
part of Rommel, but his role is secondary to that of
Richard Burton. There are no women in the cast, and
the shells explode thick and fast. It’s not quite up

to par with “The Desert Fox” (Fox), but will make
a good account of itself. Business was good for this
time of the year. Played Sunday, Monday, Tuesday,
June 7, 8, 9. — Mel Edelstein, Lybba, Hibbing. Minn.

PRIDE OF ST. LOUIS: Dan Dailey, Joanne Dru —
This picture pleased young and old. A baseball picture
in this situation always seems to draw the business.
Comments good, business good. Played Friday, Satur-
day, June 5, 6. — H. A. Corr, Community Theatre,
Marwayne, Alta., Canada.

Universal

REDHEAD FROM WYOMING: Maureen O’Hara.
Alex Nicol — Just a fair Technicolor action picture.
Maureen O’Hara always appears on the screen as
though she’s in a style show. The story is a little
different from the usual westerns, and if your fans
like this type of picture, it should do all right. I
thought the title might lure the female customers,
but it didn’t to any great extent. Business was below
average. Played Tuesday, Wednesday, June 2, 3.—
Mel Edelstein, Lybba Theatre, Hibbing, Minn.

REDHEAD FROM WYOMING: Maureen O’Hara,
Alex Nicol — The distributor cancelled our first book-
ing on it and let us have it too late to make any
money on it. We also paid too much money for it.
A good picture and good color, but business was below
average at the box office. Played Thursday, Friday,
June 11, 12. — W. W. Kibler, Caroline Theatre, Bowling
Green, Va.

SEMINOLE: Rock Hudson, Barbara Hale — A good
Army vs. Indians action picture filmed in Technicolor.
This time the story has to do with Osceola, the leader
of the Seminole Indians and the efforts of the Army
to get the Seminoles to move from their land and go
to a reservation. Rock Hudson and Richard Carlson
are the Army officers, while Anthony Quinn plays
the part of “Osceola.” There is action, suspense and
good Technicolor. Don’t be afraid of this one. Played
Wednesday, Thursday, Friday, Saturday, May 27, 28,
29, 30. — Mel Edelstein, Lybba Theatre, Hibbing, Minn.

Warner Bros.

BIG JIM McLAIN: John Wayne. Nancy Olson—
Here is a picture we need not have double billed. It
could have stood on its own, despite the disappointing
ending so many exhibitors have complained about.
Evidently our small town audience wasn’t so critical,
as all comments were good. Business good. Played
Monday, Tuesday, Tune 8, 9. — Lew Young. Norgan
Theatre, Palmerston, Ont., Canada.

I CONFESS: Montgomery Clift, Anne Baxter — A
good story, well played by the stars, but it failed to
bring them in. Had a few comments from those who
came to see it. Business below average at the box
office and we paid too much for it. Played Tuesday,
Wednesday, June 9, 10. — W. W. Kibler, Caroline

Theatre, Bowling Green, Va.

STOP, YOU’RE KILLING ME: Broderick Craw-
ford, Claire Trevor — Here is another case of the old
saying, “Get them in and they'll really like the
picture.” It seems as though people just don’t care
for Damon Runyon stories in the small towns. This
picture is very good, the laughs are many, the War-
nerColor is good, Broderick Crawford is cast well as
the racketeer who tries to go legitimate and there
are a few musical numbers thrown in for good meas-
ure. Box office results were fair. Would not recom-
mend it for small situations. If you have to play it,
book it in mid-week. Flayed Tuesday, Wednesday,
May 19, 20.— Mel Edelstein, Lybba, Hibbing, Minn.

MOTION PICTURE HERALD, JULY 4, 1953

Ask ICC to
Approve
RCA Color

WASHINGTON : Claiming Federal Com-
munications Commission standards had been
met, the Radio Corporation of America and
the National Broadcasting System last
Thursday asked the FCC to approve their
compatible color television system. Under
this system color signals can be received
not only on color sets but also in black-and-
white on black-and-white sets.

The Commission already has approved the
Columbia Broadcasting Company’s non-
compatible color system, in which color sig-
nals cannot be received in viewable fashion
on black-and-white sets. RCA and NBC
told the FCC that the CBS standards were
“sterile and their continuance is not in the
public interest.”

The petition declared that if the Com-
mission approved the RCA-NBC standards
by the end of the summer, color broadcast-
ing would be in effect early next year.
RCA would expedite production of equip-
ment and NBC would do the early color
telecasting if the system is approved by the
Commission.

Spokesmen for RCA announced that early
color sets might cost as much as $800 to
$1,000 but prices would drop once the com-
panies began mass production. RCA and
NBC are prepared to spend as much as
$15,000,000 during color TV’s first year, it
has been announced by David Sarnoff, RCA
chairman.

It is now up to the Commission to decide
whether or not to hold hearings on the
petition. A number of Congressmen and
RCA officials have suggested that the new
standards be approved without any hearings
but thus far the FCC officials have indi-
cated a desire to hold hearings.

FCC Awards Aladdin
Denver TV License

WASHINGTON : The Federal Communi-
cations Commission has upheld an examin-
er’s recommendation and awarded a Denver
television channel to Aladdin Radio & Tele-
vision Company. The main stockholders in
Aladdin are Frank H. Ricketson, Jr., presi-
dent of Fox Intermountain Theatres; Harry
Huffman, former Fox Intermountain city
manager, and Ted Gamble.

RCA to Hold Color Tube
Television Symposium

The Radio Corporation of America will
hold a technical symposium July 15 in New
York on its tri-color television tube for use
in its compatible color TV system, it has
been announced by Dr. C. B. Jolliffe, vice-
president and technical director. The sym-
posium will be held primarily for radio and
television manufacturers in order to explain
some of the company’s developments in the
tri-color tube.

Promotion Planned tor
Cowan's "Main Street"

Thousands of actors and producers in
summer theatres all over the country have
been sent special letters by Arthur Schwartz,
president of the Council of the Living Thea-
tre, enlisting their active participation via
word-of-mouth and window card planting
for “Main Street to Broadway,” scheduled
to open in more than 250 theatres the end
of July, according to Lester Cowan, pro-
ducer of the MGM release.

It is figured by the Council that the per-
formers and producers and others instru-
mental in developing barn theatres during
the summer can be a "powerful agency for
publicizing and advertising the all-star pic-
ture when it comes to areas either immedi-
ate to or surrounding the summer theatres,
said MGM.

The Council of the Living Theatre will
receive a portion of the proceeds from the
picture to be used to further stimulate thea-
tre-going on a subscription plan basis all
over the country. Many stars, directors and
writers of the Theatre Guild have contrib-
uted their services in the making of “Main
Street to Broadway.”

Issue Eight Subpoenas
In Howard Hughes Case

LOS ANGELES : The issuance of eight
subpoenas for individuals formerly connected
with RKO has been ordered by the Los
Angeles County Clerk for use in a trial
brought in Nevada by minority stockholders
against Howard Hughes and others. The
action was brought by Ely and Marion
Castleman and Louis Fuerman. The sub-
poenas were issued for Dore Schary, N.
Peter Rathvon, Jerry Wald, Norman
Krasna, Sid Rogell, Sam Bischoff, Frank
Ross and Jack Skirball.

Attorney-General Asks
Anti-Trust Review

WASHINGTON : Herbert Brownell,
United States Attorney-General, called for
an all-inclusive review of the nation’s anti-
trust laws in a recent speech to judges’ con-
ference at White Sulphur Springs, W. Va.
Mr. Brownell proposed the establishment of
a group of lawyers and other experts to be
known as the “Attorney General’s National
Committee to study the Anti-Trust Laws,”
which he hopes to set up in August.

Coronation Short Big

“The Coronation,” two-reel black-and-
white short produced by British Paramount
News, has achieved 1,000 bookings in the
United States during the past two weeks, it
has been announced by Oscar A. Morgan,
Paramount short subjects sales manager.

"The Village" Wins Award

The David O. Selznick Silver Laurel
Award for the film making the greatest con-
tribution to mutual understanding between
nations has been awarded to Lazar Wechsler
for his production “The Village,” which
will be released by United Artists.

Joint Appeal
Sets a Coal
Of $100,000

A $100,000 goal was set last Friday by
the amusements division of the Joint De-
fense Appeal at a luncheon at the Hotel
Astor in New York. William German,
chairman of the JDA division, presided.

The industry-wide drive will be started at
a dinner in October at which a prominent
industry personality will be guest of honor.

Chairmen for the individual companies
were announced at the luncheon. They are
Morey Goldstein, Allied Artists; Leo Jaffe,
Columbia; Leopold Friedman, Loew’s; Ar-
thur De Bra, MPAA ; William Brenner,
National Screen Service ; Arthur Israel,
Paramount; Charles Boasberg, RKO Pic-
tures; James O’Gara, Republic; Harry Gold-
berg, Stanley Warner ; A1 Lichtman, 20th
Century-Fox; Max Youngstein, United Art-
ists ; A. W. Schwalberg, Paramount ; Leon
Goldberg and Adolph Schimel, Universal ;
Samuel Schneider, Warner Brothers; Harry
Mandel, RKO Theatres; Emanuel Frisch,
exhibitor organizations, and Martin Quigley,
trade press.

Labor Law Revision Seen
Effecting Film Workers

WASHINGTON : Political observers be-
lieve that the Administration’s draft of its
recommendations for revision of the Taft-
Hartley legislation probably will include a
provision long sought by Hollywood unions.
This provision would cut from the present
30 days to seven the period during which
actors and other employees can work on a
film without joining the union in question.
Even though the administration is cur-
rently working on this recommendation, it
is unlikely that it will be submitted to
Congress this year.

"Helen of Troy" Starts
Camera Work in July

“Helen of Troy” will go into production
before July 20, it has been announced by
Jack L. Warner, Warner Brothers execu-
tive producer. Current plans call for the
film to be shot in three-dimension, using
WarnerColor, WarnerPhonic sound and a
wide-screen process. Samuel Bischoff has
been assigned to produce the picture and
Gordon Douglas will direct.

Promote News, Shorts
In Paramount Booklet

Paramount has sent booklets to exhibitors
which stress the importance of newsreels
and shorts to round out a theatre program.
“The whole show,” the booket emphasizes,
“is the most effective inducement for patron-
age.” The booklet describes Paramount’s
1953-54 lineup of 60 shorts and lists 104
issues of Paramount News.

MOTION PICTURE HERALD, JULY 4, 1953

DhJiny fj/lack CcnJuctA £urteif ctf £hctotnaHAij2

MARTIN G. SMITH, out in Toledo,
calls our attention to an editorial
in Irving Mack’s Inspiration which
is doubly interesting since we are reminded
of it by such a good showman. Irving has
been doing some quiet research, and he re-
ports the results to our complete satisfaction,
or, at least, we knew it all the time.

He says, “We made a survey, and did
we find out things ! We checked exploita-
tion stunts and we checked winners in show-
manship drives, and here’s what we found.
. . . In one circuit, ten managers who
lead the field won prizes of $100 each. The
next five won $50 each, the next five, $25
each . . . and the remaining 80 managers
were absolutely dormant. In other words,
contenders were in there hitting, the rest
were sitting back, waiting for something to
happen.”

Then, he says, he checked the special
trailer business with this same circuit.
Group 1, who lead their contest, ordered
special trailers on an average of once or
twice a week. Runners-up ordered trailers
once or twice a month, but the sitters-back
didn’t order trailers oftener than once or
twice in a year ! He says this proves that
contenders are promotion-minded.

He went a step further and visited two
small towns in Illinois. (Irving is always
on the road, looking things over!) He
stopped to ask local managers why they
hadn’t been buying any special trailers, and
he learned they didn’t need to, business was
so bad. In fact, one manager explained
that certain evenings, he might as well close
up, because the Masonic lodge gave a dinner
at the church, and everybody went to it.
Irving says the store windows on Main
Street, and the newspapers, were plastered
with ads for the Masonic dinners, but there
wasn’t any particular plug for the movies.
The Lodge was doing capacity business, be-
cause they were exploiting their attraction,
while the movie man waited. They pro-
moted their business, while the manager
blamed everything and everybody but him-
self, for lack of patronage.

NOW IS THE TIME

It's summer, and again the season when
the short subjects are announced and sold,
tor a tull year ahead. Once upon a time,
in fond memory, this was a prevalent policy
throughout film industry, and the new fea-
ture product, announced in exciting bro-
chures and trade-press inserts, provided a
stir in showmanship, the length and breadth
of the land. Ah, those were the good old
days.

But the short subjects makers persist in
their old policy of making, and selling, a
whole year's product on a single contract,
and in our mail today is evidence from
Paramount that building a show requires
brick-solid entertainment of the first qual-
ity. Sixty one-reelerS; they announce, and
104 issues of "Paramount News," just like
it used to be, in those other, better days,
so long ago. Oscar Morgan has even
saved that worthy slogan, "If it's a Para-
mount Picture — it's the best show in town."
And he has 3-D to offer, to bring it up-to-
the-minute.

There's also a letter in the mail, from
Jules White, on the Coast, who has made
hundreds of sustaining slapstick comedies,
released by Columbia, and the kind that
pull dull shows up out of routine, and make
the paying patrons laugh out loud. Jules
says The Three Stooges have added 3-D
to slapstick, and now it's pies that come
right out of the screen and hit you! Put
on your Polaroid glasses, and a bib-napkin*

We’ve known for a very long time that
only about 20% of the managers really
work at showmanship, and the other 80%
wait for infrequent inspiration or ambition
to stimulate their efforts. Contests bring
out the best, whether it be circuit contests
for cash prizes, or the Quigley Awards com-
petition for national honors. Showbusiness
is good for those who make it good, and
that’s evident in our Round Table mail.

We read “The Sea Around Us” when
Rachel Carson’s book was first issued
and obtained it from a circulating library, as
a potential best seller. Since that time, it
has topped all lists for non-fiction books, and
we liked it so well that we bought a copy for
our own library shelf, well worth $3.50' as
an investment in entertainment. When the
picture was first announced we anticipated
something quite unusual, and we are still
awaiting the chance to see it.

Now, the film is to open next week at the
Trans-Lux 60th Street theatre in New York,
and at the Fine Arts theatre, in Los Angeles.
And RKO have set up an exploitation pro-
gram in each city, which will reach the kind
and class of people most interested in this
fine documentary subject. Pictorial Events,
producers of visual education aids, will pro-
vide a promotion package to 6,000 schools,
which will establish contact with more than
four million school children. In New York,
a special preview for 500 members of the
Federation of Women’s Clubs.

When Stirling Silliphant started pro-
duction on “The Joe Louis Story” we
talked about dual bookings as a basis for his
special releasing policy. At that time, it
was obvious to us that such a picture as
“Lydia Bailey” — for instance, should have
been played in two houses simultaneously in
New York. At the Rivoli, on Times Square,
and in Flarlem, for a dual run, which might
have gone six weeks or more, in contrast to
the two weeks the picture had in the Roxy.
Stirling told us of another instance, in his
memory, where the neighborhood theatre
far outgrossed the downtown first-run, in
a similar day-and-date engagement, but with
both theatres profiting by the double exploi-
tation. Now, when “The Joe .Louis Story”
breaks, we hope for a Chicago booking, in
the Loop, first-run, and at the friendly Louis
theatre, on the South Side, which Hugh Bor-
land boasts is “last run in Chicago” — but
where his showmanship would make this a
perfect engagement. — Walter Brooks

MANAGERS' ROUND TABLE SECTION, JULY 4, 1953

“House Of

Wax99— the
World Over

THREE DIMENSIONAL SHOWMANSHIP,
inspired by a truly entertaining picture and
translated into many languages, all saying
the same thing in their different ways. A
selection of varied styles from east and
west, around the world.

For instance, costumed placard bearers
provide street ballyhoo for "Das Kabinet
des Professor Bondi" at the Metro In
Schwan theatre, In Frankfurt, Germany.

Dual opening at the Alhambra and Queen's theatres, in Hongkong
where the pictu -e did well in both houses.

Youngsters are attracted as third-dimension captures their in-
terest on the streets of Singapore. At left, a lobby display that
leaps as characteristically in Japanese, for the first-run in Tokyo.
And below, a fine front display for "L'Homme Au Masque de
Cire" at the Eldorado theatre, in Brussels.

MOTION PICTURE HERALD, JULY 4, 1953

Mel Go tv Is
A Contender
In Nunninto

J. Mel Gow, manager of the Capitol
theatre, Nanaimo, B. C., is another of our
Capitol showmen from Famous Player s-
Canadian whose campaigns swell that grow-
ing list of superior showmanship on the
other side of the friendly border. Mel
works with Ernie Cary, manager of the local
Strand theatre, in cooperative endeavors
with the newspapers and with various or-
ganizations and drives. The B. C. Cancer
Society is beneficiary of their joint efforts,
and one of the campaigns submitted in this
quarter for the Quigley Awards is a com-
pact and comprehensive handling for the
cancer drive, of which Mel Gow is publicity
chairman for the committee.

Another interesting feature of their local
campaigns is a special issue of the Nanaimo
Free Press — -“not an issue missed in the last
eighty years” — which was conceived and
written by the two theatre managers as a
joint tribute to their fine newspaper. This
event very obviously became a community
affair, with stage program and wining-and-
dining for local celebrities. We can see and
applaud a grand public relations job.

And there is just one other thing that
we’ve learned from these campaigns. Mel
talked about “Larry Bearg’s Western
Round Up” and we thought, “another rodeo
playing up thataway” — until we saw the
books. Now, we understand, Larry Bearg
is doing in the far west what Dan Krendel
is doing in Ontario, with different stage
effects, but he’s not another cowboy, even
though he’s riding the range, for showman-
ship. Nobody tells us these things !

Mel says in an attached letter that he
came first in his group of twelve theatres,
and his total points for the current period
was 17,214, with the three months’ prize
being $100. We begin to note the simi-
larity— and the differences — between Bally-
hoo in the “B” District and a “Round Up”
in the Far West, with Larry Bearg and Dan
Krendel both driving ! The campaigns sub-
mitted will add up in the Quigley Awards.

Sonny Shepherd, Wometco Theatres man-
aging director, John Payne, star of "Raiders
of the Seven Seas," Gordon Spradley, man-
ager of the Lincoln theatre and Marty Vouch-
er, manager of the Towne theatre, pose
a news picture for the Miami papers.

SHOWMEN

Warner Brothers are holding the world
premiere of “The Charge at Feather River”
at the New Plaza theatre, Vernon, Texas,
with four regional openings to follow. The
New Plaza is announced as “the first theatre
built for 3-D.”

▼

Elaine George sends a current batch of
her chatty, friendly film bulletins and typi-
cal advertising for the Star theatre, Hepp-
ner, Oregon, with special attention to the
new graduates, in local high schools.

Bob Carney has launched a new vauda-
ville policy at Loew’s Poli theatre, Water-
bury, Conn., under the direct supervision
of Harry F. Shaw, division manager, and
Lou Brown, advertising-publicity chief for
Loew's New England theatres.

Frank McQueeney, manager of the Pine
Drive-In, at Waterbury, Conn., offers free
fire engine rides for youngsters — and says
“You’ll enjoy the movies fine, at the Pine.”

▼

Lou Cohen, manager, and his assistant
Norm Levinson, at Loew’s Poli theatre,
Hartford, got some 3-D publicity photos in
the newspapers on “Arena” — with actors
leaping from the screen.

Mrs. Fred Greenway, wife of our Round
Table member at Loew’s Poli-Palace theatre,
Hartford, is responsible for a published
poem, in the Sunday Herald, entitled,
“Please Don’t 3-Dimension It.”

▼

Sal Adorno, Jr., manager of the M&D
theatres, in Middletown, Conn., urging at-
tendance at early evening shows, starting
at 7, at the circuit’s Middlesex theatre.

▼

Matt L. Saunders planted a unique eight-
column spread of publicity pictures on
“Arena” showing patrons “what happens to
you” in the first 3-dimension western, at
Loew’s Poli theatre, Bridgeport, Conn.

▼

Russ Barrett, manager of the Capitol
theatre, Willimantic, arranged a “community
spread” cooperative page with free tickets
for “Titanic” in the advertising copy.

Joe Miklos had a rare co-op ad for “The
Lady Wants Mink,” playing at the Staley-
Warner Embassy theatre, New Britain,
Conn., from a sponsor who had the minks
the lady wants.

▼

Lou Cohen, manager of Loew’s Poli,
Hartford, put out hundreds of flash window
cards reading “Watch for 3-D Day !” as
an advance build-up for MGM’s three-
dimensional “Arena.”

A1 Floersheimer, Jr., advertising and pub-
licity director for Walter Reade Theatres,
arranged a midnight preview of “Tonight at
8 :30” at the Baronet theatre for people of
the legitimate theatre — and had 500 profes-
sionals present — the house seats 432 !

IN ACTION

Filmack has special audience instruction
trailers to tell patrons how and why they
wear their glasses for 3-D, and also to ex-
plain the necessity for changeover inter-
missions.

▼

Barney Regan, manager of the Victoria
theatre, Vancouver, proud of his Silver
Anniversary program with “The Greatest
Show on Earth” as an attraction, but de-
lighted with a wire of congratulations from
Cecil B. DeMille.

H. S. Wilson, manager of the Capitol
theatre, Chatham, Ont., attached cards to
parking meters reading “Your meter read
‘One Minute to Zero,’ so we have given
you 12 extra minutes through the courtesy
of the Capitol Theatre” — where this picture
is playing.

▼

W. S. Samuels, manager of the Lamar
theatre, Beaumont, Texas, sends us more of
those excellent program heralds, for
“Father’s Day” and a special show for
Mother, too, which should be available to
other theatres, if the process and styling is
on the market.

Mel Gaitskill, manager of Schine’s Paris
theatre, Paris, Kentucky, got some swell
support with roadside signs from co-op ad-
vertisers on “Trouble Along the Way” —
and a tie-up which gave him posters in local
Catholic churches.

▼

Lee Willis, manager of Schine’s Piqua
theatre, Piqua, Ohio, had his first break
with posters in local high schools for
“Ivanhoe” — following a tip in Seymour
Morris’s “Reel Notes” from Gloversville,
He also has a good radio show running*
two hours a day, which costs nothing but
his effort in providing material.

▼

Toby Ross, manager of the Palace theatre,
Corning, N. Y., had a big benefit all set for
“Hills of Ireland” with three Catholic
parishes participating in advance ticket
sales.

Art Cauley, manager of the Paramount
theatre, Petersborough, Ont., cooperates
with the local Police Department in the
support of School Safety Patrols, and ran a
contest for 300 young members of the school
traffic control units.

▼

Joe Real’s entries for the second quarter
in the Quigley Awards competition show
much showmanship activity at his Midwest
theatre, in Oklahoma City.

▼

Lester Pollock is back on the job at
Loew’s theatre in Rochester, after a stint at
Loew’s Warfield in San Francisco, while
Boyd Sparrow was in the hospital. While
on the Coast, Lester planted some good
publicity pictures over his by-line in the
Rochester papers, telling about Hollywood.

MANAGERS' ROUND TABLE SECTION, JULY 4, 1953

What Goes On
A. t the ’Shy9

Bob Tuttle, manager of the Sky drive-in
theatre, at Adrian, Michigan, writes an in-
teresting outline of what he does to bring
the folks as regular patrons for movies, out-
of-doors. His oldest stunt is the regular
distribution of cards of welcome to new
babies, from published lists in county papers,
to tell them they are admitted free until
age 13, and that when they are very young,
they can have their milk warmed, while
their parents relax, without the necessity
of a baby-sitter.

He also uses several kinds of passes to
attract new patrons, through factories and
business places, some for an entire car and
all passengers, and one kind that just admits
the driver, free. This takes care of two
different situations, and builds up regular
patronage. Bus loads of school children
are admitted free as a climax to their annual
picnic. There is a “Cash for Courtesy’’
quiz, with contenders trying for jackpot
prizes, every Friday.

Judicious free admissions fairly swamp
the concession counters with customers.
Just before closing every night, there is a
fast “sale” of hot dogs, 5c off regular price,
and they knock themselves out, getting the
bargain. On rainy nights, lucky ticket cou-
pons are good for free gas at a nearby
service station. His “map for topflight
entertainment” shows where the Sky is
located between Adrian and Palmyra.

Herbert Solomon, co-manager of the
Findlay Drive-In theatre, Findlay, Ohio,
submits an outline of his promotion on
“Plymouth Adventure” — with free admis-
sion for every Plymouth driver, by invita-
tion of the local dealer, who also displayed
a new Plymouth car on the premises, as
part of the deal. About 40% of the cus-
tomers drove Plymouths.

Celebrities Open Campaign
To Launch "Melba" Here

Fifteen hundred celebrities attended the
premiere performance of “Melba” at the
Capitol theatre on Broadway last week in
New York, which signalled the launching
of a campaign, via the American Broadcast-
ing System’s radio and television networks,
that will reach millions, from coast to coast.
Backed with a national advertising budget
of $500,000 and aided by a further music
promotion budget of $50,000 additionally,
the United Artists picture will get off to a
flying start, promotion-wise and with the
nation-wide advertising and publicity cam-
paign well planned to get the widest dis-
tribution in the shortest time to the greatest
number.

"The Robe" Paintings
On Extended Tour

Dean Cornwell’s fine paintings, based on
“The Robe” and among the best Biblical
pictures of the generation, are still on tour
during the summer, and will continue in
leading department stores around the nation.
Stix, Baer & Fuller, St. Louis, will show
the paintings July 2-10; Edwards and Co.,
Syracuse, July 15-21 ; J. N. Adams & Co.,
Buffalo, July 24-30. The canvasses will be
on view at Kaufman’s in Pittsburgh,
August 10-15; and Bullock’s, in Los An-
geles, Aug. 18, to Sept. 4th. Approximately
1,500,000 persons have seen the exhibit to
date.

Harry Wilson Says- —

It's Hot in Canada

And to prove it, he sends in some clever
throwaway heralds — labeled “Scorching Ad-
venture”— for “Tropic Zone” and “The
Savage” on a double bill, and these small
sheets are really scorched around the edges,
burned brown, to show how hot the show is !
It’s slightly warm in New York, around 90°
- — but showmanship is still hotter, at the
Capitol theatre, Chatham, Ontario.

JP. E. McCoy
On the Job

Pierce E. McCoy, manager of the Miller
theatre, Augusta, Ga., is back on the job
again, after a vacation visit to New York,
attending the Quigley Grand Award Win-
ners’ Reunion and the graduation cere-
monies at West Point. His new campaigns
show a fine, patriotic and typical McCoy
flourish with “Torpedo Alley” for Armed
Services Day in Augusta, and a Rita Hay-
worth Beauty Contest for “Salome” which
was sponsored by a local store.

But, best of all, is his promotion for
“Shoot the Works” — a local kiddie revue —
put on with the cooperation of the Fred
Astaire Dance Studios, which resulted in
news pictures in the Augusta Chronicle and
the Augusta Herald. These are so very,
very good that we’ve sent for prints, so we
can show you a layout of cute pictures of
things you can do in towns where there are
Fred Astaire studios under local manage-
ment that will cooperate.

"Exploitation Is Like Good
Wine" — It Improves

“With age, that is” — according to Bob
Retzer, manager of the Solano theatre,
Fairfield, Calif., who has used some really
old stunts with remarkably good news at
the box office. Said he tried everything old
with his showing of the newest 3-D pic-
ture—“Fort Ti” — and got results. For a
small rural theatre, seating only 580, he had
to hold down his advertising, so depended
on the tried and true, and broke all house
records ! But he likes to put a bright new
wrapping on the old stunts, and that’s prob-
ably what makes all the difference in the
world. The local paper gave him free cov-
erage on the new 3-D and he used standard
3 and 6-sheets for front display. The entire
advertising budget was just $20.44.

John E. Lake, manager of the Savoy cinema, Luton, is a salty char-
acter, much admired in the British Round Table, for his superior
showmanship. Here you see him, at far right, receiving his Scroll of
Honor in the First Quarter Quigley Awards for J953, from Councillor
J. S. Devey, of Luton. The excellent color photograph of Queen
Elizabeth is a prized possession, in the theatre lobby.

THIS IS BERLIN! The gala premiere of "Eine Konigin vird Gekront"
at the Astor cinema, where J. Arthur Rank's tine color him of the
Coronation had this most interesting front display. Crowds have
stormed the Kurfiirstendamm since the opening and all attendance
records have been broken. The excellent cut-out figures are full-color
photographs and appear uncannily realistic.

MOTION PICTURE HERALD, JULY 4, 1953

QUIGLEY WINNERS

What They're Doing Now

Jack Matlack became known to every
member of the Round Table throughout
the world when he started winning War
Showmanship Awards in 1942, and in 1943,
when he won both the War Showmanship
Award and the Quigley Grand Award for
the same year. And in 1944, he did it again.
So his reputation as a master showman
was made.

This year, Jack resigned as general man-
ager of the J. J. Parker Theatres in Port-
land, Oregon, and the story was that he
was going to build a drive-in, of his own.
But the thought of being in business for
himself was percolating, and before he had
gone far in the direction indicated, he came
out with the announcement of his own pub-
lic relations and publicity business, thus
holding to the line he knows best.

Now, his letterhead reads, “This is Jack
Matlack Promotions” — located at 407 Times
Building, Portand 4, Ore. His slogan is
“Two Thirds of promotion is motion” — and
he is obviously in motion, all the time. He
says it’s a great feeling — owning your own
company — and he already has two men
working for him. He has a dozen local and
national accounts lined up, among them
Universal-International. When he wrote us,
he was just back from Denver and leaving
for Kansas City on new assignments. He
is handling the 100th Anniversary Celebra-
tion at Vancouver, Washington, U. S. A.,
and thus may get to meet those other
Quigley Grand Award winners in Vancou-
ver, B. C., Canada, within hailing distance,
across the border.

Jack Matlack was Portland’s Junior First
Citizen, and Portland Chairman for the
Crusade for Freedom. He is a past-president
of the Portland Ad Club, a director of the
Portland Retail Trade Bureau, and has been
active in many Oregon tourist and business
promotions. His many friends in the Round
Table wish him the success he so richly
deserves.

Selling Approach

THE 5000 FINGERS OF DR. T— Columbia
Pictures. "The First Wonderama in color
by Technicolor. A new kind of wonder
musical, and a picture that every manager
should see in advance of his exploitation
and advertising campaign. You may find
that this is altogether different from any-
thing you have ever seen before, or that
you expect to see, from preliminary an-
nouncements. There is much that is so very
unusual, and so intriguing, that you do
yourself and the picture an injustice, if you
don’t arrange a preview. "T" for Tremen-
dous, "T" for Terrifying, "T" for Terpsi-
chore, "T" for Terrific Merchandising, and
of course, "T" for Dr. Terwilliker, whose
500 pupils provides those 5,000 fingers. A
fantasy to end all fantasies — a fascinating,
fast, furious, bit of film foolishness. 24-
sheet and other posters provide cut-out
material, and this is a subject that needs
good front display, keyed to the picture
your audience is to see. If you don’t pre-
pare ’em as you sell 'em, they won't know
how to "take" this satirical comedy on the
screen. Newspaper ads, especially in large
sizes, have the idea of the film well pre-
sented, and you'll need both publicity and
ad mats to put over the idea of the giant
piano keyboard which is the advertising
slant that explains the picture. The com-
posite campaign mat at 35c from National
Screen has sufficient ads and mats to sup-
ply small theatres at low cost, but you'll
need some smash ads to properly sell this
attraction. When you get the idea of it,
you'll see music tieups and school tieups
and kid tieups galore, for even the kids
will have to be told and sold in advance.

"The Greatest Merchandising Campaign
Ever Prepared for Showmen" is a press-
book supplement for "The 5000 Fingers of
Dr. T." — and with that, we can agree. But
all the tieups are conditional on the success
of the picture to attract youngsters, and
that is your problem. The accessories are
well-planned and well-executed, but the
matter is in abeyance, whether these are
accessories before or after the fact of
pre-selling and ticket-selling at the box
office. One novelty, a "beanie" cap with
a five-finger glove attached to the crown,
will attract any yuongster because it is so
freakish, but they won't understand until
they see the picture, just why the figners
are there, or what they mean. Perhaps,
that isn't very important to kids. And,
in this truly impressive merchandising cata-
logue, there are many other items that
have merit, for retail stores and theatre
distribution, IF the purchasers understand
why. Lots of excellent musical instrument
tieups, which should provide theatre man-
agers with many give-away ideas for
months to come. Plenty of interesting
things for both girls and boys, in the line of
scarves and suspenders, handkerchiefs and
shirts, roller skates and costume jewelry.

SHANE — Paramount. In color by Techni-
color. "There never was a man like Shane.
There never was a story like Shane. There
never was a picture like Shane. A man
unlike all others, proud of his eye, swift of
gun, who wins the devotion of a boy, and
the love of a land, forever." "Shane" —
from Paramount — enjoys some of the most
distinguished advertising accessories and
styles that it has ever been our privilege
to praise under "Selling Approach." If
you don't find this unusual in your theatre
lobby, or on your amusement pages, we
will ask you why, for the pressbook has
everything that's new and different. 24-
sheet and all posters, large display and
other newspaper ads, in a style that you
have never seen before, which will be im-
mediately noticeable to your patrons, in
their search for newer, better things.
"There never was an advertising campaign
like Shane's." Advance teaser ads, and the
complete campaign mat, at 35c from Na-
tional Screen, all contain this element of
newness, of broad-scale width and depth,
as big as all out-of-doors. Folder herald
keys the campaign in the same style for
many situations. You will even find scope
in these advertising styles in the very
smallest sizes.

IT CAME FROM OUTER SPACE— Uni-
versal-International. Since the dawn of
time, man has never seen such sights, nor
trembled in such terror. 3-Dimension excite-
ment that can almost touch you. Xeno-
morphs invade our world, the night the
Earth can never forget. Nothing larger
than the 6-sheet, and here is a job that
needs colossal cut-outs to sell the monsters
that invade our planet. Nothing like this
ever happened before. Many very large
newspaper ads, too big for any but first-
run, key-city theatres, including a special
supplement of ads slanted to emphasize
the shock elements of this 3-D science
fiction story. One ad mat, No. 401, has
most of the best in reasonable space for
subsequent run theatres. Bargain composite
mat, at 35c contains enough to supply small
theatres, eight mats in all, at National
Screen. Utility mat for large theatres,
where a composing room will handle it
professionally. Plenty of small teaser ads
will set the stage in your advertising pages.
A good herald keys the campaign for a
majority of situations everywhere.

SEND US YOUR NEXT ORDER
AND FIND OUT WHY!

NEW YORK 36
1 327 S. WABASH AVE. 630 NINTH AVENUE

4 I

MANAGERS' ROUND TABLE SECTION, JULY 4, 1953

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 the price of three. Contract rates on application. No borders or cuts. Forms close Mondays at 5 P.M. Publisher
reserves the 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)

NEW EQUIPMENT

SERVICES

THEATRES

3-D MAGAZINES. 25-INCH SET OF 4. ONLY
$185. S-D EQUIPMENT CO'., P. O. Box 11. Cin-
cinnati 30, O'hio.

WINDOW CARDS. PROGRAMS. HERALDS,
photo-offset printing. CATO SHOW PRINTING CO..
Cato, N Y.

FOR SALE— OUTDOOR THEATRE. FIRST-RUN
features our policy. 700 cars, fully equipped, next to
town 45,000 — 80,000 population within 15 miles. Drive-in
in Northern Illinois. Within 40 miles Chicago. BOX
2724, MOTION PICTURE HERALD.

SEATING & UPHOLSTERY FABRIC

LEATH RRETTE SQUARES. WONDERFUL VAL-
ues up to 28". State size. Guaranteed to fit all seats.
All colors, 40c each. 25 or more. Check with order.
Satisfaction guaranteed or money refunded. CRO'WN
MOTION PICTURE SUPPLIES CORP.. 354 West
44th St., New York 36, N. Y.

MASONITE MARQUEE LETTERS 4"-35c; 8"-
50c; 10”— 60c- 12"— 85c; 14”— $1.25; 16"— $1.50; any
color. Fits Wagner, Adler, Bevelite Signs. S. O. S.
CINEMA SUPPLY CORPORATION. 604 W. 52nd St.,
New York 19.

FOR SALE— THEATRE— 500 SEATS, SPLENDID
condition, RCA sound, Brenkert machines, $25,000 cash
required. Owners will take balance on mortgage.
COLONNADE THEATRE, Millersburg, Pa. Wm. U.
Bethell, owner. Phone 86.

FOR SALE, AIR-CONDITIONED MODERN
theatre, 400 seats. Central Ohio town. 35,000 popula-
tion. Favorable lease available. First and second-
run policy. Excellent family operation. BOX 2727,
MOTION PICTURE HERALD.

GET SET FOR 3-D ! INTERLOCKS $150;
Metallic screen 90c sq. ft.; 24" magazines for $302;
Porthole filters $47.50 pair. S. O. S. CINEMA
SUPPLY CORPORATION, 604 W. 52nd St., New
York 19

S. O. S. — SAVE ON SEATS! REBUILT THEA-
tre chairs from $4.95. Send for chair bulletin. S. O’. S.
CINEMA SUPPLY CORPORATION, 604 W. 52nd
St., New York 19.

USED EQUIPMENT

ONLY THEATRE FOR RENT. AIR -CONDI -
tioned. Population with suburbs 4500. Frank Bertetti,
Benld, 111.

BUSINESS OPPORTUNITY

STAR SAVES YOU MONEY! 3-D EQUIPMENT
at low prices, write us; Imperial 50 amp. Rectifiers,

8 tubes, with fans, $195 pair; Strong i kw Lamp-
houses and Rectifiers, excellent, $495; Automatic Re-
winder, $44.50, Film Cabinets $1 section. Mon-Arc
Lamphouses, late model, 14” Reflectors, excellent
$375 pair. STAR CINEMA SUPPLY, 441 W. 50th St.,
New York 19.

In Marianna, the Blue Heaven theatre and real
estate. Will sell as a whole or separately. All offers
given thorough consideration and held strictly con-
fidential. Shown by appointment only. Address in-
quiries to P. O'. BOX 470, Forrest City, Ark.

BOOKS

MAGIC SHADOWS — THE STORY OF THE
Origin of Motion Pictures by Martin Quigley, Jr.
Adventurous exploration of all the screen’s history
told in 191 crisp pages and 28 rare illustrations. Exciting
reading for now and authoritative reference for to-
morrow. A Georgetown University Press book. Price,
postpaid, $3.50. QUIGLEY BOOKSHOP, 1270 Sixth
Ave., New York 20, N. Y.

1 KW EQUIPMENT AT LO'WEST PRICES!
Strong, Simplex 1 kw arcs and rectifiers, excellent
condition, $575; Peerless Mag^iarcs, rebuilt like new
$600 pair; 60 amp. Rectifiers w/new tubes $475. S. O. S.
CINEMA SUPPLY CORP, 604 W. 52nd St, New
York 19.

DRIVE-IN EQUIPMENT

STUDIO EQUIPMENT

BECOME A PICTURE PRODUCER. SHOOT
local newsreels, TV commercials. Make advertising
tie-ups with local merchants. Film Production Equip-
ment Catalog free. S. O. S. CINEMA SUPPLY
CORPORATION, 604 W. 52nd St., New York 19.

MOTION PICTURE AND TELEVISION ALMANAC
— the big book about your business — 1953-54 edition.
Contains over 12,000 biographies of important motion
picture personalities. Also all industry statistics. Com-
plete listing of feature pictures 1944 to date. Order your
copy today, $5.00, postage included. Send remittance to
QUIGLEY BOOKSHOP, 1270 Sixth Avenue, New
York 20, N. Y.

SUPER SIMPLEX DRIVE-IN OUTFIT FOR 500
cars $3,495, others from $1,595. (Send for lists). Incar
Speakers w/4” cones $15.50 pair w/junction box;
underground cable $65M. Time payments available.

S. O. S. CINEMA SUPPLY CORPORATION, 604
W. 52nd St., New York 19.

WANTED TO BUY

RICHARDSON’S BLUEBOOK OF PROJECTION.
Best Seller, since 1911. Now in 7th edition. Revised to
present last word in Sound Trouble Shooting Chart.
Expert information on all phases of projection and
equipment. Special new section on television. Invalu-
able to beginner and expert, $7.25 postpaid. QUIGLEY
BOOKSHOP, 1270 Sixth Avenue, New York 20, N. Y.

WANTED TO BUY TWO USED' R-4 WESTREX
push-pull soundheads with pre-amplifiers. Box 2728,
MOTION PICTURE HERALD.

Legion Approves Six
Of Seven New Films

The National Legion of Decency this
week reviewed seven pictures, placing four
in Class A, Section I, morally unobjection-
able for general patronage; two in Class A,
Section II, morally unobjectionable for
adults; and one in Class B, morally objec-
tionable in part for all. In Section I were
“Dangerous Crossing,” “Column South,”
“Loose in London” and “The Yellow Haired
Kid.” In Section II were “Journey to Love”
and “Ride, Vaquero.” In Class B was
“Let’s Do It Again” because it “reflects the
acceptability of divorce; suggestive situa-
tions, dialogue and costuming.”

Paramount Inter-American Films, Inc.,
has registered with the Secretary of State,
Albany, N. Y., to conduct a theatrical busi-
ness in New York.

Bonney Powell Dies; Was
Navy Still Film Chief

WASHINGTON : Navy Captain Bonney
M. Powell, 49, one-time newsreel camera-
man, producer and editor and more recently
chief of the still pictures section of the Navy
and assistant chief of the newsreel section
in the Defense Department, died here June
24. Capt. Powell had served as Paris editor
and Far Eastern director of Movietone
News. During the past war he covered Pa-
cific fleet operations for the Navy, which
were released as “Fury in the Pacific.”

Leo Peterson, Founder of
Blackhills Circuit in Dakota, 60

Leo Peterson, 60, one of the founders of
the Blackhills Amusement Company, died
June 30 in Rapid City, S. D., after an ex-
tended illness. Mr. Peterson, who sold his
interest in the corporation in 1940, owned

theatres in Brookings, Pierre and Redfield,
S. D., at the time of his death. Survivors
include his wife and son, Dan, general man-
ager of the theatres.

Marion Pearce

Marion Pearce, 78, motion picture theatre
pioneer and co-operator of the first film and
vaudeville house in Baltimore, died of a
heart ailment June 24 at his home in Balti-
more. Mr. Pearce had operated theatres in
Baltimore, Washington, Virginia and West
Virginia. He is survived by his widow and
two sons.

Chris-Pin Martin

Chris-Pin Martin, 59, veteran actor, died
June 28 at his home in Hollywood. Best
known for his role as Pancho in the “Cisco
Kid” series, Mr. Martin also appeared in
“Stagecoach,” “Suspense,” “The Lady from
Texas” and “Gallant Journey.”

MOTION PICTURE HERALD, JULY 4, 1953

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 130 attractions, 6,472 playdates.

Titles run alphabetically. Numerals refer to the number of en-
gagements on each attraction reported. The tabulation is cumula-
tive. Dagger (f) denotes attractions published for the first time.
Asterisk (*) indicates attractions which are listed for the last
time.

EX means Excellent; AA — Above Avei'age; AV — Average;
BA — Below Average; PR — -Poor.

Jeopardy (MSM)

Jungle Girl ( AA )

Kansas City Confidential ( U A )
Kansas Pacific (AA)

Lady Wants Mink (Rep.)

Last of the Comanches (Col.)
Law and Order (Univ.)

Lawless Breed (Univ.)

Limelight ( U A )

Lone Hand ( Univ.)

Abbott & Costello Go To Mars (Univ.)

Above and Beyond (MGM)

Against All Flags (Univ.)

All Ashore (Col.)

Androcles and the Lion (RKO)

1 1

Angel Face ( RKO )

Anna ( 1 FE)

April in Paris (WB)

1 1

Bad and the Beautiful (MGM)

Battle Circus (MGM)

1 1

*Blackbeard, the Pirate

1 3

Blazing Forest (Para.)

Blue Gardenia. The (WB)

Breaking the Sound Barrier (UA)

1 1

Bwana Devil (UA)

By the Light of the Silvery Moon (WB)

Call Me Madam (20th-Fox)

*Cattle Town (WB) .......

City Beneath the Sea (Univ.)

*Cleopatra (Para.)

Clown, The (MGM)

fCode Two (MGM)

Column South (Univ.)

Come Back, Little Sheba (Para.)

Confidentially Connie (MGM)

1 1

Count the Hours (RKO)

(■Cry of the Hunted (MGM)

Desert Legion ( Univ.) . . . .

Desert Rats, The ( 20th- Fox )

Desert Song, The (WB)

Desperate Search, The (MGM)

Destination Gobi ( 20th- Fox ) .

Down Among the Sheltering Palms (20th-Fox)

Eight Iron Men (Col.)

Fair Wind to Java (Rep.)

Fort Ti (Col.)

Four Poster, The (Col.)

Girl Next Door, The (20th-Fox)

Girl Who Had Everything (MGM)

Girls In the Night (Univ.)

Girls of Pleasure Island (Para.)

Glass Wall, The (Col.)

Gunsmoke (Univ.)

Hans Christian Andersen (RKO)

Happy Time, The (Col.)

Hiawatha (AA)

Hitch-Hiker, The (RKO)

*Hour of 13, The (MGM)

House of Wax (WB)

1 Confess ( WB)

1 Don't Care Girl, The ( 20th - Fox )

1 Love Melvin (MGM)

I'll Get You (Lippert)

Invaders from Mars (20th-Fox) .

Invasion U.S.A. (Col.)

1 1

(It Happens Every Thursday (Univ.)

Ivanhoe (MGM)

Jack McCall, Desperado (Col.)

Jalopy (AA)

„

Jazz Singer, The (WB)

Ma and Pa Kettle On Vacation (Univ.)
Man Behind the Gun (WB)

Man in the Dark (Col.) .

Man on a Tightrope (20th-Fox)

Meet Me At the Fair (Univ.)

Member of the Wedding (Col.)

Million Dollar Mermaid (MGM)
Mississippi Gambler (Univ.)

Moulin Rouge ( U A )

My Cousin Rachel { 20th- Fox )

My Pal Gus (20th-Fox)

Naked Spur, The (MGM)

Never Let Me Go (MGM)

Never Wave at a Wac (RKO)

Niagara (20th-Fox)

Off Limits (Para.)

Pathfinder, The (Col.)

Peter Pan ( RKO )

Pickup on South Street (UA)

Pony Express (Para.)

Powder River (20th-Fox)

President’s Lady, The ( 20th- Fox )

Prince of Pirates (Col.)

Quo Vadis (MGM)

*Raiders, The (Univ.)

Redhead from Wyoming (Univ.)
Remains to be Seen (MGM)

Ride the Man Down (Rep.)

Road to Bali (Para.)

Rogue's March (MGM)

Ruby Gentry ( 20th- Fox )

Salome (Col.)

Scared Stiff (Para.)

Seminole (Univ.)

Serpent of the Nile (Col.)

She's Back on Broadway (WB)

Silver Whip (20th-Fox)

*Sky Full of Moon (MGM)

Small Town Girl (MGM)

Snows of Kilimanjaro (20th-Fox)
Sombrero (MGM)

Split Second (RKO)

Star, the (20th-Fox)

Stars and Stripes Forever (20th-Fox)
Stars are Singing, The (Para.)

Stooge, The (Para.)

Stop, You're Killing Me (WB)

fTake Me To Town (Univ.)

Tall Texan, The (Lippert)

Taxi (20th-Fox)

Thief of Venice (20th-Fox)

Thunder in the East (Para.)

Titanic (20th-Fox)

Tonight We Sing ( 20th- Fox )

Torpedo Alley (AA)

Treasure of Golden Condor (20th-Fox)
Tropic Zone (Para.)

Trouble Along the Way (WB)

Woman They Almost Lynched (Rep.)

Young Bess (MGM)

1 1

-431
17 6 6

8
3

and generally making it difficult to control your
business . . .

It's revealing to note the Bureau of
Labor Statistics report of a 90.8% jump in your
cost of living, from 1939 to 1952 . . . with FOOD,
RENT, FUEL, HOUSE FURNISHINGS and AP-
PAREL leading the pack . . . And the Exhibitors
Digest report that the cost of THEATRE EQUIP-
MENT and SUPPLIES has joined the mad race
upward ... at an average pace of 98.9%, from
1940 to 1952.

Compare this stampede of higher
costs, with the tight rein The Prize Baby has
held on his share of your expense . . . through
the negligible increase, IF ANY, you've given
NSS during this same period of galloping prices!

COMPARE all your costs with the
LOW COST, Service -With- A -Smile Policy of
The Prize Baby!

nanonfu

Qcteea

V ' Pft/Zf BflBY

SERVICE

of me wnusTRY

M®Trn®M

PDCTQIRffi-

■i

EQUIPMENT

FURNISHINGS

DESIGN

PHYSIE/U. OPERATION

•&.X i>yV '

VENDING

Potential"?

• Framing and Shutter
Synchrdnixafion with 3-D

440ne Thing an Exhibitors Got— Complaints”

. says Charlie Jones

JULY ISSUE: Section 1

of Motion Picture Herald of July 4* IPS 3

at the Business Office!

The idea of making ice-cold Coca-Cola available to
their patrons is getting rave notices from theatre owners
across the country. They know that it’s Socko at the
Business Office when a few square feet of floor space can
be turned into a nice round profit . . . without raising
the overhead. That’s what happens when you install
your choice of vending equipment to sell Coke in your
house. For the money-making details, write: The
Coca-Cola Company, P.0. Box 1754, Atlanta, Georgia.

Natural Vision?
Columbia 3-D?
Vitascope?
Tru-Storeo?

RKO Radio 3-D?
$tereo-Cine?
CinemaScope?
20TH-Fox 3-D?

Zeiss-lkon 3-D?
Todd-AO Wide Screen?
Metrovision?
Paravision?

Polaroid 3-D?

Regiscope Wide-Screen 3-D?
U-l 3-D?

Warner 3-D?

Cinerama?

*****

**»&«*** \ <?

'polartAjd,

&U<ty

U ".'"fi, u*uA®«

m lamps 1,101

^nrssss-5* jrii

-SB, 3-0 lamps P'ljJ'VLVLw loss al ">e
.nil) mate netessail te t W®'

eatU<‘* oas teen st.»eUteJ* lte

lellecto' ate 'K mniaUflustmen' « *»' cnW.
maintained, w»ou eW|Usive carbons

trols W. *■* J The positive and bJJ ® ^ are .
positioning sj seoa(ate motovs, the sp slteam ol air
are advanced hr sep LigWromc Tube, k ^ butmn6.

governed \V& ahove lh

THEN YOU CAN’T ARGUE WITH THE LIGHT METER!

Actual tests by impartial exhibitors prove that when
burning the same trim ot any combination of carbons
at the same amperage and under the same set 0
conditions, Strong-Made Lamps consistently deliver
a higher level of screen illumination than any other
make lamps. This increased illumination is gained by
plus factors, such as the reduction of light loss caused
by carbon holders, etc., which are built into Strong

Foot candle meters have repeatedly proved that
Strong Lamps are the most powerful lamps; that
they project the tremendously increased volume of
light required by the larger-size screens.

unit

Because Strong 3-D lamps feature
construction whereby the various compon-
ents are instantly removable, they permit
ready adaptation of any new developments
in carbons or burning techniques. For this
reason they cannot become obsolete.

Such excellence in design accounts in part for
Strong being the world’s largest manufac-
turer of projection arc lamps.

76e S&uMty S^ctnic @onfe<nciti<tot

1 CITY PARK AVENUE TOLEDO 2, OHIO

Please send free literature on Strong Arc lamps and rectifiers for 3-D projection.

Name

Theatre
Street

City & State

Name of Supplier

BETTER THEATRES SECTION

NOW BALLANTYNE
PANORAMIC SCREEN,
EQUIPMENT PACKAGE

You've read about in the Trade Press. Here it is! . . .

. 1 PR. WIDE ANGLE LENSES

Focal length as required, f.2 speed, full resolution, complete definition, matched for
stereoscopic use, includes mounting.

. 1 WIDE ANGLE SCREEN

2:1 ratio designed for maximum return of reflected light. Greater brilliance than any
current screen. Excellent retention of polarization. Curved on 90' radius. Standard sizes:

1 1' x 22', 15' x 30', 20' x 40', 25' x 50' and 30' x 60'. Ballantyne can furnish any screen
size and any ratio including 2.66:1. The 2:1 ratio is standard because it is felt that
longer screens will not have enough height for smaller theatres.

• 2 SETS APERTURE PLATES

In ratios 2:1 and 1.85:1. Additional aperture sets in ratios 1.75:1 and 1.66:1 available
at slight additional cost. Holders furnished where required.

• COMPLETE STEREOPHONIC SOUND

This includes stereophonic, magnetic 3-track sound reproducer, 3 pre-amplifiers, 3 power
amplifiers, 1 booth monitor, 1 stereophonic sound mixer, 3 2-way horn systems, audi-
torium speakers as required. Interlock for synchronizing sound with projection.

• 3-D EQUIPMENT

Complete Interlocks for two projectors. Polaroid porthole filters and holders. Polaroid
brush, projection alignment equipment etc. Will serve all modern sound systems and
projectors.

• SCREEN FRAMES, PREFABRICATED METAL

• 24" and 25" MAGAZINES

• ANAMORPHIC LENSES

COMPATIBLE WITH EVERY REASONABLE
METHOD OF FILM AND SOUND REPRODUCTION

The BALLANTYNE Company -

MOTION PICTURE HERALD, JULY 4, 1953

OFFERS COMPUTE 3-D,
STEREOPHONIC SOUND

FOR LESS THAN 6000“'

Here’s what ALLIED STATES officials had to say:

ALLIED STATES ASSOCIATION OF MOTION PICTURES EXHIBITORS

1131 DuPONT CIRCLE BUILDING
WASHINGTON, D.C.

May 19, 1953

Wilbur Snaper, President of Allied said:

"Allied’s board of directors meeting in Milwaukee adopted a resolution directing
the committee on television and third dimension to explore the possibility of in-
creasing the supply of 3-D and wide screen equipment . . . thereby bringing the
price within the means of the smaller independent theatre. Truman T. Rembusch,
chairman of the committee . . . contacted the Ballantyne Co. . . . asked them to
produce a package deal that would include 3-D, wide screen and stereophonic
sound for tne projection of pictures produced by most if not all of the methods
now used at the lowest possible price.

"It is enough for me to point out . . . the prices for this package deal are lower
priced by thousands of dollars than the total price for comparable items purchased
elsewhere."

Truman T. Rembusch, Chairman of the Committee on T ele vision and
3-D said:

"I believe the package deal offered by Ballantyne includes the necessary equipment
for ... 85 to 90% of the 3-D and wide screen productions that will be available
for the next eighteen months or two years. Only a change in lenses is required to
make the equipment adaptable to all systems.

"Not the least attractive feature of this is the advise and assistance to be rendered
by the Ballantyne Co. . . . the financing plan appears to be liberal and should be
helpful to many theatres."

Abram Myers, Chairman of the Allied Board and General Counsel said:
"What pleases me is that a high degree of order emerges from confusion. The
arrangement worked out between Ballantyne and ourselves achieves this measure
of standardization."

* *
* *

OPTIONAL *

OPTIONAL * *

OPTIONAL * * *

Optional because many theatres prefer to build their
own wood screen frames on the job.

Optional because most theatres already have them
or can buy them locally ot attractive prices.

Will be available in 6-8 months and dependent upon
demand at that time.

The Ballantyne Co.

1712 Jackson Street
Omaha, Nebraska

f 1

VA/D ITI

^L.

WKI 1 1

WIRE (

DR A

HONE

Send me the special theatre survey portfolio that make it
easy for me to give Ballantyne engineers full technical data
on my theatre.

Name-

Address.

City.

State.

jji 15x30 screen

1712 Jackson St., Omaka, Nebr. U.S.A.

For list of authorized dealers see next page

BETTER THEATRES SECTION

Where To Saif $t

BALLANTYNE DEALERS

for the all-system equipment package
advertised on the preceding two pages:

ALABAMA

BIRMINGHAM: Queen Feature Service Co., Inc.
ARKANSAS

LITTLE ROCK: Arkansas Theatre Supply Co.
CALIFORNIA

LOS ANGELES: B. F. Shearer Co.

SAN FRANCISCO: B. F. Shearer Co.

DISTRICT OF COLUMBIA

WASHINGTON: R & S Theatre Supply Co.

FLORIDA

MIAMI: United Theatre Supply Co.

TAMPA: United Theatre Supply Co.

GEORGIA

ALBANY: Dixie Theatre Service & Supply
SAVANNAH: Rhodes Sound and Projection Service
ILLINOIS

CHICAGO: Ed Mikkelsen
KENTUCKY

LOUISVILLE: Hadden Theatre Supply Co.

LOUISIANA

NEW ORLEANS: Johnson Theatre Service
MASSACHUSETTS

BOSTON: Independent Theatre Supply Co., Inc.
MICHIGAN

LINCOLN PARK: Theatre Sound Engineering
MISSOURI

ST. LOUIS: McCarty Theatre Supply Co.

NEW YORK

ALBANY: Albany Theatre Supply Co.

BUFFALO: Perkins Theatre Supply Co.

NEW YORK: Joe Hornstein, Inc.

NORTH CAROLINA

CHARLOTTE: Charlotte Theatre Supply
OHIO

CLEVELAND: Ohio Theatre Equipment Co.

COLUMBUS: American Theatre Equipment Co.

TOLEDO: Theatre Equipment Co.

OREGON

PORTLAND: B. F. Shearer Co.

PENNSYLVANIA

GREENSBURG: Theatre Equipment
PHILADELPHIA: Superior Theatre Equipment Co.
SOUTH DAKOTA

SIOUX FALLS: American Theatre Supply
TEXAS

DALLAS: Hardin Theatre Supply Co.

UTAH

SALT LAKE CITY: Service Theatre Supply Co.
WASHINGTON

SEATTLE: B. F. Shearer Co.

WEST VIRGINIA

ELKINS: Veterans Electrical Service
WISCONSIN

MILWAUKEE: Theatre Equipment & Supply Co.

CANADA

MONTREAL: Perkins Electric Co. Ltd.

TORONTO: Perkins Electric Co. Ltd.

VANCOUVER: Theatre Equipment & Supply
WINNIPEG: J. M. Rice & Co.

EXCLUSIVE" EXPORT

Streuber & LaChicotte, Inc., 1819 Broadway, New York 23, N. Y.

Ted a States
View of the
New Systems

Commending to exhibitors generally the
views recently expressed by the The-
atre Equipment Dealers Association on the
equipping of theatres for 3-D, wide-screen
and stereophonic sound, Joe Cifre, Boston
dealer, urges theatre operators to “make a
thorough study of the problem to the end
that a reasonable decision may be reached,
then do business with the best dealer, or
the dealer who represents a manufacturer
with a national reputation gained by past
experience.”

Prepared by J. Eldon Peek of the Okla-
homa Theatre Supply Company, the state-
ment issued by Teda summarized the tech-
nical developments which call for sub-
stantial changes in projection, sound and
screen equipment, and pointed out factors
which should be considered in planning
installations.

With reference to 3-D, the statement
said, “the chief flaws in this type of pro-
jection are the undesirable window effect
from a small screen, and inadequate light-
ing. Since the boundary of the picture ap-
pears as a window in stereoscopic vision,
the smaller the screen the more difficult
is the scene to view. Also, since only ap-
proximately one-third of the light that is
normally viewTed on 2-D will be observed
on 3-D, it is obvious that present lighting
is inadequate.

“By using screens of at least twice the
present width, and lighting systems of at
least twice that normally employed, a
technically correct 3-D picture will have
popular appeal to the public. All theatres,
including large and small, in order to
obtain the most satisfactory projection of
3-D pictures, would do well to increase
the size of the screen to at least twice its
present width with height to correspond
to the correct aspect ratio.

“It follows, since there is such a great
loss of light due to the Polaroid filter
action, that in order to maintain present
high standards of illumination, additional
facilities must be acquired for maximum
light.”

Much of the statement dealt with the
problems of equipping for the new tech-
niques with development of them still in-
complete. It said:

“One of the major problems facing the
industry is what to do during the transi-
tion period. Many millions of dollars of
film has been produced and is in the process

MOTION PICTURE HERALD, JULY 4, 1953

of production, using the familiar 2-D form.
The intial installations of the Cinema-
Scope type of projection with stereophonic
sound, as well as the extremely large screen
and suitable lighting equipment for 3-D
projection and stereophonic sound, will be
made by the larger metropolitan theatres.
They will obviously have the initial ad-
vantage in utilizing these new techniques.

“Smaller theatres are rapidly installing
the necessary equipment additions to satis-
factorily show the 3-D films and at mod-
erate cost. Furthermore, techniques are
being devised by many Hollywood studios
where the present films in 2-D can be
shown on much larger screens with the
preferred increased aspect ratio. This point
is very important as it will give present
equipped small theatres and the majority
of drive-in theatres an opportunity to im-
prove their projection from an audience
viewpoint to partially keep pace with the
entirely new processes.”

Declaring that ratios of 1.66-to-l have
been “termed satisfactory, and in some
cases 1.85-to-l, still utilizing the present
type of available film,” the statement con-
tinued :

“In all probability, what will happen in
view of the complexity of the problem is
that the transition from ‘present’ to ‘future’
will be spanned by the installation of a
screen that is of absolute maximum width
allowed by the physical structure of the
auditorium, and a height that will be pro-
portionate to the 2.5-to-l ratio. This
screen will be compatible with all types
of releases on new product.

“Since 3-D requires a metallic surface
screen, the new screen will be by necessity
a silver type. It will then be left to the
individual operation to have available lenses
of proper design and focal length so that
pictures of the various techniques can be
projected at will."

In such installations, stereophonic sound
will be necessary, the statement asserted,
adding: “All theatres do not lend them-
selves because of their physical dimensions
to the maximum utilization of this type of
sound. In a small 25- or 30-foot wide
building, which usually has about 130-foot
length, the binaural effect of sound across
the screen will be almost completely lost
and only those included in the auditorium
will be fully effective. On the other hand,
a wide building of short length with good
acoustics will obtain the maximum effect
dramatically of stereophonic sound.”

As to the problem of drive-ins, the state-
ment submitted that “there is no reason
why, with the necessary modification of the
screen surface and obtaining adequate light,
present releases of 3-D cannot be satis-
factorily shown in drive-in theatres.”

Black and Cold Marlite Marble Panel on stair walls; Plain Color Marlile behind concession counter.

remodel with economical Marlite

Colorful Marlite plastic-finished wall and ceiling panels take the
high maintenance costs out of your overhead. These easy-to-install
panels, in a wide range of striking colors and patterns, never need
painting or periodic redecorating. The lifetime finish resists moisture,
grease, heat, acids, alkalies, and stains . . . cleans bright and
lustrous with a damp cloth.

Modernize with genuine Marlite and enjoy beautiful interiors
without costly maintenance. Plan on Marlite for entrances, lobbies,
lounges, rest rooms, offices, candy cases, counters, doors, fixtures, and
other service areas. See your building materials dealer or write
Marsh Wall Products, Inc., Dept. 769, Dover, Ohio.

Subsidiary of Masonite Corporation.

One way to keep pos'Ted!.'^ be a. coupon clipper

■ 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

Today’s
theatre patron
expects

LIVING ROOM
COMFORT

She wants
attractive
surroundings
as well as
an EASY CHAIR

Comfort is our business . . . in theatre seating
as in Heywood's famous household furniture
like the Ashcraft Tub Chair at top.

HE Y WOOD -WAKEFIELD
Theatre Seating Division
Menominee, Michigan

Sales Offices:

Baltimore, Boston, Chicago, New York

Hey wood -Wakefield's popular TC 700
ENCORE Chair offers smart, modern
design to dress up any theatre and deep,
spring cushion comfort for its patrons.

The seat of the ENCORE is constructed with steel coil
springs, properly graduated in compression for all-over
comfort. The back, comfortably padded and protected by the
all-steel edge around the top and sides, has a scientifically
determined back to seat ratio for proper posture comfort.

For further information, contact your Hey wood -Wakefield
representative or write for the fully illustrated catalogue
on Heywood -Wakefield Theatre Chairs.

• M

HKM1H1

HEYW00D-

WAKEFIELD

MOTION PICTURE HERALD, JULY 4, 1953

fur JULY 19 5 3

A Drive-in
Designed, for
3-D and W-S

GEORGE SCHUTZ, Editor

EDITORIAL INDEX:

Page

MR. DRIVE-IN OPERATOR: IN REFRESHMENT SALES WHAT IS YOUR
POTENTIAL, by Philip L. Lowe 10

CRISIS IN SOUND, 1953 11

DOWNLIGHTS FOR FOYERS, LOUNGES AND SEATING, by Stanley McCandless.
Second of a Series on Implementing the Newer Forms of Theatre Lighting. ... 14

THE NEEDLE'S EYE — Projection Department:

PRECISION REQUIREMENTS OF 3-D: SHUTTER SYNCHRONIZATION, INTER-
LOCKING AND ALIGNMENT, by Gio Gagliardi 15

THEATRE REFRESHMENT SALES department:

CANDY MANUFACTURERS URGED TO HELP IN BOOSTING SALES IN
THEATRES 23

VENDER VANE: Market News 26

DRIVE-IN department:

A SYSTEM OF DRIVE-IN ACCOUNTS, by Wilfred P. Smith. Sixteenth of a
Series on Getting Into the Drive-in Business 29

ABOUT PRODUCTS 32

METHOD IN MANAGEMENT department:

BOOKING FOR PROGRAM APPEAL, by Curtis Mees, Fifth of a Series on
Motion Picture Theatre Management 38

CHARLIE JONES SAYS: One Thing We Exhibitors Got and That's Complaints. . 41

ABOUT PEOPLE OF THE THEATRE 43

is published the first week of each month, with the regular
monthly issues, and an annual edition, the Market & Operating Guide, which
appears in March, issued as Section Two of Motion Picture Herald.

f he d rive-in is such a
special medium of motion picture exhibi-
tion it is difficult to measure on paper,
at least very conclusively, the problems
that have been presented to it by 3-D and
wide-screen. What is needed is a drive-in
designed at the outset for these techniques.
And it is good news that one is soon to
come. Ben Poblocki and Jack Yeo, who
now operate the indoor Plaza theatre at
Burlington, Wis., have announced plans to
build a drive-in specifically for 3-D and
wide-screen just outside that small city.

Mr. Poblocki heads Ben Poblocki & Sons
of Milwaukee, manufacturers for many
years of various kinds of theatre equip-
ment. Last year the company introduced
porcelain-finished steel plates for drive-in
screens, and it now has in development a
similarly permanent material for 3-D pro-
jection. It is planned also to make the
screen panoramic, using the proportions
of 2.55-to-l; these are those of Cinema-
Scope, but presumably the smaller ratios
that have been proposed would be accom-
modated by masking the sides.

To reduce the problem of light at the
sides of the picture, ramps will be kept
within a smaller angle than that of the
conventional parking area. Loss in capacity
that this would ordinarily produce will be
minimized by placement of the main build-
ing behind the last ramp.

Introduced here is another special fea-
ture of the plan (although it is not exactly
an innovation in all respects). The projec-
tion booth will be housed on the roof of
the refreshment building, and a gallery
equipped with theatre chairs is to be in-
stalled on each side of it; or, it is in-
dicated, the building may have an enclosed
floor, with the booth at the middle and
the gallery sections enclosed.

QUIGLEY PUBLICATIONS, Rockefeller Center, New York 20, N. Y., Circle 7-3100; RAY
GALLO, Advertising Manager; CHICAGO: 120 S. LaSalle Street, Financial 6-3074; URBEN
FARLEY & COMPANY, Midwest Representatives. LOS ANGELES: 3038 Beverly Blvd.,
DUnkirk 8-0163, KERR & GILLMANN, Western Representatives.

Any consideration of the new techniques
in relation to drive-ins inevitably brings
up "stereophonic" sound. We wonder,
however, how critical that is. At indoor
theatres, sound has seemed to come from
the right places in the picture. At drive-ins
they don't. Perhaps the panoramic picture
makes no new demand that they do.

— G. S.

BETTER THEATRES SECTION

MR. DRIVE

In Refreshment Sales

'F’Xctute'Poiiaf

3tc*Ha +to M.dtie4

0<lSdhfiMj ^adcQ*

'ActiwCdal&vi^'

W>^odtUc^

What Is Your f (P&tertfuz&U

A way to find the answer
is offered in this analysis
of seven basic factors . . .

By PHILIP L. LOWE

Boston Drive-In Owner and Concessionaire

great many drive-in theatre oper-
ators and concessionaires act as
though there were absolutely no
limit to the amount of business they can
do at their refreshment stands. An equally
great number act as if they couldn’t pos-
sibly add to their present grosses and
“that’s that!’’ In the middle is a larger
number who very frankly are completely
confused, and I can’t say that 1 blame
them.

From these simple statements of fact
arise the problems under discussion. Just
how do we determine what our real poten-
tial is? In search of an answer, let’s
examine the factors which govern poten-
tials. These are :

(1) Type of patron, (2) Picture policy,
(3) Aggressiveness, (4) Facilities, (5)
Items handled, (6) Number of children
and passes, (7) Admissions (per car and
price), (8) Weather.

Before we look at these factors in detail,
let’s discard our old bugaboo (about which
too much has already been said) — the use
of percentage figures to show the relation
between concession grosses and box-office
income. A lengthy survey was printed last
year showing that exhibitors did from X%
to Y%. The survey was interesting but,
in all honesty, misleading. It did show

that a very large number of
refreshment stands did a piti-
fully small amount of business,
no matter how it happened to be figured.

Let me clarify this : T heatre A does
55% of its box-office at the stand; Thea-
tre B does 60%; and Theatre C does
65%. At first glance, C does best, B sec-
ond, and A third. Actually A does best,
C is second, and B is third! How come?
Simple. A charges 70c, less tax, or 58c
net; 55% of 58c is 31.9c. C charges 60c,
or 50c net, and 60% of 50c is 30c. B’s
admission is 50c, or 42c net, and 65% of
42c is 21 Ac. And so I’m not interested
in percentages. I will confine my remarks
to cents per person — meaning cents per
adult admission.

1. TYPE OF PATRONS

Obviously there are certain areas where
people eat more than others. Women gen-
erally eat less than men between meals,
and children have no limit (except money).
In West Virginia and Pennsylvania we
find people much heavier eaters than in,
say, Maine, New Hampshire, or Vermont.
Mill workers out-eat office workers, so
drive-ins in industrial areas have a greater
potential rating under this category than
a drive-in would have in Grosse Point,
Mich, or Sewickley, Pa., or any other sim-
ilar “class location.”

2. PICTURE POLICY

Single-feature theatres will never have
the potential of theatres playing two fea-
tures with an intermission. And here is a
good place to pause a moment and tell the
surprising number of operators who play

double bills with no intermission, that they
really are as big darned fools as their
competitors and brother exhibitors think
they are! If only for reasons of personal
hygiene, an intermission is a necessity at a
drive-in.

Wake up, boys, you can have an inter-
mission without being labeled a money-
grabber. If you have a single feature
policy, you will rate low here no matter
how many costs you put in the field, and
no matter how high a score you get on
the other factors. If you run double-
features with an intermission you are high.
If you run first feature, intermission,
second feature, intermission, first feature,
you are as high in this category as you
can go.

3. ACCRESSIVENESS

This category is a little difficult to tie
down as concretely as the others, but it has
to do with merchandising — that most
nebulous of words, so overworked and ter-
ribly abused. What sins are committed in
its name ! I refer to the attitude toward
selling, rather than the mechanics. The
operators who have no intermission be-
cause they are afraid it offends the public
are on the low end of this totem pole.
Those who check their concession figures
daily, who are concerned about quality,
appearance, courtesy, inventory and all the
other factors which make for good stand
operation will rate high.

And the fellow who runs four trailers
about his food, and one about his pictures
( Continued on page 24)

MOTION PICTURE HERALD, JULY 4, 1953

Crisis in Sound, 1958

How the CinemaScope system
and Paramount proposal demon-
strate the need for prompt stand-
ardization of stereophonic sound
if single film advantages are to
be preserved.

* ■;/ owever valid arguments may be
against standardization relative to the
wider screen image, similar latitude does
not apply to multiple-track sound on the
picture film. Whether theatres are to be
equipped with reproducers for four or five
tracks, and where these are to be located,
and their scanning widths, present ques-
tions of far-reaching importance, to thea-
tre operators and to the manufacturers who
supply the equipment.

For CinemaScope productions, 20th Cen-
tury-Fox has already adopted a four-track
system. Now Paramount has submitted a
five-track system for consideration of the
Research Council as a method for all Amer-
ican producers. (See accompanying draw-
ings. )

SIMILARITIES IN SYSTEMS

Both systems of course call for mag-
netic tracks, and they further agree in
placement of the oxide stripes on the non-
emulsion side and in location of the mag-
netic reproducer between the upper maga-
zine and the projection mechanism, leaving
a photo-track reproducer in its established
position. Beyond those points of conformity
the two methods differ radically in ways
fundamentally affecting reproducer design.

With 20th Century-Fox proceeding
energetically with preparations for at least
hundreds of installations of CinemaScope
for exhibition within a few months of
“ I he Robe,” that producer’s four-track
scheme no longer has the possibly tenta-
tive character that it had when it was first
announced. The Paramount proposal, de-
veloped by the studio’s research department
under the direction of Loren L. Ryder, has
been submitted as a means, in the words of
Y. Frank Freeman, studio head, of bring-
ing “an end to all the confusion with re-
spect to stereophonic sound’’ and of giving
“the industry a practical basis on which to

-^v

.015-

PROJECTOR APERTURE

.8 2 5

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.005

.050

Film specifications proposed by Paramount (above) and adopted by 20th Century-Fox for
CinemaScope prints (below) to accommodate “stereophonic” sound tracks on the picture
film. Solid stripes in drawings indicate the tracks. Paramount proposes two 35-mil and
one 50-mil screen-sound tracks adjoining (and slightly invading) frame area; and two
“effects” tracks outside sprocket holes, which are of standard width. In the CinemaScope
scheme, screen-sound tracks, all scanned at 50-mils, adjoin sprocket holes on one side, and
fall outside them on the other, with an effects-control track of 29 mils inside perforations on
the latter side. CinemaScope prints would have sprocket holes reduced in width to 78 mils.

SCANNING CAP -

.ooa-
js <s-
■o»j-

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S\f\s—

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“^MAX. PROJ. APERTURE

SCREEN ASPECT 2.55:1

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proceed, preventing an otherwise huge eco-
nomic waste.”

As affirmed in a manual on CinemaScope
issued last month, the 20th Century-Fox
method places two of three screen-sound
tracks on either side of the left-hand
sprocket holes (seen from non-emulsion, or
track-base side), with the third track out-
side the right-hand sprocket holes. With
the frame (which is enlarged to 0.912 x

0.715) a distance of 0.213-inch (213 mils)
from this right side of the film, a narrower
track is provided for “auditorium effects,”
or for volume control, between the frame
and right-hand perforations.

Each of the screen-sound tracks is 63
mils wide, scanned at 50 mils; while the
effects-volume stripe is 29 mils wide. Space
for these and the image, plus space between
( Continued on page 13)

BETTER THEATRES SECTION

\»M' you must install

s' A STEREOPHONIC

SOUND SYSTEM!

Most of the studios have announced that on many of their 1953-1954 pictures
stereophonic sound will be recorded magnetically on three sound tracks on a separate
film.

Theatres which want to profit to the fullest extent from these productions must
immediately purchase a stereophonic sound system with a separate magnetic sound
reproducer.

Even though sound may someday be magnetically recorded on the picture film
itself and reproduced with magnetic sound heads between the upper magazines and
the projection mechanisms, all equipment required in stereophonic systems today
(except the separate magnetic reproducer) will be necessary in any system of the
future. Accordingly, most theatres will buy a stereophonic sound system now, rather
than await the remote day when another form of magnetic reproducer becomes
available — if another ever is developed.

MOTIOGRAPH STEREOPHONIC
SOUND SYSTEMS

are designed for use in any size
theatre capable of installing three
loud-speaker systems. The five
systems vary in the amount of
power output of the three power
amplifiers, the size of the speaker
systems, and the number of
speakers. Prices range from
$5000 for the smallest theatre to
a basic price of less than $10,000
for the largest system.

Other MoHograph 3-D and
Wide-Screen Equipment

if Electrical and Mechanical Interlock equipment for all makes and models
of modern sound reproducers.

if 25" Diameter Upper and Lower magazines designed
to be used with all makes and models of modern pro-
jector mechanisms and sound reproducers.

if Continuous-Duty Generators for arc-lamp opera- I
tion from 70 to 125-amperes or more. jj

if High-Intensity Arc Lamps.

MOTIOGRAPH. INC

CratftJtneh tc the Theatre £ince 1896

4431 West Lake Street

Chicago 24, Illinois

CO N T I N U O U S- D U T Y M O T O R ■ G E N E R A T O R S
PROJECTORS THEATRE. TV IN-CAR SPEAKERS SOUND SYSTEMS

MOTION PICTURE HERALD, JULY 4, 1953

"When To %uli 9t

MOTIOGRAPH DEALERS

CALIFORNIA

LOS ANGELES: B. F. Shearer Company
1964 S. Vermont Ave.
SAN FRANCISCO: B. F. Shearer Company

243 Golden Gate Ave.

COLORADO

DENVER: Service Theatre Supply Co.

2054 Broadway

GEORGIA

ATLANTA: Wil-Kin Theatre Supply, Inc.

150 Walton St., N. W.

ILLINOIS

CHICAGO: Gardner Theatre Service, Inc.

1235 S. Wabash Ave.

INDIANA

INDIANAPOLIS: Ger-Bar, Inc.

442 N. Illinois St.

IOWA

DES MOINES: Des Moines Theatre Supply

1121 High St.

KENTUCKY

LOUISVILLE: Falls City Theatre Equip.

427 S. Third St.

LOUISIANA

NEW ORLEANS: Hodges Theatre Supply Co.

1309 Cleveland Ave.

MARYLAND

BALTIMORE: J. F. Dusman Company

12 E. 25th St.

MASSACHUSETTS

BOSTON: Joe Cifre, Inc.

44 Winchester St.

MICHIGAN

GRAND RAPIDS: Ringold Theatre Equip.

106 Michigan St., N. W.

MINNESOTA

MINNEAPOLIS: Frosch Theatre Supply Co.

1111 Curie Ave.
Minneapolis Theatre Supply

75 Glenwood Ave.

DULUTH: National Equipment Company

7 E. Michigan St.

MISSOURI

ST. LOUIS: McCarty Theatre Supply Co.

3330 Olive St.

KANSAS CITY: Shreve Theatre Supply Co.

217 W. 18th St.

NEBRASKA

OMAHA: Western Theatre Supply Co.

214 N. 15th St.

NEW YORK

AUBURN: Auburn Theatre Supply Co.

5 Court St.

NEW YORK: Joe Hornstein, Inc.

630 Ninth Ave.

BUFFALO: Perkins Theatre Supply Co.

505 Pearl St.

NORTH CAROLINA

CHARLOTTE: Wil-Kin Theatre Supply

229 S. Church St.

OHIO

CLEVELAND: Ohio Theatre Supply

2108 Payne Ave.

OKLAHOMA

OKLAHOMA CITY: W. R. Howell

12 S. Walker Ave.

OREGON

PORTLAND: B. F. Shearer Company

1947 N.W. Kearney

PENNSYLVANIA

PITTSBURGH: Atlas Theatre Supply

402 Miltenberger St.
FORTY FORT: Vincent M. Tate

1620 Wyoming Ave.

TENNESSEE

MEMPHIS: Tri-State Theatre Supply

320 S. Second St.

TEXAS

DALLAS: Modern Theatre Equipment

1916 Jackson St.

UTAH

SALT LAKE CITY: Service Theatre Supply

256 E. First So. St.

WASHINGTON

SEATTLE: B. F. Shearer Company

2318 Second Ave.

WEST VIRGINIA

CHARLESTON: Charleston Theatre Supply

MILWAUKEE: The Ray Smith Company

710 W. State St

CANADA

CALGARY. ALB.: Sharp's Theatre Supplies
Film Exchange Bldg.
MONTREAL. QUE.: Dominion Sound Equip.

4040 St. Catherine St., W.
General Theatre Sup. Co.
288 St. Catherine St., W.
Perkins Electric Co.
1197 Phillips Place
ST. JOHN, N.B.: General Theatre Sup. Co.

86 Charlotte St.
TORONTO, ONT.: General Theatre Sup. Co.

861 Bay St.
Perkins Electric Co.

277 Victoria St.
Perkins Electric Co.
591 Yonge St.

VANCOUVER, B.C.: Dominion Thea. Equip.

847 Davie St.
General Theatre Sup. Co.

916 Davie St.

WINNIPEG, MAN.: General Theatre Sup. Co.

271 Edmonton St.

( Continued from page 11)
them, has been acquired by reducing the
width of the sprocket holes to 78 mils
(from the standard 110 mils). Thus
CinemaScope sound not only calls for a re-
producer of distinct design, but requires
changes in all sprocket wheels and idlers of
existing projectors.

Leaving sprocket perforations as they
are, the Paramount scheme provides for
five tracks— all of them signal stripes, vol-
ume control not being contemplated — by
making those for the side screen speakers
relatively narrow (35 mils compared with
50 mils for the central horns), by utilizing
some of the frame area and displacing the
projector aperture (as indicated in accom-
panying drawing), and by reducing inter-
track spacing to a minimum (assuming that
it is a practicable minimum).

Although two of the screen-sound stripes
are 35 mils, there are two “effects” tracks,
each of 50 mils. These are outside the
sprocket holes, while the screen-sound sig-
nals are grouped inside the perforations
on the side where the striping enters the
frame area. Allowance of only 35 mils for
the two “secondary” screen-sound tracks is
thus explained by Mr. Ryder:

“We believe that a volume range satis-
factory for theatre reproduction can be ob-
tained from these narrow sound tracks
without the use of additional control equip-
ment. However, if others in the industry
feel that it is advisable, each sound track
reproducer can be equipped with a special
control exciter so as to have low-gain, ex-
cept during periods of sound reproduction.”
He points out that a track made for con-
trol operation will also play on non-con-
trolled equipment.

TRACK INCREASE ALLOWED

The proposal allows, however, for in-
crease in width of the side speaker tracks if
others believe that it is necessary. For this
purpose Mr. Ryder thinks the picture could
be moved “at least another 5 to 10 mils.”
Change of aperture in any case is the only
modification of the projector involved.

“We feel that there is merit in the 20th
Century-Fox-Eastman proposal to diminish
the sprocket hole width,” Mr. Ryder
acknowledges; “however, such a move will
be expensive and confusing, in addition to
causing damage to release prints costing
many hundreds of thousands of dollars. We
desire to avoid a change to the new sprock-
ets if at all possible.”

Noting that the inter-track spacing is
only 5 mils, Mr. Ryder states his belief
that the sound isolation that this small
amount provides should nevertheless be
approximately 20 decibels, and reports that
“Paramount has in construction special
magnetic heads which will work at this
close spacing.” He adds, indeed, that “the

Magnetic reproducer drawn on photo of projector
with photo-track soundhead to show location of
magnetic pickup between projector head and upper
magazine. The picture also shows an anamorphic
lens system for CinemaScope drawn in as mounted.

isolation between these sound tracks can
probably be as low as 10 decibels.”

“We recognize,” he continues, “that
these sound tracks are very close to the
sprocket holes and we are hopeful that re-
cent developments in tight loop reproducers
and/or buffer-rollers will minimize trouble
from this source.”

Mr. Ryder has been known to be op-
posed to sound tracks outside sprocket
holes. In describing the Paramount system,
however, he submits to them as a “good
compromise if used only for auditorium ef-
fects,” asserting that “damage to these
magnetic sound tracks should only cause
cut-outs, or a drop in volume and not in-
troduce disturbing noises in the theatre.”

One aspect of both of these efforts to
establish “stereophonic” sound as a regular
component of the art is the indifference to
track control of volume. Throughout the
many years of considering multiple-track
practice, provision of an extra track for
volume control has been commonly re-
garded as an advantage, allowing those who
created the production, rather than theatre
management, to determine sound values.

The Paramount plan, as noted, would
use precious space for tivo supplementary
tracks, with neither specified for volume
control ; while the CinemaScope “Manual,”
while noting that the print “will be sup-
plied with a fourth effects and control
track” appears to regard the extension of
sound outlets to the auditorium, beyond the
area of the performance, as the more im-
portant use of it.

But whatever may be the ultimate dis-
posal of tracks available for “auditorium
effects” and volume control, the basic speci-
fications of the single film for picture and
multiple tracks need prompt standardiza-
tion, for guidance of exhibitors and equip-
ment manufacturers alike. — G. S.

BETTER THEATRES SECTION

Downlights for Foyers ,
Lounges and Seating

Installment 2 of series:
IMPLEMENTING THE
NEWER FORMS OF
THEATRE LICHTINC

By STANLEY McCANDLESS

Research and Development Engineer, Century Lighting Company, New York

FIGURE I — Down-
light unit designed
for flush - mounting
with a ceiling aper-
ture about 3 feet in
diameter. Such a fix-
ture accommodates
a 200-watt PS-30
general service lamp
in a reflector. In-
terior appears of
equal brightness.

FIGURE 2A

An adjustable, lens type downlight is
sketched at left (Figure 2A), while
below (Figure 3A) is a simple reflector
unit available for various ceiling open-
ings. The lens of Figure 2A is mounted
in an adjustable tube which may be set
for soft or sharp focusing. It accommo-
dates a 250- or a 400-watt G-sO spot-
light; lamping for type below ranges
from 100 to 300 watts.

FIGURES 3B & 3C — Downlights which
(with type shown in Figure 3A) are sug-
gested for seating areas. That above
(with T-20 lamp) has housing enclosing
baffle discs for mounting at 15 degrees
from horizontal. The unit below has lamp
at angle with housing baffled.

N the preceding article
( May issue of Better Theatres) were
discussed modern light practices at the
front and in the lobby. In moving into the
interior we encounter functions which have
become notably served by a new type of
illumination called downlighting. Observed
first are requirements of foyer, or circula-
tion, areas.

CIRCULATION LIGHTING

This consists primarily of lighting the
floor, or if a less dramatical effect is de-
sired, the whole space by means of coves
or domes. It can be glamorized by the use
of chandeliers and wall brackets, but these
never should be the chief source of illumi-
nation.

In general, the level of illumination of

this space should be less than the outer
lobby to help to accommodate the cus-
tomer’s eyes. Five to 10 foot-candles is
maybe too big a jump downward from the
outer lobby, but certainly it is all that is
needed from the standpoint of circulation.
A judicious use of color can enhance the
atmosphere of this space.

Downlight (see Figures 1, 2A, 3A),
cove lights and luminous panels can be
chief sources of illumination. Ornamental
luminaries may he desired for decorative
functions, but should not be used as sources
of illumination in any of the fields of nor-
mal seeing.

LOUNGE LIGHTING

Lounge areas should he illuminated
similarily to a sitting room or club room.

It should have an intimate atmosphere,
whether elaborate or simple. It should in-
vite patrons to sit down for conversation
or to wait for the feature to begin.

The general illumination should be low,
with accent on important decorative or use-
ful elements, such as coffee tables or dis-
plays, as with “pin-hole” optical down-
lights. Liberal use of illumination behind
wall benches, low-level cove lighting, table
or floor lamps contribute to decorative
effect.

AUDITORIUM SEATING

There are five lighting areas of the
auditorium : general seating, over balcony,
under balcony, rear cross-aisle, and per-
formance area. For general lighting of the
( Continued on page 44)

MOTION PICTURE HERALD, JULY 4, 1953

Zhe Needle’s Sye

A Department on PROJECTION fL SOUND

★ "No other art or industry in the world narrows down its success to quite such a NEEDLE’S EYE as that
through which the motion picture has to pass — an optical aperture — in the continuous miracle of the screen
by a man and his machine, the projectionist and his projector.” — TERRY RAMSAYE.

PRECISION REQUIREMENTS OF 3-D:

Shutter Synchronization,
Interlocking and Alignment

By CIO CACLIARDI

the projection of ster-
eoscopic films has introduced some special
operating problems for projectionists. These
problems will bear a
good deal of investiga-
tion and will demand
special attention and
closer application on
their part. A discussion
of these problems and
their possible solution,
or simplification, there-
fore should be advan-
tageous (and any sug-
gestions and remedies
from the field would be greatly appreciated
by the writer).

Simultaneous projection of two stereo-
scopic prints necessitates strict attention
and control of the following operating pro-
cedures: (1) Proper synchronization of
film motion, (2) correct alignment of the
two films on the screen, (3) proper focus-
ing of each of the two prints, (4) correct
comparable brightness and color for each
of the two pictures, (5) proper vertical
positioning of the two pictures by framing
devices, (6) correct timing synchronization
of each picture with the .projector shutters,
and (7) elimination of unwanted motion
due to worn projector mechanisms.

FILM SYNCHRONIZATION

Synchronization of the two projectors
as far as film motion is concerned, can be
accomplished by using mechanical or elec-

trical interlocks. The preferred system is
an electrical interlock using 2-pole, 1440
r.p.m. selsyn motors coupled to the projec-
tor motor by means of a timing belt and
proper sprockets. Since most projector
motors operate at approximately 1750
r.p.m., a shutter ratio of 1440 can be ob-
tained by using a motor sprocket of 40
teeth, and selsyn sprocket of 49 teeth
(actual ratios are 1440 to 1764 r.p.m.).

With the above combination, however,
the lineal velocity of the coupling device
becomes very high since the sprockets have
a large diameter. If chains are used, the
noise is excessive and the problem of lubri-
cation is difficult. For this reason other
speed ratios have been used. In many
cases the selsyns are being operated at 1200
or 1750 r.p.m., permitting the use of small
sprockets and normal velocities for the
roller chains. Unfortunately, in these in-
stances the selsyn speeds do not coincide
with the shutter speeds, making it more
difficult to index the synchronous inter-
locks.

It has been found that some mechanical
interlock systems, although they appear to
be exactly svnhcronized when at rest, are
not satisfactory when placed in operation.
This condition is due to the back lash or
“springiness” of the connecting gears and
flexible shafts which permit either projector
to “hunt” or drift back and forth, putting
the shutters slightly out of sync in one
direction, then in the opposite direction.

This condition is eliminated, and ease
and flexibility of operation is assured, if
2-pole selsyn motors are used and if they
are coupled to the projection motor so as

THE TREND IS TO

aCt wiaine

SUPER-CHARGED

ORLUX

@ein6oM4.
FOR EFFECTIVE

PROJECTION

tieccutee

ORLUX

light has a cooler color spectrum
and laboratories' tests prove
that the cooler a carbon burns,
the less chance of blistering the
polarizing filters and buckling
of film.

ORLUX Carbons are higher in the
cooler colors: blues, greens,
indigoes; and lower on heat con-
ducting colors of red, yellow and
orange.

INSIST ON ORLUX CARBONS for
better 3D and Panoramic
projection.

CARBONS, Inc.

Boonton, N. J.

BETTER THEATRES SECTION

THE (?<Mtc*tU<MC6 T>«fy POWER SOURCE
REQUIRED FOR 3-D PRESENTATION

ASHCRAFT = RECTIFIERS

For NEW 9 mm

Suprex copper-coated carbons
60-75 Amperes — Type S-8570

For 8 mm

Suprex copper-coated carbons
60-70 Amperes — Type S-8570

For 9 mm

High Intensity uncoated carbons
70-90 Amperes — Type S-8585

For High-Intensity 10 mm

Rotating uncoated carbons 80-
95 Amperes — Type S-100

This is not a tube-type rectifier . . .
it is a heavy-duty Selenium Plate
Rectifier whose dependability
has been proved in the largest
theatres and drive-ins for over
4 years.

The ideal power source for 3-D presentation. In countless instances,
present generators or rectifiers are unsuitable for the continuous oper-
ation required when both arcs are operated simultaneously. The
Ashcraft Heavy-duty Selenium Rectifier may be operated 24 hours per
day, if necessary.

C. S. ASHCRAFT MANUFACTURING CO., INC.

36-32 THIRTY-EIGHTH ST., LONG ISLAND CITY 1, N. Y.

Unsteady projection in 3 D can make a
show horse look like the old gray mare
with the D.T.’s. Don't disappoint your cus-
tomers! Their first impression of this new
medium is important to your future opera-
tions. 3-D demands rock-steady projection
in both machines. ARE YOURS READY?

LaVezzi Machine Works

4635 W. LAKE ST., CHICAGO 44, III.

. . .THE FINEST IN
PROJECTOR PARTS

to result in a one-to-one relationship be-
tween shutter and selsyn. This provides an
almost fool-proof interlocking procedure.
The projectionist can turn the motor hand
wheel so that each selsyn is set for an index
mark, and this position indexes the shutters.

ALIGNMENT OF PICTURE

In order to maintain the correct stereo-
scopic depth and perspective and to prevent
eye strain, it is imperative that the two
projectors be aligned perfectly so that their
vertical and horizontal center lines are
superimposed on the screen. This can be
done accurately only by projecting special
target film simultaneously from both ma-
chines and moving the projectors until
proper results are obtained. Suitable align-
ment film may be ordered from the society
of Motion Picture and Television Engi-
neers (40 West 40th Street, New York)
in loops for two projectors or in 50-foot
lengths. 1 hey can also be obtained from
some theatre supply dealers.

I he Motion Picture Research Council
has advised that, because there are different
photographic processes, prints may appear
in the field which have to be projected
with emulsion towards the lamphouse, or
emulsion towards the lens, and they may
also be mixed with regards to the left or
right print. Under these conditions, pro-
jectors should be aligned for each new
booking, and the target film should be
threaded in each projector with the emul-
sion in the same position as it is on the
print to be projected.

If this precaution is not followed and a
reversed print is projected, the necessary
refocusing will cause a change in the hori-
zontal position of the picture and therefore
change in the value of the photographed
parallax. In all cases, the soundtrack will
be located on the proper side of the film.
Where the emulsion is towards the lens,

3-D COMES TO PAREE!

The Le Paris theatre in Paris, France, was recently
equipped for 3-D projection, and new U. S. equip-
ment installed included Simplex XL projectors and
sound systems and Peerless "Magnarc" lamps. The
installation was made by Brockliss-Simplex, French
distributor for National Theatre Supply Export,
New York.

MOTION PICTURE HERALD, JULY 4, 1953

STRONG LAMPS FOR 3-D FILM

In preparation for showing the 3-D film, Fort Ti ,
Strong 90,000-8 (3-D) projection arc lamps were
installed at the Rivoli theatre, Toledo, to project
the increased volume of light desired. Projection-
ists at the theatre are Bill Lutz (left) and Belmont
Holmes.

arrangements have been made at the studios
to equalize the frequency balance to cor-
rect for optical system out-of-focus condi-
tion, so it is not necessary to readjust the
sound optical sv stems.

Best For/

LONG THROW!

FOCUSING AND BRIGHTNESS

Picture brightness should be equal from
both machines. The stereoscopic effect is
badly deteriorated when the brightness dif-
ference reaches approximately 20%. This
means that constant care and attention
must be paid to the positioning and the
shape of the positive carbon crater if fluc-
tuations of two or three foot-candles be-
tween projectors are to be prevented.

When starting on a 3-D picture, the
focus of each machine should be checked
especially because prints may be of dif-
ferent thickness, or projected with reversed
emulsion. The main title provides a good
focusing spot. To focus the right machine
put on 3-D glasses and cover the left eye.
To focus the left machine, cover the right
eye. (Special projectionists glasses are
available or can be made up. Two pairs
are used in each booth. One pair has both
right eye filters for focusing the right
machine; the other has two left eye filters
for focusing the left machine.)

Sharp focus is very important, because
if one machine is even slightly out of focus
it will make the spectator feel as if one
side of their glasses had a smudge on it.
Since the projectionist is usually farther
away from the screen than any patron, and
since he is the one who should see the pic-
ture best of all, it is necessary to provide
him with a pair of good binoculars so that
he may check focus properly.

FRAMING AND SHUTTER SYNC

f otal loss of picture synchronism can
definitely stop a performance, and partial
loss of synchronism even down to a frac-

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tion of a jrame can destroy stereoscopic
effect and produce complaints from the
audience.

Loss of synchronism can be detected,
first, by observing moving parts, such as
persons’ lips as they talk, or a person’s legs
or arms as he walks. These items will seem
to produce double images, or seem to be
drifting apart.

"1 his out-of-sync condition may be pro-
duced in several different ways. One of
the prints may be threaded on a machine
using the wrong start frame. One of the
prints may have lost or gained one or more
frames due to improper patching at the
exchange or in the projection room. The
prints may have to be framed together so
much that the shutter phasing of the two
projectors has lost close synchronism.

There’s no excuse for starting the two
pictures out-of-frame or out-of-sync. Special
care must be taken to thread and frame in
sync. If out-of-frame conditions are
noticed after the start, the location should
be marked quickly with paper slips and
both prints should be examined. The foot-
age numbers on each side of each splice
in both prints should be checked to deter-
mine if both prints contain an equal num-
ber of frames.

If it is necessary to patch a print, the
repair should be made by using black
frame-line leader to replace the missing
frames. In order to make sure that the
correct number of blank frames have been
substituted, check the number of frames
between two footage marks on either side
of the patch. ( Remember that there are
16 frames to one foot of film.)

Moreover, an out-of-sync condition is
not necessarily due to the two pictures
being out-of-frame or out-of-registration.
It may be created by the projector shutters
being out of timing with each other, caus-
ing a frame from one projector to show
upon the screen slightly ahead or behind
the corresponding frame from the other
projector.

It has been pointed out that a phase
shift of from one half to one full
sprocket hole, which is equivalent to the
two shutters being apart by only 12J to
22°, will cause a double image and blurred
effect in mouth movements, close-ups and
middle shots. Such defects can become
very annoying to the spectator if they are
prolonged for any length of time.

FRAMING PRECAUTIONS

In many of our existing projectors,
framing is controlled by rotating the inter-
mittent sprocket and shifting the shutter
position at the same time. With these
machines, it may be possible that in trying
to reframe or register the two pictures dur-
ing projection, the two shutters may be
forced out-of-phase by considerably more

CINEMASCOPE IN BOSTON

For the recent demonstration of CinemaScope at
the Metropolitan theatre in Boston, National
"Excelite" lamps and Super-Simplex projectors
were used to project the picture to a screen 48
feet wide and 1 9*/2 feet high. Projectionists shown
on duty are Paul Brown (left) and Harold Sheerer.

than 10°. This attempt at framing correc-
tion may introduce a phasing error, which
is just as bad.

In order to minimize this framing-phas-
ing error, a thorough check should be made
of the projector mechanism. Loren Ryder
of Paramount Pictures has suggested the
following procedure:

1. Set framing control on both projec-
tors at about midway.

2. Turn projectors to the intermittent
rest or threading index position.

3. I hread both projectors, changing the
framing control so as to thread
in frame. The Research Council-
S.M.P.T.E. alignment film may be
used for this check. If the framing
control, or the yoke around the inter-
mittent, is not in exactly the same
position on both machines, trouble
may be encountered. Dissimilar posi-
tions, or yokes, or framing controls,
probably will be due to a difference
in intermittent sprockets. It is recom-
mended that similar sprockets be used
and that the equipment be aligned
so that both framing control units
will be in the same relative position
when the pictures are in frame.

4. After the framing controls are prop-
erly aligned, mark or index them for
subsequent threading.

5. Turn hand wheel forward on each
machine until the intermittents just
start to move.

6. Check the shutter position on both
machines and make sure that they are
in the same relative position. If the
shutters are not in the same position
within plus or minus 10°, something
is wrong. Recheck each machine
separately to make sure that the shut-
ter adjustments are correct.

7. Synchronize the two machines. The
machines should synchronize without

MOTION PICTURE HERALD, JULY 4, 1953

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moving, and if one machine is rocked
back and forth, it should tend to
come to rest in synchronization with
the other machine.

From the above discussion it may be
realized that a great deal of care and atten-
tion is required for the projection of stereo-
scopic motion pictures. Continual alertness
and proper supervision are required.

A Method of Checking
Shutter Synchronization

The research department of Para-
mount Pictures, under the direction of
Loren Ryder, has issued a discussion
of the importance of shutter synchroni-
zation in 3-D projection which in-
cludes the following text:

Cut out a cardboard disc approxi-
mately 18 inches in diameter, punch a
pencil-sized hole in the center, and a
pencil-sized hole about 6 inches from the
center.

With both projectors synchronized for
3-D projection, project white light on to
the screen (it is not necessary to have
the filters in the light path). Hold the
cardboard disc with a pencil as an axle
approximately 12 inches from the screen
and rotate the disc. The light from the
two projectors shining through the hole
in the disc will make a series of double
spots, the left-hand spot resulting from
the right-hand projector and the right-
hand spot resulting from the left-hand
projector.

If the pencil is held at approximately
eye level and the viewer looks at the
spots which are also at approximately
eye level, the projectors are in phase
synchronization if the two spots are level
or parallel to the floor. If one spot is
above the other, the shutters are not in
phase synchronization and a correction
should be made.

If the observer is watching the pairs
of spots which are to the right of the
pencil axle, the right-hand spot will be
from the left projector. If this right-
hand spot is above the left-hand spot,
the left-hand projector shutter is ahead
of the right-hand projector shutter and
a correction is required to bring the two
spots in a horizontal position without
throwing either the right or left picture
out of frame.

Checking of each port filter is also
suggested to assure correct angle of
polarization. It is recommended that
an observer at rear of main floor,
center, test screen light from each pro-
jector ivith spectacles for opposite eyes
(left projector, right-eye spectacles,
and vice versa) ; port filter is correct
at point of maximum light cancellation.
Filter should be mounted perpendicu-
lar to light beam. It is further pointed
out:

Experience indicates that most viewing
glasses have a correctly positioned angle
of polarization. As a precaution, it might
be well to try several pairs of glasses,
and glasses of different manufacture.

MOTION PICTURE HERALD, JULY 4, 1953

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Candy Manufacturers Urged To Help

In Boosting Sales in Theatres

Leon J. Levenson, TOA concessions chairman, presents five-
point program to increase sales at theatre snack bars to the
National Confectioners' Association's meeting in New York.

candy manufacturers
were urged to cooperate with the motion
picture industry in promoting theatre at-
tendance and thereby increase the sale of
confectionery products by Leon J. Leven-
son, chairman of the concessions commit-
tee of the Theatre Owners of America, at
the 70th annual convention of the National
Confectioners’ Association held recently in
New York.

“I know of no surer way to increase
the sale of candy bars than by increasing
the attendance in motion picture theatres,”
said Mr. Levenson. “Our potential in-
crease in attendance is probably 100%, and
any amount that it is increased will reflect
itself in candy sales because of the direct
relationship between attendance and sales,”
he declared.

To increase the sale of candy in theatres,
Mr. Levenson outlined a five-point pro-
gram to the manufacturers, including pro-
posals regarding packaging, box count, ten-
cent bars, sales aids, and advertising.

On the subject of packaging, Mr. Leven-
son stated that theatre operators prefer a
cello window box for easy stacking, sell-
ing, storaging and inventory. “The cello-
phane bag is probably the worst item to
handle as far as theatres are concerned,” he
said. “It does not meet the requirements
conducive to quick selling and its crackling
embarrasses the consumer while disturbing
nearby patrons.”

Secondly, he suggested that the associa-

tion could help theatres by achieving a uni-
formity of box count, citing the fact that
there are now 14 different box counts, from
12 to 200 in the five- and ten-cent field
alone. Most theatres would prefer 60-
count units, he said,
since they have a
weekly delivery sys-
tem in the interest
of selling fresh
candy and that is
the count the aver-
age theatre can best
handle.

Thirdly, Mr.
Levenson asked for
an increase in the
variety of ten-cent
bars. He cautioned, however, that they
“must be of good quality and full value- —
not merely a five-cent bar to sell for ten
cents.” Almost 100% of the candy sales
made in the average motion picture theatre
are in the low-price bar fields, he noted.

Regarding sales aids, he said that they
should be “appropriate” and “practical” for

use at the point-of-sale candy stand.
“Signs that merely use the word ‘candy’ in
the copy without referring to any particu-
lar kind, are “sales stimulators,” he added.

Fifthly, Mr. Levenson asked that the
manufacturers mention motion pictures in
their radio, television, magazine and news-
paper advertising programs to give an im-
petus to the film going habit. “For in-
stance,” he suggested, “use ‘the next time
you go to your favorite movies, buy your
favorite candy bar for further enjoyment.’
This will be advantageous to both the the-
atre industry and the candy industry. A
very few companies are now doing this.
We hope many more manufacturers will
join in.

SNACK BARS MODERNIZED

Mr. Levenson also informed the candy
manufacturers of the steps taken by the
theatre operators themselves to boost sales.
To merchandise this product more effec-
tively, he said, theatre owners in recent
( Continued on page 28)

Leon J. Levenson

BETTER THEATRES SECTION

WHAT IS YOUR SNACK BAR POTENTIAL?

(this happened in a theatre I recently
attended) may find that his over-aggres-
siveness will cause him to shoot off the top
of this totem pole in his hurry to reach
the top, and end up half or three-quarters
of the way down, clinging desperately to
avoid falling into the pit dug bv an in-
sulted public. We’re still selling pictures
first, and food second — so let’s be intelli-
gently aggressive.

4. FACILITIES

This means your physical plant. First,
is it too small, is it located in the right
place, is it easy to get into and get out
of? Is it clean, is it set up to handle the
public quickly and without a lot of un-
necessary confusion?

I’ve noted with interest the drive-in
owners who have pointed proudly to the
fact that they sold tickets from a cashier,
the tickets in turn being given to the
counter attendant when the purchase was
made. This controls money, they say, and
also that there are less tickets turned in
than are actually bought. What a thing
to be proud of! Their customers have to
wait in line once to spend their money, and
once more to get their food! And they
think it’s wonderful to make money by
being a money-changer. If that’s how to
operate, I’ll take vanilla.

Sure, I’m a strong advocate of cafe-
terias, but you can do a darned good job
with the station system, too, if you are set
up right. I claim it’s a lot harder to set
up a good station system (and more expen-
sive, too) than it is to set up a good cafe-
teria. And you can be more intelligently
aggressive with a cafeteria where your
wares sell themselves than in a station
system where a 60c per hour clerk practices
(if he ever does) suggestive selling with
the finesse of a hippopotamus.

More about sizes and facilities in a later
thought entitled, “Is there such a thing
as a concession stand which is too large?”
Here I want to point out that this factor
of facilities is really important, and if you
rate low on this score it can cost really
big money to cure your ills. That’s why
people building drive-ins now should give
this a great deal of attention and talk to
people who have made the mistakes.

5. ITEMS HANDLED

One of the major problems which faces
drive-in theatre concessionaires and those
who operate their own stands is the deci-
sion as to just what items to sell.

Both as drive-in owners and as con-

CONTINUED FROM PAGE 10

cessionaires, we are great believers in
variety because we feel that drive-ins are
neighborhood theatres, and thus our
patrons are regular ones. In order to keep
the patrons coming to our theatres we vary
the filmfare. In order to get the most out
of our concession stands we believe we
must also vary our foodfare.

We do not claim that you cannot “do
good business” without changing the items
which you offer, but we do feel that, as the
season progresses, it is necessary to offer
more than our basic items, which may
generally be considered as popcorn, ice
cream, soft drinks, candy and hot dogs.
We claim that by varying our selection
we are closer to achieving our maximum
concession gross.

We have six basic rules governing the
introduction of new items. Here they are:

( 1 ) The item must be a fair and honest
value to our patrons (not what we per-
sonally think is a value, but what they
think is a value). This rule is absolute.

(2) Before any item is introduced, the
margin of profit on the item must be at
least as high as our general average of
items on sale, preferably before the new
item was added.

VARIETY IN NEW ITEMS

(3) If the new item in any way could
be construed to compete with an existing
item, it must have a considerably higher
profit margin, or a much higher unit sale.
Further, we will not carry it if it will cut
down the volume of the existing item with
which it competes by more than 10%. The
reason for this is simple : we are intro-
ducing new items for variety. If the new
item cuts down on an old one, we are
not offering our patrons something new,
but something different. This leads to
Rule 4 —

(4) In introducing new items, we do
not introduce substitutes, but rather new
items with a differing appeal.

(5) If any new equipment has to be
added because of the new item, we must
be very sure that the new item will more
than pay for the equipment. (It of course
is assumed that we have space for the new
equipment so that it may be operated effi-
ciently and in harmony with the rest of
the stand.)

(6) If more help is required, we are
particularly careful that the item has the
widest possible profit margin, that it will
substantially increase our gross business,
and that it will fit into our scheme of
operation.

In summary, may we point out that the
most profitable item in the world should

not be carried unless it has a wide appeal
and receives customer acceptance, not only
as to price, but also as to quality.

We believe there is a saturation point
as to how much our patrons will spend.
As we get closer to it we become more and
more cautious in the introduction of new
items. We have slowly but surely raised
our per-person average in one theatre to
27 y2 cents per adult admission, whereas
figures from other drive-ins in the area,
with equal facilities but less variety, are
still only getting 21 to 22 cents per adult
admission.

We feel that our theatre cited above is
very close to its maximum ; however, an-
other of our operations which is doing 27c,
we feel is at least 5c under its potential.

DETERMINING POTENTIALS

How we determine our potentials? Let’s
use some figures. Last year a certain drive-
in sold 65% of its patrons a drink, either
hot or cold. However, their drink sales
were 8c per adult admission and their drink
sales were a very high percentage of their
total sales, as you can well imagine. Since
drinks were the biggest item of sale, and
the biggest money-maker percentage-wise,
this man was getting a pretty high score
(at least as far as drinks were concerned)
on this factor by a very simple method.
He sold 20c drinks as well as his regular
10c drinks. His 20c drinks contained
exactly double the amount of his 10c
drinks. No gypping, no “giant economy
size,” just simply twice as much drink for
twice as much money.

This is not a new idea — there are
thousands of fellows doing it, but there are
still loads who aren’t. And this latter
group can really give you arguments as to
why they don’t. “Their patrons haven’t
the money” ... or their patrons think
they are being “gypped” ... or “it’s too
much trouble” . . . or — and a million other
reasons, all which add up to one comment:
baloney!

May I digress a moment and spout off
a few words about the word confidence?
Exhibitors have lost confidence in many
film companies. Is this a slanderous state-
ment? I hope not, because its got a lot of
truth in it. They won’t take a distributor’s
word for the box-office appeal of a picture,
or quality, or price, or anything else. In
the concession field they are doing business
with a new group of sellers and they are
carrying over the same disbeliefs, distrusts
and lack of confidence. I have advised
exhibitors to use 20c drinks. They don’t
believe me and, frankly, I’m insulted. I
( Continued on page 43)

MOTION PICTURE HERALD, JULY 4, 1953

BETTER THEATRES SECTION

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CITY & STATE

New Frankfurter Unit
With Large Capacity

A NEW MACHINE for
cooking and serving frankfurters, with a
capacity of 60 buns and 120 frankfurters,
has been announced by Manley, Inc.,
Kansas City, Mo.

Called the “Frank Bank,” the unit has
a Fiberglas-insulated cover, which lifts off
to permit loading from the top. Service
is made from the bottom in order to per-
mit fast and easy operation at a convenient
level. The racks have been especially de-
signed to keep buns and frankfurters from
spilling. Beneath the bun rack there is a
“freshener valve,” which is adjustable to
the amount of steam needed to keep the
buns in proper condition.

Constructed of stainless steel, the unit

has a black, baked-enamel base. It has a
variable heat selector, thermostatically con-
trolled for fast steaming at 200, 500 or
1,000 watts. Its overall size is 24 inches
long, 17% high, and 14 deep.

Special Merchandising
For Popcorn Urged

popcorn was called the
“best-selling” item of merchandise at the
drive-in refreshment stand by Jack Farr,
of the Farr Amusement Company, Hous-
ton, Tex., in a speech delivered at the

Southwest Regional Popcorn Conference,
sponsored by the National Association of
Popcorn Manufacturers, Chicago, at the
Texas State hotel in Houston recently.

Due to its importance, Mr. Farr said,

Speakers at the Southwest Regional Popcorn Con-
ference included (standing above, left to right)
Abner Horn, Rainbow, Inc., Lake Charles, La.;
Thomas J. Sullivan, executive vice-president,
National Association of Popcorn Manufacturers,
Chicago; Augie Schmitt, Houston Popcorn & Sup-
ply Company; J. A. McCarty of McCarty Seed
Company, Evansville, I n d . ; Irving A. Singer, Rex
Specialty Bag Corporation, Brooklyn, N. Y.; and
Morty Marks, Jefferson Amusement Company,
Beaumont, Tex.

popcorn should be given a complete mer-
chandising program, including the use of
display materials available from the pop-
corn processor. He also recommended that
employees be especially trained to operate

SENSATIONAL. NEW
HOT DOG MACHINE . . .

THE MANLEY FRANK-BANK

Serve summer crowds fast with the BIG
capacity FRANK-BANK!

★ Holds 5 dozen buns ... 10 dozen dogs.

★ Serves fast, easy . . . FROM THE BOT-
TOM.

★ Loads quickly from top.

★ Special "Freshener Valve" . . . Keeps
buns fresh, MAKES 'em fresh.

IMMEDIATE DELIVERY

Write today to . . .

MANLEY, INC

1920 WYANDOTTE ST.
KANSAS CITY 8. MO.

profit- maker in
the lobby!

High speed SPACARB cup
dispenser serves over 2200
drinks on single syrup filling !

MOTION PICTURE HERALD, JULY 4, 1953

ORDER TODAY a local Canada Dry Representative is ready to

serve

you

Let This Label,

Label You

Consistent National Advertising
Assures Consumer Appreciation For

BETTER THEATRES SECTION

MAJESTIC JUICE DISPENSERS
LEAD THE PROFIT PARADE

with Animation... I llu mi nation... Visibility
Gleaming Stainless Steel Cabinets

Model II20-R MAJESTIC Dispenser with Lucite
Bowl; illuminated dome and cascades. Capac-
ity 11 gallons. Counter space, 1714" x 18'A".
Heigth 33". Heavy duty condensing unit for
quick cooling. ~ .

'TTtajeatic ditd.

959 Crenshaw Blvd. Los Angeles 19, Calif.

MODEL VI

IDEAL FOR CONCESSION COUNTERS

• 5 coin, 5 currency compartments with bill weights.

• High-grade disc tumbler lock.

• Warning gong rings each time drawer is opened.

• Kiln-dried Indiana hardwood.

• Easy action drawer — roller mechanism.

• Office grey or natural lacquer finish (specify).

• Size 18 1/(” x 14 34" x 4 1/2” high.

• Shipping weight approx. 19 lbs.

Pri ce $2650 f.o.b. Shelbyville, Ind.

We pay postage if remittance accompanies order.

ORDER TODAY OR WRITE

INDIANA

CASH

DRAWER CO

Dept. M

SHELBYVILLE, INDIANA

popcorn machines and that the product be
served “red hot” in boxes.

Operation of indoor theatre stands was
discussed by Morty Marks, head of the
concessions department of the Jefferson
Amusement Company, Beaumont, Tex. He
stressed the importance of personnel being
cheerful, efficient, and courteous and hav-
ing the ability to handle children and teen-
agers as well as adults.

Latest developments in popcorn bags
were described at the conference by Irving
A. Singer of the Rex Specialty Bag Cor-
poration, Brooklyn, N. Y. Types explained
included noiseless, dry wax, and the foil-
glassine bag for butter popcorn.

Other subjects discussed at the meeting
included popcorn processing and the pop-
ping oil situation.

Program To Increase
Candy Sales Presented

( Continued from page 23)

years “made large investments in glamorous
stands, set them in conspicuous lobby loca-
tions, modernized lighting effects and added
attractive attendants.” To build repeat
sales, he added, quality candy was offered.

“With this new approach to merchan-
dising, which got its start in 1935,” he
pointed out, “the sale of candy in theatres
within a very few years built up a volume
that represented over 25 °/o of all the bars
sold through all the retail outlets in the
country.

“A few years ago the theatre industry
was hit by the advent of television. Sales
dropped and the candy bar manufacturer
also suffered because millions of consumers
were being kept from the point of pur-
chase,” Mr. Levenson said. He then ex-
plained that steps were taken in two direc-
tions— first, to attract to the stand a larg-
er percentage of those who were inside the
theatre ; second, to make a large unit sale to
those who were buying.

“The first was accomplished by adding
to the appeal of the candy stand wherever
possible and by the judicious use of im-
pulse-exciting trailers and short intermis-
sions. File second was achieved by
making available higher-priced items, par-
ticularly in attempting to convert as many
flve-cent sales to ten-cent sales as was pos-
sible. This was done in most theatres by
reducing the number of flve-cent items car-
ried and increasing the number of ten-cent
items, and in the larger houses by attempt-
ing to sell 15- and 25-cent candies,” Mr.
Levenson told the group.

NEW CASH REGISTERS HELP MINIMIZE ERRORS

New cash registers were recently installed in all refreshment stands of the Redstone Drive-in Theatres
circuit, Boston, after extensive tests made by the theatre operators to find the most efficient type
of machine. The National model selected was the small, electrical unit shown in use above at the com-
pany's Neponset drive-in at Boston. With previous machines (the press-ltey type) cashiers had to add
mentally the individual items purchased by a customer and then ring up only the total. With the new
machines the separate items are registered in full view of the customer followed by the final total.
There is also a sub-total key, which can be used to add on any last minute purchases. The new registers
have helped to minimize errors in this part of the operation, according to Edward S. Redstone, vice-
president of the company. The new machines have also been tested by Lockwood & Gordon Enterprises,
Inc., Boston, and will be installed in the new drive-in they are constructing at Skowhegan, Me.

MOTION PICTURE HERALD, JULY 4, 1953

Zke 'Drive-in . .

^ A regular department devoted
to the design, eguipment and operation of outdoor theatres.

A System of Drive-In Accounts

Sixteenth of a Series on GETTING INTO THE DRIVE-IN BUSINESS

By WILFRED P. SMITH

Former drive-in circuit executive, now oper-
ator of his own drive-in at Ledgewood, N. J.

Every drive-in oper-
ator should know what
business he is doing
from day to day, and
a convenient way of
keeping tabs is a simple
log that can be re-
ferred to in a matter of
seconds. For instance,
a little notebook can
be marked off in columns to indicate what
the daily gross is, and then the weekly and
monthly gross, and finally the season total.

This information, without the services of
an accountant, is a continuous challenge to
the aggressive drive-in owner, stimulating
him always to strive to improve, first, each
day in the week, thus to improve the week-
ly, monthly and seasonal grosses. It should
always be routine to look into the “little
black book” and ask, “What did I gross
this Tuesday compared with last Tues-
day?” and so on. It helps to make things
interesting and to keep a fellow on his toes.

HIRING AN ACCOUNTANT

For the regular bookkeeping require-
ments, the writer suggests engaging the
services of a certified public accountant.
His professional competence and status of
responsibility are well worth his fee. A fee
of around $300 a year may or may not in-
clude figuring out your income taxes. To
arrive at this understanding is “bargain-

ing” in each instance. Even $300 is a
compromise between what may be consid-
ered excessive and a figure that may be so
low that the accountant may find himself
in a position where he is losing money, ad-
vising him to add on a number of “extras.”

Most likely an available accountant
would not have any knowledge of drive-in
operation, in which case he will have to be
guided at the outset by the operator in set-
ting up his system of accounts. The follow-
ing setup is suggested by the experience of
the writer in his efforts over many years to
establish and maintain a running financial
story of drive-in receipts and disbursements,
profit and loss, etc., with a minimum of
bookkeeping.

Account No. 1 — Amount of cash-in-
bunk on the first day of each month. Fedger
also indicates the next gross for the month
(total of the daily box-office statements and
refreshment service income).

Account No. 2 — Balance of petty cash
on the first of each month. The total of all
the disbursements is entered as a single
figure, while receipts for same can be sealed
in envelope, the outside clearly indicating
petty cash receipts for the first month of
the year and stored in a box that can ac-
commodate envelopes for the remaining
eleven months.

Account No. 3 — Deposits. This sheet
indicates a month’s rent or more, in ad-
vance, on property or business.

Account No. 4 -—Land. Cost of land,
amount of down payment, balance due, and
further payments on principal only.

Account No. 5 — Complete cost of
theatre structures — projection and refresh-
ment service housing, sign, box-office, etc.

Account No. 6 — Complete cost of

land and theatre budding (combination of
accounts Nos. 4 and 5).

Account No. 7 — Total cost of theatre
equipment — down payment on projection,
sound, speakers, speaker posts, screen, etc.,
with balances to be shown from total cost
to difference after down payment.

Account No. 8 — Total cost of land ,
theatre building and theatre equipment.
Monthly balance indicated as payment is
made individually on land, buildings and
equipment.

Account No. 9 — Cost of refreshment
service equipment — grills, drink dispensers,
urns, freezers, counters, shelves for storage,
ovens, warmers, etc., showing down pay-
ment and balance, each month’s ledger to
indicate payments made and to strike a new
balance.

Account No. 10 — Total cost of land,
theatre buildings, theatre equipment and
refreshment service equipment (total of
accounts Nos. 4 through 9).

Account No. 1 1 — Cost of office furni-
ture (desks, chairs, cabinets, etc.), and fix-
tures (typewriters, addressograph, etc.) —
down payment and balance to be paid, with
monthly payments indicated, and new bal-
ance shown after each payment.

Account No. 12 — Total cost of land,
theatre buildings, theatre equipment, re-
freshment service equipment, office furni-
ture (accounts 4 through 11). It will be
appreciated that in these first twelve ac-
counts have been listed all the necessary
costs and balances that are basic for the
operation of a drive-in.

The owner can now instruct his account-
ant to depreciate all the items of equipment
covered among these first twelve accounts
on a basis of seven years, which is a reason-

BETTER THEATRES SECTION

able term for tax purposes in the circum-
stances of outdoor operation.

Account No. 13 — Automobile equip-
ment (jeep or truck, and car used in busi-
ness)— down payment and balance due,
along with monthly payments and up-to-
date balances. Depreciation 3 years.

Account No. 14 — Landscaping and
maintenance equipment , such as mowers,
water hose, rakes, hedge clippers, etc. —
down payment and balance due, with
monthly payments and up-to-date balances.
Depreciation 3 years.

Account No. 15 — Loans payable.
Name of bank. If more than one loan is
made, a separate sheet should be set up to

enter each account individually, each sheet
indicating payments on principal only, as
other accounts are listed to show interest
payments to each bank individually.

Account No. 16 — Interest payable.
Name of bank. If more than one bank
is to be paid interest, a separate sheet
should be used to enter each interest pay-
ment individually.

Account No. 16 — Interest payable,
together, along with principal payments and
is to be paid interest, a separate sheet

Account No. 18 — Withholding tax
payable. Each month entered separately;
each balance shown at the end of each
quarter (3 months) ; payments to be made

not more than 30 days after completion of
each quarter.

Account No. 19 — Social Security tax
payable. Each month entered separately;
each balance shown at the end of each
quarter (3 months) ; payments to be made
not more than 30 days after completion of
each quarter.

Account No. 20 — Admission tax pay-
able. Each month entered separately, with
each balance shown at the end of month.
Payments to be made not more than 30
days after completion of each complete
month, or part thereof, such as January 1st
to January 31st (not January 15th to Feb-
ruary 1 5th ) . If local or State taxes are
levied, a separate account for each should
be set up.

Account No. 21 — Mortgage payable.
Name of bank; entry of payments on prin-
cipal only, with date of payment.

Account No. 22 — Interest on mort-
gage. Name of bank; entry of payments
of interest only, with date of payment.

Account No. 23 — Sales : admissions
only. Entry of net receipts ( less federal
and any state and municipal tax) for each
complete, or accrued part of, month.

Account No. 23 — Sales: refreshment
service only. Entry of gross receipts for
each complete, or accrued part of, month.

Account No. 24 — Purchases : Film
rental only. Entry of total cost of film
from all companies combined, for all or
part of each month. Each company should
be listed as an account, with one entry for
each feature and date of payment, and the
amount; and another entry for same com-
pany listing shorts and newsreel, dates of
payment and the amounts.

Account No. 25 — Purchases: refresh-
ment service only. Enter cost of all sale-
able items and supplies (combined) to serve
them (such as plates, cups, spoons, mustard,
catsup, etc.).

Account No. 26 — Purchases: refresh-
ment service only. Enter cost of saleable
items only, such as frankfurters, ice cream,
syrups, etc.

Account No. 27 — Purchases: refresh-
ment service only. Enter costs of supplies
only, such as plates, spoons, ice, aprons,
detergents, etc., showing total cost per
month, and balance due, if any, the first of
each month.

Account No. 28 — Salaries. Enter net
pay ( after all tax deductions).

Account No. 29 — Advertising. Enter
cost of newspaper space, radio, programs,
trailers, etc.

Account No. 30 — Exploitation. Enter
cost of promotional services, such as loud-
speakers, costumes, printing of special ban-
ners, etc.

Account No. 31 — Traveling and buy-
ing expense. Cost of travel to visit ex-
changes ; fees for engaging services of a
film buyer, if any, and similar expense.

Panama Gets a Drive-In

rtgir i ' ' -■ — - -ye

Panama now has a 636-car drive-in
with the construction of the Auto-
Cine, a general view of which is
shown above, by the Compania
Panamena de Diversiones, S. A.
Speakers selected for the new thea-
tre were Westrex in-car models. Right
are Paul W. Kayser (center) manager
of the Westrex Panama branch,
Caribbean, and Elton Todd (right)
and Joseph Putaturo, vice-president
and general manager of Auto-Cine.
Projection equipment (booth is pic-
tured below) includes a Westrex "Ad-
vanced" sound system with 250-watt
amplifiers, Century water-cooled pro-
jectors and re-circulating unit and
Strong arc lamps.

MOTION PICTURE HERALD, JULY 4, 1953

Account No. 32 — Gasoline, oil, etc.
Cost of supplies for operating equipment.

Account No. 33 — Light, electric power
and gas. Cost of these services for entire
operation of the drive-in. The operator
may prefer to break it down into two ac-
counts, one for general theatre operation
(projection, driveways, attraction sign,
etc.), the other covering the refreshment
division.

Account No. 34 — Insurance. Cost of
each premium and balance due. If different
types of insurance are carried with more
than one company, each should be set up
with a separate account number, entering
cost of premium and balance due on each.

Account No. 35 — Maintenance and
repairs — theatre operation, covering paint-
ing the screen, speaker posts, attraction
sign, buildings, etc., and including projec-
tion equipment service contracts, if any.

Account No. 36 — Maintenance and
repairs — refreshment service, covering
painting stock room, counters, floors, walls,
repair of equipment, etc.

Account No. 37 — Supplies. Cost of
paper towels, tissue, carbons, tubes, paints,
soaps, hand driers, etc., with balances due.

Account No. 38 — Stationery and print-
ing. Cost of envelopes, letterheads, passes,
etc., with balances due.

Account No. 39 — Telephone.

Account No. 40 — Professional fees.
Cost of services of attorney, notary public,
accountant, etc.

Account No. 41 — Taxes, covering
land, buildings, personal property, corpora-
tion.

Account No. 42 — Film delivery. Cost
of delivery of film, whether by express,
freight, air, truck, etc., and balance due.

Account No. 43 — Licenses and dues.
Dues of motion picture organizations, civic
clubs, etc., and theatre operating license,
food and soft drink license, etc.

Account No. 44 — Dividends. Payment
of moneys to stockholders or to individual
owners (except salaries).

Account No. 45 — Postage. Cost of
mailing programs and other business corre-
spondence.

Account No. 46 — Bank charges. Cost
of service as billed by bank.

Account No. 47- — Rent. Payments of
any monthly rental charges.

Account No. 48 — Net worth. Prepa-
ration of financial statement at the end of
each fiscal year, as set up by owners, to
show profit and loss.

Conditions of ownership and operation in
any specific situation determine the precise
setup of accounts best able to provide a
clear record that can be kept up-to-date
with reasonable facility. Those sum-
marized above do supply a general guide,
however, and illustrate an approach to the
bookkeeping function which has proved
practicable.

tO*

to*'

uV’

vet*

HEADQUARTERS

for

24"

MAGAZINES

23"

REELS

WENZEL

Time-Tested
Theatre Equipment

Manufacturers of: Projec-
tors, Sound Heads, Bases,
Magazines, Accessories,
Parts, etc.

Send for descriptive
literature

WENZEL

PROJECTOR CO.

2505-19 S. State Street
Chicago I, Illinois

BETTER THEATRES SECTION

about Products

★ news and views of the market and its sources of supply

Stereophonic Sound
Equipment Set-Up

stereophonic sound re-
production equipment, trade-named “Kine-
vox-Natural Sound,” announced by the
Natural Sound Corporation, Hollywood,
Calif., has all components housed in a ven-
tilated steel rack cabinet. l ire approxi-
mate height to the top of the 5,000-foot
reel magazines is 67 inches; the depth,
front to back, is 21 inches. The magazines
for two 24-inch reels have transparent
ports on each door so that the magnetic film
can be seen on the reel. The magazine
doors open at the center and are piano-
hinged on the ends.

A separate motor drives the take-up,
which is clutch-controlled and adjustable.
The feed magazine is fitted with a con-
trolled hold-back clutch. Below the maga-
zines on the rack cabinet is the film trans-
port mechanism, which is a 10^2-inch rack
panel with a volume control placed in
center. This controls the output of the
pre-amplifiers on the three pick-up heads
in the film moving mechanism.

On a shelf behind this panel are the pre-
amplifiers, and below this are two 104%
inch panels housing the power supply for

"Kinsvox" magnetic sound cabinet.

the pre-amplifiers and three power ampli-
fiers. The power ampliers supplied are
three 30-watt McIntosh, or their equal,
with 50-watt available at an extra charge.
Each power amplifier has its own gain con-

Threading the "Kinevox" pickup.

trol for balancing separate tracks. Their
frequency range is 10 to 50,000 cycles, plus
or minus 0.5db at 30 watts output. Their
noise and hum level is 85db or more below
the rated output. Harmonic distortion is
less than 0.5% at 30 watts output.

The film moving mechanism is powered
with a “Kinevox Bodine Salient Pole” syn-
chronous motor. Geared to it is a selsyn
motor, which is connected to selsyn motors
on the projectors so that all equipment is
in synchronization. The rack cabinet and
the magazines have a baked blue-grey fin-
ish. Three Stephens Type 463 speakers, or
their equal, are supplied with the equip-
ment. Weight of the standard unit is
approximately 1,000 pounds.

•

NEW PLASTIC SCREEN COMPANY

Plastic Creators, Inc., Little Ferry, N. J.,
a newly formed corporation, has begun
the manufacture of vinyl plastic motion
picture screens for theatres. B. L. Smith,
president, announced the purchase of a

modern factory building in Little Ferry,
where both three-dimensional and diffusive
screens will be made for RCA. In addition
the facilities of the plant will be available
for fabrication of other plastic products.
Mr. Smith was formerly associated with
duPont and Olin Industries.

New Grades Announced
For Lorraine Carbons

the recent announce-
ment of the new Lorraine “Orlux Super-
Charged Carbons,” now available for 3-D
and wide-screen projection, has been fol-
lowed by one of new grades to meet the
demand for increased light, by Carbons,
Inc., Boonton, N. J.

New grades now available include a
9mmxl4 (544C grade) copper-coated car-
bon, recommended to be trimmed with a
7mm negative for amperages under 70
amps; and with an 8mmx9 (grade 545C)
negative for amperages over 70 amps.
There is also a new 9mmx20 carbon
(grade 552-09) rated at over 19,500
lumens at 85 amps, and a new 10mmx20
(grade 552-09) rated at 21,000 lumens at
100 amps, and 26,000 lumens at 120 amps.

Another new carbon is a 13.6x22 (grade
583-08) high-intensity carbon for carbon
rotating lamps drawing from 175 to 200
amps.

Aluminum Poster Cases
In Varying Widths

four types of extruded
aluminum poster cases, with door frames
ranging from 1 to 446-inches in width, are
now being manufactured by Poblocki &
Sons, Milwaukee.

Previously, the company explains, it had
made a smaller case with the same expen-
sive aluminum moulding as the larger case.
Now smaller mouldings give a better
appearance to the smaller case and afford
more space for posters, it is pointed out.

The poster cases are available in various
colors to harmonize with different color
schemes. They are also designed t® be

MOTION PICTURE HERALD, JULY 4, 1953

weatherproof for use at drive-in theatres.
The cases are equipped with cylinder locks
and reinforced corners and are available
with or without poster hold-downs or
frames and with or without engineered
illumination.

Half-size drawings of all cases and their
various uses are provided free of charge by
the company. In addition to the standard
sizes, the company will make cases to fit
any size space desired. The company also
has stainless steel cases, which they will
provide in any design specified.

Small Size Model of
Heavy Dufy Cleaner

A SMALL SIZE, light
weight model of its heavy duty commercial
vacuum cleaner, the “Super,” has been an-
nounced by the National Super Service
Company, Inc., of Toledo, Ohio.

Called the “Super Model JS,” the new
portable unit is designed to deliver heavy
duty power, pick-up and performance in all

dry suction cleaning and blowing opera-
tions. It is powered by a 1J4 h.p. motor,
driving a 3-stage fan. It is quiet in opera-
tion.

The new model can be used with all
standard and special Super tools and
attachments, it is explained.

New Strong Rectifiers
For 3-D, Wide-Screen

A new line of heavy-
duty rectifiers designed especially for con-
tinuous operation with the 3-D and wide-
screen processes of projection, as well as
drive-ins, has been announced by the Strong
Electric Corporation, Toledo.

Three of the rectifiers are of the sele-
nium plate type and one is of the tube type.

All the selenium rectifiers may be used with
angular or coaxial trim lamps. They are
rated at 105-135 amperes for use with
11mm regular carbons or 10mm “Hitex”
carbons, 90-105 amperes for 10mm car-
bons, and 75-90 amperes for 9mm carbons.

The continuous-duty, tube-type rectifier
has a capacity of 75-85 amperes on 3-phase,
220-volt current.

Transformer taps provide adjustment to
compensate for supply-voltage variations
through a range of 10% above or 10%
below the rated a.c. input voltage through-
out the output-rating range. All four of
the rectifiers feature automatic, fan air
cooling.

Literature on these rectifiers will be sent
free to anyone addressing a request to the
company (1 City Park Avenue, Toledo 2,
Ohio.)

Sterilizing Equipment
For 3-D Spectacles

apparatus for washing,
sterilizing, and storing permanent type
third-dimension spectacles for use and re-
use by theatre patrons has been developed
by the Hospital Supply Company, Inc.,
New York, in cooperation with Loew’s
Theatres.

Under the technique developed, the used
spectacles are placed in baskets for bulk
handling and then inserted in an appliance
for automatic washing. (A hand washing
method may be utilized where desired, it is
pointed out.) LTpon completion of the
washing cycle, the trays holding the spec-
tacles are placed in a germicide solution
container for sterilization.

After this the trays are placed in a cabi-
net located in the theatre lobby, from
which the spectacles are distributed to pa-
trons. The cabinet has been equipped with
ultra-violet ray lamps in order to “give the
patron the assurance of cleanliness,” the
company points out.

•

BALLANTYNE DEMONSTRATIONS

DEMONSTRATIONS of its
new theatre equipment package for third-
dimensional and wide-screen films and
stereophonic sound are planned in four
cities for sometime in July by the Ballan-
tyne Company, Omaha, according to an an-
nouncement by J. Robert Hoff, executive
vice-president. The cities selected for the
showings include Chicago and New York,
one on the West Coast (either Los Ange-
les or San Francisco) and one in the
South (probably Atlanta). Electrical in-
terlocks using selsyn motors will be rec-
ommended for installations of projection
and stereophonic sound equipment in the

THEATRE

• HANDY ANDY

Debris Collector and
Incinerator

I SNACK - KAR

Mobile Pood Vendor

• TRAFFIC CONTROL

Mobile Traffic Director

•PERMASCREEN

Permanent for 2 * D

• BOX OFFICES

• POSTER CASES

Aluminum and Stainless
Steel

are

still

FIRST

FOR THE

INDOOR THEATRE
#MARQ.UEES

Conventional and Inner Service ^

• NAME SIGNS

• BOX OFFICES

• FRO NTS
Vitraeon or Stainless Steel

• POSTER CASES
. Aluminum or Stainless Steel

WRITE TODAY

The operators' favorite . silersl
and safel U. L. approved. Elimi-
nates fire hazard. Positive fric-
tion . . . can’t clinch film. Tilt-back
case . . . reels can’t fly off. Micro-
switch safety cut-off . . . when
door opens or Aim breaks, motor
stops.

ISOLDE "o'-

• At better theatre supply
dealers.

4888 North Clark Street
Chicago 40, Illinois

BETTER THEATRES SECTION

for* 3-d «0i::

PANORAMIC ,
PROJECTIONS

MANUFACTURES

Artkraft Strauss

serving motion picture theatres
since silent picture days

ALUMINUM or STEEL FRAMES
for LARGE, CURVED SCREENS

• Easily adjusted for curve and tilt.

• Stationary or "Flying".

• No show time is lost in installation.

Our units installed at Loew's State,
Astor, Victoria, Capitol, Criterion,
Mayfair, in Times Square, and in
Loew's Theatres and hundreds of
others throughout the United States.

IMMEDIATE |
DELIVERY I

ARTKRAFT STRAUSS SIGN CORP.

830 Twelfth Ave., New York 19, N. Y. CO 5-5155
Please give lowest cost on frames.

□ aluminum or □ steel Depth of stage, if any

Proscenium opening measures: high wide

For

prompt
quotation,
mail
coupon !

Theatre

Address

Manager’s Name

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

111 EIGHTH AVENUE, NEW YORK 11, N. Y.

HOLLYWOOD DIVISION: 6601 ROMAINE STREET, HOLLYWOOD 38, CAL.

Research, Distribution and Service for the Motion Picture Industry

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 the Mart insert on page 35.

NOW READY!

Evaporative Coolers

20% Oft!

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Prices include Blower and Motor, Air Washer
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recirculating pump — all housed in smart galvan-
ized steel cabinet.

S. O. S. CINEMA SUPPLY CORP.

Dept. A, 602 W. 52 St., N. Y. 19 Cable: SOSOUND

American

Bodiform

AMERICAN SEATING COMPANY

Grand Rapids 2. Michigan
Branch Offices and Distributors in Principal Cities

“all-system package,” according to a state-
ment from R. S. Ballantyne, president, to
clarify the question raised by the fact that
the company also makes mechanical
interlocks.

NEW WIDE-SCREEN FRAMES

A new curved and tilted screen frame
for use in the projection of wide-screen
films, has been announced by the Artkraft
Strauss Sign Corporation, New York.
Constructed of either aluminum or steel,
the frame can be quickly installed and ad-
justed for a variety of wide-screen projec-
tion, according to the company. They have
been installed at the Capitol, Victoria,
Mayfair and Criterion theatres in New
York and many Loew’s theatres through-
out the country.

•

RCA 16MM ARC PROJECTOR

A new portable 16mm motion picture
projector, employing arc lighting and de-
signed to provide from two to four times
the power of similar equipment using
standard 1000-watt incandescent lamps,
has been announced by the RCA Victor
Division, Radio Corporation of America,
Camden, N. J. 1 he equipment comprises
five portable units. The arc lamp is ca-
pable of operation either at 10 or 30
amperes. I he light output at the lower
current is approximately 750 lumens and
the burning time of one carbon trim is two
hours and 15 minutes. Under the same
conditions at 30 amperes, the light output
is approximately 1600 lumens and the
burning time is 56 minutes. The second
unit, a 25-watt amplifier, is mounted in a
cabinet which also serves as the projector
pedestal. Adjustable legs are carried within
this cabinet along with the connecting
cables, carbons, and other accessories. The
projector mechanism is RCA’s standard
“400” type with optical modifications to
suit the new arc light source. The small
portable rectifier and a loudspeaker com-
plete the equipment.

POBLOCKI INSTALLATIONS

Installations of new marquees, attraction
boards and signs, and “Permascreens,”
have recently been completed by Poblocki
and Sons, Milwaukee. They include a new
marquee at the Times theatre, Green Bay,
Wise., an operation of Standard Theatres
Management Company, Milwaukee and
a new marquee and front for the same com-
pany’s Majestic theatre in Beloit, Wise.
New attraction boards and signs were
erected at the Hocking theatre in Logan,
Ohio, operated by the Chakeres Theatres,

MOTION PICTURE HERALD, JULY 4, 1953

THE

MART

Index to products Advertised
& described in this issue, with

• Dealer directory

• Convenient inquiry postcard

Firms are numbered far easy identification in using postcard. Dealer indications refer tp listing on following page.

ADVERTISERS

NOTE: See small 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 Letter Co 39

Changeable letter signs: Front lighted panels for
drive-ins (IA), back-lighted panels (IB), and
changeable letters (1C). All dealers.

2 — American Seating Co 34

Auditorium seating. NTS and direct.

3 — Artkraft Strauss Sign Corp 34

Metal frames for large and curved projection
screens. Direct.

4 — Ashcraft Mfg. Co., C. S 16

Rectifiers. Unaffiliated doalers.

5 — Ballantyne Co., The 4-5

Wide-screen and 3-D “package.” Dealers I, 3, 8.

10, 18. 19. 20. 34, 36, 42, 57. 74. 67, 72, 77, 88,

SO. 101, 106, 109, 112, 119, 125. 129.

6 — Bausch & Lomb Optical Co 17

Projection lenses. Direct, branches and dealers in

all major cities.

7 — Canada Dry Ginger Ale, Inc 27

Soft drinks (7A), beverage dispensers (7B).

Branches in all principal cities.

8 — Carbons, Inc 15

Projection carbons. Franchise dealers.

9 — Coca-Cola Co., The 2nd Cover

Soft drinks (9A), beverage dispensers (9B).

Branches in principal cities.

10 — Eprad 31

In-car speakers. Direct.

11 — F & Y Building Service, The 7

Architectural design and building service.

12 — Goldberg Bros 18, 39, 41

Film rewinders (I2A), projection room cabinets and
tables (I2B). box office speaking tubes (120. Un-
affiliated dealers and direct.

13 — GoldE Manufacturing Co 33

Film rewinders. All dealers.

14 — Griggs Equipment Co 41

Auditorium chairs. Direct.

15 — Heyer-Shultz, Inc 20

Metal projection arc reflectors. Dealers marked *

and NTS.

16 — Heywood-Wakefield Co 8

Auditorium chairs. Dealers 8. 10, 23. 31. 54, 98
101, 125 and branches.

17 — Indiana Cash Drawer Co 28

Cash drawer for drive-in concession sales. Direct.

18 — International Projector Corp 4th Cover

Stereophonic sound equipment (I8A), 25-inch maga-
zines (I8B). NTS.

19 — Kollmorgen Optical Corp 20

Projection lenses. NTS and all dealers.

20 — LaVezzi Machine Works |A

Projection parts. All dealers.

21 — Majestic Enterprises, Ltd 28

Beverage dispensers. Direct.

22 — Manley, Inc 22 26

Frankfurter machine and bun warmer (22A), pop- '
corn machines (22B). beverage dispensers (22Q)

Offices in principal cities.

23 — Marsh Wall Products, Inc 7

Decorative wallpaneling. Direct.

24 — Motlograph, Inc

®ound cduipment (24A), moter-gener
'";ca[ speakers (24C). 25-inch maga
m «D)i,<!th^,r!,teie,vision (24EK Dea'ers 8
s?' if’ 2„9> 3 ' • 33' 35' 39' *9. 52, 55

i28. 82, 88, 97' ,0'’ ,05’ 1,1

Reference Adv.

Number Pag*

25 — National Carbon Co., Inc 3rd Cover

Projection carbons. All dealers.

26 — National Super Service Co., Inc 39

Vacuum cleaners. All dealers.

27 — National Theatre Supply 19, 40

Distributors.

28 — Poblocki & Sons 33

Marquees (28A). name signs (28B), box offices
(28C), theatre fronts (28D). poster cases (28E).
portable snack bar (28F), drive-in screens (28G).

NTS and direct.

29 — Radiant Manufacturing Co 21

Projection screens. Direct.

30 — Raytone Screen Corp 37

Drive-in screen naint. Unaffiliated dealers.

31 — RCA Service Co., Inc 37

Projection and sound equipment maintenance service.

32 — S. O. S. Cinema Supply Corp 34

Distributors.

33 — Spacarb, Inc 26

Beverage dispensers. Direct.

34 — Strong Electric Corp., The 3

Projection arc lamps (34A), rectifiers (34B). Deal-

ers I. 2, 3, 4. 7. 8. 9, 10, 12, 13. 16. 17. 18. 19,

20. 21. 23. 24. 25, 27, 31. 34, 35. 36. 38. 39, 40.

41, 42. 43. 45. 46, 48, 49. 52. 53. 54. 55, 56, 57,

58, 60. 61. 62. 64, 65, 67. 69. 72. 73. 74. 75. 76,

77. 78. 80, 81, 88. 89. 90, 91. 94, 95. 96. 98. 100.
101, 102. 103. 104, 105, 107. 109. 110. III. 112,
113, 114. 115. 118. 119. 121, 126, 127, 128, 129.

35 — Theatre Seat Service Co. 39

Theatre chair rehabilitation service. Direct.

36 — Wagner Sign Service, Inc 41

Changeable letter signs: Front lighted panels for
drive-ins (36A); back-lighted panels (36B); and
changeable letters (36C). Dealers I, 8. 10, 12, 13.

14. 15. 16. 20. 21. 22. 23. 24. 25, 27. 28, 29, 31.

33, 34, 35. 39. 40. 41. 42. 43. 49. 51. 52. 54. 55,

57. 58. 60, 62. 64. 65. 66. 67, 69. 70. 71, 72, 74.

76, 77. 81. 83. 85, 86, 88. 89. 95, 97. 98, 101. 103.
104, 105. MO. III. 1 14. 115. 116, III. 119. 121.
125. 126. 127 and NTS Detroit.

37 — Wenzel Projector Co 31

24-inch magazines (37A). 23-inch reels (37B). pro-
jectors (370. projecor bases (37D), projecor heads
(37E). Unaffiliated dealers.

38 — Westrex Corp 34

Foreign distributors.

39 — Williams Screen Co. 18

Projection screens. Direct.

40 — Wrigley, Jr. Co., Wm 25

Chewing gum. Direct.

EDITORIALLY . . .

FRANKFURTER MACHINE, page 26

New machine for cooking and serving frank-
furters with capacity of 60 buns and 120 frank-
furters, announced by Manley, Inc. Postcard ref-
erence number 22A.

STEREOPHONIC SOUND, page 32

Equipment for reproducing stereophonic sound
with all components housed in a ventilated steel
rack cabinet, made by Natural Sound Corporation.
Postcard reference number E4I.

ALUMINUM POSTER CASES, page 32

Four types of extruded aluminum poster cases,
manufactured by Poblocki & Sons. Postcard refer-
ence number 28E.

NEW VACUUM CLEANER, page 33

Small, lightweight model of National Super Ser-
vice Company's heavy duty commercial vacuum
cleaner. Postcard reference number 26A.

HEAVY DUTY RECTIFIERS, page 33

New line of heavy-duty rectifiers designed for
continuous operation with 3-D and wide-screen
projection, announced by Strong Electric Corpora-
tion. Postcard reference number 34C.

3-D SPECTACLE STERILIZER, page 33 .

Apparatus for washing, sterilizing and storing
permanent type 3-D spectacles, developed by the
Hospital Supply Company, Inc. Postcard reference
number E42.

NEW WIDE-SCREEN FRAMES, page 34

Curved and tilted screen frames for use in pro-
jection of wide-screen films. Made of aluminum or
steel by the Artkraft Strauss Sign Corporation.
Postcard reference number 3.

76MM ARC PROJECTOR, page 34

New, portable 16mm motion picture projector
employing arc lighting, announced by the RCA
Victor Division, Radio Corporation of America.
Postcard reference number E43.

For further information concerning products referred to
on this page, write corresponding numbers and your name
and address, in spaces provided on the postcard attached
below, 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 the July 1953 issue —

NAME.

THEATRE or CIRCUIT

STREET ADDRESS

CITY

STATE-

Dealers in the United States listed alphabetically’ by states, numbered or other-
wise marked for cross-reference from Index of Advertisers oii preceding page

>»

ALABAMA

1 — Queen Feature Service, 1912'/, Morris Ave., Birmingham.

ARIZONA

2 — Girard Theatre Supply, 532 W. Van Buren St„ Phoenix.

ARKANSAS

3 — Arkansas Theatre Supply, 1008 Main St„ Little Rock.

4 — Theatre Supply Co., 1021 Grand Ave., Fort Smith.

CALIFORNIA

Fresno:

5— Midstate Theatre Supply. 1906 Thomas.

Los Angeles:

6 — John P. Filbert 2007 S. Vermont Ave.*

National Theatre Supply, 1961 S. Vermont Ave.

7 — Pombrex Theatre Supply, 1969 S. Vermont Ave.

8 — B. F. Shearer, 1964 S. Vermont Ave.

San Francisco:

National Theatre Supply, 255 Golden Gate Ave.

9 — Preddey Theatre Supplies, 187 Golden Gate Ave.

10 — B. F. Shearer, 243 Golden Gate Ave.

11 — Western Theatrical Equipment, 337 Golden Gate Ave.*

COLORADO

Denver:

National Theatre Supply. 2111 Champa St.

12 — Service Theatre Supply, 2054 Broadway.

13 — Western Service & Supply, 2120 Broadway.*

CONNECTICUT
New Haven:

National Theatre Supply, 122 Meadow St.

DISTRICT OF COLUMBIA (Washington)

14 — Brient & Sons. 925 New Jersey Ave., N. W.*

15 — Ben Lust. 1001 New Jersey Ave., N. W.

FLORIDA

16 — Joe Hornstein, 273 W. Flagler St.. Miami.

17 — Southeastern Equipment. 206 E. Bay St.. Jacksonville.*

18 — United Theatre Supply, 110 Franklin St.. Tampa.

19 — United Theatre Supply. 329 W. Flagler St., Miami.*

GEORGIA

Albany:

20 — Dixie Theatre Service &. Supply, 1010 N. Slappey Dr.

Atlanta:

21 — Capital City Supply, 161 Walton St, N. W.

National Theatre Supply, 187 Walton St., N. W.

22 — Southeastern Theatre Equipment, 201-3 Luckie St.. N. W.*

23— Wil-Kin Theatre Supply. 301 North Ave., N. E.

ILLINOIS

Chicago:

24 — Abbott Theatre Supply. 1311 S. Wabash Ave.*

25 — G. C. Anders Co., 317 S. Sangamon St.

26 — Gardner Theatre Service, 1235 S. Wabash Ave.

27 — Movie Supply, 1318 S. Wabash Ave.

National Theatre Supply. 1325 S. Wabash Ave.

INDIANA

Evansville:

28 — Evansville Theatre Supply. 2900 E. Chandler Ave.

Indianapolis:

29 — Ger-Bar, Inc., 442 N. Illinois St.

30 — Mid- West Theatre Supply Company, 448 N. Illinois St.*
National Theatre Supply, 436 N. Illinois St.

IOWA

Des Moines:

31 — Des Moines Theatre Supply, 1121 High St.

National Theatre Supply, 1102 High St.

KANSAS

Wichita:

32 — Southwest Theatre Equipment. P. 0. Box 2138.

KENTUCKY

Louisville:

33 — Falls City Theatre Equipment, 427 S. Third St.

34 — Hadden Theatre Supply, 209 S. 3rd St.

LOUISIANA
New Orleans:

35 — Hodges Theatre Supply. 1309 Cleveland Ave.

36 — Johnson Theatre Service, 223 S. Liberty St.

National Theatre Supply, 220 S. Liberty St.

37 — Southeastern Theatre Equipment, 214 S. Liberty St.*

Shreveport:

38 — Alon Boyd Theatre Equipment, P. 0. Box 362.

MARYLAND

Baltimore:

39— J. F. Dusman Co.. 12 East 25th St.

National Theatre Supply, 417 St. Paul Place.

MASSACHUSETTS

Boston:

40 — Capitol Theatre Supply, 28 Piedmont St.*

41 — Joe Cifre, 44 Winchester St.

42 — Independent Theatre Supply, 28 Winchester St.

43 — Massachusetts Theatre Equipment. 20 Piedmont St.
National Theatre Supply, 37 Winchester St.

44 — Standard Theatre Supply. 78 Broadway.

45 — Theatre Service & Supply, 30 Piedmont St.

MICHIGAN

Detroit:

46 — Amusement Supply, 208 W. Montcalm St.

47 — Ernie Forbes Theatre Supply, 214 W. Montcalm St.

48 — McArthur Theatre Equipment, 454 W. Columbia St.
National Theatre Supply, 2312-14 Cass Ave.

Grand Rapids:

49 — Ringold Theatre Equipment, 106 Michigan St., N. W.

MINNESOTA

Minneapolis:

50 — Elliott Theatre Equipment, 1110 Nicollet Ave.

51 — Frosch Theatre Supply. II 1 1 Currie Ave.*

52 — Minneapolis Theatre Supply. 75 Glenwood Ave.

National Theatre Supply, 56 Glenwood Ave.

53 — Western Theatre Equipment, 45 Glenwood Ave.

MISSOURI
Kansas City:

54 — Missouri Theatre Supply. 115 W. 18th St.*

National Theatre Supply. 223 W. 18th St.

55 — Shreve Theatre Supply. 217 W. 18th St.

56 — Stebbins Theatre Equipment, 1804 Wyandotte St.

St. Louis:

57 — McCarty Theatre Supply. 3330 Olive St.

National Theatre Supply. 3212 Olive St.

58 — St. Louis Theatre Supply Co., 3310 Olive St.*

MONTANA

59 — Montana Theatre Supply, Missoula.

NEBRASKA

Omaha:

60 — Ballantyne Co.. 1712 Jackson St.

National Theatre Supply. 1610 Davenport St.

61 — Quality Theatre Supply. 1515 Davenport St.

62 — Western Theatre Supply. 214 N. 15th St.*

NEW MEXICO

63 — Eastern New Mexico Theatre Supply, Box 1009, Clovis.

NEW YORK
Albany:

64 — Albany Theatre Supply, 443 N. Pearl.

National Theatre Supply, 962 Broadway.

Auburn:

65 — Auburn Theatre Equipment, 5 Court St.

Buffalo:

66 — Eastern Theatre Supply, 496 Pearl St.*

National Theatre Supply. 498 Pearl St.

67 — Perkins Theatre Supply. 505 Pearl St.

68 — United Projector & Film, 228 Franklin St.

New York City:

69 — Amusement Supply, 341 W. 44th St.

70 — Capitol Motion Picture Supply, 630 Ninth Ave.*

71 — Crown Motion Picture Supplies, 354 W. 44th St.

72 — Joe Hornstein, 630 Ninth Ave.

National Theatre Supply, 356 W. 44th St.

73 — S.O.S. Cinema Supply, 602 W. 52nd St.

74 — Star Cinema Supply, 441 W. 50th St.

Syracuse:

75 — Central N. Y. Theatre Supply, 210 N. Salica St.

NORTH CAROLINA
Charlotte:

76 — Bryant Theatre Supply, 227 S. Church St.

77 — Charlotte Theatre Supply, 116 S. Poplar.

78 — Dixie Theatre Supply, 213 W. 3rd St.

National Theatre Supply, 304 S. Church St.

79 — Southeastern Theatre Equipment, 209 S. Poplar St.*

80 — Standard Theatre Supply, 219 S. Church St.

81 — Theatre Equipment Co.. 220 S. Poplar St.

82 — Wil-Kun Theatre Supply, 229 S. Church St.

Greensboro:

83 — Standard Theatre Supply, 215 E. Washington St.

84 — Theatre Suppliers, 304 S. Davie St.

OHIO

Akron:

85 — Akron Theatre Supply, 120 E. Market St.

Cincinnati:

86 — Mid-West Theatre Supply, 1638 Central Parkway.*

National Theatre Supply, 1657 Central Parkway.

Cleveland:

National Theatre Supply, 2128 Payne Ave. v

88 — Ohio Theatre Equipment, 2108 Payne Ave.

89 — Oliver Theatre Supply, E. 23rd and Payne Ave.“

Columbus:

90 — American Theatre Equipment, 165 N. High St.

91 — Mid-West Theatre Supply, 962 W. Third Ave.

Dayton:

92 — Dayton Theatre Supply, 1 1 1 Volkenand St.

93 — Sheldon Theatre Supply, 627 Salem Ave.

Toledo:

94 — American Theatre Supply. 439 Dorr St.

95 — Theatre Equipment Co., 1206 Cherry St.

OKLAHOMA
Oklahoma City:

96 — Century Theatre Supply Co., 20 N. Lee St.

97 — Howell Theatre Supplies, 12 S. Walker Ave.

National Theatre Supply, 700 W. Grand Ave.

98 — Oklahoma Theatre Supply, 628 W. Grand Ave.*

OREGON

Portland:

9® — Modern Theatre Supply, 1935 N. W. Kearney St.*

100 — Portland Motion Picture Supply. 916 N. W. 1 9th St.

101 — B. F. Shearer. 1947 N. W. Kearney St.

102 — Inter-State Theatre Equipment. 1923 N. W. Kearney St.

PENNSYLVANIA

Philadelphia:

103 — Blumberg Bros., 1305-07 Vine St.*

National Theatre Supply Co., 1225 Vine St.

Pittsburgh:

104 — Alexander Theatre Supply, 84 Van Bramm St.*

105 — Atlas Theatre Supply, 402 Miltenberger St.

National Theatre Supply, 1721 Blvd. of Allies.

106 — Superior Motion Picture Supply, 84 Van Bramm St.

Wilkes Barre:

107 — Vincent M. Tate, 1620 Wyoming Ave., Forty-Fort.

RHODE ISLAND

108 — Rhode Island Supply, 357 Westminster St., Providence.

SOUTH DAKOTA

109 — American Theatre Supply, 316 S. Main St., Sioux City.

TENNESSEE

Memphis:

110 — Monarch Theatre Supply. 492 S. Second St.*

National Theatre Supply. 412 S. Second St.

111 — Tri-State Theatre Supply. 318 S. Second St.

TEXAS

FIRST CLASS

(Sec. 34.9, P.L.&R.)
PERMIT NO. 8894
NEW YORK, N. Y.

BUSINESS REPLY CARD

No Postage Stamp Necessary it Mailed in the United States

Postage will be paid by —

QUIGLEY PUBLISHING COMPANY
ROCKEFELLER CENTER
1270 SIXTH AVENUE
NEW YORK 20, N. Y.

Dallas:

112 — Hardin Theatre Supply. 714 South Hampton Rd.

113 — Herber Bros., 408 S. Harwood St.

114 — Modern Theatre Equipment, 1910 Jackson St.

National Theatre Supply. 300 S. Harwood St.

115 — Southwestern Theatre Equipment, 2010 Jackson St.*

Houston:

116 — Southwestern Theatre Equipment, 1622 Austin St.*

San Antonio:

117 — Alamo Theatre Supply. 1303 Alametoe St.

UTAH

Salt Lake City:

118 — Intermountain Theatre Supply, 264 E. First South St.

119 — Service Theatre Supply, 256 E. First South St.

120 — Western Sound & Equipment, 264 E. First South St.*

VIRGINIA

121 — Norfolk Theatre Supply, 2700 Colley Ave., Norfolk.

WASHINGTON

Seattle:

122 — American Theatre Supply. 2300 First Ave., at Bell St.

123 — Inter-State Theatre Equipment Co.. 2224 Second Ave.

124 — Modern Theatre Supply, 2400 Third Ave.*

National Theatre Supply. 2319 Second St.

125 — B. F. Shearer, 2318 Second Ave.

WEST VIRGINIA

1 26 Charleston Theatre Supply, 508 Lee St., Charleston.

WISCONSIN

Milwaukee:

127 — Manhardt Co., 1705 W. Clybourn St.*

National Theatre Supply, 1027 N. Eighth St.

128— Ray Smith, 710 W. State St.

129— Theatre Equipment & Supply, 841 N. Seventh St.

Inc., Springfield, Ohio, and also at the
Pekin drive-in, Pekin, 111., operated by the
Bernard Rosenberg Enterprises. The “Per-
mascreen” installations were made at the
following drive-in theatres: Rancho Verde,
Blythe, Calif.; Midway, Tucson, Ariz. ;
Car Breeze, Carlyle, 111.; Frisina, Taylor-
ville, 111.; Hills, Spearfish, S. D. ; Skyway,
Mattoon, 111.; State, Missoula, Mont.;
Marlowe, Herrin, 111.; and Heart, Kansas
City, Mo.

SUPPLY h’OUSE OPENED

A new theatre equipment and supply
company to service Texas and the South-
west, called the Sterling Sales & Service,
Inc., has been opened in the Film Row
district of Dallas, Tex. The president of
the new firm is J. H. (Jake) Elder, and
C. C. Hoover is general manager. Depart-
ment heads include C. E. Holmes, J. C.
Skinner, Kendall Way and W. F. Arm-
strong. In addition to supplying all types
of theatre equipment, supplies and main-
tenance of same, the company will build
new theatres and remodel old ones, accord-
ing to Mr. Elder. The company is located
at 2019 Jackson Street.

•

NEW LITERATURE

3-D Equipment : A new illustrated, 26-
page brochure, called “The Motiograph
Book of 3-D Motion Pictures,” containing
information for exhibitors on stereoscopic
and large screen projection, has been issued
by Motiograph, Inc., Chicago. Contents
include a chapter on “Third Dimension
Pictures,” written by Fred C. Matthews,
vice-president of the company; and dis-
cussions of 3-D equipment, including
mechanical and electrical projector inter-
locks, magazines, arc lamps, and genera-
tors. There are also chapters on stereo-
phonic sound and one on 3-D for drive-ins.
The brochure can be secured by writing
the company (4431 West Lake Street).

LITHOX NAME CHANCED

Announcement of the change of corpo-
rate name of the Lithox Corporation of
Wapakoneta, Ohio, manufacturers of
corded rubber floor matting and stair
treads, to the D. W. Moor Rubber Corpo-
ration, has been made by D. W. Moor,
president and general manager. Other
officers include H. E. Sheets, secretary-
treasurer ; and T. K. Zuber, vice-president.
Mr. Moor is also president of the Amer-
ican Mat Corporation and the D. W.
Moor Company, both of Toledo; and vice-
president of the Toledo Rubber Products
Corporation, Waterville, Ohio,

WORLD LEADER in SCREEN PAINTS

Available throug h
your local Theatre
Supply Dealer!

"btereo” Silver Paint will polarize light. It will
also diffuse light more efficiently than ordinary
silver paints. It will not blacken. However, in
line with our policy of never misrepresenting facts
we call your attention to the following: It will empha-
size panel seams and screen irregularities. At the
present time it is recommended for use on smooth
surfaces.

payTONI

SCREEN CORPOR ATIO

I6S CLERMONT AVENUE • BROOKLYN 5. NEW Y<

SO AVAILABLE

IN STEREO'' SILVER
FOR 3-D

20 YEARS of EXPERIENCE in MARKETING SCREEN PAINTS

USE RCA SERVICE

FOR

Protect the HEART
of your theatre and you
protect your box office.

. . .The same prompt, efficient,
courteous service that exhibitors
have been depending on for 2 5 years.

RCA Service Company, Inc.

A Radio Corporation of America ^pbsidiary
Camden, N. J.

BETTER THEATRES SECTION

method in

staff supervision
institutional advertising
exploitation equipment
housekeeping &. maintenance
and related activities

BOOKING FOR PROGRAM APPEAL

FIFTH ARTICLE OF SERIES:

Motion Picture Theatre Management

By CURTIS MEES ___

very important
factor in film
buying is to get
wildest possible clear-
ance. This means
simply that after you
play a picture first-run,
the Distributor must
not release the same
picture for a second-run engagement nearby
until a limited number of days after you’ve
closed your run. Without adequate clear-
ance protection, one may find his patrons
waiting to see pictures at the opposition
house second- run at cheaper prices.

Naturally,- the manager of the second-run
theatre is going to be constantly battling to
get this clearance cut down as short as
possible to take advantage of this very
feature.

Another aspect of first-run film buying,
primarily involving “A” product, may be
mentioned briefly. This is the part the Dis-
tributor plays in advertising. Except when
definite arrangements are made in advance,
the Exhibitor is expected to bear all the
expense of local newspaper, radio and mis-
cellaneous advertising and exploitation. On
certain pictures, however, the Distributor
will enter into an agreement when the pic-
ture is bought to participate in advertising
expenses.

Usually, in setting up a participating ad
campaign with a Distributor, the Exhibitor
is asked to submit an outline of the cam-
paign he intends using. Agreement is
reached on the amount the Distributor will
share, over and above the customary “house
budget.” This sharing may be on a 50-50

basis, or in the same proportion as the film
rental. If the picture is a really “big” one,
the Distributor may also send in an exploi-
tation man to assist the theatre manager in
putting on a large-scale campaign.

A stipulation of nearly all film contracts
is that the Distributor has the right to
check the records of the theatre to see that
the correct attendance figures are shown
and that he receives his full share of the
receipts. If there is doubt on the Distribu-
tor’s part that the theatre is not reporting
the correct figures, he may engage an inde-
pendent agency to make a “blind” check on
the theatre. If its report, based on counting
patrons entering the theatre and on tickets
bought by its checker to check serial num-
bers, does not jibe with the theatre’s box-
office statements, the manager is definitely
in trouble.

The old saying, “Honesty is the best
policy,” applies to theatre operation as else-
where ! Cultivate a reputation for strict
honesty, and your dealings with other mem-
bers of the film fraternity will be far more
pleasant than it would be if there were
rumors, of “chiseling” in the background.

The chances are that in taking over an
independent theatre to operate, one will be

buying a situation which may present a
problem of making a profit, at least at the
start. Should this be the case, and it is a
consistent problem, it would be advisable to
let the Distributors know the situation and
ask them for advice and assistance. It is
their job to get as much revenue from their
product as the traffic will bear, but it is
also in their interest to keep theatres in
business.

Perhaps an adjustment in rentals in the
future could be agreed upon. If it is a
serious question of sustaining an operation,
the Distributors are generally attentive and
interested in helping as far as possible.

There is a natural tug-of-war between
the Exhibitor and the Distributor, but
there is also a close relationship founded
upon the mutual need of one for another in
a great industry! So get to know your
Distributors and let them know you and
your problems.

BUYING SHORT SUBJECTS

Many major film producers make a num-
ber of short subjects each year ; some also
have newsreels. These can be bought from
each company’s Distributor. This does not

MOTION PICTURE HERALD, JULY 4, 1953

mean that one must book for example,
Warner shorts with Warner features; but
it will be found that if a theatre has many
changes there will be a need for nearly all
of the short subjects available.

Some shorts are “turkeys,” just as some
features are, but by and large it will be
found that shorts are fine products with
which to spice a program with variety.

The prices of short subjects vary accord-
ing to ( 1 ) the size of the theatre for one
thing, (2) the excellence of the subject, and
(3) the priority of the run. For example,
in metropolitan theatres, the better short
subjects may cost hundreds of dollars,
whereas the same short playing in a small
town theatre may be bought for as little
as $2.50 to $5.00. The prevailing price for
the area is used more or less as a yardstick
in arriving at a bargaining point.

The newsreel, as a short subject, has lost
much of its “punch” for theatre patrons,
as TV frequently kills its value by showing
the same events quite some time before the
theatre can hope to get a print for showing.
Those theatres which get “canned” news,
right on release date, are able to keep
fairly close to the TV competition, but
later engagements are showing something
far removed from “news.”

Serious consideration must be given in
the future to this question, as it may influ-
ence theatre patrons, where TV is wide-
spread, in deciding the value to the theatre
of a “news” reel most everyone has already
seen — and for free !

BOOKING MOTION PICTURES

There are two major requirements to be
met by a good booker of motion pictures.
First, he must have complete and up-to-
the-minute knowledge of product available,
and next he must have a thorough under-
standing of the theatres for which he is
booking.

To obtain all the information possible
regarding product, the booker will attend
countless trade screenings in the exchange
center, read the trade papers for advance
stories, perhaps subscribe a service which
furnishes film data in capsule form for re-
viewers. Then, as each feature is released,
he must follow the early playdates and
check the grosses to confirm his judgment
up to this point.

The knowledge of the problems of each
individual theatre regarding bookings comes
only with extensive experience and study of
past records on the house. A further prob-
lem is that the booker must be able to
translate the terms of success of a picture
in the metropolitan “show window” houses
into the reaction of patrons in the com-
munity where he must book it.

As film booking is far from an exact
science, manager or booker is faced with
many difficult decisions, all of which may

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BETTER THEATRES SECTION

vitally affect the success of the theatre. As
if that were not enough, his troubles are
compounded by purely mechanical questions
arising froip such things as a shortage of
feature prints at times. Color film, for ex-
ample, costs almost three times that of
black-and-white, and for reasons of econ-
omy the exchanges do not make as many
prints available for simultaneous bookings.

In the foregoing we have discussed the
booking situation, much as though it were
being handled by an outside agent rather
than the individual manager. Many owner-
managers do their own booking; however,
a newcomer to the industry must expect to
pay for his apprenticeship in one form or
another, either by working for someone
else while learning, or taking the losses
which may come through mistakes lie can-
not avoid in booking for himself without
being aware of all the problems involved.
He can, on the other hand, supply the de-
sired experience by hiring an independent
booking agency.

BASIC BOOKING FACTORS

Holiday dates are “plus” profit days and
deserve careful attention in booking. Pencil
in a choice picture as far in advance as
possible, something that will appeal to the
entire family and be attuned to the gay,
holiday mood of the season. Short subjects
must be similarly scanned, as they are fre-
quently very timely when properly booked.

The exchanges try to release their prod-
uct on a timely basis when possible; but on
second- and subsequent - runs, as well as
reissues, it is up to the' booker to insure this
timeliness if possible.

Week-end business being normally the
heaviest, with more people free to attend
the movies, those days are subjects of con-
troversy regarding preferred playing time.
On percentage deals, the Distributor natur-
ally wants his product shown at preferred
times to take advantage of the extra busi-
ness, whereas it is frequently more profit-
able for the exhibitor to play a flat rental

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Patrons Benefit During
Drive-in Anniversary

In celebration of the fifth anniversary
of the Lansing drive-in at Lansing, Mich.,
Manager Pearce Parkhurst expressed his
gratitude to patrons through the dis-
tribution of free gifts and other special
attractions.

Upon presenting a coupon, car driv-
ers were admitted free for three nights
(Tuesday through Thursday). Coupons
also were passed out entitling patrons
to a free cup of coffee and a bag of
popcorn for four nights ( Monday through
Thursday.) Free gifts were presented
at the gate for three nights, and they
included 500 magic" tops for the chil-
dren (Tuesday); 500 plastic bug scrap-
ers and rubber windshielf wipers (Wed-
nesday) and 500 wooden salad fork and
spoon sets (Thursday).

Climaxing the celebration was a "dusk
to dawn" show (Friday and Saturday)
which consisted of six feature films and
two cartoons, shown continuously from
8:30 p.m. to daylight.

picture on the week-end and to show the
percentage features in the slower periods
during the week. T his is a delicate point
of negotiations and a happy medium must
be arrived at to keep everyone fairly happy.

Double features? In some localities gen-
eral practice has made it a “must”, and that
is a position from which retreat to a single
policy is most difficult! A second feature
can be thrown in ocassionallv without es-
tablishing a policy and yet furnish some
guideposts where this policy is under con-
sideration. Only experimentation will prove
whether it is a profitable venture. Once
you undertake it, however, you probably
will be “stuck” with it, so give it careful
advance thought.

“Sneak Previews,” advance showings of
««-announced features, usually screened at
the conclusion of a run, may bolster last-
minute box office receipts and at the same
time provide a means of building up valu-
able “word-of-mouth” advertising on out-
standing coming attractions. Needless to
say, a “sneak” on a weak picture which will
occasion adverse comment may spoil it for
regular booking.

D on t neglect the kids in your bookings!
Frequently the kids dictate (and we do
mean dictate!) which theatre the family
will attend for an evening out! Further-
more, these youngsters who seem to give so
many headaches at times have an alarming
habit of growing up overnight and becom-
ing the best potential for the future.

“Variety is the spice of life”, so keep that
thought in mind when booking short sub-
jects. To offer a balanced program, study
both feature and available shorts and book
those shorts which offer appropriate con-

trast so that there will be something ot
interest for all members of the family in a
given booking. What is appropriate? The
answer to that comes with experience, hut
good taste is a guiding factor, plus an ap-
preciation of what the general public likes.

PROGRAM SCHEDULES

Schedule running times are a most im-
portant factor in short subject bookings,
and the feature running time must be de-
termined in order to adjust the short sub-
jects to it for a good schedule as well for
variety and balance.

Patrons of the average theatre have come
to regard 9 p.m. as the customary starting
time of the last show, and if that is the
general custom in your community it might
as well be capitalized upon. Which means
that the film program booked must be such
as to permit a schedule starting at the open-
ing time of the theatre, say 1 p.m., for
example, and breaking at 9 p.m., a differ-
ence of 8 hours, or 480 minutes.

Let us assume the feature length to be
91 minutes, the newsreel 8 minutes, trailers
2 minutes, and a cartoon 7 minutes. That
is a total of 108 minutes, and four com-
plete shows would total 432 minutes, leav-
ing 48 minutes short of the time needed.
This is too short a time to open with the
feature itself, so the next best thing to do
is book in another short of about 10 min-
utes, which would add 40 minutes to the
days running time, and permit a start at
I :08 for a 9 p.m. break.

The film data in the Product Digest sec-
tion at the back of your Motion Picture
Herald, is designed and edited with a
view to giving you all the information you
need on running times and stars of feature
pictures as well as essential data for book-
ing short subjects.

In towns with more than one theatre, the
manager or booker must watch opposition
bookings as far in advance as possible so
two houses do not come up with simul-
taneous hookings of features with the same
star (as has been known to happen). There
is room here also for contrast in programs,
as well as taking advantage of the price
situation if a pre-release forces prices up,
thereby offering a competitive weapon.

These are a few of the problems with
which one must concern himself in film
bookings! It has been said, and truly we
believe, that no one can ever learn all there
is to know about booking and buying film.
There is always some new angle popping
up to confuse the issues; so just try to “stay
on top” of the situation to keep booking
errors at a minimum.

The days of vaudeville at most motion
picture theatres remain in the dim past,
despite heraldings from time to time of its
revival. Television gave it a shot in the
( Continued on page 42)

MOTION PICTURE HERALD, JULY 4, 1953

One Thing We Exhibitors
Got and That's Complaints

says

. . . owner-manager of the Dawn theatre in Elma, la.

7 ELM A, IA.

here are many things that have ex-
hibitors getting their arms in shape to pitch
to that crazy catcher down in the insane
asylum. Let’s take a look at a few of the
most prevalent complaints and see if some
of them can be answered either by the cal-
culations of mental giants or by the guesses
of intellectual pygmies. Since there are
more complaints arising from exhibitors,
singly or in groups, than any other class of
people — outside of farmers — it may be we’ll
run out of both time and space just cata-
loging and classifying them. Shall we give
it the “dear old Rutgers” try?

First, we have the “UC” (ubiquitous
complaint) — money. Lack of it is the state
that most all exhibitors find themselves in,
and it causes more concern than spilled
Coke on satin dresses or a breakdown in
the cooling system. This is the complaint
that finds everybody gorged on the out-go
and starved on the in-come. You always
owe more than you collect !

This is more or less a normal state ;
it has existed ever since some Greek play-
wright wrote the first flop that set the
people with good-will passes to pounding
the benches of an amphitheatre. Look not
to this corner for either advice or a touch
to alleviate this universal complaint. Things
are tough all over. See your chaplain, get
your card punched and keep giving them
that old Pepsodent smile. Things ain’t ever
going to get better on the money end.
You’ll always be short or you’ll encourage
your ulcers trying to get more. Nobody
ever believed it, but you still “can’t take it
with you.”

•

Next we have the “PP,” or poor product,
complaint. This too is universal and is an
illegitimate offspring of the “UC” — no
money. Of all complaints, “PP” is the one
least founded on fact. Just let the stock
market drop, the drouth set in, the schools
get overly ambitious, or the grasshoppers
start “Sco-ourging,” and immediately a
lotta exhibitors start wailing all over the
printed page and to any patrons they do
get. Drinking deeper sobers some exhibitors,
and they admit that there are seasons,

events and conditions — all quite normal —
that always effect business adversely.

There is, you will be glad to know, a
remedy for the “PP” complaint. It has to
do with standards, norms and that very
elusive matter, taste. We all occasionally
go back in the yellow pages and pick up a
re-issue. We get swept away by a good
story and forget all about light, sound,
acting, directing and all the other techni-
calities that go to make a good picture,
and come ud off the floor groggily shaking
our head and muttering about how much
better pictures were in the old days. Hell,
they’ve been writing good stories ever since
Homer !

Chances are you picked a classic. Classics
are good any year; however, classics and
masterpieces don’t show up every time a
writer picks up a pen or an A.S.C. camera-
man turns a crank. You are judging the
standard normal picture with a yardstick
gauged by the classics. When we see a
“Quo Vadis,” a “Greatest Show on Earth,”
a “Johnny Belinda,” or a “King Solomon’s
Mines” we are looking at masterpieces.
We mistakenly believe that these are “nor-
mal” entries of production and wrongly
judge the average picture by these high
standards.

The masterpiece sets the pace for suc-
ceeding productions. The standards of the
masterpiece of a few years back are the
norms of today’s average. Today’s master-
pieces in any given year will necessarily
vary from two or three to maybe six.

We holler about poor product in a year
that has given us “The Quiet Man,” “Stars
& Stripes,” “The Stooge,” “Above and
Beyond,” “My Pal Gus,” “Ivanhoe,”
“Will Rogers,” et al. Phooey!

There is no accounting for taste, but
quality is definitely there in today’s produc-
tions. Our own private depression cannot
be laid at the feet of product quality. A
little more human emotion in product
would help, but that isn’t critical. Fact is,
there’s no reason for the “PP” complaint.

•

And then there is the “My People Are
Funny” complaint. Goes like this: You
can’t run a “B” picture (unless it’s a good
grosser in your town because your church

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BETTER THEATRES SECTION

people are funny about those things. You
can’t run an art picture in your town be-
cause all your people only went through the
fourth grade. You have to have a horse
opera on Saturday because your people are
funny and not capable of seeing through a
family comedy or an adventure. You don’t
keep too clean a theatre because your people
are funny and don’t want to walk into too
clean a place with their work clothes on.
You tolerate a noisy junior element because
your people are so damn funny they’ll all
get mad at you and you’ll go broke if you
don’t let their children run your theatre.

You think you’ve got a funny bunch of
people? Brother, we all have. Your town
is just like mine and all the rest of them.
Don’t blame the people. But people sure
are funny, aren’t they? They’re at their
funniest when they keep coming to a poorly
run theatre and giving you enough to buy
bread and beans. Of course, I know that
this doesn’t apply to you. But it sure ap-
plies to me. (There I go talking to myself
again. I simply must see my psychiatrist.)
«

Another common complaint among ex-
hibitors is the “Slew Foot,” or “They Never
Give Me Playdates” Complaint. Those
stinking distributors! Don’t they realize
that your funny people expect you to play
day-and-date with Cincinnati or New
Orleans, or Denver, or Detroit. You’re
supposed to be playing ’em right out of
the can, aren’t you? You probably have a
valid complaint there, boy. These clear-
ances, print shortages and runs have prob-
ably been set up just as a personal thorn in
your side and nobody gets hit like you do
with them. Yours is the worst situation
in the worst town of the worst possible
world. Just bellow like a bull and holler
to high Heaven and you’ll make a lot of
noise.

But that’s about all. To maintain this
type of complaint it is mandatory that you
have nothing to do with planting a garden,
admiring the beauties of nature, or enjoy-
ing your family. Dates and money are what
count, chum.

Minor and miscellaneous complaints are
more numerous; they are the “Terrible
Trailers Complaint,” the “Swineherd’s
Complaint” (wet rest room floors), the
“Poor Print Complaint,” and so on. Not
to forget the “My Golf was Louzy Today
Complaint.” Now there a fella has really
got something to bellyache about. Give it
your best !

Maybe I could talk more plainly if I’d
get my tongue out of my cheek. However,
don’t be mad, boys. And don’t take life so
seriously. You’re never going to get out
of it alive, you know.

An Office to Impress Callers

E. J. dumb (left), manager of Standard Theatres'
Riverside theatre in Milwaukee believes that a neat
and attractive office is extremely important for a
theatre manager not only in facilitating his work
but also to make a good impression upon clients
who come to the office to arrange for promotional
and advertising activities. So he recently enlisted
the aid of his staff in remodeling his office at a
minimum of expense. The new curved desk (below)
was made by employees from two old ones, over
which a veneer top in one piece was placed. Chairs
were recovered and new wallpaper installed. On
one wall a large photo mural made from a photo-
graph blown up by a member of the art depart-
ment was placed. The cornice above the mural
was made by the sign department.

Booking for Program Appeal

{Continued from page 40)

arm, but the old standard acts for the most
part have passed on or retired to that long-
dreamed of chicken farm! There just are
not enough theatres scattered over the
country that are interested in playing stage
shows of this nature to make it profitable
for acts to travel as they used to do.

In the place of vaudeville, however, there
has risen a new type of “live” stage attrac-
tion which is popular in motion picture
theatres and is in many cases, very profit-
able. This is the “package” stage show
built around a famous name band or a
personality strong enough to “carry the
show.” Backed up by contrasting acts, these
attractions can often prove a welcome
change in pace for theatre patrons accus-
tomed to screen fare alone.

Buying and booking a stage show is just
as much of a gamble as any other purchase
which contains so many intangibles! If the
“name” is as popular in your community as

you believe it to be, and if the weather is
good, and if the opposition does not blanket
you out, and if the customers still have
some money left in their pockets (plus a
few other if’s), then you may wind up with
a profit !

The top names in showbusiness may de-
mand a flat guarantee against a hefty
percentage of the gross above a split figure,
which increases the gamble for the theatre
manager. Booking agencies in New York
control most of the name acts appearing in
theatres today, and they are paid a per-
centage of the cut accruing to the stage
show. There is, therefore, no reason for
trying to deal direct with the “name,” who
must turn you over to his agent.

Theatres interested in playing stage at-
tractions should keep in touch with these
major agencies and try to “spot book” acts
which are on tour in their vicinity, thereby
decreasing travel expense.

MOTION PICTURE HERALD, JULY 4, 1953

Snack Bar

( Continued fr

know 20c drinks sell. They are proven
sellers by many other customers of mine,
and they are proven sellers at a theatre in
which I am a part owner, so why should I
bother to lie to him? To make money?
How much? Well, I can sell him a few
more cups, and it’s true that 20c cups sell
at a higher profit than 10c ones. I can
sell him some extra syrup because he’s
doing extra business. But his potential in-
crease in net earnings per 100,000 admis-
sions is $1,400! The most I could possibly
make is a $50 profit, and that’s gross, not
net.

Still, he hasn’t confidence. He thinks
he’s being given a sales talk and that every-
one in the food business is ready to work
him over. Well, this just isn’t true. Sure,
there are “one-shot, hit and run” salesmen
in every business, but the percentage is
darned low among the people you deal
with when you buy equipment and supplies
for your concession stand. Just deal with
reliable people from well-established firms
and you will have no headaches.

6. CHILDREN AND PASSES

If you have a large number of children
and passes, your concession gross will
reflect a larger per-adult-admission figure.
Most drive-ins admit children under 12
years old free. This swells their sales, thus
this factor is a strong one in affecting your
potential.

Are you getting all of the children’s busi-
ness you possibly can ? Do you take the
attitude that children are a necessary evil
and that the free admission is a lure? May
I humbly suggest that you regard the little
rascals as a means of revenue to be wooed
and not scorned.

The same thing applies to freeloaders.
They are freeloaders as far as the screen
fare is concerned, but not on food — so
again, don’t frown on them. But please,
please don’t get any idea about letting
people in free just to sell food. I repeat,
we are in the picture business.

7. ADMISSIONS

A great many theatre operators more
experienced than I firmly believe that
people have just so much money to spend,
and stop there. Let’s assume it’s 75c that
they have to spend. If admission is 50c,
then we can expect 25c at the refreshment
stand. If it’s 60c admission, then it is 15c.

A theatre with which I am familiar
raised its admission price and is doing more
per person at the refreshment stand than

Potential

om page 24)

before. The total of both is over 92c, so
if people have just so much to spend, the
limit is pretty high.

If, however, you are an operator who
charges $1 per car, you are going to have
an abnormal figure for the percentage of
food sales compared to box-office revenue —
some theatres can go as high as 100%.

Sounds fantastic, doesn’t it? But it
isn’t. And here’s why: If a theatre with a
$1 per car admission has an average of 3.3
persons per car, it will easily do 100%.
The $1 per car is 80c net after admission
taxes are deducted ; 3.3 divided into 80
is roughly 24j^c. This is not a phenomenal
gross. I believe that admission prices have
only a very slight influence on per-person
sales, but that $1 per car policy produces
an abnormal percentage figure. This figure
is probably only normal on a per-person
basis.

8. WEATHER

Weather is the king of all factors, be-
cause cold weather which increases sales of
coffee and french fries, so decreases those
of soft drinks and ice cream sales that you
can’t hope to do so much business in cold
weather as in hot. Strangely, certain
items like popcorn and hotdogs seem little
affected, but those soft drink sales go
down so far they really ruin your per-
centage sales. Here are some actual sales
in a northern drive-in :

April — 20c per person. May — 27c per
person. June — 30c per person. The
answer? Very simple: Weather. Rain and
cold keep people in their cars. Cart service
helps somewhat, but it can’t do the whole
job. So if you are in a good-weather belt,
again your potential is bound to be higher.

Popcorn Unify Meeting

Arrangements have been completed
to consolidate all segments of the pop-
corn industry, including theatre oper-
tors, into a single, overall trade group
to be known as the International Pop-
corn Association and to launch it at
the 1953 Popcorn Industries Convention
and Exhibition scheduled for October
llth through 14 at the Conrad Hilton
hotel in Chicago. The announcement was
made jointly by Oliver Koeneman, Old
Vienna Products Company, St. Louis,
president of the National Association of
Popcorn Manufacturers and Martin B.
Coopersmith, The Marjack Company,
Washington, D. C., chairman of the Pop-
corn Industry Organizing Committee and
general convention chairman of the 1953
Popcorn Show.

flfaut People
of the Theatre

AND OF BUSINESSES SERVING THEM

•

Edward J. Nelson, formerly research
engineer for the Army and Air Force
Motion Picture Service laboratory at St.
Louis, has joined the Ballantyne Company,
Omaha, as research and development engi-
neer. In that capacity he will supervise
technical production of the company’s new
theatre equipment “package” for third-
dimensional and wide-screen projection and

Edward J. Nelson of the Ballantyne Company.

stereophonic sound. Mr. Nelson was an
engineer with the AAFMPS for 12 years,
and his field covered the examination and
testing of all makes of motion picture pro-
jection and sound equipment. Last year he
completed a three-year tour of duty as chief
of the European Command’s motion picture
service in Germany. He has a wife, Doro-
thy, and a 12-year-old daughter, Suzanne.

, W. C. DeVry, president of the DeVry
Corporation, Chicago, has issued a “reluc-
tant no” in response to inquiries as to
whether he would be available as a candi-
date for the office of president of the Thea-
tre Equipment Manufacturers’ Association.
In a formal statement he expressed his
thanks to the persons who asked him to
consider seeking the office and explained
that he must decline due to an increase in
his business schedule at DeVry Corpora-
tion and DeForest’s Training, Inc., and
also by the time required by his new post
as president of the Armed Forces Com-
munication Association.

Jack Frost, Detroit electrical contrac-
tor, returned recently from a trip to the
Far East, where he investigated possibilities
for expansion of his firm, the Jack Frost

BETTER THEATRES SECTION

Company, which rents electrical equipment
on a national scale. The trade tour abroad
was sponsored by the Detroit Board of
Commerce.

The election of W. Walter Watts as
vice-president in charge of Technical
Products, and of Theodore A. Smith as
vice-president in charge of the Engineering
Products Department of the RCA Victor
Division, Radio Corporation of America,
has been announced by Walter A. Buck,
vice-president and general manager of the
RCA Victor Division, following a meeting
of the RCA Board of Directors. Mr.
Watts, previously vice-president in charge
of the Engineering Products Department,
has assumed the position formerly held by
L. W. Teegarden, who became executive
vice-president of RCA last February. In
his new assignment Mr. Watts will super-
vise the activities of both the Engineering
Products Department and the l ube De-
partment of the RCA Victor Division. He
joined RCA Victor after, wartime service

W. Walter Watts Theodore A. Smith

as a colonel and commanding officer of the
Signal Corps’ Distribution Agency and as
a Signal Corps’ procurement director for
which he was awarded the Legion of Merit.
He was earlier associated with Montgom-
ery Ward, Inc., as mail order sales manager
and was vice-president in charge of the
Wincharger Corporation. Mr. Smith, pre-
viously assistant manager of the Engineer-
ing Products Department, has been asso-
ciated with RCA since 1925 when he
joined RCA’s Technical and Test Labora-
tories at Van Cortlandt Park, N. Y. Three
years later he supervised the construction of
RCA’s pioneer television station, W2XBS,
in New York. He entered commercial en-
gineering work in 1930 as RCA eastern
district sales manager for broadcast equip-
ment. In 1938 he was assigned to Camden
headquarters, where he since has held key
sales and administrative posts in the RCA
Victor Division.

Everett Douglas has purchased the
Mayfair theatre in Bridgton, Me., from
the Graphic Theatre Circuit, Boston.

The Newbold-Keesling Circuit of Bram-
well, W. Va., has purchased the Middle-

bury and Logan theatres in Logan, W. Va.,
from Thalheimer Brothers. The transfer
became effective June 1st.

Carl A. Odening, superintendent of
the National Carbon Company’s plant at
Columbia, Tenn., has been awarded an
Alfred P. Sloan
fellowship under the
executive develop-
ment program at the
Massachusetts Insti-
tute of Technology.

The Sloan fellow-
ships, awarded on
the basis of a na-
tional competition
among young execu-
tives, provide an in-
tensive year’s train-
ing in industrial management studies. For
the past two years Mr. Odening has been
in charge of the Columbia plant during its
expansion for increased production of
“National” carbon and “Acheson” graphite
electrodes. Although born in northern
Michigan, he spent his early years in Phila-
delphia and graduated from the LTniversity
of Pennsylvania with a degree of B.S. in
electrical engineering. He joined the Gen-
eral Engineering Department of National
Carbon Company at Cleveland in 1937.
Subsequently he worked in the company’s
Cleveland Research Laboratories and in the
Development Laboratories at Niagara Falls.
In 1944 Mr. Odening was made assistant
to the superintendent of National Carbon’s
“Acheson” plant in Niagara Falls. In 1946
he assumed a similar position in the
“National” plant there, and in 1947 he
became assistant superintendent of the
Fostoria, Ohio, plant wffiere projector car-
bons, small electrodes and other carbon
products are manufactured. He returned

REJOINS WAGNER SIGN

A. B. (Dave) Balch, formerly with Wagner Sign
Service, Inc., Chicago, and for the last eight years
with Southern Neon Displays, Atlanta, has rejoined
Wagner as traveling sales representative. He will
call on Wagner dealers throughout the country.

to Niagara as superintendent of the “Na-
tional” plant there in 1950 and took over
his present responsibilities at Columbia in
1951.

Bob Harris, formerly manager of the
Ritz theatre, Sanford, Fla., has been pro-
moted to the position of assistant confection
sales manager for
Florida State Thea-
tres, Inc., Jackson-
ville, according to
an announcement by
Leon D. Netter,
president. Mr.

Harris will assist
Harry Botwick,
general manager of
confection sales, in
the operation of an
expanded merchan-
dising program
launched by the company in recent months.
Beginning his theatre career as an usher
at the Tampa theatre in Tampa, in 1929,
Mr. Harris has been employed by the com-
pany continuously since that date, except
for a four-year period of combat duty with
the Army’s 24th Infantry Division in the
South Pacific theatre of operations during
World War II. His career has included
positions as the manager of the Florida and
Lyric theatres, Daytona Beach, from 1936
to 1940, and as manager of the Colony
theatre, Winter Park, in 1940. He has
been manager of the Ritz for the past sev-
eral years. His promotion came as a result
of his highly successful operation of that
theatre and particularly for the initiative he
displayed in merchandising and selling, ac-
cording to Mr. Netter.

DOWNLIGHT AREAS

( Continued from page 14)

seating area, downlights tipped forward
without spilling light on the screen, and
overlapping so as to avoid sharp shadows,
are the best units to use, operated on dim-
mer circuits. (See Figures 3A, B and C.)
In picture houses, the level of illumination
does not need to exceed 5 foot-candles.

With proper downlighting, light re-
flected from the screen may be enough,
once eyes are dark-adapted, for safety and
finding seats; however, without downlights,
aisle lights may be indicated, although
there is a growing school of thought xvhich
believes that a fairly high level of illumina-
tion, if not generally, then over the seating
area, is desirable. It does not need to provide
over a half to one foot-candle around the
seating and often can form a decorative
pattern on the wall or ceiling if their areas
are large enough to provide a diffuse source.

[The next installment will discuss light
sources for other parts of the auditorium.\

Carl A. Odening

MOTION PICTURE HERALD, JULY 4. 1953

How Much More Light
•: for 3-D . . .Wide Screen?

SSI

- i

-I

: |

£/K ■//.'£ j
* j , ,4 g/

When the screen found its voice
more than a quarter century ago,
the question, “How much will it
cost?” was asked — if at all — from
force of habit. Every showman
knew he had to buy sound, just as he
now sees the necessity for new equip-
ment to handle the latest epoch-
making projection techniques.

History Repeats

Exhibitors today are hurrying to
exploit the terrific public interest
in 3-D and wide screen showings —
spending thousands and tens of
thousands of dollars on new optics,
screens, sound equipment . . . But
what about screen lighting?

Light Losses Terrific

For 3-D and wide screen you
need more light. Much more
light. In almost every instance,
regardless of theatre size or
present equipment, you need
ALL THE LIGHT YOU CAN POS-
SIBLY GET!

If that seems like a broad state-
ment, just consider 3-D light losses,
for example. Even with two pro-
jectors trained on the screen

with screens of much higher reflec-
tivity than before, you give your
patrons only about half as bright a
picture as you previously furnished
with conventional films!

Wide screen — same story. In
this new medium, projection light
is distributed over 2Vz times the
area of ordinary screens.

New Equipment
the Answer

To repeat — you need all the
light you can get. This means new
equipment — equipment to oper-
ate the higher-capacity carbons at
maximum currents.

Give your patrons — and these
great new entertainment media
— the light they need. Don’t de-
lay— call in your theatre equip-
ment supplier for a complete
diagnosis of your projection
lighting needs.

STEREOPHONIC
SOUND is . . .

Small theatres . . . large theatres . . .
wherever Simplex Steieophonic Sound
has been installed, p irformance has
been more than satisfactory... IT'S BEEN
AMAZING! Such realism in sound has
never before been heard . . . the human
voice, music and sound effects have
never been reproduced with such fidel-
ity! No other Stereo Sound System com-
pares with Simplex!

25" UPPER AND LOWER
MAGAZINES

PERFORMANCE TESTED! Its performance

proves its superiority . . . tried and tested
under all conditions.

• LONGER LASTING, ECONOMICAL! its

unexcelled workmanship assures longer life,

durability, and low mair tenance cost.

• SUPERIOR TONE QUALITY! Fidelity of

tone is unmatched— because behind it is a
reputation of Simplex 'Sound Engineering.'

Before you place your Cider for arty Stereo
Sound, be sure you check Simplex Stereo-
phonic Sound!

rT..c.u.vr-o».

FOR THE

NEWEST AND FINEST IN

Rigidly formed from heavy gauge steel * White interior • Full
35" diameter with 3!4" inside depth clearance * Adjustable
door hinges to satisfy all projection angles * Double ball-
bearing shaft supports • Famous Simplex uni-Tension take-up
Nylon upper magaiine shaft tension device.

MANUFACTURED BY INTERNATIONAL PROJECTOR CORPORATION

• DISTRIBUTED BY NATIONAL THEATRE SURELY

WW !t> 195.1

— WBHi--

v; V-'* ••X'% V •'"'}'

ant/ Full Use

ss®

tques

•>./

WAGON, LITTLE BOY LOST. (In News

SSmi,

?$i jfiij

K SECOND

SgSpSgS

at jVaui KorJt City, U. S. A., under the act of March 3.

... Rockefeller Center. New York 20, N. >’. Subscription . .- to

nts. All contents copyrighted 1952 by Quit/ley Publishing C 1 , me.

GET ABOARD THE
EXPLOITATION
PICTURE OF
THE YEAR !

MOST PUBLICIZED!

Just the beginning, coming and current pub-
licity: Cover on Life. Full pages in Life. Cover
on Newsweek, big story inside. N. Y. Times
Magazine ( nationally circulated ), publicity
spread. Collier’s, song layout. Sunday Mirror
(i nationally circulated ), Movie of Week lay-
out. Screenland, cover. Ladies’ Home Journal,
photograph and copy. Associated Press, pub-
licity layout. Look, cover, inside story. Photo-
play, photo layout. American Magazine,
colored photo. Coronet, full page Movie of
Month. Tempo Magazine, 2 -page layout.
King Features Syndicate, feature and art.
Motion Picture Magazine, Modern Screen,
Movie Spotlight, Screen Stars, Movie Play,
all carry stories and art. Space does not permit
more details of what will be the greatest pub-
licity barrage of recent years!

BIG AD CAMPAIGN!

Sensational newspaper display ads. Exciting
teaser ads. Fan Magazine full pages in all
leading publications. Picture of the Month
column in 9 top national magazines. Full
page in Look. Other advertising, including
ads in connection with Song Contest.

SONG CONTEST!

A big National Contest tied in to local level.
Blankets America with 80 top radio stations
( with some TV promotion ). One week of
playing records from "Band Wagon” album.
Contest with listeners writing in their favor-
ite song and in 25 words or less why they
want to see the picture. Prizes for disc jockeys,
station managers, public. One of the most
complete contests ever staged by films, with
special promotional platters, star and song-
writer interviews.

"BAND WAGON' ALBUM !

Available for tie ups. 10,000 dummy covers
of M-G-M Records Album. 3 -col. co-op ads
and mats. Dealer-exhibitor window contests.
Full page trade ad in Record Review. 250
Albums for disc jockeys.

FRED ASTAIRE STUDIOS!

Posting special photos in all studios nation-
wide. New York headquarters has sent con-
test ideas to its affiliates, has purchased hun-
dreds of stills and is using "Band Wagon”
mention in ads.

OTHER MUSIC TIE UPS !

Dummy sheet music covers for window dis-
play. Other record companies will assist with
their own recordings.

NBC BROADCAST!

N BC on Saturday, July 11th from 3 to 3:30
on "What’s The Score" will broadcast full
half hour of songs from the M-G-M Records
Album of "The Band Wagon”. Carried on
more than 100 stations. Tie in with this loc-
ally. Many more stunts and promotions on
Radio and TV, such as Stork Club, Winchell,
Ed Sullivan. Also, girls in costume visit disc
jockeys.

WINDOW DISPLAYS!

For Music Hall Premiere in New York many
exciting window tie ups arranged, which can
be duplicated everywhere.

DIETZ -SCHWARTZ TOUR!

"The Band Wagon" song-writers will make
tour of cities for publicity, appear on radio,
TV, etc. They have recorded special inter-
view platters for use everywhere otherwise.

SONG WRITERS’ SALUTE !

More than 25 of America’s top song writers
have given permission to use their names as
in following example: "Irving Berlin gets
aboard THE BAND WAGON saluting the
25 th Anniversary of Howard Dietz and
Arthur Schwartz."

TEASER, REGULAR TRAILERS !

Sensational Technicolor teaser and full-
length trailers. Use them as far in advance
as possible.

NEW SEASON IDEA!

Many theatres plan to use the phrase: "Get
Aboard The Band Wagon” as a slogan for
their whole line-up of new season shows, even
though they may not play "Band Wagon
first. The phrase is a refreshing change
from the usual "New Season Film Festi-
vals, etc." Those who play it as a lead-off of
their new Fall Movie Season will not only
sell "Band Wagon” but it’s a perfect spring-
board for the whole program.

PRESS SERVICES!

Special service of Art and stories to Key City
papers through M-G-M press representatives.
Special direct-mail of color art and features
to list of editors.

ACCESSORIES! PRESS BOOK!

Special accessories, including set of color
stills, lobby hanger, window display pieces in
two sizes. The 24-sheet provides two excep-
tional cut-outs. For the complete ticket-
selling plan on "The Band Wagon” see the
showmanship press-book, containing a
wealth of material to assure a well-promoted
engagement.

STARRING

the CHARGE at FEATHER RIVER" GUY MADISON

HELEN WESTCOTT • VERA MILES

DICK WESSON

ATr|ir _ _ _ r WRITTEN BY

STEVE BRODIE- james r.webb * MAX STEIN

ONSLOW STEVENS

PRODUCED BY DIRECTED BY

STEINER * DAVID WEISBART - GORDON DOUGLAS

AND HOUSE OF 1

NATURAL VISION

3 Dimension

WarnerPhokic

sound

WarnerColor

Charge is on

MAX' BUSINESS
OURS IN AGAIN!

Block-long lines! SRO and
lobby overflow in each and every
of its smash openings!

HOUSTON !l VERNON V.
SAN ANTONIO ? DALLAS f
AUSTIN " AMARILLO ^
JOHNSTOWN r FT. WORTH ^
CINCINNATI '! COLUMBUS I
PITTSBURGH CLEVELAND $
ERIE (! MEMPHIS l
OKLAHOMA CITY

THIS PICTURE ALSO CAN BE EXHIBITED IN 3-D

ON WIDE OR GIANT SCREENS

U tb* clut ot ,

M a full rate Ulefrtra

FULL RATE
TELEGRAM

SERIAL

DAY

•^LETTER

NIGHT

LETTER

ESTERN
UNION

W P. MARSHALL. PRESIDENT

-J IKTEBaftElQNAL

Check the due ot servioe decired ;

Otherviae this meaesga wifi be

aentat tbefull rate

FULL

LETTER

RATE

TELEGRAM-

VICTORY

SHIP

•^LETTER

RADIOGRAM

NO. VVDS.-CL. Of SVC.

PD. OR COLL.

CASH NO.

CHARGE TO THE ACCOUNT OF

Sen, i Ike following menage, subject lo the terms on bock hereof, which are hereby agreed to

14 ERE’S NO BUSINESS LIKE 2igkENTURY-FOX BUSINESS!

DEAR AL: JANE RUSSELL AND
MARILYN MONROE ARE GIVING THE
WARNER THEATRE HERE ONE OF
THE BIGGEST WEEKS IN ITS
HISTORY. FIRST 5 DAYS OF
"GENTLEMEN PREFER BLONDES"
INDICATES NEW ALL-TIME
HOUSE RECORD. "BLONDES" IS
AN EXHIBITOR'S BEST FRIEND.

TED SCHLANGER

WU BO 23 DL PD
ATLANTIC CITY NJER
JUL 7 1228PME

AL LICHTMAN

MOTION PICTURE HERALD

MARTIN QUIGLEY, Editor-in -Chief and Pub! is Err

Vol. 192, No. 2

MARTIN QUIGLEY, JR., Editor

JULY I I, 1953

Summer Showmanship

THIS is the time of year when American exhibition,
like Caesar’s Gaul of old, is divided into three parts:
the drive-ins, the regular theatres that find ways
of beating the heat and vacations, and those who do not.

The difference between a successful operation of a
conventional theatre during the Summer months and
one that is not is frequently a matter of showmanship.
There is no time of year when exploitation is more im-
portant. The fact that many patrons, including most of
those of school age, are on vacation can be made into a
potent force for attendance. Relaxation and recreation
can certainly mean theatre-going as well as sports and
other forms of amusement. Virtually all large theatres
and many of the smaller ones have air-conditioning
which can help make the theatre a place to be visited
often. Careful booking of product is of course of vital
importance to encourage attendance by all the members
of the family.

The drive-in is now seasoned as an institution and
an important component of exhibition in the United
States and Canada. Exhibitors have learned more each
year about how to take advantage of the drive-in’s
special appeals to Mr. & Mrs. America and their chil-
dren. While the “atmosphere” of any theatre contributes
to its appeal, the “surroundings” of the film entertain-
ment at a drive-in are essential for building patronage.
Exhibitors should be eager to test equipment and prac-
tices which may make their drive-ins more inviting to
the family. Showmanship must know no vacation time.

Stanley Warner and Cinerama

AGREEMENT, subject to the approval of the Depart-
r\ ment of Justice, for Stanley Warner Corporation
-A. to acquire exhibition and production rights to
Cinerama is another significant expression of belief in
the future of motion pictures on the part of Messrs. S. H.
Fabian and Samuel Rosen, executive chiefs of the Fabian
and Stanley Warner circuits. While Cinerama is a spe-
cial example of the new techniques of the screen it is one
that has attracted much public interest throughout the
country and has had excellent results at the box office in
the few cities where it has opened. That Cinerama
touched off the whole wide-screen and stereophonic
sound boom is not to be doubted. It is very likely that
the inventive talents of Messrs. Fred Waller, Hazard E.
Reeves, Herbert Barnett and their associates in Cine-
rama will make further contributions increasing the
effectiveness of the process.

Even more interesting than the fact that twenty
houses will be equipped for Cinerama exhibition is that
Stanley Warner is obligated to make, or cause to be

made, at least five Cinerama features during the next
five years. That will insure a flow of product. Initial
theatre engagements of Cinerama have all had the same
program, “This Is Cinerama,” essentially a series of test
shots and short subject material. Currently in work is
a travelogue entitled, “Seven Wonders of the World”
which Mr. Merian C. Cooper has been making. Stanley
Warner is said to have an option on screen rights of
“Paint Your Wagon,” “Joseph and His Brothers” and
“Blossom Time,” held by Mr. Louis B. Mayer, chairman
of the board of Cinerama Productions, Inc.

The Stanley Warner organization will bring to Cine-
rama the motion picture industry “know how” that
should insure that the process be developed to its full
potentialities. The Department of Justice should give
prompt approval of the deal. In no way may it logically
be interpreted as adversely affecting competition in ex-
hibition, production or distribution. On the contrary,
it should result in the production of a few quality films
which might not otherwise be made. This is one indus-
try where the production of good product by any com-
pany benefits every other company. Theatre audiences
that feel well entertained are the most likely prospects
to be ready patrons of other theatres.

While the campaign for the reduction of the enter-
tainment tax in Britain did not succeed this year, exhibi-
tors there have been comforted by the fact that now
Members of Parliament understand quite thoroughly the
industry’s problems. It is expected that this will be
helpful in eventually obtaining the tax relief also in con-
nection with all other Government measures concerning
motion pictures. Mr. Harold Wilson, President of the
Board of Trade during the Atlee administration, for one
has learned so much about affairs of the industry that
last week he moved the amendment seeking tax remis-
sion for exhibitors. It is important for exhibitors and
others within the industry to understand that any strug-
gle for the elimination or reduction of a tax is difficult
and that success may be attained only after sound argu-
ments are adequately and persistently presented to the
lawmakers.

■ ■ a

CJ An indication of one form of the shape of things to
come in the industry is the announcement last week that
the Du Pont Company has started work on a commercial
plant for the manufacture of its new synthetic polyester
film. Two factors in connection with the film base are of
special interest : it is much stronger than present film
stock and also it is considerably thinner which means
that more footage may be put on each reel.

— Martin Quigley, Jr.

Books and a Headache

To the Editor:

In view of the great interest in the Will
Rogers Sanitarium within the industry, some
of your readers may be willing to donate
one or more books by or about Will Rogers
to the library of the Sanitarium. You will
agree that the patients would enjoy reading
them. The American Library Service spe-
cializes in out-of-print books and magazines
on all subjects and in all languages, particu-
larly those relating to the Cinema and the
Theatre.

Some of the books we have by Will Rogers
are : “The Illiterate Digest,’’ “Cowboy Phil-
osopher on Peace Conferences” and “Ether
and Me” ; among those about Mr. Rogers
are: “Vaya Con Dios, Will” by Harry Carr,
“How We Elect Our President,” a compila-
tion of Will Rogerisms, and “Biography of
Will Rogers” by Jerome Beatty.

I might add that I was the founder of the
Film Guild which was the first group to
sponsor foreign films on Broadway at the
old Cameo Theatre and later at the Film
Guild (8th St. Playhouse). I am now' safely
ensconced among my 50,000 scarce, rare and
out-of-print books within hailing distance of
Broadway, but have turned a deaf ear to
these decades to the alluring call of the cin-
ema, art and otherwise. I was the first to
show a wide screen film at the old Cameo in
1925 via Bill Bitzer, D. W. Griffith’s cam-
eraman (what might be considered a sort of
poor man’s Cinerama.)

I can’t forget it since the manager of that
theatre at that time, Norman Ek, sustained
a headwound putting up the panorama screen
and frame ! His headache has now come
down the ages and is communicating itself
to all and sundry in the motion picture field.
— SYMON GOULD , Director, American
Library Service, 117 West 48 th St., New
York City.

“ Good Pictures” !

To the Editor :

I’m sure everyone engaged in the short
subject field is appreciative of Walter
Brooks’ opinions in his article “Don’t Sell
the Short Films Short” in the Tune 13 issue
of The HERALD.

I note that in the Los Angeles area, in
the case of the short subject “flatties,”
exhibitors who have had wide screens in-
stalled are running these “flatty” shorts in
normal screen size ahead of the wide screen
feature picture. This gives the audience a
true appreciation of the wide screen feature
much as the treatment in “This Is Cine-
rama,” where they open on a normal size

picture and then bang into the Cinerama
size picture.

In other words, by running the short in
normal size it helps sell the wide screen
sized feature picture by contrast with the
conventional sized short.

As regards 3-D shorts, it is my personal
opinion that they will prove just another
passing “gimmick.” This is based on my
own experience with 3-D. Back in 1935, as
you may know, we made the first 3-D short
ever to be shown in a motion picture theatre.
It did a phenomenal gross. The gross on
our second “Audioscopiks” picture dropped
considerably from the first and the gross on
our third 3-D picture telling a story, dropped
even more. This in spite of the fact that
each succeeding 3-D short was actually
a much better short subject than the previ-
ous one.

It seems to me it all boils itself down to
one thing, and that is “good pictures.” —
PETE SMITH. Pete Smith Specialties,
Metro-Goldwyn-Mayer, Culver City, Cali-
fornia.

Thanks on Shorts

To Walter Brooks:

All of us in this outfit want to go on rec-
ord with a word of thanks for your article
in the June 13 issue of The HERALD,
under the title “Don’t Sell the Short Films
Short.”

This kind of editorial comments is stimu-
lating and greatly appreciated by everybody
in this organization. — CHARLES LEVY,
Walt Disney Productions, New York, New
Y ork.

Selling Shorts Short

To the Editor :

I read with great interest the piece by
Walter Brooks in the Managers’ Round
Table in the June 13 issue, “Don’t Sell the
Short Films Short.” From what I have been
able to gather, all too frequently bookers
in the theatres don’t even screen the shorts
before making their selections for any par-
ticular show.

It seems to this writer that if the bookers
would spend one day a week screening
shorts, they would have some conception of
what they are attempting to ask their patrons
to swallow.

After all, why should the patrons of a
theatre be forced to sit through an unbal-
anced program of shorts when the men who
are responsible for showing the shorts won’t
even take the trouble to sit through a show-
ing of them? — EDWARD SELZER. presi-
dent, Warner Brothers Cartoons, Holly-
wood,

MOTION PICTURE HERALD

July II, 1953

CONGRESSIONAL moves afoot to press
for tax repeal Page 12

TAX receipts increase in Chicago indicates
gross gains Page 12

PARAMOUNT claims process for sufficient
light for drive-in 3-D Page 12

GOLDENSON and Hyman offer program
to eliminate confusion Page 13

STANLEY Warner deal for Cinerama oper-
ation completed Page 15

RANK three-way CinemaScope deal is seen
in work Page 15

TERRY RAMSAYE Says — A column of com-
ment on matters cinematic Page 18

STANLEY Warner gets extension on drop-
ping of 24 houses Page 20

MEXICAN workers strike holds up produc-
tion of many films Page 20

COWDIN urges "Voice" propaganda in

top Hollywood films Page 21

OPPOSITE views expressed on 3-D plans at
exhibitor meet Page 22

HILLSIDE appeal to be based on claimed
invalidity of price act Page 23

HOUSE unit would cut appropriation for

U.S. film program Page 23

TAX exemptions may be ended for players
by law changes Pages 25

NATIONAL SPOTLIGHT— Notes on indus-
try personnel across country Page 26

BRITISH Government defines intended
television principles Page 30

GERMANS looking with new favor on

domestic screen product Page 32

SERVICE DEPARTMENTS

Film Buyers' Rating 3rd Cover

Hollywood Scene Page 24

Late Reviews Page 21

Managers' Round Table Page 33

People in the News Page 25

What the Picture Did for Me Page 31

IN PRODUCT DIGEST SECTION

Showmen's Reviews
Short Subjects
Short Subjects Chart
The Release Chart

Page 1909
Page 1909
Page 1910
Page 1912

MOTION PICTURE HERALD, JULY II, 1953

Leonard goldenson,

president of AB-Paramount
Theatres, Tuesday reported
that grosses for the second quarter
of 1953 were 20 percent higher than
for the first quarter. Harry B.
French, president of Minnesota
Amusement Co., said in Minneapolis
Tuesday, May and June business
was “way ahead.” Those two months
are the firm’s annual business drive
months. Mr. French attributed the
boom to good product and public
interest in 3-D.

The State Department and the
city of Washington, D. C., have
nothing on Hollywood! During the
first six months of this year alone,
128 representatives of 24 foreign
governments were in Hollywood,
and made the rounds of the studios.

► MGM, which in this country has
been more or less following the
leader in the new developments, in
Great Britain is advertising in the
trade papers aggressively, thus : “Be
Prepared ! Do your boxoffice a good
turn! Be prepared for the great
things to come in Wide Screen,
CinemaScope, 3-D, 2-D. . . . Follow
the leader now, and equip your the-
atre with WIDE SCREEN!”

► Claude Ezell, founder and or-
ganizer of the International Drive-
In Theatres Association, is negotiat-
ing with Gael Sullivan, former TOA
executive, to handle certain phases
of the general program for the
Association.

► A new one-year agreement with
West Germany, maintaining a free
market for American motion pic-
tures was concluded last week in
Berlin by Eric Johnston, president
of the Motion Picture Association.
The agreement, in effect, provides
for unrestricted imports of Ameri-
can pictures and free remittance of
revenues at a rate below the official
rate of exchange.

► Congress moves into its crucial
last month, with time growing very
short for action on bills to give the-
atre owners relief from the admis-
sion tax and overhaul the anti-trust
laws.

► This may have been expected,
and here are the first rumbles. The
president of the Maryland Allied
unit, Leon Back, predicted last week
a general price admissions increase.
The reason : the expenses of convert-
ing theatres to 3-D, wide screen,
stereo sound, and increased wages.
He also warned: “To increase the
admissions without making it worth-
while to the customers may spell
boxoffice disaster.”

► Attorney General Brownell’s pro-
posal for an administration com-
mittee to review the anti-trust laws
will probably act as another factor
to block action by Congress this
session on anti-trust bills. There’ll
be a feeling that Congress should
wait for the results of this study
and do everything at once, rather
than spread out the work.

► Not only is one very major com-
pany drilling for oil, in the ground
that is, but may very well make as
much money from it as from other
fascinating new gadgets intriguing
the industry. The company is 20th-
Fox, which has had the intention

WM. GOETZ LEAVING
U-l IN NOVEMBER

HOLLYWOOD: William Goetz, in
charge of production at Universal-
International Studios, will terminate his
association with that organization at the
expiration of his contract in November,
it was officially announced here Wednes-
day following a conference between Mr.
Goetz and Milton R. Rackmil, president.
Mr. Rackmil said that he regretted that
contract negotiations with Mr. Goetz,
"conducted under the most amiable of
circumstances, were unsuccessful." Ed-
ward Muhl, vice-president and general
production executive, is scheduled to
take charge of studio operations.

sometime, and recently a permit
from the city of Los Angeles. The
drilling is on a royalty agreement
with the Universal Consolidated Oil
Company. The project is for direc-
tional drilling of 13 wells from a
single site. Drilling begins within
the month, and, the company states :
“It will not interfere with the cus-
tomary studio use of the property.”

► Broadway, the industry’s barom-
eter, reported some wonderful things
last week. “Stalag 17” at the Astor
was expected to do a record $44,300;
and “Scared Stiff” at the Mayfair
was expected to garner $50,000. The
third week of “Dangerous When
Wet” at the Radio City Music Hall
was to get $125,000, which is' very
good ; and the first week of “Witch
Doctor” at the Roxy was to gross
a nice $80,000. Other pictures doing
very well were “The Beast from
20,000 Fathoms,” “It Came from
Outer Space,” “Melba,” “Houdini”
— and, of course, Cinerama.

► The industry last week received a
Congressional boost from Represen-
tative McDonough (Rep., Cal.), who
inserted into the “Congressional
Record” Motion Picture Association
of America president Eric A. John-
ston’s recent annual report. He com-
mented : “It is an excellent analysis
of the industry and its future as one
of the major industries.” He added
the film business is conscious of its
shortcomings, which it is trying to
remedy, and that 50,000,000 people
still go to the movies every week.

► On Friday possibly, the industry
was to know for the first time pub-
licly just what the Department of
Justice thinks about the Senate in-
vestigation into the practices of the
industry, part of its scrutiny of the
small business situation. Who will
appear, and what he will say, was
a matter of keen speculation at
Washington during the week.

MOTION PICTURE HERALD, 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, President; Martin Quigley, Jr., Vice-President; Theo. J. Sullivan, Vice-President and Treasurer; Raymond Levy, Vice-President; Leo J. Brady,
Secretary; Martin Quigley, Jr., Editor; Terry Ramsaye, Consulting Editor; James D. Ivers, News Editor; Charles S. Aaronson, Production Editor; Floyd E. Stone, Photo Editor;
Ray Gallagher, Advertising Manager; Gus H. Fausel, Production Manager. Bureaus: Hollywood, William R. Weaver, editor, Yucca-Vine Building, Telephone HOIlywood 7-2145;
Chicago, 120 So. LaSalle St., Urben Farley, advertising representative, Telephone, Financial 6-3074; Washington, J. A. Otten, National Press Club; London, Hope Williams
Burnup, .manager, Peter Burnup, editor, 4 Golden Square. Correspondents in the principal capitals of the world. Member Audit Bureau of Circulations. Other Quigley
Publications: Better Theatres, published thirteen times a year as Section II of Motion Picture Herald; Motion Picture Daily, Motion Picture and Television Almanac and Fame.

MOTION PICTURE HERALD, JULY II, 1953

THE CINERAMA
STORY was brought
up to date Monday, in
New York, by the men
above, who told of the
Stanley Warner deal.
See page 13. The men
are, left to right: Haz-
ard Reeves, Cinerama,
Inc., president; S. H.
Fabian, Stanley Warnei
president; Tom Perkins,
Cinerama Productions
vice-president; Herbert
Barnett, Cinerama, Inc.,
vice - president; and
John Hartley, Cine-
rama, Inc., treasurer.

by the Herald

A REAL BREAK, left.
Max E. Youngstein,
United Artists vice-
president in charge of
advertising and pub-
licity, right, poses with
artist Jacques Kapralik
and a pre-print cover
of the "Pictorial Re-
view" July issue, Mr.
Kaprilik's impressions of
"Return to Paradise."

AS WARNERS' "The Charge at Feather
River" hit the Plaza, at Vernon, Texas,
above. Star Guy Madison meets the crowd.
The picture also opened at Houston, San
Antonio, Fort Worth, and Dallas. At the
left, during the Dallas press reception,
James O. Cherry, Interstate circuit city
manager, right, plays host to stars Vera
Miles, Helen Westcott, and Ron Hagerthy.

GREETINGS at Bogota, Colombia, for Robert
Hawkinson, RKO Radio assistant foreign man-
ager. Above: Hugo Stramer, Colombia man-
ager; Mr. Hawkinson; Melvin Edelstein, Puerto
Rico; Dr. Salazar Santiago; Ricardo Canals,
Far East supervisor; and Pedro Diaz, Colombia
sales manager.

MOTION PICTURE HERALD, JULY II, 1953

SAM ROTH, right, Washington circuit owner, with
Maryland Governor Theodore R. McKeldin, whom he
invited to the premiere of IFE's "The Little World of
Don Camillo." The film is in English, French and
Italian.

DURING PRODUC-
TION, left. William
Boston, general man-
ager of Gibraltar
Theatres at Scotts-
bluff, Neb., visits
with Rex Allen, left,
star of Republic's
"Shadows of Tomb-
stone."

FOR "THE POST-
MAN." MGM's shorts
producer Pete Smith,
above center, receives
from Jack Monico, Na-
tional Association of
Letter Carriers, a
badge, mailsack, and
cap. Watching, left, is
Warner McIntyre, Los
Angeles assistant post-
master. Mr. Smith's
new short will have a
pre-sold audience of
150,000, and their
families.

by the Herald

SAM ISRAEL, Universal-Interna-
tional studio publicity director,
was in New York for a week of
conferences at the home office.

ON THE SET of Paramount's "Red Gar-
ters," left, Mike Maceri, of the Zer-Mac
Theatre Company, Memphis, and Mrs.
Maceri meet Cass Daley (as Minnie
Redwing, Indian Squaw). With them is a
young friend, Henry Kveen.

MOTION PICTURE HERALD, JULY II, 1953

MOVE TO PUSH
TAX REPEAL

See Better
:t-B Light
In Strive- ins

Senator Milliken Pledges
Intent to Expedite Bill ,
But Cannot Be Sure

WASHINGTON : Promise to “expedite”
committee consideration of the Mason ad-
mission tax relief bill, if it passes the House,
was made last week by Senate Finance
Committee Chairman Milliken. The Sen-
ator admitted, however, that he did not have
any “certain assurances” that the bill would
reach the Senate this year.

The Mason bill would exempt motion pic-
ture theatres from the 20 per cent Federal
admission tax. It is considered likely that
House Ways and Means Committee Chair-
man Reed will call the bill up for a vote in
his committee once the excess profits tax
dispute is disposed of, which was expected
to be by the end of the week.

Offered as Amendment

Senator Millikin’s statement was made
during a Senate debate on the Reciprocal
Trade Agreements Bill. Senator Kerr, a
member of the Finance Committee, offered
the provisions of the Mason bill as an
amendment to the Reciprocal Trade Agree-
ments Bill. He finally withdrew the amend-
ment at the request of Senator Millikin, but
in the meantime an interesting change had
taken place, demonstrating great interest on
the part of Senators in admission tax relief.

Offering his amendment, Senator Kerr
said he had hoped that the Mason bill would
have passed the House by this time, but
“this has not happened and the session is
now drawing toward a close.”

He said he felt that the admission tax
was “one of the most burdensome of the
present excise taxes.” He declared that
“the situation has become so critical for
motion picture theatres that it should cer-
tainly be corrected during this session of
Congress.” He then urged Senator Milli-
kin to accept the amendment and take it to
conference with the House.

Cites Pending Bill

In reply Senator Millikin said he re-
gretted he could not do this. “I am
thoroughly conscious of the deep trouble the
motion picture people are in,” he declared,
“and it is not getting any better. A bill is
pending in the House, but I cannot say
whether I have certain assurances that it
will reach the Senate. It involves an enor-
mous sum of revenue, and I believe the
subject ought to be considered separately
and carefully when the House bill comes to
the Senate.”

Senator Millikin agreed with Senator
Kerr that the admission tax is “burdensome
and oppressive,” and declared that “I think
it would be highly advisable if we could
get rid of jt consistent with all cun:, fiscal

CHICAGO TAX SHOWS
INCREASING GROSS

CHICAGO: City of Chicago three percent
amusement tax figures released this week
indicate a continuing rise in gross theatre
receipts, a development of recent months
after a steady decline since late 1948,
when the tax first was assessed. Theatre
tax collections for June, on May receipts,
were $85,92 1 .09, compared with $8 1 ,49 1 .26
the previous month, on April receipts, and
$82,829.37 for June of 1952. Total theatre
tax collections for the year to date are
$518,857.85, up roughly four and one-half
percent from the $509,684.96 for the cor-
responding period last year. The increase
is noteworthy in that many theatres have
closed here in the past year, indicating that
the smaller number of theatres remaining
have managed to not only take up the
slack, dollar-wise, but have improved their
gross business to a point where fewer the-
atres are handling more revenue. Such
things as advanced prices and more houses
playing in the first outlying run have con-
fributed to the general upward trend in
receipts.

requirements.” He declared he felt a
“deep sense of sympathy with the problems
of the moving picture operators.”

Senator Ferguson supported Senator
Kerr, declaring that theatre owners are
having “great financial difficulty.” He said
that as a member of the Senate Small Busi-
ness Committee studying the film industry,
he was especially aware of the problem and
felt that “the moving-picture people need
relief.”

Senator Millikin said he did not think the
House would accept the amendment if the
Senate put it on the trade bill. Pointing
out again that the Ways and Means Com-
mittee had before it the Mason bill, he de-
clared that he thoug'ht the House Committee
“would be especially sensitive to an effort
by the Senate to prod them by sending some-
thing to them on which they are already
working.” He asked Senator Kerr to with-
draw the amendment.

Senator Kerr reluctantly agreed, saying
that he hoped Senator Millikin would take
the amendment to conference, but that “if
he cannot do so, in view of his comforting
reassurances that we will be permitted to
have a bill before us in the near future in
connection with which this matter can be
considered, I will not press the amendment.”

Monday Senator Kerr said that if the
House does not act on the Mason bill, he
will endeavor to tack it on as an amend-
ment in the Senate to the excess profits bill
or some other “appropriate bill.”

Paramount engineers this week announced
that in their estimation the loss of light at
drive-in theatres playing 3-D pictures may
be decreased by 50 per cent by the elimina-
tion or reduction of the “flicker blade” in
projection machines.

This blade was introduced to projection
to eliminate flicker on high intensity screens
in low-light-level auditoriums. In drive-ins,
they assert, the overhead light is high and
screen illumination low.

Paramount engineers under studio engi-
neering and recording chief Loren L. Ryder
experimented last week at the Van Nuys,
Cal., Drive-In, with “Sangaree.” They are
preparing complete instructions to be sent
to drive-in houses. They contend such thea-
tres will be able now to open earlier, in any
event.

May Tax Collections
Dip to $23,410,788

WASHINGTON : May admission tax col-
lections, reflecting April business, were off
from April collections, but were still the
second highest this year. The Internal
Revenue Bureau said general admission tax
collections in May amounted to $23,410,788,
compared with $25, 160, 355 in April and
$25,221,046 in May last year. Total admis-
sion tax collections, including roof garden
and cabaret taxes and taxes on various over-
charges and leases as well as the general
admission taxes, amounted to $27,509,713,
compared with $29,175,190 last May the
Bureau said.

Boston Council Requests
Drive-In Permit Ruling

BOSTON : The city Corporation Counsel
has been requested by the Boston City
Council to “immediately render” an opinion
on the right of the Street Commission to
issue permits for open-air theatres. This
resolution had been in committee since
April, 1950. It was inspired by the issuance
of two permits for the construction of drive-
in theatres in 1949.

Connecticut Tourney Set

The annual outing and golf tournament of
the Motion Picture Theatre Owners of Con-
necticut will be held Tuesday, August 18, at
the Racebrook Country Club, in Orange,
Conn. George H. Wilkinson and Albert M.
Pickus are co-chairmen of the committee in
charge.

"Tabloid" Production Set

Allied Artists changed the production date
of “Tabloid” to July 8. Ben Schwalb is
producing the film which stars Stanley
Clements

MOTION PICTURE HERALD, JULY II, 1953

PROGRAM AIMS TO RRING
ORDER FROM CONFUSION

Goldenson, Hyman Off er
Eight-Point Plan to End
the Threatened Chaos

To help the motion picture industry
through its current period of crisis and con-
fusion in the matter of systems, projection
and sound, American Broadcasting-Para-
mount Theatres, Inc., this week released for
official consideration by production, distribu-
tion and exhibition an eight-point program
of recommendations designed to bring oidei
out of threatened chaos.

The program was contained in statements
made Tuesday before a luncheon gathering
of trade press representatives at the AB-P 1
home office in New \ork by Edward L.
Hyman, vice-president. Introducing Mr.
Hyman and leading off the discussion of
industry prospects was Leonard H. Golden-
son, president of the company.

Reviewed History of Record
And Phonograph Industry

Before outlining the eight AB-PT rec-
ommendations, Mr. Hyman briefly reviewed
the history of the phonograph and record
industry when it let itself get bogged down
in a “battle of systems’’ — 45 rpm, vs. 33b)
rpm vs. 78 rpm. “This,” said the theatre
executive, “almost parallels what has taken
place in our industry with aspect ratios.”

By unification of all branches of the mo-
tion picture industry, Mr. Hyman said it
was hoped that the film people could avoid
the chaos which blighted the recording in-
dustry until the three-speed phonograph was
developed.

To do this he outlined the following rec-
ommendations :

1. “Make your pictures in any ratio that
will make the picture impressive, but make
pictures and make certain to put into each
picture the proper ingredients plus color, if
possible.

Suggests Avoiding All
Black and White 2-D Quickies

2. “The market has been killed for 2-D
black and white quickies and this kind of
picture should be avoided.

3. “Continue to make 3-D pictures but
by all means improve on the quality and
broaden the scope of the subject matter.

4. “Equally as important as the quality
of 3-D pictures is the quality of the 3-D
viewers and we must give our patrons sub-
stantially improved viewers if interest is to
be maintained.

5. “Above all do not withhold production
until more wide dimensional pictures are
released and then strive desperately to get
into production with a resulting lapse into
quickie type of picture.

6. “If you continue to make 2-D pictures

LEONARD GOLDENSON

in the normal 1.33 to 1 ratio for theatres
not equipped with wide screens, leave suffi-
cient space at top and bottom of the picture
so that exhibitors who have wide screens
can enlarge them to the best adaptable size
for their theatres.

7. “Don’t dub in (stereophonic) sound on
pictures already made just for the sake of
advertising stereophonic sound. The results
of this to date have been meaningless, with-
out value and at an exhorbitant price to the
exhibitor for the necessary sound equipment.
. . . devote your ingenuity to including
stereophonic sound as pictures go into pro-
duction so that all phases of the stereophonic
sound system can be utilized.

Should Now Take Another
Look at Advertising Method

8. “We think it is appropriate at this time
to take another look at our advertising
methods .... advertising and exploitation
of each picture should begin when it goes
into production and should be kept alive
constantly in an increasing crescendo until
the picture arrives in the theatre, with the
release campaign acting as the climax.”
This, Mr. Hyman pointed out, has been ad-
vocated by Mr. Goldenson for years.

Mr. Hyman dwelled at some length on
what he described as “the all-important
equipment problem.” To be ready for the
exhibition of the new films, affiliates of AB-
PT and other big exhibitors have equipped
their theatres with all-purpose screens and
stereophonic sound systems. However, be-
cause of the tremendous expenditures in-
volved, small houses have not been able to
do the same. »

“These costs,” he said, “must be carefully
weighed and balanced and the path ahead
must appear much clearer before this can

EDWARD L. HYMAN

be done. In this connection, we would like
to point out that screens and lenses neces-
sary in the presentation of one of the wide-
screen systems are so high in price that they
cannot be afforded by many exhibitors.”

In informal conversation later, Mr. Hyman
said the above did refer to the 20th-Fox
CinemaScope screen and lenses, the prices
for which he believes “would be much lower
and within the reach of exhibitors in a free
and competitive market among all the equip-
ment manufacturers.”

He said that because of its pioneering and
research, 20th-Fox naturally should be al-
lowed a return on its CinemaScope invest-
ment. However, he added, he had been in-
formed the lenses could be made available
for between $400 and $500 a pair rather
than the approximate $2,800 and that he
believed the screens could be sold for about
$1.15 a square foot rather than the $3 or
$3.50 asked for CinemaScope.

Mr. Hyman described stereophonic sound
as “the real stumbling block of the moment,”
and he urged the quick development of the
single film strip for four sound tracks.

Compliments Producers on
Quality of Summer Product

In his introductory remarks, Mr. Golden-
son complimented producers and distributors
for the unusually fine product which they
have begun to make available in the May-
June period which heretofore has been re-
garded as an off-season. The sentiment was
echoed by Mr. Hyman, who listed some of
the outstanding films available this year and
then asked distributors to do for December
what they had done for May-June.

“As we have done in the past,” said Mr.
Hyman, “we promise every cooperation, if
given worthwhile pictures, to make Decem-
ber a great month for all of us.”

MOTION PICTURE HERALD, JULY II, 1953

r^,itative facts about

r<*

^cum^scon. "■“-mmm, oubSJ,

Production • Exhibition • Exploitation

A QUIGLEY
PUBLICATION

208 pages, 50
illustrations;
printed on fine
quality, coated
paper; durable
cloth binding. Price
$4.50 postpaid.

Edited by

Martin Quigley, Jr.

To meet the need for a simply and soundly presented
explanation of the new proceses and their commer-
cial aspects, Quigley Publishing Company enlisted the
co-operation of the recognized authorities on each of
the established new techniques. The result is a book
of great value for everybody in or connected with the
motion picture industry. “New Screen Techniques”
will be mailed as soon as printing and binding are
completed — in order of reservations received.

QUIGLEY PUBLISHING CO.

Rockefeller Center, 1270 Sixth Avenue

Please reserve copy/copies/ of “New Screen T echniques.”

□ Enclosed please find check (or money order) for $4.50 per
copy in full payment, including packing and postage.

□ Bill me/us.

Name

Address

Summary of Contents:

Preface — Dr. Alfred N. Goldsmith, Consulting Engineer
Introduction — Martin Quigley, Jr, editor. Motion Picture Herald

PART | — 3-D
Three-Dimensionally Speaking
Polaroid and 3-D Films

Principles of 3-D Photography and
Projection

What Is Natural Vision?

The Stereo Window
3-D in Europe

Technicolor and the New Techniques
1927, Sound— 1953, 3-D
The "House of Wax" Campaign
3-D in Theatres

PART || — WIDE SCREENS

CINERAMA SECTION:

The Birth of an Ideo
Cinerama Goes to War

Adding the Sound to Cinerama

This Cinerama Show

Finding Customers for a Product
CINEMASCOPE SECTION:

Importance of CinemaScope

CinemaScope in Production

Stereophonic Sound

Directing in CinemaScope
New Medium. New Methods
Filming "The Robe"

CinemaScope and the Public

CinemaScope in Exhibition

OTHER WIDE SCREEN TECHNIQUES

The Anamorphoser Story
There Is No Substitute for Creative
Talent

Why New Aspect Ratios

— Pete Smith, producer & commentator
— William H. Ryan, research engineer,
Polaroid Corp.

— John A. Norling, president,

Loucks and Norling Studios
— Milton L. Gunzburg, president,

Natural Vision Corp.

— Floyd A. Ramsdell, general manager,
Worcester Film Corp.

— Frank A. Weber, Dutch 3-D engineer
— Dr. Herbert T. Kalmus, president,
Technicolor, Inc.

— Jack L. Warner, vice-president,

Warner Bros. Pictures
— Mort Blumenstock, vice-president,
Warner Bros. Pictures
— James Brigham, theatre engineer,
Natural Vision Corp.

— Ralph Walker, architect
— Fred Waller, chairman of board,
Cinerama, Inc.

— Hazard E. Reeves, president,

Cinerama, Inc.

— Lowell Thomas, vice-chairman of board,
Cinerama Productions, Inc.

— Lynn Farnol, publicist

— Spyros P. Skouras, president,
Twentieth Century-Fox
— Darryl F. Zanuck, vice-president,
Twentieth Century-Fox
— Lorin Grignon, sound engineer,
Twentieth Century-Fox
— Henry Koster
— Jean Negulesco
— Leon Shamroy, A.S.C.

Twentieth Century-Fox
— Charles Einfeld, vice-president,

— Earl I. Sponable, technical director,
Twentieth Century-Fox

— H. Sidney Newcomer, M. D.

— William Goetz, in charge of production,
Universal Pictures

— George Schutz, editor, Better Theatres

Date of this reservation

STANLEY WARNER REAL
FOR CINERAMA IS SET

SEE 3-WAY CINEMASCOPE
DEAL IN WORK WITH RANK

Need Justice Department
Approval; to Provide
Money and Theatres

Cinerama is on the move toward a bigger
place in the established motion picture in-
dustry. It will have money, technical im-
provements, more theatres and more produc-
tions, even musicals. The big, able Stanley
Warner Corporation has come along with
the theatres, the money, and the showman-
ship know-how.

All that remains is for the U. S. Depart-
ment of Justice to say it approves — and
within one month, or the deal will be called
off by both parties.

Deal Announced by Major
Executives of Both Companies

The deal was disclosed formally Monday
afternoon at the Stanley Warner New York
home office, by a corps of executives from
it, and from Cinerama and Cinerama Pro-
ductions. It ends weeks of rumors. Among
the men who spoke Monday, in outlining
the deal and answering questions, were
Hazard Reeves, Cinerama, Inc., president ;
S. H. Fabian, Stanley Warner president;
Tom Perkins, Cinerama Productions vice-
president ; and Herbert Barnett, Cinerama,
Tnc., vice-president.

What happens is that Stanley Warner is
advancing $1,600,000 for new equipment;
that it will buy 700,000 shares of Cinerama,
Inc., from Cinerama Productions, and also
acquire option rights to another 300,000
shares, also owned by Cinerama Produc-
tions ; that it will open about 20 theatres
for Cinerama showings, some eight to 10
of them its own ; that it will elect four of
seven directors to Cinerama, Inc., the equip-
ment manufacturing firm, and that it will
produce motion pictures for exhibition in the
equipped theatres.

Personnel Changes Not
Announced As Yet

Unknown is the future status of L. B.
Mayer, Cinerama Productions president.
What happens to Mr. Mayer, the men would
not hazard. Neither did they venture to
predict the future of Merian C. Cooper,
Cinerama producer who has been making
“Seven Wonders of the World.” Mr. Per-
kins did say Cinerama Productions’ coast
office would close and its other operations
be “streamlined.” Mr. Fabian added his
plans were to retain such personnel as
Lester Isaacs, acting director of exhibition,
and others.

Stanley Warner will produce and exhibit.
It has, Mr. Fabian said, worldwide exhibi-
tion rights to 1958, and the agreement also
calls for at least five pictures during that
period.

by PETER BURNUP

LONDON : Details regarding the utiliza-
tion of CinemaScope by the J. Arthur Rank
Organisation will await the return here
July 14 of Spyros P. Skouras, president of
20th Century-Fox, who left London Sunday
for a tour of Germany, France and Italy.

Following weekend conferences between
Mr. Skouras and Rank representatives, both
sides refused to disclose the subjects under
discussion, but it is understood that the
proposed deal calls for the manufacturing
of equipment as well as theatre installa-
tions. Another report, strictly unconfirm-
able, is that the discussions involved produc-
tion in the CinemaScope process.

Push Stableford Screen

It is believed in trade circles here that
the final outcome of negotiations will call
for some adaptation of the Stableford screen
in Rank theatres instead of the screen which
Mr. Skouras brought over for the Cinema-
Scope demonstration. The Stableford screen
is marketed by the Rank organization but,
apart from that, the opinion of optic special-
ists generally is that the luminosity of the
screen exceeds that of Mr. Skouras’. It
seems reasonable to assume that Mr. Rank
has insisted on the all-purpose Stableford.

Before leaving for the continent, Mr.
Skouras said he was “delighted” with the
CinemaScope reception in London. He
said he anticipated 1,000 installation appli-
cations within 30 days, which, according to
him, “far exceeds the initial reaction in
America.” He said too that his relations
with Mr. Rank had never been more cordial.

Odeon to Get “The Robe”

Plans for distribution of “The Robe”
here have not been announced but it is
understood that the picture will go out on
a roadshow basis commencing with the
Leicester Square Odeon at the end of
August and then around the Odeon circuit
in key provincial cities.

It is significant that at this time the

Messrs. Barnett and Reeves were emphatic
in predicting technical improvements, while
not giving details. Their predictions were
in response to questions about elimination
of the “seams,” those areas where differ-
ences between the three images are discer-
nible; and about use of one film. They all

Cinematograph Exhibitors Association has
started an inquiry into dimensions^nd po-
tentiality of the theatres of all its members.
An elaborate questionnaire has been pre-
pared by the Association’s technical adviser,
Leslie Knopp, in collaboration with the
British Kinematograph Society. The lead-
ing equipment makers also have assisted.

Will Await Standardization

It will be recalled that Dr. Knopp coun-
selled members not to commit themselves
until the industry generally had agreed on
standardization of screen ratios and the
like. That was to be the attitude of the
Association’s executive when it met Wed-
nesday this week. The majority of the 300
theatres who are reported to have applied
for CinemaScope already, probably will be
found to be those which play first run con-
currencies with Odeon houses. In other
words, they do not propose to be caught
on the wrong foot by their Rank opposition.

The powerful ABC circuit has so far
made no policy statement. Its controllers
obviously are waiting to see how the sev-
eral cats jump. True 3-D continues on its
way here. “House of Wax” is still draw-
ing large audiences at its eighth week at the
Warner — although it is almost exclusively a
peanut crowd. Paramount’s keenly awaited
“Sangaree” was to open at the Plaza
Friday.

New Ruling on Viewer Tax

A statement is expected shortly from the
Customs and Excise authorities rationalising
the position of entertainment tax on hire
charges paid by patrons tfor the use of 3-D
spectacles. The authorities '' hitherto have
insisted on the hire-charge ranking for taxv
which puts seat prices in a much higher
tax bracket. CEA protested strongly at
this and planned having a test case heard’
in the law courts. It is understood now
that the Customs accept the view that sep-
arate charge for spectacle hire should not:
be taxable.

stressed quality, which Cinerama, they as-
sert, has above all other systems of wide
projection. And they also stressed reduction
in cost for future theatres using it.

Installation always is relative to location r
but, generally, Mr. Reeves estimated, in-
( Continued on page 18, column 3)

MOTION PICTURE HERALD, JULY II, 1953

RKO

is ready now

with BIG STARS

Opening July 15 in key
spots across the nation

RADIO

"pidiiujS?

Executive Producer

^ffteENTHM

Screenplay by

RUDOLPH MM t

AVAILABLE

WITH

mwwry Rtfenasaye S«ay%

BEHIND THE CURTAIN — In Russia's city
kinemas now white-coated girls are vending
ice cream to the audiences. That is com-
mercial, also bourgeois and effete.

This comes from a browsing in Kine-
matograph Weekly which carries the first
good report on the current state of Russian
motion picture operations. It presents sig-
nificantly a slant on the trend in British
film trade relations with Moscow, which
seem a-growing. It is a report from an
interview with Kenneth Rive, managing
director of Gala Films, London, just re-
turned with a purported exclusive arrange-
ment for the interchange of British and
Russian product. Now he has to talk to
Britain's Board of Trade. He says his
motives are entirely commercial. Mean-
while he is said to have seventy-five Rus-
sian films "in hand," of which about 12, he
said, were "commercial." One could be
wondering what's to be done with the rest
of them. Gala is said to be taking Russian
pictures on a 50-50 sharing of profits, earn-
ings going to the account of the Soviet
Export Film Organization in Britain.

It comes out that all kinemas are state-
owned and that in Moscow there are 50 in
the city center. They open at 8:30 A.M.
and the last show starts at I I :45 P. M. The
houses are said to be always filled, with
some seats sold in advance and a long free
list by allotment to trade unions.

The theatres look like warehouses outside
and are ornate with decoration within.
There is classical orchestral music in the
foyer until the show goes on. The admis-
sion includes smaller projection rooms
where documentary, which means message,
pictures run continuously.

The films are selected by "a people's
committee and the same picture plays all
Moscow houses day and date. The prices
of admission, converted to British money
range from 2s to 5s.

Out in the provinces it seems that there
are few kinemas but thousands of workers'
clubs supplied with free films. There are no
tidings on aspect ratios and 3-D.

Somewhere over among those millions
there may be a sleeping market for a lot of
popcorn.

DIRECTOR CREDITS— The pursuit by the
Screen Directors Guild of a brighter spot
for the director of the picture, from screen
to billboard, discussed the other day by
William R. Weaver in The HERALD's Hol-
lywood Scene, brings some sequel reflec-

tions. One can have no proper objection
to adequate recognition of any and all
contributors to the competence of the pic-
tures. It is to be observed, however, that
published credits are externally important
only in the degree in which they engage
the spectators' interest.

Objectively it is mo’st apparent that the
customers are in the main interested in the
show. Aside from a few letter writing
super-fans, they are concerned only with
what they see. They do not see either
the director or many of his co-workers so
essential to the product. Just for instance
consider how few readers of the periodi-
cals ever note the names of the many
gifted illustrators who sign their drawings.
How many of the reading millions know
the names of such as Dean Cornwall or
Rockwell Kent?

The complex of credits, unrolled end-
lessly on the screen, and contractually
cluttering the advertising displays, does
nothing for the art and its merchandising
values. Those credits are mostly interior
trade considerations.

The probably highly impractical deduc-
tion is that those yards of credit titles
should be required only for showings in
Hollywood, or other areas where there is
some regional interest in who did every-
thing.

For the customers it would be better if
the picture opened with a maintitle and
proceeded thence into action and the
story. By the time the patron has bought
his seat he knows mbst all he wants to
know about the production details. His
attendance is not for any purpose of
check-up.

TELLING THE LAYMAN — Charles W.
Curran, one time projectionist, Hollywood
scroen writer, playwright, producer for the
U. S. Navy, advertising copywriter, account
executive, etc., now president of Times
Square Productions, making industrial pic-
tures for TV and the industrial screen, is
out with a revision of his unique handbook
for business executives explaining in non-
technical terms the art of production. It’s
in hard covers this time at $3, published by
Pelegrini and Cudahy, New York. Every-
thing is there from a glossary of shop terms
to union scales. We discover with interest
that an I.A.T.S.E. or American Federation
of Labor hair dresser draws a minimum of
$25 a day, while a C.I.O. hairdresser gets
not less than $37.50.

CINERAMA DEAL

( Continued from page 15)
stallation now would cost approximately
$50,000, and equipment $60,000, making a
total well under the $175,000 cost cited for
the initial locations.

As for equipment, there is plenty for pro-
jection and sound; and, within 60 days, five
Cinerama cameras will be available. Mr.
Reeves said.

Fabian Plans Installation
In At Least 20 Theatres

Not less than 20 theatres was the estimate
of Mr. Fabian, envisioning a chain of
Cinerama installations ; and, he added, lie
also sees at least two locations abroad,
certainly one in London. He also said :

‘‘The real story is that we have a 146
degree angle and no one else has, and all
one has to do is to go to the theatres and
see audience reactions again and again.
That’s something that gives a real thrill to
the showman.”

In speaking about equipment, Mr. Reeves
noted that some of the faults observers may
have in mind were those of early days, pos-
sibly due to poor developing, and printing,
and new equipment has eliminated these.

Mr. Fabian pointed to a $1,600,000 gross
in New York, $40,000 sales in tickets three
weeks in advance of the Chicago opening,
and to sustained public interest generally.
He remarked, apropos of questioning about
some competitive systems :

“The great difference, gentlemen, is, that
we have our hit !”

Grainger Foresees a Big
"Second Chance" Gross

A huge gross of $7,500,000 for RKO’s
first 3-D film in color by Technicolor.
“Second Chance,” has been predicted by
J. R. Grainger, president of RKO. Mr.
Grainger said the film, which stars Robert
Mitchum, Linda Darnell and Jack Palance,
will be the medium of establishing “once
and for all that 3-D can be a great asset —
not just a gimmick — which will enhance the
value of a proper story.”

Install 3-D in Drive-In

SAN FRANCISCO: By the end of this
month, 13 drive-ins in the San Francisco
exchange territory will have installed 3-D
equipment. Included in this list are all the
Robert L. Lippert and Blumenfeld theatres,
it is reported.

"Robe" in CinemaScope to
Open at Broadway Roxy

Twentieth Century-Fox announced Wed-
nesday that “The Robe,” first CinemaScope
production, will open at the Roxy theatre in
New York late in August. The theatre will
be completely refurbished and re-equipped
for the world premiere of the high-budget
production. It will be the first showing any-
where of a full feature in CinemaScope. The
film, budgeted at $4,000,000 and in color by
Technicolor, is an adaptation of the Lloyd
C. Douglas best-selling Biblical novel.

MOTION PICTURE HERALD, JULY II, 1953

THE

AND

BIG PICTURES

COME

THRU

And so do the
Academy Award Winners!

HUMPHREY

' (Km;

The 1951 Academy Awaid Winner (AFRICAN QUEEN

comes up with another winner in BEAT THE DEVIL*

GARY

ademy Award Winner (HIGH NOON) in

Mtchener's great South Pacific Adventure
TO PARADISE, in color by Technicolor

in ACT OF fcWBf

sensational best-seller, "Girl On The Via Flaminia"!

ERROL

FLYNN

st names in the business in TWO big ones —

, Eastman Color and WILLIAM TELL, Pathe Color !

One o

CROSSED

WILLI

in THE MOON IS BLUE,

now in its third year on Broadway and still going strong!

JOEL

in the Eric Ambler screenplay SHOOT FIRST!

Co-starred with Evelyn Keyes!

mmm

.■h

in TWO spectacular productions—RAIDERS OF THE
SEVEN SEAS, Color by Technicolor and CROSSTOWN (tent, title';

GREGORY

In TWO biq ones •— Mark Twain's immortal THE MILLION RO UNI-

BANK NOTE and THE PURPLE PLAIN, E. H. Bates' bos* seUo* '

STANLEY GETS
AN EXTENSION

Wins 6 More Months to
Dispose of 24 Houses;
Suit Asks Zone Change

Trust news bubbled up on many fronts
last week.

In Washington the Justice Department
granted Stanley Warner a six-month ex-
tension— until January 4, 1954— to dispose
of 24 theatres which remain to be sold
under the original Warner consent decree.

Justice officials said the circuit has sold
30 of the 54 theatres required to be sold
under the decree, half by January 4, 1952,
half by January 4, 1953.

Had Previous Extension

Warners got a six-months’ extension on
the deadline for disposing of the first half
and met that deadline in July, 1952. The
deadline for the remaining half was ex-
tended from January 4, 1953, to July 4,
1953, prior to the extra six-month extension
granted last Friday.

In Chicago the Melbro Amusement suit
seeking consolidation of three bidding zones
into one so that the Rockne theatre would
not have to play day and date with two or
three other theatres in its general area was
dismissed without prejudice by Federal
Judge John P. Barnes at the request of the
plaintiffs who do not find it opportune to
carry on litigation against the defendants at
this time, the defendants being the eight
major film companies.

The deterent to continuation of the case
is the present state of the plaintiff’s business,
which, it was pointed out, makes it difficult
for them to finance the preliminary action
necessary to prepare a case for hearing.

Dismissal of the suit without prejudice
means that it can be reinstated at any time
the plaintiffs wish to do so.

Schine Asks Extension

In Buffalo a bid to hear arguments in the
Schine Theatres case on July 20 in Federal
District Court was incorporated in a Schine
motion to extend its deadline for selling 25
theatres as required by the Schine consent
decree.

The motion also stated that a request will
be made to modify the terms of the decree
because of the present state of the motion
picture industry, as compared to the 1949
period at which time the decree was handed
down.

In the court’s anti-trust judgment, Schine
Theatres was ordered to dispose of 39 thea-
tres within three years after the decree, but
obtained extensions after disposing of 14.

In Washington a Senate Small Business
sub-committee investigating industry trade
practices decided that a Justice Department
report is “vague” and “unsatisfactory,” and
has asked the D. of J. anti-trust division

officials to appear at public hearings to
answer further sub-committee questions.

Asks Personal Appearance

The request was sent out by sub-commit-
tee chairman Schoeppel to Stanley N.
Barnes, head of the anti-trust division of
the Justice Department. Senator Schoeppel
indicated he would like Mr. Barnes and his
aides to appear before the sub-committee
later in the week.

Sub-committee hearings ended abruptly
some weeks ago with Senator Schoeppel
announcing that Justice Department officials,
long- awaited as the crucial witnesses,
would file a statement rather than appear in
person.

The Justice Department sent the sub-
committee recently a 20-page report com-
menting on the various problems raised at
the hearings. The sub-committee never
made the report public. But sub-committee
officials said the report did not cover many
of the points that the Senators wanted cov-
ered, and was vague on many others.

For example it was reported/the Depart-
ment never made clear its attitude on many
of the complaints filed by exhibitors with
the anti-trust division over recent years.

Hence the sub-committee has asked the
Department to take the stand at the public
hearings and answer more fully.

Harrison Plans 3-D
Equipped Drive-In

WAY CROSS, GA.: Plans for construction
of a new 400-car, 3-D-equipped drive-in
have been completed by John Harrison,
Waycross City manager for Georgia Thea-
tres, and former Quigley Award winner.
The circuit recently purchased the Waycross
drive-in which will be operated until the
new drive-in is opened. The Waycross has
been reopened after a shutdown of several
weeks for repairs. Mr. Harrison also an-
nounced the promotion of Freddie Crosby to
manager of the Ritz and Harold Linton to
manager of the Waycross Drive-in.

Louisville House Installs
New Stereo Equipment

LOUISVILLE, KY.: The Rialto theatre,
owned by the Fourth Avenue Amusement
Company, here, has installed one of the first
wide-screen and stereophonic sound systems
in this area of the country. Johnson J.
Mussellman, executive director of the the-
atre, had the equipment flown in from all
sections of the country in order to meet a
July 2 deadline set by the company. The
curved screen is 20 feet high and 50 feet
wide and is equipped with draw curtains for
masking purposes. The new sound system
uses 24 auditorium speakers and three stage
speakers.

Strike Halts
Production
In Mexico

MEXICO CITY: The Mexican Labor Min-
istry is considering the request of 19 produc-
ers against whom technical and manual
workers sections of the Picture Production
Union are striking to enforce demands for a
40-hour week, that the shutdown be declared
illegal.

The producers say the strike has sus-
pended the making of 44 pictures which they
value at $4,000,000. The National Cine-
matographic Industry Workers Union
(STIC) is backing the strike, in accordance
with the recent friendship and solidarity pact
made by STIC and STPC.

The strike is not in the least affecting ex-
hibition. All exhibitors here obtained two
years of labor peace by granting their union-
ized help — STIC members — a 12 per cent
pay hike.

The National Cinematographic Board, of
which Jose Lelo de Larrea is chairman,
placed at 310 yearly the top number of for-
eign pictures that can be imported, as asked
by the STIC and STPC.

STPC has asked President Cortines to
prevent dumping in Mexico of U. S. pictures
which TV has made below standard for
American exhibition and which, according
to STPC, exhibitors in Mexico would snap
up because of the very low rental prices at
which these films would be offered.

Meanwhile, STIC is pressuring Mexican
distributors with the threat of a strike
August 1, to increase salaries 12 per cent.
STIC has allowed the nine U. S. companies
until July 31 to meet its demand for a 10 per
cent wage increase and to withdraw the com-
panies’ counter demand for time clocks for
union employes.

Weill Gets Italian
Films for Television

A two-year television distribution agree-
ment involving advances of approximately
$1,000,000 for 104 American-language Ital-
ian films has been concluded by Jules Weill,
president of Specialty Television Films, Inc.,
and a group of Italian producers. The deal
includes Italian product produced during
1949-1953. The dubbing program will begin
immediately, and the first package of films
will be ready for release some time in Sep-
tember.

Mannix Gets New Term
Contract at MGM Studio

HOLLYWOOD : E. J. Mannix, a Metro-
Goldwyn-Mayer vice-president and general
manager of the company’s studio at Culver
City, has been signed to a new long-term
contract.

Mr. Mannix went to MGM in 1925, after
having held numerous positions in exhibition
and in theatre operation with Loew’s, in
New York.

MOTION PICTURE HERALD, JULY II, 1953

LATE REVIEWS

Second Chance

RKO — Suspense in 3-D

( Color by Technicolor)

In “Second Chance,” Howard Hughes and
company certainly have put together one of the
best of the 3-D pictures to be released so far,
starring the most “name-worthy” trio yet to
be seen in three dimensions — Robert Mitchum,
Linda Darnell and that current chief of menace,
Jack Palance. In or out of a new technique,
this is an action melodrama to make money.

Story-wise it is a suspense-packed narrative,
topical and fast-moving, laid in a small South
American country today and involving princi-
pally an American prizefighter playing the
“peanut league” after having inadvertently
caused the death of a ring opponent in the
States ; a beautiful former girl friend of an
American gang lord, and a gun-happy killer
hired by the gang lord to put the doll away so
she won’t return to testify before a Senate
investigating committee.

The action covers j ust a little more than 24
hours in the lives of the three and, from the
time the film opens on Palance efficiently
rubbing out a minor stoolie who also has
skipped the country, the tension and suspense
mount steadily to what is probably the most
spectacular and hair-raising climax current in
3-D ; Mitchum and Palance fighting it out in
a disabled cable car suspended several thousand
feet between a couple of Andean peaks. To add
that extra soupcon, the cable is slowly pulling
apart, threatening to send all concerned to a
craggy death below. Pearl White never had
it so good.

It’s no surprise which of the two guys
eventually gets tossed to the mountain goats,
but that’s as it should be. Miss Darnell and
Mitchum thus get their second chance— she to
go back to testify and he to return to Madison
Square Garden, and, of course, they have each
other.

1 he two-camera photography is uniformly
excellent. To catch the Latin American flavor,
director Rudy Mate took his crew to Taxco
and Cuernavaca, Mexico, where, in color by
Technicolor and three dimensions, festivals,
fireworks, market places and local flora and
tauna have been faithfully recorded to fine
effect. Special 3-D tricks have been avoided
almost entirely so that which emerges is mature
suspense drama.

Miss Darnell has never looked lovelier and
the two male stars are rugged and single-
minded in their respective pursuits. Assisting
them are Sandro Giglio, as the whimsically
honorable captain of the ill-fated cable car and
Roy Roberts as Mitchum’s fight manager.
Principal credit should go to Mate who has
put together a film without a dull moment, as
well as to Oscar Millard and Sydney Boehm,
who wrote the script based on a story 'by D. M.
Marshman, Jr. Edmund Grainger was executive
producer and Samuel Wiesenthal producer.

Seen at the RKO 8 6th Street theatre in New
York, where an audience of trade press, maga-
zine and newspaper reviewers sat glued to their
seats throughout. Reviewer’s Rating: Very
Good. — Vincent Canby.

Release date, July 18, 1953. Running; time, 82 min-
utes. PCA No. 16452. General audience classification.

Russ Lambert Robert Mitchum

Clare Shepperd Ljnda Darnell

happy Jack paiance

Sandro Giglio, Rodolfo Hoyos, Jr., Reginald Sheffield
Margaret Brewster. Roy Roberts. Salvador Baguez,
Maurice Jara, Judy Walsh, Dan Seymour, Fortunio
Bononoya, Milburn Stone, Abel Fernandez, Richard
Vera, Michael Tolan, Martin Garralaga, Tudy Lan-
clon, Mark Wilde

The Maze

AA — Mystery in 3-D

Showmen who’ve been saying all along that
the proof of 3-D couldn’t be had until a picture
came along that used stereoscopy as naturally
as photography, recording, or any of the stand-

URGES "VOICE" PROPAGANDA
IN TOP HOLLYWOOD FILMS

by J. A. OTTEN

WASHINGTON : j. Cheever Cowdin, re-
cently named to head the Government’s
overseas film program, would like Holly-
wood studios to put Government propa-
ganda messages into films destined ulti-
mately for overseas showings.

This is one of four ways he wants the
help of the U. S. motion picture industry,
he declared. The three other ways, he
said, are for the industry : to make films
for the Government program at rock-bottom
cost; to distribute some of the films through
private channels and pay rentals to the
Government; and to do a better job screen-
ing out films or sequences that might hurt
this country abroad.

Mr. Cowdin outlined these views, some
of which may provoke considerable industry
controversy, at a closed-door session of a
House Appropriations sub-committee on
June 24. His testimony was made public
only last Tuesday. The International In-
formation Administration is seeking $87,-
900,000 for the year ending next June 30;
film division would get $6,400,000. The
sub-committee has voted to give ITA only
$60,000,000.

Mr. Cowdin also told the sub-committee
that he had recruited an advisory group of
top-notch industry names, men who will
serve without pay “and give what amount
of time I ask to be given.” Frank Capra
will serve as chairman, Mr. Cowdin said,
and members include Frank Freeman, Mil-
ton Pickman, Edgar Mannix, Gunther Les-
sing, Roy Brewer, Walter Pidgeon, Richard
Breen, George Sydney, Carey Wilson,
William Pine, Sam Briskin, Charles Brack-

ett, Arthur Freed, and, as an ex-officio
member, ITA film consultant Cecil B.
DeMille.

He hopes soon to make a personal tour
of film libraries and other overseas opera-
tions of the film program, Mr. Cowdin said.
He urged that the film budget be greatly
expanded — possibly to twice the $6,400,000
request.

Mr. Cowdin said the idea of getting
propaganda messages into Hollywood films
is not entirely wishful thinking “because I
have discussed it with two or three studio
heads.” He indicated his approach would
be to draw up a list of “do’s and don’t’s” —
items that should be eliminated from Holly-
wood films as harmful to U. S. interests
and other items that should be included to
help the United States Government’s foreign
policy.

“You cannot ask someone who is making
a $4 million picture on private capital to
ruin his script,” Mr. Cowdin admitted. “But
I am close enough to that side of the busi-
ness to know there are an awful lot of places
in that script where a few lines can be put
in without hurting the value of the picture
and which will help fulfill some of our mis-
sions without any cost to us.”

Mr. Cowdin said he had discussed with
his new advisory committee the subject of
having Hollywood make films for the Gov-
ernment program, and “we figured out the
costs of making pictures with the top brains
of this industry. As against our current
cost, I find we can make them more
efficiently and cheaper, by the use of those
technicians and brains, than we can with
what we are doing.”

ard tools of the trade, can stop doubting 3-D
now. For that is the way stereoscopy is used
in this finely developed presentation of a story
in which a mystery of extraordinary but emi-
nently authentic kind is maintained throughout
a methodical building of suspense which ex-
plodes in the sharpest audience-response any
3-D film has elicited so far.

There is never a moment of letdown here
from the well mannered performance of a story
about intelligent people drawn together by right
motives in a castle where mystery utterly domi-
nates the activities of the household. Terror is
created logically, plausibly, and the explanation,
when it comes, fully justifies the anticipation.
It would be a fine job of melodramatic narra-
tive in any medium. It is a finer one in 3-D,
and certain to run up a record of box office
earnings pleasant to contemplate.

Richard Carlson’s is the top name for mar-
quee purposes in this country, and Veronica
Hurst’s doubtless is the best abroad, as she’s
a British actress not seen in American films
heretofore but sure to be hereafter. Others in
the relatively small but accomplished cast are
Katherine Emery, Michael Pate, John Dods-
worth, Hillary Brooke, Stanley Fraser, Lillian
Bond, Owen McGiveney and Robin Hughes.

William Cameron Menzies, a world-famed
stickler for artistic integrity, designed the pro-
duction and directed its performance, both

superlatively. The producer was Richard Heer-
mance, the executive producer Walter Mirisch,
and the script was by Dan Ullman, based on
a story by Maurice Sandoz. Harry Neumann’s
skilled camera made the most of the work of
all concerned.

The time is now. The principal scene is
Craven Castle, in Scotland, to which Carlson,
heir to the baronetcy, is summoned on the eve
of his marriage to Miss Hurst. When he writes
a strange letter in which he releases her from
their engagement, she and her aunt go to the
castle, where they find so much to bewilder
and frighten them that they send for friends
to come unannounced and join them. This is as
much of the synopsis as anybody ought, to tell.

Seeing it from the beginning should be
strongly recommended.

Reviewed at the Paramount theatre, Holly-
wood, on the afternoon of the opening day of
its run, which ought to he long and prosperous
if the enthusiasm of the cash customers meant
what it’s always meant since show business
started. Reviewer's Rating: Very Good. —
William R. Weaver.

Release date, July, 1953. Running time, 81 minutes
(not counting intermission). PCA No. 16453. General
audience classification.

Gerald McTeam Richard Carlson

Kitty Murray Veronica Hurst

Katherine Emery, Michael Pate, John Dodsworth, Hil-
lary Brooke, Stanley Fraser, Lillian Bond, Owen Mc-
Giveney, Robin Hughes

MOTION PICTURE HERALD, JULY II, 1953

VIEWS OPPOSED
ON 3-D PLAN

AT THE CONVENTION. Mississippi Theatre Owners met June 28-30 at the Edgewater
Gulf Hotel, Edgewater Park. Above, Teddy Sofomon, secretary treasurer; Don "Red"
Barry, star; Lloyd Royal, reelected president; and Alfred Starr, president. Theatre
Owners of America.

ALSO ON THE DAIS, at the convention banquet were, above, Colonel H. A. Cole; W. A.
Prewitt, Leon Roundtree, T. E. Williams, B. C. Cox, and B. V. Sheffield.

EDGEWATER PARK , MISS. : Opposing
views on the advisability of immediate in-
stallation of three-dimensional equipment
highlighted last week’s convention of the
Mississippi Theatre Owners held here at the
Edgewater Gulf Hotel. Alfred Starr, presi-
dent of the Theatre Owners of America,
urged the “greatest caution,” while Robert
Hoff, of the Ballantine Company, assured
exhibitors they “could not lose” by install-
ing immediately.

Complain About Losses

Lloyd Royal, who was reelected as presi-
dent of the organization, announced that the
diametrically opposed opinions on 3-D were
presented to afford the exhibitor an oppor-
tunity to gain perspective in the matter. Mr.
Royal said that the members should “seek
an in-between course that would be sen-
sible.”

In the discussions of the new techniques,
exhibitors complained about the losses that

they meet by playing three-dimensional films.
Pointing to the added expense of two oper-
ators, double carbon and transportation ex-
pense and a loss of volume because glasses
forced an increase in admission prices, they
said they usually wind up with “nothing”
for themselves after paying 50 per cent for
the film.

Protest Forced Short

A complaint was also made by some of
the members that distributors were en-
deavoring to force a 3-D short on exhibitors
as a companion to the 3-D features. Accord-
ing to the members, “an unheard of flat
rental or five per cent extra” was being
asked for the short.

Col. H. A. Cole, co-chairman of the tax
committee of COMPO, told the members
that the fight to eliminate the Federal tax
on admission was progressing encourag-
ingly.

The group expressed a desire to join in

conducting collections among theatre audi-
ences for the benefit of the civilian popula-
tion of Korea. Col. Cole had asked for co-
operation by the members to back this plan
proposed at the last meeting of the Council
of Motion Picture Organizations and spon-
sored by Dr. Milton Eisenhower, president
of the American Korean Foundation, and
brother of the President.

Two other major exhibitor complaints
lodged at the convention concerned pre-
release roadshow policies and the lack of
a reduction in insurance rates. Pre-release
contracts were attacked as box office failures
because of advanced prices. The Mississippi
State Rating Bureau was asked to explain
why there had been no reduction in insur-
ance rates since the adoption of safety film
by all companies.

Chicago Censor Board
Rejects Two Pictures

CHICAGO : During the past month, the
Chicago Police Censor Board rejected two
pictures, cut four and placed eight in the
“adults only” category out of 132 films sub-
mitted by distributors for licenses to exhibit
in Chicago. “Black Butterfly,” a Mexican
feature, and “Horror Maniacs,” an Ameri-
can film handled by Albert Dezel, were the
rejected pictures.

See Film Container
Of Glass, Liqht Weight

A new type of film can may be ready by
the year’s end. It may be made of glass
fiber. Tests are being made of fiber glass
plus fabric reinforcement. Although most
film shipments to theatres are on a service
fee, nevertheless enough remain on a weight
basis to make adoption of lighter containers
mean substantial saving. The International
Drive-In Theatre Owners Association, Dal-
las, has estimated savings would be $10,000,-
000 yearly.

Columbus and Cincinnati
Show 1952 Tax Gains

COLUMBUS : According to results of a
statewide survey released by Robert Wile,
secretary of the Independent Theatre Own-
ers of Ohio, Columbus and Cincinnati thea-
tres showed slight gains in municipal ad-
mission tax collections during 1952 as com-
pared with 1951. Most smaller towns and
all other major cities showed declines in the
1952 report. Cincinnati theatres gained 1.6
per cent while Columbus theatres gained .4
per cent.

Warner Votes Dividend

The board of directors of Warner Broth-
ers Pictures, Inc., has declared a dividend of
30 cents per share of common stock, payable
August 5 to holders of record July 15, 1953.

Buys Reissue Package

Loew’s, Inc., has purchased the reissue
package, “The Stranger” and “Woman in
the Window” for its Metropolitan Circuit,
it has been announced by Nathan Saland,
president of Independent Releasing Corp.

MOTION PICTURE HERALD, JULY II, 195?

House Unit
Cuts Money
For Films

WASHINGTON : A House Appropriations
sub-committee last week drastically cut funds
requested by the Eisenhower Administration
for the International Information Admini-
stration, including the film program.

The Truman Administration originally
had proposed appropriations of $114,500,000
for the fiscal year which started last Tues-
day. The Eisenhower Administration revised
this downward to $87,600,000, and the House
sub-committee voted to allow only $60,000,-
000. The unit had $88,300,000 for its oper-
ations during the 12 months ended Tuesday.

Meanwhile this week the resignation of
Dr. Robert L. Johnson as head of the unit
was announced. It was Mr. Johnson who
picked Cecil B. DeMille as chief film con-
sultant for the program and more recently
named J. Cheever Cowden to head the In-
ternational Motion Picture Service. There
was no indication that either of these ap-
pointments would be affected by the resig-
nation. Mr. Johnson said he was forced
to quit on doctor’s orders. In New York
this week John G. McCarthy, former vice-
president of the Motion Picture Export
Association, said that Mr. Johnson’s resig-
nation might have some effect on his de-
cision to accept the offered post as special
assistant director of the information office.

If the cut by the House sub-committee
should be sustained by the House and Sen-
ate, it would require drastic cutbacks in all
divisions, including the film program. The
motion picture division had asked $6,400,000
for the year, compared with $6,900,000 re-
ceived during the past year and $10,200,000
in 1952.

Elimination of the Government’s film pro-
gram and the liquidation of the overseas
film department were recommended by
Eugene Castle, former president of Castle
Films and now an investment banker.

In an attack on the Government’s inter-
national motion picture services, Mr. Castle
claimed that his plan would save $2,000,000,-
000. He also proposed drastic reduction of
the information unit by substituting a small
staff of trained newspapermen attached to
the State Department and embassies abroad
for the purpose of "interpreting our policies
and objectives through the foreign press
and radio.”

Mississippi Exhibitors
Form Film Company

Lloyd Royal and T. V. Garraway, Missis-
sippi exhibitors, have announced the forma-
tion of a film production company to be
known as Panorama Pictures Corporation.
The company has been specifically formed
to produce films in Mississippi. The initial
picture to be produced by Panorama will be
“Jesse James’ Women.”

Hope to Unblock Funds
Due Companies in Brazil

The goal of American film companies in
Brazil is $10,000,000 to $14,000,000, where
Robert J. Corkery of the Motion Picture
Association of America this week was nego-
tiating with Brazilian Government officials.
They want the money “unfrozen.” Mr.
Corkery ’s visit followed a Government order
prohibiting the Bank of Brazil from paying
the monies to the Americans out of the
$300,000,000 loan given Brazil by the U. S.
Export Bank, although the understanding at
the time of such a loan was that the Ameri-
cans would receive some or all of their
money. Brazil is the third largest market
abroad for U. S. films.

AA Officials Confer on
"Black Prince" Plans

Steve Broidy, Allied Artists president,
Harold Mirisch, vice-president, Walter
Mirisch, executive producer, and Allen K.
Wood, production manager, have returned
to Hollywood following last week’s confer-
ences on production plans for “The Black
Prince,” to be filmed in color by Techni-
color in England as a joint effort with Asso-
ciated British Pictures Corporation. The
four AA executives conferred with Robert
Clark, managing director in charge of pro-
duction for the British company, and H. G.
Inglis, his executive assistant.

"Hollywood Parade" Work
Proceeds Despite AFM

Despite some disagreement with the
American Federation of Musicians, the
American Broadcasting Company this week
continued its production of a pilot film, tele-
vision promotion for the industry, titled
“Hollywood Parade.” The AFM contends
the musicians should receive regular rates
for films to be telecast : $25 for each musi-
cian, and five per cent of program proceeds
should go to the AFM fund. ABC officials
are countering that revenues of the proposed
series are expected to go to the Motion Pic-
ture Relief Fund, in which the AFM also
participates ; and that only portions of films
are to be telecast.

Drive-In Owners to Plan
New Tennessee Group

DALLAS : Claude Ezell, founder of the
International Drive-In Theatre Owners
Association, met with the drive-in owners
in the Memphis area July 7 to plan a branch
for exhibitors in that area. Mr. Ezell has
announced that he has received requests
from owners in nine other states for assist-
ance in setting up state organizations as
part of the large international organiza-
tion.

Buys Long Island Drive-In

Joseph M. Seider, president of Prudential
& Playhouses Operating Company, has pur-
chased the 900-car Fifth Avenue Bayshore
Drive-In theatre, Bayshore, L. I., from
Michael Redstone.

HillsitletoHit

A ppeul My
Price Act

Despite the ruling by Judge Sidney Sugar-
man that the Robinson-Patman Act does not
apply to motion picture films, the plaintiff in
the Hillside Amusement case wiil make the
validity of the act one of the principal points
in the appeal that will be filed this month or
early in August. Judge Sugarman last Mon-
day granted the defendants their motion for
dismissal of the case, which charged dis-
crimination of film rentals against Jacob
Unger’s Mayfair theatre in Hillside, N. J.
Six distributors were named defendants.

Arthur C. Fink of counsel for Mr. Unger
declared in New York last week that an
appeal would be filed shortly after Judge
Sugarman signed the findings of fact and
conclusions of law in the dismissed case. The
plaintiff had claimed that the Robinson-
Patman Act, which deals with discrimi-
nation of prices, had been violated by the
distributors on the ground that the Mayfair
paid higher terms for pictures than those paid
by competing Warner Brothers theatres.

Judge Sugarman ruled that the Act did
not apply because pictures are licensed and
not sold as pieces of tangible merchandise.
It is the plaintiff’s contention that the Act
covers the distribution and licensing of pic-
tures and will base a large portion of the
appeal on that point. Named as defendants
in the case were Paramount, RKO Radio,
Warner Brothers, Universal, United Artists
and Loew’s.

Colliers Salutes Palance

The July 10 issue of “Colliers Magazine”
devotes a two-page spread to Jack Palance,
who co-stars with Robert Mitchum and
Linda Darnell in RKO’s first 3-D film,
‘Second Chance.”

Paul Graf Dies

Paul Graf, projectionist at the Buffalo
theatre, Buffalo, N. Y., died July 2 at his
home in Akron, N. Y. Mr. Graf had been a
member of the staff of the theatre since
1926.

Adele Lacey Futter

Adele Lacey Futter, 39, film actress dur-
ing the thirties, died July 4 in Mexico City.
Mrs. Futter, wife of producer Walter A.
Futter, had played opposite Eddie Cantor,
Hoot Gibson and Tex Ritter.

Robert W. Leicester

Robert W. Leicester, 63, one of the first
scenic artists in the industry, died July 1 in
Hollywood. Mr. Leicester started with
Essanay in 1908 and worked with many
companies before becoming business man-
ager for the Scenic Artists Local 816,
IATSE.

MOTION PICTURE HERALD, JULY II, 1953

iiiiiiiiiiiiiiiiiiiimimiimmiiiiiiiiiimiiiiiiiiiiiii

by WILLIAM R. WEAVER
Hollyzvood Editor

THE AVERAGE weekly earnings of the
craftsworkers in the studios topped again in
May the tabulations published in the
monthly report of the California Depart-
ment of Industrial Relations covering all the
labor performed and wages paid in the
State. The earnings averaged $107 for a
39.1 -hour work week. April earnings aver-
aged $114.67 for a 41.3-hour week. May
last year the figures were $112.61 and 41.4.

Nice work if you can get it, as the say-
ing g'oes. But traditionally unsteady, pro-
duction being the hill-and-dale type of
activity it is. And far from plentiful at
this point on the calendar, due to two major
circumstances.

Technological Revolution
Is Partly Responsible

First of these is, of course, the techno-
logical revolution. Second, although it’s
easy to get an argument about this, is the
fact that some of the pictures with the
longest shooting schedules are produced
elsewhere than in California. Both circum-
stances rest on sound reasons, but that isn’t
a fact of comfort to a craftsman who isn’t
working. Especially when, as now, an-
other set of statistics, compiled in the na-
tion’s capital, point out that living-costs are
higher in Los Angeles than anywhere else
in the country.

The labor organizations whose members
are caught in this combination of untoward
conditions have a date to sit down with
studio management in two weeks to discuss
wages and certain other features of their
employment contracts. Advance reports of
their intentions are to the effect that they
will ask a straight increase, as a matter
of course, and will seek some changes in
the health-and-welfare system inaugurated
last time around, but will put principal
emphasis on a pension proposal which has
some unique features. (To be sure, rigging
up a workable pension plan for an industry
where intermittent employment is the norm
sounds like quite a feat, but nowadays nearly
everything’s possible.)

Would Finance Plan
From Reissues, TV Sales

The pension plan the unions have been
talking about among themselves calls for
employing companies to finance pensions
out of proceeds from theatrical reissues and
from the sale of theatrical films to tele-
vision. Both the reissuing of films for
theatre use and the disposal of theatrical
films to television, labor leaders long have
held, are injurious to their interests, and

perhaps the designation of these practices
as the source from which pension money
would flow is indication that it’s been de-
cided they’re here to stay. There has been
no hint given, so far, as to how the employ-
ing companies feel about any of these
matters.

THE NUMERICAL letdown in Hollywood
employment is not reflected in professional
morale. On the contrary, the Hollywood
Coordinating Committee this week reported
an increase in voluntary cooperation in
patriotic-public service events for the first
half of 1953 as compared with the same
period in 1952. In the past half-year 647
performers made 1,536 free appearances at
302 such occasions, with entertainment for
the armed forces predominating as always.
Since 1946 a total of 2,699 players have
made 17,120 free appearances at 5,174
events.

1HE PRODUCTION rate, recently quite
brisk, subsided slightly during Independence
Day week, with only five features g'oing be-
fore the cameras and with nine others wind-
ing up on the stages. That leaves a total
of only 25 features in active production,
which isn’t a very substantial number at a
time when the backlogs are being dissipated
more rapidly than suits any branch of the
business.

The versatile George Pal began making
“The Naked Jungle,” in Technicolor, for
Paramount release. Byron Haskin is the
director, and the cast includes Charlton
Heston, Eleanor Parker, Abraham Sofaer
and William Conrad.

Paramount producer Mel Epstein started
"Alaska Seas,” with Robert Ryan, Jan Ster-
ling, Brian Keith and Gene Barry, directed
by Jerry Hopper.

Producer Collier Young of Filmakers Re-
leasing Organization went to work on “The
Bigamist,” with Ida Lupino directing her-
self, Joan Fontaine, Edmond O’Brien and
Edmund Gwenn.

Lindsley Parsons launched “Slade” for
Allied Artists, with Mark Stevens, Dorothy
Malone and Barton MacLane under the
direction of Harold Schuster.

Off in Hawaii Aubrey Schenck and How-
ard W. Koch began producing “Beach
Head” in PatheColor for United Artists re-
lease. Stuart Heiser is directing Tony Cur-
tis, Frank Lovejoy, Mary Murphy and
Edourd Franz in this undertaking.

U.A. Closes Rossen Deal

United Artists has completed a two-
picture contract with Robert Rossen, it has

THIS WEEK IN
PRODUCTION:

STARTED (5)

ALLIED ARTISTS

Slate (Lindsley Parsons
Prod.)

INDEPENDENT

The Bigamist (Filmakers
Releasing Org.)

COMPLETED (9)

ALLIED ARTISTS

Bowery Bloodhounds

COLUMBIA

The Nebraskan (3-D,
Technicolor)

Drums of Tahiti (Esskay
Pic. Co., Technicolor)

INDEPENDENT

Paris Model (American
Pic. Columbia
release)

Bait (Hugo Haas
Prod.)

SHOOTING (20)

COLUMBIA

The Caine Mutiny
(Kramer Co.,
Technicolor)

A Name for Herself

INDEPENDENT

Camuel Corps (Edward
Small Prod., 3-D,
Eastman Color, Wide
Screen, U.A. rel.)

Captain Scarface (Lin-
coln Pic., Aster
release)

Return to Treasure
Island (Wisberg-
Pollexfen Prod.,
PatheColor, Wide
Screen )

Marry Me Again (Alex
Gottlieb, Wide
Screen )

Hondo ( Wayne-Fellows
Prod., Warner re-
lease, 3-D Warner-
Color, All-Media)

Carnival (King Bros.,
RKO release, Color
3-D, Munich)

MGM

Rhapsody (Technicolor,
Wide Screen)

The Long, Long Trailer

Beachhead (PatheColor,
U.A. release,

Hawaii )

PARAMOUNT

Alaska Seas
The Naked Jungle
(Technicolor)

MGM

Kiss Me Kate (3-D,
Ansco Color)

PARAMOUNT

Red Garters (Wide-
Screen, Technicolor)

RKO RADIO

Son of Sinbad (3-D,
Color)

UNIV.-INT’L

Border River
(Technicolor)

Knights of the Round
Table (Technicolor,
CinemaScope,

London )

The Flame and the
Flesh (Technicolor,
Europe)

Crest of the Wave
( London )

PARAMOUNT

Knock on Wood (Tech-
nicolor, WideScreen)

REPUBLIC

Geraldine

RKO RADIO

The French Line
(Edmund Grainger
Prod., Technicolor)

20TH CENTURY-FOX

Hell and High Water
( CinemaScope,
Technicolor)

Story of Demetrius
( CinemaScope,
Technicolor)

UNIV.-INT'L

The Glass Web (3-D)

The Glenn Miller Story
(Technicolor)

(Technicolor)

iiiiiiiiiiimiiiiiiiiiiiiiiiimiiiiimiimiiiiiiiiiiiiii

been announced by Arthur B. Krirn, presi-
dent of U.A. Mr. Rossen will write, produce
and direct “Alexander the Great” and
“Fame” for U.A. release.

Paramount Signs Heston

Paramount Pictures has taken over Charl-
ton Heston’s contract from Hal Wallis, it
has been announced. The contract, a non-
exclusive, multiple-picture deal, goes into
effect with the star’s next Paramount film,
“Legend of the Inca.”

MOTION PICTURE HERALD, JULY II, 1953

May More
Jo End Tax
Exemptions

j-^eopie in 1. "Jlie tjewd

iiiiiiimiiiiiiiiiiiiiuiiiiiiiiiiimiimiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiitiiiiiiiiiiHimiiiiiiiiiimiiiiiiimiiiiiiiii

Edmund C. Grainger, Jr., son of E. C.
Grainger, head of the RKO Theatres
film booking department, has been ap-

Herman M. Levy, general counsel of the
Theatre Owners of America, has been
appointed as a member of a Connecticut
commission to study the potentials of the
aging, by Governor John Lodge.

H. Hugh Willis has been appointed direc-
tor of advanced instrumentation for Gen-
eral Precision Equipment Corporation, it
has been announced by Hermann G.
Place, president. Mr. Willis has been
engaged in nuclear energy work for the
Armed Forces for the past six years.

pointed as an attorney in the tax division
of the office of the Attorney General of
the United States.

Alex Evelove, who resigned last month as
studio advertising-publicity director of
Warner Brothers, has established his own
publicity and public relations organiza-
tion in Beverly Hills. He will handle
film and non-industry accounts.

WASHINGTON: The House Ways and
Means Committee may act shortly on an
Administration-backed bill to take away
special tax advantages given stars and other
film workers who go on lengthy overseas
film-making trips.

Under present law, persons who work
overseas for 17 or 18 consecutive months
are exempt from U. S. income taxes on their
overseas earnings. The law was passed in
1950 to get workers and technicians to work
overseas as part of the Government’s Point
Four and military base-building programs,
but has been widely used by film workers.

Early this year, the Treasury Department
asked Congress to take this privilage away
from film workers and other persons whom
Congress never intended to cover under this
provision, and Ways and Means Committee
Chairman Reed (R., N. Y.) promptly intro-
duced a bill to do this. But like the Mason
admission tax relief bill, this other measure
got caught up in the fight over excess profits
taxes, and Mr. Reed was reluctant to move
it lest the Senate tack on excess profits
tax extension. Now that the excess profit
tax fight has been compromised, it is thought
likely that Mr. Reed will move ahead on
both the Mason bill and the repeal of the
17-month provision.

Hunt, Industry Pioneer,

Sees Great Prosperity

WILDWOOD, N. William C. Hunt,
industry pioneer and head of Hunt’s Thea-
tres, predicted “a period of prosperity great-
er than any yet enjoyed by the industry” at
the recent opening here of Paramount’s
“Shane” at the Shore theatre. He said that
patrons liked three-dimensional and wide-
screen films with stereophonic sound and
urged exhibitors to “hop on the bandwagon”
and get equipment installed immediately to
keep up the public’s enthusiasm.

"Financial World" Cites
Film Company Reports

For the 13th year, the “Financial World”
has honored companies whose annual reports
are informative. Among such companies are
several from the motion picture industry :
Columbia, Disney, Loew’s, Monogram,
Paramount, Republic and 20th-Fox. The
next step is screening of 1,923 “Merit-
Rated" reports in 100 industrial classifica-
tions, and then, in September, there will be
the final selections, for bronze “Oscar of
Industry” trophies.

Company Changes Name

The Sterling Sign Company has changed
its name to Sterling Poster & Display Co.,
Inc., it has been announced by A1 Senft,
president.

Arthur W. Kelly, American representa-
tive for Charles Chaplin and former
United Artists vice-president, has entered
the radio transcription field as a producer
of serials.

Leon Roth, assistant publicity manager of
United Artists, has been named publicity
coordinator for United Artists in Holly-
wood, it has been announced by Max E.
Youngstein, vice-president. Mr. Roth
will work under the supervision of
Francis M. Winikus, national director
of advertising, publicity and exploitation.

Colonel Richard McDonnell has sub-
mitted his resignation as special repre-
sentative for the Motion Picture Associa-
tion of America. No replacement has
been designated for Col. McDonnell.

Leonard F. Erickson, vice-president and
director of McCann-Erickson, Inc., New
York advertising agency, has been named
head of the “Voice of America.”

Friedman Files Action
Against Distributors

PHILADELPHIA: Seeking $330,000 in
treble damages, Percy Friedman, owner of
the Yeadon theatre, Yeadon, Pa., last week
in Federal District Court filed an an*i-trust
action against all major distributors. The
brief filed by Mr. Friedman charges the
defendants are engaged in a conspiracy to
control the entire industry by illegally main-
taining an unfair releasing system. He
claims this practice has relegated his theatre
to the status of a subsequent run house.

Skiatron Claims Public
Would Pay Subscriptions

According to Skiatron Subscriber-Vision,
93.6 per cent of the first 1,000 persons see-
ing the first public demonstration of the
system, in New York June 9 through 17,
said they would pay nominal fees for out-
standing programs not now available. They
also indicated they most wanted Broadway
shows and new motion pictures. Arthur
Levey, Skiatron president, said the question-

Robert K. Hawkinson, assistant foreign
manager of RKO Radio, has returned
from a month’s tour in which he covered
all the company offices in the Latin Amer-
ica territory.

Charles E. Kurtzman, northeastern
division manager of Loew’s Theatres,
Inc., has been appointed as a member of
the Centennial Commission of the Boston
Public Library by Mayor John B.
Hynes.

Vincent Trotta, industry art executive,
has been appointed to supervise the judges
in the “Miss Universe” beauty pageant
in Long Beach, Calif.

Ricardo Canals, manager for RKO Radio
in the Philippines since 1949, has been
appointed supervisor of the Far Eastern
division, it has been announced by Alfred
Crown, foreign manager. Mr. Canals also
will serve as manager for Japan, replac-
ing William Schwartz, who has been
given a new assignment.

naires would be given the Federal Commu-
nications Commission when Skiatron applies
later this year for a commercial license.

3,309,757 TV Sets
Made in 5 Months

WASHINGTON : Television set production
during the first five months of this year
amounted to a record-breaking total of
3,309,757 sets, the Radio-Television Manu-
facturers Association reported. This was
more than 60 per cent ahead of the 1,957,083
sets produced in the like 1952 period. The
RTMA said May production amounted to
481,936 sets, close to the record for the
month of 486,000 sets, established in May,
1950.

Kentucky Drive-In Opens

The recently completed Knox Drive-In
theatre, Vine Grove Junction, Ky., was to
have opened its doors for the first time Wed-
nesday. The theatre, which has a 700-car
capacity, is owned and operated by Elizabeth
Amusement, Inc., headed by Robert T.
Enoch.

MOTION PICTURE HERALD, JULY II, 1953

ALBANY

Use by Fabian houses in Albany, Schenec-
tady and Troy of plastic, permanent-type,
reclaimable 3-D glasses proved moderately
successful in the first tests. Their practical
advantages over the original cardboard
variety were admitted, but they posed a
repossessing problem. Some losses were
reported from patrons who claimed the
glasses had been mislaid inside. The per-
centage varied. . . . Other theatres are
adopting the plan, first effected here at the
Strand, of separating the price of non-return
3-D glasses from the admission, to save
the money that would have to be paid in
the tax. . . . Bob Johnson, chief booker for
Smalley Theatres, Cooperstown, reported
"spotty business” during a visit here. . . .
Walter Reade and Harry Lamont waged,
in Kingston, an advertising battle on
"first” for a 3-D feature at a drive-in.
Their 9-W and Sunset drive-ins, respective-
ly, had simultaneous Sunday openings of
“Man in the Dark” and “The House of
Wax.” . . . Jules Perlmutter, Albany Variety
Club chief barker, will screen “Fort Ti” at
the Fort George drive-in, Lake George.

ATLANTA

William Richardson, president Astor Pic-
tures of Georgia, is back at his office after a
spell of illness. . . . J. E. Martin, Grand
theatre, Montezuna, Ga.. was in booking.
. . . Hap Barnes, ABC Booking Service,
back in Atlanta from a trip to New Or-
leans. . . . Also back from N. O. is Johnnie
Harrell, buyer for Martin Theatres. . . .
New equipment, including projectors and a
wide screen, has been installed in the Polk
theatre, Lakeland, Fla. . . . Arthur C. Brom-
berg, president Monogram Southern Ex-
changes, back from New Orleans. . . . Joan
Hunt, United World Films, back after a
two weeks’ vacation spent in Florida. . . .
Mrs. Howard Wallace, Sr., mother of How-
ard Wallace, president Wallace Films, is
in the hospital here. . . . Cecil Brown, man-
ager of the Charles theatre, Montgomery,
Ala., was married to Melba Griswold. . . .
Dick Granville has been appointed general
manager of WATL-AM radio station.

BOSTON

The Coca Cola Company will play host to
members attending the National Allied con-
vention for the entire evening’s entertain-
ment Oct. 6, with a New England shore din-
ner, Morton Downey’s stage appearance and
dancing. This affair highlights the conven-
tion which is to be held at the Sheraton-
Plaza Hotel October 5-7. . . . Stan Davis,
RKO salesman, will be married August 2
to Phyllis Brown of Newton at Temple
Emeth, Brookline. . . . Nate Hochberg has
sold the lease and equipment of the Jasan
theatre, East Weymouth, to Mario Cicchese,
former projectionist and manager, who will
reopen it in the fall. . . . Rein Rabakukk has

been appointed assistant to publicity director
Karl Fasick at Loew’s Boston Theatres,
replacing Stephanie Wagner, who resigned
to join the staff of radio station WCOP.

BUFFALO

Schine Chain Theatres, Inc., have asked
Federal Judge John Knight to extend the
time within which the corporation must dis-
pose of 25 theatres according to a court de-
cree of June 24, 1949. Judge Knight is
asked to hear arguments on the motion
July 20. ... A record number of exhibitors
and distributors from all parts of the Buf-
falo exchange area will attend the annual
Golf Tournament and Picnic of Tent 7,
Variety club of Buffalo, next Monday at the
Westwood Country Club. Chairman Jack
Goldstein is highly pleased over the number
of reservations. . . . James N. Bissell has
been appointed advertising manager of the
Glowmeter corporation, Buffalo corporation,
which recently received a big order to make
the screen for CinemaScope. . . . Howard
Carroll, Rochester exhibitor, who is operat-
ing the Capitol in Kodak Town two days
a week, in for a trip along Film Row and
a chat with old friend Arthur Krolick, UPT
district manager. . . . Paul H. Graf, 57, who
had worked in the booth at Shea’s Buffalo
ever since that ace Shea circuit house
opened, was found dead in bed in his Akron,
N. Y., home. . . . Menno Dykstra has closed
his Glen theatre in Williamsville, N. Y.,
for the summer. . . . Internal Revenue agents
have filed a tax lien against Buffalo 20th
Century, Inc., for income taxes for 1944
through 1949. The corporation formerly was
the owner and operator of the Century the-

WHEN AND WHERE

September 1-2: Annual convention, West
Virginia Allied Theatres Association,
Matz Hotel, Bluefield, West Virginia.

September 28-30: Conference, Texas
COMPO and International Drive-in The-
atre Owners Association, Adolphus
Hotel, Dallas.

November 12: Annual dinner, Motion Pic-
ture Pioneers, Hotel Astor, New York
City.

October 3-4: Fall board meeting, Allied
States Association, Sheraton-Plaza Hotel,
Boston.

October 5-7: Annual convention, Allied
States Association, Sheraton-Plaza Hotel,
Boston.

atre, which recently was leased to United
Artists Theatres circuit for a ten-year
period.

CHICAGO

James R. Grainger, RKO Radio presi-
dent, was in town to confer with the com-
pany’s midwest sales executives about the
forthcoming release of “Second Chance.”

. . . Ed Trinz passed through here on his
way back to the west coast after a quick-
trip to Spain and Portugal. . . . The Variety
Club of Illinois annual outing was blessed
with perfect golf weather after the city had
sweltered in near- 100 degree heat for almost
a solid week. . . . Jack Kirsch, Allied of Il-
linois president, spent a few days at his sum-
mer home in Michiana after his release from
Meyer House following an operation. . . .
Robert Thompson, night cashier at the Clark
theatre, was promoted to assistant manager.
. . . The Gold Coast, operated by Jerry
Gottlieb, has switched back to an American-
picture policy after several months’ experi-
mentation with foreign product. . . . Thea-
tres closing here during the month of June
included the Stanley Warner, Stratford;
Roscoe ; Bell ; Holly ; Rosewood ; Melrose,
Melrose Park, and others.

CINCINNATI

Three-dimension pictures, which have met
with satisfactory audience reception here,
were given additional impetus through a
20th Century-Fox invitational showing of
CinemaScope at the RKO Albee theatre, at-
tended by exhibitors, members of the press
and other interested persons. . . . The sum-
mer season of opera is on in full swing at
the Cincinnati Zoological Gardens. . . .
Murray Baker, who previously was assistant
manager and booker at the recently-discon-
tinued Northio Theatres headquarters here,
has been named salesman for Italian Films
Export, covering the Cincinnati and Indi-
anapolis territories. . . . The screen tower,
fence and other portions of the Scioto
Breeze drive-in theatre, near Lucasville,
Ohio, were considerably damaged by a heavy
thunderstorm, following a protracted record
heat wave. . . . Chakeres Theatres, with
headquarters at Springfield, Ohio, an-
nounced that the entire proceeds of $1,200
for a picture premiere at the Shelby theatre,
in Shelbyville, Ky., for which all employees
donated their services, were turned over to a
family of eight children recently orphaned
when their parents were fatally injured in
an automobile accident. . . . George Tur-
lukis, operating the neighborhood Roddville
theatre and the in-the-city Ramona drive-in
in nearby Hamilton, Ohio, is celebrating
his 35th anniversary in the theatre industry.

CLEVELAND

The CinemaScope demonstration in the
Hippodrome last Thursday (2) morning
( Continued on opposite page )

MOTION PICTURE HERALD, JULY II, 1953

( Continued from opposite page )
was attended by some 2,000 theatre men and
other guests, invited by 2Qth-Fox with the
majority opinion favorable. . . . Henry
Deutchlander has closed his Dianne theatre,
Valley City, for the summer. . . . Harry L.
Levey, pioneer projectionist and member of
Local 160, died. He started his booth work
at the old Liberty • theatre and closed his
career at the RKO East 105th St. theatre.

. . . H. B. Arstein, manager of Heights the-
atre until its permanent closing on June 30,
left for a vacation trip to the west coast.

. . . Rueben Nusbaum, associated with his
brother, Harold, in the Sunset drive-in,
Mansfield, died. . . . Larry Reese, 20th-Fox
shipper, left this week to enter the Army.

. . . 20th-Fox exchange holds its annual
picnic July 20. . . . Salesmen’s Club of
Cleveland holds its annual summer outing
July 18 at 20th-Fox salesman Sam Lichter’s
home on the Lake Shore.

COLUMBUS

In approving the Mosher bill to repeal
state censorship of newsreels, the Ohio
House of Representatives turned down an
amendment offered by Rep. Andrew C.
Putka, Democrat, Cleveland, which would
keep foreign-made newsreels under censor-
ship. . . . City officials are studying con-
demnation proceedings on the property at
the southwest corner of Third and Main
streets for a 160-car municipal parking lot.
This site is near the Southern and Gayety
theatres. . . . Frank Yassenoff held the
formal opening of his new Fifth Avenue
Auto theatre last week. The drive-in is the
only one in Franklin county to stay open all
year. . . . “Arena” did so well in its first
week at Loew’s Ohio that it was moved to
Loew’s Broad for a second week. Its oppo-
sition across the street at RKO Palace was
another 3-D feature, “The Charge at
Feather River.” . . . “A Queen Is Crowned”
had a fourth week at the World. . . . Sgt.
Richard K. Elliott, Pittsburgh, Penna.,
graduate of Denison University, Granville,
Ohio, has a leading role in “Quiet Day,”
first 3-D motion picture to be filmed on a
battlefield. Paramount is filming it in
Korea.

DENVER

The Colorado Western Slope Exhibitors
Assn, will hold their summer meeting at
Paonia, Colo., and as one feature will be
served a roast lamb and turkey barbecue by
Tom Poulos, owner, and Francis Gill, man-
ager of the Paonia. . . . Harvey E. Gollo-
gher, city manager at Canon City, Colo., for
Fox Inter-Mountain Theatres, has moved
to Denver to manager their Bluebird. . . .
Jim Ricketts, branch manager, and Peter
Bayes, publicity, went to Los Angeles to
attend a Paramount sales meeting. . . .
Charles P. Weber, Paramount exhange pro-
jectionist, and Addie Cooper, of the office
force, were married. . . . Atlas Theatres has
sold their interests in the Kar-Vu drive-in,
Brighton, Colo., to Elden Menagh, a part-
ner, who owns the nearby Star, Ft. Lupton,
Colo. ... Joe Kaitz, Preferred Pictures
booker, taking two weeks in active service
with the Navy reserves at nearby Buckley
field.

DES MOINES

Roy Hilliard Snyder, 73, father of Har-
riet Hilliard Nelson, radio and TV star,

was found dead in his room at the Lloyd
hotel in Des Moines last week. A coroner’s
report said Mr. Snyder apparently died of a
heart attack. . . . The Frontier drive-in,
operated by the Kerr theatre interests, has
opened for business near Knoxville. . . . Two
young bandits held up the cashier at the
Varsity theatre in Dubuque and escaped with
$65. . . . The new theatre at Creston has
been named the Skylark. . . . The Collins
theatre at Collins has closed because of a
business slump blamed on television.
Operator has been Glen Bender, who plans
to locate elsewhere. . . . Edward MacFarland
has resigned as manager of the Rialto at
Missouri Valley and will be replaced by
Mrs. Mary Warrick. . . . The Page at Shen-
andoah has installed both 3-D equipment and
stereophonic sound and is said to be the first
theatre in the state to have both. . . . RKO
held a surprise birthday party for Irwin
Godwin, shipper. Godwin was called to the
office on his day off thinking there was an
emergency. The party resulted.

DETROIT

3-D and wide screens have filled theatre-
row for a change. “Fort Ti,” Palms; “San-
garee,” Michigan, and “Arena,” at the
Adams, in addition to “This Is Cinerama,”
now in its 15th week. . . . This is a new run
record for the Music Hall which played
“Fantasia” 1 1 weeks in 1940. . . . Manager
Richard Sklucki, Birmingham, United De-
troit house in Birmingham, Mich., is re-
modeling a piece at a time without disturb-
ing business. . . . Birmingham is again
featuring kid type matinees on Thursdays,
alternating with the Bloomfield, another LTD
shop down the street. Thayne Lentz, man-
ager of the Bloomfield, along with Sklucki,
keep a close ear to PTA and other civic
groups so local small folks won’t catch any-
thing from whodunits. . . . Seven of the
Cinerama usherettes speak French, German,
Italian, Spanish and Swedish.

HARTFORD

Lou Cohen, manager, Loew’s Poli, Hart-
ford, has been elected a director of the
Hartford Chamber of Commerce. . . .
George Hudak has been named relief as-
sistant manager for the E. M. Loew thea-
tres in the metropolitan Hartford area. . . .
John E. Petroski, manager, Stanley Warner
Palace theatre, Norwich, Conn., and Mrs.
Petroski are marking their 12th wedding
anniversary. ... Joe Dolgin, film buyer-
booker for the Pine drive-in, Waterbury,
Conn., and treasurer, Park St. Investment
Co., Hartford, and Mrs. Dolgin will make
their first visit to Los Angeles this fall.
Their daughter, Barbara, is attending sum-
mer sessions at Columbia University, New
London. . . . Martin Miller, son of Herman
Miller, cashier at the MGM exchange, New
Haven, has been awarded a scholarship to
Yale University. He graduated from New
Haven’s Hillhouse High School with
honors. . . . John Sirica and Fred Quatrano,
operators of the Win and Lido theatres,
Waterbury, Conn., have closed the Win for
an indefinite period.

INDIANAPOLIS

The Allied Theatre Owners of Indiana
board of directors will hold a noon luncheon
meeting at the Hotel Lincoln here July 14.
. . . Trueman Rembusch, ATOI president,
attended meetings on the amusement tax

repeal campaign in Cincinnati and Cleveland
last week. . . . Milt Ettinger, office manager
at Columbia, is going to U-I in the same
capacity, replacing Russell Bleek, who now
is with Allied Artists. . . . The Fine
Brothers, Evansville exhibitors, will hold an
outing for film men Tuesday. . . . Dr. M.
Sandorf is installing 3-D equipment at the
Twin drive-in, first to have it outdoors in
this area. The Cantor circuit’s new drive-
in on U. S. 52 also will be set for 3-D when
it opens this summer. . . . Dale McFarland,
general manager of Greater Indianapolis,
took his house managers to Cincinnati for
a CinemaScope demonstration Tuesday. . . .
Tilden N. Luckett, 76, veteran French Lick
theatre owner, died June 28'.

KANSAS CITY

Hot and dry weather continues ; an occa-
sional day with temperature dipping down
into the high eighties. Theatres generally
draw good attendance through good air con-
ditioning, plus good attractions. Deficiency
in either results in a drop in patronage. . . .
Fox Midwest’s downtown Esquire (800
seats) is being equipped for 3-D and other
new processes. It may be used as second
run downtown for these pictures. . . . The
downtown Roxy, Durwood circuit, is again
on a subsequent run basis, after a few weeks
of first run. . . . Drive-ins had a poor week
with the first onslaught of the hot weather ;
but have been doing better and better as
the summer advances. Nearly all had fire-
works of some kind — several had formal
fireworks displays — for the Fourth. . . . Fox
Midwest theatre managers are in the midst
of promotions for the annual Rhoden Week
in honor of the company’s president.

LOS ANGELES

Film Row was shocked to hear of the
death in Phoenix of Harry L. Nace, Sr.,
67, who was the head of the Harry L. Nace
Theatres, operating in Arizona. Nace also
owned radio and TV stations in Phoenix.

. . . The Cameo theatre, El Sereno, has been
reopened by P. B. Hackey, Jr., with the buy-
ing and booking handled by Exhibitors
Service. . . . Burton Jones, operator of
the Helix, La Mesa, threw open the doors
of the theatre to demonstrate the new stereo-
phonic sound and panoramic wide screen
equipment that his house now has installed.

. . . Dallas Day has resumed operation of his
Rodeo drive-in, Tucson, after rebuilding the
screen tower, which was destroyed recently
by fire. . . . Alex Cooperman, IFE district
manager, off to Salt Lake City on company
business. . . . Noe Renkema has re-opened
the Century, L. A., with both a stage and
screen policy, and has assigned the buying
and booking chores to the Roy Dickson of-
fice. . . . Emma Brower, Warner Bros, as-
sistant cashier, and Margaret Scott, PBX
operator from the same office, trained out to
Chicago on vacation.

LOUISVILLE

William Powers has taken over the opera-
tion of the Lakeview drive-in theatre, Pen-
dleton, Ky., from R. H. Totten. . . . Phil
Chakeres of Chakeres Theatres, Inc.,
Springfield, Ky., flew in for one of his rare
visits to the row here. He was accompanied
by Gene Lutes, district manager for Cha-
keres Kentucky Theatres. . . . Some of the
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MOTION PICTURE HERALD, JULY II, 1953

(Continued from preceding page )
suburban neighborhood theatres in the
Louisville area have announced their mid-
week summer price policy of 25c for adults
with the children’s fare at 9c. . . . With the
drive-in’s running full swing, with the new
drive-in’s under construction in the area,
and with the increased activity in three-
dimension, and wide screen projection, with
Stereophonic Sound, equipment sales have
been very much above normal. . . . A. B.
McCoy resigned as manager of the East
drive-in theatre here to accept a similar job
at the Fourth Avenue Amusement Co.’s
neighborhood Uptown theatre. ... A famil-
iar landmark on Fourth Street for a great
many years, the subsequent run Rex theatre
owned by the Fourth Avenue Amusement
Co. has been torn down to make room for
a new Fourth Street Store, which will get
under way shortly.

MEMPHIS

Three more wide screens have been in-
stalled by Memphis theatres. Plaza, owned
by Augustine Cianciolo; Idlewild, owned by
Edward O. Cullins and Nate Evans; and
Airway theatre, owned by L. A. Weaver and
Kemmons Wilson, have completed these in-
stallations. These make eight Memphis
theatres now operating with wide screens.

. . . W. C. Sumpter, owner, opened his new
Lepanto drive-in at Lepanto, Ark. . . . Cal-
vert drive-in, a new unit, was opened at
Calvert City, Ky., by Paul Liar rington,
owner. . . . W. C. Ruffin Jr., president of
Tennessee Theatre Owners, was in town to
preside over a board meeting to discuss the
annual convention later this year. ... Ned
Green, owner of Legion, Mayfield, has com-
pleted his new Cardinal drive-in at Mayfield
and it is open to the public. . . . Bill Hender-
son, of Charlotte, who has been with 20th-
Fox for over 14 years, has resigned as sales-
man to accept a position with Bob Saunders’
Theatre Booking and Promotion Company
with headquarters in Memphis.

MIAMI

“Stalag 17” had a southern premiere at
the Royal and Variety theatres. . . . The
Carib, Miami and Miracle will unveil their
wide vision screens with the showing of
“Fort Ti.” . . . Martin and Lewis, with
Stereophonic Sound, are being held over for
a second week at the Paramount, with their
film, “Scared Stiff.” . . . The Boulevard
drive-in planned a gala day of festivities for
the “4th” with circus acts, square dancing
and a mammoth fireworks spectacle all on
the program, according to Mgr. Burt Clark.

. . . Eugene Race, manager of the Cameo, got
plenty of advance advertising for his show-
ing of “The Desert Rats” when he promoted
the cooperation of Truly Nolen, Extermina-
tors. . . . The Harlem, managed by Bob
Brower, is almost completely finished with
extensive alterations which have included
modernizing of the lobby and confection area
and a complete face-lifting of the exterior.

. . . The Mitchell Wolfsons were in Vermont
recently for the graduation of their daugh-
ter, Frances, from Bennington College,
where she majored in drama.

MILWAUKEE

Exhibitors of Wisconsin Allied in the
south western and north western parts of
the state will hold a group picnic at Sparta,
Wisconsin. Chairman for the south western

group is Floyd Albert of Mount Horeb,
while George Johnson, Stanley, Wis., is
chairman for the north western exhibitors.
. . . Among the eight Indians that appeared
here for Universal’s “The Great Sioux Up-
rising” was Chief Iron Shell of the whole
Sioux nation. Traveling with the Indians
to promote the movie was starlet Jeanne
Blaire, newly signed by Universal. . . . The
Climax theatre here is now being operated
by Peter Doctor, a former projectionist. . . .
Walter Baier opened his new Highway No.
18 drive-in at Jefferson June 24. . . . The
board of directors of the Variety Club, Tent
No. 14, held their meeting at the offices of
Wisconsin Amusement Corp. ... A new
booker at the Warner exchange here is Carl
Schmidt, who formerly was in the shipping
room. . . . Another 3-D picture opened here
last week, “The Maze,” an Allied Artist
production of a mystery story, at the War-
ner theatre.

MINNEAPOLIS

Bert Johnson has opened his new Sioux
drive-in at Rapid City, S. D., and S. E.
Heller and associates opened their new 400-
car Pine Tree drive-in at Grand Rapids,
Minn., this week. ... In a change of per-
sonnel on Film Row, Burt Zats, formerly
of Paramount, will become booker for In-
dependent Film Distributors, and Marty
Braverman, formerly of Independent Film,
is the new office manager and booker for
Monogram. . . . Paramount Week Aug. 30-
Sept. 12 locally will mark the 1 5th anni-
versary of two bookers, George Engelking
and Joe Rosen, with the exchange. . . . Vern
Yocum, booker at Universal, has resigned.
Kenny Bergman, former student booker at
the exchange, has been promoted to book-
er. . . . Saul Malisow, 20th-Fox branch man-
ager, is vacationing in Cincinnati. . . . Art
Anderson, Warner district manager, was in.

. . . Mrs. Esther Turner, office manager at
National Screen, is vacationing at Rice
Lake, Wis. . . . Richard Krittene has been
named assistant manager of the RKO Or-
pheum at Dubuque, Iowa. . . . Ralph Pielow,
Jr., of Quad-States Theatre Service was
married to Mildred Sears.

NEW ORLEANS

Harold “Babe” Cohen, Lippert Pictures
franchise distributor and his employees, Bob
Saloy, Roy Nicaud, Larry Dufour, Mrs. Lee
Nickolaus, Antoinette Bollhalter and Fred-
die Felger organized a company for the sale
and distribution of Bio Carbons which they
have trade named Bio Carbons of la. It is
a German made product. . . . Maxine D’Ar-
court has an altar date with Andy Bevelo
some day soon. Both are with Theatre
Service Company. . . . Joy N. Houck, presi-
dent of Joy Theatres, Inc., revealed that
the Strand, his local showcase, will shut
down operation July 13 for extensive remod-
eling, refurbishing and the installation of
a new screen. Reopening is scheduled for
July 24 under the new name of Paramount-
Houck theatre. . . . Wm. Holiday, manager,
said that the Saenger in Biloxi was crowded
with MTOA conventioners for the prevue of
Paramount’s first 3-D “Sangaree.” . . . New-
lyweds Mr. and Mrs. Noble Dale Siplar,
Dallas, Texas, spent several days here
honeymooning. Mrs. Siplar was formerly
Ruth Morgan, daughter of Mrs. John Mor-
gan Jenkins, co-owner of independent Film
Exchanges located here in New Orleans, in
Memphis and Dallas.

OKLAHOMA CITY

“Shane has been held over for the third
big week at the Criterion theatre. . . . Aldo
Ray appeared in person on the stage of the
Center theatre, July 1 in connection with the
opening of “Let’s Do It Again.” . . . Chil-
dren are admitted free, at the Coronado
theatre, when accompanied by their parents.
. . . The Sky- Vue drive-in theatre, Ponca
City, Okla., celebrated its third anniversary
June 24 and 25. . . . Jake theatre, Shawnee,
Okla., had a Kiddies Matinee June 27, when
kiddies were admitted for 5 cents. . . . The
Hornbeck theatre, Shawnee, Okla., had
Ladies Matinee July 1, when all ladies were
admitted for 40 cents from 1 to 6 p.m. . . .
A new 406-car drive-in theatre opened at
Webb City, Mo., June 26, under the manage-
ment of Howard Larsen, owner of the Civic
and Larsen theatres. It is called the Webb
City drive-in.

PHILADELPHIA

Stanley Warner Theatres is equipping its
screening room for the showing of 3-D
films. . . . Tri-State Buying and Booking
Service here is now servicing George
Gatta's Dushore, Dushore, Pa., and his Wy-
alusing in Wyalusing, Pa., and will service
the new drive-in he is building in Dushore.

. . . Harold Flanagan, former student man-
ager at the Strand, Scranton, Pa., received
his legal degree from Georgetown Univer-
sity, Washington, D. C. . . . Robert Murrin
has been advanced to relief manager for
the Comerford and Capitol in Scranton, Pa.
. . . Mel Geller and Sam Taustin decided to
keep their Brandywine drive-in, Wilming-
ton, Del., closed on Sundays, and to use it
as a parking area for their adjoining Speed-
way, although a recently-enacted State law
would permit the drive-in to operate on
Sundays. . . . Comerford suburban theatres
in upstate Pennsylvania are making provi-
sions for special matinees each Wednesday
during the summer with appropriate features
and cartoons. . . . The 20th Century-Fox
Family Club, employees social unit held its
annual outing in Atlantic City, N. J., last
week. . . . Marty Wolf, Altec assistant gen-
eral sales manager, is covering the Eastern
Pennsylvania territory to check recent in-
stallations. . . . Roslyn, West Grove, Pa.,
closed permanently.

PITTSBURGH

Movie folk here are fully behind the ef-
forts of Senator Gillette of Iowa in his ef-
forts to eliminate the 20 per cent Federal
amusement tax and bundles of telegrams
are going to Washington. . . . The Squirrel
Hill theatre moved in on the sneak preview
business and set up the incoming “The Jug-
gler” for the customers. . . . Harold O’Don-
nell, Art Cinema projectionist, and Martin
Torreano, who operates at the Schenley the-
atre in a similar capacity, attended the The-
atrical Mutual Association convention at
Toronto, Can. . . . John Dillon has been
named to take over for vacationing Charley
Eagle, veteran manager of the Stanley the-
atre. . . . Jack Kiefer, who served as
manager of the now closed Enright theatre,
has been sent to Jamestown, N. Y., in a
relief role. He then will move over to
Olean, N. Y., in a similar capacity. It is
rumored that the Enright will be the house
chosen for the Cinerama setup, when that
process starts in Pittsburgh.

(Continued on opposite page )

MOTION PICTURE HERALD, JULY II, 1953

PORTLAND

Business is still perking at nearly all first
run theatres here this week. . . . Nick
Schenk’s daughter opened a 20-city nitery
tour at Amato’s Supper Club. . . . MGM
field man Ted Gallenter was up for the
opening. . . . Journal drama editor Arnold
Marks set for a two-week vacation. . . . Film
people will guest-write his column for the
14 days. . . . Orpheum theatre is getting the
first CinemaScope screen on the Coast next
week. . . . Walter Hoffman, Paramount field
man, in town for a few days. “Shane” is
scheduled into the Orpheum on new screen
the middle of July. . . . Jerry Hoffman, Co-
lumbia publicity man, in town en route to
Hollywood after a two-week vacation in
Washington state and Canada. . . . Mayfair
theatre manager, Herb Royster, is off on a
well earned vacation.

PROVIDENCE

Farley Granger, who visited this area to
make his first appearance on any stage at
Mautunuck’s Theatre-By-The-Sea in “John
Loves Mary,” won a host of new friends
plus considerable publicity. . . . Arthur
Treacher and Dagmar followed Farley
Granger, co-starring in “Loco” at the Thea-
tre By-The-Sea. . . . Viveca Lindfors and
Barry Sullivan opened at the Somerset
Playhouse in “Bell, Book and Candle.” . . .
Pat Wilkes made a personal appearance at
the Newport Casino theatre in “Call Me
Madam.” . . . E. M. Loew’s drive-in has add-
ed a merry-go-round for the kiddies. . . .
The Strand again raised prices when it pre-
sented “Sangaree,” a 3-D attraction. . . . A1
Clarke, former manager of the Majestic,
who recently entered the commercial real es-
tate business, is handling some of the biggest
properties in this area. He is also local
representative for one of the country’s larg-
est real estate organizations, specializing
in industrial and commercial holdings.

SAN FRANCISCO

“Shane” is the picture of the week and
packing them in at the Paramount. Earl
Long, United-Paramount district manager,
spearheaded a publicity and advertising
campaign that resulted in top business at his
2,735-seat house. . . . Theatre transfers in-
clude Barney Guernette taking over the
Crystal, Salinas, from Peters & Borg. Si
Gertz, former operator of the theatre, will
now devote his full time to P & B’s El Rey
in Salinas. . . . L. E. Blair has taken over
the Vacaville, Vacaville, from D. P. Isa-
bella. . . . Michael “Micky” A. Carney, who
booked during the Pathe days, has returned
to the industry as booker at RKO, replacing
Johnnie Martinez, resigned to take a milk
route out of Palo Alto. . , . Casper Kannell
went over from Warner Brothers to Re-
public as booker. . . . Mel Klein, Columbia
sales manager, has set July 18 as his wed-
ding date with Joan Curtaz, a ballerina.

ST. LOUIS

The West End theatre, which has been
closed since early in June, has been pur-
chased by Tommy James, owner of the
Comet, Strand and Douglas theatres. The
West End was formerly operated and owned
by the St. Louis Amusement Co. Reported
purchase price was $85,000. . . . The Para-
mount Film Distributing Co. has purchased
the building housing its offices at 2949-53

Olive Street. . . . Raymond W. Wild, presi-
dent of the Colosseum of Motion Picture
Salesmen of America met with members of
the St. Louis Loge. . . . Harry C. Arthur,
Jr., president & general manager, Fanchon
and Marco, off to Los Angeles. . . . The
1953 annual meeting of the MPTO of St.
Louis, Eastern Missouri and Southern Illi-
nois, is scheduled for the Sheraton Hotel
in this city the middle of December, it is an-
nounced.

TORONTO

Record Variety Night crowd of 17,437
persons gave the club a profit of $50,000.
In addition, a program turned out under the
editorship of James Nairn gave the club
another $30,000. . . . With the opening of
Warners 16 mm. department, Ralph Foster,
formerly of the National Film Board and
Cardinal Films, was appointed head of the
small-gauge division. . . . Strong opposition
to the Sunday showing of free National
Film Board 16 mm. documentaries is being
brought forth by the projectionists’ union
who, through the labor council, will make
a strong protest to the Toronto City Coun-
cil. The Lord’s Day Alliance, an organiza-
tion to see that Sunday is strictly observed,
is also giving the plan to show the films
strong opposition. . . . Benefit show spon-
sored by the Sarnia Theatre Managers’ As-
sociation at the Odeon in London, Ont.,
raised $450 for tornado relief in Sarnia. . . .
Barry Carnon, formerly manager of the
Fairlawn, has taken over the reins of the
Hyland, replacing Vic Nowe, who has moved
over to take on the flagship of the Odeon
circuit, the Odeon Toronto. Gerry Saunder-
son resigned to devote more time to his radio
activities, and will be taking on the manage-
ment of the Towne Cinema.

VANCOUVER

Michael Moran, veteran projectionist at
the Metropolitan, Regina, Sask., and a mem-
ber of Famous Players 25-year club, died
in his 68th year. . . . Wally Hopp, manager
of the Cinema, is on a vacation in Saskat-
chewan visiting his parents. . . . Bill Grant,
RKO booker, and Jackie McDermott, MGM
secretary, holidaying in California. . . . Tish
McLeod, daughter of Roy McLeod, manager
of the Odeon-Hastings, and a member of the
dancing troupe at Radio City Music Hall,
New York, was married to Marvin Shei-
ness of Brooklyn, N. Y. The groom is at-
tached to the engineering staff at NBC
television. . . . Gwen Hanlon resigned as
head usherette at the Vogue and was re-
placed by Betty Lipsack. . . . Bert Brown
has retired from the Odeon-Hastings staff
and will make his home in California. . . .
Stanley Creech has added 75 seats for walk-
in patrons at his Skyway drive-in near
Kamloops in the B. C. interior. . . . Jim
Fitz-Henry, manager of the Odeon-Haney,
resigned and is moving with his family to
Los Angeles. . . . Mrs. Evelina Holt, a mem-
ber of Famous Players 25-year club, and
for the past 31 years employed at the Beach
theatre, Toronto, has retired and will live
with her daughter in Vancouver. . . . Ivan
Ackery, Orpheum, and Charlie Doctor, Cap-
itol manager, were honored by Toronto
showmen on their way back to Vancouver
from New York. . . . Willard Adamson,
manager of Astral Films, is in a military
hospital where he is expected to undergo a
major operation.

Warner Brothers Enters
16mm Field in Canada

TORONTO : Warner Brothers Pictures has
entered the 16mm field in Canada, it has
been announced by Haskell M. Masters, the
company’s Canadian general manager. Ralph
Foster, former deputy commissioner of the
National Film Board, has been appointed
sales manager of the new division. A War-
ner catalog is now in preparation which will
list a library of more than 150 films, 70 of
which are dubbed in French. Warner Broth-
ers is the third Canadian branch of an out-
side distributor to handle its own theatrical
16mm film.

100 Foreign Delegates to
Attend U.A. London Meet

Approximately 100 foreign delegates from
17 countries in Europe, the Near East, India
and Australia are scheduled to attend the
United Artists European sales convention
July 20 in London, it has been announced by
Arnold M. Picker, vice-president in charge
of foreign distribution. Mr. Picker is cur-
rently in England to supervise arrangements
for the five-day sales meeting over which he
will preside. Robert Benjamin, U. A. chair-
man of the board, and Max Youngstein,
vice-president, also will attend the meetings,
it has been announced.

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MOTION PICTURE HERALD, JULY II, 1953

BRITISH DEFINE
TV PRINCIPLES

Outside Groups Enunciate
Views on the Content of
Commercial Programs

by PETER BURNUP

LONDON: A Government statement in
Parliament last week defined “some of the
broad principles on which commercial tele-
vision might operate." The controlling body,
it was stated, would ensure programmes
conformed to the standards to be laid down.

That word “might” may well prove to
be the operative provision, for if — and when
— authority permits a rival to the BBC’s
monopoly to operate, the hedging-in ordi-
nances are likely to discourage easy-think-
ing sponsors. The odd alliance of church,
college, trades-unions and other well-mean-
ing busy-bodies have shaken the Churchill
Government out of its original intentions.

Archbishop Stresses TV

The Archbishop of York, as one example
only, devoted the greater part of his address
to his Diocesan Conference last week to the
future of television, which within the next
few years would, he said, almost certainly
be the most powerful of all instruments in
forming the opinions of the country.

He said : “There are some inventions
which ought never to be left to the dis-
cretion of private individuals or wealthy
industries; we should never allow an indi-
vidual or a great commercial enterprise to
possess an atomic bomb. But the destructive
influence of television in the hands of foolish
and unscrupulous men might ultimately do
more harm to national life than even this
deadly weapon. It is the very greatness of
this invention that makes me afraid of its
misuse.”

In the Government’s long awaited policy
statement, five main conditions were laid
down under which commercial TV “might”
operate in this country. They will be further
elaborated in a White Paper to be published
in the autumn. On the basis of this there
will be further debate in the House of Com-
mons.

Reiterates Earlier Decision

The general effect of the statement was
to reiterate adroitly the earlier decision of
the Government “to permit some element of
competition” in television but with equal
adroitness to make clear that BBC was first
favorite.

The five hedging-in conditions are :

1. The number of stations under any one
ownership or control would be limited ;

2. The number of stations licensed in the
first instance would not be large and they
would be of low power and limited range ;

3. A controlling body would advise the

Postmaster-General on the issue of licenses
and would see that programmes conformed
to standards laid down. It would have power
to call for a script before presentation, to
warn a station which had offended and to
recommend the suspension of a license of an
offender station.

4. The owner and operator of a station,
whose license would be at stake, and not
the provider of programmes or the sponsor,
would be responsible for broadcasts ;

5. The license or the controlling body
might specify the maximum number of hours
the station should operate, any restrictions
on the advertising of products and the time
and the place to be allotted to advertising
matter in any programme.

No Fun Ahead with TV

Clearly, the Britons aren’t going to have
the fun and games with their commercial
TV which they might have anticipated.
Moreover, although the Government has
omitted to repeat among its five conditions
the ban on broadcasts dealing with religion
or politics, it is known that such a ban will
undoubtedly be imposed.

Oddly enough, the film men now appear
to have the door held wide open to them ;
if that indeed be their wish. In all the
hu-ha, an all -industry committee under the
guidance of C.E.A.’s technical adviser,
Leslie Knopp, makes good progress in its
investigation into the technical possibilities
of large-screen TV in theatres. The Knopp
report may be expected within the next two
weeks. All the film trade asks for, momen-
tarily at least, is the right to transmit into
its own theatres. Even the Archbishops, it
is understood, are disposed to applaud such
a process.

Trouble with “Knights”

MGM has run into heavy weather with
the production of “Knights of the Round
Table” at Elstree following a strike of extra
people. The strike began when 89 of about
200 extras demanded their day’s fee be
raised from two to three guineas in view
of the special costumes they were called
upon to wear.

Studio officials claimed that the working
agreement between the British Film Pro-
ducers Association and the Film Artistes
Association provided for no such special fee
but laid down machinery for conciliation
talks and, if necessary, arbitration. The
crowd of people refused to talk and with-
drew all members from the “Knights” set
and those of two other MGM films now
shooting here.

Shooting schedules have been adjusted so
that, to date, only one day’s work has been
lost on “Knights.” But, failing a settlement,
a serious hold-up will inevitably occur. The

BFPA, of which MGM is not a member,
has intervened in the dispute.

The 30th annual report of the Cinemato-
graph Trade Benevolent Fund shows that
in the year to March 31, £63,628 was ex-
pended on relief pensions and the upkeep
of its two homes. In the first year of the
Fund’s existence expenditure amounted to
£339. Chief sources of income were listed
as follows: Royal Film Performance £26,-
861 ; Cinema Day collections £13,813; volun-
tary staff contributions £13,004; other char-
ity performances £4,820.

Associated British Picture Corporation’s
C. J. Latta has returned here from his in-
duction in Hamburg of the first European
Variety Club tent. Induction ceremonies
took place at the Atlantic Hotel. They were
followed by a gala variety performance, the
proceeds of which will be devoted to a trust
fund for the two young daughters of Wilhem
Gottling, who lost his life following the East
Berlin riots. Chief barker of the Hamburg
tent is Freederich M. A. Mainz.

In a press conference here Tuesday, Sir
Philip Warter, chairman of Associated Brit-
ish Picture Corporation, became the first
executive this side to attribute current box
office recessions directly to television.

Sir Philip revealed that total attendances
at ABPC theatres for the completed year
fell 5.45 per cent below last year and 16
per cent below the 1946 total. The main
reason for the declines, he said, is television.
The greatest reduction in business has oc-
curred during the peak television hours and
he added that it was doubtful that the pres-
ent weekly attendance would long continue.

Commercial television, said Sir Philip,
will inevitably have serious consequences on
every section of the film industry. Regarded
as his most serious statement was that
despite the Government Film Finance Cor-
poration and the Eady Levy, ABPC pro-
duction still remained uneconomic.

Eros to Reissue MGM
Features in England

LONDON : Eros Films has signed a contract
to reissue 24 MGM features in England
during the next 18 months to two years, it
has been announced by Phil Hyams, chair-
man of Eros. This is the first time that MGM
has permitted an outside firm to distribute
its features in England.

Levy in British Talks

Herman M. Levy, general counsel of the
Theatre Owners of America, is currently
visiting England, where he plans to have
meetings with the officers and members of
the Cinematograph Exhibitors Association
in order to discuss industry problems.

Set "Sword" Premiere

The world premiere of Walt Disney’s all-
live film in color by Technicolor “The
Sword and the Rose,” will be held July 23
at the St. Francis theatre, San Francisco.

MOTION PICTURE HERALD, JULY II, 1953

. . . the origins! 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.

Allied Artists

ARMY BOUND: Stanley Clements — Slick little
action picture that pleased the fans. Sometimes the
second feature saves the day, and in the case of this
particular program it did. Scenes of midget auto
racing are thrilling. Business good. Played Friday,
Saturday, June 5, 6. — Lew Young, Norgan Theatre,
Palmerston, Qnt., Canada.

FLAT TOP: Sterling Hayden, Richard Carlson —
This was tops here. Why have 3-D? The play’s the
thing! — J. Knowles, Palace Theatre, Gastonia, N. C.

WACO: Wild Bill Elliott — Fair western in sepia
tone. If you want a western for a weekend double
bill, it might fill the bill. Business poor. Played
Friday, Saturday, June 12, 13. — Lew Young, Norgan
Theatre, Palmerston, Ont., Canada.

Columbia

LAST OF THE COMANCHES: Broderick Craw-
ford, Barbara Hale — We did good business with this
Technicolor action feature. Doubled it with “Rainbow
’Round My Shoulder”, also Columbia, and felt it to
be a good solid evening’s entertainment. Played Sun-
day, Monday, June 7, 8. — R. B. Tuttle, Sky Drive-In
Theatre, Adrian, Mich.

SALOME: Rita Hayworth, Stewart Granger — Ex-
cellent picture with strong appeal to small town pat-
ronage. Increased admission price slightly and had
no complaints. Did excellent business. Played Sun-
day, Monday, Tuesday, Wednesday, June 21, 22, 23,
24. — Levin B. Culpepper, Carolina Amusement Co.,
Elizabeth City, N. C.

Mayer-Kingsley

BRANDY FOR THE PARSON: Jean Lodge, Ken-
neth More — Amusing light British comedy that didn’t
go over very well. Played Tuesday, Wednesday,
Thursday, Friday, Saturday, Sunday, Monday, May
26, 27, 28, 29, 30, 31, June 1. — James J. Hayes, Roxy
Art Theatre, Rochester, N. Y.

Metro-Goldwyn-Mayer

ABOVE AND BEYOND: Robert Taylor, Eleanor
Parker — A very good picture, but I failed at the box
office. A picture true to life with good acting by
Taylor and Parker. Don’t pass this one up if you
have not played it. Played Sunday, Monday, June
21, 22. — James Hardy, Shoals Theatre, Shoals, Ind.

IVANHOE: Robert Taylor, Elizabeth Taylor — Very
good picture, but only did average business here.
Played Wednesday, Thursday, June 24, 25. — L. Brazil,
Jr., New Theatre, Bearden, Ark.

PRIDE AND PREJUDICE: Greer Garson, Laur-
ence Olivier — M-G-M should have been content to let
this one rest on the laurels it picked up on its first
trip around. This type of picture is guaranteed to
leave our patrons stone cold. True, some of the
older patrons made comments about it that could be
interpreted as fair, but on the whole the picture
drew a lot of laughs — in places where laughs weren’t
intended. Played Wednesday, Thursday, Friday, June
3, 4, 5. — Robert Harvey, Capitol Theatre, North Bay,
Ont., Canada.

PRISONER OF ZENDA: Stewart Granger, Deborah
Kerr — Here is the Hollywood perennial, done up in
fine style and in Technicolor to boot. Patrons’ com-
ments were all good, and the older ones who have
seen some of the earlier versions made very favorable
comparisons. There was enough of everything — ro-
mance, intrigue, laughter — to please everyone. Weather
was fair and warm. Played Saturday, Monday, Tues-
day, May 16, 18, 19. — Robert Harvey, Capitol Theatre,
North Bay, Ont., Canada.

MOTION PICTURE HERALD, JULY II, 1953

Paramount

HURRICANE SMITH: Yvonne De Carlo, John Ire-
land— Just an average picture. Should have played
this one mid-week. The sea pictures being made now
are practically all about the same plot. I also paid
Paramount too much for it. Played Sunday, Monday,
May 31, June 1. — James Harvey, Shoals Theatre,
Shoals, Ind.

JUST FOR YOU: Bing Crosby, Jane Wyman — This
is one of Crosby’s best pictures, but I failed at the
box office on it. It seems to me that musicals are
losing their appeal here. I thought this was an ex-
cellent picture — you can’t go wrong on it. Played
Sunday, Monday, June 7, 8. — James Hardy, Shoals
Theatre, Shoals, Ind.

SAVAGE, THE: Charlton Heston, Susan Monroe —
Excellent Indian picture in color. Story, acting, com-
ments and draw good. Played Friday, Saturday,
June 26, 27. — L. Brazil, Jr., New Theatre, Bearden,
Ark.

SCARED STIFF: Martin & Lewis, Lizabeth Scott —
These boys are good for about three more pictures,
then they will be played out. However, we played
to full houses each night we showed, but people don’t
think they are so funny anymore. Played Saturday,
Sunday, Monday, Tuesday, June 21, 22, 23. — Eddie
Bristow, Hamlet Theatre, Hamlet, N. C.

RKO Radio

NEVER WAVE AT A WAG: Rosalind Russell,
Paul Douglas — This is a very good comedy that did
better than average at the box office. — J. Knowles,
Palace Theatre, Gastonia, N. C.

NO TIME FOR FLOWERS: Viveca Lindfors, Paul
Christian — Poorly made film with no story, this gave
us the worst gross so far for 1953. People will not
leave their homes now just to see an uninteresting
picture, regardless of whether they have television or
not. Played Wednesday, Thursday, June 24, 25. —
Levin B. Culpepper, Carolina Amusement Co., Eliza-
beth City, N. C.

Twentieth Century-Fox

MONKEY BUSINESS: Cary Grant, Marilyn Mon-
roe— Here is a good comedy picture that we ran late,
but still drew about average. Played Wednesday,
Thursday, Junel7, 18. — L. Brazil, Jr., New Theatre,
Bearden, Ark.

RUBY GENTRY : Jennifer Jones, Charlton Heston
— Well, I sure missed my guess on this one. I thought
we sure had a white elephant for Sunday and Monday,
but box office was average or a little above average.
A good picture, well played, which did well in this
small town. Don’t be afraid to book it in small towns.
Played Sunday, Monday, June 14, 15. — W. W. Kibler,
Caroline Theatre, Bowling Green, Va.

RUBY GENTRY: Jennifer Jones, Charlton Heston
— This did better than average at the box office —
made close by. — J. Knowles, Palace Theatre, Gastonia,
N. C.

WAIT ’TIL THE SUN SHINES, NELLIE: Jean
Peters, Hugh Marlowe — The price was good and our
profits were also good. An excellent picture for small
towns on the weekend. Audience loved it. Rural
and small town patronage. Played Friday, Saturday,
May 29, 30. — Reston Memorial Theater, Reston, Man.,
Canada.

WAY OF A GAUCHO: Gene Tierney, Rory Cal-
houn— Couldn’t help feeling during this one that it
would have been so much better if they had chosen a
different actor to play the Gaucho. Although Calhoun
may have looked the part, his acting (?) left much
to be desired. Therefore Miss Tierney was wasted
playing opposite him. Or perhaps they had promised
her someone else for her co-star? Played Friday,
Saturday. June 5, 6. — Lew Young, Norgan Theatre,
Palmerston, Ont., Canada.

WE’RE NOT MARRIED: Ginger Rogers, David
Wayne — Through a swift change of booking, we had
to play this cold. Yet our attendance was good and
comments favorable. The cast is certainly a big one,
and the novel story amused our patrons. Business
good. Played Wednesday, Thursday, Tune 3, 4. — Lew
Young, Norgan Theatre, Palmerston, Ont., Canada.

United Artists

BREAKING THE SOUND BARRIER: Ann Todd,
Ralph Richardson — This was not so popular here. — J.
Knowles, Palace Theatre, Gastonia, N. C.

RING, THE: Gerard Mohr, Rita Morino — O. K., but
fight pictures are dynamite here — lost money. Played
Monday, Tuesday, June 15, 16. — Lee Brewerton, Capi-
tol Theatre, Raymond, Alta., Canada.

Universal

GUN SMOKE,: Audie Murphy, Susan Cabot — Here
is a natural for small towns and rural patronage.
Audie Murphy always brings them in here. This is a
very good western. I suggest all small towns play it
on Sunday -Monday playdate. Played Thursday, Fri-
day, June 14, 15. — James Hardy, Shoals Theatre,

Shoals, Ind.

MEET ME AT THE FAIR: Dan Dailey, Diana
Lynn — Here is a nice family picture in color, but did
below average business here. Played Sunday, Mon-
day, June 14, 15. — L. Brazil, Jr., New Theatre, Bear-
den, Ark.

Warner Bros.

ABBOTT & COSTELLO MEET CAPTAIN KIDD:

Bud Abbott. Lou Costello— Just another Abbott &
Costello. They don’t seem to go over as well as they
used to. This one will pass on a double bill if you
have another good picture to put with it. I also paid
too much for it. Played Friday, Saturday, June 5, 6.
—James Hardy, Shoals Theatre, Shoals, Ind.

CRIMSON PIRATE: Burt Lancaster, Eva Bartok
—Good pirate picture in color, but below average draw
here. Played Sunday, Monday, June 21, 22. L. Brazil,
Jr., New Theatre, Bearden, Ark.

SHE’S BACK ON BROADWAY: Virginia Mayo,
Gene Nelson — Not a very good musical', Warner Bros,
depending too much on Virginia Mayo to bring them
in. People like musicals with popular or old, pretty
songs. Did way less than average business when word
got around that picture wasn’t good. Played Thurs-
day, Friday, June 25, 26.— Eddie Bristow, Hamlet The-
atre, Hamlet, N. C.

STOP, YOU’RE KILLING ME: Broderick Craw-
ford, Claire Trevor — This picture is an above average
comedy but will not do so well in small towns. J.
Knowles, Palace Theatre, Gastonia, N. C.

NATIVE FILMS
GAIN IN REICH

by VOLKMAR VON ZUEHLSDORFF
in Munich

Domestically produced films are coming
to the fore again in German theatres. For
the first time since the end of the war, Ger-
man product is taking the largest share of
total screen time, according to a market an-
alysis published recently by "Film Blaetter,”
Berlin trade weekly.

The survey, based on figures submitted by
theatres in eight key cities, lists the German
share of total screen time for April a5 39.1
per cent, with American films a close second
with a rating of 37.9 per cent. France has
6.7 per cent, due mainly to the outstanding
success of “Don Camillo,” and Austria 5.8
per cent. Films of all other nationalities,
including British and Italian, average less
than three per cent each.

Expect Bill to Be Shelved

The publication of these figures probably
will be followed by the quiet shelving of a
bill, now before the Diet, calling for quotas
in favor of German films. Theatre men now
say that the screen time occupied by German
films has risen to a point far higher than
any envisaged in the proposed quota bill.
Even before they had figures to back up
their arguments, the exhibitors opposed the
bill on the ground that it would lower stand-
ards of quality and result in reduced number
of admissions.

Some 10,000,000 East Berliners attended
motion picture theatres in the Western zone
of the city during 1952, more than half of
them at special performances at the so-
called "border theatres” where rates were
adjusted to the “soft” Soviet zone currency.

The Soviet zone distributor, Progress,
which has a monopoly there, has thus been
compelled to introduce more and more pic-
tures from outside the Iron Curtain to
attract attendance.

The German motion picture industry long
has been protesting the excessive amount of
tax required at various stages in the produc-
tion of a film. According to a memorandum
now before the Federal Minister of Eco-
nomics, the tax amounts to about one-third
of the production cost of a film. For example,
for an average film costing approximately
$200,000, a tax of $6,000 is paid by the
producer, $15,000 by the distributor and
$40,000 by the theatres. Another $6,000 is
paid in the course of producing the raw
stock, transporting copies, etc., making a
total of $67,000 in tax, even before amuse-
ment and other taxes are collected.

NORWAY

by FINN NYMANN
in Oslo

After years of preparation and eight
months of continuous negotiations, a film

agreement has been worked out between the
Motion Picture Export Association and
Norway.

The new agreement represents a substan-
tial betterment of the up-to-now extremely
poor conditions American films have ob-
tained in Norway. Film rentals are increased
from 30 to 40 per cent for all films and to
45 per cent for the so-called “super” films
so designated by the MPEA. This year
there will be four of these “supers” and still
more special terms for “Gone With the
Wind,” which has yet to be released in
Norway.

On behalf of the MPEA negotiations were
carried out by Carl York, the organization’s
Scandinavian representative, assisted by
Erling Bergendahl of Norway. Also in on
the talks, to help iron out last minute ob-
stacles, were George Weltner, president of
Paramount International, and Griffith John-
son, of the Motion Picture Association.

The agreement is considered extremely
good by the Americans, not so much because
of the comparatively small amounts of money
to be taken out of Norway, but because of
the moral and psychological effect the agree-
ment should have on American negotiations
in other countries. Because its cinemas are
municipally-owned, Norway always has been
considered one of the most difficult countries
in which to get a satisfactory film agree-
ment.

INDIA

by V. DORAISWAMY
in Bombay

Spokesmen for the Film Association in
New Delhi last month once again outlined
for the Minister for Information and Broad-
casting the harmful effects which the indus-
try fears will result from the new censor-
ship rules. The spokesmen were headed by
B. N. Sircar, leading industry figure in
West Bengal.

In connection with the provision for de-
positing a copy of the film or shooting script
with the Censorship Board, the Government
is understood to have agreed that a “cut-
ting continuity” or a post-production script
would be acceptable. It was also agreed that
the standard of censorship for foreign films,
dubbed in the Indian languages, should be
the same as for Indian films.

The industry spokesmen also stressed the
need for giving an opportunity to producers
to explain their stand to examining com-
mittees in regard to cuts which the com-
mittees might propose. At present, producers
have to be satisfied with meeting with re-
gional officers.

Dr. Daehr, a representative of Agfa, the
German firm which has agreed to work with
the Indian Government in building a plant
for the manufacture of raw film, recently

inspected the proposed plant cite at Krish-
narajasagara in Mysore State. The plant
will be equipped to produce the highest qual-
ity of photographic paper, plates and raw
film. Capital outlay on the project is esti-
mated at 2,500,000 rubles.

The color film record of the latest (and
only successful) Mt. Everest expedition is
expected to be ready for world-wide release
this fall. The photographer was Captain
Stobart, a former Indian Army officer. The
delay in release of the film, which is ex-
pected to run about 60 minutes, is attributed
to the special and careful processing which
the film requires.

IRELAND

by T. J. M. SHEEHY
in Dublin

Dublin has seen its first 3-D film feature,
United Artists’ “Bwana Devil,” without be-
ing unduly impressed. The management of
the Theatre Royal, where the film was
shown for one week, will long remember the
experience, however.

In seven days the theatre lost 1,800 pairs
of polarizing viewers valued at approxi-
mately £900.

Partly due to inaccurate newspaper com-
ment which preceded the first shows, patrons
were under the mistaken impression that
the viewers had been provided without extra
charge at the “Bwana Devil” showings in
England. They resented the hiring fee of
6d. charged by the Theatre Royal and were
under the further misconception that the
value of the viewers was less than the fee.

The losses, and in some cases deliberate
breakages, occurred in the first few days,
but when the situation was clarified in the
press, losses dropped to a reasonable frac-
tion at subsequent performances. The result,
however, is an indefinite postponement of
showings of “Bwana Devil” in the cities
of Cork and Limerick and a general post-
ponement of all other 3-D feature films.

There have been and will be no exhibition
of Coronation films in Eire. This was tacitly
agreed upon by the majority of the film
trade after a thorough review of the situa-
tion and there is very little likelihood of
any individual exhibitor running counter to
the decision.

MEXICO

by LUIS BECERRA CELIS
in Mexico City

Although the City Amusements Super-
vision Department only recently announced
that no exhibitor is losing money as a re-
sult of the reduction in admission prices,
the City Treasury now announces that the
total gross of local theatres in May was
$853,830, which is $13,170 below the May,
1952, gross of $867,000. Last December the
Amusement Supervision Department forced
exhibitors to accept a 46-cent ceiling on first
class house admissions and a 36-cent ceiling
for secondary first runs. These houses, re-
spectively, previously charged 57 cents and
46 cents.

MOTION PICTURE HERALD, JULY II, 1953

if our Children J Club Should Hate dn Objective

ri^HEY need something to strive for, a
tjj permanent interest, to bring- them back
to your theatre, again and again, for
a purpose. And we think we can suggest
something exactly right for your Children’s
Matinee crowd the year around.

Last week, we were privileged to see Bing
Crosby’s new picture, “Little Boy Lost” at
a press preview in New York. It's a change
of pace for Bing — for it’s not a comedy, and
there’s not much crooning nor honeymoon-
ing in it. In fact, it’s a real tear-jerker, and
at the end, a tough audience was weeping.
That’s all to the good, too, for entertainment
is not all laughter.

“Little Boy Lost” is a theme that Bing
has liked in the past, of the French War
Orphans, the left-overs of war, bruised, mu-
tilated and deserted, in institutions. Bing

plays a serious role, and plays it well, be-
cause he is portraying Harry L. Crosby, a
guy we used to know, whose heart is placed
just as in the picture. In the story, he
searches for, and finds, his own little boy.

Our idea is based on the activities of the
Foster Parents Plan for War Children, at
55 West 42nd Street, New York, who since
1937 have provided for more than 72,000
distressed children, through the understand-

ing and generosity of thousands of people —
many in show business. They maintain these
children in homes, abroad, and it costs ap-
proximately $180 a year to “adopt” a child,
in the financial sense only.

We urge our Round Table members to
look ahead to the day and date when you
will be playing “Little Boy Lost” and pre-
pare for it by contacting Lenore Sorin, di-
rector of Foster Parents’ Relations, to make
your own children’s club responsible for a
child’s support.

It’s not too difficult, and the youngsters
themselves should do it, as their own effort,
under your guidance. Give them something
to do, and when the papers are exchanged,
you’ll get a photograph of your War Or-
phan, in France or in Korea, and there’ll be
letters back and forth, from and to the chil-
dren. What could be a better objective, or
a better occasion for it?

ANYONE CAN DO IT

To prove that the procedure of "adopt-
ing" a maimed war orphan, through the
Foster Parents' Plan, is not complicated
beyond ordinary limits, we note in Miss
Sorin's correspondence a list of hundreds
of high schools (including some small towns
we know) Sunday School classes, women's
clubs, businessmen's associations, and other
organizations among the thousands who
have sponsored the plan.

The amount involved is only $15 per
month, and that is no burden to a group of
enthusiastic kids who will put heart and soul
into the undertaking. You may state your
own preference as to age, sex and na-
tionality, or leave it to the Plan to assign
you a child from its "most urgent" list. The
Plan is limited by charter to serve only
needy children who are NOT in line for
legal adoption, and any individual or group
can assume the monthly cost.

So, we send out a call — to all good men
and true — members of the Round Table, to
give thought to this suggestion of the week.
Notably, Charlie Duncan, at the Alhambra
theatre, Decatur, III., and Leo Jones, of
the New Star theatre, Upper Sandusky,
Ohio. A thousand others can do as much,
in their situations. It will be good when
Children's Clubs are bound up in some
greater interest — you'll find the bigger ob-
jective will bring them back, oftener, and
more surely, than anything you've known
as an incentive.

Ralph Crabill, convalescing at Clif-
ton Springs Sanitarium, Clifton
Springs, N. Y., from a heart attack, writes
that he feels like going fishing in Canada,
where he knows the out-of-the-way places.
He’ll use a guide to handle the boat and do
the real work. Says it is hard for him to
loaf unless he is thoroughly relaxed, and
this will do it. We’ve asked him to do a
by-line piece for the Round Table, when
the spirit moves.

Cinerama is more and more typical

of legitimate theatre, rather than
motion picture business. Hazard Reeves,
president of Cinerama, Inc., announced at
the conclusion of the Stanley Warner-Cin-
erama deal, that the current cost of
equipping a theatre stood at $100,000, of
which $50,000 is for installation and $60,000
for new equipment. From production to
exhibition, it is legitimate theatre practice,
price-scale and procedure, all the way. Man-
agers for new installations are being
recruited from “legit” and box office crews
are accustomed to handling reserved seat
sales and mail orders.

Stars of the legitimate theatre will

take to the road to ballyhoo a motion
picture, late this month. In behalf of “Main
Street to Broadway,” produced hv Lester
Cowan and being released by MGM, stars
of the magnitude of Helen Hayes, Tallu-
lah Bankhead, Katherine Cornell, Shirley
Booth, Faye Emerson, Julie Harris, Jose
Ferrer and' Dorothy Sarnoff, will be work-
ing as publicists, across the country. Their
cooperation is in return for the portion of
the proceeds from the-picture that will go
to the Council of the Living Theatre.

We went into a rave for Paramount’s

pressbook on “Shane” in last week’s
Selling Approach, and decided to run down.)
those who were individually responsible for <,
this distinguished example of motion picture
advertising. We asked Fred Lynch, adver-,,
tising director for the Radio City Music j
Hall, where the advertising first appeared in
connection with the premiere of the picture,
and he said it was Jerry Pickman. So, we .
asked Jerry, and he said it was Fred. And
we inquired at Donahue and Coe, the ad- |>
vertising agency, and they said it rvas two i
other fellows. Such mystery, such modesty !
But it stands as the best advertising of the
year, for a picture that had scope — which
they put in the ads. — Walter Brooks

MANAGERS’ ROUND TABLE SECTION, JULY II, 1953

Hot Weather
Promotions

Excellent float, with self-powered promotion for "O. K.
Nero'' — at the Globe theatre, on Broadway.

Members of the American Ex-Prisoners of War, Inc., parade in Okla-
homa City for the preview of Sta lag 17" at a national convention.

They gave away "Melba" ice cream on the sizzling
streets of New York city, for the premiere of "Melba"
at the Capitol.

The director of the Green-
wich Village Outdoor Art
Show looks over a display
of Toulouse-Lautrec posters
as promotion for "Moulin
Rouge" — now playing in
Loew's New York theatres.

Paul Brown, manager of Warner's theatre, Fresno, Cal., arranged
this display using poster cut-outs, with his staff, in costume.

Colossal cut-out
of "Peter Pan"
made from a 24-
sheet, and posed
with miniature
Walt Disney char-
acters, in the
lobby of John
Hamrick's Rialto
theatre, Tacoma,
Washington.

MOTION PICTURE HERALD, JULY II, 1953

SHOWMEN IN ACTION

Godfroy Gets
Space With
Free Mats

John W. Godfroy, manager of Boyd's
Paramount theatre, Ashland, Ky., sends us
tear sheets from the Ashland Daily Indepen-
dent to show excellent use of publicity mats
in free space, something we’ve been arguing
for, in these pages, for endless time. We’ve
always believed that if you are on the right
terms with your newspaper man, and there
is no other basis, then he will use free pub-
licity mats, furnished to him out of your
pressbook, to illustrate newspaper stories
and review, in editorial space.

For “Desert Song” he had a five column
break across the top of page 2, the “Movie
of the Week” idea, using four scenes and a
running caption to describe the picture. For
free. And the next day, in another news-
paper, he had a four column break, with a
hand-drawn publicity mat and a big caption.
This was followed, in the same week, with a
two-column publicity mat, and a scattered
group of publicity star photo mats in the
classified pages. You can’t beat it for free
space display, if you know how.

He also submits a complete campaign on
“House of Wax” which has all the above
free space, and a full campaign in addition,
which includes street ballyhoo, radio, aug-
mented newspaper advertising, window
cards, heralds, etc. Ashland, Ky., population

30.000, and Ironton, Ohio, population

16.000, are on opposite sides of the Ohio
River, and apparently in the same trading
area as the theatre campaign covers both
cities, not far from the West Virginia line.

Bill Green, handling Cinerama publicity
in Detroit, got a lot of attention for “Cine-
rama” salads, sandwiches, hamburgers and
cocktails — all in three dimensions, to plug
the engagement at the Music Hall. Lynn
Farnol says, “It’s things like this that keep
press agents on the payroll. And a good
thing, too.”

C. H. Trotter, city manager for Statesville
theatres in Statesville, N. C . sends tear
sheets of the extraordinary press for 3-D in
local newspapers, promoted by Helen John-
son, manager of their State theatre, for
“The House of Wax.”

Fred Teller, manager of the Strand thea-
tre, Hastings, Neb., sends a copy of the fine
full-page cooperative ad, in two colors,
which he obtained in the Hastings Daily
Tribune, for “Peter Pan” — a wonderful job,
in a city of 16,000 population !

▼

Alfred Loewenthal, manager of Skouras
Ward theatre, in the Bronx, New York, has
a special tieup with Thomas Lipton, Inc.,
and will offer free iced tea during the run
of “Moulin Rouge” — made and served by
Ward’s good looking usherettes.

Crowds filled outer-space at the Orpheum
theatre in Kansas City, when Universal’s
“It Came from Outer Space” played this
nice theatre, now equipped for new dimen-
sions. The waiting lines ran all the way
around and down the block.

We’ve seen various kinds of street bally-
hoo, but never before a subsidized street
car, which toured Kansas City, plastered
with signs for “It Come from Outer Space”
and filled with ballyhoo materials for the
Orpheum theatre run.

Fox Midwest Contact says “Showmanize
With Ice ! It never grows old, nor is it
ever considered ‘corny’ to sell your cooling
system as an important attraction at your
theatre, now that the full effects of hot
weather are here.”

▼

Reading the headlines in the Fox West
Coast bulletin $howtime we see that Charlie
Skouras’ Southern California theatres win
his latest showmanship contest, with North-
ern California second, which gives FWC
managers on the Coast some big bonuses !

▼

Adam G. Goelz, manager of the Para-
mount theatre, Steubenville, Ohio, writes
the caption, “Home Town Boy Makes Good
Local Copy,” over a newspaper story about
a Steubenville dancer who appears in an
upcoming Hollywood film.

▼

Frank Manente relief manager at Loew’s
Valentine theatre Toledo, during annual va-
cation time, sends photos to show his good
tieups with cooperative advertisers for
“Arena” — in the three dimensions.

Joe Boyle, manager of Loew’s Poli thea-
tre, Norwich, participated in a local radio
program in which personalities in various
industries were interviewed. Joe told them
about 3-D and why they wear glasses.

National Theatres, across the board, are
copying Elmer Rhoden’s excellent Vacation
Movie Matinees, under different names in
different places. Sometimes it’s the Chil-
dren’s Film Library Club, but it’s a national
children’s club idea, from coast to coast,
devoutly to be wished in this industry.

We carelessly captioned a good picture
of Herb Royster, manager of Evergreen’s
Mayfair theatre in Portland, Ore., and put
him in Boston, which is as far East as he
could get without being in the Atlantic
Ocean. Our apologies ! Must have been
distracted by the surrounding scenery.

The F. B. I. has objected to the use of
that agency’s name in the advertising and
publicity for “Pickup on South Street” —
and until accessories are corrected, man-
agers are urged to use “U.S.A.” or “The
Law” as substitutes.

Paul Purdy, advertising manager for the
East Windsor Drive-In, near Hartford,
uses the line: “Tonight, visit a drive-in
that’s easy to drive to, and home from, over
uncrowded roads.”

Daniel A. Cohen, manager of Loew’s
Boro Park theatre, Brooklyn, submits an at-
tractive campaign for “The House of Wax”
as an entry in the Quigley Awards competi-
tion for the second quarter.

▼

Lou Cohen’s snapshots of showmanship,
in the mail from Loew's Poli, Hartford,
show many variations of style but always the
same theme to get them in.

John V. Ward, manager of the Seneca
theatre, Niagara Falls, Ont. — who may be
the best Mayor up there — had a very un-
usual editorial comment in the Evening Re-
view— in praise of swimming, Esther Wil-
liams and “The Million Dollar Mermaid.”

Murray Spector, manager of Skouras' theatre in Teaneek, N.J., always seems able to devise
interesting lobby displays — with a little expense and a lot of energy. Above, he creates
a lobby frame for "Sombrero" and a larger display for "Moulin Rouge," using what comes
naturally, or can be borrowed from convenient sources.

MANAGERS' ROUND TABLE SECTION. JULY II, 1953

TELEVISION PUTS PIN-POINT
PROMOTION ON PLAYDATES

Robert Q. Lewis poses with a life-size cut-out of Marilyn Monroe on the Arthur Godfrey
Show, giving the audience on CBS-TV a chance to see and hear about their favorite stars;
and at right, Jerry Baker, center, manager of RKO-Keith's theatre in Washington, with
Walter Compton, of station WTTG-TV, for the tie-in with his booking of "The Hitch-Hiker,"

E~ ONARD GOLDENSON, president of
AB-UP, addressing the AMPA lunch-
eon in honor of the Quigley Grand
Award winners last month, gave his special
commendation to Alice Gorham, advertising
and publicity director of United Paramount
Theatres in Detroit, who was among those
winners on the dais, for her excellent use of
television spots in selling two attractions
that were current. He told his listeners that
if something came along that permitted them
to display their motion picture trailer adver-
tising in 25 million homes, they should
utilize this new device to the utmost, in com-
parison with, and in support of, other forms
of selling approach.

Seasonal Insurance

Now, in midsummer, which is traditionally
a low point in our business, direct radio and
television spots are lifting business in local
areas throughout the country. The device
serves to pin-point actual playdates, and
sends the patron from his home directly to
the movies, at the moment of establishing
the advertising contact. There is no lag, no
wait, no delay, in seeing and obtaining a
maximum benefit from the advertising dol-
lar. Mr. Goldenson read off the score,
confirmed by Alice Gorham, to prove how
very effective this approach had been with
two “hot weather” films.

The major companies have utilized this
idea, RKO for “Mighty Joe Young” and
Warner’s with “The Beast from 20,000
Fathoms.” 20th Century-Fox is currently
using direct spots on “White Witch Doctor”
— although this is old stuff to Charlie Ein-
feld, who long ago explored the same pro-
cedure with earlier films, and found it
effective. Today, both radio and television
spots are used, over the same networks and
via the same sources, through “package”
deals that provide both uses of the airwaves,
with motion picture practice prevailing in
the adaptation of advertising materials.

Good Industry Policy

Jerry Pickman, at Paramount, and Dave
Lipton, at Universal, both vice-presidents of
their respective companies in charge of
advertising, publicity and exploitation, have
long believed in the selling approach that is
afforded by pin-pointing playdates. The cur-

rent campaign for “Melba” is proof that
United Artists believe in tieups that accent
the strong musical following of this attrac-
tion with the 25,000,000 who own home
television sets. This is a highly selective
audience, who are admittedly solvent.

The current and impressive use of tele-
vision and radio spots is for the benefit of
“summer” attractions, where the industry
needs pressure at the point-of-sale. Radio
and television sources also feel the off-
season, and consequently, film industry can
obtain a better choice of time schedules now
than will be available later. But these re-
lated fields of endeavor will favor motion
pictures, to our best and most pertinent ad-
vantage, by giving us professional coverage
for purely theatrical attractions.

Among pictures, current and coming up,
that will participate in direct radio and
television advertising campaigns on a na-
tional basis, are “Farmer Takes a Wife” and
“Pickup on South Street” from 20th
Century-Fox, with “Mr. Scoutmaster” timed
to match the Boy Scout’s International

Jubilee Convention in Hollywood; “It Came
From Outer Space” from Universal;
“Sangaree” from Paramount, and “Sword
and the Rose” from RKO-Walt Disney.
Many other films will have the usual, or
augmented, pin-point promotions.

Ohio Theatres Put Spirit
In "The Glory Brigade"

Carl J. Ferraza, manager of Keith’s thea-
tre, Cincinnati, Ohio, owned by the S. & S.
Amusement Corp., who also operate the
Twin Drive-In, sends photographs and ac-
counting of the excellent premiere of “The
Glory Brigade” at the drive-in, with sup-
port of military forces and “Miss Glory
Brigade,” who kissed the winner of the
spud-peeling contest, as part of the outdoor
stage event. In Cleveland, Jack Silver-
thorne, manager of the Hippodrome theatre,
had an impressive street parade of Scotch
Highlanders, with a salute by the Cale-
donian Pipe Band, and participation by local
Greek- American veterans groups.

MOTION PICTURE HERALD, JULY II, 1953

184 Shopping Days
Before Christmas

Florence Somers, describing the "Picture
of the Month" in the July issue of Redbook
magazine — on the stands in June — gives
well-deserved praise to "The Cruel Sea" in
a full page review, in line with forward
looking policy for the pre-selling of good
pictures to potential audiences, in the
national magazines.

Although this J. Arthur Rank production
is playing in England, it has not yet been
set for release in this country. It has been
announced by Universal-International as
one of their coming attractions, but no
actual release date has been published,
nor has the picture been offered for review
in the trade press, for theatres.

We predict that it will be shown, in the
early Fall, in a small theatre devoted to
"art" films, or imports, in the New York
metropolitan area, where this excellent
version of a best-selling novel wil be much
appreciated, and will enjoy a long run.
There may be I 5 or 50 other similar show-
ings throughout the country this year.

But it won't be in general release within
four to six months after this fine review
appeared — not in a majority of situations
along McCall Street, U. S. A. There's a
long interval between this early choice of
the "Picture of the Month" and the oppor-
tunity to buy tickets, at the point of sale.
So, why this selection, so far in advance?

#^« i I'tjlii it ti Premiere For
“Farmer Fakes a II ife “

Vacation Movies Playing
In North Sacramento

Dale Smiley, manager of the Del Paso
theatre, North Sacramento, Calif., is using
a series of the films selected by the Johnston
office and the P. T. A. as special “Vacation
Movies” for children, selling season tickets
good for 12 shows, at $1.00 each. More
than 7,500 tickets have been distributed to
the Parent-Teachers and the shows are
going so well that Dale has been made an
honorary life member of the PTA organiza-
tion, for his outstanding work with the
schools, churches and the community. It
required preparation to obtain this fine
result, and he started in February to get the
results he has attained today.

Richard Brandt, president of Trans-Lux
Theatres, and Jose Ferrer, at the black-
tie social "Evening at the Moulin Rouge"
premiere of the picture, for members of the
Philadelphia Museum of Art.

Members of the Dairyland Festival Committee greet Hollywood stars, Merry Anders and
Charlotte Austin, at the premiere of "The Farmer Takes a Wife" at Watertown, N. Y.;
at left, the stars on stage at the Paramount theatre, Syracuse; below, marquee display and
opening night crowd at the Tryon theatre, Amsterdam, N. Y„ and at right, Miss Austin
milks the prize cow, and Watertown’s Mayor Newman and Farmer Whitmore look on.

Hundreds of thousands of persons residing
in 16 cities in upper New York State saw
20th Century-Fox’s Casey Adams, Charlotte
Austin and Merry Anders during a two-
week personal appearance tour through the
Mohawk Valley dairy country, as publicity
for the openings of “Farmer Takes a Wife”
in Gloversville, Amsterdam, Watertown,
Glens Falls, Little Falls, Ilion, Herkimer,
Utica, Cortland, Syracuse, Rochester, Au-
burn, Buffalo, Oswego and Lockport, play-
ing in Schine theatres.

Folks Like the Stars

The city of Rochester, and various cities
along the Erie Canal, were all set to play
host to the Hollywood stars, and to combine
the theme and scene of “Farmer Takes a
Wife” with the annual Dairyland Festival,
which is celebrated in every city and rural
area throughout this region. Local news-
papers were alert, and enthusiastic about it.
The Utica Observer-Dispatch, aware of the
alphabetical agencies that have dominated
dairy industry, observed on this occasion
that there were a new set of initials in Utica,
the “A-A-A” — standing for Casey Adams,
Charlotte Austin and Merry Anders. The
Auburn Citizen-Advertiser remarked with
editorial approval, that Adams was “tall,
handsome and athletic” — that Miss Austin
was “an amber-eyed, chestnut-haired beauty”
and Miss Anders was “a strikingly pretty

blonde, with green eyes.” In other words,
they liked the stars !

The setting for the story, and the histori-
cal background of the Erie Canal of a cen-
tury ago, provided much local interest to
fortify a natural inclination to like the
movies. And all this was handled in show-
manship style by Seymour Morris, of Schine
Theatres, from Gloversville headquarters,
and the managers of sixteen theatres, all of
whom are Round Table members.

Quality Bakers of America — in a nation-
wide tieup for “Farmer Takes a Wife” —
took part in the 16-city premiere by partici-
pating in cooperative advertising in each
local situation. The campaign as a whole
has featured 24-sheet and 3-sheet posting
and the distribution of thousands of heralds,
in addition to newspaper advertising, by the
bakers of “Sunbeam” Bread.

SEND US YOUR NEXT ORDER
1 AND FIND OUT WHY!

CHICAGO 5
1327 S. WABASH AVE.

NEW YORK 36
630 NINTH AVENUE

MANAGERS’ ROUND TABLE SECTION, JULY II, 1953

CLASSIFIED ADVERTISING

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Legion Approves Five
Of Seven New Films

The National Legion of Decency this
week reviewed seven pictures, placing three
in Class A, Section I, morally unobjection-
able for general patronage; two in Class A,
Section II, morally unobjectionable for
adults; and two in Class B, morally objec-
tionable in part for all. In Section I were
“Abbott & Costello Meet Dr. Jekyell & Mr.
Hyde,” “Cruisin’ Down the River" and
“Safari Drums.” In Section II were “The
Charge at Feather River” and “Main Street
to Broadway.” In Class B were “Murder
Without Tears” because it “reflects the ac-
ceptability of divorce” and “Return to Para-
dise” because of “suggestive situations and
dialogue.”

All Join Hands in New
Community Chest Film

HOLLYWOOD : A two-reel film made for
the Los Angeles Community Chest under
the auspices of the Association of Motion
Picture Producers with the cooperation of
Hollywood guilds and unions went into pro-
duction this week at Paramount. The film,
with a five-day shooting schedule, will be
shot partly at the studio, which was desig-

nated by the Association to contribute its
facilities, and partly at the Hathaway Home
for children. The picture will be a major
factor in the forthcoming Chest campaign.
The script was written and production is by
Carey Wilson, whose services are contrib-
uted by MGM. Norman Taurog has volun-
teered to direct and Loyal Griggs, camera-
man, likewise is contributing his services.
All guilds and unions have approved par-
ticipation of their members at minimum rates
and permission has been granted for the
use of recorded music without charge. Film
stock was given as a contribution by East-
man.

FCC Would Require
Applicants to Advertise

WASHINGTON: The Federal Communi-
cations Commission is considering a regula-
tion to require applicants for new television
stations to advertise their intentions in local
papers. The Commission invited comments
on the proposal until August 10, after which
it will take final action one way or the other.

The applicant would have to advertise at
lease once a week for two weeks following
the filing. The Commission would not act
on the application for a period of 30 days

following the filing. Competing applications
would have to be filed during that 30-day
period; no competing applications would be
accepted later.

The FCC said it thought this procedure
would reduce the number of contested appli-
cations and thus cut down on time-consum-
ing competitive hearings. If the policy were
adopted, the FCC stated, it would apply to
pending applications as well as to future
applications.

Truman Views Musical

Former President Harry S. Truman, and
his wife and daughter, joined a number of
his ex-cabinet aides last week in attending a
special preview screening of “The Beggar’s
Opera,” a Warner Brothers musical in color
by Technicolor, at the home office in New
York.

"Alamo" to Open in Texas

Universal-International’s color by Tech-
nicolor production, “The Man from the
Alamo,” starring Glenn Ford and Julia
Adams, will have a Texas territorial world
premiere July 23 at the Majestic theatre,
San Antonio, and the Metropolitan theatre,
Houston.

MOTION PICTURE HERALD, JULY II, 1953

FILM BUYERS RATING

Film buyers of independent circuits in the US. rate current
product on the basis of its performance in their theatres. This
report covers 127 attractions, 6,45 3 playdates.

Titles run alphabetically. Numerals refer to the number of en-
gagements on each attraction reported. The tabulation is cumula-
tive. Dagger (t) 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.

Jeopardy (MGM)

Jungle Girl (AA)

Kansas City Confidential ( U A )
Kansas Pacific (AA)

Lady Wants Mink (Rep.)

Last of the Comanches (Col.)
Law and Order (Univ.)

Lawless Breed (Univ.)

Limelight ( UA)

Lone Hand ( Univ.)

Abbott & Costello Go to Mars (Univ.)

Above and Beyond (MGM)

♦Against All Flags (Univ.)

All Ashore ( Col.) .

Androcles and the Lion (RKO)

Angel Face ( RKO )

Anna ( IFE)

April in Paris ( WB )

Bad and the Beautiful, The (MGM)

Battle Circus (MGM)

(Beast From 20,000 Fathoms (WB)

*Blazing Forest (Para.)

Blue Gardenia, The (WB)

Breaking the Sound Barrier (UA)

Bwana Devil ( UA)

By the Light of the Silvery Moon (WB)

Call Me Madam (20th-Fox)

City Beneath the Sea (Univ.)

Clown, The (MGM)

Code Two (MGM) .

Column South (Univ.)

Come Back, Little Sheba (Para.)

Confidentially Connie (MGM)

Count the Hours (RKO).

Cry of the Hunted (MGM)

Desert Legion (Univ.).

Desert Rats, The (20th-Fox)

Desert Song, The (WB)

Desperate Search, The (MGM)

Destination Gobi ( 20th- Fox )

Down Among the Sheltering Palms ( 20 ih- Fox )

Eight iron Men (Col.)

1 1

Fair Wind to Java (Rep.)

Fort Ti (Col.)

Four Poster, The (Col.)

--254
14 5 1-
4 2 2 5 6

Girl Next Door, The (20th-Fox)
Girl Who Had Everything (MGM)
Girls in the Night (Univ.)

Girls of P'easure Island (Para.)
Glass Wall, The (Col.)

Gunsmoke ( Univ.)

Hans Christian Andersen (RKO)

Happy Time, The (Col.)

♦Hiawatha (AA)

Hitch-Hiker, The (RKO)

House of Wax (WB)

I Confess (WB)

I Don't Care Girl, The ( 20th - Fox )

I Love Melvin (MGM)

I'll Get You (Lippert)

Invaders From Mars (20th-Fox)
Invasion U.S.A. (Col.)

It Happens Every Thursday (Univ.)
Ivanhoe (MGM)

-272

15 7

- 9 13 -

2 6 19 12

2 I 3
I 18 23 23

16 17 2 I

4 I 5 16

1 5 26 9

- 2 3 4

41 13 4 I

9 12 28

10 33 33

7 40 38

5 1-1

4 5 8

2 4 9 10

I I 6

28 43 35 19

I I

Jack McCall, Desperado (Col.)
Jalopy (AA)

(Jamaica Run (Para.)

Jazz Singer, The (WB)

--783

2 4 8 4 -

- - 3 2 I

- 21 20 43

Ma and Pa Kettle On Vacation (Univ.)
Man Behind the Gun (WB)

Man in the Dark (Col.)

Man on a Tightrope (20th-Fox)

Meet Me at the Fair (Univ.)

Member of the Wedding (Col.)

Million Dollar Mermaid (MGM)
Mississippi Gambler (Univ.)

Moulin Rouge (UA)

My Cousin Rachel ( 20 r h- Fox )

My Pal Gus ( 20th- Fox )

Naked Spur, The (MGM)

Never Let Me Go (MGM)

Never Wave at a Wac (RKO)

Niagara (20th-Fox)

Off Limits ( Para.)

Pathfinder, The (Col.).

Peter Pan (RKO)

Pickup on South Street (UA)

Pony Express (Para.)

Powder River (20th-Fox)

President’s Lady, The ( 20th - Fox )

Prince of Pirates (Col.)

♦Quo Vadis (MGM)

fRaiders of the Seven Seas (UA)
Redhead From Wyoming (Univ.)
Remains to Be Seen (MGM)

Ride the Man Down (Rep.)

Road to B'ali (Para.)

Rogue's March (MGM1 . . .

Ruby Gentry ( 20th- Fox ;

Salome (Col.)

Scared Stiff (Para.)

Seminole (Univ.)

Serpent of the Nile (Col.)

She's Back on Broadway (WB)

Silver Whip ( 20th - Fox )

Small Town Girl (MGM)

Snows of Kilimanjaro ( 20th- For; )
Sombrero (MGM)

Split Second (RKO)

Star, The ( 20th- Fox )

♦Stars and Stripes Forever ( 20th - Fox )
Stars Are Singing, The (Para.)

Stooge, The (Para.)

Stop, You're Killing Me (WB)

Take Me to Town (Univ.)

Tall Texan, The (Lippert)

Taxi (20th-Fox)

Thief of Venice ( 20th- Fox )

Thunder in the East (Para.)

Titanic (20ih-Fox)

Tonight We Sing (20th-Fox)

Torpedo Alley (AA)

Treasure of Golden Condor { 20th-Fox )
Tropic Zone ( Para.)

Trouble Along the Way (WB)

Woman They Almost Lynched (Rep.)

Young Bess (MGM) ......

1 1

7 5 4

17 9 8

6
6

/ Rv'

THE CURRENT

Collier's

H E RAL D S

TO ITS 1 2.000,000 READERS

WITH

4 FULU PAGES

COLUM BIA S

JULY 18, 1953

KING, SO THIS IS LOVE, VICE SQUAD, THE MASTER
LEAGUER, GUN BELT, TARZAN AND THE SHE-DEVIL,
ND CHANCE, THE MAZE

New York City, U. S. A., under the act of March 3. 1379. pub-
■ Center, New York 20, N. Y. Subscription prices: $5.00
ts copyrighted 1953 by Quigley Publishing Company,

BIGGEST

CRITICS GET ABOARD!

"It bids for recognition as one of the best musical films ever made.

Take it from us, it’s a honey.” — BOSLEY CROWTHER, Times

"A big load of musical comedy pleasure has rolled into the Music (
Hall.” —OTIS L. GUERNSEY, Jr., Herald Tribune

"Highest Rating. A wonderful musical. So many extraordinary qual-
ities one hardly knows where to begin.” — WANDA HALE, Daily News

"It is the best musical of the month, the year, the decade, or for all I
know, of all-time.” —ARCHER WINSTEN, N.Y. Post

"A pure delight. Here’s a 'Band Wagon’ you’d be a fool not to
hop on.” —WILLIAM HAWKINS, World-Telegram

"A sure winner.” — FRANK QUINN, Da/Vy M/rror

"Superior entertainment. Hop on the 'Band Wagon’. You will have
a happy ride.” — NICK LAPOLE, Journal-American

"You’ll find a long line around the block, but you’ll be glad you
waited.” —BILL LEONARD, CBS

"A wonderful musical. Don’t miss it.”

—TEX and JINX, NBC

Yes, it’s the BIGGEST M-G-M First 4 Days
of a Musical in the history of Radio City
Music Hall, topping famed "Show Boat,”
"An American In Paris’ and "Great Caruso.”

Throughout America the news is spreading. Never such
advance interest, such syndicated column praise, such
word-of-mouth build-up, such plugs in press and on the
air for any musical. IT’S PAYING OFF AT THE MUSIC HALL,
NEW YORK. Get ready for your play-date. Tie in with the
biggest exploitation launching in years!

M-G-M presents Color by Technicolor “THE BAND WAGON ” starring
Fred Astaire • Cyd Charisse • Oscar Levant • Nanette Fabray • Jack Buchanan
with James Mitchell • Story and Screen Play by Betty Comden and Adolph
Green • Songs by Howard Dietz and Arthur Schwartz • Directed by Vincente
Minnelli • Produced by Arthur Freed

IT’S ROLLING YOUR WAY!

OF ALL M-G-MUSICALS!

f r=- — ~ ===7

Again th

outgrossi

attractioi

WARNEI

ihe CHARGE jit FEATHER RIVER GUY MADISON • FRANK LOVEJOY

HELEN WESTCOTT • VERA MILES * DICK WESSON • ONSLOW

WRITTEN BY PRODUCED BY DIRECTED BY

JAMES R. WEBB * max 'steiner 9 DAVID WEISBART * GORDON DOUGLAS

THIS PICTURE ALSO CAN BE EXHIBITED IN 3-D

ON WIDE OR GIANT SCREENS

le picture that is
ing every current
i is the picture that

It BROS, made in

ANOTHER LOBBY SPECTACULAR-

ONLY WARNERS DO IT! STANDS

OVER 8 FEET HIGH! See it and you’ll see
that it truly tops the displays we made for
‘House of Wax’ and ‘The Beast’ (thanks for

your swell letters about them ). The

title lights up! Illustration lights up! Figures
and horses come right out of the display!
It has Sound (tom-tom beats and Indian
war whoops on concealed recording)!

FIRST COME, FIRST SERVED! This display can be made
only in limited number so get your order in pronto!

Shipped flat. Simple to set up. Delivered ex- tOltfl

press charge collect. Send payment with order. * i I

Order from Display Department, Warner Bros. below

Pictures Inc., 321 West 44th St., N. Y. 36, N. Y. actual costi

■

onic Sound WarnerColor

We’re all set to back your engagement with fifteen
different, specially- produced TV trailers. Get your
date in now for your share of this quarter-million
dollar promotion... with local TV saturation pinpointed
to sell your playdate and your theatre everywhere
in your territory at no cost to you! It’s all part of
20th Century-Fox’s special service on this great
entertainment!

SPEC/AU Watch for news
of nationwide BOY SCOUTS
OF AMERICA tie-up for great
exploitation in your community!

THERE’S NO BUSINESS LIKE CENTURY-FOX BUSINESS!

with a *250.000

FOR YOUR PLAYDATE

AT NO COST TO YOU !

TO PRE-SELL TICKETS

MOTION PICTURE HERALD

MARTIN QUIGLEY, Editor-in-Chief and Publisher

Vol. 192, No. 3

MARTIN QUIGLEY, JR., Editor

JULY 18, 1953

The Last Turn

THE present status of the campaign for repeal of
the admission tax may be likened to the last stretch
of a steeplechase. Thus far a good race has been
run. There remain a few high hurdles but the finish line
— and possible victory — are in sight. A backward glance
shows that a large number of formidable jumps have
been taken in stride.

The overwhelming vote (22 to 3) by the members of
the key House Ways and Means Committee in favor of
the Mason bill to exclude motion picture theatres from
the Federal tax on admissions demonstrates that
Congress now understands the justice and urgency of the
relief sought. In a report to the House the Committee
stated: “The situation demands immediate action. . . .
The closing of motion picture theatres will have a dis-
turbing effect upon the entire country.”

Part of the admission levy is a heritage of emergency
revenue measures taken in the Depression ; part is a
heritage of World War II. The whole tax should have
been removed long ago. As many exhibitors have made
their own Congressmen realize, the tax is discriminatory
and unfairly burdensome. Furthermore, its repeal ulti-
mately will increase rather than decrease receipts by the
U. S. Treasury because such action would enable some
theatres, which would otherwise close, to remain open.
Other theatres, now wavering between profit and loss,
would be able to earn normal profits and pay income
taxes.

On July 13 the powerful Rules Committee of the
House of Representatives approved the Mason Bill and
scheduled it for consideration by the House. Its passage
seemed assured because a preponderant majority of the
members of the House previously have expressed them-
selves in favor of the measure.

In the Senate the course of a bill such as the Mason
Bill always is difficult. However, favorable action may
be taken. Administration leaders in the Senate have
indicated an appreciation of the industry’s situation and
legitimate need for tax relief. A complicating factor now
is that Congressional leaders are hoping to adjourn by
July 31. In the rush for adjournment many bills are
passed over. Another problem is that in the Senate, un-
like the House, debate is not limited and amendments
may be offered to any bill.

The importance of exhibitors reminding their members
of Congress — and in particular their Senators — of the
merits and urgency of the industry’s case for admission
tax repeal can not be stressed too strongly. Only a few
critical weeks, at most, remain in this session of the
Congress. If there is anything any member of the in-
dustry can do to help he should report immediately to a
member of the COMPO tax committee in his area. The
leaders of the campaign, Col. H. A. Cole, Messrs. Pat

McGee, Trueman Rembusch, Sam Pinanski and Robert
Coyne, deserve full cooperation to crown with success
the excellent work they and their associates have done
thus far.

Repeal of the admission tax is one thing that will
accrue to the benefit of everyone in the whole industry.

Paramount Theatres Look Ahead

LAST week Mr. Edward L. Hyman, vice-president,
American Broadcasting-Paramount Theatres, rec-
ommended an eight-point program which is
worthy of consideration by all branches of the motion
picture industry. Major emphasis was placed on the
need for continuing development of the new techniques.
However, a warning was expressed to producers not to
forget “to put into each picture the proper ingredients
plus color, if possible.” In connection with 3-D, sharp
criticism was made of the polarizing viewers thus far in
general use. Also studios were urged to make 3-D films
in all the various categories and not to continue concen-
trating principally on westerns and science fiction.

Mr. Hyman called special attention to the problem of
stereophonic sound and the lack of theatre standards in
this field. Mr. Hyman is among those who feel that
stereophonic sound can add tremendously to the dra-
matic impact and audience acceptance of pictures. He
protested against the current wave of adding so-called
stereophonic sound after pictures are finished instead of
recording stereophonically during the actual production
of the film.

In connection with advertising, the Paramount circuit
executive said, “This is an appropriate time to take an-
other look at advertising methods. For years Mr. Leon-
ard H. Goldenson has been urging that the advertising
and exploitation of each picture should begin when it
goes into production and should be kept alive constantly
in an increasing crescendo until the picture arrives in
the theatre, with the release campaign acting as the cli-
max. We all know that there are many lapses in adver-
tising and exploitation when a picture is on the shelf
and, in many instances, these lapses have hurt deserving
pictures.”

It is to be hoped that other circuits and independent
operators as Paramount Theatres have done, will outline
for the benefit of all their views of what should be done
to hasten the advent of a better future for the motion
picture. Obviously the whole answer to the box office
situation is something which requires that a combination
of a number of things be done well. In the next few
years producers, distributors, engineers, equipment
manufacturers and exhibitors, working together as a win-
ning team, can achieve constructive results hitherto un-
dreamed. — Martin Quigley, Jr.

Pictures Must Be Good

To the Editor:

When we opened our new Aggie theatre
April 18, we did so with equipment for the
showing of 3-D which had been installed at
additional cost, but which we were informed
was very complete. The additional equip-
ment included a Walker Screen, extra heavy
duty rectifiers, large permanent magazines
and was wired and switched as it should be
for showing of both 3-D and 2-D films.

Being a very competitive town, Fort Col-
lins has four first run theatres, of which
we have two and Fox has two.

I do not think any 3-D movie in Fort
Collins has drawn above average grosses
except “House of Wax” and “Bwana
Devil.” With the additional investment to
show 3-D and with high film rental we
have lost money on every 3-D program
played to date, much less given the chance
of getting anything back on our investment
of installation.

It is my opinion that the glasses used in
3-D are a big factor in keeping patrons
away. It is also my opinion that not yet
have we had anything other than a B pic-
ture in 3-D and the public won't buy B pic-
tures in 3-D, 2-D, widescreen or anything
else.

Personally I think the wide-screen may
be an incentive to draw in patrons but not
unless the story is above average and the
picture is produced in color on a top basis.
I think I can take any top color feature and
gross just as much with our 14x20 ft. screen
as could be done with a large screen.

It is also my opinion that stereophonic
sound must be used sparingly and for defi-
nite effects and not all throughout the pic-
ture or it will be a detriment instead of
enhancing the production. Comments from
people not in theatre exhibition have not
been very impressive on 3-D, stereophonic
sound and wide screen systems. I know
we in the industry are getting all “hopped”
up over it because we are grabbing at
straws.

If Hollywood will give us top attractions
they will do business on any screen. That
old saying that nothing is wrong with
theatre business which a good picture won’t
cure is still very true.

In my twenty-five years in theatre ex-
hibition I have never seen a time when this
business was any more confused than it is
today. The studios must standardize on
one method of projection and sound. I do
not think 3-D or wide-screen systems are
the answer. Unless the producers come out
with a method adaptable for all theatres
they are going to ruin the business.

My advice to small theatre exhibitors is
to wait a while before sinking a lot of
money in the different types of screens and
equipment for showing the 3-D process and
others. Don’t let the equipment companies
rush you into something that will be obso-
lete in a few months.

As stated in other parts of this letter I
think the big screen may be an improve-
ment over the type used at present. But
our 14x20 Walker screen installed for 3-D
is perfect on color prints.

An exhibitor should always improve his
equipment to show every picture to its best
advantage. Projection should be absolutely
perfect ; sound should also be perfect. And
if you operate your house on the right policy
and run it like it should be operated and
properly sell your attractions you are not
going to be worried right now about what
to install.

Any one of these new methods will be a
flash at first and draw big grosses with just
what we have to show them right now.

I am a part of this industry and I do not
intend to go backwards and I will make
whatever investment is necessary to have
my theatres modern and up-to-date, but I
just don’t like the way Hollywood is going
about it with all these different methods. —
FRANK AYDELOTTE, Trail and Aggie
Theatres, Fort Collins, Colo.

Push T ax Fight

To the Editor :

I have always supported a campaign at
any time to eliminate the 20 per cent ad-
mission tax. always in the face of adminis-
tration opposition, expressed or implied. I
personally believe this fight should be con-
tinuously carried on to eventual victory.
Passive submission will eliminate any pros-
pects of a tax cut in future years.

With regard to 3-D, objection to wearing
glasses is the principal comment I have
heard from my patrons. — THEO. B.
BRUSH. Rex Theatre, Richfield. Idaho.

ISeed Good Pictures

To the Editor:

I have been in this business about 25
years and if this 20 per cent tax could be
taken off we would be O.K. What we really
need is good pictures. Good shows will
bring them in. So far, 3-D will not work.
You can’t use two machines all the time.
I played a 3-D movie July 8 to 11 to see
what the drawing power would be. People
will not go for an extra 10 cents in admis-
sion for glasses. — LEO B. BACKER,
Backer Enterprises, Browns Valley. Minn,

MOTION PICTURE HERALD

July 18, 1953

TAX victory is in sight as bill is rushed to
House floor Page 12

LEADERS urge continuation of fight for
taxation relief Page 12

LICHTMAN says no profit in CinemaScope
lenses or screens Page 16

BRITISH extras strike spreads to all studios;
is real threat Page 16

BRITISH pact negotiations expected to
start in the Fall Page 16

JUSTICE Department studies admission
price clauses in bids Page 17

MYERS, Allied leader, in consultation with
Justice official Page 17

NEW JERSEY Allied meeting hears warn-
ings on new method costs Page 20

MGM announces plans to make two films
using CinemaScope Page 20

SCHLESINGER interests buy UA share in
British Odeon Circuit Page 21

LOWELL THOMAS named president of
Cinerama replacing Roberts Page 21

TERRY RAMSAYE Says— A column of
comment on matters cinematic Page 24

NEW theatre television firm enters field
with attractions Page 24

WARNERS resume production on coast
with several top films Page 26

NATIONAL SPOTLIGHT — Notes on in-
dustry personnel across country Page 28

LOEW'S reports net profit of $1,014,142
for 12 weeks Page 34

REPUBLIC shows net profit for 26 weeks
of $473,150 Page 34

NEW YORK projectionists' local drops
suits against theatres Page 36

PARAMOUNT to release four top pictures

in two months

Page

SERVICE DEPARTMENTS

Film Buyers' Rating

3rd Cover

Hollywood Scene

Page

Managers' Round Table

Page

People in the News

Page

What the Picture Did for Me

Page

IN PRODUCT DIGEST SECTION

Showmen's Reviews Page 1917

The Release Chart Page 1920

MOTION PICTURE HERALD, JULY 18, 1953

COLUMBIA will make “several”
pictures in CinemaScope under
the terms of a deal concluded
' this week with 20th Century-Fox.
All productions to be made in the
wide-screen, compression-expansion
process will be in the spectacular
class, it was said. The first one prob-
ably will be “Pal Joey,” Broadway
musical which Columbia has an-
nounced for production this year.
“My Sister Eileen” may be the
second.

► Loew’s and the United Artists
circuit may settle their contentions
out of court. Negotiations are under-
stood to be occurring this week in
New York. Loew’s had sued in Fed-
eral Court there last September ask-
ing a receiver to liquidate joint in-
terests in eight houses, as required
by its consent decree with the Gov-
ernment. It filed after failing to ob-
tain an extension from the Depart-
ment of Justice over its September
deadline. The houses are the Loew’s
State, Louisville; Loew’s Century,
Parkway, and Valencia, Baltimore;
Loew’s Broad and Loew’s Ohio,
Columbus; and Loew’s Penn, and
the Ritz, Pittsburgh.

► Aid for the smaller theatre in
the 3-D hurricane is on the way.
A second package — this one prob-
ably including only stereophonic
sound equipment — is on the way.
National Theatre Supply, it was re-
ported this week is preparing a low
cost group prepared especially with
the needs of theatres up to 1,500
seats in mind. Unlike the Ballantyne
package announced some weeks ago,
the National Supply unit will not in-
clude screens or 3-D interlocks. First
hint of the package came last week
at the Allied of New Jersey conven-
tion where Wilbur Snaper said a
large equipment company was plan-
ning such a package.

► “Spyros Skouras and His Won-
derful CinemaScope” is the title of
a laudatory article on the 20th-Fox
president and the process in this
week’s Life Magazine. Life traces
Mr. Skouras’ rise from bus boy to
film executive and comments: “If
anyone can ‘save’ the movies, Spyros
Skouras would seem to be the man.”

► Albert Pickus, the Stratford,
Conn., exhibitor who made his own
wide screen, says it has brought
back to him, at least, that “lost
audience.” He reported to the The-
atre Owners of America, of which
he is the secretary, that his “Amp-O-
Vision” after six weeks is still draw-
ing the fans. He says the increase
in business has been 50 percent. He
adds that he brought back “The
Greatest Show on Earth” and that
his customers said they were “in the
picture,” and that the lesson to be
learned is that on wide screen at
least some of the great spectacles
may be brought back. He adds: “A
most important factor to me is that
we have had people come back who
have not been to the theatre for
years because of very poor eyesight,
and now they say they can see well.”

► If the admission tax bill should
get through Congress this month,
the tax exemption wouldn’t take
effect before September 1. The bill
says the exemption will start “the
first day of the first month begin-
ning ten days or more after the bill
becomes law.” The bill wouldn’t
become law until some time next
month.

► L. J. Duncan, of the Al-Dun
Amusement Co., West Point, Ga.,
believes his customers are friends
and neighbors, and if he talks to
them frankly about the industry’s
improvements they’ll understand the
problems as well as enjoy the pleas-
ures. In a chatty open letter the
other day, he pointed out theatres
have been affected by competition,
but still offer the best entertain-
ment; that their prices have been
raised only slightly compared to
other mediums ; that despite higher
costs and the Federal tax, he’s spent
thousands to improve his theatres ;
that the Lanett Theatre has one of
the best 3-D installations ; that
“though the first pictures were of

the sensational type, finer produc-
tions are now being released” ; and
that he now is installing Cinema-
Scope. Mr. Duncan raves about
this new improvement — “if we men-
tioned the total cost, you would
hardly believe us” — describes the
lens, sound system, and screen, and
says, frankly: “Our reasons for writ-
ing this letter several weeks in
advance is that we see the need
of what is known as pre-selling to
keep from ‘flopping’ in this new
adventure.”

► The Motion Picture Association,
continuing the fight against state
and local censorship boards will
probably move the battle to Mary-
land next year. This week Governor
Lausche of Ohio signed the Mosher
bill, repealing censorship of news-
reels in that state. An MPAA official
said the next attempt would be made
in Maryland.

► Negotiations have been off and on
between National Screen Service
and the Polaroid Corporation on a
deal whereby National Screen would
distribute Polaroid 3-D viewers.
Polaroid’s exclusive contract with
Milton Gunzberg for distribution of
the viewers expired July 15.

► Lives there a projector-designer
with imagination still in him who
hasn’t been saying to himself, “now
if we built a special 3-D model,
original from the ground up, using a
single chassis, and with the working
parts in common, we’d be rid of all
the sync problems at once” — or
may be actually building one?

► Members of the Senate Small
Business subcommittee studying in-
dustry trade practices now say they
aren’t sure that a final report can be
completed before Congress quits for
the summer. But they’ll be in there
pitching.

MOTION PICTURE HERALD, 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, President; Martin Quigley, Jr., Vice-President; Theo. J. Sullivan, Vice-President and Treasurer; Raymond Levy, Vice-President; Leo J. Brady,
Secretary; Martin Quigley, Jr., Editor; Terry Ramsaye, Consulting Editor; James D. Ivers, News Editor; Charles S. Aaronson, Production Editor; Floyd E. Stone, Photo Editor;
Ray Gallagher, Advertising Manager; Gus H. Fausel, Production Manager. Bureaus: Hollywood, William R. Weaver, editor, Yucca-Vine Building, Telephone HOIlywood 7-2145;
Chicago, 120 So. LaSalle St., Urben Farley, advertising representative, Telephone, Financial 6-3074; Washington, J. A. Otten, National Press Club; London, Hope Williams
Burnup, manager, Peter Burnup, editor, 4 Golden Square. Correspondents in the principal capitals of the world. Member Audit Bureau of Circulations. Other Quigley
Publications:. Better Theatres, published thirteen times a year as Section II of Motion Picture Herald; Motion Picture Daily, Motion Picture and Television Almanac and Fame.

MOTION PICTURE HERALD, JULY 18, 1953

tttxttxxtxttxt

tttttttxttxxi

WILLIAM G. MANSELL

ROBERT H. DUNBAR

CHARLES BEILAN

ERNEST SANDS

PROMOTION in the Warner Brothers distributing organization.
William G. Mansell, Philadelphia branch manager, becomes
central district manager. Robert H. Dunbar is promoted from
branch manager in Milwaukee to midwest district manager.

Charles Beilan, who had been assistant in Philadelphia, becomes
branch manager. Ernest Sands, who was a salesman in Cleve-
land, becomes branch manager. There are other promotions in
a realignment of district centers to promote efficiency.

PRESS CONFER-
ENCE, right, for
Walt Disney, in
London. He is shown
with Hope Burnup,
Quigley Publications
London manager, at
the Dorchester Ho-
tel reception. He
discussed 'Peter
Pan," now playing;
"The Sword and The
Rose" premiere, and
also saw production
of "Rob Roy," his
latest.

OPERATION LOLLYPOP. The scene is at the
Carolina theatre, Greensboro, N. C., an area which
polio has been invading. Little Nancy Stevenson
and Billy McGlamery contribute to 10,000 lollypops
collected so every child who receives a gamma
globulin shot may have one. Neil McGill, theatre
manager, thought this one up. He's also chairman
of the Guilford County Chapter, National Founda-
tion for Infantile Paralysis.

THEY SAW RKO RADIO'S FIRST 3-D
PICTURE, right. At the screening, in
New York, of "Second Chance": William
Didbury, Walden, N. Y.; Dorothy Post,
RKO booker; Jack Harris, Walter Reade
Theatres, and Joseph M. Seider, Pruden-
tial Theatres.

MOTION PICTURE HERALD, JULY 18, 1953

EDWARD MUHL,
vice-president and
general production
executive of Uni-
versal - International,
left, will assume
charge of all studio
operations, follow-
ing inability of stu-
dio chief William
Goetz and manage-
ment to agree on a
new contract.

IN PREPARATION for the world premiere of Warners' "So
This Is Love" at the Tennessee theatre, Knoxville, Aubrey
Couch, left, Wilby-Kincey Theatres city manager, sells the
first ticket to Mayor George Dempter, in the presence of
Ralph Frost, right, Grace Moore University Scholarship Fund
chairman.

AT THE SHORE

BUSINESS AND PLEASURE at the annual conven-
tion or the Allied Theatre Owners of New Jersey
last week, in Atlantic City. Pleasant surroundings,
the Traymore, and good weather leavened the
worries over pressing business problems raised by
the new film techniques. See page 20.

[Photos by the Herald]

DINNER. Lou Gold awards prizes at the final banquet. On the
dais, A. Louis Martin, comedians Harvey Lembeck and Robert
Strauss, Mr. Snaper, Mr. Dollinger, Mr. Agnew.

FROM MARYLAND. Left, seated, Lauritz Garman; standing,
Alice Garman, Jack Levin and Katherine Smith. Right, C. B.
Wolf.

BUSINESS. Irving Dollinger,
board chairman; Wilbur
Snaper, president; Lou Gold,
vice-president; A. Louis Martin,
treasurer.

GUEST SPEAKER, at the banquet:
C. Bruce Newbery, Republic vice-
president and sales director.

COCKTAIL PARTY.
Neil Agnew, Republic,
with drive-in exhibi-
tor Wilfred Smith.

THE WIVES were
there. Right, Mrs.
Edward Lachman,
Mrs. Wilbur Snaper
and Edward Lachman.

ttnttxuztxii

1 1

MOTION PICTURE HERALD, JULY 18, 1953

TAX VICTORY IX SIGHT!
BILL RUSHED TO FLOOR

URCE CONTINUED FICHT FOR
PASSAGE OF THE MASON BILL

See Mason Bill as Passing
the House , But Hurry to
Adjourn May Be Snag

WASH I A (77 ON : The House of Represen-
tatives will vote Monday on the Mason bill
to exempt motion picture theatres from the
20 per cent Federal admissions tax, Repre-
sentative Halleck (R., Ind.), House major-
ity leader, announced Wednesday. The way
for the vote was paved this week when
Monday the House Rules Committee cleared
the measure. A crowded schedule, however,
forced floor action over to next week.

Officials of the Council of Motion Picture
Organizations claim that more than 300 of
the 435 House members already have
pledged themselves to vote for the bill, so
its passage next week seems assured when
it gets to a vote.

Senate Finance Chairman
Has Promised Support

I he spotlight then will shift to the Sen-
ate, where Finance Committee Chairman
Millikin (R., Colo.) has promised to ex-
pedite committee consideration. The major
trouble now brewing for the bill lies in the
fact that Congress is racing to quit for the
year by July 31, and the bill could get
caught in one of the usual end-of-session
legislative log jams.

In clearing the Mason bill, the House
Rules Committee Monday recommended the
measure go to the floor under a procedure
barring any amendments on the floor and
limiting debate to one hour. This was con-
sidered a victory for the COMPO tax com-
mittee, which is trying to ward off any
amendments giving relief to other industries.
COMPO feels that amendments helping
other industries will increase greatly the
cost of the bill and thereby impede its chance
of enactment.

Meanwhile, the House Ways and Means
Committee, which Friday reported favorably
on the bill by a lopsided 22 to 3 vote, told
members of the House that the “situation
demands immediate action so that motion
picture operators can continue in business.”

Say Closed Film Theatres
Would Disturb Country

The committee, filing its official report,
said that since theatres are in every town
and village, “the closing of motion picture
theatres will have a disturbing effect on the
entire country.”

The Mason bill, the committee said, “is
necessitated by the serious economic condi-
tion confronting the motion picture indus-
try.” It pointed out that more than 5,000
theatres have closed since 1946 and that
theatre receipts have been declining steadily.

The committee seemed to go along with
the COMPO argument that the Treasury

II ASHINGTON: Although tremendously
pleased by the action of the House Ways
and Means Committee in reporting favorably
on the Mason bill to exempt motion picture
theatres from the 20 per cent Federal
amusement tax, leaders of the industry’s tax
campaign quickly pointed out early this week
that the measure still has a long way to
go and that campaign workers must in no
way relax efforts for the bill’s approval.

Col. H. A. Cole and Pat McGee, co-
chairmen of the National Tax Campaign
Committee, sent wires to all state and Con-
gressional district committees urging them
to remind their Congressmen that the
Mason bill does not interfere with the
Administration's program for a balanced
budget, but on the contrary will make it
possible for the Treasury to collect more
money.

“This is a truth which must again be
brought home to all Congressmen,” they
said. “Moreover, the truth of it is made
plain by the action of the committee itself,
for it was only two days ago that the com-
mittee extended the excess profits tax for

actually would be better off with the Mason
bill than without it pt is estimated, it said,
that the net loss in revenue resulting from
the repeal of the tax on admissions to mo-
tion pictures will amount to approximately
$100,000,000. This estimate takes into ac-
count an increase in the revenue from in-
come taxes due to such repeal.

“Your committee is of the opinion that
if the tax is continued, the receipts from
admissions to motion pictures will continue
to decline and more theatres will have to
close, thus further reducing the income from
these activities subject to the income tax.
Hearings on April 20 on the Mason bill
showed the tragic plight of the industry at
the present time,” the committee report said.
It continued:

“While since 1946, almost every other
industry has shown a decided increase in
profits, the total net income of all U.S. thea-
tres showing motion pictures declined 29.7
per cent. In 1946 the American people spent
more than $1,500,000,000 on the movies.
Today they are spending only around $1,-
000,000,000 and the attendance is still on
the decline.

“The industry has been extremely hard
hit through the introduction of television
and other competing activities. It should be

the sole purpose of insuring the Treasury’s
revenue and if the committee had not been
convinced the Mason bill would save the
industry without seriously jeopardizing the
Treasury's revenue it would not have given
us a favorable report. Naturally, we are
overjoyed that this committee, which is
made up of the most astute tax experts in
our Government, should be in complete
agreement with the contention we have made
all along in this campaign.”

Sam Pinanski and Trueman Rembusch,
members of the COMPO triumvirate who
have been here with the tax campaign lead-
ers watching developments in Congress,
were equally pleased with the action of the
Ways and Means Committee.

“The right to tax,” they said, “does not
carry with it the right to destroy an indus-
try, and these men on the Ways and Means
Committee obviously are keenly aware of the
fact. They have responded to our plea for
tax relief in the finest tradition of Amer-
ican democratic government and have given
another inspiring example of the American
way.”

remembered that motion picture theatres by
their very nature are not adaptable to other
activities and when the motion picture thea-
tre closes, the building and equipment ordi-
narily have to be disposed of at a heavy
loss.”

The Rules Committee acted Monday after
a brief hearing with Representative Mason
the only witness. He urged quick action
to clear the bill for a House vote. The
Ways and Means Committee Friday cleared
the bill in about 30 minutes in an early
morning session.

In the Friday action there was no attempt
to tack on amendments giving relief to other
industries, hut there was an amendment ap-
proved to make it clear that the exemption
also applied to non-profit film showings. The
1951 tax law, in exempting symphonies,
operas and other non-profit groups from the
admission tax, made it clear that the tax
remained on film showings by these groups.
The original Mason tax was so drawn as
to take the tax off film showings in com-
mercial theatres, but to keep it on film show-
ings by non-profit groups. The bill was
amended to cover both.

The effective date of the Mason bill would
be the first day of the first month starting
more than 10 days after the bill becomes law.

MOTION PICTURE HERALD, JULY 18, 1953

progress

report

from

revoluti°nary

aS sound

ivas t° the 81

lentrnov^s-

V9- Los

Angela

fAevnld

l Exp^ -

t has been my privilege to witness at first hand some
of the screen’s most significant evolutionary advances. Each
new development has brought to our business more prestige
and added artistic luster. Each has served as a step to new
heights of boxoffice prosperity for exhibitor, producer and
distributor alike.

few days ago, at our Hollywood studios, I enjoyed
a ringside seat at the dawn of a brilliant new era in entertain-
ment—The CinemaScope Era. The occasion was the screen-
ing of the first assembled versions of 20th Century-Fox’s first
two CinemaScope productions in Technicolor, “The Robe”
and “How To Marry A Millionaire.”

eeing CinemaScope put to practical use in full-length
features is an exalting experience. On our Miracle Mirror
Screen, through the magic of the anamorphic lens, it staggers
the imagination and dwarfs the entertainment giants of the
past with its overwhelming splendor and technical superiority.
Now, through its panoramic range and sweep and the inten-
sity of its dramatic impact that makes the audience participants
in the action without the use of glasses, the motion picture
truly has come alive.

CinemaScope opens brilliant new horizons for the
motion picture industry. It establishes a blazing new standard
for entertainment, and I am convinced that it cannot fail at
the same time to create the greatest audiences in the entire
history of the screen.

C inemaScope opens new vistas for producers, directors,

actors, writers, photographers, technicians, to evolve and
create greater motion pictures than ever before.

PIONEERED AND DEVELOPED BY 20th CENTURY-

Over the years, 20th Century-Fox has spared no effort and no expense
in the pioneering and development of new techniques to meet exhibitor needs
and public demand for ever-fresher, ever more exciting entertainment. Now,
once again, these tremendous investments, and the vigilance and application
of a brilliant research department, have borne rich fruit in behalf of our
industry.

ou are familiar with the unprecedented and unanimous acclaim ac-
corded CinemaScope by exhibitors, producers, technicians and representatives
of the world-wide press through the demonstrations in our own country and
the European showings inaugurated in Paris, London and other European capi-
tals. You are aware of the tremendous exhibitor response to this revolutionary
new dimensional photographic medium from theatres of every size and shape.
At press time, 20th Century-Fox has received over four thousand applications.

am proud indeed to be associated with the company which fostered this
modern miracle of the screen; Spyros P. Skouras, whose tireless efforts in
behalf of progress led to his discovery of CinemaScope; Darryl F. Zanuck,
who so quickly and comprehensively grasped its potentialities and brought
it to stunning reality; and the other producers in our industry who have
adopted it with the confidence that CinemaScope points the brilliant road to
a future of unprecedented heights.

am convinced that CinemaScope is an enduring milestone in the world
of entertainment. Nothing you have ever seen compares with CinemaScope;
nothing you have ever seen holds greater promise for a new and expanding
prosperity for the motion picture industry.

Al Lichtman, 20th Century-Fox

FOX

NO PROFIT IN CINEMASCOPE
LENSES, SCREEN -LICHTMAN

Twentieth Century-Fox expects to make
no profit whatsoever in connection with its
provision of anamorphic lenses and Miracle
Mirror Screens for CinemaScope exhibition,
according to A1 Lichtman, distribution exec-
utive of the company.

"We may never recoup our tremendous
investments in lenses and screens. We have
made them in order to insure that exhibitors
would have them when they are needed.
Manufacturers of lenses and screens required
payment for retooling- and substantial ad-
vance orders,” Mr. Lichtman declared this
week in New York.

20th-Fox is primarily in the business of
producing motion pictures and the equip-
ment it has caused to be made, Mr. Licht-
man pointed out. is handled by equipment
dealers. The prices include the dealer’s
commission and royalties as well as direct
manufacturing costs.

Mr. Lichtman’s comments were occasioned
by remarks made last week by Edward L.
Hyman, vice-president, American Broad-
casting-Paramount Theatres in which Mr.
Hyman said he thought the CinemaScope
lenses were too expensive and that "screens
just as good” as the CinemaScope screen
could be obtained for less money.

In a letter to Leonard Goldenson, presi-
dent of American Broadcasting-Paramount
Theatres, Mr. Lichtman wrote, “Mr. Hyman
does not know what he is talking about. If
he could deliver to me anamorphic lenses to
our specifications for $500 per pair we would
give you an order right now for 10,000
lenses. Actually, for your information, we
have sunk a tremendous amount of money
into our CinemaScope project. In addition
to paying royalties on the lens to the French
inventor, we have paid Bausch & Lomb
$625,000 for retooling alone. And, in addi-
tion, we are paying them more than double

British Extra
Strike Grates

by PETER BURNUP

LONDON : The film extras’ strike at
MGM’s Elstree Studios has spread to all
other British studios. Spokesmen for the
British Film Producers Association have
announced that production in no studio
could continue beyond this week as a re-
sult of the labour trouble.

Meanwhile, the five trade unions of the
industry were to meet this week to discuss
the walkout. Members of the Film Artistes’
Association have been to the Ministry of
Labour for talks with the Regional Indus-
trial Relations officers and an agreed state-
ment afterward said the Association was

what Mr. Hyman says the lens should cost.
Also, we have a contract with one lens
manufacturer where the lens, without the
mountings, is costing us $1300 each, not per
pair.”

Mr. Lichtman also pointed out in his
letter, “In addition to this we have expended
close to $5,000,000 for research over a period
of several years, out of which came Cinema-
Scope and other worthwhile projects that
will be of benefit to the theatres and industry
at large. The same goes, for our screen
which was years in development.”

On the subject of screens, Mr. Lichtman
wrote Mr. Goldenson as follows: “I know
you can buy screens for much less money
than the Miracle Mirror Screen, but no
screen yet, including the one you bought
(which we had tested by experts) can evenly
distribute light and give sufficient light to
project CinemaScope pictures as effectively
as the Miracle Mirror Screen. One of the
very large circuits installed another screen,
but after testing with instruments the dis-
tribution of light and the power of the light
over the whole surface of the screen, they
threw it out and ordered the Miracle Mirror
Screen.”

Mr. Lichtman offered, if Mr. Goldenson
desired, to have certified accountants verify
the representations he made as to the cost
of the lens and screen and the heavy invest-
ments 20th-Fox has made in CinemaScope.

In connection with his letter, Mr. Licht-
man said that it is important to remember
that CinemaScope is not just a lens and
screen but a whole system which is expected
to very substantially increase grosses of thea-
tres which exhibit CinemaScope films. He
also called attention to the fact that MGM,
Columbia, Walt Disney, and other com-
panies have already announced pictures in
CinemaScope.

"further considering its position m consulta-
tion with the other unions.”

The strike originally began when more
than 200 extras stopped work last month on
"Knights of the Round Table" after theu-
pav demand for an increase of one guinea
a day to three guineas was refused. MGM
is not in membership with BFPA ( British
Film Producers’ Association) but the latter
barred the strikers from seeking work in
other studios.

The Film Artistes’ Association ordered its
1,400 members to join the strike as a protest
against what it called the “victimisation” of
its members by BFPA. Pickets were out
at all studios. Work was slowed down at
the other Elstree studios and at Pinewood,
Ealing and Hammersmith.

Hardest hit of the studios is Pinewood,
where three films are held up. In a bid to
settle the dispute MGM has submitted its
case to the Labour Ministry.

Negotiate
Nete British
Pact in Fall

Talks on a new Anglo-American agree-
ment for the remittance of American film
earnings in Great Britain are expected to
get under way in Washington September 22,
Eric Johnston, president of the Motion Pic-
ture Association of America, :sa!d in New
York Monday.

Mr. Johnston, who has just returned from
a 20-day tour of Europe, told a meeting of
company presidents and foreign managers
of the information lie received in London.
Heading the British delegation will be Syd-
ney Golt, assistant secretary of the Board
of Trade in charge of the films branch, and
Sir Morris Dean, assistant to Frank Lee,
who is permanent under-secretary of the
Board of Trade.

The current pact, a one-year extension of
the basic agreement, will expire Septem-
ber 30.

In his report to the company presidents,
Mr. Johnston also touched on the thorny
situation in France, where American negoti-
ators have asked for a four months’ exten-
sion of the present pact, which expired
June 30. Mr. Johnston said that he had
received assurances from French negotia-
tors that they would recommend government
approval of the American extension pro-
posal.

It was reported that efforts to reach a
new agreement were stalemated by French
insistence that the pact carry a provision
similar to the Italian agreement calling for
the use of American funds to promote
Italian films in the • United States. This
was rejected immediately by the American
negotiators.

Mr. Johnston, it was reported, plans to
resume negotiations with the French in the
not-too-distant future, returning to Europe
for that purpose. It is understood that if
the American proposal for an extension of
the pact is rejected by the French govern-
ment, Mr. Johnston would return early in
September to resume the talks. However,
if the proposal is accepted, his trip is ex-
pected to lie postponed.

Government Information
Program Stays Slashed

The Government’s overseas information
program will stay reduced, the House Ap-
propriations Committee decided in Wash-
ington last week. It voted $60,000,000.
Former President Truman had asked $114,-

500.000, and President Eisenhower $87,-

900.000. The reduction probably means cuts
in the $6,400,000 requested for the film sec-
tion, of which J. Cheever Cowdin is chief.
The Committee reported Congress is "ter-
ribly disppointed” in the program so far,
that personnel has been excessive, and en-
gaged in projects of no value or which tend
to make the country “ridiculous.”

MOTION PICTURE HERALD, JULY 18, 1953

U.S. STUDYING ADMISSION
PRICE CLAUSES IN BIDS

Justice Unit Tells Senate
Group Pre-Release Also
Being Investigated

by J. A. OTTEN

WASHINGTON : The Department of jus-
tice’s Anti-Trust Division this week in-
formed the Senate Small Business Subcom-
mittee that it was reviewing two important
questions dealing with distributor-exhibitor
relations. The first concerns distributor re-
quests for information regarding admission
prices an exhibitor proposes to charge on
a given picture and the second would de-
termine whether the practice of pre-releas-
ing pictures involves the granting of un-
reasonable clearance.

The division stated that it was not as
yet prepared to give an opinion on either
question.

Information to Committee
In Form of Memorandum

The anti-trust division gave this informa-
tion to the subcommittee in the form of a
memorandum in which the division reiter-
ated its belief that an efficient arbitration
system between exhibitor and distributor
would solve many of the industry’s perplex-
ing problems.

“We do feel,” the memorandum said,
“that a well-conceived and well-admin-
istered arbitration system would be a
desirable means of solving many types
of distributor-exhibitor disputes.”

The memorandum went on to say that
arbitration should not, however, limit the
authority of the government or the Court's
jurisdiction to enforce the judgments en-
tered in the Paramount case. It also de-
clared that the anti-trust division should not
comment in any detail on arbitration before
a proposed arbitration system was submit-
ted to it for consideration.

Referring to committee witnesses’ descrip-
tion of theatre divorcements as “technical
divorcements,” the memorandum stated,
with this we cannot agree. We believe
that the divorcements have been quite real.”

Describes Safeguards and
Injunctions in Judgments

The memorandum described the injunc-
tions and safeguards involved in all the
judgments and said, “While the effect of
the divorcements do not become apparent
overnight, it is already true that many pic-
tures are sold to theatres other than the
theatres formerly affiliated with the produc-
tion and distribution company distributing
the picture.”

The Department’s statement said that in
the past few years there have been at least
15 Federal Bureau of Investigation probes
of exhibitor complaints, in addition to nu-

MYERS CONFERS WITH
TRUST CHIEF BARNES

WASHINGTON: Allied States Association
general counsel Abram F. Myers had a
two-hour meeting Monday with the Justice
Department's anti-trust chief, Stanley N.
Barnes, and other anti-trust division officials.
It was understood that the major purpose
of the meeting was to permit Mr. Myers
to give the Justice officials information
collected by Allied in an attempt to prove
distributor price-fixing. Mr. Myers refused
to comment on what was discussed at the
meeting except to say that it covered
"matters of interest to the independent
theatre owners."

merous conferences held with exhibitors and
distributors after exhibitor complaints were
received. The “overwhelming majority” of
the complaints, the memorandum said, in-
volved situations which, “while in many in-
stances indicated the possibility that some
adjustment of the complaint might be se-
cured for the exhibitor concerned, could not
be categorized as necessarily indicating an
intentional disregard of the provisions of
the judgments.”

Deny Trust Judgment
Was Theatre Closing Factor

The statement said the Justice officials
felt that the large number of theatre clos-
ings could not be “fairly attributed to the
judgments entered in the Paramount case.'
Tt mentioned as contributing to theatre clos-
ings such factors as obsolescence of theatres,
competition from drive-ins and newly con-
ducted theatres, the post-war development
of new residential areas and the develop-
ment of television.

The statement touched briefly on the pro-
posals to standardize 3-D processes and said,
“any agreements among the distributors
which would have the effect of excluding
any process from the market” would raise
a serious anti-trust problem.

Last week the subcommittee was informed
by a spokesman of the anti-trust division
that the Justice Department “gets something
done” on almost every industry complaint
that comes in.

They estimated that the anti-trust divi-
sion receives up to 200 complaints a year
from the industry and acts on about 95 per
cent of them — with corrective results.

Testifying for the division in the closing
session of the subcommittee’s hearings on
industry trade problems were Stanley Barnes,
division head ; Edwin Pewett, chief of the
judgment and judgment enforcement section,
and long-time film specialists Philip Marcus
and Maurice Silverman.

Chairman Schoeppel told Mr. Barnes that
several witnesses had recommended that the
consent decrees be reopened for revision and
asked for Mr. Barnes’ opinion. Mr. Barnes
declared he couldn’t say, on the basis of his
experience that there should be any amend-
ments to the decrees, although they con-
tained provision that would permit their
reopening. “It may he,” he said, “that this
particular matter may involve such a strong,
basic case that the court would look with
favor on reopening the judgment, but I
doubt it.”

Sees No Violation in
Competitive Bidding

Mr. Barnes led off with a prepared state-
ment, answering questions submitted by the
sub-committee. He told the committee that
even if competitive bidding is instituted by
distributors against the wishes of exhibitors,
there would be no violation of the consent
decrees unless the theatres were not in sub-
stantial competition with each other. He
also stated that his division would welcome
a procedure in which at least the successful
bid was disclosed to competing bidders “in
order to minimize complaints based on sus-
picion.” The Department has never been en-
thusiastic on competitive bidding, he said.

The Department would not consider for-
mulating rules and procedure concerning
competitive bidding, he went on, but would
be willing to join distributors and exhibitors
— should the two groups agree on a set of
rules for competitive bidding which con-
tained no objectionable feature — in recom-
mending to the District Court whatever
decree amendments might be needed to en-
force these rules.

Mr. Marcus told the committee that no
industry had brought as many complaints
to the anti-trust division as the motion pic-
ture division and estimated that one third
of the division’s correspondence dealt with
motion picture affairs.

“But,” he declared, “there is almost not
a single complaint that we don't take up
with the distributors and get something
done.”

Sometimes the division can get all the
information it needs from its files, he said,
and sometimes it uses F.B.I. people.

Jackson Park Attorneys
Pass Petition Deadline

CHICAGO : Attorneys for the Jackson
Park theatre have allowed the deadline to
pass for petitioning a rehearing on the de-
cision of the U. S. Circuit Court of Appeals
on the status of the RKO Grand Theatre.
The mandate of the Appeals Court is tant-
amount to a reversal of Federal Judge Igoe’s
earlier decision that the Grand is still sub-
ject to the provisions of the Jackson Park
decree despite the RKO divorcement.

MOTION PICTURE HERALD, JULY 18, 1953

I WRITER

Pulitzer Prize winner James A. Michener of
"South Pacific" fame!

: DIRECTOR

Mark Robson, that "Champion" man,
has another winner!

y-TP M I IQIf* The title song, composed by the Academy Award winning
\LI IVIUOIO "High Noon" team, Dimitri Tiomkin and Ned Washington,
has already hit the Hit Parade!

^/sTir1 PRnniimnN ah the exotic beauty of a south sea island,

I ftUUUO I lUll where it was filmed in spectacular Technicolor!

WITH THE MARK OF

ALL OVER IT!

NESS

iff STAR

Gary Cooper — 1952 Academy Award Winner —
and "one of the top ten money-making stars of '52'

Fame

BIG ONE

thru

and most
of all ...
MARKED
FOR

RETURNS!

aradise

with

Directed by

Produced by

MARK ROBSON THERON WARTH

Screenplay by CHARLES KAUFMAN • Based upon the book by JANES A. MICHENER . Director of Photography, WINTON C. HOCH, A.S.C.

Music composed and conducted by DIMITRI TIOMKIN • An ASPEN PICTURE

FEAR COSTS OF
NEW METHODS

New Jersey Allied Voices
Disturbance , Deplores
3-D Film Sales Policy

by FLOYD E. STONE

Worry over the expense of new film tech-
niques which have transformed and shaken
the industry tempered the annual meeting
of the Allied Theatre Owners of New
Jersey, Wednesday through Friday of last
week at Atlantic City, and brought blasts
of anger and pleadings of caution from the
organization. At the same time, develop-
ments in the battle to repeal the Federal
admissions tax, outlined by the general coun-
sel of National Allied, Abram F. Myers,
aroused a measure of optimism.

Hit High Rentals for 3-D

The expense of the new techniques is not
alone in equipment but in terms asked for
pictures, spokesmen for the independent and
small exhibitors stressed. An official state-
ment drawn after two days of consideration
“deplored’’ selling of 3-D pictures as “un-
realistic and short-sighted in failing to rec-
ognize the right of customers to make a
profit out of such bookings” and said the
practice if continued “will destroy the
stimulus of these new presentations.”

It added that theatres equipped for 3-D
have gone to great expense and that this
should be carefully considered ; that only
2,500 theatres now are equipped for 3-D ;
and that “other thousands are ready to in-
stall as soon as selling prices are fair
enough” to assure them making a profit.

“It has been profitable to manufacturers
and distributors but the exhibitor has been
completely ignored,” Allied charged, and
then went on to recommend a procedure to
reduce the cost of 3-D.

It asked that producers “give careful con-
sideration to all technical improvements such
as the Nord and Norling processes, Vecto-
graph, and any other single projector
device.”

Smaller Exhibitors “ Waiting ”

Pointing up the unit’s concern was a drop
in attendance, generally and after the first
business session. Many showmen went home
to their small theatres, it was explained,
because expenses and technical necessities
attendant on 3-D have forced them to be
their own managers. The consensus among
many was that 3-D and wide-screen installa-
tions are becoming fewer among small ex-
hibitors as they wait for simplifications.

Showing of the Nord Process arranged
by Edward Lachman, sales manager, was
cancelled when Warners’ Virginia Theatre
in which it was planned, allegedly refused
to allow its screen to be painted with a
special mix.

“One film 3-D” was demanded by presi-

dent Wilbur Snaper, who declared present
expenses such as in labor and interlocking
mechanisms mean the difference between
profit and loss in view of the terms asked
for the new pictures and the kind of one-
man operations independent exhibitors have.
He also said a large equipment company,
which he refused to name, is preparing a
“package" of 3-D and wide screen such as
offered by the Ballantyne Company.

Mgers Reports on Tax Fight

Mr. Myers talked not only of progress
of the Mason Bill to repeal the admissions
tax but also of the hearings of the Senate
Small Business Monopoly subcommittee. Of
the former, he said first that it would not
in itself sufficiently relieve pressure upon
small theatres, and secondly that the bill
could go through this year.

He said it would have its difficulties in
the Senate. He also praised the COMPO
tax committee, and said the tax drive was
a product of the industry, particularly ex-
hibitors, and that it showed the industry
as it could function in cooperation.

Of the hearings on small business prac-
tices, for which he returned to Washington
after speaking, he noted that the Senate
doesn’t have power over the industry but
that it represents power to form public
opinion and as such might be respected by
top industry executives. Furthermore, he
stressed, if the subcommittee could recom-
mend certain courses, be believes the De-
partment of Justice might be forced to act.

Mr. Snaper was reelected president, for
what will be his fourth term. Other reelected
officers are Lou Gold, vice-president ; Wil-
liam Basil, secretary; A. Louis Martin,
treasurer ; and Harry Scheer, sergeant-at-
arms. Reelected to the board were Irving
Dollinger, chairman; Henry Brown, How-
ard Herman, and Morris Spewack. Other
board members are John Fioraventi, Herb
Lubin, John Harwan, David Snaper, and
Jack Unger.

Sales Executives Attend

Present from film companies were C.
Bruce Newbery, Republic vice-president
and director of sales; Neil Agnew, assistant
to Republic president Herbert J. Yates; Saul
Trauner, Columbia; Herman Ripps, MGM ;
David Levy, Universal; Sam Rivkin, United
Artists. Mr. Agnew and Mr. Newbery were
on the final banquet dais and introduced to
the exhibitors.

The banquet featured comedians Harvey
Lembeck and Robert Strauss of Paramount’s
“Stalag 17.”

Equipment was displayed at booths by the
Ballantyne Company, Lorraine Carbons,
Coca-Cola, Orange Crush, Manley Popcorn,
and the Cinematic Corp. Representing the
first three were, respectively, Robert J. Hoff,
Edward Lachman, and Charles Okun.

MGM Sets
2 Mere for
CinemaScope

HOLLYWOOD: “Beau Brummell” and
“Brigadoon” will be the next two produc-
tions to be filmed at MGM in the Cinema-
Scope process, Dore Schary, studio produc-
tion head, announced last week after looking
at scenes from “Knights of the Round
Table” and “Rose Marie,” the first two
MGM films in the process.

“Our first experience with CinemaScope
has strengthened our belief that this excit-
ing medium is ideally suited for certain
types of motion picture production, and ac-
cordingly we are going ahead with plans to
film ‘Beau Brummell’ and ‘Brigadoon’ in the
process,” said Mr. Schary. He added that
both will be filmed also in the conventional
process so that they may be available to all
sizes of theatres throughout the world.

“Brigadoon” is scheduled to go into pro-
duction next month starring Gene Kelly and
Cvd Charisse, with Arthur Freed producing
and Vincente Minnelli directing. To be
produced by Sam Zimbalist, “Beau Brum-
mell” will star Stewart Granger and Eleanor
Parker and go into production in September.

“Arena,” MGM’s first full-length 3-D
feature, will be premiered internationally on
full-stage panoramic screens at Metro thea-
tres in San Juan, Puerto Rico, and Lima,
Peru, July 23, it was also announced by the
studio this week. The company states that
this is the first time that panoramic screens
will be used in the theatres and the first
time that 3-D pictures have been shown on
a panoramic screen outside the U. S.

Altec Official Participates
In CinemaScope Showing

Twentieth Centurv-Fox’s CinemaScope
demonstration at the Denver theatre, Den-
ver, July 8, marked a continuation of the
arrangements whereby Altec Service Cor-
poration acts in a supervisory capacity for
the 20th-Fox showings, a spokesman for
Altec said in New York this week. Martin
Bender, Altec headquarters engineer, was in
charge of all sound details at the showing
and conducted a stereophonic sound clinic
for exhibitors, the eighth such held in con-
junction with various CinemaScope demon-
strations during the last two months.

RKO Plans 4-City Arizona
Premiere for 3-D Film

RKO this week announced plans for
simultaneous world premieres of “Devil’s
Canyon,” the company’s second 3-D feature,
in key cities throughout Arizona, including
Phoenix, Yuma, Tucson and Flagstaff.
Producer Edmund Grainger said that state
officials, including Governor Howard Pyle,
and theatre operators were cooperating in
plans which include the personal appear-
ances of the picture’s stars, Virginia Mayo,
Dale Robertson and Stephen McNally.

MOTION PICTURE HERALD, JULY 18, 1952

Peopte in Oke U

e in ^sne / lews

imminiiimiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiuiiiiiiiiiiiimiiiiiiiiHiiiiuii

Schlesinger
Gets Odeon
Stock of UA

1 he Schlesinger organization of South
Africa and United Artists announced jointly
in New York and South Africa Monday
that Schlesinger had acquired all of UA’s
interest in Odeon Cinema Holdings, Ltd.,
including 50 per cent of the ordinary shares
of Odeon Theatres.

Odeon Cinema Holdings will continue its
interest in Odeon Theatres, the parent oper-
ating company which has interests in the
United Kingdom, Australia, Canada, New
Zealand and other countries as well as in-
terests in production, distribution and ex-
hibition companies and equipment manufac-
turing firms.

It was reported in London Tuesday the ac-
quisition involved approximately $2,240,000.

John S. Schlesinger, chairman of African
Theatres, Inc., the company within the
Schlesinger organization which is acquiring
the UA holdings, said this deal only has the
effect of Schlesinger acquiring the share-
holdings previously held by UA and that
control and management of Odeon remains
unchanged. He further stated that the deal
indicated the confidence in the future of the
film business and the Rank Group, of which
Odeon is a part.

In a formal statement, Robert Benjamin,
chairman of the board of UA, regretted dis-
posing of the holdings but added "the oppor-
tunity to add substantially to the capital re-
sources of UA, enhancing its chances to aid
independent producers throughout the world
for the production of bigger and better films,
was one which the management of the com-
pany was happy to accept.”

MGM Executives to See
New Films at Studio

Plans for the release of an important
group of MGM pictures to be coordinated
with national advertising, promotion and
exploitation campaigns will be discussed by
top East-West executives at a series of
studio meetings during the week of July 27.

Attending from the New York office to
confer with Dore Schary and the executive
staff are Nicholas M. Schenck. Charles C.
Moskowitz, Charles M. Reagan, Howard
Dietz, and Oscar Doob.

With final installation on MGM Stage 16
of stereophonic sound and projection equip-
ment and a screen adaptable to the showng
of CinemaScope, wide and standard and
3-D film in all dimensions, the conferences
will be featured by showings of pictures.

HOLLYWOOD : Silas F. Seadler, MGM
advertising manager, arrived here Monday
to confer with members of the advertising
and trailer staffs at the studio, attend a
number of previews and witness demonstra-
tions of 3-D and wide-screen films. He will

Eric Johnston, president of the Motion
Picture Association of America, is visit-
ing his home in Spokane, Wash. Present
indications are that he will remain there
until the end of the month.

Cresson E. Smith has been appointed gen-
eral sales manager of Louis de Roche-
mont Associates, New York, it has been
announced by F. Borden Mace, presi-
dent. Mr. Smith has served in executive
posts with United Artists, RKO and the
Selznick organization.

Arthur Ehrlich has been appointed to the
United Artists home office foreign staff
as traveling auditor, it has been an-
nounced by Arnold M. Picker, vice-
president in charge of foreign distribution.

Harry Coleman Hagerty has been named
a director of the Radio Corporation of
America, it has been announced by Brig.
General David Sarnoff, chairman of
the board. Mr. Hagerty is financial vice-
president and a director of the Metropoli-
tan Life Insurance Company.

discuss with Frank Whitbeck and Jack
Atlas plans for an advertising campaign for
"Kiss Me Kate,” the company’s first 3-D
films on wide-screen.

Selling Policies Topic
For 20th-Fox Meeting

How to sell ‘‘The Robe” and "How to
Marry a Millionaire” will be the subject of
a 20th-Eox division managers’ meeting
July 20 and 21 at the New York home office.
They will feature presentation of advertis-
ing. publicity, and exploitation campaigns
for "The Robe,” and discussions led by vice-
president Charles Einfeld and staff ; A1
Lichtman, director of distribution ; W. C.
Gehring, executive assistant general sales
manager ; and Arthur Silverstone, eastern
sales manager, and Edwin W. Aaron, west-
ern sales manager. Also on the agenda are
sales plans for "Gentlemen Prefer Blondes,”
“Inferno,” “Dangerous Crossing,” “Sailor
of the King,” “Mister Scoutmaster,” “City
of Bad Men,” “Blueprint for Murder” and
“Vicki.”

Name Frank Davis Head
Of Selznick Company

HOLLYWOOD: Frank I. Davis, Jr., has
been named to succeed David O. Selznick
as president of the Selznick Releasing Com-
pany. Mr. Selznick, in making the an-
nouncement of the appointment last week,
said it was part of a realignment to free
himself for production efforts for the legiti-
mate stage. Mr. Davis, vice-president and
secretary of the company since 1951, will
make his headquarters in New York.

Herbert A. Schaefer has been appointed
branch and district manager of the Bos-
ton office of Republic, replacing Francis
Dervin, resigned.

J. Allen Valle has been promoted to RKO
Radio manager for Portugal, it has been
announced by Alfred Crown, foreign
manager. He had served as assistant to
the late Joaquin Gallego.

Michael Mindlin, Jr., has been named
publicity director of Lopert Films Dis-
tributing Corporation.

James M. Connolly, 20th Century-Fox
branch manager in Boston, has been
named a director of the March of Dimes
campaign in Suffolk County, Massachu-
setts.

Walter Armstrong, formerly head of
Armstrong Studios, Inc., Los Angeles,
has joined the B. F. Shearer Co., San
Francisco, it has been announced by H. I.
Tegtmeier, vice-president.

Thomas Is
President of
Cinerama

Lowell Thomas has been elected president
of Cinerama Productions, Inc., replacing
Dudley Roberts, resigned, it was disclosed
in New York Monday following a board of
directors meeting.

These and other changes were made in
preparation for the takeover of Cinerama
exhibition and production by Stanley War-
ner, it was stated. The takeover, which is
subject to approval of the Department of
Justice, must come by the end of this month
according to the terms of the deal.

Other executive and board changes were:
Theodore R. Kupferman, general attorney,
was elected executive vice-president, filling
the post vacated by Frank Smith, resigned;
Alger B. Chapman, of the law firm of Chap-
man, Bryson, Walsh and O’Connell, was
elected a director; Thomas Perkins, re-
signed as vice-president but retained his
post as a director, while Mr. Thomas, on
becoming president, resigned as vice-chair-
man of the board. Mr. Roberts, one of the
organizers of the company, remained as a
director.

There was no change in the status of
Louis B. Mayer, who remains as chairman
of the board.

Monday’s board meeting also mapped out
a program to cut costs and streamline the
organization.

MOTION PICTURE HERALD, JULY 18, 1953

BRILLIANCE

. . in every seat in the house . . .

AVAILABLE IN ANY

COMBINATION

new Stereophonic

■

» . ♦ featuring RCA’s revolutionary

new SPEAKERS

Here’s a brand-new thrill in sound. It’s a new idea that fills
your theatre — surrounds every seat in your house — with true,
living, sound. It’s RCA’s New Stereophonic Sound— the new
achievement in Brilliance, Balance, and Realism.

ALL-NEW SPEAKER DESIGN makes this new realism pos-
sible. Precise control of horn angles provides smooth, over-all
distribution, over the wide range of high and low sounds.

Through these new, controlled-angle horns RCA’s new sound
system achieves the ultimate in 3 -Dimensional effect — sound di-
rected from any portion of your screen to every part of your
house. Only RCA’s background in every phase of sound — from
recording to reproduction— can offer you results like this.

AUDITORIUM SPEAKERS — small, powerful units for 3-D
"surround” effects — match the impact of behind-the-screen speak-
ers. Working as part of the RCA Stereophonic Sound System,
these units fill your house with the atmosphere of the picture —
complete the 3-D effect of RCA Stereophonic Sound.

NEVER BEFORE have you heard such complete realism in
sound. Never before has sound equipment been so thoroughly
matched to the theatre man’s needs.

FOR EARLY DELIVERY-ORDER NOW. For ass urance of
early delivery, contact your RCA Theatre Supply Dealer now. Nation-
wide acceptance of RCA Stereophonic Sound is now resulting in a
heavy demand from circuits and independent theatres alike. It will
pay you to see your RCA Dealer at the earliest possible minute.

T err? Ramsate

ON CRITICS' RIGHTS — Now Connecticut,
effective July I, has become the third
state, along with New York and California,
where any person over twenty-one, even a
critic, must be admitted to a theatre on
presentation of a ticket of admission. The
Connecticut measure was passed in sequel
to controversy arising when the Parsons
Theatre at Hartford closed its doors to
"The Hartford Courant's" T. H. Parker. It
was contended his reviews of shows had
been "savage." Anyway they do not have
to give Mr. Parker passes with seats on the
aisle.

There is something to be said on both
sides of the ancient argument. Shows are
merchandise, produced with purpose of
sales at a profit. The show merchandisers
are not really pleased with attentions that
may obstruct sales, but they get it.

The producers of such merchandise as
automobiles, food, candy, tobacco, drinks
hard and soft, popcorn, clothing, most any-
thing advertised for public consumption,
like the amusement business, buy advertis-
ing, engage in promotion, and also get
large attention by special departmental
editors. But those attentions are publicity.
The items are notices, not criticisms. Their
sponsored shows on radio and television do
get some critical attention, which is what
they get for getting into the giveaway
show business.

Why must the lay press elect to give
experting attention only to theatrical enter-
tainment?

WORLD PROBLEM— It would seem that a
very big field of labor is out yonder ahead
of the International Motion Picture Service,
a division of the International Information
Administration, which is in turn under the
Department of State. That picture service
is now headed by J. Cheever Cowdin.

The United States must seek to win the
support of the three-fifths of the world's
population who are illiterate if we are to
win the "cold war," says Dr. Frank C.
Laubach, specialist for World Literacy, Inc.
That seems very much a job for film and
radio. It would take a long time to teach
all those people to read, and then to get
them to read something.

We seem to have a situation right here
in these highly literate United States. Dr.
George Gallup has been poling some more
and finds that ' fewer people buy and read
books in this nation than in any modern
democracy." The average Briton, if seems,
reads three times as many books as the

average American. Examining college grad-
uates, Dr. Gallup found that only one in
six had done any serious reading of recent
months. Only one in two could name a
title of something he wanted to read.

The amazing half-century rise of the mo-
tion picture and its current vast extension
by television distribution attest the fact
that reading is after all rather a tedious,
elaborate and demanding medium. People
have to iearn to read, but they are born
to look.

REMEMBERING FRANKIE — To many the
oldster there comes now, like the refrain of
an old song long forgotten, nostalgic re-
flection on the passing at the incredible
age of 94 of that shapely lovely of the
1890's, Frankie Bailey, obscure, penniless,
in a California sanitarium. In the 1 890' s,
gay decade, she was the great show girl.
And curiously she was at the mature age of
34 when she first appeared in tights and
walked through her scenes. She was even
less a dramatic artist than her contempo-
rary, the shapely Lillian Russell. Frankie,
well born, went through fortune into penury.
At age 63 in 1922 she made her advent in
movies, to only passing attention. Some of
us may remember back when we collected
pictures of the lovelies enclosed in packets
of Sweet Caporal cigarettes. There was a
real gallery of fame. That she should have
lived till now!

NEWSREEL PROBLEMS— One can be

wondering about what effects on the long
waning newsreel will derive from the in-
vasion of the theatre by the wide screens
of new aspect ratio and by 3-D. The
problems of production, and the unavail-
ability of standard negatives from far flung
external sources, are obviously apparent.

For many theatres the newsreels have
been in recent years convenient contribu-
tors of filler material to be spliced into
the show in convenient slices cut to fill
chinks in the performance time. Now to
be so available generally it would seem
that newsreels would have to be in assorted
widths and varying sprocket hole dimen-
sions, along with some sound track
problems, too.

It would seem that the costs involved in
such an array of adaptations as would be
called for would be high indeed in relation
to what have been the levels of newsreel
rental. Just another problem.

Theatre TV
Firm Enters
The Field

A new theatre television company entered
competition last week, with a program as-
sertedlv having exclusive rights to Notre
Dame home stadium football games, and
Harlem Globetrotters basketball games. The
company is Boxoffice Television, Inc., whose
president, Milton N. Mound, at a press
luncheon in New York, said his company
plans also to telecast concerts, ballet, busi-
ness meetings and Broadway shows.

Mr. Mound said the deal with Notre
Dame is for five years and with the Harlem
Globetrotters six years, and that circuits
representing 35 theatres had expressed in-
terest. He said he is seeking a deal with the
International Boxing Club for the Bobo
Olson-Randy Turpin middleweight cham-
pionship bout in August, and the Marciano
heavyweight title bout in September ; that
he is negotiating for three Broadway shows,
for the Metropolitan Opera, Sadler’s Wells
ballet, and other major basketball teams.

Officers of the new company, in addition
to Mr. Mound, are Sid Caesar, vice-presi-
dent; Abram Chasins, WQXR musical di-
rector, vice-president; William P. Rosen-
sohn, secretary and sales manager; and Ivan
Veit, “New York Times” promotion man-
ager, treasurer. On the board are the offi-
cers and Walter J. Bergman, Lily-Tulip Cup
Corp., president; Dr. Irving Somach, Wil-
liam Hobin, TV director, and Bernie Green,
composer and conductor.

Questioned later in the week circuit
spokesmen said they were interested but not
sold on box office draw of football games in
particular although they admitted some
possibilities in Notre Dame games.

Warner District Hea ds
Meet in New York

Ben Kalmenson, Warner vice-president in
charge of distribution, presided over a two-
day meeting of the company’s district man-
agers at the New York home office Thurs-
day and Friday. Product scheduled for re-
lease during the summer and fall seasons
highlighted the talks. Other executives par-
ticipating included Samuel Schneider, vice-
president; Mort Blumenstock, vice-president
in charge of advertising and publicity, and
Norman H. Moray, short subject sales
manager.

RKO Executives Meet
To Discuss Product

J. R. Grainger, president of RKO, Charles
Boasberg, general sales manager, and Nat
Levy, eastern division manager, were sched-
uled to meet Thursday with sales representa-
tives to discuss the sale of “Second Chance,”
the company’s first 3-D film, and other
product. The executives will return July 20
to New York.

MOTION PICTURE HERALD, JULY 18, 1953

in his top role since

THE GREATEST
SHOW QN
EARTH”..

more menacing than he
was as the killer in

“SHANE”..

again a sultry seductress
that exotic beauty of

Illlllllllllllllllltlllllllllllllllllllllllllllllllllllllllll

■W

iiC

mn]

Iliiilfti
I lliltlllfl

by WILLIAM R. WEAVER
Hollywood Editor

THIS WEEK extra-dimensionalism became
absolute. Each and every one of the 26 pic-
tures in active production at the weekend
is extra-dimensional in one or another or
several of the currently available ways.

Nobody shooting a picture for exhibition
in America (and aren’t they all?) is ignor-
ing the technological revolution.

Everybody shooting a picture is taking-
steps, this way or that, to make as certain
as may be that it will not be obsolete by
the time it gets to release date.

All Producers Carefully
Keep Actors’ Heads Down

Some are taking bigger steps than others
- — ranging downward from the Cinema-
Scopers — but even the littlest of the minor
independents are keeping the actors’ heads
down where they won’t be decapitated by
wide-screen projection. This doesn’t cost
anything but cameraman’s caution, and it
can yield a pretty profit. Who can afford to
be less than up-to-date at those prices?

Six of the 26 pictures referred to above
were started during the week. Five other
features, were completed and sent to the
cutting rooms.

Three of the six are in color by Techni-
color. Two of those in Technicolor are in
3-D, the other in wide-screen. All three
of the white-and-black projects are for wide
screen, also, and this seems a proper place
for the doubtless unnecessary mention that
at least 25 of the 26 extradimensional pic-
tures now shooting (and probably the 26th
as well, although this is not confirmed) can
be shown on anybody’s standard 1.33-to-l
screen so satisfactorily that no cash cus-
tomer could find the slightest reason for sus-
pecting it hadn’t been made for that use
exclusively.

Universal - International, proud of its
profitable 3-D “It Came from Outer Space,”
started shooting “Son of Cochise” in that
dimension, in color by Technicolor, and for
wide-screen (choose your own aspect ratio).
Ross Hunter is producing this one, with
Rock Hudson, Barbara Rush, Gregg Palmer,
an MacDonald, Morris Anrkum, Joe Sawyer
and many more, directed by Douglas Sirk.

Jesse James Picture to Be
In Technicolor and 3-D

The other 3-D undertaking of the week
is “Jesse James vs. the Daltons,” by Eskay
Pictures, for Columbia release. This Tech-
nicolor production has Brett King, Barbara
Lawrence and John Cliff among the prin-
cipals. Sam Katzman is the producer,
William Castle the director.

The week’s third Technicolor production
is “Mr. Casanova,” Paramount, a Bob

Hope vehicle with the comedian accom-
panied on his rascally rounds by such
accomplished accomplices as Joan Fontaine,
Basil Rathbone, Vincent Price, Audrey
Dalton, John Carradine (too long away
from films) and Primo Camera. Paul
Jones, whose long list of credits includes
some of Paramount’s most successful films,
is the producer, and Norman Z. McLeod,
never more at ease than with a comedy on
his hands, directing.

MGM’s William Grady, Jr., started pro-
ducing “Gypsy Colt,” directed by Andrew
Marton, with Donna Corcoran, Ward Bond,
Frances Dee, Lee Van Cleef, Larry Keating
and a horse named Gypsy in the cast.

Allied Artists’ Ben Schwalb went to work
on “Tabloid,” which the skilled Edward
Bernds is directing, with Stanley Clements,
Gloria Henry, Myron Healey, Scotty
Beckett and James Flavin.

Hall Bartlett Productions, independent,
ventured into the sports field with a picture
named “Crazylegs — -All-American,” which is
the story of Elroy Hirsch, one of the great-
est pass-catching ends of all time. Lloyd
Nolan, who doubtless will play the coach,
is overwhelmingly surrounded in this cast
by such players as Hirsch himself, Bob
Water field, and practically the entire lineup
of the professional Los Angeles Rams. Hall
Bartlett is the producer, and to Francis
Lyon, who’d better know his gridiron pretty
well, falls the chore of directing these
rangey mole-skinners for the camera.

Grainger Production
Group Very Active

The Edmund Grainger production unit at
RKO which has already completed three
films for the current year, is shooting a
fourth and is scheduled to start a fifth early
next month. Those completed are “Split
Second,” “Second Chance” and “Devil’s
Canyon.” Currently in production is “The
French Line,” in color by Technicolor, star-
ring Jane Russell, Gilbert Roland and
Arthur Hunnicutt. “The Silver Horde,”
starring Jane Russell and John Wayne, is
scheduled to start shooting the first week
in August.

Warner Studios Resume
Production Schedule

After two months of inactivity, Warner
Brothers Studios has resumed production.
The first pictures to begin filming since the
production halt in April are “Rear Guard,”
“The Bounty Hunter” and “Hondo.” In the
interim, the studio’s technical staff has been
working on the perfection of its “all media”
camera and WarnerPhonic sound system.

“Rear Guard” stars Guy Madison, and

THIS WEEK IN
PRODUCTION:

STARTED (6)

ALLIED ARTISTS

Tabloid

COLUMBIA

Jesse James vs. The
Daltons (Technicolor,
3-D, Esskay Pic. Co.)

INDEPENDENT

Crazylegs, All-American
(Hall Bartlett Prods.)

COMPLETED (5)

COLUMBIA

A Name for Herself

INDEPENDENT

Captain Scarface (Lin-
coln Pic., Astor
release)

Return to Treasure
Island (Wisberg-
Pollexfen Prod.,
PatheColor)

SHOOTING (20)

ALLIED ARTISTS

Slade (Lindsley Parsons
Prod.)

COLUMBIA

The Caine Mutiny
(Kramer Co., Tech-
color)

INDEPENDENT

The Bigamist (Filmakers
Releasing Org.)

Beachhead (Aubrey
Sch enc k Prod., Pathe-
Color, U.A. release,
Stereophonic, Wide-
Screen )

Camel Corps) Edward
Small Prod., 3-D,
Eastman Color, Wide-
Screen, U.A. release)

Hondo ( Wayne-Fellows
Prod., Warner release,
3-D WarnerColor, All-
Media)

Carnival (King Bros.,
RKO release, Color,
3-D, Munich)

MGM

Rhapsody (Technicolor,
Wide-Screen)

The Long, Long Trailer
(Technicolor)

Knights of the R ound

MGM

Gypsy Colt

PARAMOUNT

Mr. Casanova (Techni-
color, Wide-Screen)

UNIV.-INT'L

Son of Cochise (Tech-
nicolor, 3-D)

PatheColor, Wide-
Screen)

Marry Me Again (Alex
Gottlieb, Wide-
Screen)

20TH CENTURY-FOX

The Gladiators (former-
ly "Story of Demet-
rius") (CinemaScope,
Technicolor)

Table (Technicolor,
CinemaScope,

London)

The FI ame an d the Flesh
(Technicolor, Wide-
Screen, Europe)

Crest of the Wave
( London )

PARAMOUNT

Alaska Seas (Wide-
Screen)

The Naked Jungle
(Technicolor)

Knock on Wood (Tech-
nicolor, Wide-Screen)

REPUBLIC

Geraldine

RKO RADIO

The French Line
(Edmund Grainger
Prod., Technicolor)

20TH CENTURY-FOX

Hell and High Water
CinemaScope, Tech-
nicolor)

UNIV.-INT'L

The Glass Web (3-D)

The Glenn Miller Story
(Technicolor)

iMiimmsniiiimimiiimiiiiiimiiimmiimiiMiif

“The Bounty Hunter” features Randolph
Scott. “Hondo,” starring John Wayne, is
currently being filmed in Mexico. “Rear
Guard” and “The Bounty Hunter” are be-
ing shot in 3-D and WarnerColor.

Also on the production schedule are “Dial
‘M’ for Murder,” starring Ray MiHand;
“The Phantom Ape,” inspired by Edgar
Allan Poe’s stories; “Lucky Me,” featuring
Doris Day; “Helen of Troy,” based on the
Homeric legend; and “A Star Is Born,”
marking Judy Garland’s screen return.

MOTION PICTURE HERALD, JULY 18, 1953

NOW

DRIVE-IN

"'ANNA' HAS SET A RECORD FOR OUR DRIVE-IN
THEATRES . . . OVER 3 TIMES OUR NORMAL GROSSES."

Auther 0. Perkins, Starlight Drive-In Theatre, Redding, Calif.

"A GREAT POPCORN PICTURE. OUR CONCESSION BUSINESS
WAS UNUSUALLY GOOD. THE MOST OUTSTANDING DRIVE-

IN GROSSER OF THE SEASON.

n,, . $ool‘W ^Cr"
p M ■ 3(0""

>«»9r - ******

Seyr
Get

‘O.K.

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S°n‘ ao*'°'lS^'

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Ptwe'^s ut tie* P
a**«'ng ’

"" ^ ~ ““

GET IN ON THE ^Ma BONANZA NOW!

CONTACT YOUR NEAREST I.F.E. RELEASING CORP., OFFICE!

Arthur K. Howard, Affiliated Theatres, Boston

,, roFORo, mass.

°ur gross Was

H«e we played ’Ann'? ■?"

P9°> “gagemenib? P a- The re-
record for any J^9 “V house

m9n< ™d ou,grossh;!'da''9-'9«3e.

3°3emen.bySo% . d '*< .n-

M^h,,..lnTh^«hONoo.

"" ' —

1501 Broadway

2140 Payne Ave.

115 Walton St., N.W.

1255 S. Wabash Ave.

1 907 So. Vermont Ave.

New York 36, N.Y.

Cleveland, Ohio

Atlanta, Ga.

Chicago, III.

Los Angeles, Calif.

LOngacre 4-4843

CHerry 1-6608

CYpress 5868

HArrison 7-0074

PArkway 1716

ALBANY

Complaints about the annoyance to adults
and the damage to theatres caused by chil-
dren and teen-agers have reached propor-
tions which some area industry men believe
to be dangerous. The juvenile group is re-
ported to be hurting night business in cer-
tain theatres and to be a factor in keeping
older adults from attending. . . . Visitors
included: S. H. Fabian, Leonard Goldenson,
Sol Schwartz, Fred Schwartz, Spyros Skou-
ras, Jr., Harry Brandt, Emmanuel Frisch,
Robert W. Coyne and Seymour L. Morris,
in a delegation which urged Governor
Thomas E. Dewey to use his influence in
persuading New York State members of
Congress to support the Mason bill for re-
peal of the 20 percent admission tax. . . .
George Thornton, Orpheum, Saugerties, an-
nounced he and brother William hope to
rebuild the Orpheum, Tannersville (leveled
last spring by fire) for opening next June.
. . . Stanley Warner Delaware made a good
start with the rivival bill of “High Noon”
and “African Queen,” after reversing its
decision to shutter for the summer.

ATLANTA

The Wylam theatre, Birmingham, Ala.,
closed for the want of business. . . . Mr. and
Mrs. Trate, are the new owners of the Ritz
theatre, Bowling Green, Fla. . . . William
Hampton, former manager of the Broad
Street drive-in, Chattanooga, Tenn., has
been appointed manager of the Family drive-
in, Johnson City, Tenn. . . . Joe Brown man-
ager of the Jackson theatre, Jonesboro,
Tenn., has been appointed manager of the
new Tennessee theatre, Johnson City, Tenn.
. . . Mack Wilson, manager of the Kingsport
drive-in Kingsport Tenn., is back at his post
after a vacation spent in North Carolina.

. . . The Crescent Amusement Co., Nash-
ville, Tenn., has closed the Capital theatre,
in Decatur, Ala. . . . Robert M. Brand, of
Hartsville, S. C., has been named manager
of the Carolina theatre, Spindale, N. C. He
replaces Willis Padgett, new manager of the
new Stuart drive-in at Stuart, Fla., a unit
of the Talgar Theatres. W. A. Rice, goes
as manager of the Lyric theatre same town.

BOSTON

The Massachusetts 1953 Legislature has
recessed with the most important issue af-
fecting theatres the new minimum wage law.
I his now places all employees under a 65c
per hour minimum and includes former ex-
ceptions, such as theatre ushers and casual
help, putting them all in the 65c-categorv.

• . . Francis P. Dervin, for eight years
branch manager of Republic, has resigned
and is replaced by sales manager Herbert
A. Schaefer. . . . Vaughn A. Yerxa, former
manager at the Adams Quincy, has taken
a long lease on the house from owner
Leonard Goldberg and is operating. . . . The
Fitchburg theatre, Fitchburg is closed for
remodeling and repairs and will be reopened

July 24 by Benjamin Sack with Frank Boyle
the city manager of this house and the Saxon
in the same city. Joseph Tuttle, formerly
manager of the Palace Lowell has been
named manager of the Saxon.

BUFFALO

Mrs. Winifred E. Corey, manager of the
Kleinhans Music Hall, has been elected a
director of the International Association of
Auditorium Managers. . . . Arthur Krolick,
UPT district manager, Buffalo and Ro-
chester, is vacationing this week as he moves
into his new home in North Buffalo. ... A
wide screen has been installed in the Cataract
theatre in Niagara Falls. . . . When Francis
Anderson, UPT Rochester city manager,
presented “Houdini” in the Paramount re-
cently he arranged to have members of Ro-
chester Circle 4, International Brotherhood
of Magicians put on a magic show in the
lobby. . . . Buffalo Box Smith of Howdy
Doody radio and TV fame, headlined the
Funorama staged the other evening in the
Offerman Stadium for the benefit of the
Police Death and Pension Fund. . . . Charlie
McKernan, manager of the Seneca theatre,
and president of the South Buffalo Business-
men’s Association, addressed a crowd of
50,000 at the association big South Buffalo
Day in Cazenovia Park, where Elmer F.
Lux, Elmart Theatres head and council pres-
ident, conferred the crown on the Queen of
the Day.

CHICAGO

Warren Slee, MGM studio representative
here, has been elected vice-president of the
Publicity Club of Chicago. . . . Ray Karski,
former concessions manager for the Balaban

WHEN AND WHERE

September 1-2: Annual convention, West
Virginia Allied Theatres Association,
Matz Hotel, Bluefield, West Virginia.

September 28-30: Conference, Texas
COMPO and International Drive-in The-
atre Owners Association, Adolphus
Hotel, Dallas.

November 12: Annual dinner, Motion Pic-
ture Pioneers, Hotel Astor, New York
City.

October 3-4: Fall board meeting, Allied
States Association, Sheraton-Plaza Hotel,
Boston.

October 5-7: Annual convention, Allied
States Association, Sheraton-Plaza Hotel,
Boston.

and Katz circuit, is in town from Florida
visiting with his mother. . . . E. Wagner,
of the Wagner Sign Company, is at his
summer home near Hot Springs with Mrs.
Wagner. . . . James E. Conerty has been
promoted from manager of warehouses to
assistant to the president by Curtiss Candy
Co. . . . Walter E. Heller, president of the
Heller installment banking firm, named
Howard M. Blatimore, who has been in
charge of loans on theatre equipment, a
vice-president. . . . The Argmore and Savoy
both in Chicago, are being converted to
other commercial uses after having been
closed for a considerable length of time. . . .
Virgil Bresley, personnel manager here for
Confection Cabinet Corporation, went to
Wisconsin on his annual vacation. . . . Ar-
rangements were made for the Uptown
branch of the Chicago Boys’ Club to tour
Film Row and end up for a free show at
the Clark theatre on two days, July 15 and
July 27.

CINCINNATI

Frank Schreiber, who started with Uni-
versal-International here as shipper and later
as booker and then city salesman, now has
been promoted to manager of the local
branch, succeeding William Blum, who re-
sumes his former post as salesman in the
Columbus, Ohio, area. A1 Kolkmyer, who
formerly covered the Columbus territory,
has been named city salesman here. . . .
Joseph Alexander, RKO city manager, has
returned from vacation in the east. . . . Ed-
ward Ramsey, who operates the Plymouth
theatre, the only house in Plymouth, Ohio,
has opened a new drive-in theatre there.
. . . Operators of the Sky-high drive-in thea-
tre near Springfield, Ohio, were hosts to
some 50 youngsters from the Clark County
Childrens Home for a showing of "Circus
Days.” Candy, popcorn and pop were served
the kiddies. . . . Dewey Vanscoy, who pre-
viously managed the Gloria theatre, in Ur-
bana, Ohio, has been named manager of the
recently-opened Hocking drive-in theatre
near Logan, Ohio, a Chakeres Theatres Co.
unit. . . . Benjamin W. Johnson, of Ashland,
Ky., is the new owner of the Family drive-
in theatre, at Somerset, Ky., which was
opened three years ago by Raymond L.
Edwards.

CLEVELAND

Jesse James drive-in, Toledo, just recently
opened, is the first outdoor theatre in this
area to present a 3-D feature. Theatre
opened July 6 with “House of Wax” and
reportedly turned away some 3,000 cars.
Two other drive-ins will soon offer 3-Ds
when the Skyway drive-in, Warren, and the
Lvn Auto theatre, Strassburg, open July
19. . . . Ernest Sands, Warner city sales
manager the past three years, has been pro-
moted to branch manager, succeeding Jerome
Wechsler, who is transferred to head the
( Continued on page 30)

MOTION PICTURE HERALD, JULY 18, 1953

The Natural Vision
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and projection y

introduces . . . _ * V -

designed and manufactured by

AujuwqX

now every theatre can afford quality stereophonic sound!

ECONOMY! Costs thousands less.
Cheaper to install. Built to the rigorous
standards of the Motion Picture Research
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SIMPLICITY! Entire booth unit
in one single rack cabinet, encloses power
amplifiers, pre-amplifiers, film transport
and magazines. Fits any booth, occupies
little space. All connections between in-
tegral sections plug and jack; no soldering
required in the booth unit. For ease of
daily operation, sound-heads and film tran-
port unit are on working level, no stoop-
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shaped magazines permit handling space

for largest reels, including 25-inch.

QUALITY! Powerful amplifiers sup-
plied are 30-Watt McIntosh. Fifty-Watt
units available at $550 extra charge. Three
Stephens Type 432 stage speakers, manu-
factured exclusively for Natural Sound,
supplied with the basic equipment. House
s' — -kers are available.

h^RE TO STAY! Will accommo-
date up to seven channels, or as many as
the industry in the future may select as
standard. The Stereophonic Theatre Sys-
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modate every system of projection — 2-D,
3-D and Big Screen.

for information contact your local dealer or NATURAL SOUND CORPORATION

AN ASSOCIATE OF THE NATURAL VISION CORPORATION • 1710 NORTH LA BREA AVENUE • HOLLYWOOD 46, CALIFORNIA • Prices Subject to Change
Sterling Sales & Service, Inc., Dallas, exclusive representatives for Texas, Louisiana, Arkansas, New Mexico, Oklahoma

( Continued from page 28)
company’s Pittsburgh branch as successor to
Jack Kalmenson, transferred to Milwaukee.
. . . Herbert Ochs, Canadian drive-in cir-
cuit operator, chalked up his sixth grand-
daughter and 13th grandchild with the birth
of Mary Colleen to Lieut. Harry and Sue
Welch at Forbes Air Force Base, Topeka,
Kansas. . . . Matt Bial, of Luthi Sign Studio,
is fishing and painting at Put-in-Bay. . . .
Charve theatre, Edgerton, a 500-seat house
in a town of 1200 population, is installing
3-D, wide screen and all necessary equip-
ment for presentation of pictures in the new
techniques. . . . Bill Lissner, U-l salesman,
is back from a Canadian vacation.

COLUMBUS

City Councilman Dr. Daniel J. Whitacre
announced he would sponsor legislation to
repeal the municipal three per cent admis-
sions tax which he said was unfair to movie
theatres. . . . Patti Gastil, local model who
has helped promote many films, was chosen
“Miss Columbus” and will compete in the
state finals. Winner will represent Ohio at
the Atlantic City beauty pageant. . . . Cur-
rently, two 3-D films are competing on the
Rialto: “Sangaree” at Loew’s Ohio and
“Second Chance” at RKO Palace. The Pa-
lace had a second week with the 3-D West-
ern, “The Charge at Feather River.”. . .
Miles drive-ins and indoor houses had a
first run of “Breaking the Sound Barrier.”
. . . State Auditor James A. Rhodes is try-
ing to line up a world premiere showing of
the new Dean Martin-Jerry Lewis comedy,
“The Caddy” here at the time of the Na-
tional Celebrity Golf Tournament August 17
and the National Caddy Tournament which
follows. . . . Clarence Lanthorn, assistant
manager of Loew’s Ohio, will wed Shyla
Kettler.

DENVER

Aug. 19 has been picked as the date for
the annual picnic and golf tournament of
the Denver Variety Tent 37. The event will
be staged as usual at the Park PI ill Country
Club, with golf in the morning, picnic events
and games in the afternoon, followed by
awarding of prizes, which will include a
Kaiser car, a banquet and dance. . . . A1
Brandon, United Artists salesman, has re-
signed and will start a booking and buying
agency. . . . Ed Nelson, veteran Montrose,
Colo., theatre manager, was the leader of
the rescue party that saved three men from
certain death in an attempt to shoot the
rapids in the Black Canyon of the Gunnison.
. . . Aldo Ray was here for personal appear-
ances at the opening of “Let’s Do It Again”
at the Paramount, and the North and Valley
drive-ins. . . . Leo Peterson, formerly a part-
ner in the Black Hills Amusement Co., died
at 60 at his Rapid City, S. D., home. . . .
Claude Graves and Wilbur Williams opened
their new 600-car Holiday drive-in, Boulder,
Colo.

DES MOINES

Employees at Universal are looking glam-
orous— the gals, that is. They are all wear-
ing gold coronets in observance of Lou Levy
month — July 26-Aug. 29. . . . Eloise Ka war-
sky has been transferred from Columbia’s
accounting department to the booking de-
partment; Phyllis Kost has been named to
the accounting post. . . . Byron Shapiro was
installed as chief barker of Variety club

July 13 at a luncheon meeting. He succeeds
Bob Conn, who has left the city. Presiding
at the affair was Milton Feinberg. . . . Fern
Bitting has left her post at Warners. She
has been with the exchange since 1945. . . .
Another Warner employee who has resigned
is Annabelle Joublanc. . . . The airport at
St. Ansgar soon will have a lighted run-
way alongside the new Roxy Fly-In and
Drive-In theatre so that aircraft can park
and occupants can watch the outdoor show.
Eight viewing ramps will be provided for
autos, with a ninth devoted to the parking
of about eight planes. . . . Julius Wareburg
has closed his Irwin theatre at Irwin “be-
cause of lack of patronage.”. . . The same
reason was given by Mr. and Mrs. A. J.
Neumayer who are closing the Breda at
Breda.

HARTFORD

The MPTO of Connecticut will hold its
annual golf tournament at Racebrook Coun-
try Club, Orange, Aug. 18. Co-chairmen
are George H. Wilkinson, Jr., and Albert
M. Pickus. . . . Nick Kounaris and Paul
Tolis, planning a $100,000 drive-in theatre
project on the Meriden-Wallingford, Conn.,
town line, plan to show films day-and-date
in their Meriden theatre, Meriden, and
drive-in. . . . Anne Harris, daughter of Ted
Harris, managing director, State theatre,
Hartford, and Mrs. Harris, was married in
Louisville, Ky., to Marvin M. Koppel of
that city. . . . M. J. Daly, for many years
head of the Daly Theatres Corp., Hartford,
has been reappointed assistant probation of-
ficer of the Hartford City and Police Court.
. . . Joe Boyle, Loew’s Poli, Norwich, Conn.,
is observing his 25th year with Loew’s
Theatres. He has been managing the Nor-
wich house since 1942. . . . Atty. Herman
M. Levy, executive secretary, MPTO of
Connecticut, and general counsel, TO A, has
been named by Governor Lodge to a state
commission to study the problems of the
aging and to make a report within a year.

INDIANAPOLIS

Murray Devaney, brought here from De-
troit, has replaced Abe Gelman as Columbia
branch manager. It was the third major
branch manager change here in a month. . . .
Bob Anderson is the new office manager at
Warners, replacing Virgil Jones, who re-
signed to buy a filling station. . . . Bruce
Kixmiller, Bicknell exhibitor, is on a vaca-
tion trip to Alaska. . . . The Allied Theatre
Owners of Indiana bulletin reprints a letter
from Governor George N. Craig of Indiana
to President Eisenhower calling the amuse-
ment tax “unjust, discriminatory and con-
fiscatory.”. . . First state drive-in to show
3-D is Dr. M. Sandorf’s Theatair Twin,
where “House of Wax” opens Tuesday. . . .
Four local drive-ins will split the first run
showing of United Artists’ "Raiders of the
Seven Seas” next week. . . . Russ Brent-
linger, RKO branch manager, has been
named prize chairman for the Variety Club’s
golf tournament Aug. 24.

JACKSONVILLE

Robert Heekin, manager, Florida theatre,
set up jungle-like thickets of wild Florida
bamboo under the marquee to attract public
attention to his first run of “White Witch
Doctor.”. . . Mrs. Bobby Preacher has re-
lieved Mrs. Mabel Leventhal as manager of
the San Marco theatre while the latter is

on vacation in Maine. . . . Hugh G. Martin
Sr., Martin Theatres, Clermont, called on
local booking offices. . . . Harry Botwick,
confection sales manager, Florida State
Theatres, returned from a week’s trip down
the East Coast. . . . Reba Allen, FST, and
her husband, Herman Allen, Benton Broth-
ers Film Express, were vacationing at home.
. . . Jeanne Cavanaugh, Universal-Interna-
tional cashier, was spending several days in
New York City with her husband, Bob. . . .
Jack Fitzwater, former local theatre execu-
tive who now heads drive-in operations for
the Carl Floyd theatres in the Tampa-St.
Petersburg area, was here on business. . . .
Dick Johnson has moved back here to head
a new booking office for the Carl Floyd
theatres. . . . Rube Joiner has resigned as
an RKO booker to set up as an independent.

KANSAS CITY

The 11 drive-ins in and near Kansas City
with advertising space often as large as
routine first runs displays, are chiefly re-
sponsible for the spread of “movie” displays,
some days, onto a second page of the daily
paper here. . . . 3-D seems established in the
routine. Five Kansas City subsequent run
houses are showing “House of Wax”; one
of these in the downtown section. A sixth
“House of Wax” program is in a theatre
in a small town of the county 20 miles from
Kansas City. . . . The Skylark, new Com-
monwealth drive-in at Creston, Iowa, was
to open July 15 with Darryl Bloodworth
as manager. . . . The Waldo, south side
neighborhood theatre in Kansas City, Mo.,
relinquished by Fox Midwest under divesti-
ture program, is now operated by Common-
wealth circuit. . . . The board of directors of
the Kansas-Missouri Theatre Association
was scheduled to meet July 15.

LOS ANGELES

Eddie Ashkins, former RKO salesman,
has assumed operation of the Mesa and Sil-
ver Spur drive-ins, Yuma, Ariz. . . . Mrs.
Roy Hunt, who has been in exhibition for
over twenty-five years, sold her Rubidoux
drive-in, Riverside, to the Sero Enterprises.
. . . Spence Wyatt, who was called back into
the armed forces two years ago, has been
released and is back at the MGM exchange
in the sales department. . . . A1 Boodman,
Columbia salesman, is back at his desk after
being ill for several weeks. . . . Back from
vacationing in Apple Valley were Mel Hul-
ling and Howard Stebbins, Allied Artists
west coast co-franchise holders. . . . Bill
Evidon, Columbia office manager, was off
to North Dakota with his family for a two
week’s vacation. . . . Hugh Bruen, who oper-
ates three houses in Whittier, and is a mem-
ber of the COMPO’s national amusement
tax appeal committee, returned from Wash-
ington after attending to a special assign-
ment relative to the drive to repeal the levy.

LOUISVILLE

The first run Rialto Theatre owned by
the Fourth Avenue Amusement Co. and
managed by Johnson Musselman, was the
first theatre here to offer panoramic wide
screen projection coupled with Stereophonic
Sound. The opening attraction was “Shane.”
. . . Theatres in Louisville now equipped
for 3-D films, all first run houses, include
the Rialto, Loew’s Mary Anderson, and
Kentucky. . . . While reports on indoor box-
( Continued on page 32)

MOTION PICTURE HERALD, JULY 18, 1953

rsS&S-

(12)

^..aniiations )*•*)

World

QUIGLEY PUBLISHING CO.

Rockefeller Center, 1270 Sixth Ave.

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Please reserve a copy of the 1953-54

Motion Picture and Television ALMANAC

Enclosed please find check for $5.00 in full payment,
including shipping charges.

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The 1953-54
Motion Picture
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ALMANAC

• THE ALMANAC requires
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couraging bother) to find
the information you need.
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organized sections, and

• THE ALMANAC contains
a wealth of reliable and
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is not to be found in any
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( Continued from page 30)
office grosses seem to be a little low, re-
ports on weekly drive-in grosses are very
favorable. . . . The Park theatre, a subse-
quent run neighborhood theatre serving the
West End section of Louisville, has been
closed with no word given on a possible
re-opening date. . . . Complete equipment
for the operation of wide screen and 3-D
films has been furnished the Lane Theatre,
Williamsburg, Kentucky by the Falls City
Theatre Equipment Co. Louisville. The
Lane is owned and managed by Foster Lane.
. . . E. L. Ornstein, head of E. L. Ornstein’s
Booking Service, has moved his headquar-
ters from Marengo, Indiana to Louisville.

MEMPHIS

Skylark drive-in, Newport, Ark., owned
by Mrs. A. Gray; and Palace theatre, New-
burn, Tenn., owned by Ruffin Amusement
Co., are in operation again after being closed
to repair recent tornado damage. . . . M. E.
Rice, owner, opened a new drive-in at
Brownsville, Tenn. R. C. Adams, owner,
put his new Carlisle drive-in, Bardwell, Ky.,
into operation. . . . Ace theatre, owned by
Abner and Dave Lebovitz, this week put
into operation a new wide screen, 25 by 14
feet. . . . Grover Wray, partner in Exhibi-
tors Services, is back on the job full time
fully recovered from a major operation. . . .
R. C. Settoon, branch manager. Universal,
was on a business trip to Okolona, Miss.
. . . R. L. Bostick, National Theatre Supply
Co., was on a business trip to New Orleans.
. . . Shopping and booking on Film Row
here were L. F. Haven, Forrest City; Don
Landers, Harrisburg; Lyle Richmond,
Senath; Orris Collins, Paragould ; K. H.
Kinney, Hughes and I. W. Bowden, Paris.

MIAMI

George Bolden, personable publicist, is
leaving the Claughton organization to build
and operate his own drive-in theatre in cen-

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filling all company
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tral Florida. . . . Don Tilzer moves up to
become advertising manager and public re-
lations man for the Claughton chain. . . .
Roosevelt is now being managed by James
Fuller, formerly assistant at the Variety. . . .
Roy Schechter has been advanced from
Wometco’s booking to become assistant dis-
trict manager. . . . Harvey Fleischman,
district manager, planned a 10-day fishing
trip in the Florida Keys with Elmer Rad-
loff, treasurer of Wometco. . . . A1 Weiss,
divisional supervisor of Florida State Thea-
tres, s.e. division, was back after a business
trip up the east coast. . . . Kenneth DeLand,
production manager of Paramount, Hew to
Jamaica with a light crew to get some
atmosphere shots for "Naked Jungle.”. . .
Walter Klements, manager of the Mayfair
Art, was off on a six-week vacation to
North Carolina where his family is sum-
mering.

MILWAUKEE

Events were rather quiet along film row
this past week with many exhibitors on
vacation as well as personal at the exchanges
taking their turns. . . .“Shane” opened at
the Riverside theatre on their new pano-
ramic screen with stereophonic sound. . . .
It is possible that television will now be felt
by many exhibitors who haven’t had the
experience before. Last Saturday Milwau-
kee’s only TV channel, WTMJ-TV, oper-
ating on Channel 3, switched to channel 4
using for the first time their new 1,035 foot
tower. The combination of more power and
greater tower height will increase WTMJ-
TV ’s basic area from a radius of 45 to 50
miles to about 90 miles. . . . Some of the
larger towns now expected to receive tele-
vision clear are Oshkosh, Manitowoc, Ft.
Atkinson, Madison, Sheboygan and Fond du
Lac.

MINNEAPOLIS

Charles Weiner, a veteran on Film Row,
has been named local manager for Italian
Film Exports replacing Joe Wolf, resigned.
Wolf has gone to San Antonio, Texas, to
look after drive-in interests there. . . . Wins-
low Stenbakken lias bought the Rialto, New
London, Minn., from Grant Hatling. . . .
Frank Campo has been promoted from as-
sistant booker to booker at Paramount re-
placing Burt Zats, who moved over to
Independent Film Distributors. . . . The
Northwest Variety club is closed for remod-
eling and redecorating. . . . Art Anderson,
Warner district manager, was in. . . . The
Kuhn, Kuhn, N. D., is being remodeled and
redecorated and will reopen soon. . . . Con-
struction on a new $300,000 theatre to be
built by Minnesota Amusement Co. at Minot,
N. D., will begin soon. The house is ex-
pected to be completed by March 1. . . .
Sim Heller, circuit operator, has been ap-
pointed theatre industry division representa-
tive for the 1953 campaign of the Minne-
apolis Round Table of the National Con-
ference of Christians and Jews.

NEW ORLEANS

The new Frontire drive-in, Sulphur, La.
opened. Co-owners are Percy Duplissey
and L. R. Navarre. . . . The New in Ferri-
day, La. is temporarily closed for remodel-
ing. E. O. Hicks’ present plans are to re-
open it in about three weeks. . . . Dan M.
Brandon, head of Transway, Inc., was
elected president of the Oak Park Civic

Association. . . . Theatre Service Company
has taken over the buying and booking for
Brad drive-in, Plaquemine, La., owned and
operated by Wm. Cobb and B. W. Stevens.
. . . Mildred Barr, formerly office manager
for Kay Films, Inc., is now in the account-
ing department at Exhibitors Poster Ex-
change. . . . R. L. Bostick, Memphis, vice-
president, and southern district manager for
National Theatre Supply, visited with man-
ager Tom Neely, Sr. and personnel. . . .
Lonnie Davis is the new booker for Pike
Booking Co., a subsidiary of N. Solomon
Theatres. He succeeds Harry Thomas, who
has been made superintendent of theatre
operations, which includes eight drive-ins
and six regular theatres. . . . Cecil Howard,
Joy Theatres & Booking Service Company
booker, returned from a week’s visit with
his son Donald who is in the Army Air
Force stationed in Albuquerque, New Mex-
ico.

OKLAHOMA CITY

The Capitol theatre in Capitol Hill has a
new manager: Melvin L. Jackson, assistant
manager at the Criterion theatre, who was
named manager to succeed Ted Drummond,
who has resigned. . . . “Shane,” which
smashed all records at the Criterion, has
been moved to the Tower theatre, which has
a panoramic screen. . . . “Let’s Do It Again”
has been held over for its 2nd week at the
Center theatre. . . . Lake Air drive-in thea-
tre, now showing “The Greatest Show on
Earth,” as an added attraction has “Buttons”
the clown in person. . . . The Airline drive-
in theatre, Ponca City’s second drive-in
theatre, held its grand opening July 3. Don
R. Hall is manager. . . . The Drew theatre,
Monticello, Ark., was destroyed by fire July
3. Loss, covered by insurance, is estimated
at $150,000.

PHILADELPHIA

The site of the former “333,” Warner
house in the center-city sector, was sold for
the circuit for $90,000 to M. L. Blitz, who
has leased the property for 15 years as a
parking lot. . . . Bill Yurasko, out-of-town
film booker for the Stanley Warner Thea-
tres, and Ruth Murphy, have announced a
fall date for their wedding. . . . Danny
Triester tendered a farewell party on leav-
ing the Stanley Warner booking department
for the company’s national film buying office
in New York. . . . Harold Cohen, who owns
the Rialto in Lewistown, Pa., purchased the
Temple property in that city at auction. At
present, he has no plans to operate the thea-
tre. . . . Allen Phillips is now connected
with the A. M. Ellis theatre circuit as a
relief manager. . . . M. B. Comerford, of the
Comerford chain, Scranton, Pa., back from
South Bend, Tnd., where he attended a re-
union of his Notre Dame class. . . . Ed
Fisher resigned his post as booker at RKO
to enter another field. . . . Convalescing from
illnesses are Paramount’s Herman Rubin,
salesman, and Matthew Judge, booker. . . .
John Bergin, United Artists salesman, will
retain his Scranton, Pa., territory, on his
return to work after an illness, with Jack
Zamsky taking over the Harrisburg, Pa.,
territory. . . . Claude J. Schlanger announced
the acquisition of a 20-acre site in Warring-
ton Township near Doylestown, Pa., for a
drive-in expected to be ready for operation
before Labor Day. He operates the County,
indoor theatre in Doylestown.

( Continued on opposite page)

MOTION PICTURE HERALD, JULY 18, 1953

PITTSBURGH

“Shane” did tremendous business during
its first run here and now has been brought
back to run simultaneously in 21 suburban
theatres and the business being done was a
little less than terrific. . . . Tom Angelo,
secretary to Saul Bragin, Stanley Warner
chief booker, has resigned and moved to
Wisconsin. Vera Hant, a recent bride, will
replace Angelo. . . . Mary Jane Endy and
Clara Smith have been added to that com-
pany’s switchboard setup. . . . Harry Hendel
has been named chairman of the local Amer-
ican-Korean Relief Drive. The one per
cent sales tax has passed the Legislature at
Harrisburg. If the bill passes the Senate,
theatre owners hope it will nullify the 10
per cent tax now paid to boroughs, school
districts and other governmental agencies.
. . . The Bud Hahns (he’s with the Harris
Amusement Company), are back from va-
cationing at Palm Springs, Cal., where they
were entertained by the John II. Harris
family. . . . Carl Doser, chief barker of
Variety Club Tent No. 1, is back at his
home after a long seige in a hospital.

PORTLAND

A sudden heat wave is taking a bite out
of the box office take at all first run the-
aters. . . . "Lili” heads into an eighth week
at the Guild. . . . Mrs. J. J. Parker an-
nounced that the United Artists theatre will
close in about 10 days for a remodeling
program. . . . William Thedford was in town
and announced that the Mayfair theatre
would be remodeled from the marquee to the
rear wall with 65 ft. screen and stereophonic
sound in addition to all new equipment. . . .
A CinemaScope screen being installed in
the Orpheum. “Shane” was set to open
there July 15. . . . Kenny Hughes, Orpheum
manager, is back from vacation and Mayfair
manager, Herb Royster, is off on his. . . .
Ted Gallanter in town for the opening of
Marti Stevens nitery act at Amato's Supper
Club.

PROVIDENCE

A series of robberies affecting the Cran-
ston drive-in theatre, the Somerset drive-in
and the Smithfield open-air theatre was
recently solved by an alert policeman who
single-handedly captured two youths who
later admitted eight previous theatre and
diner thefts. The two culprits where appre-
hended in their attempt to rob the Smithfield
house. . . . Marlon Brando, who portrayed
the part of a paralyzed veteran in “The
Men” met a World War II paralyzed vet-
eran, Orrin F. Aiken, while rehearsing at
Matunuck’s Theatre-By-The-Sea. Brando
acted as a gracious host, posing for pictures,
and later assembling the entire cast to meet
Aiken. . . . Viveca Lindfors, here for a sum-
mer-stock appearance, was presented over
the local TV station. . . . The protracted
heat wave continued to work to the ad-
vantage of nearby open-airers. Virtually all
of the drive-ins were racking up near-record
houses, night after night, during the torrid
spell.

SAN FRANCISCO

Activity of the week centered around
David L. Cantor, RKO director of exploita-
tion, in town for three dynamic days to set
up the campaign for Walt Disney’s world
premiere of ‘‘The Sword and the Rose,”

MOTION PICTURE HERALD, JULY 18, 1953

July 21 at the St. Francis. . . . Hannah
Oppie, executive secretary, Western Thea-
tre Owners, is recuperating at her home
following surgery. . . . Affiliated Theatres
closed the Esquire, Modesto, July 13. . . .
Edna Hatcher decided against rebuilding
her burnt-out Moore at Wheatland and
closed the house permanently. . . . Ray
Summers, former manager, El Presidio and
Marina, who resigned to operate a cocktail
lounge at Belmont, has named his new place
of business “The Lariat.” . . . Tom Graff,
one-time owner, Pollock Pines, Pollock Pines,
is now a booker at Universal. . . . Bob Os-
borner, a former Los Angeles independent
exhibitor, replaced Don Brown as manager,
Center, Centerville. . . . Lorraine McQuillan,
BPX operator, Columbia, resigned to live in
Michigan.

TORONTO

Tent 28, Variety Club, faces charges of
conducting a lottery as the result of giving
a car away at its annual Variety Ball game.
Orders to lay the charges came from the
provincial government, and despite the fact
that the mayor is a member of the club, the
charges are going ahead. . . . Both the
Toronto local of the IATSE and the Lord’s
Day Alliance are opposing the free Sunday
movies of NFB documentaries at Hanlan’s
Point, sponsored by the Toronto and District
Film Council. . . . F. R. Budge Crawley,
head of Crawley Films, is in Europe. . . .
Annual meeting of the Alberta Theatres
Association will take place in the Banff
Springs Hotel, Aug. 30, president A. W.
Shackleford has announced. . . . Ontario
staff of the NFB presented Ralph Ellis with
a set of golf-clubs just before he left for his
new post at Ottawa.

VANCOUVER

Howard Boothe, B.C. manager of Audio
Pictures, is convalescing at General Hospital
following surgery. . . . Willard Adamson,
old time film exchange manager and a mem-
ber of Canadian Motion Picture Pioneers,

is seriously ill in Shaughnessy Military Hos-
pital. . . . Ralph Connor, manager of the
Odeon, Ladysmith, on Vancouver Island,
has taken over the Odeon in Trail, replacing-
jack Armstrong, who moves to the down-
town Paradise, Vancouver. . . . Jack Jack-
son, office manager of MGM, is the newly
elected vice-president of Burnaby Little
Theatre group. . . . Larry Katz, office man-
ager of JARO films, is the father of twins —
a girl and boy. . . . Eileen Sambad, of the
Vogue, is at home after a hospital stay with
pleurisy. . . . With a record hot spell, the
Theatre Under the Stars at Stanley Park
broke a 14-year-old record with an attend-
ance of 5,250 for the final performance of
"Kiss me Kate.” Business at drive-in thea-
tres is brisk after a two-month cool spell.
. . . Four pictures are being shot in Alberta
at Banff and Jasper National Park. Com-
panies shooting are Jaro, Columbia, 20th-
Fox and Universal-International.

WASHINGTON

Sam Roth’s Silver Spring theatre, Silver
Spring, Md., opened on July 8, with a great
deal of fanfare. The theatre is the 27th in
the Roth chain, and converted from the old
Warner Seco theatre. In addition to Mary-
land Governor Theodore McKeldin, ambas-
sadors and ministers of 19 nations were
present for the opening. On July 9, Sam
Roth had an eight-page magazine supple-
ment in the Washington Post devoted to the
new theatre. . . . Newest member of Variety
Club Tent No. 11 is Paul I. Burman, presi-
dent of Hammond Homes Inc., who has
been accepted as an associate member. . . .
Mrs. Sara S. Young, 20th Century-Fox
booker, will spend her vacation in Miami,
Florida, visiting her son Herbert and his
family. . . . Sam Galanty, Columbia mid-east
division manager, visited offices in Ohio
this week for business conferences. . . . The
Variety Cluh’s annual kick-off luncheon for
the women, to start the 1953 Welfare
Awards Drive, will be held August 1, at the
Shorehanr Hotel.

THE FINEST

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Beverly Hills, Calif.

161 Sixth Avenue
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THEATRE LOUDSPEAKER SYSTEMS

Profit
in 12 Weeks
Is $1,014,142

Loew’s, Inc., reported this week for the 12
weeks ended June 4 (subject to year-end
audit and adjustments) a net profit of
$1,014,142 after taxes, compared with $740,-
817 for the corresponding period in 1952.
The net operating- profit before taxes was
$1,865,697 compared with $425,878 the pre-
ceding year.

On a per share basis the 1953 quarterly
earnings after taxes were 20' cents a share
compared with 14 cents in 1952.

For the 40 weeks ended June 4, 1953, net
operating profit before taxes was $5,685,184
compared with $5,302,538 in the similar 40-
week period of the preceding year. After
Federal taxes the net per share for this
year’s 40 weeks was 62 cents compared with
87 cents last year.

Gross sales and operating revenues for
the 40 weeks ended June 4, 1953, were esti-
mated at $133,612,000 against $135,646,000.

Monogram Votes Dividend

The board of directors of Monogram Pic-
tures Corporation (Allied Artists) have
voted a 10 per cent dividend to stockholders
of record July 1, payable July 10.

Ohio Censor Rejects
"Moon Is Blue"

COLUMBUS: United Artists’ “The Moon
Is Blue,” rejected by the Ohio Division of
Film Censorship, “might not be objection-
able for showing to strictly adult audiences,
but it is not suitable for general exhibition
in view of the fact that it would be ex-
tremely objectionable for adolescent groups,”
said the board. The board decision con-
tinued: “By implication, inference, innuendo
and double-talk, the picture insidiously and
indirectly plays upon the sex motive in be-
havior to such an extent that repetitive sug-
gestion of sex dominance becomes repulsive.
The dialogue is not in accord with accepted
standards of decency and morality.”

Paramount Schedules
'Jubilee' Screenings

Paramount will hold a “Jubilee Show,”
July 27 in all exchange cities, consisting of
an invitational triple screening, it has been
announced by A. W. Schwalberg, president
of Paramount Film Distributing Corpora-
tion. The pictures are “The Caddy,” “Little
Boy Lost” and “Roman Holiday.”

Set "Luther" Release

Louis de Rochemont Associates’ feature
film, “Martin Luther,” will be released na-
tionally the first week in September, it has
been announced by Cresson E. Smith, gen-
eral sales manager.

Hepublic JVet
At $17:1.1.10

Republic Pictures this week reported a
net profit of $473,150 for the 26-week period
ending April 24. The figure compares with
a net profit of $379,550 for the same period
the preceding year.

Before taxes the 26-week profit was
$1,019,150 as against $794,550 for the cor-
responding period the preceding year.

Branch Managers Attend
Paramount Meetings

Eastern, central and southern Paramount
branch managers have been taking part in
a series of sales meetings concerning new
product and promotion plans set up at the
recent division managers meeting at the
home office. Hugh Owen, eastern and
southern division manager, met with eastern
branch managers last Thursday in New
York and southern representatives at the
weekend in Atlanta. J. J. Donohue, central
division manager, conducted discussions
Monday with his branch heads in Chicago.

DeMille on Radio Show

Cecil B. DeMille, producer, was scheduled
to have appeared Wednesday on Martin
Starr’s radio program, which deals with
Hollywood news.

NOTE! M-G-M TRADE SHOW CHANGE!

RED SKELTON in

"HALF A HERO"

will be trade shown on

JULY 28th!

PREVIOUSLY ANNOUNCED FOR THIS DATE WAS
RED SKELTON IN "GREAT DIAMOND ROBBERY”
WHICH HAS NOW BEEN POSTPONED.

ALBANY

20th- Fox Screen Room

1 052 Broadway

7/28

2 P.M.

MEMPHIS

20th- Fox Screen Room

151 Vance Avenue

7/28

12 Noon

ATLANTA

20th- Fox Screen Room

197 Walton St., N. W.

7/28

2 P.M.

MILWAUKEE

Warner Screen Room

212 W. Wisconsin Ave.

7/28

1 : 3 0 P.M.

BOSTON

M-G-M Screen Room

46 Church Street

7/28

2 P.M.

MINNEAPOLIS

20th- Fox Screen Room

1015 Currie Avenue

7/28

2 P.M.

BUFFALO

20th- Fox Screen Room

290 Franklin Street

7/28

2 P.M.

NEW HAVEN

20th- Fox Screen Room

40 Whiting Street

7/28

2 P.M.

CHARLOTTE

20th- Fox Screen Room

308 S. Church Street

7/28

1 : 3 0 P.M.

NEW ORLEANS

20th-Fox Screen Room

200 S. Liberty St.

7/28

1 :30 P.M.

CHICAGO

Warner Screen Room

1307 S. Wabash Ave.

7/28

1 :30 P.M.

NEW YORK

M-G-M Screen Room

630 Ninth Avenue

f/28

2:30 P.M.

CINCINNATI

20th-Fox Screen Room

1632 Central Parkway

7/28

2 P.M.

OKLAHOMA CITY

20th- Fox Screen Room

10 North Lee Street

7/28

1 P.M.

CLEVELAND

20th- Fox Screen Room

2219 Payne Avenue

7/28

1 P.M.

OMAHA

20th-Fox Screen Room

1502 Davenport St.

7/28

1 P.M.

DALLAS

20th-Fox Screen Room

1803 Wood Street

7/28

2:30 P.M.

PHILADELPHIA

M-G-M Screen Room

1233 Summer Street

7/28

2 P.M.

DENVER

Paramount Screen Room

2100 Stout Street

7/28

2 P.M.

PITTSBURGH

M-G-M Screen Room

1623 Blvd. of Allies

7/28

2 P.M.

DES MOINES

20th- Fox Screen Room

1 300 High Street

7/28

1 P.M.

PORTLAND

B. F. Shearer Screen Rm.

1947 N. W. Kearney St.

7/28

2 P.M.

DETROIT

Max Blumenthal’s Sc. Rm.

2310 Cass Avenue

7/28

1 :30 P.M.

ST. LOUIS

S’Renco Art Theatre

3143 Olive Street

7/28

1 P.M.

INDIANAPOLIS

20th- Fox Screen Room

236 No. Illinois St.

7/28

1 P.M.

SALT LAKE CITY

20th- Fox Screen Room

216 E. First St.. So.

7/28

1 P.M.

JACKSONVILLE

Florida State Screen Room

128 East Forsyth Street

7/28

2 P.M.

SAN FRANCISCO

20th- Fox Screen Room

245 Hyde Street

7/28

1 :30 P.M.

KANSAS CITY

20th-Fox Screen Room

1720 Wyandotte St.

7/28

1 : 3 0 P.M.

SEATTLE

Jewel Box Preview Thea.

2318 Second Avenue

7/28

1 P.M.

LOS ANGELES

United Artists’ Screen Rm.

1851 S. Westmoreland

7/28

2 P.M.

WASHINGTON

RKO Screen Room

932 N. Jersey Ave., N.W.

7/28

2 P.M.

★

M-G-M presents Red Skelton in “HALF A HERO ”• with Jean Hagen • And Guest Appearance
Polly Bergen • Written By Max Shulman • Directed by Don Weis • Produced by Matthew Rapf.

34 MOTION PICTURE HERALD, JULY 18, 1953

Prmotion “fakeA Oder 3-h in Other tiweA

USINESS WEEK, in its current
issue, comments that “Salesmen move
in on the Hollywood preserve, as ‘per-
ception in depth’ proves a handy gimmick
for presenting products, and pepping up the
staff.” The McGraw-Hill magazine says
“The 3-D idea is the leading promotion
debutante of the season.”

Which should be good news for theatre
managers, for it means more advertising for
our products, and pre-selling for upcoming-
pictures. We can lean back and admit that
merchants are becoming better showmen,
while we are becoming better merchandisers.
It’s a nice give-and-take that really won’t
hurt either party.

There is also the obvious fact that our
industry is not alone in its need for pepping-
up. Film industry has not been hit any
harder than some other lines, and they find
things in our field that help solve their prob-
lems. The magazine goes on to say that his-
torians may record 1953 as the year we re-
discovered the third dimension, and that al-
though Hollywood restored life to the body,
it was opportunistic promotion men who
taught it modern ways.

We have a copy of “Three Dimension
Comics” starring Paul Terry’s Mighty
Mouse, in two-color pages, which you view
with glasses. The June issue of “3-D Movie
Magazine” featured pop-ups of Marilyn Mon-
roe in several established dimensions. The
trade paper “Productionwise” in the advertis-
ing field came out with two pairs of glasses
attached. “Institutions” magazine will run a
3-D section in its August issue. Keen’s Chop
House photographed its meat entrees so cus-
tomers can see the thickness of the steak,
and a wedding photographer is doing a big
business with 3-D in color.

It’s all very complimentary, and we’re glad
they can’t, deny credit to motion pictures.
Showmen are always salesmen, and both
must be promotion-minded if they sell tickets
or anything else. Many theatre managers are
finding plenty of showmanship on display at
the supermarket on Main Street.

"THIS MAN FOR HIRE"

"Any of you cookies who have bought
Paramount's 'Stalaq 17' and think it would
be of any value to you can hire a good
publicity man for his expenses (if you're in
NE Iowa) to help give one night of the
run a little extra shot. This writer was a
POW for a great deal longer than I've held
this job (as Secretary of Allied of Iowa).
In Herr Hitler's Camp for Wayward Boys,
during '43-45. I brought home quite a
number of POW exhibits which could be
lobby display and I could furnish a 15
minute to I hour talk on Prisoner of War
experience. When used locally it helped a
POW picture of U-I's a couple of years
back. Maybe you got somebody in your
own locality. Use him. Or, make me an
offer. No percentage, just plain, flat ex-
penses. I served as speaker at Garner
Rotary last week and was surprised at the
interest stirred up. Speakers can do some-
thing for you that you can't do for your-
self."

(Signed) Charlie Jones,
Dawn Theatre,
Elma, Iowa

(From the Allied Caravan Bulletin
of Iowa, Nebraska and Mid-Central.)

An old showman, who has contributed
much to the Round Table for the aid
and benefit of others, cjuotes an excerpt from
another source, which he rephrases to fit our
industry needs. He says, “A theatre man-
ager, like the storage battery in your car, is
constantly discharging energy. And, unless
he is recharged at regular intervals, he soon
runs dry.” He believes this is one of the
greatest responsibilities of top theatre execu-
tive leadership in this country today, and
that the Quigley Awards competition, with
the Round Table, constitute both incentive
and energy to restore the battery.

Ernest V. Heyn, editor of “The Amer-
ican Weekly” — the Hearst Sunday
magazine section published in 24 metropoli-
tan newspapers — announces that the Sep-
tember 13th issue will be the “Movie Annual
for 1954,” calculated to introduce new prod-
uct for the upcoming season. Under the
title “You'll Be Seeing — ” the editors will
forecast and describe new films for then-
readership of twenty millions. The Round
Table wall remember that there was a total
of more than 600,000 copies, last year, de-
livered to theatres for special free distribu-
tion at the point of sale. This overprint was
prompted originally by Senn Lawler, adver-
tising and publicity director for Fox Mid-
west Theatres, who started the ball rolling
with an order for 125,000 copies of the
newspaper supplement, for use in his area.
Others followed his good example.

CIn July, 1950, we quoted on this page
a then accurate report of the number of
television sets in use, as “upwards of six mil-
lion.” In April, 1952, the Herald Institute
gave the current and correct figure at 16,-
535,000. And, right now, a reasonable esti-
mate would be around twenty-six million.
They won’t be any scarcer, as time goes on.
Mr. Sarnoff predicted fifty million sets in
1955, which would be approximate satura-
tion, with television in every home.

The most satisfying conclusion to draw is
that television is really a part of our busi-
ness, based on the same factors and drawn
from the same sources. Motion pictures and
television are sister arts, and cannot be mar-
ried to each other, nor divorced, by Congres-
sional action or official decree. We depend
on the same audiences, and time will prove
that the combined force of home television
and new theatre practice will vastly increase
the potential audience for both, and greatly
improve the quality of product and the op-
portunity for profit.

— Walter Brooks

MANAGERS’ ROUND TABLE SECTION, JULY 18, 1953

Eye" Catchers '"Old and New

twiFm

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TITANIC'/

It takes something to stop them at the box office, in
hot weather. You can tell 'em and sell 'em, if you can
get their attention, long enough to dig down for tickets.

Arrows flying through the air, from the 3-D screen, have
completely punctured this recent patron, now turned street-
ballyhoo for "Fort Ti" at the Paramount theatre, Los Angeles.
Apparently, it didn’t hurt much.

Earle M. Holden used blow-ups of actual Savannah
newspapers with the original story of the sinking of the
Titanic, as lobby display at the Lucas theatre.

When that fearsome, frozen Xenamorph is freed from its Icy Cell, in
front of the Broadway theatre, Portland, Ore., it will turn into one of
those creatures seen in "It Came From Outer Space" — according to
Keith Petzold, who is a showman's showman with P. T. Barnum tendencies.

Frank Manente, manager of Loew's Esquire theatre, Toledo,
devised this display for the return of "Trader Horn" and provided
a genuine "White Goddess" — and free passes for those who
could remember her name, in the picture story.

Polly Bergen, star of MGM's "Arena," christens the
covered wagon ballyhoo at the Adams theatre, Detroit.
That's Charlie Dietz, with the polka-dotted tie, at far right.

MOTION PICTURE HERALD, JULY 18, 1953

QUIGLEY AWARDS
CONTENDERS

ARCHIE ADLMAN

S 3 Drive-In

Rutherford, N. J.

L. H. BERRY

Ritz, Keighley, Eng.

HUGH S. BORLAND
Louis, Chicago, III

JOSEPH S. BOYLE

Poli, Norwich, Conn.

PAUL BROWN

Fresno, Fresno, Calif.

JOHN F. BURKE

Fabian, Brooklyn, N. Y.

EARLE M. HOLDEN
Lucas, Savannah, Ga.

SIDNEY HOPKINS
Oxford, Blackpool, Eng.

VERN HUDSON

Capitol

St. Catharines, Can.

BILL HUPP

Rialto, Tacoma, Wash.

HELEN JOHNSON

State

Statesville, N. C.

SIDNEY KLEPER

College

New Haven, Conn.

H. LAYBOURNE

Odeon, Southsea, Eng.

T. W. LEWIS

Odeon, Bilston, Eng.

J. PLUNKETT

Paramount Pictures

Paris, France

BARNEY REGAN
Victoria

Vancouver, Can.

COB RETZER

Solano

Fairfield, Cailf.

MORRIS ROSENTHAL
Poli, New Haven, Conn.

W. S. SAMUEL

Lamar, Beaumont, Texas

GIL SCHOEFFLER

Roxy, Enumclaw, Wash.

WILLIAM BURKE

Capitol

Brantford, Can.

T. C. BUTTLE

Ritz, Oxford, Eng.

E. W. CAREY

Strand, Nanaimo, Can.

MARTIN CAVE

BEN SCHWARTZ
Lincoln, Massilon, Ohio

S. C. SHINGLES
Odeon, Stafford, Eng.

J. TAPKE LOKENBURG
Asta, Hague, Holland

VIC SICILA

Rivoli, Muncie, Ind.

Dominion

J. NORMAN LONGLEY

VICTOR SIMS

Victoria, Can.

Imperial, Walsall, Eng.

Regal, Oxford, Eng.

DANIEL COHEN

G. D. LOVETT

DALE SMILEY

Boro Park, Brooklyn

Butte, Gridley, Calif.

Del Paso

N. Sacramento, Calif.

D. S. COPELAND

DESMOND McKAY

Globe, Stockton, Eng.

Playhouse

A. FRANCIS SMITH

Galashiels, Scotland

Cameo

JOHN G. CORBETT
Paramount

KEN. MacDONALD

S. Weymouth, Mass.

Syracuse, N. Y.

Memorial

CHARLES SMITH

R. J. CRABB

Boston, Mass.

Regent, Brighton, Eng.

Lyric

FRANK MANENTE

T. S. SMITH

Wellingborough, Eng.

Esquire, Toledo, Ohio

Odeon

FORDHAM ELLIS

TONY MASELLA

Motherwell, Eng.

Forum, Ealing, Eng.

Palace, Meriden, Conn.

HERBERT SOLOMON

CARL J. FERRAZZA

MURRAY MEINBERG

Drive-In, Findlay, Ohio

Keith, Cincinnati, Ohio

Sumner, Brooklyn, N.Y.

FRED TELLER, JR.

ARNOLD GATES

R. MELLINGS

Strand, Hastings, Nebr.

Stillman, Cleveland, O.

Astra, Stafford, Eng.

L. J. THOMPSON

ELAINE S. GEORGE

DOUGLAS MERCER

Neenah, Neenah, Wis.

Star, Heppner, Ore.

Century, Oakville, Can.

WM. K. TRUDELL

SAM GILMAN

LEO MICKEY

Capitol, London, Can.

State, Syracuse, N. Y.

Victor

BOB TUTTLE

JOHN W. GODFROY

McKeesport, Penna.

Sky Drive-In

Adrian, Mich.

Paramount

L. MITCHELL

Ashland, Ky.

Princess

GLEN WALKER

ADAM G. GOELZ
Paramount

Barnsley, Eng.

TOSHIO MIYAMOTO

Sooner

Oklahoma City, Okla.

Steubenville, Ohio

Shinkoiwa, Tokyo

JOHN V. WARD

ROBERT P. GOSS

TED MUNSON

Seneca

Niagara Falls, Can.

Odeon, Crewe, Eng.

Tarpon

MEL GOW

Capitol, Nanaimo, Can.

Tarpon Springs, Fla.

S. V. MURDOCH

DAVID B. WILLIAMS
Gaumont, Preston, Eng.

JIM HARDIMAN

Odeon Theatres

Gaumont

D. V. WILLIAMS

Liverpool, Eng.

Capitol, Wallasey, Eng.

Toronto, Can.

C. D. E. PARKIN

HARRY WILSON

BOB HARVEY

Ritz, Wigan, Eng.

Capitol, Chatham, Can.

Capitol

F. W. PIETERSON

ANSEL WINSTON

North Bay, Can.

Plaza, London, Eng.

Grand, Chicago, III.

S. J. HOBART

T. L. PIKE

LEW YOUNG

Palace

Georgia

Norgan

Wandsworth, Eng.

Columbus, Ga.

Palmerston, Can.

Round Table

Francis M. Winikus, national director of advertising, pub-

licity and exploitation for United Artists, announces that
Topps Chewing Gum will distribute 1,750,000 color photos of their
st^rs in as many packages of gum during the next few months. . . .
First instance of a magazine taking its name from a motion picture
will be marked when a new science-fiction issue is titled “Space-
ways” — after the current Lippert picture. . . . Joe Boyle, manager
of Loew’s Poli theatre, Norwich, arranged interesting and exciting
displays for “Arena” and coming attractions. . . . John E. Petroski,
manager of the Stanley- Warner Palace theatre, Norwich, distributed
20,000 sticks of Beechnut Gum as promotion for a current picture.

. . . Vacation was the theme of Frank McQueeney’s newspaper
advertising for the Pine drive-in, in a moscpiito-free area near
Waterbury, Conn. ... Two Stanley- Warner managers, Irving
Hillman, at the Roger Sherman, New Haven, and Russ Barrett, at
the Capitol, Willimantic landed co-op ads in Connecticut newspapers
for “The Beasts from 20,000 Fathoms.” . . . Morris Rosenthal,
manager of Loew’s Poli theatre, New Haven, and the first Quigley
Grand Award winner of record, sends his usual fine assembly of
showmanship as entries for the second quarter. . . . W. S. Samuels,
manager of the Lamar theatre, Beaumont, Texas, puts an institu-
tional slant in his program herald, advertising that the theatre is
cooled by refrigeration.

▼ y ▼

Elmer Rhoden’s “Vacation Movie” plan is working fine in
«J Fox Midwest Theatres, as well as other places where they
follow a good example. Reports from 80 theatres show an average
weekly attendance of 60,000 children, not counting other kiddie
shows — otherwise sponsored. . . . Ivan Ackery had 2,000 young-
newspaper men, carriers for the Vancouver Daily Province, as his
guests at an early morning preview of “Blackbeard the Pirate” —
and they all wore pirate costume to qualify for admission! They
whooped it up plenty, and of course, crashed the news pages with
pictures. . . . Loew’s Theatres in New York have made good use of
a bookmark, as advertising for “Moulin Rouge” and distributed
through the branches of the New York Public Library. . . . “The
Man from the Alamo” will have its Texas territorial world premiere
at the Majestic and Metropolitan theatres in San Antonio and
Houston, on July 23rd. Julia Adams, Chill Wills and Hugh O’Brien,
featured in the Universal film, will be deep in the heart of Texas.
. . . Bing Crosby didn’t linger long in New York, returning from
Europe, and took off immediately for the Crosby Ranch at Elko,
Nevada, but Lindsay wanted to go by train, just for the novelty of it.
. . . Benjamin Domingo, manager of the RKO Keith Memorial
theatre, Boston, had good displays for his current attraction, as
testified by his photographer. . . . Roy Rogers and Dale Evans
make their first trip to Hawaii July 21st, when they sail for Hono-
lulu to put on a series of nine shows and spend two weeks on a
Hawaiian ranch.

y y ▼

Dan Krendel’s "Ballyhoo” contest in Ontario’s “B” district
«I is closing soon — the longest sustained drive by any part of
Famous Players-Canadian’s circuit across Canada. Dan is one who
won his spurs as a showman, and he uses them in obtaining results
as supervisor. His bulletins contain so many references to show-
manship items that we can’t list them, for space reasons. . . . Lew
Young, manager of the Norgan theatre, Palmerston, Ontario, is
always on the beam with good showmanship, says he is making those
extra efforts to offset the summer slump. . . . Dave Borland, man-
ager of FP-C’s Dominion theatre in Vancouver, writes that he is
glad we sent Charlie and Ackery back in reasonably good condition,
but he doesn’t know the trouble we had, keeping them on the
straight and narrow ! Always asking for creampuffs and snowballs !
. . . By the way, what ARE creampuffs and snowballs ? . . . F. C.
Leavens, manager of the Elmdale theatre, Ottawa, had excellent
displays for the Coronation, very dignified and gracious, and gave
every patron a souvenir Coronation penny. His is a third-run
neighborhood house. . . . John E. (Jack) Burdick’s campaign
book on “Costless Selling” at the Stanley theatre, Vancouver, is an
entry in the second quarter for the Quigley Awards. His house is
fourth run in Vancouver, but his showmanship is better than that.
Says he takes pride, and no wonder, in his selling approach. . . .
Bill Burke, manager of the Capitol, Brantford, is one of FP-C’s
eager beavers and we especially liked his newspaper break on the
theatre air-conditioning-, which was good institutional advertising.

MANAGERS' ROUND TABLE SECTION, JULY 18, 1953

"SHOOT THE WORKS"
IS THE REAL McCOY

Newspaper critics and radio newscast-
ers in Augusta, Georgia, raved about the
Petite Ballet Show, “Shoot the Works” at
the Miller theatre — a kiddie dance revue,
staged by P. E. McCoy, city manager for
Georgia Theatres in Augusta, with the co-
operation of the locally owned and operated
Fred Astaire Dance Studios. Quotes from
the press include, “Customers loved every
moment of it.” — “Petite Ballet Wins Ap-
plause”— “Again We Wave Our Hats to a
Group of Dancing Children” and “The Mil-
ler Theatre and Fred Astaire Studio team
their talents to pack the theatre and keep an
audience laughing and applauding.”

Polished Performance

“Shoot the Works” featured a cast of
youngsters, ranging in age from less than
three years to their early ’teens, and took
them through twenty carefully rehearsed
acts in thoroughly professional style. Many
of the numbers would have been difficult for
grown-ups, but didn’t faze these youngsters
a bit. The local dailies contributed thousands
of lines of copy in advance, and used many
columns of photographs in art layouts during
the engagement. The pictures above are
news pictures done by press photographers,
for their papers.

The theatre used advance lobby display
and screen announcements, but little was
necessary in added advertising budgets.
Merchants set window displays in honor of
the coming attraction, and the youngsters
themselves were the best source of word-of-
mouth advertising. The Fred Astaire Stu-

dio got up a souvenir program, which in-
cluded congratulations from many, including
the parents, directed to the talented young
people of the cast, which was circulated prior
to the theatre engagement, and acquainted
Augusta theatre goers with the kind and
quality of entertainment on stage.

Since there are many Fred Astaire Dance
Studios in many cities across the nation, and
new ones springing up as local operators be-
come aware of the profitable business oppor-
tunity, we strongly suggest that members of
the Round Table study this example of how
to utilize their cooperation. You don’t worry
about the stage show — they plan and re-
hearse it for you, and all without any cost
for talent, and the benefit of cooperative ad-
vertising. In a city like Augusta, many of
the children and their parents are well
known, and they all turn out to see their
progeny in a lively dancing performance.

Pierce McCoy used “Shoot the Works” as
an added attraction with a hold-over of Walt
Disney’s Peter Pan but it could be com-
bined with almost any picture, with profit-
able results. The children went on for two
shows, at 4:45 and 8:45 p. m., and the spe-
cial program ran for two days at the Miller.
There is no reference in the newspaper ad-
vertising to advanced admission prices, but
the many editorial comments agree that the
house was packed.

For the opening of the J. Arthur Rank
Technicolor film of The Coronation at the
Odeon in Toronto, a street parade of three
Armed Services marched to the theatre.

A Dancing School Lesson

A lot can be learned at Dancing School —
And not just with your feet.

You learn to use your head as well;

You learn to be tidy and neat.

You learn to keep your mind on things;
You learn to concentrate.

You learn it's courteous to be prompt
And for your time to wait.

You learn to admire the talents
Of your classmates — every one.

You learn it’s wrong to criticize
Or think of making fun.

You learn that speaking low, and kind
Can win you many friends
And it's not the way the beginning goes
But rather, the way it ends.

'Return to Paradise'

Should Be a Winner

Managers can look forward to the up-
coming production of Return to Paradise
— James A. Michener’s story of the South
Seas, with Gary Cooper and Roberta
Haynes as romantic leads, and Moira
McDonald, a Samoan girl, as local color,
all in the atmospheric settings of the South
Pacific. We can hardly wait.

A global team is plugging the picture,
right now. Gary is on the Continent, ex-
ploiting the picture. The author is in
Chicago, doing likewise. Moira McDonald
is in Australia, on a similar errand, and
Roberta Haynes, who photographs like
something out of Michener’s books, is doing
television appearances on a 15-city tour,
with scores of interviews and newspictures.

The picture opens July 22nd at the State-
Bake in Chicago, with premieres immedi-
ately following in other key cities.

Bee Mickey, manager of the Victor thea-
tre, McKeesport, Pa., had a pretty nice
street ballyhoo for Anna which (or rather,
she) had its (or rather, her) good points.
As an understatement, he says the display
succeeded in getting attention.

As manager of Loew's Park theatre in
Cleveland, Frank Arena has watched a mil-
lion marquee-billings come and go, but when
Loew's State booked MGM's new 3-D picture,
"Arena" — Frank came over to put up his own
name in lights!

MOTION PICTURE HERALD, JULY 18, 1953

Columbia

HANGMAN’S KNOT: Randolph Scott, Donna
Reed — Made a big mistake in giving preferred time
for this. It is strictly an ordinary western which
should have been played on our Saturday bill with
some support. Scott is good, but not on Sunday.
Played Sunday, Monday, June 28, 29. — George F. Tatar,
Lockport Drive-In Theatre, Gasport, N. Y.

TARGET HONG KONG: Richard Denning, Nancy
Gates — If you’ve got an extra sixty minutes and an
audience with nothing better to do — okay. These un-
impressive, uninspired action fillers may do all right
somewhere, but not here. On the weak end of a
good program, they bore. Doubled with something
like “Toughest Man in Arizona” (Rep.), the result is
paralyzing at the B.O. Played Friday, Saturday,
June 26, 27. — William A. Blair, Vaca Theatre, Vaca-
ville, Calif.

Metro-Gold wyn-Mayer

DEVIL MAKES THREE, THE: Gene Kelly, Pier
Angeli — Terrific picture loaded with suspense and
action. Kelly is badly miscast as the American
officer, but even that is overcome in the pace of
direction and the strong story line. The authentic
backgrounds add greatly to the picture, and the final
scene at the Hitler house in Berchtesgaten is nothing
short of terrific. Doubled with “Remains to Be Seen”
(MGM). Played Tuesday, Wednesday, Thursday,
June 23, 24, 25. — William A. Blair, Vaca Theatre,
Vacaville, Calif.

IVANHOE: Robert Taylor, Elizabeth Taylor — A
good picture, good color and well played by the stars.
It would have done good box office if MGM had let
us have it before it was so old. Played too late and
box office was below average. Played Tuesday,
Wednesday, June 23, 24.— W. W. Kibler, Caroline
Theatre, Bowling Green, Va.

JEOPARDY: Barbara Stanwyck. Barry Sullivan-
Solid, nerve-wracking drama packed into a quick and
impressive 69 minutes. Running time alone confines
it to double feature brackets, but it should be a
satisfying shot-in-the-arm for any program. Played
Tuesday, Wednesday, Thursday, June 30, July 1, 2. —
William A. Blair, Vaca Theatre, Vacaville, Calif.

NAKED SPUR, THE: James Stewart, Janet Leigh —
A good western picture, well played by James Stewart
and well liked by all who saw it. Film rent too high
to make any money on the picture and box office was
below average. Played Thursday, Friday, June 25,
26. — W. W. Kibler, Caroline Theatre, Bowling Green,
Va.

Paramount

CLEOPATRA: Claudette Colbert, H. Wilcoxon — We
doubled this with “Somebody Loves Me” (Para.),
with Betty Hutton. Business was up reasonably well.
The telephone calls concerned “Cleopatra” and what
time it started. The show ran too long because of the
double bill. We missed the color in “Cleopatra”—
present day spectacles are usually rainbowed. Played
Wednesday,^ Thursday, Friday, June 24, 25, 26.—

Robert B. Tuttle, Sky Drive-In Theatre, Adrian, Mich.

RED MOUNTAIN: Alan Ladd, Lizabeth Scott — A
colorful and confusing bore. This and “Thunder in
the East” (Para.) just about finish Ladd off. Doubled
with “The Story of Robin Hood” (RKO), the idea
being to add a bit of Americana to the English story.
We should have saved_ our dough. Those who came
were here to see “Robin,” then promptly went home.
Many, many walk-outs. Played Sunday, Monday,
J“"e 21, 22. William A. Blair, Vaca Theatre, Vaca-
ville, Calif.

, STIFF: Dean Martin, Jerry Lewis, Liza-

beth Scott Loud, brash and thoroughly satisfying to
the M. & L. fans^ who seem to be legion here. The
younger set calls it a “groovie movie,” and even the

oldsters object to the inanities with a twinkle in
their eyes. Reported generally as not as good as “The
Stooge,” but no one seemed to notice. Solid show
business! Played Sunday, Monday, June 28, 29.—
William A. Blair, Vaca Theatre, Vacaville, Calif.

SON OF PALEFACE: Bob Hope, Jane Russell —
Doubled with Technicolor “Blazing Forest” (Para.)
to solid Sunday and good Monday-Tuesday, although,
as we’ve said before, the week days are nothing to
brag about. We’re earning our living two days a
week. If the film companies get too hungry on week-
ends, we’ll really have to do some belt tightening.
Played Sunday, Monday, Tuesday, June 21, 22, 23.—
Robert B. Tuttle, Sky Drive-In Theatre, Adrian, Mich.

Republic

FAIR WIND TO JAVA: Fred MacMurray, Vera
Ralston — Republic must have concentrated all their
effort on the trailer. Beautiful effects in color and
on the technical side, but that doesn’t compensate for
the dismal direction and performances. This doesn’t
compare with “Wake of (he Red Witch” (Rep.), and
that was nothing to rave about. Vera Ralston — why?
Played Tuesday, Wedne day, Thursday, June 30, July
1, 2. — William A. Blair, Vaca Theatre, Vacaville,
Calif.

TOUGHEST MAN IN ARIZONA: Vaughn Monroe,
Joan Leslie — Fair color, routine story and a pleasing
but unimportant personality in Vaughn Monroe added
up to absolutely nothing on a weekend. When a
western isn’t Friday-Saturday material here, there’s
just one thing to blame — the picture. Might be a
second feature, but you’ll regret trying to sell it on
top. Played Friday, Saturday, June 26, 27.— William
A. Blair, Vaca Theatre, Vacaville, Calif.

RKO-Radio

KING KONG: Fay Wray, Bruce Cabot — All the
publicity this oldie got did not help our box office one
bit. Below average crowd for the1 fair weather we had.
Paid too much money for it. Should have used it as a
second feature. Played Thursday, Friday, June 18, 19.—
George F. Tatar, Lockport Drive-In Theatre, Gasport,
N. Y.

STORY OF ROBIN HOOD, THE: Richard Todd,
Joan Rice — All the familiar antics and action of “Robin
Hood” repeated for the delight of the youngsters.
Those who remember compare it unfavorably with the
swashbuckling of Errol Flynn. Good fun and very,
very English, whcih I suppose is as it should be.
Nobody broke down the doors getting in to see it.
Played Sunday, Monday, June 21, 22. — William A.
Blair, Vaca Theatre, Vacaville, Calif.

Twentieth Century-Fox

LYDIA BAILEY : Anne Francis, Dale Robertson —
We liked this Technicolor picture, although the box
office wasn’t too hurried. Maybe Republic’s “Hitch-
Hike to Happiness” didn’t help any. Played Thurs-
day, Friday, June 11, 12. — Robert B. Tuttle, Sky
Drive-In Theatre, Adrian, Mich.

STARS AND STRIPES FOREVER: Clifton Webb,
Ruth Hussey— This one drew. People here really like
their bands, so naturally they came out to hear Sousa.
It is a very good picture, and I do not see why it
wouldn’t draw in any community. We paid too much
for it, however. Played Sunday, July 5. — Marcella
Smith, Vinton Theatre, McArthur, Ohio.

WHAT PRICE GLORY?: James Cagney, Dan
Dailey — Still looking for the people to come in to watch
this picture. A terrible flop — no comparison with the
picture of the same name made years ago. Played
Thursday, Friday, June 11, 12. — George F. Tatar,
Lockport Drive-In, Gasport, N. Y.

Universal

IT came FROM OUTER SPACE: Richard Carlson,
Barbara Rush — We played this 3-D1 with a musical
short and the results were very satisfactory. A very
entertaining picture for the imagination. Children
received it very well. We held for an extra day over
the week’s run. Played Tuesday through Tuesday,
June 16-23. — Earle H. Showve, De Anza Theatre,
Riverside, Calif.

LITTLE TOUGH GUYS: Robert Wilcox, Helen
Parrish, Dead End Kids — We can’t keep people away
on Saturday, and usually a Dead End Kids or hill-
billy type of film sends us scurrying around the lot
to find parking places. The critics should come to the
theatre to see some of the pictures the public like
to pay to see. RKO’s “Road Agent” and “Woman in
Green” (U) rounded out the bill. Played Saturday,
May 30.— Robert B. Tuttle, Sky Drive-In Theatre,
Adrian, Mich.

Warner Bros.

DESERT SONG: Kathryn Grayson, Gordon MacRae
— We played this on our new “Panoramic” screen and
the patrons raved about it. The second feature, “Siren
of Bagdad” (Col.) was found to be very entertaining
and a good combination. The gross for the run was
satisfactory. Played Sunday, Monday, Tuesday,
Wednesday, June 28, 29, 30, July 1. — Earle H. Showve,
De Anza Theatre, Riverside, Calif.

SHE’S BACK ON BROADWAY: Virginia Mayo,
Gene Nelson — I don’t think this one was nearly as
good as “She’s Working Her Way Through College.”
Virginia Mayo has been a good box office draw here,
but I think if they play her in a few more like this
one it will kill her drawing power here. A number of
customers said they were disappointed in the picture,
and we paid too much rental. Played Sunday, Mon-
day, June 21, 22. — W. W. Kibler, Caroline Theatre,
Bowling Green, Va.

SPRINGFIELD RIFLE: Gary Cooper, Phyllis
Thaxter — This did quite well, I mean we just managed
to stay out of the red. I consider this quite a feat
these days. This is a good picture and will draw
wherever westerns and Cooper are liked. Played Sun-
day, June 21. — Marcella Smith, Vinton Theatre,
McArthur, Ohio.

THIS WOMAN IS DANGEROUS: Joan Crawford,
Dennis Morgan — Picked this one up for my patrons,
who like this kind of picture. This is a very good
Joan Crawford picture, also very good acting by
David Brian; in fact, I thought he was a bit rough.
If your fans like rough stuff, play it. Played Satur-
day, June 27. — James Hardy, Shoals Theatre, Shoals.
Ind.

WHERE’S CHARLEY : Ray Bolger, Allyn McLerie
— Here’s one made in Britain you can play that your
patrons will howl over. Ray Bolger, who is known
here from “April in Paris” (WB), is a riot as
Charley’s aunt. Maybe. you could even sell it better
under that title. Business good. Played Monday,
Tuesday, June 8, 9. — Lew Young, Norgan Theatre,
Palmerston, Ont., Canada.

MOTION PICTURE HERALD, JULY 18, 1953

Taranto an t

To Offer 4 in
Two if Mont Its

Paramount will release four high budget
pictures during September and October and
has set a flow of product to follow in the
winter, A. W. Schwalberg, president of
Paramount Film Distributing Corp., dis-
closed last weekend. The lineups were
mapped at a series of division manager
meetings in New York recently.

On the September schedule are “Roman
Holiday” and “The Caddy.” Scheduled for
October are George Pal’s “The War of the
Worlds” and “Little Boy Lost.” The gen-
eral release of “Shane” is slated for August
alung with “Arrowhead.”

After October the following will be ready
for release, although not necessarily in the
order named : “Those Redheads from Se-
attle,” in 3-D, color by Technicolor; “Bot-
any Bay,” Technicolor; “Forever Female”;
“Here Come the Girls,” Technicolor ; “Flight
to Tangier,” in 3-D and Technicolor; “Ele-
phant Walk,” Technicolor; “Red Garters,”
Technicolor, panoramic screen and stereo-
phonic sound; “Knock on Wood,” Techni-
color, and Hal Wallis’ “Cease Fire,” filmed
in 3-D on the Korean fighting front.

Barney Balaban, Paramount president,

discussed at meeting sessions the following
pictures on the studio program : “White
Christmas,” “The Naked Jungle,” “Alaska
Seas,” “Mr. Casanova,” “Reaching for the
Moon,” George Pal’s “Conquest of Space”
and others.

Also participating in the meetings were
E. K. O’Shea, Jerry Pickman and Oscar
Morgan, distribution vice-president, adver-
tising and publicity vice-president and short
subjects and newSVeel sales manager, re-
spectively.

Allied Artists Schedules
Four August Releases

Allied Artists has scheduled four films,
including the color by Technicolor produc-
tion of “Affair in Monte Carlo,” for national
release in August. Merle O heron, Richard
Todd and Leo Genn star in the color product
which is set for release August 14. Other
August releases are “Topeka,” starring Wild
Bill Elliott in sepia, August 9; “Clipped
Wings,” a comedy starring the Bowery
Boys, August 23, and “Mexican Quest,”
starring George Brent with Karen Sharpe,
August 30.

Columbia Dividend

The board of directors of Columbia Pic-
tures Corporation this week declared a quar-
terly dividend of $1.06j4 per share on the
$4.25 cumulative preferred stock, payable
on August 15, 1953, to stockholders of
record July 31.

Tocal Or ops
ii ape Suits

The New York projectionists’ union,
Local 306, this week is understood to have
abandoned its group of suits against New
York theatres for $3,225,000 in alleged over-
time. The action was related to settlement
of a new contract, tentatively agreed upon
some months ago hut delayed for certain
details.

The agreement provides a 10 per cent
wage increase, two per cent of which goes
to the union welfare fund. This increase is
retroactive to September 5, 1952.

The suits were filed approximately a year
ago. Theatre defendants May 21 asked for a
dismissal, and hearings on this motion were
set for June 10 and postponed to July 13,
and then again postponed to August 13.

Majors Receive 16mm
Suit 60-Day Extension

Major company and other defendants in
the Government’s suit to compel release of
16mm. product to independents and libraries
have received extension from the due date,
July 15, to answer interrogatories. They
have up to 60 days. The defendants have
contended release of their product as in-
ferred would make it available to the com-
petitive medium, television.

COLUMBIA PICTURES ANNOUNCES THAT PRINTS OF THE FOLLOWING
PICTURE ARE NOW AVAILABLE IN OUR EXCHANGES FOR SCREENING

RANDOLPH SCOn

THE STRANGER WORE A GUN

co-starring

CLAIRE TREVOR

JOAN WELDON • GEORGE MACREADY • ALFONSO BEDOYA

Screen Play by KENNETH GAME! -A SCOTT-BROWN Production • Produced by HARRY JOE BROWN • Directed by ANDRE DeTOTH

3-D

STEREO SOUND - WIDE SCREEN UP TO 1.85:1
STANDARD SCREEN & SOUND - TECHNICOLOR

General Release: August

MOTION PICTURE HERALD, JULY 18, 1953

They Dance All Night
At Graduation Party

Ben Schwartz, manager of the Stanley-
Warner Liberty theatre, Massillon, Ohio, sub-
mits a complete campaign book to show the
success and local importance of his “Gradu-
ation Party” — done cooperatively to provide
a safe and sane, but enjoyable, celebration
for 1953 High School graduates in this town
of 30,000 population. It’s not the first time
it’s been done, for Leo Jones, manager of
the New Star theatre at Upper Sandusky,
Ohio, achieved the same result several years
ago in his nearby town of only 4,500.
(What we wish is that such a good idea
would be used a little oftener, and we accent
this new and current example to encourage
more reciprocal use of such idea material by
Round Table members. We can’t cite an-
other instance, in between.)

One of the Best Ideas
For Public Relations

The big night in Massillon began at 11 p.m.
at the Liberty theatre, when the graduates
and their friends gathered for an evening of
fun that was scheduled to last until school
opened the next morning. There were free
snacks in the theatre lobby, on arrival, and
a stage program with the distribution of 192
prizes, worth $800, contributed by local mer-
chants, to lucky winners in the graduating
class. A new picture, a sneak preview, in
Massillon, provided by Warner Brothers, ac-
companied the presentation of prizes. This
part of the program lasted until after 2
o’clock in the morning.

Then, there was dancing at the American
Legion Home, until dawn, with both square
dances and more formal styles. All music,
and all labor involved, at both theatre and
Legion Home, was donated by various
unions. At around 5 a.tu. they began serv-
ing breakfast, with everything contributed —
and Aunt Jemima in person to dispense pan-
cakes. Lots of food for hungry young folks
who had danced the night through and de-
veloped an appetite.

Plenty of Cooperation
From Local Source

Ben Schwartz was chairman of the com-
mittee, and Irvin Snyder, principal of the
High School, was co-chairman, with three
members of the senior class as assistants.
Twenty local women took up the duties of
coordinating- and obtaining the sponsorship
and cooperation of local merchants and they
did a bang-up job. American Legion Post
No. 221 handled the entertainment and dance
program following the theatre. A local pack-
ing company furnished 125 pounds of sau-
sages for breakfast, and four dairy com-
panies provided 900 quarts of milk and fifty
pounds of butter. Six bakeries gave 2,000
doughnuts and there were plenty of soft
drinks, lots of coffee, sandwiches and snacks,
all through the night.

The big thing, and the best thing, about
such a celebration, is the gratitude of parents

Sweet girl graduates enjoying snacks in
the lobby of the Lincoln theatre, Massillon,
Ohio, before the prize awards and sneak pre-
view that preceded the all-night dancing.

and civic leaders for an evening that sounds
exciting but is strictly safe and sane for
young people. The Mayor of Massillon wrote
a fine letter of appreciation to Ben Schwartz,
and so did the county superintendent of
schools. Radio station WHBC, at Canton,
O., made a tape recording, which was put on
the air the next day, as a repeat perform-
ance. The “Akron Beacon Journal” ran a
three-page rotogravure magazine feature on
the affair, and the picture on this page is
one made by their news photographer. This
story appeared under the headline, “They
Saved Lives with an All-Night Party” — be-
cause of the absence of automobile accidents
that usually pile up at graduation time
festivities.

Three hundred and fifty members of the
Massillon graduating class were feted, and a
committee of more than 175 local people
were responsible for the program. The
theatre gets the credit, and will, in every
such case, as was obviously proven. Leo
Jones had “Look” magazine present to cover
his orig-inal example of an all-night party
for a graduation class, with the same objec-
tives. We hope that next year other man-
agers will have the courage and energy to
tackle this again, and perhaps we’ll accumu-
late more such results.

Joe J. Deitch, executive film buyer for
Florida State Theatres in Jacksonville, Frank
G. Slaughter, author of "Sangaree", and Ed
Chumley, branch manager for Paramount at
Jacksonville, confer at the Savannah premi-
ere of the picture.

Bab Harvey
Vaunts Up
The Scare

Bob Harvey, manager of Famous Players-
Canadian’s Capitol theatre in North Bay,
Ontario, is probably the busiest theatre
manager on this continent. He is always
one or two or three up on us. We can’t
keep up with him, much less keep track of
him, when it comes to proper appreciation
of his efforts. As this is written, we have
a pile of accumulated evidence in his favor,
and it was but yesterday that we acknowl-
edged a similar exhibit. They are all
entered in the Quigley Awards.

Bob’s portfolio on “House of Wax” is
so vast that it comes in two sections, so
how can we cover it, in any blow-by-blow
description ? There were windows, street
ballyhoo girls, lobby displays, staff emblems,
merchandise tieups, in advance, and then, a
comprehensive, all-out advertising campaign,
which included full-page co-operative ads
paid for by sponsors.

His “beanie” contest, sponsored by a local
hat dealer, was won by a cute kid, who
made newspictures. And, of course, the
Coronation is top news in Canada and the
handling of the films is equally top-bracket.
Bob gave the Interdenominational church
services use of the Capitol theatre when
they had no auditorium big enough for their
purpose. Graduation was cue for a “Young
Bess” contest in the pressbook format, and
for “Tropic Zone” he had an usherette on
the street in a really tropical bathing suit.
Must be very warm in Canada, at this time
of year.

MGM To Distribute New
Sets of Color Stills

Beginning with “Latin Lovers” all MGM
feature films in color will be serviced with
8x10 color scene stills, as part of the ex-
cellent supply of stills provided by the com-
pany in their showmanship selections. The
“A” set, in the future, will be in full color,
by the Shorecolor process, packaged in
glassine envelopes and available at National
Screen Service. The “B” set will be in
black-and-white, as formerly. The new de-
parture is somewhat in the nature of an
experiment, and MGM asks, quite properly
and politely, that exhibitors relay to them
their opinions and comment.

Exhibitors Everywhere Agree

/FOR SPEED and QUALITY^

I FHMACK

ft SPECIAL TRAILERS

1 CAN'T BE BEAT J

1327 5. Wabash Ave. CHICAGO 5, ILL. _
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MANAGERS' ROUND TABLE SECTION, JULY 18. 1953

CLASSIFIED ADVERTISING

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insertions for the price of three. Contract rates on application. No borders or cuts. Forms close Mondays at 5 P.M. Publisher
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commission. Address copy and checks: MOTION PICTURE HERALD, Classified Dept., Rockefeller Center, New York (20)

NEW EQUIPMENT

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WANTED1 — EXPERIENCED PROMOTION-MIND-
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Please reply, giving full particulars, salary require-

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THEATRES

GET SET FOR 3-D ! INTERLOCKS $150;
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ONLY THEATRE FOR RENT. AIR -CONDI -
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DRIVE-IN EQUIPMENT

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BUSINESS OPPORTUNITY

MAGIC SHADOWS — THE STORY OF THE

Origin of Motion Pictures by Martin Quigley, Jr.
Adventurous exploration of all the screen’s history
told in 191 crisp pages and 28 rare illustrations. Exciting
reading for now and authoritative reference for to-
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postpaid, $3.50. QUIGLEY BOOKSHOP, 1270 Sixth
Ave., New York 20, N. Y.

SUPER SIMPLEX DRIVE-IN OUTFIT FOR 500
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business property and a modern residence near schools.

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RICHARDSON’S BLUEBOOK OF PROJECTION.

OPPORTUNITY FOR THEATRE MANAGERS
(5) with heavy experience. We want the best for a
medium sized circuit, top pay and opportunity. All
replies held in strict confidence. MORGAN AGENCY,
130 W. 42nd St., New York City. OX 5-0740.

Best Seller, since 1911. Now in 7th edition. Revised to
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BOOKSHOP, 1270 Sixth Avenue, New York 20. N. Y.

Howard Burkhardt Dies;

Was Manager for Loews

KANSAS CITY: Funeral services were
held Wednesday for Howard C. Burkhardt,
manager of the Loew’s Midland theatre here,
who died July 11 in his office. Mr. Burk-
hardt, who managed theatres in Baltimore,
Providence and other eastern cities before
taking over here, was a veteran of 46 years
in the industry. He was associated with
Loew’s for 21 years. Surviving are his
widow, a son, a daughter and four grand-
children.

Edwin S. Clifford, 61;

Was Veteran Newsman

ELGIN, ILL.: Edwin S. “Gun” Clifford,
61, widely-known newspaperman, died at
Sherman Hospital last week following a
long illness. Mr. Clifford during the past
17 years was a member of the editorial staff
the “The Courier-News.” Prior to his
service with the paper he was associated
with Quigley Publishing Co. in Chicago,
which he joined in 1919 as managing editor,
later becoming general manager and secre-
tary of the organization. When Quigley
headquarters were transferred to New York,
Mr. Clifford remained in Chicago as gen-

eral manager of “The Chicagoan.” Some
time later he returned to Elgin as editorial
director of the “Fox Valley Herald,” later
rejoining “The Courier-News.” He is sur-
vived by his widow and two daughters.

Kilroe, Former 20th-Fox
Attorney, Director, Dies

Edwin P. Kilroe, 71, a former director of
and attorney for 20th Century-Fox and one
of the country’s leading experts on copyright
law, died July 8 at St. Clare’s Hospital, New
York. He served the film company as a
legal advisor for more than 20 years. He is
survived by three brothers and two sisters.

Herman H. Wellenbrink

Herman H. Wellenbrink, 71, of Sea Girt,
N. J., an exhibition pioneer, died July 13
at his winter home in Delray Beach, Fla.
Mr. Wellenbrink was formerly a president
of the United Exhibitors Association. In
1906, he opened several theatres in Cali-
fornia. He purchased the Montclair theatre,
Montclair, N. J., in 1920.

Herbert Rawlinson

Herbert Rawlinson, 67, veteran actor of
silent pictures and the legitimate theatre,

died July 12 in Hollywood. He entered the
industry shortly after his arrival in the
United States in 1910 and played leading
parts opposite Clara Kimball Young, Billie
Burke and Geraldine Farrar.

Legion Approves Four
New Films Reviewed

The National Legion of Decency this
week reviewed four pictures, placing one in
Class A, Section I, morally unobjectionable
for general patronage; and three in Class
A, Section II, morally unobjectionable for
adults. In Section I was “Last of the Pony
Riders.” In Section II were “Band Wag-
on,” “Singing Taxi Driver” and “Some-
thing Money Can’t Buy.”

Settle Out of Court
In Conspiracy Suit

HOLLYWOOD: The San Pedro Theatre
Company, San Pedro, Calif., has settled its
$600,000 conspiracy suit against majors out
of court for a reported $30,000. The plaintiff
had charged discrimination by the majors
in refusing to furnish his drive-in theatre
with first run product. The Pacific Drive-in
Corporation took over operation of the the-
atre in 1952.

MOTION PICTURE HERALD, JULY 18, 1953

FILM BUYERS RATING

Film buyers of independent circuits in the U.S. rate current
product on tire basis of its performance in their theatres. This
report covers 12 7 attractions, 6,308 playdates.

EX means Excellent; AA — Above Average; AV — Average;
BA — Below Average ; PR — Poor.

Abbott & Costello Go to Mars (Univ.)

All Ashore (Col.)

Above and Beyond (MGM)

fAmbush at Tomahawk Gap (Col.)

Androcles and the Lion (RKO)

1 1

Angel Face (RKO)

Anna ( IFE) .

April in Paris (WB)

1 1

Bad and the Beautiful (MGM)

Battle Circus (MGM)

1 1

Beast from 20,000 Fathoms, The (WB)

Blue Gardenia, The (WB)

Breaking the Sound Barrier (UA)

1 1

Bwana Devil (UA)

By the Light of the Silvery Moon (WB)

Call Me Madam (20th-Fox)

City Beneath the Sea (Univ.)

Clown, The (MGM)

Code Two (MGM)

Column South (Univ.)

Come Back, Little Sheba (Para.)

Confidentially Connie (MGM)

Count the Hours (RKO)

Cry of the Hunted (MGM)

Desert Legion (Univ.)

Desert Rats, the ( 20th- Fox )

Desert Song, The (WB)

Desperate Search, The (MGM)

Destination Gobi ( 20th- Fox )

Down Among the Sheltering Palms ( 20th- Fox )

* Eig ht Iron Men (Col.)

Fair Wind to Java (Rep.)

fFast Company (MGM) .

Fort Ti (Col.)

Four Poster, The (Col.)

Girl Next Door, The ( 20th- Fox )

Girl Who Had Everything (MGM)

Girls in the Night (Univ.)

—

Girls of Pleasure Island (Para.)

1 1

Glass Wall, The (Col.)

Gunsmoke (Univ.)

Hans Christian Andersen (RKO)

Happy Time, The (Col.) .

Hitch-Hiker, The (RKO)

House of Wax (WB)

1 Confess (WB)

1 Don't Care Girl, The ( 20th- Fox )

1 Love Melvin (MGM) ..

1 1

I'll Get You ( Lippert)

Invaders from Mars ( 20th- Fox )

♦Invasion U.S. A. (Col.)

1 1

It Happens Every Thursday (Univ.) .

Ivanhoe (MGM)

Jack McCall, Desperado (Col.)

Jalopy (AA)

Jamaica Run (Para.)

Jazz Singer, The (WB) .

...

Jeopardy (MGM)

♦Jungle Girl (AA)

Kansas City Confidential ( U A )

Kansas Pacific (AA)

Lady Wants Mink (Rep.)

Last of the Comanches (Col.)

Law and Order (Univ.)

Lawless Breed (Univ.)

Limelight ( UA) . .

Lone Hand (Univ.)

Ma and Pa Kettle on Vacation (Univ.)
Man Behind the Gun (WB)

Man in the Dark (Col.)

Man on a Tightrope (20th-Fox)

Meet Me at the Fair (Univ.)

Member of the Wedding (Col.)

* Million Dollar Mermaid (MGM)
Mississippi Gambler (Univ.)

Moulin Rouge (UA)

My Cousin Rachel ( 20th- Fox )

*My Pal Gus (20th-Fox)

Naked Spur, The (MGM)

Never Let Me Go (MGM)

Never Wave at a Wac (RKO)

Niagara ( 20th - Fox ) .

Off Limits ( Para. )

Pathfinder, The (Col.)

Peter Pan (RKO)

Pickup on South Street (UA)

Pony Express ( Para. )

Powder River (20th-Fox)

President's Lady, The (20th-Fox)

Prince of Pirates (Col.)

tQueen Is Crowned, A (Univ.)

Raiders of the Seven Seas (UA)
Redhead from Wyoming (Univ.)
Remains to Be Seen (MGM)

Ride the Man Down (Rep.)

Road to Bali (Para.)

Rogue's March (MGM)

Ruby Gentry ( 20th- Fox )

Saiome (Col.)

fSan Antone ( Rep. )
fSangaree ( Para.) ...

Scared Stiff (Para.) .

Seminole ( Univ.)

Serpent of the Nile (Col.)

She's Back on Broadway (WB)

Silver Whip ( 20th - Fox )

Small Town Girl (MGM)

Snows of Kilimanjaro (20th-Fox)
Sombrero ( MGM )

Split Second (RKO)

Star, The (20th-Fox)

Stars Are Singing, The (Para.)

Stoogs, The ( Para.)

Stop, You're Killing Me (WB)

Take Me to Town (Univ.)

Tall Texan, The (Lippert)

Taxi (20th-Fox)

Thief of Venice (20th-Fox)

Thunder in the East (Para.)

Titanic ( 20th- Fox )

Tonight We Sing (20th-Fox)

Torpedo Alley (AA)

Treasure of Golden Condor (20th-Fox)
Tropic Zone (Para.)

Trouble Along the Way (WB)

Woman They Almost Lynched (Rep.)

Young Bess (MGM)

EX AA AV BA PR

1 1

The/2^

^of the

You don’t have to be a Sherlock Holmes to discover what’s happening to
your vanishing dollar !

You’ll get a clue from the Bureau of Labor Statistics report show-
ing an increase of 90.8% in your cost of living, from 1939 to 1952 . . . with
FOOD, RENT, FUEL, HOUSE FURNISHINGS and APPAREL leading the
chase . . . and another clue in the Exhibitors Digest findings that the cost
of Theatre Equipment and Supplies has risen an average of 98.9%
since 1940.

You’d really need a magnifying glass ... to discover the negligible
increase, IF ANY . . . you’ve received from NSS during these same years
of “ disappearing dollars ” . . . and that’s the case in point.

Compare all your costs with the LOW COST, Service -With-A-Smile
Policy of the Prize Baby !

nATionAL

SERVICE

Of THf //ID US TRY

• .

JULY 25, 1953

Entered
lished t
a year

VIEWS (In Product Digest): INFERNO, RETURN TO PARADISE, ALL-AMERICAN, LATIN LOVERS. THE KID
FROM LEFT FIELD, VALLEY OF THE HEADHUNTERS, TERROR ON A TRAIN, MISSION OVER KOREA, I THE JURY,
DANGEROUS CROSSING, FORT ALGIERS, CRUISIN' DOWN THE RIVER, GHOST SHIP

iry 12, 1931
Co.. Inc., 1
ear Foreign. S

111

.Veit> York City U. S. A.. under the act of March 3. 1379. Pub-
’cller Center, Mew York 20, AT. Y. Subscription rices: $5.00
contents copyrighted 1953 by Quigley Publishing Company , Inc.

M-G-M presents In Color By Technicolor "LATIN
LOVERS” Starring Lana Turner • Ricard o Montalban
John Lund • Louis Calhern • wi tlx J ean Hagen • Eduard
Franz • Screen Play by Isobel Lennart • Music by
Nicholas Brodszky • Lyrics by Leo Robin • Dances
Staged by Frank Veloz • Directed by Mervyn LeRoy
Produced by Joe Pasternak

THIS PICTURE ALSO CAN BE EXHIBITED

ON WIDE OR GIANT SCREENS

NEXT WEEK THE

WARNER BROS.

JULY 29

TENNESSEE

THEATRE,

KNOXVILLE

and mass-booked throughout the territory!

Senators, Congressmen, Governors, Mayors, Civic Officials and Stars!
Motorcade of Grace Moore Scholarship winners touring 22 cities!
Newsreel, TV, Radio syndicated stories for country-wide coverage!

sag

... :•

-1HE \
.RA,GXLM£ - \

1o-_Riches \

SXORY OR

GRACE

MOORE

■ .■ , .

AN ANNOUNCEMENT OF

IMPORTANCE IS ON PAGE 15

IS ON THE TRAIL TO YOUR BOXOFFICi...

. . . with a $250,000
National TV Campaign
pinpointed to saturate
your territory and
sell your play-
date and your
theatre- at no
cost to you!

DATE IT NOW FOR AUGUST! GET BEHIND
THIS EXPLOIT A T ION NA TURA L !

Tie up with local Boy Scout Troops for special pre-
mieres, parades, contests! Ask your Mayor to proclaim
"Mr. Scoutmaster Day"! Get Chambers of Commerce,
civic organizations to salute America's biggest youth
organization and its leaders!

* ri

THERE'S NO BUSINESS LIKE CENTURY-FOX BUSINESSl

MOTION PICTURE HERALD

MARTIN QUIGLEY, Editor-in-Chief and Publisher

Vol. 192, No. 4

The Race for Wide Screens

SURELY the swiftly mounting industry interest in
panoramic pictures at a time when the premiere
of the first feature of such a nature is still a month
away is a development without parallel. It is in sharp
contrast to what happened in connection with 3-D. In
that field the major studios took no notice of the possi-
bilities of stereo features until the opening night of
“Bwana Devil” last September. Then the rush was on.

Within the industry there should be some sharpening
of terminology. The expression “wide screens” is not an
appropriate designation to cover picture aspect ratios
running all the way from the modest enlargement of the
standard screen of 1.66 to 1 to CinemaScope and the
newly announced WarnerSuperScope, where the ratio
is 2.55 to 1 or 2.66 to 1. The anamorphic lens processes
in current use or under test produce a picture twice the
width of the standard image.

So far as CinemaScope is concerned, 20th-Fox execu-
tives have expressed themselves as delighted with the
rough cut versions of the first features in the process.
That the effects are striking may be judged not alone
from the test reels seen by thousands of exhibitors in the
United States, Britain and France, but also by the con-
siderable number of films announced in CinemaScope by
other studios. MGM has announced four in the process;
Columbia, seven; Walt Disney, three (plus short sub-
jects) ; Allied Artists, one ; and independents, three.
Twentieth-Fox already has listed twenty features for
CinemaScope.' A number of the pictures to be made at
the RKO Pathe studios in Culver City for 20th-Fox
release by Mr. Leonard Goldstein are to be in 3-D.

Mr. Jack L. Warner announced this week that six films
are now ready for production in WarnerSuperScope, a
photographic and projecting process produced for that
company by Zeiss-Opton, German lens manufacturers.
Pictures made in the process may be shown on screens
of any size in the 2.66 to 1 aspect ratio. Films made in
WarnerSuperScope, according to the announcement, also
will be photographed by the studio’s all-media camera
in WarnerColor, 3-D, standard, and with WarnerPhonic
stereophonic sound. Projection lenses for the Warner-
SuperScope films are to be made available “to exhibitors
with each picture on a very nominal rental basis within
reach of even the smallest theatre operator.”

In addition to CinemaScope and WarnerSuperScope
other methods are under test in Hollywood to produce
panoramic pictures for exhibition on very wide screens.
Meanwhile considerable interest continues in 3-D pic-
tures. For instance, on July 21 display advertisements
for a total of five 3-D features — all in key runs in the
metropolitan area — dominated the amusement page of
the “New York Times.” Universal also this week an-

nounced a sharp increase in the production of 3-D fea-
tures.

Before long the public will cast its vote on wide
screens. The calibre of the panoramic product thus far
announced leaves little ground for doubt that the public’s
vote will be enthusiastically favorable.

Eyes on the Senate

SATISFACTION felt individually and collectively
within the industry that the Mason Bill (H. R. 157)
passed the House of Representatives July 20 by a
voice vote with only a few dissenting members should be
tempered by the realization that the urgently needed tax
relief will not be effective until the measure passes the
Senate and is signed by the President.

The Senate Finance Committee on July 22 reported
the bill to the Senate without any amendments. When it
will come up for a vote is uncertain. Chances of passage
depend to a considerable extent on whether supporters
of the measure can defeat crippling amendments extend-
ing relief to other industries (and thereby increasing
opposition by the Treasury).

Whether President Eisenhower would veto such a bill
depends largely on the position taken by the Treasury.
That department already has lowered its estimate on
potential tax losses by the enactment of the Mason Bill
to $100,000,000. Industry experts feel that the bill actu-
ally would effect no ultimate loss of revenue because, if
it is not passed, thousands of theatres may be forced to
close and others may fail to make a profit on which to
pay an income tax.

This matter of tax loss is of most importance now in
the repeal campaign because it is the sole remaining
substantial obstacle to elimination of the Federal ad-
missions tax on motion picture theatres. The majority of
the members of the Senate, as of the House of Represen-
tatives, are known to sympathize with the case pre-
sented by exhibitors for relief from the discriminatory
admissions tax. Exhibitors are urged to respond imme-
diately to any last minute instructions from the COMPO
tax committee to contact their Senators.

■ ■ ■

€J While little has been heard within the industry lately
of Phonevision, the subscriber fee television system pro-
posed by Zenith Radio Corporation, the campaign to
indoctrinate the public and influence the Federal Com-
munications Commission continues unabated. Recently
there has been distributed widely a booklet entitled
“Phonevision — what it means to television and YOU!”

— Martin Quigley, Jr.

The Small Theatre

To the Editor :

To Mr. Technician: I live in a city of
100,000 population and enjoy the privilege
of seeing and hearing such modern facilities
as 3-D, stereophonic sound, wide screens,
etc.

I own an interest in thirteen theatres lo-
cated in Florida. Each of those theatres is
located in a town of from 1,000 population
to 7,250 population. The nine towns in which
these thirteen theatres are in operation daily,
are within twenty-five miles of a much larger
city — meaning we have to keep up with our
“big brothers” or suffer.

What I will say to you, the Technicians
that made all of the above described equip-
ment possible, is being said for the benefit
of the small town exhibitor.

Our theatres range from 250 seats to 575.
The majority of the theatres now in opera-
tion are small, so 1 ask — what are you doing
for the majority?

I have been in exhibition since 1912,
therefore I insist that I do know a little
something about the subject. I have served
from doorman to manager and from general
manager of a large circuit to my present
status of owner and my observation of
what there is in store for my kind isn’t a
happy picture.

Recently I witnessed a 3-D picture on a
wide screen (1.88 to 1) and with stereo-
phonic sound. The theatre seats 1,100. The
screen is practically 20 by 40 feet and draped
to 1.88 to 1 size.

Behind that screen are three large speak-
er units, each unit comprised of a double
baffle main speaker and the high frequency
speaker on top. In addition to these nine
speakers behind the screen, there are two
speakers on each side near the screen, or be-
tween the balcony edge and the stage. There
are two more speakers on each wall under
the balcony. In addition, there are two
speakers on each wall in the balcony — and
two speakers on the back wall.

A total of nineteen speakers — for what ?
Sit anywhere in the house back of the tenth
row — and I dare you to tell me which of the
three stage speakers is in operation ! Of
course you know when the side speakers are
in operation — but your eyes are trained to
follow sound, and you automatically stare at
the blank wall. Is that showmanship? Any
man knows that the speakers on the rear
wall are for effects only, to be used with the
“gimmick” pictures and will fade as do all
fads.

Take one theatre of mine located in Cler-
mont, Florida. The auditorium is thirty-
nine feet wide. We have 350 seats in this

house. The screen is O' 7" by 12' 9" or so
near that figure that an argument isn’t in-
vited. In other words, the picture is 1.33 to
1. Should I go to the 2 to 1 screen, the
ratio will be practically twenty feet wide.
Place one speaker stand in the center and I
will have approximately eight feet on each
side of that speaker stand left to place two
other speakers — one on each side — or a total
of three speaker stands that are at least three
feet in width.

Can you as a Technician say I should
have three speakers behind my screen ?

Aren’t you forgetting the small theatre
and helping to make, a “field day” for the
man who sells equipment ?

When you tie all leads, regardless of the
number of sound tracks on the film — or the
number of tape sound tracks you develop —
into one lead that can be connected to one
main speaker behind my screen — then 1 too
can have stereophonic sound.

Our warehouse is cluttered with old type
speakers — and those extra ones you are now
advocating will soon occupy space there.

The sound in each of our theatres is
modern. We must have stereophonic sound
to play some pictures. Can’t you offer us
sound directed to one major speaker unit —
and let us live a while longer? — HUGH
MARTIN , MCM Theatres, Leesburg, Fla.

Indecision

To the Editor:

Never in the forty-five years of the oper-
ation of our little theatre has there been the
indecision of which way to jump. We have
yet to find a disinterested show patron, who
has seen 3-D, who says he will go back to
see another one. This is over a number of
towns from 400,000 down to 2,000. In the
numerous cases we have contacted surely
we should have run onto a person or so,
who really liked it. A few of our friends
have seen Cinerama and pronounced it won-
derful. That is not for us and our hopes
still seem to be in CinemaScope. An old
friend of ours in the show business recently
stated that the film companies are selling
their souls for a mess of pottage. Who can
blame them for trying to keep in business.

The House Ways and Means Committee
has released the Mason Bill. If we are re-
lieved of the excise tax this month, in many
cases the relief has come too late. The little
shows needed that money long ago to keep
up their equipment and maintain a going
concern. To some of the rest of us it will
at least encourage us to try again with new
methods. — SHI RLE Y W. BOOTH, Booth
Theatre, Rich Hill, Missouri.

MOTION PICTURE HERALD

July 25, 1953

SENATE now holds key to fate of tax ex-
emption bill Page 12

WARNER new process entry announced,
it's WarnerSuperScope Page 13

KALMENSON details 14 new pictures and
cites "flexibility” Page 13

TERRY RAMSAYE Says — A column of

comment on matters cinematic Page 14

INDUSTRY declined in 1952, reports U. S.
Commerce Department Page 19

U-l executives say studio pace maintained
at high tempo Page 19

5CHWALBERG of Paramount sees bright
industry future ahead Page 19

RKO Radio schedules 13 films for release
in six months Page 20

DISNEY and RKO sign releasing agreement
for another two years Page 20

LICHTMAN reports 4,000 theatres bid
for CinemaScope Page 22

THIRTY films in wide screen techniques
now on commitment list Page 23

AB-PARAMOUNT reports quarter net
profit totaling $818,000 Page 26

ALLIED ARTISTS announces 20 more films
for balance of year Page 30

BRITISH extra strike ends, studios resuming
production Page 32

NATIONAL SPOTLIGHT — Notes on indus-

try personnel across country Page 34
UNITED ARTISTS foreign gross up 200%,

overseas meeting told

Page 39

NATIONAL Screen Service to

handle re-

lease of "Luther"

Page 40

INDUSTRY responding to plea

for Korea

fund aid

Page 41

SERVICE DEPARTMENTS

Film Buyers' Rating

3rd Cover

Hollywood Scene

Page 28

Managers' Round Table

Page 45

People in the News

Page 26

What the Picture Did for Me

Page 42

IN PRODUCT DIGEST SECTION

Showmen's Reviews
Short Subjects
Advance Synopsis
The Release Chart

Page 1925
Page 1927
Page 1927
Page 1928

MOTION PICTURE HERALD, JULY 25, 1953

EXPANSION of TV in Canada
does not seem to be affecting
the motion picture industry
there. According to a Canadian Gov-
ernment mid-year survey on capital,
repair and maintenance expendi-
tures for the nation’s theatres, 1953
outlays will total about $5,000,000,
including $2,400,000 for construction
and $2,600,000 for equipment. This
compares with total 1952 expendi-
tures of $4,600,000. The significance
of the* figures lies in the fact that
the motion picture business plans to
expand rather than contract, despite
ambitious plans for private and pub-
lic TV stations to increase greatly
their activities in 1953 and 1954.

► The Government does not want
to and could not, anyway, force
Variety Club tents to stop copper
dripping collections, Nathan D.
Golden, the Commerce Depart-
ment’s film chief, said last week. The
National Production Authority an-
nounced some weeks ago that it was
giving up its efforts in behalf of the
program in view of the easing of the
copper supply situation. However,
Mr. Golden said, it was not the in-
tention of the Government to make
stoppage of the collections manda-
tory, and that the program can
be continued wherever funds are
needed to maintain local tent char-
ity programs.

► The AB - Paramount Theatres
Tower in suburban Philadelphia,
with the showing of a 3-D attraction
for the first time this week, is ex-
perimenting in giving patrons perm-
anent polarized glasses of an im-
proved type distributed by Na-
tional Screen Service. Jay Wren,
division manager, said the theatre
has “the utmost confidence in its
patrons,” and believes they will
bring the glasses with them time
after time to witness future 3-D fea-
tures properly. The experiment will
be closely watched and if it works
out at the Tower, will be followed
elsewhere on the circuit.

► The general production trend in
Hollywood is in the direction of
fewer but bigger and more spectacu-
lar pictures, to be made almost en-
tirely for three-dimensional or wide-
screen exhibition, Elmer C. Rhoden,

BURNUP NAMED CRITIC
OF "NEWS OF THE WORLD"

Peter Burnup, London editor of The
HERALD, has been appointed Film
Critic of the "News of the World,'
British Sunday
newspaper with the
world's largest cir-
culation, totaling
&/2 million. Mr.
Burnup has under-
taken this work in
addition to his ac-
tivities for Quigley
Publications. Prior
to joining Quigley
Publications in
1944 he was spe-
cial correspondent
and film critic for
His wife, Mrs. Hope
manager of Quigley
Burnup was a film
and Sunday
was later ap-

Peter Burnup

several newspapers
Burnup, is London
Publications. Mr.
critic for the "Daily Mai
Dispatch" in 1930. He
pointed as the film editor of "The Era."
He was a member of several commit-
tees that originated the Film Quota Act.

president of Fox Midwest Theatres,
said last week at a Rotary Club
meeting in Kansas City. Mr. Rhoden
also pointed to the increasing popu-
larity of Biblical themes among the
nation’s audiences and reported that
there are more than a dozen now in
preparation on the coast.

► The Defense Department is con-
sidering integrating all its film pro-
duction operations, now carried on
separately by the Navy, Air Force
and Army. John C. Houston, Jr., of
the staff of Secretary Wilson, told a
House Government Operations Sub-
committee Tuesday that “a Defense
Department directive is presently
under consideration which would
provide for the integrated conduct
of military film operations.”

► Stanley Barnes, Assistant U. S.
Attorney General in charge of the
Anti-Trust Division, revealed in Los
Angeles Tuesday that the Depart-
ment of Justice has suggested “cer-
tain safeguards designed to make
sure that Stanley Warner’s acquisi-
tion of Cinerama will come under
the terms of existing laws” before
granting the Department’s approval
of the deal. Judge Barnes did not
disclose what safeguards had been
asked but indicated informally that
if they are accepted the Department
will have no objections to the deal.
He said that discussions concerning
the proposed “safeguards” are con-
tinuing in Washington. August 1 is
the deadline for approval of the deal
in Washington.

► There were 110,000,000 radio sets
in working order in the United
States on January 1, 1953, according
to an estimate of a joint committee
of the research departments of the
four major radio networks. This is
an increase of about 5,000,000 over
the number of sets in the U.S. on
the same date the year before.

► Win, lose or draw, COMPO’s
Tax Committee did a fantastically
fine job on the Mason bill. Congres-
sional experts early in the session
were willing to give long odds that
the bill wouldn’t even have hearings,
much less pass the House.

► Passage of the so-called customs
simplification bill, which is on the
Administration’s “must” list for this
month, could be of considerable help
to foreign film companies wanting
to send pictures into the U. S.

► The Federal Communications
Commission has moved to expedite
proceedings on competitive applica-
tions for a Vermont television sta-
tion. Vermont is the only state
where no TV station has yet been
authorized.

MOTION PICTURE HERALD, 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, President; Martin Quigley, Jr., Vice-President; Theo. J. Sullivan, Vice-President and Treasurer; Raymond Levy, Vice-President; Leo J. Brady,
Secretary; Martin Quigley, Jr., Editor; Terry Ramsaye, Consulting Editor; James D. Ivers, News Editor; Charles S. Aaronson, Production Editor; Floyd E. Stone, Photo Editor;
Ray Gallagher, Advertising Manager; Gus H. Fausel, Production Manager. Bureaus: Hollywood, William R. Weaver, editor, Yucca-Vine Building, Telephone HOIlywoOd 7-2145;
Chicago, 120 So. LaSalle St., Urben Farley, advertising representative, Telephone, Financial 6-3074; Washington, J. A. Otten, National Press Club; London, Hope Williams
Burnup, manager, Peter Burnup, editor, 4 Golden Square. Correspondents in the principal capitals of the world. Member Audit Bureau of Circulations. Other Quigley
Publications:! Better Theatres, published thirteen times a year as Section II of Motion Picture Herald; Motion Picture Daily, Motion Picture and Television Almanac and Fame.

MOTION PICTURE HERALD, JULY 25, 1953

AT THE PARTY. The persons
above are some of the 250
from stage and screen who
called Texas' attention to
"Main Street to Broadway" by
attendance at a reception in
the Stoneleigh Hotel, Dallas.
They are Jose Ferrer, actor;
Mrs. H. J. Griffith, and Mr.
Griffith, circuit owner; Mrs.
Robert Bumpas, and Jack Car-
son, actor. Some others there
were Rosemary Clooney, Lisa
Kirk, Olivia De Havilland, Mar-
garet Whiting; M. A. Light-
man, Malco circuit and Cinema
Productions head; Robert J.
O'Donnell, Interstate Circuit;
Edward and John Rowley, Row-
ley United Theatres.

by the Herald

FRANK P. DERVIN August 3 wili
join RKO Radio as assistant to
Edward L. Walton, home office exec-
utive. Mr. Dervin has for the past
nine years been a district and branch
manager for Republic in New Eng-
land. He will meet RKO branch per-
sonnel in New York, Boston, Albany,
Philadelphia, Buffalo and New Haven.

CRESSON H. SMITH, left,
explains to trade writers in
New York plans of Louis de
Rochemont Associates to
distribute "Martin Luther"
through National Screen Ser-
vice. Mr. Smith also pointed
up the film’s successful, pre-
release, long-run engage-
ments in Houston, Hickory,
N. C., and Minneapolis, and
called attention to its book-
ing by RKO Theatres. See
page 40.

IN THE FIELD, promoting. Lori
Nelson, of Universal-International's
"All I Desire," drops into the Bos-
ton exchange, and poses with, left
to right, Ben Domingo, RKO
Memorial theatre managing direc-
tor; E. Meyer Feltman, Boston
branch manager; Thomas Donald-
son, sales manager there; Gail
Gifford, studio representative who
is accompanying her and James
King, RKO Boston theatre man-
ager.

MOTION PICTURE HERALD, JULY 25, 1953

ASPECT RATIO is the
subject, in London, above,
as Tony C. Reddin, right,
of Paramount, explains to
J. H. Fung, Trinidad
equipment expert, at a
showing of "Sangaree."

ACTORS, right. Barbara
Warner and her father,
Jack L. Warner, studio
chief, at the Los Angeles
Buckskin Premiere" of
"The Charge af Feather
River." Millions on tele-
vision and thousands at
the curb saw the celebri-
ties at the 3-D picture
opening.

IN LONDON, at United
Artists' European sales
convention: Arnold M.
Picker, foreign distribu-
tion vice-president, pre-
siding. With him, Charles
Smadja, continental man-
ager.

HE GETS that cup for a low
score of 8 1 . John J. Chinnell,
left, Buffalo RKO Radio man-
ager, grins as he receives the
trophy from Dewey Michaels,
Variefy Tent chief barker, at
the club's annual golf tourna-
ment at the Westwood Country
Club. General chairman of the
event was Jack Goldstein.

FOR THE "JIMMY FUND." Massachusetts Gover-
nor Christian A. Herter proclaims September 1-15
"Jimmy Time," to aid the Variety project for chil-
dren's cancer research. With him, in array, are
Larry Woodall, Boston Red Sox; Martin J. Mullin,
New England Theatres president; William Koster,
New England Variety Club executive secretary;
Robert M. Sternburg, New England Theatres;
Rudolph King, Motor Vehicles registrar; Dick
O'Connell, Boston Red Sox, and Harry Browning,
New England Theatres.

1 1

MOTION PICTURE HERALD, JULY 25, 1953

SENATE
TO TAX

HOLDS KEY
BILL EATE

Tax Exemptions Measure
Wins Handily in House;
Senate Group Acts

by J. A. OTTEN

WASHINGTON : Senator Millikin, Re-
publican of Colorado, chairman of the Senate
Finance Committee, announced at noon
Wednesday that his committee had reported
out without amendment the Mason Bill
(H.R. 157) to exempt motion picture thea-
tres from the Federal amusement tax.

The Senate Committee action followed
closely the House vote of Monday night,
when the measure was passed on a voice
vote with almost no opposition. The action
of the Senate committee was unexpectedly
rapid.

Expects Amendments When
Bill Hits Senate Floor

The committee chairman said he assumed
there would be amendments from the floor,
although Wednesday he could not say when
the bill would be reached by the Senate.

Senator Millikin said the Treasury De-
partment had opposed the Mason Bill, but
that his committee had voted it out without
amendment because “the industry needs
help.” He expressed some doubt that the
measure could pass the Senate if there were
amendments passed by that body.

Senator George (D., Ga.), ranking minor-
ity member of the committee, had said that
amendments could be defeated in the com-
mittee but that he was not so sure of what
the outcome would be on the Senate floor.
He said that if Congress passed the bill, he
did not see how the President “could sign it,
after his fight for the excess profits tax.”

The House took just 90 minutes to dispose
of the bill, but close to 50 members either
spoke in its behalf or inserted remarks in
the “Congressional Record” supporting the
measure.

Only Three Members
Voiced Opposition

Only three members spoke in opposition to
the bill, the same three lawmakers who
voted against it in the House Ways and
Means Committee — Kean (R., N. J.),
Holmes (R., Wash.) and Curtis (R., Mo.).
A few other members voted “no” on the
final vote but they could not be identified.

Rep. Judd (R., Minn.) said he could vote
for the bill with a “better conscience” if it
exempted admissions of 60 cents or less, but
that he nonetheless would support it as it
was.

Committee Chairman Reed (R-, N. Y.)
told the House that the bill was made neces-
sary by the “serious economic condition” of
the industry. “Here is a tax,” he declared,
“that has clearly reached the point of rap-

EXHIBITOR WRITES
PRESIDENT ON TAX

A letter to President Eisenhower
and to each Senator and Represen-
tative, urging the repeal of the 20
per cent admission tax, has been sent
by T. J. Evans, owner of the Lyons
theatre in Clinton, Iowa. Pointing out
that he is "making no plea for sub-
sidies or other special favors" for the
theatre industry "which can stand on
its own two feet," Mr. Evans asserted
"we cannot much longer exist under
the burden of the 20 per cent tax."
He said that "certainly a tax that de-
troys business and creates unemploy-
ment, as this tax is and has been do-
ing, cannot be considered either fair
or useful."

idly diminishing returns.” Noting objections
that the committee should have held off ac-
tion on the Mason Bill until it could have
given relief to other industries, Rep. Reed
said that “no other industry can show all
the other grounds for tax relief shown by
this industry.”

Rep. Cooper of Tennessee, ranking Demo-
crat on the Ways and Means Committee,
said “there is no other industry on which
excise taxes are levied which is being driven
out of business by the excise tax.” He cited
the drop in admissions and corporate income
tax collections from theatres.

Called Answer to Prayer
Of Small Exhibitor

Rep. Colmer (D., Miss.) called the bill
“the answer to the prayer of the small town
exhibitor.” More than 5,000 theatres have
closed since 1946 and will close in the next
12 months without tax relief, he said. Rep.
Jackson (R., Calif.) pointed out that not
only is the tax damaging theatre owners but
indirectly it is equally hurting production.
Rep. Gary (D., Va.) cited industry claims
that the Treasury will lose more money if
the tax is continued than if the tax is re-
pealed.

Opposing the bill, Rep. Kean said that no
theatre-goer would benefit in lower prices,
that other industries had equally good cases
for relief, and that the Treasury cannot
afford the loss of revenue. Similar argu-
ments came from Rep. Curtis and Rep.
Holmes.

The House proceedings were watched with
interest from the gallery by an exhibitor
delegation including COMPO tax commit-
tee co-chairmen Col. H. A. Cole and Pat
McGee, and also Sam Pinanski, Abe Bere-
son, Robert Coyne, Gaston Dureau, Lynn
Smith and Wes Daniel.

Oddly enough Rep. Mason had to miss
House approval of his bill. The Congress-
man was back home in Illinois, where he
had gone to celebrate his birthday Sunday.
A statement from him in support of the bill
was read to the House by Rep. Lyle.

Reports late Monday that Congress might
not be able to quit on schedule July 31 helped
make the day a pleasant one for the COMPO
tax committee.

Expansion of the President’s list of “must”
legislation to include a postal rate bill and
several other measures gave rise to reports
that Congress might have to work well into
August. COMPO tax officials, who fear
that one of the major hurdles for the
Mason Bill is the lack of time, said that “an-
other week or two wouldn’t make us at all
unhappy.”

Last week exhibitors from all parts of the
country started to pour into Washington to
contact members of the Senate Finance
Committee and other key Senators, in an
effort to get across the importance of block-
ing any amendments. Col. Cole said he
thought the industry had “a fairly good
chance” of winning in the Senate, but ad-
mitted it presented a much tougher problem.

Ohio City Tax Drive
Continues Under ITO

COLUMBUS , O.: The latest Ohio city to
remove the local admission tax is Lorain.
Cincinnati has lifted the tax on all tickets
selling for 50 cents or less. Meanwhile, an
application is being made to the Columbus
City Council by the Independent Theatre
Owners of Ohio to do likewise. The Asso-
ciation asserts that every effort is being
made in every situation to repeal the state
three per cent tax, not only because the
theatres need it, but to eliminate or minimize
the possibility of a higher rate being im-
posed when and if the Federal tax is re-
moved. The ITO points ' out that there is
nothing in Ohio law which prevents a city
from taxing more than three per cent, de-
spite impressions to the contrary. Some
Ohio cities, it said, have a tax of one cent
for children’s tickets and two cents for adult
tickets, regardless of cost.

See Tax-Removal Bill
Dyinq in Pa. House

HARRISBURG, PA.: A bill to ban local
amusement taxes in Pennsylvania on motion
picture theatre admissions, was returned to
committee in the House last week where it
probably will die. Representative W. W.
Waterhouse, who co-sponsored the bill with
Representative H. G. Andrews, said he in-
troduced the measure because of the large
number of theatres that are going out of
business.

MOTION PICTURE HERALD, JULY 25, 1953

WARNER ENTRY POSTED:
IT'S W ARNERSUPERSCOPE

New Process , at 2.66 to 1,
for Any Size Screen; to
Rent Projector Lenses

Details of Warner Brothers’ new wide-
screen photographing and projection proc-
ess were released Monday for the first time
by Jack L. Warner, executive producer. To
be called WarnerSuperScope, the process
will produce a picture having an aspect
ratio of 2.66 to 1 utilizing compression-ex-
pansiion lenses. Twentieth-Fox’s Cinema-
scope is based on a 2.55 to 1 aspect ratio
and Carl Dudley’s Vistarama on a 2.66 to 1
ratio.

WarnerSuperScope, said Mr. Warner, is
the result of long and intensive Warner re-
search which now has been perfected for
immediate utilization.

Called Complete New
Motion Picture Process

“It will play its full power and beauty on
the largest screens in the largest theatres,”
he continued, “or the next to the largest
screens, or screens next in size — any size
with the 2.66 to 1 ratio. . . . This develop-
ment, perfected to the ultimate of scientific
know-how, for the closer-to-nature value it
gives to Warner Color, and for tonal en-
hancement of WarnerPhonic sound, is em-
phatically not a ‘blown-up’ film, j.but a com-
plete new photographing and projecting
process, produced for us by Zeiss-Opton,
famous lens manufacturers.”’

At the same time, Ben Kalmenson, War-
ner Brothers vice-president in charge of dis-
tribution, announced that an early demon-
stration of WarnerSuperScope for the press
and exhibitors would be set within the first
few weeks of production. The test reel is
scheduled to run about 10 minutes.

Mr. Kalmenson also disclosed that “in line
with our policy of concentrating only on
the production and distribution end of our
business, and with no wish to enter into the
separate field of selling theatre equipment,
we will make WarnerSuperScope projection
lenses available to exhibitors with each pic-
ture on a very nominal rental basis within
the reach of even the smallest theatre opera-
tors.”

Need “ Only Enthusiasm ”

To Exploit Process

The Warner vice-president emphasized
that apart from the screen, exhibitors would
need only “their own enthusiasm to recog-
nize and exploit to the fullest, Warner
Brothers’ latest contribution to our in-
dustry.”

In making the announcement, Mr. War-
ner said that six major productions will be
photographed in WarnerSuperScope with
the company’s all-media camera, as well as
in 3-D and in the conventional manner,

“transporting the story to WarnerColor film
for projection on every wide-screen installa-
tion now in use or contemplated in the fu-
ture.”

Pictures about to go into production in
WarnerSuperScope are “A Star Is Born,”
starring Judy Garland; “Lucky Me,” star-
ring Doris Day; “Rear Guard,” starring
Guy Madison ; the classic spectacle of
"Helen of Troy”; a screen adaptation of the
famous stage hit, “Mr. Roberts”; and John
Steinbeck’s best-selling novel, “East of
Eden,” to be produced and directed by Elia
Kazan.

Mr. Warner described the new technique
as “the most exciting development in motion
pictures since the advent of sound” and said

Announcing 14 pictures to be released in
the next several months, Ben Kalmenson,
Warner Brothers distribution vice-president,
last week emphasized that “flexibility would
keynote” the program.

Addressing the company district managers
at a home office meeting, Mr. Kalmenson
said that whatever the medium in which a
picture is made, “the keynote of what we
do sales-wise from here in is still based on
aggressive merchandising and showmanship.
And that applies as much to the exhibitor’s
part in attracting the public to the box office
as it does to our own selling efforts,” he
added.

It’s essential, Mr. Kalmenson asserted,
“that we be adequately prepared and geared
to move in any direction consistent with the

“it’s results will be as far-reaching as talk-
ing pictures.”

“This process enlarges the whole field of
picture making, creatively as well as tech-
nically. It widens the scope for writers,
directors, producers and actors, opening new
vistas for creative imagination and talent,”
he said.

Both Jack Warner and Major Albert
Warner, vice-president, took to television
Monday night to give viewing audiences on
both east and west coasts the word on the
new process. Jack Warner was interviewed
by columnist Sheilah Graham over KECA
in Los Angeles, while Taylor Grant had
Major Warner on WABC-TV in New
York.

successful marketing of our current and
forthcoming product — whether it be in 2-D,
3-D or wide-screen.”

The Warner sales head said that “we must
not and will not fall into any standard pat-
tern. A healthy sales program is a program
which can move and change with the times,
and that is exactly what we intend to do.
Miracles don’t happen in this business or in
any other business. The best picture in the
world must be properly sold, forcefully mer-
chandised, and aggressively exploited by
aggressive showmanship.”

Mr. Kalmenson said that “public support
of, and interest in, motion pictures has never
in history been more convincingly demon-
strated than in the box office success of

{Continued on following page, colmm 3)

KALMENSON CITES 14 FILMS
READY , NOTES “FLEXIBILITY”

HOME OFFICE CONFERENCE, between Warner executives and district and division managers.
Benjamin Kalmenson, seated, center, distribution chief, presided. In left to right order, seated
with him, are Robert Smeltter, Washington, D. C.; Henry Herbel, west coast district; Roy
Haines, western division; Norman H. Moray, short subjects general sales manager; Sam
Schneider, vice-president; Mart Blumenstock, vice-president in charge of advertising and pub-
licity; John F. Kirby, southern division; Jules Lapidus, eastern and Canadian division; Bill
Mansell, central district; Haskell Masters, Canadian district, and Robert H. Dunbar, midwest
district. Standing are Ben Abner, New York metropolitan branch manager; Norman Ayers,
eastern district; Hall Walsh, south prairie district; Art Anderson, north prairie district; O. W.
Williamson, Jr., southeast district, and Ed Williamson, southwest district. Seated, far right,
rear, Bernard Goodman, supervisor of exchanges.

MOTION PICTURE HERALD, JULY 25, 1953

WARNERS

Terr y

SEX REPORT— Some ind ustrious researcher
in the service of the United Press has been
looking into the cinema market taste for
rewards of virtue. He comes up with a
dispatch from Hollywood reporting on con-
sultation with Barbara Stanwyck, who says
that the parts that pay off the best are
roles of fallen women struggling to be
good.

It is set forth statistically that Miss Stan-
wyck has, in sixty-seven starring roles "por-
trayed" at least forty-five shady ladies.
She is quoted as saying: "The Christian
tenet of tolerance is the basis of success
for stories on this theme."

That makes a pretty little speech. Mean-
while the accuracy of the deduction may
be questioned. Is it the triumph of re-
demptions that holds the audience, or
could it be the adventures of the path
through error? There is no recollection of
any picture advertising calling on the cus-
tomers to "Come in and exercise your
tolerance." Might work, though.

DEVELOPING MENACE— O ne must view
with alarm a report from the American
Library Association convention in Los
Angeles that Television, which initially re-
duced book circulation, is now encouraging
it. It is the finding that "TV helps make
readers by keeping people home evenings.
Instead of being glued to a theatre screen
for three or four hours they watch one or
two favorite shows and then curl up with
a book." Reassurance can be had, how-
ever, by reflection that not too often is
there a book around to beguile the cus-
tomer. Only the other day this column
presented some statistical findings indicat-
ing that among the nations of the free
world Americans in total seemed the least
interested in books.

This writer remembers with interest r
visit from an eminently successful industrial
executive, educated with degrees in sci-
ence, who surveyed my library shelves and
remarked casually: "I don't know what any-
body wants with books except to look up
something."

. .Surveying those shelves., and considering
the current flow of literature, one wearied
of many words may incline to think he was
right.

/*•%»

WIDE ANGLE OIL — Recording the adven-
ture of 20th Century-Fox in a deal to drill
for oil on the studio lot, "Motion Picture
Daily" states: "A proposed drilling pro-

gram contemplates thirteen wells from a
single drill site." That can be done by
control of the slants of the drill. This
sounds very much like a CinemaScope com-
pression-expansion technique, applied to
holes in the ground.

THE PICTORIAL publicity on the Shrine
convention in New York reveals that Har-
old Lloyd, long a bright Shriner, now has
come to wearing lenses in those black glass-
less spectacle frames he wore in those
youthful days when his agile antics won him
comedy fame.

SOUNDS SERIOUS — Things have come to
a pretty pass when we discover that a
scientific service concern in California is
advertising in the Hollywood local trade
press as "Lie Detection Consultants." We
have advices indicating that they are doing
some business. One may wonder just how
the instrument is being applied to and
upon whom, for what reasons. And, ad-
mitting the possible utility of the method,
why the delay? This reporter has had a
lie detector method in operation many
years — it's just plain common sense.

^ A.

ATLANTIC CITY, it is announced, is now
to require finger-printing of all entertainers
appearing there for season engagements,
which is ruled to mean anything beyond
one week. In view of the social and politi-
cal history of that alluring community-by-
the-sea this is possibly a constructive pre-
caution. Meanwhile, one must remember
that it was that same Atlantic City which
viewed with alarum the potential influ-
ences of the motion picture with the
advent of the peep-show arcade attrac-
tions of the pre-screen days in 1894.
Those Kinetoscope movies had not been
in town much more than a month when
the police became alarmed and suppressed
a dance number, direct from the Midway
at Chicago's Columbian Exposition. Care-
ful community, great for week-ends.

QUICK ANSWER — Turning over some files
one discovers that The HERALD’s report
on the exhibitor poll for the "Stars of To-
morrow" September 27, 1952, found Mar-
ilyn Monroe at the head of the list, by a
wide margin. That was only about ten
months ago. This time the tomorrow came
almost immediately.

( Continued from preceding page )

"House of Wax" and “The Charge at
Feather River,” both in 3-D, and “The
Beast from 20,000 Fathoms."

Mr. Kalmenson broke down the company’s
14 releases as follows:

AUGUST : “The Master of Ballantrae,"
color by Technicolor, starring Errol Flynn;
“So This Is Love,” the story of Grace
Moore in color by Technicolor, starring
Kathryn Grayson; “Plunder in the Sun," a
Wayne-Fellows production starring Glenn
Ford and Diana Lynn.

SEPTEMBER: “Island in the Sky,”
with John Wayne and Lloyd Nolan. “Dia-
mond Queen,” starring Fernando Lamas and
Arlene Dahl ; “The Moonlighter,” in 3-D
with Fred MacMurray and Barbara Stan-
wyck ; and for special engagements only,
“The Beggar’s Opera,” with Sir Laurence
Olivier.

OCTOBER: “A Lion in the Streets,”
a William Cagney production with James
Cagney. “Blowing Wind,” starring Gary
Cooper and Barbara Stanwyck; and “The
Eddie Cantor Story,” in color by Techni-
color with Keefe Brasselle as Eddie Cantor.

NOVEMBER: “The City Is Dark,”
Sterling Hayden; “Hondo,” 3-D production
now being shot on location in Mexico, star-
ring John Wayne and Geraldine Page.
Edna Ferber’s novel, “So Big,” starring
Jane Wyman and Sterling Hayden.

DECEMBER: “Thunder Over the
Plains,” in color by WarnerColor, starring
Randolph Scott and “Calamity Jane,” in
color by Technicolor, with Doris Day and
Howard Keel.

Following the Kalmenson sales meetings
in New York, Jules Lapidus, Eastern and
Canadian division sales manager, presided
over a two-day meeting of the company’s
central district in Philadelphia starting
Wednesday. Product as well as Warner-
Super Scope were discussed.

Johnston Given Report
On Film, TV Center

Eric Johnston, president of the Motion
Picture Association of America, has re-
ceived a report on the New York Depart-
ment of Commerce’s project for a film and
television production center in New York
City. The report was submitted by Taylor
Mills, of the MPAA, after conferring with
Frank Connaughton, of the Commerce De-
partment. The city is endeavoring to get
major film companies to transfer a minimum
of five per cent of their annual production
program to the East.

Enjoins Union Picketing

LOUISVILLE: Circuit Judge Stuart E.
Lampe has issued an injunction continuing
his ban on picketing of the family-operated
Downs theatre by Local 163. The Fosters
leased the theatre and contend they do not
have to assume the previous operator’s union
contract, with which the court has agreed.

MOTION PICTURE HERALD, JULY 25, 1953

Once again

Look to Warner Bros,
for the New Look

To the members of the motion
picture industry— worldwide— who right-
fully look to Warner Bros, to make the
firmest and surest advancements in
modernizing our always improving
techniques, this is the announcement of

This again confirms a confidence
in pathfinding and leadership that began
when the art and business of making
motion pictures was very young.

For those who are concerned with
the future aspect of the industry as
well as the aspect ratio of the motion
picture screen, we have never made an
announcement of more importance.

Warner Bros. Pictures Inc.

WarnerSuperScope is not a sudden
discovery presented to meet a sudden new
interest in the photographic shape of
things to come.

Scope as a word and as a science is the result of a Warner research
development long underway. That development is here and ready; per-
fected to the ultimate of modern scientific know-how for screen size,
for clarity, for the closer-to-nature values it gives to WarnerColor and
for the tonal enhancement of WarnerPhonic Sound so that Warner-
SuperScope will he welcomed as a magnificent new sensation in the
motion picture theatre.

WarnerSuperScope will play its full power and beauty on the larg-
est screens in the largest theatres, or the next to largest screens, or the
screens next in size — any size within the 2.66 to 1 ratio on which its
photographing and projecting lenses are based. This emphatically is
not a blown-up film but a complete new photographic and projecting
process produced for us by Zeiss-Opton.

The sweeping trend, as we know it, is for bigger theatre screens.
We are in step with that trend.

Our own Warner All-Media Camera is now ready to photograph
the following productions in WarnerSuperScope, transporting the story
to WarnerColor film for projection on every wide screen installation
now in use or contemplated for the future: “A Star Is Born” starring
Judy Garland; “Lucky Me” starring Doris Day; “Rear Guard” starring
Guy Madison; the classic spectacle of “Helen of Troy”; the world-
renowned stage hit, “Mr. Roberts”; and John Steinbeck’s current best
selling novel, “East of Eden” produced and directed by Elia Kazan.

WarnerSuperScope is not only super in size, but super in its antic-
ipation of our industry’s needs in production and exhibition for years
to come. /O , S —

believe that action should accompany words
— within the first few weeks of production we contemplate a world-
wide WarnerSuperScope demonstration for press and exhibitors who
share with us the will to make the motion picture industry thrive and
prosper. We will show completed scenes precisely as they will appear
on your screens.

This demonstration should run about ten minutes — nine minutes
longer than anyone will need to realize what a sturdy and far-reach-
ing contribution WarnerSuperScope makes to our business.

In line with our policy of concentrat-
ing only on the production and distributing
phases of our business, and with no wish
to enter into the separate field of selling
theatre equipment, we will make Warner-
SuperScope projection lenses available to
exhibitors with each picture on a very nom-
inal rental basis within reach of even the
smallest theatre operator.

Apart from the screen the only equipment that exhibitors will need
for the success of WarnerSuperScope is their own enthusiasm to recog-
nize and exploit to the fullest Warner Bros! latest contribution to our
industry. ^

All productions in

"~WMw£fcS(tf>e/tSc0p^

will also be I

photographed I

by the Warner I

All-Media Camera I

in WarnerColor, I

3D and 2D to meet I

any desired aspect ratio, and I
with WarneiPhonic Sound. I

COMMERCE DEPARTMENT SA YS
INDUSTRY DECLINED IN 1952

# -# Studio
To Continue
At Fust Puce

HOLLYWOOD : Present production levels
at Universal-International studio will be
maintained at the same high tempo during
the coming year, it was announced Monday
at the conclusion of a series of policy con-
ferences of the company’s top executives
here. As a result of the company’s success
with its first 3-D film, “It Came from Outer
Space,” the production program of the com-
pany will include a number of releases in
3-D.

The meetings in progress at the studio for
two weeks, were attended by Milton R.
Rackmil, company president; N. J. Blum-
berg, chairman of the board ; Alfred E. Dafif,
executive vice-president ; Edward Muhl,
vice-president ; David A. Lipton, vice-presi-
dent, and James Pratt, executive manager.

In a statement issued at the conclusion
of the meeting, it was emphasized that there
would be no change in the production poli-
cies of the company, which have been so
successful in the past and which have pro-
vided exhibitors with a consistent flow of
product.

Production plans for the future have been
so geared as to enable the studio to film
every production for exhibition on the
newly-developed wide screens, the statement
said. In addition special pictures will be
recorded with stereophonic sound whenever
it is felt it would add to the dramatic im-
pact.

“Wings of the Hawk,” one of the top
productions, in both 3-D and color by Tech-
nicolor, starring Van Heflin and Julia
Adams, goes into release in September.
Now before the 3-D cameras is “The Glass
Web,” with Edward G. Robinson and John
Forsythe. It is scheduled for late fall.

“Son of Cochise” also in 3-D and color
by Technicolor, is being filmed on location
in Utah, and scheduled for release early next
year. Rock Hudson and Barbara Rush have
leading roles. A number of other 3-D prop-
erties also are being prepared for early pro-
duction and will be announced in the near
future.

All new technical developments and new
techniques in production and projection are
being closely scrutinized by the company,
which is also continuing its own work in
these fields. As these new methods are de-
veloped and found feasible, they will be used
by the company, it was said.

Warners Contract for Use
Of Dudley's Vistarama

Carl Dudley, president of the Vistarama
Corporation, announced in Hollywood Sat-
urday that Warner Brothers had contracted
for use of his Vistarama wide-screen, an-
amorphic lens process on a non-exclusive
basis for an unspecified number of pictures.
The Vistarama process, employing the com-

W ASHINGTON : New and poignant fig-
ures arrived Tuesday from the Commerce
Department, to aid the industry’s exhibitors
fighting the Federal admissions tax. The
figures disclose further declines in box office
receipts, as well as corporate profits, divi-
dends and sales. All is in contrast to record
public spending on other recreation.

Film admissions amounted to $1,134,-
000,000 in 1952. The 1951 figure is $1,193, -
000,000 ; the 1950, $1,247,000,000. The peak
was in 1946 — $1,512,000,000. Furthermore,
last year, for the first time, film theatre ad-
missions amounted to less than 10 per cent
of total consumer recreation spending dur-
ing the year.

Some other statistical notations : film cor-
poration income before taxes last year was
$79,000,000. In 1951, it was $100',000,000 ;
in 1946, $322,000,000. Film corporations
had Federal, state income and excess profits
tax liability last year of $43,000,000, com-
pared with $49,000,000 the year before, and

pression-expansion lens technique, projects
a picture in the 2.66 to 1 aspect ratio, the
same as the original CinemaScope ratio and
the same as the newly announced Warner -
SuperScope process. The first consignment
of Vistarama lenses was delivered to the
Warner studio July 17. Unlike Cinema-
Scope, Vistarama, under its leasing terms,
may be given any name desired by the
studio using it and Vistarama does not re-
quire script approval.

Stanley Warner Executives
Meet at Home Office

Field and home office executives of the
Stanley Warner Corporation met at the
New York office Wednesday and Thursday,
Simon H. Fabian, president, supervising.
Among those from the office were Samuel
Rosen, Harry Kalmine, Nat Lapkin, David
Fogelson, Miles Alben, Ben Wirth. Among
zone managers were Alfred D. Kvool, Moe
Silver, Harry Feinstein, Frank Damis, Ted
Schlanger, George Crouch, Ben Waller-
stein. Among film buyers were John
McKenna, Joe Minksy, Larry Lapidus, Ted
Minsky, Joe Weinstein. Also present were
Charles Smakwitz, James Totman, A. Julian
Brylawski, and many others from the com-
pany’s field offices.

Debt Reduction Reported
By Universal to SEC

WASHINGTON : Universal-International
reported last week to the Securities and
Exchange Commission that it had reduced
its indebtedness by $425,000. According to
the report, the company’s indebtedness as of
June 30 was $3,650,000.

a record $156,000,000 in 1943 and 1944.
Corporate income after taxes was $36,-
000,000 last year; $51,000,000 in 1951; and
$187,000,000 "in 1946.

Dividends tell the same story. They were
$28,000,000 last year ; $39,000,000 the year
before, and, again mentioning 1946, in that
year $64,000,000. Corporate sales last year
were $1,695,000,000, compared with $1,820,-
000,000 in 1951. In 1947, they were $1,942,-
000,000. The industry’s contribution to
national income last year was $839,000,000,
compared to 1 951 ’s $847,000,000.

Pertinently, the industry’s wages and
salaries last year amounted to $684,000,000,
more than 1 95 1 ’s $668,000,000, and near
the record of 1947, $694,000,000. Further-
more, the industry’s totals of full and part
time workers last year were 214,000 and
237,000, only slightly under the 1951 totals;
and average annual earnings per worker
were higher: from $3,050 in 1951 to $3,196
last year.

Sch trtil be rtf
Sees Bright
Buys Ahead

The film industry is headed for prosperity
in the months ahead, A. W. Schwalberg,
president of the Paramount Film Distribut-
ing Corp., predicts in footage made in his
New York office to introduce the invita-
tional, triple-feature “Paramount Jubilee
Show” which the company will stage in its
32 key city exchanges Monday.

He says: "The upswing at the box office
has already started.” Mr. Schwalberg's ad-
dress is expected to be heard and seen by
some 25,000 persons, including press, radio,
and other writers and makers of public
opinion, gathered in key theatres.

On the Jubilee show are the Dean Martin
and Jerry Lewis film, “The Caddy” ;- the
Bing Crosby picture, “Little Boy Lost,”
and William Wyler’s “Roman Holiday.”

These pictures, says Mr. Schwalberg, are
“only a fraction of the big product now
completed at the Paramount studio” and are
“indicative of the outstanding entertainment
being readied by all Hollywood studios.”

In this connection, he names not only
Paramount product, but Columbia’s “From
Here to Eternity,” MGM’s “The Band
Wagon,” 20th-Fox’s “Gentlemen Prefer
Blondes” and Warners’ “The Eddie Cantor
Story.” All of these, he says, “have an im-
pact irresistible to the buying public, whose
demands today are more exacting than ever
before.”

MOTION PICTURE HERALD, JULY 25, 1953

RKO SCHEDULES
13 US 6 MONTHS

by the Herald

THE FIRST SALES CONFERENCE since he took office was presided over Tuesday in New
York by James R. Grainger, president of RKO Radio Pictures, Branch and district man-
agers from eastern and southern states attended. Above: Nat Levy, eastern and southern
division; Charles Boasberg, general sales manager; Mr. Grainger; Walter Branson, assistant
to Mr. Boasberg; Edward Walton, executive assistant to Mr. Grainger; Len Gruenberg, met-
ropolitan district manager; Phil Hodes, New York branch manager, and Herman Silverman,
New York sales manager.

Addressing a two-day sales convention in
New York Tuesday and Wednesday, James
R. Grainger, president of RKO Radio Pic-
tures, announced a schedule of 13 pictures
for the next six months with 11 in color
by Technicolor. The company president also
reviewed operations for the first six months
of his regime for the eastern and southern
field executives. Charles Boasberg, general
sales manager, presided at the meetings.

The sales meeting held at the New York
Athletic Club, was the first to take place in
New York since Mr. Grainger became head
of the company in February of this year.
Similar meetings will be held in Chicago
August 17 for the midwest and in San Fran-
cisco August 20 for western branches.

Praises Sales Force

Mr. Grainger praised Mr. Boasberg and
the sales force. Reviewing progress made,
he said he noted an increasing enthusiasm
and developing company spirit “which au-
gurs well for the future of RKO.”

Fie also stated he was delighted in the
unlimited cooperation he has been receiving
from Howard Hughes in getting production
under way and providing a steady stream
of film for release.

The release schedule announced included
“The Sea Around Us,” in color by Techni-
color; “Second Chance,” 3-D in color by
Technicolor; both in their first showings
now, and "Devil’s Canyon,” also in color
by Technicolor, with Virginia Mayo, set for
August release.

About to be released is Walt Disney’s
“The Sword and the Rose,” in color by
Technicolor starring Richard Todd. Some
300 openings are scheduled across the coun-
try early in August. Further releases in-

clude “Jungle Fury,” with Ann Sheridan
and Glenn Ford; “She Had to Say Yes,”
comedy with Robert Mitchum and Jean
Simmons; “Decameron Nights,” in color by
Technicolor, with Joan Fontaine; “Son of
Sinbad,” in color by Technicolor, with Dale
Robertson; “The French Line,” color by
Technicolor, starring Jane Russell; “Marry
Me Again,” a comedy with Marie Wilson
and “Rangers of the North,” color by Tech-
nicolor, with Victor Mature and Vincent
Price.

December releases include “The Big Rain-
bow,” color by Technicolor, cast to be an-
nounced ; and “The Silver Horde,” from
the Rex Beach novel, color by Technicolor;
with John Wayne and Jane Russell.

“Jet Pilot,” also in color by Technicolor,
with John Wayne and Janet Leigh will be
released shortly after the first of the year.

Mr. Boasberg, in his address, said: “We
are in better shape than we have been for
a long time. I look forward to the next
few months as showing RKO doing the best
business in its history.”

Mr. Grainger was to depart for Holly-
wood Thursday to attend a meeting of the
RKO board of directors. While there for
10 days, he will confer with C. J. Tevlin,
studio head, regarding production.

Takes Bookinq Service

HARTFORD: Amalgamated Buying &
Booking Service, for nearly 10 years oper-
ated by Bernie Levy and Lou Ginsburg, will
henceforth be managed by Mr. Ginsburg,
Mr. Levy relinquishing his interests in the
Connecticut concern. Offices are to be moved
from 107 Meadow St., to 185 Church St.,
New Haven. Jack Mullen will be buyer-
booker.

RKO AND DISNEY SIGN
NEW TWO-YEAR DEAL

James R. Grainger, president of
RKO, and Roy Disney, president of
Walt Disney Productions, announced
jointly in New York Wednesday the
signing of a new, two-year releasing
agreement which will bring to 18
years the span of the RKO-Disney re-
lationship. Disney product covered by
the new pact includes the live-action
"Rob Roy," now shooting in England
and scheduled for release next Febru-
ary, and the re-release of "Pinocchio"
scheduled for next April. Also cov-
ered are an undetermined number of
short subjects, including some in 3-D
and CinemaScope.

Name Distributors in
$2 1 ,450,000 Trust Suit

Nine anti-trust suits seeking triple dam-
ages totaling $21,450,000 were filed in New
^ ork Federal Court Tuesday by affiliates
of Raybond Theatres. In a previous group
of suits, other companies associated with
Raybond filed anti-trust complaints for dam-
ages totaling $19,350,000 June 9, making a
grand total of $40,800,000 in suits by Ray-
bond companies.

As in the other suits, the major companies
are named as defendants in the current ac-
tion. The plaintiffs charge discrimination
against their theatres and inability to get
product on desired runs.

Shelley Theatres Corp., operating the
Burke Theatre in the Bronx, asks $750,000.
Raychester Theatre Corp., operating the
Palace, also in the Bronx, seeks $900,000.
Stateray, Inc., and Raypat, Inc., which oper-
ate the State in Paterson N. J., ask $900,-
000. Rayhurtz Amusement Corp. seeks
$4,500,000 and the Broadway Corp. asks
$600,000, the two firms operating the Broad
in Newark.

Knickerbocker Theatres, Harlem Grand
Amusement Co. and Major Amusement
Corp., which are associated in the operation
of the Harlem Grand Theatre in Harlem,
ask $7,500,000, $300,000 and $1,500,000.

Wisconsin Exhibitors
File Trust Action

MILWAUKEE: An anti-trust suit charg-
ing conspiracy and restraint of trade and
asking $2,000,000 in triple damages, has
been filed here by Ross and Dorothy Bald-
win, operators of the Tosa theatre, Wauwa-
tosa, Wise., against eight distributors and
four circuits. Named in the action were
Paramount, Columbia, Loew’s, Warner
Brothers, 20th Century-Fox, United Artists,
Universal, RKO Radio, Warner Brothers
Circuit Management, Warner Brothers
Theatres, Fox-Wisconsin Amusement and
Fox-Wisconsin Theatres.

Open Kentucky Drive-In

Robert Enoch has opened his Knox
Drive-In theatre, Vine Grove Junction, Ky.

MOTION PICTURE HERALD, JULY 25, 1953

GALLERY OF GREAT SCREEN PERFORMANCES!

To Filmdom’s Hall of Fame add the brilliant performances of SPENCER TRACY,
JEAN SIMMONS and TERESA WRIGHT in M-G-M’s glorious production "THE
ACTRESS.” In the scene above, Spencer Tracy realizes tbat a girl, witb tbe courage
and perseverance of bis daughter, should have tbe chance to go on tbe stage even if
it means giving up bis most cherished possession.

M-G-M invites you to see

"THE ACTRESS”

TRADE SHOWS
AUGUST 3rd

M-G-M presents Spencer Tracy, Jean Simmons, Teresa Wright
in "THE ACTRESS” • Screen Play by Ruth Gordon • From
her Stage Play "Years Ago” • Directed hy George Cukor
Produced hy Lawrence Weingarten

iiii.ii i— * -

ALBANY

ATLANTA

BOSTON

BUFFALO

CHARLOTTE

CHICAGO

CINCINNATI

CLEVELAND

DALLAS

DENVER

DES KOINES

DETROIT

INDIANAPOLIS

JACKSONVILLE

KANSAS CITY

LOS ANGELES

20t.h-Fox Screen Room
20th- Fox Screen Room
M-G-M Screen Room
20th- Fox Screen Room
20th- Fox Screen Room
Warner Screen Room
20th-Fox Screen Room
20th- Fox Screen Room
20th-Fox Screen Room
Paramount Screen Room
20th- Fox Screen Room
Max Blumenthal’s Sc. Rm.
20th- Fox Screen Room
Florida State Screen Room
20th- Fox Screen Room
United Artists’ Screen Rm.

1052 Broadway 8/3

197 Walton St., N. W. 8/3
46 Church Street 8/3

290 Franklin Street 8/3
308 S. Church Street 8/3
1307 S. Wabash Ave. 8/3

1632 Central Parkway 8/3

2219 Payne Avenue 8/3

1803 Wood Street 8/3

21 00 Stout Street 8/3

1300 High Street 8/3

231 0 Cass Avenue 8/3

236 No. Illinois St. 8/3
128 East Forsyth Street 8/3
1720 Wyandotte St. 8/3

1851 S. Westmoreland 8/3

2 P.M.

MEMPHIS

20th- Fox Screen Room

151 Vance Avenue

8/3

12 Noon

2 P.M.

MILWAUKEE

Warner Screen Room

212 W. Wisconsin Ave.

8/3

1:30 P.M.

2 P.M.

MINNEAPOLIS

20th- Fox Screen Room

1015 Currie Avenue

8/3

2 P.M.

NEW HAVEN

20th- Fox Screen Room

40 Whiting Street

8/3

2 P.M.

1:30 P.M.

NEW ORLEANS

20th-Fox Screen Room

200 S. Liberty St.

8/3

1 :30 P.M.

NEW YORK

M-G-M Screen Room

630 Ninth Avenue

8/3

2:30 P.M.

2 P.M.

OKLAHOMA CITY

20th- Fox Screen Room

10 North Lee Street

8/3

1 P.M.

OMAHA

20th- Fox Screen Room

1502 Davenport St.

8/3

1 P.M,

2:30 P.M.

PHILADELPHIA

M-G-M Screen Room

1233 Summer Street

8/3

2 P.M.

PITTSBURGH

M-G-M Screen Room

1623 Blvd. of Allies

8/3

2 P.M.

1 P.M.

PORTLAND

B. F. Shearer Screen Rm.

1947 N. W. Kearney St.

8/3

2 P.M.

1 :30 P.M.

ST. LOUIS

S’Renco Art Theatre

3143 Olive Street

8/3

1 P.M.

SALT LAKE CITY

20th- Fox Screen Room

216 E. First St.,- So.

8/3

1 P.M.

2 P.M.

SAN FRANCISCO

20th- Fox Screen Room

245 Hyde Street

8/3

1:30 P.M.

SEATTLE

Jewel Box Preview Thea.

2318 Second Avenue

8/3

1 P.M.

2 P.M.

WASHINGTON

RKO Screen Room

932 N. Jersey Ave., N.W.

8/3

2 P.M.

4,000 BIDS FOR
CINEMASCOPE

Lichtman Tells Meeting of
3,000 Lenses Set for
Theatres by Year End

A complete progress report on Cinema-
scope highlighted the two-day sales meet-
ing Monday and Tuesday at the home office
in New York of 20th Century-Fox division
managers. Presiding was A1 Lichtman,
director of distribution, who revealed high
optimism over the future of the new wide-
screen process.

Mr. Lichtman, in outlining the number
of pictures to be made by his company and
other major and independent producers, pre-
dicted a firm roster of CinemaScope product
for exhibitors throughout the next year.
At the same time he reported that the com-
pany had received more than 4.000 appli-
cations for CinemaScope equipment from
exhibitors.

Tells History of Lens

The 20th-Fox executive recounted the
history of the anamorphic lens and its
acquisition by the company, and said he was
particularly appreciative of the reception
given the new medium by exhibitors and
equipment manufacturers, who, in a short
time, have tooled up to permit an increasing
flow of lenses, Miracle Mirror screens and
stereophonic sound.

He was highly enthusiastic about the new
four-track sound system on film which the
company has developed to do away with the
problems of the so-called “double system.”
He told the sales chiefs that “The Robe”
would be released only in the single system.
In discussing this new sound process, which
resulted in the narrowing of the sprocket
holes to accommodate the four tracks, he
declared that the new sprocket holes also
will be suitable for all types of film.

Mr. Lichtman assured the meeting that
Bausch & Lomb is prepared to deliver 3,000
sets of projection lenses by the end of the
year to enable several thousand theatres to
be equipped for the new medium. He also
said the new stereophonic sound reproducer
will be shipped in September and that it can
be mounted on present projectors. It was
further noted that 250 camera lenses will
be available by the beginning of next
month.

Cites Screen Production

Describing the expanding production of
Miracle Mirror screens, Mr. Lichtman said
that leading circuits and independent ex-
hibitors are ordering and installing screens
at a rapidly increasing rate. He said that
because of its two-to-one intensity and even
diffusion of light throughout its entire sur-
face, the Miracle Mirror screen is the best
one on the market.

In addition to the pictures announced for

GOLDSTEIN TO PRODUCE
FOR 20th-FOX RELEASE

HOLLYWOOD: Leonard Goldstein,
20th-Fox producer, moved to new
offices on the RKO-Pathe lot Monday
where he will function as an inde-
independent, producing films for re-
lease by 20th-Fox. The new company,
Panoramic Productions, will make
some 3-D films. First on the product
lineup is "Gatling Gun," scheduled to
get under way in August with Rud-
olph Mate directing. This will be fol-
lowed by "Gorilla at Large," "Man in
the Attic" and "Three Young Tex-
ans." These four will be in color by
Technicolor.

CinemaScope production by MGM, Colum-
bia, Walt Disney, Allied Artists, Bert
Friedlob, Errol Flynn and Eugene Frenke,
Mr. Lichtman said the Ford Motor Com-
pany will produce a special subject showing
its 1954 line of cars and trucks for private
showings to its dealers throughout the
country.

Charles Einfeld, vice-president, discussed
the campaign for “The Robe,” first feature
in CinemaScope, which will be premiered in
New York the last week of August, and also
for “How to Marry a Millionaire.” Ad-
ditional topics on the agenda included sales
plans on the remainder of the company’s
release schedule, and preliminary talks on
the recently concluded deal to release a
series of independent productions to be pro-
duced by Leonard Goldstein.

Round table discussions were led by W. C.
Gehring, executive assistant general sales

manager ; Arthur Silverstone, eastern sales
manager, and Edwin W. Aaron, western
sales manager.

Mr. Einfeld said that among the many
campaign tools prepared for “The Robe”
will be at least 15 different trailers, eight
of which will be one-minute star endorse-
ments, and the remainder a variety of pro-
duction and star-selling treatments. Trailers
will start showing in theatres at least six
weeks in advance of openings and will be
augmented by TV trailers and radio spots.

Arriving in New York from Europe
Tuesday, Spyros Skouras, 20th-Fox presi-
dent, reported reaction to CinemaScope in
England was even greater than in the
United States. He predicted that 1,000 Brit-
ish orders will have been received by the
end of the month.

Mr. Skouras also said he was delighted
with the announcement of Warner Brothers’
new WarnerSuperScope process, which he
said endorsed 20th-Fox thinking as to the
value of the CinemaScope screen width.

Famous Players Will Adopt
3-D, Wide-Screen Methods

TORONTO : In a special report to share-
holders, J. J. Fitzgibbons, president of
Famous Players Canadian Corporation, said
the introduction of 3-D films has aroused
keen interest on the part of the public and
FPC is proceeding immediately with instal-
lation of 3-D equipment and wide screens.
“Our industry is fortunate in having a large
backlog of top pictures,” Mr. Fitzgibbons
said, “which can be presented in the con-
ventional manner or on the new wide
screens.” In the same report, Mr. Fitzgib-
bons also paid tribute to two circuit man-
agers, Ivan Ackery of the Orpheum theatre,
and Charles Doctor, of the Capitol, both of
Vancouver, for winning Quigley Awards for
Showmanship.

Mrs. Ella Shurlock Dies

HOLLYWOOD : Mrs. Ella Shurlock, wife
of Geoffrey Shurlock, assistant director of
the Production Code Administration, died
here Monday following a protracted illness.
Her mother also survives.

HOW TO SELL, advertise and exploit new product in new processes, such as "The Robe" and
others, was the subject of round table discussions Monday and Tuesday at the New York
home office of 20th-Fox. Above, Wiliam C. Gehring, executive assistant general sales manager;
A I Lichtman, director of distribution; Charles Einfeld, vice-president, and Herman Wobber,
western division manager.

MOTION PICTURE HERALD, JULY 25, 1953

Vision Witt
Continue to
Sell Poluroid

HOLLYWOOD : The Natural Vision Cor-
poration, exclusive distributor of 3-D view-
ers for the Polaroid Corporation for the
year ended July 15, announced here last
week that it will continue to sell Polaroid
3-D viewers, at the current price, but on
a non-exclusive basis

Approximately 23,000,000 viewers are
now on order awaiting allocation to thea-
tres through Natural Vision by RKO,
Columbia, Universal-International, Allied
Artists, United Artists, MGM and leading
independents.

Natural Vision has advised its distributor
customers that until further notice from the
company, viewer purchase orders and ship-
ping instructions from theatres are to con-
tinue to be sent directly to Natural Vision
headquarters in Hollywood.

Polaroi d Ag rees to Make
3-D Viewers for Children

DALLAS : At the request of company
heads, the Polaroid Corporation has agreed
to develop special 3-D glasses for children,
Claude Ezell, president of Ezell and Asso-
ciates and founder and organizer of the In-
ternational Drive-In Theatre Owners Asso-
ciation, said here last week. The urgency
of providing some kind of adequate polariz-
ing glasses for children was pointed up by
Mr. Ezell in a letter sent to all distribution
company presidents and general sales man-
agers late last month. Mr. Ezell also dis-
closed that General Paint Company of Tulsa
is developing a special all-purpose screen
paint for the drive-in association. Results
of the company’s findings will be announced
at the international drive-in convention to
be held in conjunction with the COMPO
conference here September 28-30, according
to Mr. Ezell.

New York Doesn't Fear
Any Viewer Infection

Experts in communicable diseases at the
New York State Health Department in
Albany are understood to be of the opinion
that there is little possibility of contracting
any infection from 3-D glasses, and are of
the belief that the problem has little public
health significance. However, an incident
might cause the department to take action.
Theatres using reclaims are following steril-
izing processes recommended by companies
manufacturing the viewers.

CinemaScope Manual Ready

Twentieth Century-Fox currently is dis-
tributing to theatre supply houses, circuits
and independent theatre men a 20-page
booklet, a manual of preliminary instruc-
tions on surveying theatres for Cinema-
Scope.

Hoff Decries Sacrifice
Of Quality for Cost

J. Robert Hoff, executive vice-president
of the Ballantyne Company, said in Omaha
last week that, if necessary, the company
could produce a package for a great deal
less than $6,000, the average figure for the
company's recently announced all-system
package, but that such an inexpensive pack-
age would “not have the picture definition,
resolution, sound fidelity and high screen
reflectivity and polarization that practically
all theatre operators demand.” In perhaps
two or three years, said Mr. Hoff, there
will be developments which will reduce
prices. The aim of Ballantyne now, he said,
is “to make a system which is reasonable
in cost and does not destroy the public’s
appreciation of good film and good sound.”

Natural Sound Claims
Seven Channel Use

Up to seven channels can be accommo-
dated by Natural Sound stereophonic sound
system designed and manufactured by Kine-
vox, Inc., it has been claimed by Natural
Sound Corporation. The system, the com-
pany has announced, was built in compli-
ance with the standard of the Motion Pic-
ture Research Council. A single rack
cabinet comprises the entire unit, which will
fit in any booth, it is said. Power ampli-
fiers, pre-amplifiers, film transport and
magazines are enclosed in the cabinet. The
system, introduced by Natural Vision Corp.,
will accommodate conventional, 3-D and
wide-screen productions.

RCA Offers Arc Lamp
For 3-D, Wide-Screen

A new RCA wide-arc lamp system is now
available for 3-D, wide-screen and drive-in
theatre use, it has been announced by the
theatre equipment section, engineering
products department, RCA Victor division.
The new lamp includes a special cooling
device, a 16-inch diameter reflector and a
new feed mechanism. The lamp can be
used with any type of theatre projector.

RCA 4-Track Reproducer
To Be Ready in September

RCA is expected to make formal an-
nouncement soon of a new four-track mag-
netic stereophonic sound reproducer, suitable
for mounting on any late model projector
now in theatre use, to be available for de-
livery in September. Cost of the new equip-
ment will range from under $5,000 to ap-
proximately $9,000, it was reported.

Poll Theatres to Install
New Stereo Equipment

HARTFORD: Wide-screen and stereo-
phonic sound equipment will be installed in
Loew’s Poli Theatres in Connecticut, it has
been announced by Harry F. Shaw, division
manager. Screens approximately 46 feet
wide and 27 feet high are planned for thea-
tres in Hartford, New Haven and Bridge-
port.

30 Films Set
Now for New
Processes

With Warners’ announcement this week
of plans for the early production of at least
six films in its new WarnerSuperScope
process, exhibitors are assured of receiving
at least 30 pictures within the next year
all in extra wide category, i.e., aspect ratio
2.55 to 1 (CinemaScope) or 2.66 to 1
(WarnerSuperScope).

The breakdown on the 30 films is as fol-
lows: Warners, six, WarnerSuperScope;
and in CinemaScope, 20th-Fox, 13; MGM,
four; Columbia, two; Walt Disney, three;
Allied Artists, one, and Errol Flynn Pro-
ductions, one. These are films for which
firm production commitments have been
made. It is expected that the number will
grow even larger within the next several
weeks.

The six WarnerSuperScope films are:
“A Star Is Born,” “Lucky Me,” “Rear
Guard,” “Helen of Troy,” “Mr. Roberts”
and “East of Eden.” Of 20th-Fox’s 13,
four already are completed : “The Robe,”
“How to Marry A Millionaire,” “The
Gladiators” and “Twelve-Mile Reef.” Up-
coming are “Prince Valiant,” “There’s No
Business Like Show Business,” “River of
No Return,” “Hell and High Water,”
“King of Khybur Rifles,” “Three Coins in
the Fountain,” “The Egyptian,” “Desiree”
and “Night People.”

The MGM productions include the now
shooting “Knights of the Round Table” and
“Rose Marie,” as well as the forthcoming
“Brigadoon” and "Beau Brummell.” The
Walt Disney roster includes the cartoon
feature, “The Lady and the Tramp,” and
the live-action “20,000 Leagues under the
Sea,” plus another still untitled. In addition
to these features, Mr. Disney plans to pro-
duce several short subjects in CinemaScope,
including a Donald Duck short and one in
the “Adventures in Music” series.

Columbia has announced “several” for
CinemaScope, but definitely set for produc-
tion now are “Pal Joey” and “My Sister
Eileen.” The Allied Artists’ feature will be
“The Black Prince” and the Errol Flynn
picture, now shooting in Europe, is “Wil-
liam Tell.”

To Release 3-D Survey

Jack H. Levin, president of Certified Re-
ports, Inc., is preparing to release the results
of a five-month nationwide survey of audi-
ence reaction to recently released three-
dimensional motion pictures.

"Pimpernel" to Carroll

The distribution rights to “The Fighting
Pimpernel,” color by Technicolor film star-
ring David Niven, Margaret Leighton and
Cyril Cusack, have been acquired by Carroll
Pictures, Inc., it has been announced by Car-
roll L. Puciato, president.

MOTION PICTURE HERALD, JULY 25, 1953

CITY

THEATRE

CITY

THEATRE

Albany

. . Delaware

Memphis

Idlewild

Atlanta

Tenth Street

Milwaukee

Varsity

Boston (Allston)

Capitol

Minneapolis

Loring

Buffalo

Cinema

New Haven

Crown

Charlotte

Dilworth

New Orleans

Imperial

* Chicago

Surf

New York City... Proj. Rm.

1501 B'way (9th fl.)

Cincinnati

. . . Hyde Park

Oklahoma City

. . Tower

Cleveland

.... Fairmount

Omaha

Dundee

Dallas

Capitan

Philadelphia

Arcadia

Denver

Esquire

Pittsburgh

Shadyside

Des Moines

Ingersoll

Portland

Laurelhurst

Detroit

Globe

St. Louis

Pageant

Indianapolis ....

Cinema

Salt Lake City

Villa

Jacksonville

. . . . San Marco

San Francisco

Nob Hill

Kansas City

Vogue

Seattle

Varsity

Los Angeles (Beverly Hills).

. . Beverly

Washington, D. C

Circle

Houston

*These

Ost

trade showings

San Antonio

will be held July 29th

Josephine

THESE THREE IMPORTANT PICTURES
ARE JUST A SAMPLE OF MANY OTHERS, INCLUDING

ELEPHANT

WALK

THE WAR
OF THE WORLDS

Technicolor. Panoramic screen,
stereophonic sound

THOSE REDHEADS
FROM SEATTLE

3-D, Technicolor. Rhonda Fleming, Gene
Barry, Agnes Moorehead, Teresa Brewer,
Guy Mitchell, The Bell Sisters

BOTANY BAY

Technicolor. Alan Ladd, James Mason

FOREVER FEMALE

Ginger Rogers, William Holden,

Paul Douglas

HERE COME
THE GIRLS

Technicolor. Bob Hope, Arlene Dahl,
Rosemary Clooney, Tony Martin

FLIGHT TO
TANGIERS

3-D, Technicolor. Joan Fontaine,
Jack Palance, Corinne Calvet

Technicolor. Elizabeth Taylor,

Dana Andrews

RED GARTERS

Technicolor. Panoramic screen,
stereophonic sound. Rosemary Clooney,
Jack Carson

KNOCK ON WOOD

Technicolor. Danny Kaye

CEASE FIRE

Hal Wallis’ 3-D production filmed on the
Korean fighting front

WHITE

CHRISTMAS

Bing Crosby, Donald O’Connor,
Rosemary Clooney, Vera-Ellen

THE NAKED
JUNGLE

Technicolor. Charlton Heston,
Eleanor Parker

We’ve got the big pictures you’ve demanded. Now it’s up

■r ■'

to you to come and see them, even if you haven’t been to
trade show in years. Bring your family and friends with
you to the Jubilee day of terrific attractions that are spread-
ing boxoffice optimism throughout the entire industry!

MARTIN

AND

eleased in SEPT

Released in OCTOBER

RY PECK

is®; ;

BING CROSBY

“PARAMOUNT IS RED HOT!” SAYS DICK WILLIAMS, IN
LOS ANGELES MIRROR -and this is confirmed by showmen now
doing sensational business with current Paramount hits like STALAG 17—

SHANE-SCARED STIFF— HOUDINI—SANGAREE

I ll§lf H k Wffi. • > il \ fe

LEWI

Released in SEPTEMBER

REY HEPBU

People

eopie in PL

Samuel Goldwyn, producer, is in Europe
promoting the foreign release of “Hans
Christian Andersen.” During the past
week, Mr. Goldwyn has visited France,
Germany and Switzerland.

Steve Broidy, president of Allied Artists,
will be the chief speaker at the October
8 banquet of Allied States ikssociation of
Motion Picture Exhibitors to be held in
Boston.

Pictures, has been appointed assistant
United States Attorney for Massachu-
setts.

Harry Brandt, president of the Brandt
Theatre Circuit, has been named chair-
man of the Golden Jubilee dinner honor-
ing Sophie Tucker to be held October
4 at the Waldorf Astoria, New York. The
dinner is sponsored by the Jewish The-
atrical Guild.

George T. Shupert has resigned as vice-
president and general manager of United
Artists Television Corporation to join the
American Broadcasting Company as vice-
president of ABC Syndication. Frederick
A. Long, director of radio and television
for the Geyer Advertising Agency since
1946, replaces Mr. Shupert at U.A.

S. A. Lynch, Jr. has succeeded his father
as president of the S. A. Lynch Corpora-
tion. The company has been operating
since 1920 as an operator of motion pic-
ture theatres.

Arthur Doyle, EmanueleZama and James
Alexander, Universal International over-
seas managers from Japan, Italy and Uru-
guay respectively, are in New York for
a series of home office conferences with
Alfred E. Daff, executive vice-presi-
dent, and Americo Aboaf, foreign gen-
eral sales manager.

Darryl F. Zanuck, vice-president of 20th
Century-Fox, was the dinner guest of
President Dwight D. Eisenhower this
week at the White House.

\. Frank Freeman, vice-president in
charge of Paramount Studio, and Adolph
Zukor, chairman of the board of direc-
tors of Paramount Pictures Corporation,
have been presented with life member-
ship cards in the Musicians’ Association
of Local 47, Los Angeles.

William Pizor has been appointed vice-
president in charge of foreign sales of
Filmakers Releasing Organization.

Arthur I. Weinberg, son of Louis Wein-
berg, a sales executive with Columbia

Hugo Stramer, in charge of the RKO of-
fice in Colombia since 1949, has been
appointed manager for Argentina, it has
been announced by Alfred Crown, for-
eign manager.

Terry Turner and Don Thompson of Gen-
eral Teleradio, Inc., have been hired by
Jerry Pickman, PaVamount vice-presi-
dent in charge of advertising, publicity
and exploitation, to work on the television
and radio exploitation of “The War of the
Worlds.”

Evergreen to Remodel
Mayfair in Portland

PORTLAND : Evergreen Theatres will
completely remodel the 1, 500-seat Mayfair
theatre, here, it has been announced by
Frank L. Newman, Sr., president. The old
theatre, which started as a stage playhouse,
will be torn down with only the four walls
remaining. Bids have gone, out for the re-
modeling which is scheduled to start next
month and be completed by November.

Projectionists Object
To Sunday Film Shows

TORONTO : Local projectionists “want no
part of Sunday shows,” James Sturgess,
president of Toronto Local No. 173, Moving
Picture Operators Union, announced in
launching a protest campaign against film
exhibition on Sundays.

The official protest developed when the
Toronto Film Council, linked with the Na-
tional Film Board, obtained permission to
conduct “educational film programs” at

Hanlan’s Point, Toronto. Although no pro-
fessional projectionists will be used in the
program, the union leader contended that
it was the thin edge of the wedge to install
Sunday shows in theatres throughout this
area.

In announcing that the projectionists
would place their objections before the
Toronto Civic Board of Control, Mr. Stur-
gess said, “We believe the whole scheme is
commercial. We have always opposed Sun-
day showings.”

Editor Fordham Speaker

Martin Quigley, Jr., editor of The
Herald, was the guest speaker at the Com-
munication Arts Symposium held at Ford-
ham University, New York City, July 23.
His talk was entitled, “New Screen Tech-
niques and Ancient Moral Questions.” Mr.
Quigley was introduced by Rev. John W.
Kelly, S.J., chairman of the Fordham Uni-
versity Department of Communication Arts,
which includes courses in journalism, radio,
television and motion pictures.

AB-PT Had
Quarter Aet
Of SHIV. OOO

American Broadcasting-Paramount Thea-
tres, Inc., reported this week consolidated
earnings for the second quarter of 1953 of
$818,000, including $756,000 from operations
and $62,000 of capital gains. This compares
with $1,459,000 for a similar period last
year, of which $538,000 came from opera-
tions and the balance from capital gains.
Operating earnings for the second quarter
of this year were $218,000 or 40 per cent
ahead of the figure for the second quarter
of 1953.

The estimated net for the first six months
of 1953 was $6,550,000, of which $2,236,000
was from operations, compared with earn-
ings for first half-year of 1952 of $3,508,000,
including $2,343,000 from operations.

On a per share basis, the quarter earn-
ings amounted to 17 cents on the common
stock, after dividends on the preferred of
$136,913, and the first six month common
stock earnings were $1.59, after preferred
dividends of $221,538. This compares with
44 cents and $1.06 common dividends given
in similar periods in 1952.

Leonard H. Goldenson, president, said
that earnings from theatre operations for
the quarter ran substantially ahead of the
same quarter in 1952. The American Broad-
casting Company Division operated at a
small loss for the second quarter.

During the second quarter, the company
divested itself of six theatres, five of which
were wholly owned. In order to complete
the divestiture requirements of the consent
judgment, AB-PT still must dispose of 34
wholly owned and 42 partially owned thea-
tres.

Variety Club Sets Date
For Mid-Winter Meet

The mid-winter meeting of Variety Clubs
International will be held October 23-24 in
Washington, D. C., it has been announced
by Jack Beresin, international chief barker.
Dr. Selman A. Waksman, developer of
Streptomycin, will be presented with the
club’s humanitarian award at a dinner Ot-
tober 24 at the Hotel Statler. Phis award
is presented to the person, chosen by a com-
mittee of publishers, who has been of great-
est service to humanity.

Star Pictures with Gum

During the next few months, the Topps
Chewing Gum Company will circulate
1,750,000 color photographs of stars in
United Artists releases in packages of
Topps gum.

Beverly Gets Reissues

Beverly Pictures, New York, has com-
pleted a deal with Cardinal Pictures for the
reissue of a package of the latter’s features
for the United States and Canada.

MOTION PICTURE HERALD, JULY 25, 1953

at tfie CHICAGO
WORLD PREMIERE
TOPPING EVEN " TOMAHAWK"/

IN TERRITORIAL
OPENINGS
SETTING NEW RECORDS /

Starring

by WILLIAM R. WEAVER
Hollywood Editor

FIVE PICTURES were started during the
week, four of them in color and one in
CinemaScope. One other was completed
and sent to the film editors. That left the
production level at 32, no great shakes as
a mean-average-level, but not, either, the
starvation figure some of the mass-circula-
tion magazines and mass-infiltration radio-
columnists have been imputing to this unde-
feated town.

The CinemaScope undertaking of the week
is “Prince Valiant,” in color by Technicolor
of course, which is being produced by Rob-
ert L. Jacks and directed by Henry Hath-
away for 20th Century-Fox. Heading the
cast are Robert Wagner, Janet Leigh, Debra
Paget and James Mason. It’s to be a big-
scale production on all counts.

WarnerColor is being used by Warner
Brothers for its 3-D production of “The
Bounty Hunters,” which is to be one of the
studio’s all-media jobs, meaning wide-screen
as well as in the above-stated coloration and
dimension. Andre de Toth, who directed
the studio’s first 3-D picture, “The House
of Wax,” is directing this production, which
has Randolph Scott, Dolores Dorn and
Marie Windsor as principals.

MGM’s “ Tennessee Champ ”

Also Set for Color

with a brilliant four-week run, is standing
by, awaiting the call to the camera.

Direct shooting of a stage production has
been a favorite dream of show people, on
both sides of the fence, for a good many
decades, but it’s never quite come off so far.
And, today, what with talent and labor con-
tracts as they are, and with work for all too
scarce for comfort, the chances of success
appear slimmer than ever. Whether that’s
good or bad, in the long view, may be open
to question, but until some gifted individual
actually proves otherwise it’s likely to con-
tinue as standard thinking that stage is stage
and screen is screen and never the twain,
etc.

LAST WEEK the “Los Angeles Times” in-
augurated 3-D advertising, opening with a
page of Bullock’s Store copy on Monday
and promising a new page per day there-
after. The blue-red viewer goes along with
the paper at no extra charge and readers
are requested to retain them for regular
use, although replacements can be had for
the asking. The newspaper claims “this is
the first publication of three-dimension color
in a metropolitan newspaper in America.” If
it turns out that 3-D sells merchandise as
well as it sells tickets the Times’ “first”
will go down in journalistic history as one
of. the firstest.

MGM is using Technicolor for “Tennes-
see Champ,” which Sol Baer Fielding is
producing with Fred M. Wilcox directing.
Shelley Winters, Dewey Martin, Keenan
Wynn, Dave O’Brien, Earl Hollman and
Hope Miller are in the cast.

The fourth color film started during the
week is “Ride Clear of Diablo,” which Uni-
versal-International is making in color by
Technicolor, with John W. Rogers as pro-
ducer and with Jesse Hibbs directing. Audie
Murphy, Dan Duryea, Susan Cabot, Abbe
Lane are in the cast.

Green-Rouse Productions began shooting
“Free and Easy,” independently, with Rich-
ard Egan, Beverly Michaels and Evelyn
Scott in the main roles. Clarence Greene
is producing, Russell Rouse directing.

W. Lee Wilder began producing and di-
recting “The Man Who Saved the Earth,”
independently, which has Peter Graves, Bar-
bara Starr, James Seay, Shep Menken,
Frank Gerstle in the cast.

IN A WEEK or so, if all goes well, the stage
production of “Top Banana,” with text, cast
and score intact, will be filmed in 3-D and
as if across the footlights, for distribution
and exhibition in the usual motion picture
manner. The personnel of the stage pro-
duction, which closed its road season here

Star Tax Bill
To Senate

WASHINGTON : The House of Repre-
sentatives Wednesday passed — with a mini-
mum of discussion — the “Omnibus” tax re-
vision bill, which includes a provision to
end tax exemption for film stars who work
overseas for 17 out of 18 months. The bill
will now go to the Senate for action there.

If passed by the Senate, the bill would be
effective retroactively to April 14, 1953, the
date on which Chairman Reed (R., N. Y.)
of the House Ways and Means Committee,
introduced the measure. The bill was ap-
proved by the Ways and Means Committee
Tuesday, in which form it passed the House.

Boy Scout Jamboree
Fi!m in Production

HOLLYWOOD : “Boy Scouts of America
Jamboree 1953,” an hour-long feature film,
has gone into production here at the jam-
boree site. George Murphy and James Stew-
art are in charge of the production. The
film, which will be made available to scout
troops, church and educational groups, and

lllllllllllllllllllllllllllllllllllllllllllllllllllllllllllll

THIS WEEK IN
PRODUCTION:

STARTED (6)

INDEPENDENT

The Man Who Saved
the Earth (W. Lee
Wilder Prod.)

Free and Easy (Greene-
Rouse Prod.)

MGM

Tennessee Champ
(Technicolor)

COMPLETED (I)

MGM

The Long, Long Trailer
(Technicolor)

SHOOTING (25)

ALLIED ARTISTS

Tabloid

Slade (Lindsley Parsons
Prod.)

COLUMBIA

Jesse James vs. The
Daltons (Technicolor,
3-D, Esskay Pic., Co.)

The Caine Mutiny
(Kramer Co., Tech-
nicolor)

INDEPENDENT

Crazylegs, All-American
(Hall Bartlett Prods.)

The Bigamist (Filmakers
Releasing Org.)

Beachhead (Aubrey
Schenck Prod., Pathe-
Color, U.A. release,
Stereophonic, W.S.)

Camel Corps (Edward
Small Prod., 3-D, East-
man Color, U.A. re-
lease, W.S.)

Hondo ( Wayne-Fellows
Prod., Warner release,
3-D, WarnerColor, All-
Media)

Carnival (King Bros.,
RKO release, Color,
3-D, Munich)

MGM

Gypsy Colt
(Ansco Color)

Rhapsody (Technicolor,
Wide Screen)

Knights of the Round
Table (Technicolor,

20TH CENTURY-FOX

Prince Valiant (Techni-
color, CinemaScope)

WARNER BROS.

The Bounty Hunter
3-D, All-Media,
WarnerColor)

Cinema-Scope,

London )

The Flame and the Flesh
(Technicolor, Wide
Screen, Europe)

Crest of the Wave
( London)

PARAMOUNT

Mr. Casanova (Techni-
color, Wide S *reen )

Alaska Seas

(Wide Screen)

The Naked Junole
(Technicolor, Wide
Screen )

Knock on Wood
(Technicolor, Wide
Screen )

REPUBLIC

Geraldine

RKO RADIO

The French Line
(Edmund Grainger
Prod., Technicolor)

20TH CENTURY-FOX

Hell and High Water
(CinemaScope, Tech-
nicolor)

UNIV.-INT'L

Ride Clear of the
Diablo (Technicolor)

Son of Cochise
(Technicolor, 3-D)

The Glass Web (3-D)

The Glenn Miller Story
(Technicolor)

iniiiiiiiiiiiiiiiiiiiiiiiiiiimimiiimiiiiimiiiiiiiii

placed at the disposal of the U. S. State
Department for exhibition abroad, is being
made with the full cooperation of all the
Hollywood guilds and unions.

AA to Handle "Jenifer"

Allied Artists has signed an agreement
with Three-Fellows Productions to handle
the world distribution of “Jenifer,” starring
Ida Lupino and Howard Duff.

Paramount Buys Story

James A. Michener has sold his story
“The Bridges at Toko-Ri” to Paramount
for production by William Perlberg and
George Seaton.

MOTION PICTURE HERALD, JULY 25, 1953

CHILL WILLS MARIE WINDSOR ■ PAULA RAYMOND

presents

STARRING

Written by STEVE FISHER • Associate Producer- Director JOHN H. AUER * A REPUBLIC PICTURE .

REPUBLIC PICTURES CORPORATION

20 MORE FROM
ALLIED ARTISTS

SCENE OF THE ANNOUNCEMENT that Allied Artists will make no less than 20 pictures
the remainder of this year, and in all media. At the press conference in the Hollywood
Roosevelt Hotel, executive producer Walter Mirisch. fourth from the left, tells of company
plans, including a very big production, "The Black Prince." With him, on his right , is John C.
Flinn, the company's public relations chief.

HOLLYWOOD: Allied Artists will pro-
duce no fewer than 20 feature films during
the balance of the year, Walter Mirisch,
executive producer, revealed to press rep-
resentatives at a luncheon last week. Among
them will be “The Black Prince,” in
CinemaScope and color by Technicolor, to
be made in England as soon as the present
studio labor trouble there subsides, accord-
ing to Mr. Mirisch.

At the same time Mr. Mirisch disclosed
that the company will produce four three-
dimension features to follow its successful
"The Maze,” and that allocations for this
year’s production schedule, comprising 36
pictures, will exceed the previous year by
more than 50 per cent.

Although “The Black Prince” will be
made available in CinemaScope exclusively,
all other AA pictures, regardless of process,
color or kind, will be filmed for wide-screen
(1.85-to-l) or standard exhibition, so that
all theatres may be accommodated by com-
pany product in the coming months.

Sees Big “ Revival ” in Autumn

Asserting that technological innovations
have re-interested the public in picture-go-
ing so keenly that the industry faces an
assured revival in the Autumn, Mr. Mirisch
said :

“We feel people will be flocking back to
theatres to see the new processes and sys-
tems, and we want our pictures to be the
ones they will be flocking back to see. Our
diversified program will include high, me-
dium and small budget pictures. We will
film in CinemaScope, in color by Techni-
color, in 3-D, and wide-screen as well as
in two-dimension and black-and-white. We
have found the market still is open to vari-
ous film treatments. We believe in healthi-
ness of change, novelty and variety, and we

will follow variety in media and story con-
tent.”

“The Black Prince,” based on the Anglo-
French Hundred Years War, will be filmed
jointly with AA’s British affiliate, Asso-
ciated British Pictures Corp., under the re-
cently finalized contract with 20th Centurv-
Fox, for use of CinemaScope equipment.
Other top AA features going with color in
Technicolor are "Annapolis 53” with the
cooperation of the U.S. Navy; “The Adven-
tures of Hajji Baba” and “Wichita.”

AA’s four 3-D features scheduled are
"Riot in Cell Block 11,” prison melodrama;
“House in the Sea,” murder mystery ;
"Dragonfly Squadron,” Air Force story, and
“Hold Back the Night,” Korean War story.

Other features in color are "Pride of the
Blue Grass,” racing story ; "Arrow in the
Dust,” post-Civil War ; “Bitter Creek,” out-
door drama, and “Green Hills of Idaho,”
family story.

The studio’s five series — Bowery Boys,
Bomba, Wild Bill Elliott, Wayne Morris
and James Oliver Curwood — will be unaf-
fected by the company’s expanded plan,
Mr. Mirisch said.

Agree on Belgian
Film Allocations

Company film quotas under the new film
agreement with the Belgian Government
have been agreed upon, the Motion Picture
Export Association disclosed in New York
this week. Reissues are not in the alloca-
tions. They arose as a problem when one
company objected to reissues in its allot-
ment. The agreement allows 251 permits
yearly to American companies. It will be
made official, it is expected, when an ex-
change of letters occurs shortly, confirming
the agreement.

Superior Films Attacks
Ohio Decision on "M"

WASHINGTON : Superior Films, dis-
tributors of “M,” which was barred from
exhibition in Ohio, in a brief filed in U. S.
Supreme Court, have branded the Ohio
statute requiring prior censorship of motion
pictures as a “discriminatory denial of equal
protection of law.” Discriminatory censor-
ship is charged in the appeal, since there is
no censorship of films on television, national-
ly or locally.

Questioning the grounds under which the
film was barred, the brief stated the term
“harmful” was vague and indefinite. The
Ohio censorship fee of $3 per reel was also
hit as a discriminatory practice.

In his brief, John C. Harlor, attorney,
noted that the Ohio Supreme Court did not
view the picture in ruling on the case. He
therefore called for a reversal of the de-
cision on the grounds that it violated the
First and Fourteenth amendments to the
Constitution.

Magazine Film Annual
Set for Publication

The publication date of the “American
Weekly Movie Annual for 1954” has been
set for September 13, it has been announced
by Ernest V. Heyn, editor of the Sunday
magazine which is distributed with 24 news-
papers. One of the features of the annual
will be a pictorial and verbal preview of
films prepared for release during the com-
ing months. Assisting Mr. Heyn in the
book’s preparation are Liza Wilson, Holly-
wood editor, and Adele W. Fletcher,
women’s feature editor.

Metro Revises Schedule
Of September Releases

“Half a Hero” will head the list of MGM
pictures to be released in September, ac-
cording to the revised schedule for the
month. The other pictures to be released
during September will be “The Great
Diamond Robbery,” "Terror on a Train”
and “The Actress.” “Julius Caesar” is
scheduled to open in several cities next
month.

Columbia Increases Note
Indebtedness $1,000,000

WASHINGTON : Columbia Pictures has
informed the Securities and Exchange Com-
mission that it has increased its note indebt-
edness by $1,000,000, bringing the company’s
note indebtedness up to $11,000,000. The
report stated that the $1,000,000 note was
part of October 1, 1952, loan agreement of
$15,000,000 made with the First National
Bank of Boston, Bank of America, National
Trust and Savings Association and the presi-
dent and directors, Manhattan Company.

Open Connecticut Drive-In

Markoff Brothers Theatres have opened
their recently completed 700-car Portland
Drive-In theatre, Portland, Conn.

MOTION PICTURE HERALD, JULY 25, 1953

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BRITISH EXTRA
STRIKE ENDS

Resume Full Studio Work;
Rank Had Threatened to
Close Down Pinewood

by PETER BURNUP
LONDON : The strike of film extras here
which threatened to shut down production at
all studios was settled Tuesday with the
majority of the strikers at the MGM Elstree
studio (where the walkout originated) get-
ting an additional 21 shillings a day. The
cases of other MGM extras will be consid-
ered by a mixed employee-employer panel.

Announcing the settlement, a spokesman
for MGM said the terms did not betoken a
climb down from the company’s original
position, since MGM always has been pre-
pared to submit the matter to arbitration,
but objected when the extras breached a
standing agreement and resorted to strike
action.

Followed Rank Closing

Settlement closely followed the Rank Or-
ganization’s announcement late last week
that unless members of the Film Artistes’
Association came to terms, all work on four
Rank films at the Pinewood studios would be
stopped. The Rank announcement came as
. something of a surprise but was understood
to be dictated by the Organization’s desire
for a general show-down with left-wing,
trouble-rousing unions.

Oppose Stereophonic Sound

Opinion appears to be hardening among
run-of-the-mill exhibitors against the inclu-
sion of stereophonic sound in the Cinema-
Scope package. Yorkshire’s J. X. Prender-
gast, frequently the spokesman of the
middle-bracket theatre men, has issued a
long manifesto on the subject.

Says Mr. Prendergast : “I believe that
stereophonic sound doesn’t matter at this
juncture. \ believe it doesn’t matter with
CinemaScope. We can elect to take our
piece of CinemaScope or we can use what
exists in other technological developments
that have taken place in motion pictures over
the last 25 years.

“I’d like to ask Mr. Skouras : ‘If you
didn’t have stereophonic sound, if it hadn’t
been invented and all you had was a Chre-
tien lens and a wide screen would you have
still gone forward?’ I say he would. I say
there’s enough there with a good piece of
entertainment and famous stars on the
screen to create a revolution — -without
stereophonic sound.”

Twentieth-Fox has announced that it will
underwrite British manufacturers for initial
orders of CinemaScope so that they can
retool and deliver the stereophonic sound
equipment by mid-September. The com-
panies so underwritten are Western Elec-
tric, RCA Photophone, British Thomson-
Houston, G.B-Kalee.

The official statement confirmed that the
company had over 250 orders in hand from
British theatres. It added “in order to
effect a smooth transition to the new system
throughout the film industry and to supply
the Commonwealth with the revolutionary
anamorphic wide-angle lens system, 20th
Century-Fox would need the total stereo-
phonic sound equipment that can be turned
out by all manufacturers to meet theatre
requirements.”

Spvros P. Skouras commented: “For the
first time in history a motion picture com-
pany has undertaken such a great project as
underwriting equipment manufacturers for
the benefit of others as well as themselves.
We have made CinemaScope available to
all studios, all producers and cinemas
throughout the world.”

Producers, as expected, reacted promptly
and acidly to the recently reported box office
“appraisal” of British films by CEA’s book-
ers’ committee.

Lp his valedictory address as president of
BFPA, Reginald Baker cited The Herald’s
Box Office Survey which showed that, in
1952, of 15 films named in the big money-
taking category no fewer than eight were
British. Mr. Baker said that he was
“amazed and perplexed” by CEA’s appraisal
in the light of The Herald’s survey.

Cites Industry Hurt

He went on: “It is not the slightest use
for an industry to say that its wares are not
of high quality and then expect the public
to buy them. It discloses a malaise from
which, with certain notable exceptions, the
retail side of our industry unfortunately
suffers today.”

Reported to CEA’s executive committee
also were letters of remonstrance from the
J. Arthur Rank Organisation’s John Davis,
ABC’s D. J. Goodlatte and J. H. Laurie,
managing director of the Film Finance
Corporation.

By withdrawing their representatives from
the CEA’s bookers’ committee, Mr. Good-
latte and Mr. Davis effectively killed CEA’s
plan to extend the appraisal to American
films. The former objected to the British
appraisal being disclosed to the press, say-
ing that it was fantastic that an industry
should publicly decry its own product. Mr.
Davis took much the same stand in his
letter to the exhibitor group.

Customarily urbane and reserved Sir
Philip Warter, ABPC’s chairman, threatens
to become, at least for the time being, a
storm centre in industry affairs.

He startled the trade by declaring that
without a substantial reduction in entertain-
ment tax and a readjustment of the Eady
Levy the Elstree studios of his £20,000,000

corporation may be forced to close down.
Sir Philip then said that a remission of tax
in the order of £10,000,000 annually is
necessary if both the exhibition and produc-
tion sides of the industry are to survive.

Cuts Some Seat Prices

Immediately thereafter the ABPC chief
unobtrusively reduced the price of the four-
shilling balcony seats in certain of his thea-
tres to 3s. Id. from Monday to Friday.
About 200 houses were understood to be
affected by the new policy.

Sir Philip’s theatre chief, D. J. Goodlatte,
hurriedly explained that the theatres in-
volved were certain suburban houses where
many of the front balcony seats are empty
during the week.

Apprehensive independent exhibitors im-
mediately discerned the ancient bogey of a
seat-price war in the ABC move. CEA’s
executive committee protested vehemently
at the circuit’s unilateral action. The pub-
lic, the committee said, would look forth-
with for a relative reduction in all theatres
big and small. The latter, it was claimed,
couldn’t stand the strain. CEA’s officers
were instructed to talk the matter over with
Sir Philip Warter and Mr. Goodlatte.

CEA has still on its agenda another bug-
bear ; the future form and scale of the Eady
Levy. The Government has said that fail-
ing a general agreement it will produce its
own plan and make it statutory. The four
associations concerned have now arranged
a meeting for July 28 in an effort to arrive
at an agreed scheme.

Meanwhile, the just issued Exchequer
returns disclose that entertainment tax re-
ceipts for May, 1953, were £291,000 down
from the previous month and £230,000 lower
than for the same month last year. The
£3,068,000 total is the lowest for May in the
three-year period the Eady Plan has been
in operation.

To bring home to the general public their
parlous straits, CEA has asked the whole
industry to join an economy campaign for
the next 12 months.

1953 Kinematograph Annual
Published in London

LONDON : “The Kinematograph Weekly”
has announced the publication of the “1953
Kinematograph Year Book,” annual publica-
tion of facts and figures on the British
motion picture industry. Among the gen-
eral and specific trade statistics contained in
the 613-page, thumb-indexed volume are
listings of all films trade-shown in 1952;
names of trade organizations, renting com-
panies and studio service companies ; a
“Who’s What in the Industry,” and classi-
fied trade and general trade directories.
Also included are listings of leading circuits
and equipment firms.

Acquires "Time" Rights

MacDonald Pictures, New York, has ac-
quired United States distribution rights to
Associated British Pathe’s “So Little Time,”
it has been announced by B. R. Schrift,
president of the distributing company.

MOTION PICTURE HERALD, JULY 25, 1953

And the sound was all around

No wonder the audience loved it . . . loves it — more and more.

New "depth’ and "breadth" of sound and optics. New technics
in production/ processing, and projection. These — plus an 1|ver-increa|

• i * * | . ||. |«r. ..I , ■ . . | 0^’

interest in color — are problems discussed everywhere today. . .
problems which the Eastman Technical Service for
Motion Picture Film Is helping the industry to solve.

Branches at strategic centers. Inquiries invited.

Motion Picture Film Department
EASTMAN KODAK COMPANY, Rochester 4, N. Y.

Eotf Coat) Division Midwest Division West Coast Division

342 Madison Avenue 137 North Wabash Avenue 6706 Santa Monica Blvd.

New York 17. N.Y. Chicago 2. Illinois Hollywood 38, California

ALBANY

Drive-in business, seriously affected by
record-breaking rains in April and May, is
20 percent below the level for a similar
period of 1952, but it has improved so
steadily during recent weeks that by mid-
September, grosses may equal or exceed
those for last year, an informed Film Row
source said. . . . The industry is speculating
on the protest which Radio Station YVABY
filed wth FCC against the recent issuance
of TV permits to Patroon Broadcastng Com-
pany and Van Curler Broadcasting Corpora-
tion. . . . Fabian’s Mohawk drive-in, which
claimed to be the first “upstate” to show
a 3-D feature, racked up a good gross on
four days of “Flouse of Wax.” . . . Ed-
ward L. Fabian, roving zone manager for
that circuit, conferred here with division
manager Saul J. Ullman. He also inspected
theatres. . . . H. Simon Ullman is now as-
sistant at the Palace. He succeeded James
A. Faughman, former Warner Theatres up-
state contact manager, who had been work-
ing at the theatre nights, in addition to a
day-time accounting job.

ATLANTA

Miss Shirley Fuller, secretary Astor Pic-
tures, is back at her desk after a vacation.
She will be married in Austel, Ga. Sep-
tember 3. . . . Joyce Knighton, formerly of
the booking department, Monogram, has a
new little baby girl. . . . Mr. and Mrs. Harry
Hall are the new owners of the Rex theatre,
Carrabelle, Fla. . . . C. J. Brown, for the
past few years manager of the Martin thea-
tre, Calhoun, Ga., transferred to the Mar-
tin, Fitzgerald, Ga. . . . Mr. and Mrs. E. C.
Fain, for many years owner of the Fair
theatre, Wetumpka, Ala., celebrated their
50th wedding anniversary. . . . The new
owner of the Gainesville drive-in, Gaines-
ville, Fla., is Tom Daniels. . . . The Caro-
lina theatre, Clover, S. C., has been closed
by its owner for renovation and remodeling.
The job will cost around $10,000. . . . George
Andrews, booker, R. K. O., Jacksonville,
Fla., back after a vacation. . . . The G&M
drive-in, Slocomb, Ala., owned by W. B.
Gilley, has opened. . . . J. B. Bush is the
new owner of the Slappy drive-in, Albany,
Ga.

BOSTON

George Bailey has been named manager
of the State theatre, Stoughton for Inter-
state Theatres, working under Chris Joyce,
district manager. . . . Erwin Neumann, an-
other district manager for Interstate, and
Mrs. Neumann are the parents of their sec-
ond daughter and third child, Gretchen, born
at Day Kimball Hospital, Putnam, Conn.
. . . Frank Petrone, head shipper at Colum-
bia has taken his wife and daughter to the
Virgin Islands for a vacation cruise. . . .
Lloyd Bridgham, circuit owner of Dover,
New Hampshire is still in the President’s
Gold Tournament at the Dover Country

Club by chalking up an impressive score of
78 in the first qualifying round. . . . Man-
ager Arthur Rosenbush of the Hoosac drive-
in, Adams, Mass, has completed the new
Kiddieland Playground and has established
Friday nights as Kiddie Gift Nights, with
the local merchants tieing in with a free
gift for each child under 12 years old accom-
panied by a parent. . . . Lon Hacking’s en-
gineering staff of Image and Sound Service
is installing 3-D equipment at the rate of
four or five a week in theatres in the New
England area.

BUFFALO

Mannie A. Brown, former manager of the
local Paramount, ELC, and UA exchanges,
who recently went to Detroit for a brief
term as UA city salesman there, is back in
town as city sales manager for Columbia
Pictures. . . . Joe A. Gullo, projectionist
at the Mercury for over 14 years, is a candi-
date for supervisor in the 26th ward on the
Republican ticket. . . . William D. Edler has
resigned as assistant manager at the Para-
mount, effective July 29. He will work on
a farm, with his father, near Silver Creek.
. . . John Zimmerman has resigned as man-
ager of the Niagara theatre, UPT com-
munity house, because of ill health. He is
remaining on the job until the end of the
month. . . . Jean Shearman, stenog at El-
mart Theatres, Inc., has announced her en-
gagement. . . . Tri-State Candy, which sup-
plies many of the candy booths in Western
New York theatres, has made the high bid
for the refreshment concession in Memorial
Auditorium for the year starting Sept. 1 .
. . . Bill Rowell, 20th Century-Fox sales-
man, is back from a fishing vacation in the

WHEN AND WHERE

September 1-2: Annual convention, West
Virginia Allied Theatres Association,
Matz Hotel, Bluefield, West Virginia.

September 28-30: Conference, Texas
COMPO and International Drive-in The-
atre Owners Association, Adolphus
Hotel, Dallas.

November 12: Annual dinner, Motion Pic-
ture Pioneers, Hotel Astor, New York
City.

October 3-4: Fall board meeting, Allied
States Association, Sheraton-Plaza Hotel,
Boston.

October 5-7: Annual convention, Allied
States Association, Sheraton-Plaza Hotel,
Boston.

Canadian wilds. . . . George H. Mackenna,
Lafayette general manager, is sporting a
snappy new Buick Roadmaster in which he
probably soon drive into Canada for his
annual vacation. . . . Arthur Krolick, UPT
district manager, is back on the job after
spending his week’s vacation moving into
a new home he recently acquired in north
Buffalo.

CHICAGO

Stan Levine, National Screen Service
salesman recently transferred here from
New York, has brought his wife and their
new baby to Chicago. . . . Dave Wallerstein,
B. & K. — Great States general manager, has
been appointed area chairman for the mo-
tion picture industry of President Eisen-
hower’s Korean Relief Fund drive. . . . Mrs.
Arthur Manheimer, wife of the local branch
manager of National Screen, headed for
Pensacola to visit their son, Don. . . . George
Bush, Jr., son of RKO head booker, George,
Sr., has been promoted from 1st Lt. to
captain. He is stationed in Korea. . . . In-
dustryites here were saddened by the fire
that demolished A1 Simon’s restaurant, long
a familiar landmark on film row. . . . Lee
Eastman has succeeded Tom Duckworth as
manager of the B. & K. Varsity in suburban
Evanston, moving up from his post as as-
sistant there. Duckworth is entering the
real estate business.

CINCINNATI

The neighborhood 720-seat Jackson thea-
tre, and old landmark in the area, which
was opened many years ago by the late
Jerome Jackson, has been sold by his widow
to Walter J. Glassmeyer, a local real estate
investor. No change in theatre operating
policy has been announced. . . . The Cin-
cinnati Variety Club, Tent No. 3, will hold
its annual golf tourney at the Kenwood
Country Club August 24, instead of the
Summit Hills Country Club, where the event
heretofore always has been held. Hoyes Mc-
Gowan is chairman of the affair. . . . Re-
ports from Washington indicate that Colonel
Joseph F. Goetz, former Cincinnati theatre
executive, recently confined in the Walter
Reid Army Medical Center, because of a
heart attack, is doing nicely. Colonel Goetz
is chief of the Entertainment Division of
the Army Air Corps in Washington. . . .
Charles W. Mayhugh, who has been man-
ager of the Kentucky and Virginia theatres,
in Somerset, Ky., has resigned to become
managing director of the new Jesse James
drive-in theatre, which is located in Toledo,
Ohio.

CLEVELAND

Hippodrome made industry history this
week by being the first theatre in the
Greater Cleveland area to present a wide
screen picture with stereophonic sound for
the general public. Picture was Columbia’s
( Continued on opposite page)

MOTION PICTURE HERALD, JULY 25, 1953

( Continued from opposite page)

“Let’s Do It Again” at regular prices and
public response was highly satisfactory. . . .
20th-Fox was host to an industry luncheon
on Friday in the Statler Hotel in honor of
Leonard Goldstein, producer, who brought
a print of his newest feature picture, “The
Kid From Left Field” for a special pre-
release invitational screening to which mem-
bers of the Cleveland Indians and industry
members were invited. . . . Skirball Broth-
ers, owning a circuit of a dozen houses in
the Greater Cleveland area, negotiated a
long term lease on the 1600-seat Paramount
theatre, Steubenville, from Gamble Enter-
prises. . . . Eddie Catlin takes over as War-
ner city salesman where Ernest Sands, pro-
moted to branch manager, left off. . . . Lester
Dowdell, Warner booker, is ill in Doctor’s
Hospital. . . . Grove Theatre, Columbus
Grove, closes July 31 until further notice.
. . . Lou Geiger, for 25 years United Artists
salesman, is now handling a bicycle pro-
motion deal for theatres.

COLUMBUS

Bus strike here has cut grosses. . . . Loew’s
Ohio is using the new improved laminated
safety glasses for its 3-D showings. Ohio
has three solid weeks of 3-D bookings in-
cluding “Sangaree,” “It Came From Outer
Space” and “Fort Ti.”. . . Paramount has
announced a world premiere of the new
Dean Martin-Jerry Lewis comedy, “The
Caddy” for August 17 at Loew’s Ohio in
connection with the Celebrity Golf Tourna-
ment and the National Caddies’ Tourna-
ment. . . . Construction of a 175-car ramp-
style parking garage at 72 S. Front Street
is expected to be completed this fall. Site
is near all downtown first-runs. . . . Coun-
cilman Daniel J. Whitacre’s revision of the
city amusement tax will call for exemption
of admissions of 50 cents (established price)
and under, it is reported. . . . Earl Seitz, of
the Seitz Amusement Co., said the 76-year-
old opera house at Sandusky, Ohio is being
sold to make way for a parking lot.

DENVER

Indications are that the crowd at the
“Denverieties,” being put on Aug. 19 by
Variety Tent 37 at Park Hill Country club,
will be a record-breaker, and the commit-
tee urges all to buy their tickets (at $10)
as early as possible, since capacity is limited.
The affair will get under way with a golf
tournament, to be followed by luncheon,
bridge, a soft-ball game, horseshoes, and all
the popular picnic games. . . . Robert Lotito,
formerly a city manager for Fox Inter-
Mountain Theatres at Pocatello, Idaho, who
has been out of the motion picture theatre
business for some time, has been named
manager of the Denham. He succeeds A1
Lawter, who resigned because of ill health.

. . . Merril Nygreri has opened his new 300-
car drive-in at Oskosh, Neb. . . . A1 Kolitz,
RKO district manager, starting on visit to
his midwest exchanges in Kansas City,
Omaha and Des Moines.

DES MOINES

A lengthy dispute over the licensing of a
Central States drive-in theatre at Boone has
been resolved. The Boone city council last
week passed a special ordinance amending
the zoning ordinance to allow Central States
to construct the drive-in within the city

limits on Mamie Eisenhower Avenue west.
. . . Dr. John Skogmo and Jon Nelson have
purchased the Vern theatre a Lu Verne from
Bill Fox. The new owners appointed Mr.
and Mrs. Bob Bigings managers. . . . The
Cozy theatre at Morning Sun has reopened
after having been destroyed by fire in Feb-
ruary. . . . K. C. Sargent has opened a 300-
car drive-in on Highway 75, about 13 miles
from Rock Rapids. It is called the Verne.
. . . Robert Morton of Fremont, Neb., has
been named new manager of the King thea-
tre at Albia. . . . Mr. and Mrs. Dwight Han-
son have leased the Golden Buckle theatre
at Rockwell City from Bob Fridley and Bob
Bernau. . . . Daryl Bloodworth of Kansas
City, Mo., has taken over as assistant man-
ager of Commonwealth Theatre Corp.

houses in Creston. He will manage the
Commonwealth’s drive-in now under con-
struction. . . . Irwin Godwin, RKO shipper,
was married in Omaha, Neb., to Nora An-
derson. . . . Earl Sutphin, MGM booker, is
convalescing following surgery.

DETROIT

“The Great Sioux Uprising” opened at
the Oakland, Pontiac, with a stageful of
Sioux led by a pretty Hollywood type squaw.
. . . The Eagle was loser by $195 to a safe
cracker. . . . Another United Detroit house
on the east side of Detroit has added to the
list of stereophonic sound installations in
preparation for the “House of Wax.”. . .

( Continued on following page)

MOTION PICTURE HERALD, JULY 25, 1953

( Continued from preceding page )

Fifty years of motion pictures were cele-
brated by a display of stills at the Michigan
• — starting with “The Birth of a Nation’’
and running through “Shane.”

HARTFORD

Paramount’s “Scared Stiff” and “Shane”
chalked up well-above-average trade in Con-
necticut first-runs. . . . Mrs. Kate Treske,
manager of the Lenox theatre, Hartford,
has returned from a vacation stay in Los
Angeles. . . . James Hill, of the Rialto thea-
tre, Bridgeport, Conn., and Mrs. Hill are
parents of a baby boy. . . . Harold Gaboury,
formerly assistant manager at the Warner
theatre, Bridgeport, has been named assis-
tant manager of the Roger Sherman theatre,
New Haven, another Stanley Warner first-
run house. . . . John E. Petroski, manager
of the Stanley Warner Palace, Norwich,
returns July 25 from a vacation. . . . An-
thony Nodolony has been named assistant
manager of the Crown theatre, Hartford.
. . . Ed O’Neill, general manager of the
Markoff Bros. Theatres, Colchester, Conn.,
is personally managing the circuit’s newly-
opened Portland (Conn.) drive-in theatre
this season.

INDIANAPOLIS

The Allied Theatre Owners of Indiana,
which took a firm stand against audience
collections in 1945, now urges Hoosier ex-
hibitors to show the presidential trailer and
pass the plate for the Korean relief fund
the week of July 25. The exception was
voted at the July board meeting. . . . True-
man Rembusch, back from another amuse-
ment tax conclave in Washington, is opti-
mistic. . . . Ike Sobers, veteran Covington
exhibitor, died July 16 at the age of 70. . . .
W. T. Studebaker has ordered a Cinema-
Scope screen and complete new Simplex
stereophonic sound and projection equipment
from National Theatre Supply for the Lo-
gan at Logansport. . . . A1 Hendricks, man-
ager of the Indiana, estimates a $25,000
gross for “Shane,” which introduced his
new panoramic screen this week. . . . Rex
Carr, operator of the Ritz, cleaned up with
a week’s exclusive neighborhood -showing of
the Coronation film. ... Dale Schuder is
running the Circle while manager Walter
Wolverton vacations in Michigan and Ohio.

JACKSONVILLE

The Beach theatre at Jacksonville Beach
has become the first house in a North
Florida resort area to book 3-D pictures.
. . . At Florida State Theatres : vice-presi-
dent and Mrs. Louis J. Finske have re-
turned from a vacation trip to the North;
William C. Bostwick is a new attorney on
the legal staff; Ann Dillon has replaced
Helen Schnabl as LaMar Sarra’s secretary ;
Mrs. Earl Griffin is reported recovering
from a serious illness ; and Barbara House
is a new secretary in the office of Bob
Harris. . . . Jimmy Langston and Patricia
Norris are new staffers at the Palace. . . .
Mrs. Bobbie Preacher is now managing the
San Marco. . . . Hal Stanton is back at the
Florida after a tour of the Midwest. . . . One
local exhibitor has expressed satisfaction
over the use of plastic frames for 3-D view-
ers rented to his theatre by the Electro Aire
Corp. The glasses are sterilized by a special
process after they are used each time.

KANSAS CITY

Returns from the annual 2-week “Rhoden
Weeks” campaign of Fox Midwest in honor
of the circuit’s president, E. C. Rhoden,
show gains over the returns of the same
weeks in 1953. This report is considered
especially significant since the Fox Midwest
circuit includs no drive-ins. . . . Edward
Richardson, 25 years a theatre manager for
Loew’s, for nearly 10 years manager of
Loew’s Granada at Cleveland, is temporarily
managing Loew’s Midland at Kansas City,
pending- appointment of a manager to suc-
ceed the late Howard Burkhardt. . . . The
board of directors of the Kansas-Missouri
Theatre Association devoted its meeting
July 15 at Kansas City to discussion of a
plan for last-minute action concerning the
20 per cent tax. . . . The Motion Picture
Association of Greater Kansas City this year
has again sponsored a group of boys for at-
tendance at a Y.M.C.A. camp.

LOS ANGELES

Fred Greenberg, Warner branch man-
ager, is in St. Vincent’s Hospital for a
cbeck-up. . . . The office personnel of the
Universal-International exchange had a
surprise party for branch manager Abe
Schwerdlow on his natal day. . . . Dick
Lithgow, former Metro salesman, has been
appointed manager of the Gilmore drive-in,
which is operated by the Sero Enterprises.
. . . Centinella Park, Inglewood is the place,
and Sept. 12, is the date for the third an-
nual picnic of the Film Row Club. Dave
Bershon, operator of the Leimert theatre,
and Ezra Stern, Film Row attorney, have
been named co-chairmen of the outing. . . .
Henry Herbel, district manager for Warner
Bros., flew to New York to attend a meet-
ing at the home-office. . . . Jerr ■ Logue,
United Artists booker, is back from a vaca-
tion in Las Vegas. . . . Bill Watmough.
Warner salesman, is back from vacationing
in Lake Tahoe.

LOUISVILLE

W. E. Carrell, Sr. is about to celebrate
his 40th anniversary in the motion picture
industry, having covered just about every
phase of the business including acting, own-
ing and operating theatres, supplying and
equipping movie and stage theatres. At the
present time “Bill” heads the Falls City
Theatre Equipment Company here. . . . The
first run Rialto theatre here, owned by
Fourth Avenue Amusement Co. and man-
aged by Johnson Musselman, has booked the
Ballet Theatre, in the basically movie house,
for matinee and evening performances Jan-
uary 19, 1954. The company of 100, is now
touring Europe. . . . New Karagheusian
Gulistan carpet is to be installed in the Bard
theatre here. The Bard a subsequent run
neighborhood theatre is owned by Premier
Theatres, Evansville, and is managed by E.
Allen. . . . The Scott theatre, Scottsburg,
Indiana, managed by Tex Richards, is being
equipped for three-dimensional films.

MEMPHIS

Wide-screen installations continued to hold
hold the center attention in Memphis. Three
more theatres, the Rosemary, Joy and Park
installed new wide screens this week. This
makes a total of 12 wide-screens now in
operation in Memphis. . . . Linden Circle
and Memphian theatres, Memphis neighbor-

hoods, took on first run pictures as an ex-
periment and owners reported they were
well pleased with the results. . . . Grand
theatre, Water Valley, Miss., owned by
Leon Roundtree, was burned to the ground
by fire of unknown origin July 14, Round-
tree reported on a trip to Memphis. . . .
Lightning struck the Drew theatre, Monte-
cello, Ark., owned by Mrs. B. V. Mc-
Douglal, and fire followed. The theatre was
almost completely destroyed. . . . W. C.
Sumpter, Cotton Bowl, Lepanto, Ark., was
in town with the news that his new 350-
car LePanto drive-in was now in full opera-
tion and doing a nice business. . . . J. J.
Sharum, Shannon, Walnut Ridge, is recov-
ering from an illness at Baptist Hospital
in Memphis.

MIAMI

“Stalag 17” was a three-week tenant at
the Royal and Variety theatres. . . . Para-
mount also held over “Charge at Feather
River.”. . . Charles Rich, returned after a
year’s leave to again manage the Cinema,
with Upton Christian as assistant. . . . Joe
Hornstein, of the theatre supply house, was
in Marathon, Florida, recently on a busi-
ness trip. . . . Harry Kronewitz, assistant
at the Carib, reports manager Tom Ray-
field and family are up in his home state
of Virginia for a vacation. . . . Construction
has begun on TV station WITV, owned by
M. V. Loewi. The station’s tower and stu-
dios will be built on a tract of 35 acres
which is in both Dade and Broward coun-
ties. . . . ‘Bessie’ Morgan, formerly secre-
tary to Sonny Shepherd, is summer vaca-
tion relief secretary in the Wometco home
office. . . . Hal Kopplin’s assistant in the art
department, Claude Norton, has joined the
vacationing hordes.

MILWAUKEE

A change made along film row was at
the Warner exchange here. Branch man-
ager R. H. Dunbar went to Chicago to be
district manager. Taking his place is Jack
Kalmenson who previously was branch man-
ager for Warners at Pittsburgh. . . . August
12 is the date set for Wisconsin Allied’s
next regional meeting to be held at Rice
Lake, Wis. The board of directors will hold
their meeting the night before. . . . Mrs.
Harry Lestikow, inspector at the RKO ex-
change, is celebrating her 25th wedding an-
niversary. . . . Florence Sutton, secretary
to Leu Elman, branch manager at RKO, is
mighty happy. Her husband, who has been
at the Veterans hospital due to wounds re-
ceived in Korea, is expected to be able to
come home in about three more months. . . .
High winds here recently did some damage
to one of the wings at the tower of the
Bluemound drive-in here, but it has since
been repaired.

MINNEAPOLIS

Neighborhood theatre operators report a
seasonal upturn in business with grosses
ahead of last year at this time also. . . .
Ruth Johnson, booker at Columbia, is en-
gaged to Rodger Deitz, also a booker at
Columbia. . . . Quad-States Theatre Service
is now handling the buying and booking for
the Lyric, Rugby, N. D., operated by Otis
Engen and Guy Troyer, and the State, Bot-
tineau, N. D., operated by Carter Troyer.

. . . Walter Everstad opened his Twilight

( Continued on opposite page )

MOTION PICTURE HERALD, JULY 25, 1953

( Continued from opposite page)
drive-in at Centerville, S. D. . . . Triangle
Outdoor Theatres is installing monkey zoos
as an added attraction for its drive-ins at
Minot, N. D., Mankato, Minn., and St.
Cloud, Minn. . . . Stanley Lambert, projec-
tionist at the Tower in Superior, Wis., died
of a heart attack. . . . J. W. MacFarlane,
branch manager of National Screen, is vaca-
tioning at his lake home near Glenwood,
Minn.

NEW ORLEANS

Garland Thornhil, who has managed the
Mitchell drive-in, Hammond, La. for the
past 4 years, has purchased it from J. T.
Mitchell. . . . Allied Theatre Owners of
Gulf States headquarters are urging all ex-
hibitors to sign the Korean Collection
Pledge and return it immediately to Louis
Boyer National Screen Service, who will
furnish the necessary trailer and other equip-
ment for the drive. . . . John Shaeffer, Sr.,
Shaeffer Film Delivery Service, and Mr.
Kemp, his associate in popcorn and supply
business, purchased the General Radiator &
Generator Co., Marrero, La. . . . J. E. Noel’s
new Community theatre, Bolton, Miss,
opened July 21. ... A. Hopkins’ 49 drive-
in, Jackson, Miss, closed. It was one of the
state’s first all-colored patronage drive-ins.
. . . A1 Durning, pioneer showman, both in
distribution and exhibition here in New
Orleans, is back again in a local hospital.
His host of friends wish for a speedy re-
covery. . . . Foster Hotrad, back in civilian
clothes after two years with the army sta-
tioned in Germany, is now with Paramount
Distributing Corp. in Atlanta. He was for-
merly office manager in the local exchange.

OKLAHOMA CITY

Oklahoma Tax Commission report tax for
the month of May, 1953 for theatres showed
323 returns and $30,189.04 tax, compared
with 316 returns, $30,799.76 tax for the
month of May, 1952. This indicates a de-
crease of 1.98 per cent. . . . The Will Rogers
theatre, is the first suburban theatre
equipped with stereophonic sound, pano-
ramic screen and 3-Dimension projection.
The new panoramic screen is the second
largest of its type in Oklahoma, Kreuger
Dillender, new manager announced. . . .
“Let’s Do It Again” is showing for its 3rd
big week at the State theatre. . . . Starlite
drive-in theatre, Shawnee, Okla., celebrated
its 5th anniversary July 15. All the kiddies
were given free candy. All cars were ad-
mitted for 50c a car for the anniversary
celebration.

OMAHA

The Cooper Foundation of Lincoln gave
$5,000 for one of the first donations to the
new Nebraska Independent College Founda-
tion, Inc., which filed for incorporation last
week with seven state colleges as charter
members. . . . The Oregon Trail drive-in
has opened at Hebron, Neb., and owner
Harold Struve is starting work on rebuild-
ing his Majestic theatre that was all but
demolished by a tornado. . . . Away on vaca-
tion are Evelyn Cannon, MGM office man-
ager; Warner salesman Bob Hirze; Myrtle
Snelling, Columbia secretary; Mel Kruse,
Pierce exhibitor ; Mort Ives, Co-Op Book-
ing Service ; and Donna Carpenter, RKO
biller. . . . Columbia salesman Ed Cohen’s
nationally-known German shepherd cham-
pion, Paladine of Grafmar, was killed by an

auto. . . . Mrs. Walter Green, owner of
FEPCO, is visiting in Boston. . . . Mr. and
Mrs. Merril Nygren opened a 250-car drive-
in at Oshkosh, one of the smallest cities in
Nebraska to have an outdoor theatre. . . .
Several of Omaha’s leading neighborhood
theatres are about ready to install 3-D. . . .
Ann Hamer has joined the Co-Op Theatre
Service staff.

PHILADELPHIA

New commander of the Variety Post,
American Legion, composed of members of
the local Variety Club, Tent No. 13, is Joe
Singer. . . . Isadore Perlin, city manager
in Camden, N. T., for the Stanley Warner
Theatres, said extensive damage was caused

at the circuit’s Lyric, closed for the past
six months, when vandals entered the house
and flooded the first floor and balcony by
turning on fire valves. . . . Motion Picture
Associates staged a dinner July 13 at the
Hotel Warwick as a testimonial to John
Turner, Stanley Kositsky, Mort Magill, Ben
Felcher and Ben Bache — all of whom re-
cently earned major promotions at the local
distributing companies. . . . Morris Gold-
berg is the new relief manager for the Stan-
ley Warner houses, currently at the Lane.
. . . Buckley Amusement’s Majestic, Shamo-
kin, Pa., closed for the remainder of the
Summer. . . . Tri-State Buying and Book-
ing Service here is now handling George
Gatta’s Dushore, Dushore, Pa., and Wyalus-
( Continued on following page)

MOTION PICTURE HERALD, JULY 25, 1953

( Continued from preceding page )
ing, Wyalusing, Pa. . . . A. C. Devens is
the new owner of the Himmler, Dallas, Pa.
. . . Haar’s drive-in, Dillsburg, Pa., with
a 520-car capacity, is now open. Vincent W.
Haar is the owner. . . . Mark Rubinsky’s
Uptown, Harrisburg, Pa., is the first neigh-
borhood house in that city to show 3-D film.

PITTSBURGH

Jack Kalmenson, branch manager for
Warners here, has been transferred to Mil-
waukee in a similar capacity. He will be
succeeded here by Jerry Wechsler of Cleve-
land. . . . The Strand theatre is getting an
elegant face lifting for the Fall. About
$10,000 is being spent in a new screen and
other equipment. . . . John Harris has ar-
rived here from Hollywood to assume talks
with the officers of the Harris Amusement
Company. . . . Dolores Schultz of the Fulton
staff is now Mrs. Gilbert Feller and she is
retaining her position. . . . Bobby Dunbar,
former Pittsburgher, has been upped to be
in charge of the Stanley Warner mid-west
territory. . . . Francis Guehl, Universal-In-
ternational exchange manager here, recently
took his first vacation in five years. He
took his mother to Canada for a two-week
rest.

PORTLAND

First run business has gone into a slump
here. . . . J. J. Parker’s United Artists thea-
tre shutters for a face lifting job after more
than 25 years of action. House featured a
single picture policy. . . . J. J. Parker’s pub-
licity director is back at his desk after a
week’s vacation. . . . Evergreen circuit man-
agers are off to Seattle for a two-day busi-
ness meet and a preview of the new Cinema-
Scope screen with stereophonic sound. . . .
Orpheum theatre gets new CinemaScope
screen installed this week. . . . Jack Matlack
is off to Seattle on business. . . . Mayfair
manager, Herb Royster, is back from vaca-
tion.

PROVIDENCE

Hundreds of Rhode Islanders were
shocked to learn of the sudden death of
Howard C. Burkhardt who managed Loew’s
State Theater from 1935 to 1938. Mr. Burk-
hardt, who passed away in Kansas City, en-
deared himself to all while managing the
local house. . . . Western films, celebrating
their golden anniversary year, are the sub-
ject of the annual summer Motion Picture
Study Group series of programs by the Stu-
dent Union of the University of Rhode
Island. In the four-week series, films rang-
ing from “The Great Train Robbery” to
“High Noon” will be shown. . . . Sir Cedric
Hardwicke made a personal appearance at
the Somerset Playhouse in “Island Visit.”

. . . “Shane” opened auspiciously at the
Strand. . . . The Cranston Auto theatre
presented an all-3-D program headed by
“Fort Ti.”. . . . The Kent in nearby East
Greenwich is now equipped for 3-D show-
ings. “House Of Wax” played to good
attendance there.

SAN FRANCISCO

Top grosser was “Shane” at the Para-
mount, the picture leading the boxoffice
count here for the past three weeks. The
film will hold four weeks there. . . . Jerry
Zigmond, United-Paramount western divi-
sion manager, was scheduled to be in from

Los Angeles for conferences with Earl
Long, U-P district manager, July 22-25. . . .
B. B. Baird opened his new drive-in at
Garberville, July 17 ... . Hulda McGinn,
California Theatres Association legislative
representative, was called to Washington by
COMPO for contact with western senators
on the tax repeal campaign. . . . Changes in
management on the street include promotion
from assistant, St. Francis to assistant,
Paramount, of Arnold Courtlier. Don Haley
of Paramount, Kansas City, replaced Court-
lier at the St. Francis; Don Wine, assistant,
Orpheum, resigned and was replaced by
John Boyle; James Ambrose, United Artists
assistant, resigned. . . . Anne Belfer, North
Coast publicist, will vacation for two weeks
starting July 27.

ST. LOUIS

The Capitol theatre, 900-seater in down-
town St. Louis, will soon be razed to erect
a parking garage for the May Department
Store (Famous Barr). . . . Dave Arthur,
head booker for Fanchon and Marco, St.
Louis Amusement Co., back from recent trip
to Boston. . . . Jim Hill and Frances Mur-
phy, both of Warner Bros., back from vaca-
tions. . . . Exhibitors in St. Louis recently:
Walt Kirkham, Commonwealth Theatres,
Kansas City ; Harry Blount, Potosi, Mo. . . .
Forrest Pirtle, Jerseyville, 111., and Howard
Busey, of Jacksonville, Illinois, El Frank
Theatres. . . . The Lemay theatre and the
Southway, both South St. Louis houses,
closed for the remainder of the summer. . . .
The St. Louis County Circuit Court has
ruled that it had proper legal jurisdiction to
stop picketing of the suburban LaCosa thea-
tre in the Village of St. Ann. Operator
Hugh Graham in a petition indicated that
the union had endeavored to force him to
employ two motion picture operators in the
projection booth instead of one.

TORONTO

Charges of condficting a lottery against
Tent 28, Variety Club, as result of giving
away a car on Variety night, are believed
to have been dropped. Thus far no sum-
mons has been served on any members of
the executive of the club, and since it was a
charity affair, the government believed it
unwise to lay the charge. . . . Dick O’Hagan
is filling in the movie critic’s column on the
Toronto Telegram while the regular Ken
Johnstone is away two weeks, and Hugh
Thomson has been filling in for Jack Karr
while the latter has been on other detail for
the Toronto Star. . . . Morris Stein, eastern
division manager of Famous Players Cana-
dian Corp., on an inspection trip to Halifax
and the Maritimes. . . . Winners of the Mo-
tion Picture Softball League this year was
the Theatre Confections Limited team which
beat the Film Exchange Employees in the
final game. . . . Plans for a 1,000-seat house
in downtown Regina have been announced
by a company headed by Henry Bercovich,
with construction to start next spring.

VANCOUVER

Mary Crompton, of the Strand ; Rose
Kearns, of the Cinema, and Billy Tack, of
the Vogue, are holidaying in the Okanagan
fruit belt. . . . Janet Tande, Paramount, and
Jackie McDermott, of MGM, back from a
California vacation. . . . Wally Hopp,
Cinema manager, is visiting his parents in
Saskatchewan. . . . Dan Ferguson, of the
Lux, on an auto vacation at Winnepeg. . . .
Norman Egilson, manager of the Odeon,

Abbotsford, was transferred to the Odeon,
Haney, replacing Jim Fitz-Henry, who re-
tired to live in California. . . . Percy Dau-
pinee, veteran projectionist at the Columbia,
New Westminster, is convalescing at Gen-
eral Hospital, Vancouver, following surgery.
. . . Anne Coroliuk, JARO cashier, will
marry Verne Pendleton in September. . . .
The North-Star at Langley Prairie, in the
Fraser Valley, a 400-drive-in built by Reder
& Boyes, has opened. . . . Tish McLeod,
daughter of Roy McLeod, manager of the
Odeon-Hastings, is in town on her honey-
moon. Tish is now Mrs. Sheiness of Brook-
lyn, N. Y. . . . Thanksgiving Day in Canada
will be held Oct. 12. . . . Perry Wright, Em-
pire-Universal manager, back from a
Toronto sales convention

WASHINGTON

Gerald Warner, general manager of Lo-
pert Washington Theatres, invited Washing-
ton cab drivers to a special preview of
“Moon Is Blue” which opened at both the
Playhouse and Dupont theatres. . . . Newest
member of Variety Club Tent No. 11 is
James C. Hagerty, secretary to President
Eisenhower. . . . C. J. DeMaio, formerly
with Kay Film Exchanges, has joined the
Sandy Film Exchange as a salesman. . . .
The Variety Club will have a general mem-
bership meeting August 3 at the Willard
Hotel as a kick-off for the 1953 Welfare
Awards Drive. . . . Morton Gerber, presi-
dent of District Theatres, has moved into
his new home in Chevy Chase, Md. . . .
John and Maureen O’Leary, children of 20th
Century-Fox salesman John O’Leary, had a
dancing engagement at the Steel Pier, At-
lantic City July 19. . . . The Arlington-Fair-
fax Heart Association received a 16mm
projector and screen from the Variety Club
of Washington, July 16. . . . Irwin Lust,
son of Ben Lust, of the Ben Lust Theatre
Supply Co., is recuperating from injuries
resulting from his being run down by an
automobile.

California Theatre Group
Reelects All Officials

SAN FRANCISCO : All directors and offi-
cers of the California Theatres Association
were reelected at a recent meeting here of
the organization. L. S. Hamm was chosen
president for the third year. The officers of
the organization are Ben Levin, first vice-
president ; Abe Blumenfeld, second vice-
president ; Graham Kislingbury, secretary ;
Boyd Sparrow, treasurer ; Charles M. Thall,
executive manager ; Hulda McGinn, legisla-
tive and public relations representative. Re-
elected directors were Mark Ailing, Roy
Cooper, Irving M. Levin, Earl Long, Rich-
ard Nasser, John J. Parsons and C. V.
Taylor.

"Main St. to Broadway"

At Broadway Astor

The New York premiere of “Main Street
to Broadway,” Lester Cowan production re-
leased by MGM, will be at the Astor thea-
tre on Broadway. The date is uncertain,
the film following “Stalag 17,” now at the
Astor. Local premieres of the film will be
held late this month in other cities. An all-
star cast from stage and screen is in the
film.

MOTION PICTURE HERALD, JULY 25, 1953

Gain of 200%
Abroad Cited
At U.A. Meet

LONDON : United Artists’ first inter-con-
tinental sales convention, which commenced
Monday, at the Savoy Hotel was attended
by more than 100 members of the company’s
foreign distribution organization. Repre-
sentatives of 17 nations in Europe, the mid-
dle East, Asia and Australia took part in
the four-day meeting.

Arnold M. Picker, vice-president in
charge of foreign distribution, presided over
the meeting. He told delegates that the
company’s foreign gross for the first six
months of the year had risen more than
200 per cent over the comparable period of
1952.

Robert S. Benjamin, chairman of the
board of directors underscored U.A.’s policy
that “no screen anywhere in the world
would be lost to the industry during this
time of transition.” Max E. Youngstein,
vice-president, outlined the promotion and
advertising programs now underway for
product soon to be released abroad.

Convention delegates were able to see
screenings of 13 U.A. releases during the
course of the convention. The meeting was
broken into special territorial sessions to
discuss problems peculiar to certain areas
and countries.

House Votes Information
Agency Reorganization

WASHINGTON : By an overwhelming
vote last Friday the House of Representa-
tives approved the President’s reorganiza-
tion plan to set up the International Infor-
mation Administration as an independent
agency. The information group, in charge
of the Government’s overseas information
and film program, will he subject to State
Department rule only on policy matters. The
plan, which received 310-11 voting support,
is expected to go into effect early next month
unless the Senate vetoes it by August 1.

Moore Award Winners
Tour for Warner Film

KNOXVILLE: Four winners of the Grace
Moore Scholarship of the University of
Tennessee are currently touring 22 Tennes-
see cities to herald the world premiere of
Warner Brothers’ “So This Is Love,” the
story of Grace Moore, which opens July 29
here at the Tennessee theatre. The girls are
giving concerts on the stages of local thea-
tres where the film will be shown following
the premiere, which is being held for the
benefit of the scholarship fund.

Establishes Film Service

Harold L. Smith has established a mo-
tion pictures service in Seine, France, to
serve American film producers interested in
producing in that country.

Name Neal Keehn Head of
"Lab" Association

Neal Keehn, president of the Calvin Com-
pany, Kansas City, last week was elected
president of the new Association of Cinema
Laboratories. John Stott, vice-president of
Du-Art, New York, was elected vice-presi-
dent. Byron Roudabush, head of Byron,
Inc., Washington, was named secretary ; and
George Colburn, president of George Col-
burn, Inc., Chicago, became treasurer. The
Association proposes to investigate possi-
bilities of a credit exchange ; institute a
membership drive; scrutinize technical im-
provements; begin a publicity campaign;
attempt to devise a method of obtaining

screen credit for laboratories ; and plans to
bring manufacturers together on a compat-
ible telefilm process.

MPEA Absorbs Function
Of MPAA Foreign Unit

The Motion Picture Association of Amer-
ica has abolished its international depart-
ment and its functions and personnel have
been absorbed by the Motion Picture Ex-
port Association. The change is an organi-
zational one with no special significance,
according to a spokesman for the MPAA.
There have been no changes of personnel in
either of the organizations, the spokesmen
for the Association said.

MOTION PICTURE HERALD, JULY 25, 1953

"Luther" to
He Handled
By N.S.S.

For the first time, National Screen Ser-
vice will distribute a feature picture. It is
Louis De Rochemont Associates’ “Martin
Luther,” produced in Germany by Lothar
Wolff, and already having pre-release en-
gagements in such cities as Houston, Minne-
apolis, and Hickory, N. C., and booked by
RKO Theatres for similar engagements in
Columbus, Cincinnati, Des Moines and
Omaha.

National Screen, for a fee, is to handle
everything, advertising and displays and
accessories, except selling. That will be done
by the De Rochemont sales staff, headed
by new general sales manager, Cresson H.
Smith, who made the disclosure Monday in
New York. The deal is for one picture.
De Rochemont Associates have another,
mostly in animation, a feature being com-
pleted in England, “Animal Farm.”

Meanwhile, Mr. Smith cited National
Screen Service’s nationwide facilities. He
wants long runs, and will ask advanced ad-
missions and three-a-day showings, he said,
and cited the Minneapolis engagement,
where the picture has played 25 days at the
Lyceum. The picture also was to open Wed-
nesday at the Garrick theatre, Duluth, he
noted. It will not play in churches, until
theatre engagements are over, he promised.

Newsreel Firms Laud
Work on Mosher Bill

Representatives of the five American
newsreel companies have signed a resolution
lauding the work of all those instrumental
in the passage of the Mosher bill, which
abolishes newsreel censorship in Ohio.
Among those cited in the resolution were
State Senator Charles A. Mosher, Eric
Johnston and the staff of the Motion Pic-
ture Association of America, and the Inde-
pendent Theatre. Owners Association of
Ohio. The resolution was signed by Wil-
liam B. Zoellner,. MGM ; Oscar Morgan,
Paramount; Lem Jones, 20th-Fox; Irving
Sochin, Universal, and Norman Moray,
Warners.

Martin and Lewis Perform
In "Caddy" Tournament

Dean Martin and Jerry Lewis, stars of
Paramount’s “The Caddy,” which will open
at the Loew’s Ohio, Columbus, August 17,
will be in the National Caddy Association
annual golf tournament which opens that
day in that city. The Professional Golfers
Association, sponsor, is planning to have
also as participants professional golfers who
appeared with the comedians in the film, and
also other golf masters. Some who are in
the film are Ben Hogan, Sam Snead, Byron
Nelson, Julius Boros, Jimmy Thomson, and
Harry Cooper.

OKLAHOMA HOUSE PLANS
EDUCATIONAL PROGRAMS

OKLAHOMA CITY, OKLA.: A pro-
jected public service program
planned by Melvin Jackson, manager
of the Capitol theatre, will convert
his theatre into a part-time school.
Weekly educational presentations, to
be priced at cost for students, will be
coordinated with current studies in
the city high schools. Typical of the
planned programming would be the
showing of "Hamlet" or "Macbeth"
when the students are studying Eng-
lish literature. Mr. Jackson, currently
conferring with local teachers to
ascertain their needs, plans to have
a year's schedule set by Fall.

Mark Mickey Mouse's
25th Anniversary

In conjunction with the celebration start-
ing next month of Mickey Mouse’s 25th
anniversary, the September issue of the
"Woman’s Home Companion” will carry a
two-page, four-color “spread” on a Mickey
Mouse Birthday Party. Walt Disney Pro-
ductions and RKO Radio will reissue five
of Mickey Mouse’s most popular cartoons
and one “Goofy” cartoon. All may be played
either singly or as a 47-minute package
under the main title of “Mickey’s Birthday
Party.”

Altec Executives and
Division Heads Meet

Division managers of the Altec Service
Corporation currently are engaged in a series
of conferences with New York headquarters’
executives at the home office. Division
heads taking part in the conferences are
M. G. Thomas, F. C. Dickelv, L. J. Patton,
C. S. Perkins, C. J. Zern and Dave Peterson.
H. M. Bessey, executive vice-president, L. D.
Netter, Jr., general sales manager, E. O.
Wilschke, operating manager, and P. F.
Thomas, treasurer, are representing the
home office.

"Eternity" Will Open
At Capitol, New York

Columbia’s picturization of James Jones’
best selling novel, “From Here to Eternity,”
will open at the Capitol Theatre, New York
City, following two years of preparation.
It will have stereophonic sound on a wide
screen. The picture, which bears the book’s
title, stars Burt Lancaster, Montgomery
Clift, Deborah Kerr, Frank Sinatra, and
Donna Reed. Fred Zinneman directed,
Buddy Adler produced, and the screenplay
is by Daniel Taradash.

Golden to Venice Fair

Nathan D. Golden, film chief of the Com-
merce Department, has been named to
represent the United States Government at
next month’s Venice Film Festival.

independent
Belease for
Bisney Show

Walt Disney Productions is planning to
release independently a 135-minute feature
program, comprising the studio’s first True
Life Adventure feature, “The Living Des-
ert,” and companion subjects. The com-
panion subjects are “Ben and Me” and
“Stormy, the Thoroughbred Colt.” (Details
of new Disney-RKO pact are on page 20.)

“The Living Desert” runs 70 minutes
while “Ben” and “Stormy” run 30 and
35 minutes, respectively. Only “Ben” is in
cartoon form, the others are live.

Current release plans have scheduled the
picture to open in a New York theatre and
remain there for a run of approximately six
months. Several months after the New
York opening, the film will be booked in
several key cities on an extended-run basis.
RKO Radio will continue to handle all other
Disney product.

Roy Disney, president, and other com-
pany executives, are currently in New York
discussing release plans.

Postpone Schine Appeal
On Disposal Extension

BUFFALO : The hearing on the appeal of
Schine Theatres, Inc., for an extension on
the time allowed to dispose of 25 theatres,
has been postponed until September 21 by
Federal Judge John Knight. The disposal
order, given in an anti-trust judgment June
24, 1949, called for the disposition of 39
theatres by June 24 of this year but the
corporation obtained one extension after
disposing of 14. The judge now will hear
arguments on a motion to modify the origi-
nal decree because of the “present state of
the industry.”

Censorship Groups Hit
Exhibition of "Moon"

Exhibition of United Artists’ “The Moon
Is Blue,” has run into three more stumbling
blocks as censorship groups have withheld
licenses on the film. The Maryland State
Board of Motion Picture Censors rejected
the picture on the grounds that it was “im-
moral, indecent and obscene.” Members of
the St. Paul, Minn., City Council have in-
structed Anthony Quinn, City Attorney, to
ascertain what steps can be taken to ban
the film in that city. In Detroit, the Police
Commissioner has withheld a decision on
the licensing of the film until a group of
civic and church leaders screen the picture.

Set "Cruel Sea" Premiere

The American premiere of “The Cruel
Sea,” a J. Arthur Rank production, has been
set for August 11 at the Fine Arts theatre,
New York, it has been announced by
Charles J. Feldman, general sales manager
of Universal, releasing the film in the U.S.

MOTION PICTURE HERALD, JULY 25, 1953

as MAGGIO

"He's such a comical little

runt. He makes me

want to cry while !'m
laughin' at him."

Respond to
Korea Fund
Strive Flea

President Dwight D. Eisenhower’s re-
quest for theatre cooperation through audi-
ence collections in the American-Korean
Foundation Relief Drive for civilians in
Korea is continuing to gain support in the
industry. The President makes a personal
appeal for funds in the trailer to be used in
connection with the campaign which starts
July 27.

The California Theatres Association has
set August 2 as Korean War Relief Day
and statewide collections will start that day.
Approximately 350 theatres in the organiza-
tion have already signed to take part in the
campaign and it is expected the entire 500
theatre membership of Northern California
Theatres will sign by deadline time.

The Texas Council of Motion Picture Or-
ganizations has wired the President pledg-
ing full support to the campaign and assur-
ing him that Texas theatre owners will take
part in the audience colllections.

Although a resolution was passed in 1945
opposing audience collections in principal,
the board of Allied Theatre Owners of In-
diana has approved a resolution to support
the Korean relief drive. The board an-
nounced that the “unique circumstances sur-
rounding this instance warranted an excep-
tion” and would in “no way serve as a
precedent to any other agency.”

Bulletins of the Allied Gulf States and
Allied Motion Picture Theatre Owners of
Western Pennsylvania organizations also
urged exhibitor cooperation.

TNT and IBC Discussing
Title Bout Telecast

Representatives of Theatre Network Tele-
vision have been conducting talks with In-
ternational Boxing Club negotiators in an
effort to acquire telecasting rights for the
title boxing match between Rocky Marciano
and Roland La Starza set for September
24. Box-Office Television, Inc., a recent
arrival in the theatre TV field, is currently
considering the possibility of submitting a
bid for the fight. Preliminary negotiations
between TNT and IBC have been going on
over the past month but according to Na-
than Halpern, TNT president, the IBC has
not decided whether to use home or the-
atre TV.

TV Audience Witnesses
"Feather" Premiere

A television audience estimated at more
than 2,000,000 witnessed the dual-theatre Los
Angeles premiere of Warner Brothers’ “The
Charge at Feather River.” Guy Madison,
star of the film, and other celebrities were
present at both the Hollywood and Down-
town Paramount theatres for the opening
night ceremonies. KECA-TV, Los Angeles,
covered the festivities.

Stanley Warner Payment
To Fabian Disclosed

For three years, Stanley Warner Corpo-
ration will pay the Fabian Enterprises, Inc.,
$3,000 per week for the joint services of
S. H. Fabian, president, and Samuel Rosen,
vice-president, the Stanley Warner report
to the Securities and Exchange Commission
discloses. Mr. Fabian is president of Fabian
Enterprises, and Mr. Rosen secretary-treas-
urer. The deal also provides neither execu-
tive may give to the latter organization more
than one-third of his regular time. There
also is a participation clause: if net profits
are between $2,500,000 and $5,000,000, five
per cent will accrue to Fabian Enterprises;

if they pass $5,000,000, seven and one-half
per cent will accrue. Fabian Enterprises is
a family corporation.

Newspaper Promotion
For Disney's "Sword"

SAN FRANCISCO : An exploitation con-
test involving Walt Disney’s “The Sword
and the Rose” has been sponsored by the
“San Francisco Examiner.” The film had its
premiere Tuesday at the St. Francis theatre.
The contest, set up by RKO Radio’s David
Cantor, involves a brief letter in which the
writer tells why he would like to visit the
land of “The Sword and the Rose.” The
winner will receive a free trip to England.

-S'"'5

MOTION PICTURE HERALD, JULY 25, 1953

Allied Artists

ROAR OF THE CROWD: Howard Duff, Helene
Stanley — This picture, in Trucolor, is just made for
the small theatres that want to play action pictures,
for young and old will come to see it. Lots of good
racing thrill shots in it, the stars are also good and
the color can’t be beat. Doubled with “White Light-
ning” (AA) and did excellent business. Weather hot
(103)! Played Saturday, July 4. — Charles Reynolds,
Marco Theatre, Waterford, Calif.

Columbia

ALL ASHORE: Mickey Rooney, Dick Haymes —
Very good. — S. T. Jackson, Jackson Theatre, Flo-
maton, Ala.

JACK McCALL, DESPERADO: George Montgom-
ery, Angela Stevens — Good Technicolor western. — S. T.
Jackson, Jackson Theatre, Flomaton, Ala.

LAST OF THE COMANCHES: Broderick Craw-
ford, Barbara Hale — This picture should do well in
small towns, where they like Indians and cavalry
action. It was different than most westerns. I
would say it will please on a top half in the small
towns. Did very well here, and it’s priced right.
B. O. good; weather warm. Flayed Thursday, Fri-
day, June 25, 26. — Charles Reynolds, Marco Theatre,
Waterford, Calif.

TARGET HONG KONG: Richard Denning, Nancy
Gates — Good little program picture which I used on
a double bill. — S. T. Jackson, Jackson Theatre, Flo-
maton, Ala.

Metro-Gold wyn-Mayer

CLOWN, THE: Red Skelton, Jane Greer — A good
picture, but not the kind they expect of Red Skelton.
The kiddies felt a bit of a let-down, for although
advertised as a comedy-drama, the audience expected
the usual Skelton broad comedy. Worth playing,
though. Played Wednesday, Thursday, June 24, 25.
— D. P. Savage, Capitol Theatre, Listowel, Ont.,
•Canada.

I LOVE MELVIN: Donald O’Connor, Debbie Rey-
nolds— Here is a small town natural in a musical
comedy in Technicolor that is not too long, has lots
of laughs and nice singing by both stars, also a
good story. You just can’t go wrong on this picture.
Weather hot and soft ball game Friday night, but
still they came. B. O. very good. Played Thursday,
Friday, July 2, 3. — Charles Reynolds, Marco Theatre,
Waterford, Calif.

REMAINS TO BE SEEN: June Allyson, Van
Johnson — Amusing and entertaining. It strives desper-
ately to be another “Arsenic and Old Lace” (WB),
but that doesn’t quite come off. The “jive” element
should appeal to the younger set. It’s just good
enough to overcome some very weak scripting and
plotting. Allyson and Johnson are a good team.
Played Tuesday, Wednesday, Thursday, June 23,
24, 25/ — William A. Blair, Vaca Theatre, Vacaville,
Calif.

SMALL TOWN GIRL: Jane Powell, Farley Granger
— Ran this with “Jeopardy” (MGM) to an average
crowd. Really thought this would pack them in be-
cause I got it hot 30 days after first run. Our patrons
do not see all the publicity some of the features get,
therefore are not familiar with the product. Played
Sunday, Monday, June 21, 22. — George F. Tatar, Lock-
port Drive-In Theatre, Gasport, N. Y.

SOMBRERO: Ricardo Montalban, Cyd Charisse —
This picture is not good for the small towns because
the story is father mixed up and the stars are not
well known. The picture and story may be all right
for the larger places, but not here. B. O', below aver-
age, weather good. Played Sunday, Monday, June
21, 22. — Charles Reynolds, Marco Theatre, Water-
ford, Calif.

YOUNG BESS: Jean Simmons, Stewart Granger,
Deborah Kerr — This is a wonderful picture. Whether
the release timing with the Coronation accounts for
it doing so well is uncertain, but I believe it would
hold its own at any time. Saturday night we had to
turn them away. Played Friday, Saturday. Sunday,
Monday, Tuesday, Wednesday, Thursday, July 10, 11,
12, 13, 14, 15, 16. — Arthur J. Silberman, Starlite

Drive-In Theatre, Oak Lawn, 111.

Paramount

COME BACK, LITTLE SHEBA: Burt Lancaster,
Shirley Booth — A good picture, but I believe patrons
are coming to see the Academy Award winner and not
the picture itself. It is this, I believe, that will
make it an above average grosser. Played Friday,
Saturday, Sunday, Monday. Tuesday, Wednesday,
Thursday, June 26, 27, 28, 29, 30, July 1, 2. — Arthur
T. Silberman Starlite Drive-In Theatre, Oak Lawn,
111.

GIRLS OF PLEASURE ISLAND: Don Taylor,
Leo Genn — An ideal little comedy for summer theatre
goers. The humor is such that it keeps the patrons
chuckling all the way through the picture. Played
Wednesday, Thursday, July 1, 2. — D. P. Savage,
Capitol Theatre, Listowel, Out., Canada.

STARS ARE SINGING, THE: Rosemary Clooney,
Lauritz Melchior— Well, here is one of the best little
musical pictures that I have played for a long time.
It was well liked by everyone who saw it. We had
more good comments on it than any picture we have
played for quite a while. Book it for small towns.
Played Tuesday, Wednesday, June 16, 17. — W. W.
Kibler, Caroline Theatre, Bowling Green, Va.

STOOGE, THE: Dean Martin, Jerry Lewis — Movies
are better than ever, yes, I agree, especially after
seeing this one. I actually believe this is the first
team who consistently improve with each picture.
But how they can improve on this one, I don’t know.
In my estimation, it is the TOPS. Drew very well
considering the beastly weather. An odd coincidence,
our comoetitor was also playing a Martin & Lewis,
which might have hurt us somewhat. Played Sunday,
June 28. — Marcella Smith, Vinton Theatre, McArthur,
Ohio.

STOOGE, THE: Dean Martin, Jerry Lewis — One
of our poorest Sunday and Mondays ever. Not up to
the Martin & Lewis standard. This did not draw in
our locality at all. Played Sunday, Monday, June
7-8. — George F. Tatar, Lockport Drive-In Theatre,
Gasport, N. Y.

THUNDER IN THE EAST: Alan Ladd, Deborah
Kerr — Here is a film I didn’t expect too much from.
It turned out to have most of what Ladd fans want
in a Ladd film without being too incredible for the
other patrons. Boyer puts in a very good performance.
Business average. Played Wednesday, Thursday, June
10. 11. — Lew Young, Norgan Theatre, Palmerston.

Ont., Canada.

RKO Radio

LUSTY MEN, THE: Susan Hayward, Robert
Mitchum — A natural for our locality as well as a good
picture. Business delightful! Played Thursday, Fri-
day, Saturday, June 25, 26, 27. — Elaine S. George, Star
Theatre, Heppner, Ore.

Realart

HOLD THAT GHOST: Bud Abbott, Lou Costello—

We played this on the Fourth of July weekend.
Double billed it with a Roy Rogers’ .reissue. Due to
the fact that we always have a big celebration here
on the fourth, and also that it fell on Saturday, I did
not expect to meet expenses, but we had a better
weekend than we’ve had in many a day! I was
astounded. Another weekend like this one and I can
pay my Federal tax instead of worrying about going
to jail. Played Friday, Saturday, July 3, 4. — Marcella
Smith, Vinton Theatre, McArthur, Ohio.

Twentieth Century-Fox

CALL ME MADAM: Ethel Merman, Donald
O’Connor — We barely reached average business on
this one, but we didn’t see a patron who didn’t have
a good time. They were talking about it for days
afterward. Played Sunday, Monday, June 28, 29. —
Elaine S. George, Star Theatre, Heppner, Ore.

I DON’T CARE CIRL, THE: Mitzi Gaynor, David
Wayne — The producers apparently assumed everyone
to be familiar with the life of Eva Tanguay. The pic-
ture was delightful and brought many fine comments,
all ending with “But what was wrong with Eva
Tanguay?” The little prologue left most of our
patrons in a state of confusion over an otherwise
perfect little picture. Played Tuesday, Wednesday,
June 16, 17. — Elaine S. George, Star Theatre, Heppner,
Ore.

United Artists

BREAKING THE SOUND BARRIER: Ann Todd,
Ralph Richardson — Here is a picture to be careful
of for these reasons — stars unknown and English
actors ruin the trailer with their accent. Too long
to double bill and not good enough for a single. It
is a good picture, but try to get people to come. TV
has lots like this one. B. O. very poor, weather warm.
Small towns, beware. Flayed Sunday, Monday, July
5, 6. — Charles Reynolds, Marco Theatre, Waterford,
Calif.

LIMELIGHT: Charles Chaplin, Claire Bloom — Here
is a picture to stay away from. I played this first
run, put out throw-aways and a 2x10 cut in the paper
for a week before playdate, but advertising was
wasted. The picture in itself is all right, but Chaplin
will not bring them in. Should have left it lay on the
booth floor and gone fishing. Weather warm, B. O.
very poor. Beware, small towns. Played Sunday,
Monday, June 28, 29. — Charles Reynolds, Marco Thea-
tre, Waterford, Calif.

Universal

ABBOTT & COSTELLO GO TO MARS: Bud

Abbott, Lou Costello — My patrons enjoyed this much
better than “Lost in Alaska”. — S. T. Jackson, Jackson
Theatre, Flomaton, Ala.

GIRLS IN THE NIGHT: Joyce Holden, Glenda
Farrell — Good. — S. T. Jackson, Jackson Theatre,
Flomaton, Ala.

Warner Bros.

ABBOTT & COSTELLO MEET CAPTAIN KIDD:

Bud Abbott, Lou Costello — Not much laughter and
some walkouts. Played Thursday, Friday, Saturday,
June 18, 19, 20. — Elaine E. George, Star Theatre,
Heppner, Ore.

JAZZ SINGER, THE: Danny Thomas, Peggy Lee

( Continued on opposite page )

MOTION PICTURE HERALD, JULY 25, 1953

( Continued from opposite page)

Just didn’t click at all, no fault of the picture, but
not the type for small town and rural patronage.
Played Thursday, Friday, July 9, 10.— D. P. Savage,
Capitol Theatre, Listowel, Ont., Canada.

WINNING TEAM, THE: Doris Day, Ronald Rea-
£an A good baseball picture. If your customers like
baseball, play it. Played Sunday, Monday, June 7, 8 —
Milton Dorriety, Star- Vue Drive-In Theatre, Georgi-
ana, Alabama.

WISH YOU WERE HERE: Technicolor Special-
Excellent two reeler showing the attractions of Flor-
ida.— S. T. Jackson, Jackson Theatre, Flomaton, Ala.

Shorts

Columbia

GRIZZLY GOLFERS: Mr. Magoo Cartoon — The
best cartoons cf the Columbia family. — Milton Dorriety,
Star-Vue Drive-In Theatre, Georgiana, Ala.

MICKEY ROONEY, THEN AND NOW: Screen
Snapshots — This short was a flop here — Sharon Boden-
stein, Telepix Theatre, Boston, Mass.

MAKE BELIEVE REVUE: Color Favorite — Un-
doubtedly the worst cartoon I have ever seen. The
patrons were restless during the eight minutes it was
on the the screen. Columbia had better stop reissuing
these poor cartoons. — Mel Edelstein, Lybba Theatre,
Hibbing, Minn.

Metro-Goldwyn-Mayer

AQUATIC KIDS: Pete Smith Specialty — This Pete
Smith Specialty is just fair. It shows youngsters water
skiing in Florida. Could be termed as a sport reel.—
Mel Edelstein, Lybba Theatre, Hibbing, Minn.

’FRAIDY CAT: Cartoon — Good Tom & Jerry short.
— S. T. Jackson, Jackson Theatre, Flomaton, Ala.

LAND OF THE UGLY DUCKLING: Fitzpatrick
Travel Talks — We ran this immediately after “Hans
Christian Andersen.” It should have preceded that
picture, as it would have sold more tickets than the
“Hans” trailer. Excellent! — J. M. Gow, Capitol Thea-
tre, Nanaimo, B. C., Canada.

RKO Radio

LET’S STICK TOGETHER: Walt Disney Cartoon —
Walt Disney hit the jackpot with this cartoon. It's
one of the best he’s ever made, in my opinion. Donald
Duck and a little bee are the main characters, and
it’s very cleverly done. — Mel Edelstein, Lybba Thea-
tre, Hibbing, Minn.

Twentieth Century-Fox

HANSEL & GRETEL: Terrytoon — Just an average
cartoon — Milton Dorriety, Star-Vue Drive-In Theatre,
Georgiana, Ala.

Warner Bros

CRUISE OF THE ZACA: Special — An addition to
any program — Elaine S. George, Star Theatre, Hepp-
ner, Ore.

t • '» 1 v ' ‘ ’ 1 i

EVERY DOG HAS HI9 DAY: Snorts Parade— A
very good short which was liked by everyone,
especially the kids. Thanks. Warner Bros., for a
very good short. — James Hardy, Shoals Theatre,
Shoals, Ind.

FRESH AIREDALE: Blue Rihbon Hit Parade —
Here’s a cute cartoon about a disloyal pooch that
brought the house down. — Bob Walker, Uintah Thea-
tre, Fruita, Colo.

YO HO WONDER VALLEY: Sports Parade— This
short subject is in Technicolor, but it is not a sport
reel. In fact, it is practically a travel talk. The
scenery is very pretty, but that is all the reel con-
sists of. Yo Ho Wonder Valley is up in British
Columbia, in case you’re wondering about the title. — ■
Mel Edelstein, Lybba Theatre, Hibbing, Minn

Paramount Pact Film
Starts Production

ROME : Production has begun on “Helen
of Troy,’’ color by Technicolor film being
produced by Ponti De Laurentiis Studios.
The film is part of an agreement between
the Italian studio and Paramount Pictures,
which has a first option to distribute the
production, which stars Silvana Mangano.

Kentucky Exhibitor Group
Reelects All Officers

LOUISVILLE : All the officers of the Ken-
tucky Association of Theatre Owners were
reelected at the annual election meeting held
here recently. Reelected were Ralph E. Mc-
Clanahan, president ; E. L. Ornstein, first
vice-president; C. R. Buechel, treasurer;
Neil G. Borden, secretary and assistant
treasurer; Henry J. Stites, general counsel.
J. E. Isaac was reelected chairman of the
board of directors. . Other directors reelected
were Jack Keiler, W. E. Horsefield, D. Irv-
ing Long, C. K. Arnold, Tom Hill, Joe
Isaac, and Andy Anderson. A. N. Miles,
John Keck and Foster Lane were elected

district representatives on the board. Bob
Enoch and Mrs. Clyde Marshall were
elected directors-at-large.

MGM Inaugurates New
Color Stills Service

Starting with “Latin Lovers,” all MGM
features in color will be serviced with color
scene stills — in the “A Sets” — instead of
black and white stills. The new service will
consist of 12 scenes in color showing stars
and special highlights from the production.
The “B Sets” of stills, comprised of adver-
tising and publicity photos, will continue in
black and white.

MOTION PICTURE HERALD, JULY 25, 1953

Court Clours
‘ 'Mirucle 99

CHICAGO : Holding that “The Miracle” is
neither obscene nor immoral, Judge Harry
M. Fisher of circuit court here has ruled
that the film may be exhibited in this city.
The judge based his decision on a ruling by
the United States Supreme Court reversing
a New York decision that prohibited the
showing of the film in that state.

Judge Fisher’s ruling came after the
American Civil Liberties Union had peti-
tioned to have the Chicago Police Censor
Board ban of “The Miracle” overruled. One
of the major points of the petition — the con-
stitutionality of precensorship practiced by
the Chicago police board — was sidestepped
by the judge in giving his decision.

John C. Meniphy, Assistant Corporation
Counsel for Chicago, has indicated he will
appeal the decision to the Illinois Supreme
Court. Attorneys for the civil liberties
group have indicated that they will file a
cross complaint challenging the constitution-
ality of the city’s censorship ordinance.

Industry Leaders Join
Joint Defense Drive

Thirty-eight industry executives have ac-
cepted positions on the 1953 Joint Defense
Appeal drive to raise $5,000,000 to finance

the activities of the American Jewish Com-
mittee and the Anti-Defamation League of
B’nai B’rith, it has been announced by Wil-
liam J. German, chairman of the group.
Those named as associate chairmen include
Barney Balaban, Robert S. Benjamin, Nate
J. Blumberg, Harry Brandt, Jack Cohn, Ned
E. Depinet, Matthew Fox, Leon Goldberg,
Leonard Goldenson, J. R. Grainger, Will H.
Hays, Harry Kalmine, Mac Kriendler, A1
Lichtman, Abe Montague, Charles C. Mos-
kowitz, Milton R. Rackmil, Samuel Rinzler,
Herman Robbins, Samuel Rosen, Adolph
Schimel, Abe Schneider, Samuel Schneider,
A. W. Schwalberg, Fred J. Schwartz, Spy-
ros P. Skouras, Major Albert Warner, Ed-
win Weisl and H. J. Yates, Sr.

Theatres Raise $33,251
For Palsy Campaign

New York City and New England theatres
have collected $33,251 for the 1953 United
Cerebral Palsy campaign, it has been an-
nounced by Leonard H. Goldenson, presi-
dent of American Broadcasting-Paramoun:
Theatres, and president of United Cerebral
Palsy. Theatre patrons in the six New Eng-
land states have contributed $22,152 of this
total. This compares with $19,322 collected
in the same area last year. Patrons of the
New York Paramount theatre contributed
$6,504 of the New York total. Audiences in
the Brooklyn Paramount theatre contributed
$2,637 to the fund. Volunteers collected
$1,956 in 28 theatres in New York.

LiOew Sturts
dim Jubilee

Loew’s New York theatres’ annual Movie
Jubilee was launched Monday in ceremonies
at the Loew’s State, Times Square, in that
city, drawing crowds and plenty of news-
paper attention. Four floats, carrying
models, were sent off to their tour of neigh-
borhood theatres by Polly Bergen, star of
MGM’s “Arena.”

Planned by Ernest Emerling, the circuit’s
advertising chief, the Jubilee boosts such
films as Columbia’s “Fort Ti” and “The
Juggler,” Paramount’s “Sangaree” and
MGM’s “Dangerous When Wet.”

Among major company executives who
watched the ballyhoo Monday were Charles
Reagan, Oscar Doob and Dan Terrell, of
MGM ; Sidney Schaefer, of Columbia;
Hugh Owen and Sid Blumenstock, of Para-
mount, and Charles C. Moskowitz, Gene
Picker, Charles Beigel, Mr. Emerling and
Edward C. Dowden, of Loew’s.

Technicolor Dividends

The board of directors of Technicolor,
Inc., has declared dividends of 25 cents per
share on the par common stock and 50 cents
per share on the no par common stock, pay-
able luly 31 to holders of record July 17,
1953.

'F/f*

Paramount & Fenway,
Boston, Mass. 7/30-8/5

Olympia, New Bedford,
Mass 7/29-8/4

Colonial, Haverhill,

Mass 7/29-8/1

Strand, Dover, N.H.

7/31-8/1

Union Square, Pittsfield,
Mass 7/29-8/4

Port, Newburyport,

Mass 7/29-8/1

Broadway, Lawrence,

Mass 7/31-8/6

Warner, Worcester,

Mass 7/29-8/4

Bijou, Springfield,

Moss 7/30-8/5

Opera House, Newport,

R.l 7/29-8/1

Strand, Providence,

R.l 8/1-7

Saxon, Fitchburg,

Mass 7/29-8/1

THE PICTURE WITH THE T.V. AND RADIO
SATURATION CAMPAIGN THAT'S BEEN BOOKED BY ALL
THESE SMART SHOWMEN!

AYRES • JUFTS • MARJORIE STEELE

Elizabeth, Falmouth,

Mass 8/4-5

Ideal, Milford,

Mass 7/29-8/1

Bijou, Bangor, Me. 8/5-7

Campus, Middlebury,

Vt 7/29-30

Pastime, Northeast
Harbor, Me. ... 7/29-30

Concord, Concord,

N.H 8/2-4

Paramount, Brattleboro,
Vt... 7/29-30

Bellevue, St. Albans,

Vt 7/29-30

Palace, St. Johnsbury,

Vt 7/29-30

Strong, Burlington,

Vt 7/30-8/3

r 1

i 1

1 1

r i

l 1't.wnt) '*>nnwnf//

Empire, Fall River,

Mass 7/29-8/4

Center, Hyannis,

Mass 7/29-30

Dreamland, Nantucket,
Mass 7/31-8/1

Opera House, Lebanon,
N.H 8/3-4

Magnet, Claremont,

N.H 8/2-4

Ritz, Lewiston, Me.

Me 8/2-4

Nuggett, Hanover,

N.H 8/3-5

Scenic, Keene,
N.H

.8/3-4

Lyric, White River June.
Vt 8/2-4

Grand, Rutland, Vt. 8/2-4

Plymouth, Leominster,
Mass 8/2-4

Drive-In, Portsmouth,

N.H 7/29-8/1

State, Manchester,

N.H 8/1-3

Daniel Webster, Nashua,
N.H 8/2-4

New Onsett, Onsett,

Mass 7/31-8/2

Peoples Thea., Maynard,
Mass 7/30-8/1

Braden, Presque Isle,

Me 7/30-31

Temple, Houlton,

Me 8/2-3

Magnet, Barre, Vt. 8/2-3

Uptown, Bath, Me. 8/2-3

MOTION PICTURE HERALD, JULY 25, 1953

£tital/ Tmh Theatre tj/lan—and (jlad To One

HUGH G. MARTIN writes from his
Lake theatre, Clermont, Florida —
“high among the hills and lakes of
central Florida” — with interesting and inti-
mate details of small town theatre operation.
He has devoted 38 years to entertaining the
public in communities of this size, and has
reason to be proud and pleased with the re-
sults he has attained. And we are glad to
applaud, because we believe that come 3-D,
CinemaScope or Cinerama, these small thea-
tres will survive and prosper, because of the
community service they render.

He sends a copy of “The Clermont Press”
— a typical small town newspaper that is
heart-warming and nostalgic in our mem-
ories. They are proud of the new Clervue
Drive-In which Hugh has opened in addi-
tion to the Lake theatre, and which he says
is already a success. He writes, “I got a
real kick out of giving my patrons in small
towns the same type of motion picture enter-
tainment that is presented at the Radio City
Music Hall, with as fine equipment as money
can buy, at a much lower admission price.”
The newspaper boasts of “the brightest pic-
ture in Florida” — and praises Hugh Martin,
owner, and Roberta Ramsey, who is pro-
moted to city manager in Clermont.

Hugh has some amusing experiences with
youngsters who with their parent’s cooper-
ation, are always “under 12 years of age”
at the ticket window. He says most people
are honest, but it comes too easily to resist
as a temptation to crash the gate. So, his
cashiers are instructed to ask the small fry,
directly — “How many are already 12 and
under 19” — and they sing out the truth.
And he remembers how hard it was for him
to save up the difference between 5c (a
child’s ticket in 1907) and 10c (the adult’s
price) in those days. The new Drive-In ac-
comodates 250 cars and has an eighth ramp
in reserve, for future growth. The property
is entirely fenced and landscaped, and he
says, doesn't hurt business at his own Lake
theatre, in town.

Clermont must be a live town, for we see,
in our careful reading of the newspaper, that

MORE GOOD PICTURES

More than we've seen in months. More
really good pictures, more at one time,
in advance of any new season. It's quite a
revelation to see the ads now running of
new pictures in the Broadway showcases.
The public has a treat coming.

Right now, "The Band Box" is current at
the Music Hall, and doing terrific business,
in the 90° temperatures. The picture
opened to a tremendous $171,000 gross
for the first week, which is something for
the records. The town is full of Shriners,
with their fezzes and frolics, but that
doesn't account for the long lines.

The Roxy opened this week with "Gentle-
men Prefer Blondes" and paeans of praise
in the press, with even the snooty critics
liking it. The picture is in for a run, and
will stay where it is until "The Robe" opens.
Everybody agrees that Jane and Marilyn
have never been in better form.

At the Paramount, Warner Brothers have
surpassed "The House of Wax" — just as
they said they would — with "The Charge
at Feather River" — a fine adventure movie
in 3-D. Newspaper critics rave over super-
phonic sound and color — "in which action
speaks louder than words." It will stand
your hair on end, if the Indians don't scalp
you first! Truly, there are good movies
ahead, for the new season.

they have made their own local 16-milli-
meter, color film, with sound track, which
runs 20 minutes, and the secretary of the
Chamber of Commerce has submitted it to
NBC for showing on their television pro-
gram, “Mrs. U. S. A.” — over 77 network
stations. The town of Clermont owns the
picture, and six prints of the film, which
they are using for community benefits. Next
time we go South, we’re going to visit our
loyal friends in Clermont.

Bob Harvey’s “beanie” contest, which
he reported last week from the Capitol
theatre, North Bay, Ont., with a cute young-
ster wearing a cute hat, as the top winner,
reminds us of another stunt which we saw
recently, while reading the Sunday papers.
Out on Long Island, at a charity fair, they
had a “hat bar” where made-over hats,
donated for the purpose, were sold exclu-
sively to young ladies between the ages of
two and twelve years, to be worn in a con-
test for the best entries. Story made it clear
that this was the most popular feature at the
fair, with hundreds of hats donated, and
many youthful contenders, anxious to get
themselves “fitted” for “a creation”- — no less.
The fashion parade of the winners would be
enough to make a howling success of a stage
show, in any theatre. You can vary this
scheme to fit your situation and have fun
with it. The idea might work as well as that
parade of old wedding gowns which Charlie
Jones originated in Elma, Iowa.

€Time tells the story of .how Ben
Hecht started writing his new TV
series. He spent four nights a week, for two
months, watching TV at home — “and it was
a disturbing experience.” His conclusions :
“There is no such thing as action in tele-
vision. All the actors do is to pretend there
has been action — they pant and groan and
tell you how far they have just run.” In
other words, the limitations of television go
back farther than your home receiver. That
small screen is just the end of the bottle-
neck, within your vision.

Violence, he feels is overdone on TV be-
cause “The only action you can have in a
four-foot radius is hitting or killing. It is
possible to kill from one inch — therefore TV
loves it.” After he looked at TV for his
indoctrination period, he sat down and wrote
seven scripts which he sold for $21,000, and
he hasn’t looked at TV since.

— Walter Brooks

MANAGERS' ROUND TABLE SECTION, JULY 25, 1953

Display

Frants

W. T. Hastings, manager of the Or-
pheum theatre, Denver, Colo., used blow-
ups of reviews on "The Beast from 20,000
Fathoms" to lend authenticity.

Keith Maupin, manager of the Upland, Village and Richland theatres, Richlarjd,
Washington, created this display in pastels, with real Spanish Moss, and cut-out mate-
rials, for "The President's Lady."

Harry Boesel, manager of the Fox-Palace theatre, Milwaukee,
Wise., worked out this appealing, all-summer display.

George Krevo, manager of the Palace, Jacksonville, rigged
two phones, connected with the sound track from "Angel Face."

T. Murray Lynch, manager of the Paramount theatre, Moncton, N. B., devised this really terrific display for "Call Me Madam" below
— using 24-sheet cut-outs and art materials, to spread across one entire side of his lobby.

MOTION PICTURE HERALD, JULY 25, 1953

TOP WINNERS DO IT AGAIN
IN THE SECOND QUARTER

The honorable judges, who struggled
through the duty and privilege of inspecting
fifty-odd campaigns to pick winners in the
Quigley Awards Competition for the second
quarter, remarked in passing that they were
glad to see so many showmen who were
really at work at their jobs, and with the
temperature at 90° that is a compliment to
their energy and ambition in these dog days,
betwixt and between various dimensions.

Charley Doctor, manager of the Capitol
theatre, Vancouver, and P. E. McCoy, man-
ager of the Miller theatre, Augusta, Ga.,
were easy winners, as they have been in the
past, for special efforts deserving special
honors. Charley Doctor’s campaign on “Hans
Christian Andersen” is solid Goldwyn,
through and through — while Pierce McCoy
has his fine examples of community rela-
tions. There were some Brotherhood Week
campaigns, slightly delayed in arrival, which
should have been seen last time in the
judging.

Business Will Be Good
If You Make It Good

Canada was well represented, for business
is good in Canada, where they don’t have
half the troubles that exhibitors complain
about on this side of the border. Too busy
working for showmanship results, and count-
ing the profits on their labors. Among the
Scroll of Honor winners, in the usual alpha-
betical order, were the following:

Martin Cave, Dominion Theatre, Vic-
toria, B. C., Canada.

Hudson Edwards, Highway 80 Drive-In
Theatre, Savannah, Sa.

John M. Endres, Calderone Theatre,
Hempstead, New York.

Sam Gilman, State Theatre, Syracuse,
New York.

Bob Harvey, Capitol Theatre, North
Bay, Qnt., Canada.

T. L. Pike, Martin Theatres, Columbus,
Ga.

Ben Schwartz, Lincoln Theatre, Massil-
lon, Ohio.

In the Overseas division, we haven’t
enough praise for the extraordinary cam-
paign submitted by J. Plunkett, director of
advertising and publicity for Paramount in
Paris, for the premiere of “Greatest Show
on Earth” in the French capital. Never has
a major picture had such unusual handling,
at home or abroad, with evidence that even
here, where Paramount based its overall
campaign for the world, there were things
that could be observed with profit in the
Parisian example par-excellence. (If Cecil
B. DeMille is listening, we urge him, and
Sam Goldwyn, to give a look to two top-
winners of the Quigley Awards for our sec-
ond quarter of 1953. They will learn some-
thing to their advantage.)

Montag ue Salmon, managing director of the Rivoli theatre on Broadway, and an old hand
at judging the comparative merits of showmanship entries in competition, both here and
abroad, leads in the usual left-to-right sequence in the photo above, of our judges in
action, for this quarter; and next in line is Rutgers Neilson, overseas publicity and advertis-
ing director for RKO, whom we invited especially to view an interesting exhibit, and at
right, Ray Murray, trade press contact for Columbia Pictures in New York. We like our
judges, old and new, who know the ropes and qualify as showmen themselves, with proper
sympathy and appreciation for the hard work and real effort, which they weigh in the balance.

2nd Quarter Citation Winners

TED ALLEN
Rivoli

Hempstead, N. Y.

JERRY BAKER

Keith's

Washington, D. C.

JOHN BALMER

Strand

Plainfield, N. J.

DAVE BORLAND
Dominion
Vancouver, Can.

HUGH S. BORLAND
Louis, Chicago, III.

JACK BURDICK
Stanley

Vancouver, Can.

BILL BURKE

Capitol

Brantford, Can.

E. W. CARY
Strand, Nanaimo, Can.

R. CASAMASSINE
Franklin, New York

A. E. CAULEY
Paramount
Peterboro, Can.

DANIEL COHEN
Boro Park, Brooklyn

HELEN COLOCOUSIS

St. James

Asbury Park, N. J.

J. Dl BENEDETTO
Poli, Worcester, Mass.

GEORGE DUNN

Orpheum, Brooklyn

HERMAN FLYNN
Paramount Films
Sydney, Australia

ED FORCE
Bushwick, Brooklyn

VOGEL GETTIER
Broadway
Kingston, N. Y.

ADAM G. GOETZ
Paramount
Steubenville, Ohio

IRVING GOLD
86th Street, New York

J. MEL GOW
Capitol, Nanaimo, Can.

W. T. HASTINGS
Orpheum, Denver, Col.

JOHN C. HEARNS
Proctor's

Mt. Vernon, N. Y.

T. A. JACKSON
Odeon, Chester, Eng.

MARGE KEINATH

Jackson

Jackson Heights, N. Y.

ARTHUR C. KOCH
Proctor's

New Rochelle, N. Y.

R. C. LANGFITT
Orpheum, Dubuque, la.

RALPH LANTERMAN
Community
Morristown, N. J.

FRANK LAWSON
Odeon, Danforth, Can.

A. LOEWENTHAL
Ward, New York

C. L. McFARLING

Orpheum

Sioux City, la.

TONY MASELLA
Palace

Meriden, Conn.

DOUG MERCER
Century, Oakville, Can.

PHILIP NEMIROW
Chester, New York

ALLAN W. PERKINS
Roxy, Midland, Can.

GEORGE PETERS
Loew's, Richmond, Va.

ALEX G. PLUCHOS

Keith's

White Plains, N. Y.

JOE REAL
Midwest

Oklahoma City, Okla.

MORRIS ROSENTHAL

Poli

New Haven, Conn.

DALE SMILEY
Del Paso

N. Sacramento, Cal.

FRED E. SMITH
Kenmore, Brooklyn

JOE SOMMERS
Kingston
Kingston, N-. Y.

S. L. SORK1N
Keith's

Syracuse, N. Y.

LILY WATT
Odeon

Coatbridge, Scot.

DAVID B. WILLIAMS
Gaumont, Preston, Eng.

MANAGERS' ROUND TABLE SECTION, JULY 25, 1953

ANOTHER SURE-FIRE Toronto ”

SUMMER-TIME IDEA

Taken Over

f Jim Cameron, manager of the Capitol
theatre, Fort William, Ontario, and Famous
Players’ Lakehead supervisor up there
where it’s cool (according to the travel lit-
erature)— sends us the photos above of his
excellent "Beautiful Baby” contest which
was promoted and sponsored by two local
merchants who want to do it all over again,
next year ! That’s a pretty good indication
of how pleased they were with the tremen-
dous public response.

Certainly, beautiful babies are always in
season, and particularly in hot weather,
when they get out a lot and enjoy being
babies (we guess). At least, they can dress
for it. So, when fond mothers and dads by
the hundreds are right in the mood to show
off their offspring, you can take advantage
of one of the oldest and best-known, sure-fire
business-building contest ideas.

The interesting lobby display, with photos
of all the contenders furnished by a local
studio, was such a good attraction in itself
that it lasted through hold-over business.
And, you can bet that every proud parent,
and all their sisters and their cousins and
their aunts, were in the lobby of the theatre
to see Junior’s picture, on display, and to
cast their votes for their progeny. One thing
you can depend on, in local contests, where
my kids are contending with your kids for
honors, we’ll all be out electioneering.

In these dog-days, we’ve run a couple of

Good House Program Is
Paid For By Merchants

Frank R. Shaffer, manager of the Stanley -
Warner Dixie theatre, Staunton, Va., sends
samples of his excellent off-set program, at-
tractively gotten up with a catchy front-
page, inside spread using pressbook ads, and
back cover carrying sponsoring ads, which
is as neat and ‘‘different looking” as any-
thing to reach this desk. He uses 2,000 week-
ly and lays them out ahead of time with his
printer on a four-weeks’ basis, soliciting the
ads himself, which runs without change
through a complete period. The same adver-
tisers come back month after month, which
proves the value of the medium, and the cir-
culation which it obtains.

feature stories on things that are as old as
the well-worn hills, but which always, but
always win, in hot weather, as promotion for
motion pictures, at the point of sale. You
can’t lose where there’s no gamble.

Russ Schmidt Reports
Promotion in Tacoma

Russ Schmidt files a report on the han-
dling of “Peter Pan” in John Hamrick’s
Tacoma theatres, with special emphasis on
Bill Hupp’s showmanship at the Rialto
theatre. He used a large 24-sheet cut-out
of the “Peter Pan” figure which dominated
every location, and was mounted in the
lobby two weeks in advance.

Russ McKibbon, manager of tee in
perial theatre, Toronto, sends us an exhibit
to prove how “Invaders From Mars” took
over the theatre, and Toronto, during the
exploitation of the picture of the same name,
after establishing contact via the air waves
with station CKEY with whom they had
knowledge. A series of messages from outer
space were on the way, and would occupy
prominent space with a cooperating mer-
chant, who was in on the deal. He came
up with cooperative ad pages to support his
prior arrangement beyond the atmospheric
barrier.

These were the same mutants that have
been seen in the States, wearing queer suits
that look like fur, and with a certain fixed
expression. They seemed determined to
promote the motion picture, the bargains at
George’s and Keith Sandy, at the radio sta-
tion. In this determined effort, they were
successful, and a majority of Torontians
learned of their presence in our world
through reading and listening to the news
bulletins.

Duane Marks, manager of the Strand
theatre, Seneca Falls, N. Y., has his news-
paper cooperating very nicely in the use of
scene mats, in free space. These are the
k:nd of publicity mats included in the big
35c bargain mat on a majority of pictures,
with sufficient ad mats for small situations.

Here is the picture we were looking for, and didn't find, in time for the recent Campaign
Catalog, illustrating how television pinpoints playdates, for "Beast from 20,000 Fathoms" —
this is in Cincinnati, where station WLWT used a 24-sheet cutout as a background for spot
announcements for the picture's opening at the RKO Albee theatre. You can see the effective
treatment as it appeared on thousands of television sets.

MOTION PICTURE HERALD, JULY 25, 1953

Beauty On
Parade In

Beltaire

Jim Cattell, manager of the Temple the-
atre, Bellaire, Ohio, submits a campaign on
his “Miss Bellaire Beauty Contest,” and we
can put ourselves right in the scene of this
activity, for we’ve been in Bellaire and know
the situation. The local4 contest was part
of the “Miss Universe” competition, and ap-
parently excitement ran high in the selection
of the winner. We can visualize the whole
project, looking through this fine campaign
book, and fully appreciate the energy that
has been put into it.

Since the town has only 13,000 popula-
tion, we marvel that he stirred up so much
interest and obtained such a response. And
Bellaire folks can feel proud of their selec-
tion, for “Miss Bellaire” went on to Cleve-
land, to become “Miss Ohio” and thence to
Hollywood, as a contender for the national
and international honors. (Never decide in
advance that your town is too small, or that
you haven’t a chance to get into the finals in
a big contest.

Jim spent time and effort putting this
over, for he had to prepare all his own mate-
rial. The “Miss Universe” idea is new and
all they had was a one-sheet. He had some
of his contenders on the street as ballyhoo
for themselves, stirring up votes at the point
of sale. One night, they were introduced on
stage in evening gowns, the next night in
bathing suits, which was a come-on, if we
know one. There were 21 feature stories in
local newspapers, 22 photographs, seven
front-page breaks and one free advertise-
ment, in addition to his regular advertising
campaign in the local paper. He had plenty
of cooperation from the Wheeling, W. Va.,
papers, across the river.

A Beech-Nut gum tieup contributed 6,000
sticks of gum which were attached to cards
distributed on the street by girls in shorts.
Official entry blanks were distributed at
pools and at local events. The herald was
underwritten by a score of local merchant
advertisers, who also donated $500 in prizes
to the winners. The Mayor issued a procla-
mation making “Miss Bellaire” honorary
Mayor for the day. A resolution was passed
in the Ohio State Legislature, in tribute to
“Miss Bellaire,” who was to become “Miss
Ohio” just two days later. Universal’s short
film, “The World’s Most Beautiful Girls,”
was run just before the contest dates, and
did much to stimulate interest in the event
at the theatre.

Down From the Hills

Lou Merenbloom, manager of Schine’s
Hipp theatre, Corbin, Ky., secured two hill-
billy bands from out of the nearby hills, to
provide a stage show every Saturday night.
They also invite local talent to participate in
the entertainment.

Selling Approach

WHITE WITCH DOCTOR— 20th Century-
Fox. In color by Technicolor. Mitumba!
Bakuba! Pygmy! African Congo! Gold-
maned lion! Muungo! Filmed against the
mysteries of the Congo itself, where cam-
eras have never penetrated so deep! The
talking drums! The wild dances! The strange
passions! 24-sheet and all poster materials
have been skilfully planned to supply cut-
out art. work for lobby and marquee dis-
play. The herald keys the campaign for
busy showmen— follow its lead. News-
paper ad mats are excellent, many that are
large, but enough in all sizes to take care
of every situation. The 35^ Complete
Campaign Mat for small theatres is a
honey— it has everything you need, and a
bargain- — this one will convince you — it is
carefully, not carelessly, selected to suit
your purposes. Look for yourself, and don't
fail to add this item to your standing order
at National Screen. Our spies tell us the
drums and the dancers in this African pic-
ture are tops for all time. Sell it to your
patrons as a special treat for those who
enjoy the thrill of African atmosphere.
Susan Hayward and Robert Mitchum will
please all their fans, in a stirring story. A
special children's mask, looks good in the
pressbook, as a giveaway in average thea-
tres ($ 1 7.50 per thousand) to be ordered
direct from manufacturer. This is a pic-
ture where you need the free sound-effects
record, for use in lobby display.

THE GLORY BRIGADE— 20th Century-
Fox. Across a river of hell in Korea, a
shout rang out. Rock 'em! Sock 'em! Go
get 'em! The battle-blasting heroes of the
Glory Brigade. Uncle Sam's Combat Engi-
neers, charging side by side, showing the
world how to fight with bulldozers or
bazookas, bayonets or bullets. 24-sheet
and smaller posters have art work you can
utilize for lobby or marquee display. Try
your hand at creating something new, with
poster cut-outs, to fit your own purposes.
Herald has the advertising theme of the
picture, for most situations. Newspaper ad
mats are good, and in sufficient sizes and
styles for all types of theatres but the big,
bargain 35^ Complete Campaign Mat has
everything for subsequent runs, all at the
price of one average display mat. Look at
this example in the pressbook and run,
don't walk, to put it on your National
Screen Service order. Six ad mats and two
publicity mats, all for 35^ — and it will help
to make you a better showman. Victor
Mature is the star of this good picture of
current war, and he has grown in audience
estimation in his recent films. Korea is in
the news, and it's pertinent to have your
folks thinking and talking about our prob-
lems there — "the only war we have ever
lost?" A headline news panel and discussion
by veteran and organizations groups will
help to make word-of-mouth advertising.
Preview the picture for local critics.

STALAG 17 — Paramount. It will make
you laugh, cry and cheer! No story tops
that of our P.O.W. heroes! The story of
those boisterous prisoners of war, whose
only weapon was laughter. Men of fight-
ing spirif, who lived under brutal con-
ditions and never gave up. Put 630 Army
sergeants behind barbed wire, with a Rus-
sian Women's Compound across the way!
From the stage comedy success that rocked
Broadway for three solid years. 24-sheet
and other posters ideal for creating your
own lobby and marquee display. Folder
herald keys the campaign for many show-
men. Newspaper ad mats are different in
style and will make a good impression on
amusement pages. Set of advance teasers
features catchlines against barbed wire
(you can buy rubber barbed wire for lobby
display stunts at $1.50 per yard, adver-
tised in the pressbook.) The nation's top
veterans organizations are all set to give
you rousing support for this very real mili-
fary comedy-drama. Hunt up the P.O.W. 's
in your town and arrange previews and
special stunts for opinion makers and news-
paper men. It's a star-spangled, laugh-
loaded salute to the boys who fought
barbed wire with barbed wit, and machine
guns with monkeyshines.

HOUDIN! — Paramount. In color by Tech-
nicolor. You'll gasp at every death-defying
detail, and thrill to every moment of this
true-life story of a great magician! True,
thrilling, amazing! For the first time, the
incredible escapes, the fine love story, the
fabulous dare-deviltry of a master show-
man! He was never afraid! 24-sheet and
all posters have been designed to make
lobby and marquee display, to fit your
needs, requiring only your cooperation,
with art work you couldn't get any other
way, at the lowest possible cost. Look at
the 24-sheet in the pressbook and use your
native ingenuity. Newspaper ad mats fea-
ture Tony Curtis and Janet Leigh in the
title roles of Houdini and his bride. They'll
do their magic at your box office. A series
of eye-catching teaser ads are in the fash-
ion of old-style Houdini display advertising.
Larger ads have plenty of pictorial value.
The complete campaign ad mat, costing
35^ at National Screen, has all the styles
necessary for small situations, at the cost
of a single display mat.

Exhibitors Everywhere Agree v

/ FOR SPEED and QUALITY^

FHMACK

SPECIAL TRAILERS

CAN’T BE BEAT J

1337 S. Wabash Ave. CHICAGO 5, ILL.

630 Ninth Ave. NEW YORK 36, N. Y. t

MANAGERS’ ROUND TABLE SECTION, JULY 25, 1953

CLASSIFIED ADVERTISING

NEW EQUIPMENT

MASONITE MARQUEE LETTERS 4"— 35c; 8"—
50c; 10"— 60c- 12"— 85c; 14"— $1.25; 16"— $1.50; any
color. Fits Wagner, Adler, Bevelite Signs. S. O. S.
CINEMA SUPPLY CORPORATION. 604 W. 52nd Sc..
New York 19.

GET SET FOR 3-D ! INTERLOCKS $150;
Metallic screen 90c sq. ft.; 24" magazines for $302;
Porthole filters $47.50 pair. S. O. S. CINEMA
SUPPLY CORPORATION , 604 W. 52nd St.. New
York 19.

USED EQUIPMENT

1 KW EQUIPMENT AT LOWEST PRICES!
Strong-, Simplex 1 kw arcs and rectifiers, excellent
condition, $575; Peerless Magnarcs, rebuilt like new
$600 pair; 60 amp. Rectifiers w/new tubes $475. S. O. S.
CINEMA SUPPLY CORP, 604 W. 52nd St. New
York 19.

STAR SAVES YOU MONEY ! 3-D EQUIPMENT
at low prices, write us ; Imperial 50 amp. Rectifiers,
8 tubes, with fans, $195 pair; Strong 1 kw Lamp-
houses and Rectifiers, excellent, $405 ; Automatic Re-
winder, $44.50, Film Cabinets $1 section. Mon-Arc
Lamphouses, late model, 14" Reflectors, excellent
$375 pair. STAR CINEMA SUPPLY, 441 W. 50th St.,
New York 19.

DRIVE-IN EQUIPMENT

SUPER SIMPLEX DRIVE-IN OUTFIT FOR 500
cars $3,495, others from $1,595. (Send for lists). Incar
Sneakers w/4" cones $15.50 pair w/junction box;
underground cable $65M. Time payments available.
S. O. S. CINEMA SUPPLY CORPORATION. 604
W. 52nd St., New York 19.

HELP WANTED AGENCY

HELP WANTED

WANTED— EXPERIENCED PROMOTION -MIND -
ed Managers for two situations in New York State.
Please reply, giving full particulars, salary require-
ments, and whether available for interviews to be held
in New York City. BOX 2729, MOTION PICTURE
HERALD.

MANAGER. EXPERIENCED ALL PHASES,
but particularly adept at writing good copy and daily
newspaper display ads. Submit sample ads. Tell all
first letter. References used your permission only.
Salary $5,200 annually, group insurance, hospitaliza-
tion, self and family. Good opportunity for advance-
ment. Will reimburse moving expenses. Midwest. BOX
2731. MOTION PICTURE HERALD.

SEATING

S. O. S. — SAVE ON SEATS! REBUILT THEA-
tre chairs from $4.95. Send for chair bulletin. S. O. S.
CINEMA SUPPLY CORPORATION, 604 W. 52nd
St.. New York 19.

BUSINESS OPPORTUNITY

BUSINESS OPPORTUNITY WITH UNLIMITED
future. Proven successful for the past eleven years.
Located in two of Eastern Arkansas’ most stable
growing county seats. Towns only fifty miles from
Memphis, these include — in Forrest City, the Harlem
theatre leasehold and equipment, also well located
business property and a modern residence near schools.
In Marianna, the Blue Heaven theatre and real
estate. Will sell as a whole or separately. All offers
given thorough consideration and held strictly con-
fidential. Shown by appointment only. Address in-
quiries to P. O'. BOX 470. Forrest City, Ark.

STUDIO EQUIPMENT

BECOME A PICTURE PRODUCER. SHOOT
local newsreels, TV conr.iercials. Make advertising
tie-ups with local merchants. Film Production Equip-
ment Catalog free. S. O. S. CINEMA SUPPLY
CORPORATION, 604 W. 52nd St., New York 19.

SERVICES

WINDOW CARDS, PROGRAMS, HERALDS,
photo-offset printing. CATO1 SHOW PRINTING CO.,
Cato, N Y.

THEATRES

FOR SALE— OUTDOOR THEATRE. FIRST-RUN
features our policy. 700 cars, fully equipped, next to
town 45,000—80,000 population within 15 miles. Drive-in
in Northern Illinois. Within 40 miles Chicago. BOX
2724, MOTION PICTURE HERALD.

ONLY THEATRE FOR RENT. AIR-CONDI-
tioned. Population with suburbs 4500. FRANK BER-
TETTI, Benld, 111.

BOOKS

Fred Depinet, Broiher of
Industry Leader, Dies

Fred E. Depinet, 66, brother of Ned E.
Depinet, former head of RKO Radio Pic-
tures, died July 19 at his home in Gardner,
Mass. Mr. Depinet was treasurer of the
O. W . Siebert Company, baby carriage
manufacturers. Ele was also a director of
the American Fiber Corporation. Surviv-
ing also are his wife, son, daughter, sister
and three grandchildren.

Edward Hurley

Edward Hurley, 58, veteran industry pub-
licist and one-time short subjects producer,
died July 17 in New York. Funeral and
burial arrangements were handled by the
Foundation of Motion Picture Pioneers and
the Catholic Actors Guild. Mr. Hurley was
in the industry for more than 30 years.

Walter H. Wertime, Jr.

Walter H. Wertime, Jr., owner of the
Chester theatre in Chestertown, N. Y., and
the Regent theatre in Cohoes, N. Y., died
July 16 at Albany Hospital, Albany, N. Y.

Leventhal, Pioneer in
3-D and Cartoons

Jacob Frank Leventhal, industry pioneer
in both animated cartoons and 3-D films,
died Monday at his home in New York
after a long illness. As a member of the
firm of Ives-Leventhal, he turned out 3-D
pictures as early as 1924. His work on
animated cartoons goes back to 1917. Dur-
ing World War I he made a series of films
for the U. S. Army. He is survived by his
widow, Elizabeth, and a daughter, Doris.

Verne P. Clement

Verne P. Clement, 54, formerly an ex-
hibitor in Brevard, N. C., died July 7 at
his home, Brevard. A former mayor of
his home town and his district’s representa-
tive in the State Senate, Mr. Clement re-
tired 10 years ago. He is survived by his
widow, a brother, and his father.

Abner Eilenberg

Abner Eilenberg, 58, associated with
Middlesex Amusement Company and a
stockholder in American Theatres Corpora-
tion, died July 17 at Massachusetts Memo-

rial Hospital, Boston. Funeral services for
Mr. Eilenberg were held Monday at Levine
Chapel, Brookline, Mass.

Legion Approves Seven
Of Nine Films Reviewed

The National Legion of Decency this week
reviewed nine pictures, placing five in Class
A, Section I, morally unobjectionable for
general patronage; two in Class A, Section
II, morally unobjectionable for adults; and
two in Class B, morally objectionable in
part for all. In Section I were “It Came
from Outer Space,” “Melba,” “Mission
Over Korea,” “The Sea Around Us” and
“Shoot First.” In Section 11 were ‘Gen .ins
Khan” and “Vice Squad.” In Class B were
“Arena” because it “reflects the acceptabil-
ity of divorce” and “Gentlemen Prefer
Blondes” because of “suggestive costuming,
dialogue and situations.”

CBS Sells Theatre

The Columbia Broadcasting System, Inc.,
has sold its Vince Street theatre, Holly wood,
to Huntington Hartford III, philanthropist
and film producer, for more than $200,000.

MOTION PICTURE HERALD, JULY 25, 1953

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 125 attractions, 6,131 playdates.

EX means Excellent; AA — Above Average; AV — Average;
BA — Below Average; PR — Poor.

Abbott & Costello Go to Mars (Univ.)

Above and Beyond (MGM)

All Ashore (Col.) .

Ambush at Tomahawk Gap (Col.) .

Androcles and the Lion (RKO)

Angel Face ( RKO )

Anna ( IFE) . . .

April in Paris (WB)

Bad and the Beautiful (MGM)

Battle Circus (MGM)

Beast from 20,000 Fathoms, The (WB)

Blue Gardenia, The (WB)

Breaking the Sound Barrier (UA)

Bwana Devil (UA)

By the Light of the Silvery Moon (WB)

Call Me Madam (20th-Fox)

City Beneath the Sea (Univ.)

Clown, The (MGM) .

Code Two (MGM)

Column South (Univ.)

Come Back, Little Sheba (Para.)

Confidentially Connie (MGM)

Count the Hours (RKO)

Cry of the Hunted (MGM)

Desert Legion (Univ.)

Desert Rats, The ( 20th- Fox ) ...

Desert Song, The (WB)

Desperate Search, The (MGMj
Destination Gobi ( 20th- Fox )

Down Among the Sheltering Palms ( 20th- Fox )

Fair Wind to Java (Rep.)

Fast Company (MGM)

Fort Ti (Col.)

Four Poster, The (Col.)

Girl Next Door, The ( 20th- Fox )

Girl Who Had Everything (MGM)

Girls in the Night (Univ.)

Girls of Pleasure Island (Para.)

Glass Wall, The (Col.)

Gunsmoke (Univ.)

Hans Christian Andersen (RKO)

Happy Time, The (Col.)

Hitch-Hiker, The (RKO)

House of Wax (WB)

I Confess (WB)

I Don't Care Girl, The ( 20th- Fox )

I Love Melvin (MGM)

I'll Get You (Lippert)

Invaders from Mars (20th-Fox)

It Happens Every Thursday (Univ.)

Ivanhoe (MGM) .

Jack McCall, Desperado (Col.)

Jalopy (AA)

Jamaica Run (Para.)

Jazz Singer, The (WB)

Jeopardy (MGM)

1 1

Kansas City Confidential (UA)

Kansas Pacific (AA)

Lady Wants Mink (Rep.).

Last of the Comanches (Coi.)

Law and Order (Univ.) .

Lawless Breed ( Univ.) ....

Limelight (UA)

Lone Hand ( Univ.)

Ma and Pa Kettle on Vacation (Univ.)
(Magnetic Monster, The (UA)

Man Behind the Gun (WB).

Man in the Dark (Col.)

Man on a Tightrope ( 20th - Fox )

Meet Me at the Fair (Univ.)

Member of the Wedding (Col.)

Mississippi Gambler (Univ.)

Moulin Rouge ( U A )

My Cousin Rachel (20th-Fox)

Naked Spur, The (MGM)

Never Let Me Go (MGM)

Never Wave at a Wac (RKO)

Niagara (20th-Fox) ...

Off Limits (Para.)

Pathfinder, The (Col.)

Peter Pan (RKO)

Pickup on South Street (UA)

Pony Express ( Para. ) . .

Powder River ( 20th- Fox )

President's Lady, The ( 20th- Fox )

Prince of Pirates (Col.)

Queen Is Crowned, A (Univ.) .

Raiders of the Seven Seas (UA)

Redhead from Wyoming (Univ.)

Remains to Be Seen (MGM)

Ride the Man Down
Road to Bali (Para.)

Rogue's March (MGM)

Ruby Gentry (20th-Fox)

Salome (Col.)

San Antone (Rep.)

Sangaree (Para.)

(Scandal at Scourie (MGM)

Scared Stiff (Para.)

Seminole (Univ.)

Serpent of the Nile (Col.)

She's Back on Broadway (WB)

Silver Whip ( 20th- Fox )

Small Town Girl (MGM)

Snows of Kilimanjaro (20th-Fox)

Sombrero (MGM) ...

(South Sea Woman (WB)

Split Second (RKO)

Star, The (20th-Fox)

Stars Are Singing, The (Para.)

Stooge, The ( Para.) .

Stop, You're Killing Me (WB)

Take Me to Town (Univ.)

TaH Texan, The (Lippert)

Taxi (20th-Fox)

Thief of Venice ( 20th - Fox )

Thunder in the East (Para.)

Titanic (20th-Fox)

Tonight We Sing (20th-Fox)

Torpedo Alley (AA)

Treasure of the Golden Condor (20th-Fox)
Tropic Zone (Para.)

Trouble Along the Way (WB)

Woman They Almost Lynched (Rep.)

Young Bess (MGM)

1 1

...

1 1

Billy

starring Dick Audrey

And Introducing

HAYMES * TOTTER * DANIELS with Cecil Kellaway - Connie Russell THE BELL SISTERS

SBt> and Scree. Play b, BLAKE EDWARDS and RICHARD QUINE • Produced by JONIE TAPS . Directed by RICHARD QUINE

MORE THA
RELEASE... W
AROUND ATL

TtlEY»f all abo»*°

Co|ambia’s Fanciest

^0f|CI©S§

»oi«boree •'

EQUIPMENT • FURNISHINGS • DESIGN • PHYSIEAL OPERATION • VENDING

M®TTO®N IP D (E TT y IR d

cn Management

ADVERTISING PRACTICE
DRIVE-IN " PIN-UPS "
WHAT GETS 'EM IN?

wonders Charlie Jones

Cartoon from

Smith Management Manual

AUGUST ISSUE: Section 2 of Motion Picture Herald of August 1, 1953

You’re working a rich vein when you can ..increase your
profit without increasing your overheadr That’s what hap-
pens when you install vending equipment to sell Coca-Cola
in your theater. Your customers like Coca-Cola. Make it
possible for them to enjoy the pause- that rejreshes with
ice-cold Coke in your house . . . and you enjoy extra profit.
There’s a wide variety of vending equipment available. For
the monev-making details, write: The Coca-Cola Company,
P. 0. Box 1754, Atlanta, Georgia.

“COKE” IS A REGISTERED TRADE MARK.

— ! B

* sks mast -mu sTfcisr m

mcOMES THE GROOM,

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•j££jg*A*l

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and

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SIGNER PANEi^/f.

l COW COST *rW64M$
J.NELS F°R

WAGNER TRANSLUCENT PLASTIC LETTERS

The easiest changed of all letters. The new type tapered slotting (Pat. Pending)
causes the letter to "lock” on the bar and not be disturbed by even high winds.
The only letters that can be stacked in storage without danger of warping. Five
sizes in five gorgeous colors . . . the widest range on the market. Also slotted alu-
minum letters in the largest range of sizes, styles and colors.

tmM0£

wMMMfy

MpM p rr

**11115 111**-
WMiWMgm

OPY SIGNS CAN BE CHANGED WITH EASE

ical hand facilitates the servicing of high panels, particularly
those which heretofore could not be changed.

Sold by Wagner theatre equipment and supply dealers everywhere.

WAGNER SIGN SERVICE, INC.

218 S. Hoyne Avenue Chicago 12, Illinois

□ Please send big tree catalog on Wagner show-selling equipment.

0 Please send literature on mechanical hand.

NAME

THEATRE

STREET

CITY & STATE

BETTER THEATRES SECTION

How Much More Light
for 3-D . . .Wide Screen?

History Repeats

Light Losses Terrific

For 3-D and wide screen you
need more light. Much more
light. In almost every instance,
regardless of theatre size or
present equipment , you need
ALL THE LIGHT YOU CAN POS-
SIBLY GET!

If that seems like a broad state-
ment, just consider 3-D light losses,
for example. Even with two pro-
jectors trained on the screen and

Look to National

TRADE-MARK

for Everything New
in Projector Carbons

with screens of much higher reflec-
tivity than before, you give your
patrons only about half as bright a
picture as you previously furnished
with conventional films!

Wide screen — same story. In
this new medium, projection light
is distributed over 2% times the
area of ordinary screens.

New Equipment
the Answer

To repeat — you need all the
light you can get. This means new
equipment — equipment to oper-
ate the higher-capacity carbons at
maximum currents.

MOTION PICTURE

Kimpak

for spring damping
Non-Sag

vertical springs —
Wire Grid

Flexilator Insulator
Rubberized

Sisal Filler

Deep cushion
padding

SPRING-BACK CHAIR COMFORT

LOW PADDED-BACK CHAIR COST

the NEW

International Model 2450

lift

: . .

■

r -r .

• THEATRE EQUIPMENT

RADIO CORPORATION of AMERICA

ENGINEERING PRODUCTS DEPARTMENT, CAMDEN, N.J.

In Canada: RCA VICTOR Company Limited, Montreal

Now your patrons can enjoy "better
than ever” theatre chair comfort with-
out excessive cost to you. Here, for the
first time in theatre seating history, is
a chair with a “cushion-comfort” back
. . . priced as low as regular padded-
back chairs.

An important feature of Interna-
tional’s new vertical non-sag spring
construction is that it permits — for the
first time — normal chair spacing of 32
inches, instead of the 34- to 36-inch
spacing required for conventional
spring-back chairs.

Five vertical non-sag springs, run-
ning the full length of the chair back
above the seat line, provide comfort-

conscious patrons with the restful back
comfort they really want.

The new Model 2450 has, all the
features for which International Chairs
are famous: All-steel construction . . .
hingeless seat suspension . . , deep
comfort padding . . . easy to replace
upholstery in a matter of minutes . . .
smooth design . . . modern styling and
attractive upholstery.

You can give your patrons the extra
comfort of the Model 2450 chair for
the cost of regular padded-back
chairs. You’ll save as much as 20 per
cent in chair costs. See the new Inter-
national Chair Model 2450 at your
RCA Theatre Supply Dealers.

Today’s
theatre patron
expects

LIVING ROOM
COMFORT

She wants
a full back
and

plenty of

ELBOW ROOM

Hey wood -Wakefield’s spacious
TC 701 ENCORE Chair provides “club
chair” comfort in a theatre seat.

More leg room, more room for arms and shoulders

HEYW00D-

WAKEFIELD

. . . these are keynotes of today’s successful theatre planning. In

Hey wood -Wakefield’s ENCORE, you find the necessary width and
depth to relax in and the luxurious spring coil seat and back for real

Comfort is our business . . . in theatre seating
as in Heywood’s famous household furniture
like the Modern Tub Chair at top.

comfort. In construction, you have permanently fastened coil springs
and all-steel frames to assure long, trouble-free service. For full
information, contact your Heywood-Wakefield representative or
write for our fully illustrated Theatre Chair catalogue.

IIEY WOOD -WAKEFIELD
Theatre Seating Division
Menominee, Mich.

Sales Offices:

Baltimore, Boston, Chicago, New York

MOTION PICTURE HERALD, AUGUST I, 1953

for AUGUST 1953

GEORGE SCHUTZ. Editor

EDITORIAL INDEX:

Page

PROJECTION FACTORS OF WIDE-SCREEN INSTALLATION, by Gio Gagtiardi.. S

WHY IT'S BETTER TO LET STANDARDS EVOLVE FROM USE 10

PIN-UPS FOR DRIVE-IN MANAGERS 12

METHOD IN MANAGEMENT department:

ADVERTISING BUDGET AND PROCEDURE, by Curtis Mees. Sixth of a Series
on Motion Picture Theatre Management 14

CHARLIE JONES SAYS: For Certain Films the Public Goes . . . but Why It

Does Nobody Knows 16

THEATRE REFRESHMENT SALES department:

UNFREEZING ICE CREAM PROFITS THROUGH SPECIAL PROMOTION 23

VENDER VANE: Market News 26

ABOUT PRODUCTS

THE NEEDLE’S EYE — Projection Department:

NEW PROJECTION CARBONS FOR THE NEW TECHNIQUES, by F. P.

Holloway, R. M. Bushong, and W. W, Lozier 31

" Stereo " Sound
Aids Realism in
Any Theatre

Stereophonic technique applied from
mikes to speakers gives sound a quality that
is significant in any theatre, large or small,
without regard to the size of the picture.
The observation is occasionally made that
the directional function of triple speaker
systems, essential though it be for rela-
tively wide pictures, is not critical in small
auditoriums, particularly narrow ones. How-
ever true that may be for certain theatres,
the condition would not preclude those
houses from enjoying any benefit.

While the word stereophonic cannot
have meaning comparable to that of stereo-
scopic in the sphere of vision (unless the
whole sound system carried through from
"left-ear" and "right-ear" mikes to the cor-
responding ears, exclusively, by means of
headphones), sound picked up by two or
more mikes located to simulate condi-
tions of binaural hearing, and reproduced
according to those binaural separations by
at least three speaker systems (to provide
for effective spatial separation with con-
tinuity from side to side) has a more real-
istic quality than one-source sound. For
one thing, track defects may be obscured.
Also, "presence" is increased.

•

Since our remarks in this space last
month concerning stereophonic reproduc-
tion at drive-ins, it has been proposed that
two speakers be used, each smaller than
the present single unit, one placed at the
front seat, one at the back. Since a "direc-
tional" effect (identification with pictorial
source) is not available, the only purpose
would be to introduce the quality of sound
referred to above.

The frequency range of the present typi-
cal in-car speaker is quite limited; reduc-
tion in size would be in the direction of
further limitation, specifically at the low
end. And two such speakers so placed rela-
tive to each other and to occupants of a
car don't seem to promise much, if any-
thing, in the direction of quality. Perhaps
the special conditions of a drive-in advise
a different approach to the problem of
improved quality of sound, through the
speaker itself, free of the allure of that
word "stereophonic."

— G. S.

Projection Factors of

Wide-Screen Installation

What is being demanded of a motion
picture screen by the new techniques
and how it must be fitted into the thea-
tre’s projection system to gain light.

By CIO CACLIARDI

today the projection
screen has become, if not the most import-
ant part, at least the most talked of part
of a motion picture theatre. The shapes,
size and surface of a screen are subjects
for continuous discussions and argumenta-
tion. Perhaps a little study of the various
services performed by the “new picture”
screens may help to clarify many situations.

The function of the projection screen,
of course, is to reflect the illuminated im-
age projected upon it with the maximum
efficiency, the minimum amount of color
distortion, and the best possible distribu-
tion. Until stereoscopic projection overtook
the art, a white semi-matte screen surface
satisfied all these requirements.

Color pictures were reproduced faith-
fully, brightness distribution was very uni-
form over an extremely wide angle of view-
ing, and efficiency of reflection was better
than 80%. In addition to these qualities,
the new white plastics were used to pro-
duce relatively inexpensive screen materials
which had a long life.

Then came 3-D and the primary require-
ments changed. The screen surface must be
such that it should not destroy the polari-
zation of the light supplied by the two
projectors. White matte screens could not
perform this duty; their white surfaces
scrambled the polarized light from the
projectors so that the spectator, even with
his polarized viewers, was unable to sepa-
rate the two images and therefore lost
all stereoscopic effect.

It was found that a metallic reflecting
surface could return the 'polarized light
from the projector to the audience without
changing the relative polarization values

imposed upon it by the filters in front of
the projectors. It was also found that
aluminum caused the least change in the
color balance of colored pictures. There-
fore pure metallic aluminum coatings are
being used to surface the present 3-D
screens. The aluminum should contain a
minimum amount of non-metallic filler or
binder in order to preserve its best reflective
and polarizing quality.

THE BIG PICTURE

In addition to the requirements de-
manded by stereoscopic projection, a second
demand has been made upon the projection
screen— greatly enlarged pictures of new
proportions. And all of these pictures re-
quire more and more powerful sources of
projection light, and we are reaching a
limit in the quantity of light that can be
projected through our standard films.

Although new lamps and new carbon
combinations are being used, heat on the
film is at present limiting advance in the
quantity of light. In order to aid even the
new light sources, steps have been taken
to make the projection screen itself more
effective as a brightness transfer point.

The metallic screen can definitely help
in this direction. White screen materials
previously used were characterized as hav-
ing diffuse surfaces. This means that light
projected upon such a diffusing surface,
would be reflected evenly in all directions
and such a surface would appear to have

the same brightness no matter where the
spectator was seated. Figure 1 shows a
reflection brightness pattern for such a
diffuse surface.

Aluminum coating material can act like
a mirror, however; it can produce a highly
specular surface. Thus instead of scatter-
ing the reflected light, the metallic surface
aims it in a definite direction. T his direc-
tion is controlled by the law of optics

MOTION PICTURE HERALD, AUGUST I, 1953

with CURVATURE DEPTH CHART

30 28 26 Z4 ZZ 20 18 16 14 IZ 10 8 6 4 2 0 2 4 6 8 10 12 14 16 18 20 22 24 26 28 30

DIS

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lZ'/z

16%

2,2/4

28/4

42%

50%

60/s

70%

FEE

I 'A

2/4

43/4

7/2

107s

14/4

19/2

245/8

30/2

44 /s

52/8

60%

70/a

? 90

1 /&

6/4

9/8

13/4

17/8

217s

32%

39/s

46/g

53 %

6154

o UJ 100

2/8

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11/4

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244

29/s

41/4

55%

M°

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3/2

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26%

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120

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16%

20/s

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130

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117a

15/s

18%

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31/2

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4/8

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27/8

OFFSET FROM BACK TANGENT- IN INCHES

HOW TO USE CHART: Assume you wish to lay out the curvature for a screen 48
feet wide, having a projection throw of 100 feet. One half this screen width is 24
feet. On the left side of the table find I fourth line I the value for a radius of 100
feet and read off along the horizontal line opposite the offset distances from a
straight line Ithat would be followed by a fiat screenl — the offset distances, given
for every 2 feet of screen width, trace the arc of a curved screen. This curvature
can be traced on a floor as follows: With a chalked string, strike off a straight
line 48 feet long where the screen is to go. Then starting at center of this
line, mark on each side the offset distances found in the table. Using a long flexible
wooden lath, join the ends of these offsets to mark off a constant curve, which will
be the arc of the screen.

which may be paraphrased as, the angle of
reflection for a metallic screen is equal
to the angle of projection.

Figure 2 serves to illustrate this optical
law. Angle B is equal to angle A. In a

purely specular, highly polished mirror
all the light from the projected ray P

falling upon a point of the mirror would
be concentrated in the reflected ray R.
Any spectator looking along ray R would
see the image as a very bright spot. But if
the spectator moved to either side of the
line of ray R, the point at which P hit the
mirror would appear only a dark spot.

This is a theoretical and extreme case,
and aluminum-surfaced screens do not
have such a sharp concentration of reflec-
tion. Figure 3 shows a reflection brightness
pattern for a specular metallic screen.
Projection ray P at angle A is reflected at
maximum value along ray Rl at angle B,
but it is also reflected in other different di-
rections, indicated as R2, R3, R4- and R5.

When the reflected rays enclose only a
very narrow angle, the amount of reflection
along R 1 is very high. This gives an effect

of a brightness gain of tour or five times
above that of a white matte surface. As
the angular spread of the reflected rays is
increased by changing the type of aluminum
surface, the apparent brightness gain along

R 1 is decreased, but the values of R2-R3-
R4-R5 are increased in proportion and
approach £1 more closely in brightness.

The choice must be made whether to
sacrifice angle of coverage for a large in-
crease in reflectivity , or try to cover larger
areas and accept smaller gains in reflected
light. Where an auditorium is narrow and
long and has no balcony, the screen surface
may be made smooth and bright in order
to increase the reflectivity gain along the
axis of reflection, but it is then necessary
to aim this reflection axis carefully into
the center of the seating area.

When an auditorium is wide it is neces-
sary to select a reflective surface with
smaller axial gain but with better coverage
characteristics. Such screens can be made
by selecting the proper aluminum paint,
or by moulding or “lenticulating” the
plastic surface of the screen. It has been
possible to emboss the surface of a screen
into properly calculated shapes which will
improve the distribution characteristics con-
siderably and at the same time maintain a
fairly high reflection gain.

TILTINC THE SCREEN

In order to reflect the proper light pat-
tern and to direct this pattern to the cor-
rect position in the orchestra and balcony
of an auditorium, it may be necessary to
tilt the screen to some degree. The amount
of tilt depends upon (1) the projection
angle, (2) the screen height from the
auditorium floor, (3) the length of the
auditorium, and (4) the balcony height.

It is possible to determine the degree of
tilt by actually laying out a cross-section
view of the theatre board and plotting out
the distribution patterns of a screen. But
since this procedure is quite involved, it
may be safer to provide variable tilting
devices to a screen frame and observe the
results obtained from different positions in
the orchestra and balcony.

It has been suggested that the amount of
screen tilt should be one-half the projec-
tion angle, but this value can become exces-

BETTER THEATRES SECTION

sive when the projection angles are steep.
It is possible at times to locate the position
of the reflected beam by darkening the
theatre completely and projecting light on
the screen ; then by standing at the stage
with back to the screen the light pattern
may be seen reflected on the seats in the
orchestra or on the balcony face.

As mentioned before, specular metallic-
surfaced screens practically have become
essential since picture sizes have increased
so tremendously ; however, with the use
of these large silvered screens another
problem has risen — that of curvature.

Figure 4 shows a plan view of an audi-
torium with a large flat screen. Point P
is the projector lens, and O represents the
center of the screen. A ray from P to O
is perpendicular to the screen and is re-
flected from the metallic surface in a fairly
broad angular band A OB. With a good
aluminum screen the reflection within this
angle is kept fairly constant. Even with
the best of screens there may be a drop of
30% to 40% in reflectivity between the
center line OP and side lines OA and OB.

Now let us study a ray of light which
reaches the sides of the screen. Ray PX in
Figure 4 is projected on the screen at quite
an angle (the wider the screen the greater
the angle), therefore the center line of
the reflected beam will be located at XF.
Using the same reflective angular band as
before, this ray will only cover an area in
the auditorium indicated by CXD. This

SCREEN O x

FIGURE 4

means that for any person seated in the
shaded area included in AOC, the far side
of the screen at point X would appear very
poorly illuminated, or quite dark.

Let us go then to Figure 5 : here the
same auditorium layout is used, and the
same screen is used but it is placed in a
curved frame whose radius of curvature is

equal to the projection throw. The ray
PO to the center of the screen is reflected
into the same area AOB since PO is per-
pendicular to the screen at point O. Ray
PX to the side of the screen, because of

the screen curvature, is now perpendicular
to the screen at point X and is reflected
to cover an area CXD. You will note now
that point X and point O should appear
to have approximately equal brightness to
almost all the seats in the auditorium.

The necessity for curving screen sur-
faces is often questioned. The above ex-
planation should serve to prove that with
large metallic-surfaced screens, curvature
is definitely a necessity in order to achieve
some measure of balance in screen bright-
ness over most of the seating area.

The value of the radius of curvature for
any screen has been variously proposed.
Recommended values have ranged from
70% to 100% of the projection throw.
It can be seen from the sketches that if the
radius is much less than 100%, it may be
possible to overemphasize the brightness of
the far side of a screen as compared to the
near side. If the radius is greater than the
projection throw, the condition of a flat
screen will be approached. It is evident that
at best only a good approximation can be
made. Up to the present, experience seems
to show that a radius equal to 90% of the
projection throw gives best average results.

In order to assist field personnel in lay-
ing out curved screens without undergoing
any great amount of computation a table
is offered (see page 9) giving the off-
sets in inches from a straight-line to the
screen curve for radii of 70 to 200 feet.
The distance from the tangent to the curve
has been computed for points every 2 feet
from the center, up to screen widths of 60
feet; points between can be interpolated.

Why It's Better
To Let Standards
Evolve from Use

need of immediate stand-
ardization in the new techniques of the
motion picture seems obvious to the person
who has to think ol
them in terms of
money spent for
equipment. But
there are arguments
to the contrary that
are quite as practi-
cal in point of view.

These come from
the very people who
are closest to these
developments. The
industry’s technol- E q. WILSCHKE
ogists are likely to

view the job of standardization as a long,
hard pull, whereas theatres need innova-
tions now.

“ The industry would be foolish to leave
these things in the laboratory instead of
putting them to use,” was the opinion that
came from E. O. Wilschke, operating man-
ager of Altec Service Corporation, almost
as soon as we opened a discussion of the
situation with him the other day.

It was one of the few occasions recently
when he could be found in his office at Altec
headquarters in New York. He is directing
the installation of stereophonic sound sys-
tems and of CinemaScope in theatres across
the country, and conducting “clinics” on
the new techniques for Altec area engineers
in conjunction with the various Cinema-
Scope demonstrations, supervision of which
has been entrusted to Altec, through ar-
rangements made with the service company
by 20th Century-Fox.

LIKE START OF SOUND

“There is nothing strange about the
situation, this confusion, as some people
call the lack of standardization,” he pro-
tested. “We had the same thing when
sound came in.”

It was that earlier upheaval in the art
which had brought E. O. Wilschke into
the industry, as an engineer first with Erpi,
then with Altec upon its formation, and
continuously since. He could remember the
development of a technique of motion pic-
ture sound as an evolutionary process of
years, with a substantial period of confusion
at the start.

The Altec operating manager, aside from
his intensive background in the field of

MOTION PICTURE HERALD, AUGUST I, 1953

sound engineering, and his knowledge of
booth and auditorium problems, is particu-
larly well-grounded in the production phase
of sound equipment, and in the use of mo-
tion picture sound at its source. During
World War II, Mr. Wilschke supervised
the Altec-Lansing manufacturing facilities
on the west coast. During a period of five
years, he was in close contact with the heads
of the sound departments of the various
major Hollywood studios. This experience
has given him a first-hand grasp of the
problems encountered on the studio stages
in all types of productions, and of their
utilization of various types of sound equip-
ment.

“First theatres had to buy reproducers
for disk recordings,” he said, recalling the
beginnings of sound. “Then sound-on-film
came along and soundheads had to be
added. Theatres were equipped for both
methods before the industry standardized
on sound-on-film.”

Now product is being made available
with multiple-track sound on a separate
film, with magnetic recording. At least
three speaker systems, located behind the
screen, are necessary for “wide-screen” pre-
sentations. It would be advantageous, if
practicable, to have these tracks on the
same film with the picture, and eventually
this may be done according to a standard
scheme. But there are conflicts among en-
gineers as to what that scheme should be,
and they must be resolved in the light of
experience that is being only now acquired.

EXPERIENCE DATA NEEDED

“It is a good thing for the industry that
many exhibitors are not waiting until all
those problems are ironed out,” Mr. Wil-
schke observed, “but are going ahead with
stereophonic sound installations, putting in
dummy magnetic heads for the recording
being done on separate films, so that they
can sell the public now on the improved
performance provided by stereophonic
sound.”

One of the “unknowns” of magnetic re-
production is the kind of surfaces needed
to resist to a practicable degree the abrasive
action of the oxide stripes. Tests to de-
termine the amount of wear on sprocket
wheels, rollers and tension shoes are being
conducted by manufacturers, as well as by
the service companies and studios.

“About some phases of these new tech-
niques we just haven’t all the answers yet,”
Mr. Wilschke pointed out, “and I simply
can’t agree with those who think we should
rush into some sort of standards right away.
And I think it would have been a great
mistake for the industry to wait until the
right standards could be found. The thing
to do is to put these techniques to work
with what we’ve got, and let standardiza-
tion evolve normally out of experience.”

YOU’D NATURALLY EXPECT
THE FINEST FROM RAYTONE

The RAYTONE-THOMPSON ALL PURPOSE WIDE
SCREEN FRAME is the EASY-TO-INSTALL FRAME
that outperforms any other oh the market today!

QUICKLY INSTALLED Easy assembly possible due to simple but ingenious
design. Diagrams and color markings included with instructions. Lacing hooks
instantly adjustable for alignment with grommets. Provides fine even tension
all around.

AOJUSTAiLE. Aluminum screens are highly reflective and usually require
some tilting for better light distribution to balcony. Degree of tilt is dictated
by reflectance factor of screen surface. Our frame is immediately adjusted
after lacing and can be changed to meet any future requirements.

LIGHT BUT mm. Once assembled, it maintains perfect shape. Moves on
casters or can be easily flown. 50' frame weighs less than 1,000 lbs. 35' frame
weighs 750 lbs. Can be furnished with attachment to raise or lower frame off
floor. Used by most Hollywood studios.

OPTICALLY TRUE. Radius of curvature set at factory. It never changes
due to warp when tilted, therefore distortion cannot be introduced, nor can lens
focus be adversely affected. The curve is true and the screen laces perfectly
without stress or wrinkling.

RAYTONE

SCREEN CORPORATION

165 CLERMONT AVENUE

BROOKLYN 5 NEW YORK

AVAILABLE THROUGH YOUR LOCAL THEATRE SUPPLY DEALER

Buying CinemaSoope or 3D?

Insist on S-D 25 inch Magazines

omv *185°° ”V.ET

Sold by wide-awake dealers
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STR0BLE-D0DCE EQUIP. CO.

P.O. BOX II, CINCINNATI 30, OHIO

BETTER THEATRES SECTION

DOES YOUR

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GOOP EVENING, SIR.

HOW AAAWY
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ei GHT

wrong

NOT THIS

Pin-lip,* fa faifle-J/n IflanageM

HE ABC’s of drive-in manage-
ment have been spelled out for managers
of the Smith Management Company of
Boston, operators of 22 drive-ins in the
Midwest, New England and New Jersey
in a new manager’s manual. The 40 pages
of instruction and advice are made lively
with cartoons, which have been reproduced
for framing and presented to resident man-
agers to be hung in their offices.

The text of the manual is not confined
to telling the managers what they should
do but points out bad conditions that are
found at drive-ins and explains how they
ought to be. Rule One is “Run the theatre
as though it were your own.” Patience and
courtesy on the part of the manager and
his staff are emphasized. Managers are
told they are not expected to be projec-
tionists yet “should have some knowledge
of booth equipment.” They are admon-
ished to keep rest rooms “hospital-clean.”

There is a section on painting in which
managers are asked to select attractive
colors in painting fences, speaker posts, etc.,
, using pastel colors rather than the usual
m grays and whites. Playgrounds: Make
^ / youngsters obey playground rules, allowing
only one child to use the slide at a time;
not permitting standing or kneeling on
swings or jumping off them while they are
motion; forbidding parents to swing
with a child in their laps.

As to general maintenance, the manual
points out that “too many theatres have
resembled jungles with weeds climbing
higher than speaker posts.” Other chapters
include “The Relation of the Theatre
Manager to Concessions,” written by Mel
Wintman, head of concessions for Smith ;
'■“Suggestions on Landscaping,” by Jack
Hauer, manager of the Montgomery, Ohio,
drive-in; “Thoughts on
Directory Advertising,”
by Bill Powell, district
manager; and “Opening
and Closing Details,” by
Seymour Weiss, manager
of the Saddle River,
N. J., drive-in.

T he manual is proving
helpful to Smith mana-
gers in competing for cash
prizes offered by the cir-
cuit in a series of six con-
tests now being conducted
on phases of operation.

MOTION PICTURE HERALD, AUGUST I, 1953

Natural Vision?
Columbia 3-D?

Tru-Stereo?

RKO Radio 3-D?
Stereo-Cine?
CinemaScope?
20TH-Fox 3-D?

Zeiss-lkon 3-D?

Todd- AO Wide Screen?
Metrovision?

Paravision?

Polaroid 3-D?

Regiscope Wide-Screen 3-D?
U-l 3-D?

Warner 3-D?

Cinerama?

^ * ,n iw <3^

* nV«tVk tcOi0'*

'B§0S§f

2*&**z** •**'’£

each eye sees only on K lhe position ot the

THEN YOU CAN’T ARGUE WITH THE LIGHT METER!

Actual tests by impartial exhibitors prove that when
burning the same trim of any combination of carbons
at the same amperage and under the same set ot
conditions, Strong-Made Lamps consistently deliver
a higher level of screen illumination than any otn
_.i . Thic increased illumination is gamei

conditions, Strong-Made Lamps consistently ill
a higher level of screen illumination than any c
make lamps. This increased illumination is gai
plus factors, such as the reduction of light loss cau^.
by carbon holders, etc., which are built into Strong

Foot candle meters have repeatedly proved that
Strong Lamps are the most powerful lamps; that
they project the tremendously increased volume ot
light required by the larger-size screens.

Because Strong 3-D lamps feature unit
construction whereby the various compo

ante ora inetonf 1 w r n m au<i kl a fltAu

construction whereby the various compon-
ents are instantly removable, they permit
ready adaptation of any new developments
in carbons or burning techniques. For this
reason they cannot become obsolete.

Such excellence in design accounts in part for
Strong being the world’s largest manufac-
turer of projection arc lamps.

Stnouty S^ctnic

1 CITY PARK AVENUE TOLEDO 2, OHIO

Please send free literature on Strong Arc lamps and rectifiers for 3-D projection.

Name ■ __ ; : ! __

Theatre
Street

City & State
Name of Supplier

BETTER THEATRES SECTION

method In
Management

★

staff supervision
institutional advertising
exploitation equipment
housekeeping & maintenance
and related activities

Advertising Budget and Procedure

Motion Picture Theatre Management

A survey earlier this
year (Motion Pic-
ture Herald Insti-
tute of Industry Opin-
ion) showed a very
high percentage of all
groups covered ex-
pressing some dissatis-
faction with advertis-
ing currently used.

There was complaint of “sameness” in
approach, which does not present each pic-
ture in a “new” light. Except for the title
change, one ad might easily be mistaken
for a subsequent or previous ad. Perhaps
you younger people who are just coming
into vour own in this fabulous industry
may provide some of the answers to this
and other difficult problems bothering the
advertising heads of the business!

Criticism comes easily to most of us,
whereas a constructive solution to a prob-
lem is far more difficult and therefore is
slower to materialize. Creative thinking
is required, but certain basic principles of
past and present practices must be borne in
mind so that nothing essential is left out
in any new methods developed.

It is our aim to provide guide posts by
outlining many of the current practises and
showing their relationship in the over-all
advertising program as it relates to the
individual theatre. (National film adver-
tising is suffering similar maladies, hut we
shall leave their solution to the “top brass”
in New York and Hollywood.)

The first thing to be done in setting up a
theatre’s campaign on a particular picture
is to reach a decision as to how much

SIXTH ARTICLE OF SERIES:

By CURTIS MEES

money should be spent to get the greatest
possible net return. A rule of thumb has
been that roughly 10% of the gross should
be allocated to advertising in all forms. In
order to establish the 10% of an antici-
pated gross, the manager must be able to
judge each individual picture and come
fairly close in his estimates of the potential
revenue. Once a tentative figure has been
arrived at, he is in a position to decide just
how this money should be spent for the
best results.

STUDY PRODUCT ANCLES

“ Know your product” is a rule with all
advertisers, and in the motion picture busi-
ness we are faced with as many different
products as there are changes in our book-
ing schedules! The automobile dealer has
only one major product change a year;
the clothing store owner may have as many
as four seasonal changes; but the theatre
manager who changes pictures twice weekly
will have 104 product changes every year!

Advance reviews in the trade press will
provide the opening clue, followed up by
national ads in the trade press, fiction
magazines and “movie magazines” (largely

fiction also, but of a different nature). By
the time a picture is booked, usually its
general character is known to the manage-
ment— and, we hope, to the public as well.

The Distributors furnish Press Books,
prepared by their staff ad-men in Holly-
wood and New York, to assist the busy
theatre manager in laying out a complete
campaign on their picture. These contain a
resume of the picture, a number of stories
to be “planted” with the local papers, art
work and a selection of newspaper ads in
different sizes and formats, together with
a number of appropriate exploitation ideas
to suggest the promotional possibilities of
the picture.

The Press Book is intended to be a tool
for the manager to work with, not a crutch
upon which he should depend completely.
He must be able to visualize other possibili-
ties and, drawing from his storehouse of
memories and an active file of clippings of
related material, adapt other ideas to his
campaign.

So a preparatory step in mapping out
a campaign on a given picture is to get all
the available facts from the Press Book and
analyze them for possible adaptation to lo-
cal usage. Knowing his patrons, and now

MOTION PICTURE HERALD, AUGUST I, 1953

having a fairly good idea of the drawing
power of the picture, the manager should at
this point be able to make a fairly close
estimate of the gross he can expect, and
figure therefrom the amount he feels free
to spend on advertising. It then follows
that this fund must be allocated to the vari-
ous advertising media to be utilized in the
campaign.

A mimeographed, or printed, form is
very convenient in setting up the financial
terms of a campaign as it precludes for-
getting any important source of local ad-
vertising, makes for an orderly assembly
of facts and figures, and is welcomed by
the Distributors as the basis for financial
arrangements on co-operative advertising.
(A suggested outline of such a form accom-
panies this discussion on page 18.)

Each advertising medium has its own
advantages and disadvantages as compared
with other channels of communication of
ideas. For example, the printed newspaper
page may be referred to again and again for
theatre information, whereas the radio or
TV message once flashed is over and can-
not be referred to (unless repeated, some-
thing the listener-viewer cannot anticipate).

The other side of the picture is that a
newspaper ad must compete with a great
many other newspaper ads in getting the
attention of the reader, whereas the radio-
TV audience receives one and only one ad
message at a time and will, generally speak-
ing, pay attention to it rather than cut it
off the receiver until the program is
resumed.

It is up to the manager to determine
which channels of advertising will provide
the best means of putting his message
across on this particular picture. I his will
not necessarily be the same for each pic-
ture, and an open mind on the subject is
vitally important to the success of the
theatre’s operation. We are all inclined to
have favorites in the advertising field, as
in others (largely as a matter of personali-
ties), but this should not blind us to ad-
vantages of other sources.

national theatre supply has set an envi-
able record of achievement and service to the
motion picture exhibitor.

It was not always easy! New techniques
were developed — new equipment was
designed — new processes were advanced yet,
with each, National Theatre Supply was there
to help, advise and service. For National
Theatre Supply, through its 29 Branches, was
always abreast of each new development, and
as quickly as information and supplies were
available, National was first with the most —
first to satisfy every need of the exhibitor.

Now — the big news is stereophonic
sound. As in the past, you can depend on
National — because National has been close

NEWSPAPER ADVERTISING

Far too many managers are prone to pick
up a Press Book, cut out an ad of the ap-
proximate size desired, paste on a signature
and date and shoot it to the newspaper as
his ad! These Press Book ads are created
by experts, in their field, but let’s face it —
they are not always adapted to every local-
ity or every theatre! Using them “as is”
results in the sameness which has been
complained about and which we desire to
escape. If you would care to see a striking
example of how noticeable this is, run
through a bunch of tear sheets taken from
different cities. With little or no theatre
advertising experience, you will be able to
( Continued on page 18)

on the heels of its progress — and even now
has several successful installations, with many
more on the way.

For Stereophonic Sound — and every-
thing for your theatre — get it from National
and you’re sure it’s right!

NATIONAL

THEATRE SUP PLY

Division of Nationol <> Simplex • Bludworth, I nc.

BETTER THEATRES SECTION

BT ORIVE-M

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"NO CONDUIT
REQUIRED”

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FEATURING

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Speakers or In-Car 7 C°r

^°ugh Yaur Thea^"6 Ava'lable
Sepp/y Dealer.

Koi/ed /Cor</s

incorporated

8ox K- Homden, Conn.

ray

For Certain Films the Public Coes . . . but
Why It Does Nobody Knows

says

. . . owner-manager of the Dawn theatre in Elma, la.

ELMA, IA.

BEING NATURALLY of an
ornery disposition, I always find it one of
my most difficult jobs to answer a patron
civilly when, after paying the admission
price and walking through the lobby into
the foyer, he looks up and asks, “What’s
playing tonight?’’

As far as I know there was never any
bovine blood strains in my ancestry, but my
first reaction to that question always
causes me to screw down all the safety
valves and tighten the draw strings to keep
from looking like one of those cartoon
characters where the blood rises to the tips
of the hair and the steam gushes forth
from the ears.

This is wrong. The dear patron is al-
ways right and should be treated with the
deepest respect, courtesy and understand-
ing. If he is simply out for an evening’s
entertainment and wanders into a theatre
seeking diversion and is willing to gamble
on being entertained, then who are we to
care? So long as he pays — that is our
greatest concern in him.

But is it? When a patron walks into
your place unaware of the picture you are
playing, he is not exactly the perfect ex-
ample of the careful shopper. He is not a
frequent type, but he does exemplify the
type that makes a showman wonder just
how much money he pours down the drain
every week trying to inform the public, in
more or less flamboyant fashion, of the
product he has on hand for their pleasure.
By asking that one lousy question, “What’s
playing tonight?” he tells us that he pays
no heed to our newspaper ads, our monthly
calendar program, our trailers, our front
paper; nor does he listen to the “word of
mouth” (and there is the quaintest expres-
sion in the vernacular of showbusiness)

campaign of the picture.

•

Then, why do they come to shows? This
is a question that has puzzled showmen ever
since there has been moving pictures. We
purposely have tried doing absolutely

nothing on some pictures that were already
cinches at the box office. No newspaper ad,
no heralds, no talking it up — nothing other
than the regular trailer, paper on the front
and the calendar, and we have ended up
with some of the best grosses on our books.

We have also tried the biggest campaigns
our budget will allow on pictures that we
were skeptical of and have gone all-out on
advertising, only to end up holding the
well known sack. When we succeed with
a picture that really rocks ’em, we think
we’re smarter than hell and are really
breaking new trails in showmanship. But
when we go overboard on something that
lets us down we soberly wonder just how
much attention the people pay to our little
stunts and gimmicks.

We certainly are not advocating laying
down on the job and stopping all advertis-
ing and exploitation, but we can just as
certainly see why older exhibitors with
more experience have tired of beating the
drums on everything that comes up. The
value of advertising is always a top bracket
problem for the small town showman.

A big picture comes along and we do
nothing on it — no special advertising, no
exploitation, no talking it up, no passes,
and we end up with a very satisfactory
gross. How do we know what we might
have grossed had we gone all out on a
campaign? It’s too late to try. The picture
is past. So the next time we do go all-out
and end up with another satisfactory gross.
But how do we know that we would not
have done as well had we not turned a
finger to help the picture?

Maybe we wouldn’t have, and its those
few extra bucks that we pick up on every
campaign which clicks over a year’s time
that keeps a healthy balance on the books.
It’s those extra stunts that call special
attention to the theatre which keeps people
conscious of your business and its purpose.
Enough of the things that keep them talk-
ing gradually builds up a subconscious atti-
tude in the public that something new,

MOTION PICTURE HERALD, AUGUST I, 1953

novel and different is part of the stock in
trade of your theatre.

But, why do they come to shows? Let’s
take a look at that subconscious thing a
minute. I just finished playing “Ma and
Pa Kettle on Vacation” to another one of
those unheard of omigod-where-do-they-
come-from grosses that every small town
exhibitor who has ever played them knows
about (there’s no question about who are
box-office champs of the sticks!). We
know, and the public in these small towns
are beginning to know, that “Ma and Pa’’
are not that funny.

We know that lots of pictures are
funnier, that most pictures are better made.
I took a slug of benzedrine, stood on my
head in a corner, went into my best Yogi
trance and came up with the conclusion
that in “Ma and Pa” the small town and
rural people can see in those two lovable
characters something that they would like
to have. They want to be able to capture
that easy way of accepting a crisis, respon-
sibility, shortage of funds and all the little
human trials that confront us all. They
don’t want to be like Ma and Pa, neces-
sarily, but in those characters they see
people solving the same problems we all
have and doing it in their stride without
letting the problems get out of proportion.

They don’t learn much from the Kettles.
No great social, economic or moral issues
are presented or settled, but the “aspect
ratio” of every day’s crises are not allowed
to get the best of Ma and Pa’s determina-
tion to take things as they come, to live
and enjoy life. When that’s put on the
screen, even in its seemingly exaggerated,
corny way, that’s entertainment! That’s
what we’re selling, critics and columnists
and crusaders to the contrary.

•

Why do they come to shows? Is it be-
cause they want to identify themselves
secretly with a character they envy? A
character they secretly desire? To live
somewhere else for two hours? To see
things, do things, conquer, destroy, court,
share or thrill to the adventure? It’s a
combination of all of them.

In a small town there just isn’t too
much else to do. Supplying a physic, emo-
tional need, movies can become a habit.
Maybe you sometimes reach beneath the
crust of indifference by some method of ad-
vertising or exploitation that stirs the im-
agination of someone who never goes to
shows, and you bring him out that night.
That’s part of your job of being a show-
man— arousing the imagination of the oc-
casional patron through some appeal that
will bring him out of the house and into
the theatre.

*We do not ftetieve in
mafic . . . BUT WE DO

BELIEVE IN FACTS!

' 1 [|E RAYTONE all-purpose, Wide Stereo Screen
was designed for and can be used with any method of projec-
tion available today.

It’s simple arithmetic! The brightness gain and light distribu-
tion curve of an aluminized surface is an equation — just like
the curve of a sound reproduction system. It can be changed
by many factors.

We found the answers through research and by being monkey
wrench mechanics, by trying new formulas again and again
and again. We make no extravagant claims that can’t be
backed up by facts and figures.

Projected light is spread pretty thin these days by really wide
panoramic pictures. By increasing the brightness gain of our
screens we compensate for this light loss.

No one — but no one — has a screen
surface with higher gain than ours!

And hear this — the Raytone depolar-
ization rate is only .02%. Compare!

OUR STAMPS of APPROVAL WERE
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ENGINEERS AND LABORATORY
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So here is the happy combination of
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The F & Y Building Service is the outstanding
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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

ADVERTISING BUDGET AND PROCEDURE

spot, without a moment’s hesitation, those
ads lifted from a Press Book without
change !

Unfortunately, there is one occasion
which might be mentioned when it will not
be possible for the manager to adapt Press
Book ads to his individual taste and re-
quirements. This is when a Distributor is
sharing in co-operative advertising, as they
generally insist that Press Book ads be
used with only the addition of a “sig cut,”
short subjects and a date!

On all other occasions it will pay the
manager to study the Press Book ads and
adapt them to his own particular operation.
If he must use mats, he will be more re-
stricted in his alterations than the adver-
tiser, who can have engravings made at his
newspaper of each advertisement ; but even

so, he can usually draw up an ad which
will have individual character and be more
closely adapted to his local needs.

There are 5 “W’s” for the manager to
include in every ad: (1) WHAT is it all
about ? (2) WHO is in it? (3) WHERE
is it playing? (4) WHEN is it playing?
(5) WHAT does it cost?

Does that sound somewhat familiar? It
should, for its an adaptation of the news-
paper formula of many years standing:
Who? What? Where? When? and
Why?

There are many excellent manuals
available to the student of advertising, and
it is not our purpose to enter into a dis-
cussion of the make-up of ads for theatre
per se. That would involve a long study
all by itself, for there are many varied ap-

CONTINUED FROM PAGE 15

proaches to theatre advertising. Let us
rather suggest some lines of thought which
can be incorporated in ads developed with
the assistance of the Press Books and some
study of outside teaching aids.

We might well begin with a short study
of the background of theatre advertising
in newspapers, for there are angles not
readily apparent to the lay observer. Years
ago the traveling press agents, going in ad-
vance of legitimate stage productions and
circuses, etc., put down such a heavy bar-
rage of reading material on the local news-
paper desks that the editors were inclined
to wonder how they could get some com-
pensation for running this material, which
also had heavy reader interest. The local
motion picture theatre manager resented
the influx of outside entertainers who
drained the town of that much entertain-
ment money, and they probably added to
the problem by complaining to newspaper
friends of the free advertising given those
“fly by night” competitors.

THEATRE SPACE RATES

Through a combination of circumstances,
there came into being what is known as an
amusement rate for certain classes of adver-
tising in newspapers. Naturally this came
to include the motion picture theatre.

What do you get for this amusement
rate? Theoretically, the newspaper will
run a fairly heavy ratio of “free” story
material on the theatre and its attractions
along with the advertising, wThich is paid
for at a much higher rate than the local
stores pay for their space. In actual prac-
tice it works out somewhat differently.
Usually the amount of reader space is dis-
proportionately small in comparison with
the paid ad space. Sometimes it consists
primarily of a Sunday “movie page” with
art work and stories, many of which are
lifted bodily from the press syndicate mate-
rial supplied the newspaper on their own
outside contract as straight reading
material !

The amusement rate has been a bone of
contention between theatre managers and
their newspapers for many years, and there
is a movement for the abolition of the
higher rate. They have a very hard time
justifying these excessive costs, and while
it is a long way from becoming an ac-
complished fact, there are indications that
in time this amusement rate will be done
away with entirely. The theatre will
probably have to forego a large proportion
of the so-called free “readers,” but the
end result should be worth the difference.

( Continued on page 21)

ADVERTISING CAMPAIGN

Title — DAVID & GOLIATH Dist. Independent

Theatre PALACE, Midland City w./B. June 4, 1953

Day

Const.

Jour.

Const. Daily —54

in. @1.65= 89.10

Sun.

XXX

Const. Sun. —

IN. @ =

Mon.

2”

Jour. Daily -72

in. @2.15=154*80

Tues.

30n

Jour. Sun. ^6

IN- @5.00= 80.00

Wed.

30”

20”

Total Newspaper

= 323.90

Thur.

8”

Radio

15 Spots

@) 5.00 = 75*00

Fri.

4”

6 Spots

@ 15.00= 90.00

Sat

2”

Heralds

75*00

Sun.

XXX

12”

Street Bally

20.00

Mon.

Total Campaign

=583*90

Tues.

2”

Less h.b{ House Budget) = 80.00

Wed.

XXX

503*90

Total

54"

88”

50/50 Split -Theatre Share =251.95

Distributor shr. = 251*95

Example of an advertising schedule and budget form as filled out.

MOTION PICTURE HERALD, AUGUST I, 1953

Index to products Advertised
& described in this issue, with

• Dealer directory

• Convenient inquiry postcard

Firms are numbered for easy identification in using postcard. Dealer indications refer to listing on following page.

ADVERTISERS

NOTE: See small 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 Letter Co 36

Changeable letter signs: Front lighted panels for
drive-ins (IA), back-lighted panels (IB), and
changeable letters (1C). All dealers.

2 — American Seating Co 36

Auditorium seating. NTS and direct.

3 — Ashcraft Mfg. Co., C. S 33

Rectifiers. Unaffiliated dealers.

4 — Ballantyne Co., The .29, 32, 34, 35

3-D “package”. Dealers I, 3. 8, 10. 18, 19, 20,

34, 36, 42, 57, 67, 72, 74, 77, 88, 90, 101, 106,

109, 112, 119, 125, 129.

5 — Carbons, Inc 31

Projection carbons. Franchise dealers.

6 — Cinematic Corp 32

3-D equipment (6A) motor-generators (6B). Direct.

7 — Coca-Cola Co., The 2nd Cover

Soft drinks (7A), beverage dispensers (7B).
Branches in principal cities.

8 — Connolly, Inc., J. J 24

Frankfurter grills. Direct.

9 — F & Y Building Service, The 17

Architectural design and building service.

10 — Griggs Equipment Co 29

Auditorium chairs. Direct.

I I — Heyer-Shultz, Inc 30

Metal projection arc reflectors. Dealers market *
and NTS.

12 — Heywood-Wakefield Co 6

Auditorium chairs. Dealers 8, 10, 23, 31, 54, 98,

101, 125 and branches.

13 — International Projector Corp 4th Cover

Stereophonic sound equipment (I3A), 25-inch maga-
zines (I3B). NTS.

14 — Koiled-Kords, I nc 16

Self-coiling cords for in-car speakers. All dealers
and Graybar Electric Corp.

15 — LaVezzi Machine Works 33

Projector parts. All dealers.

16 — Manko Fabrics Co., Inc 36

Leatherette covers for auditorium chairs. Direct.

17 — Manley, Inc 24

Frankfurter machine and bun warmer (I7A), bever-
age dispensers (I7B). Offices in principal cities.

18 — National Carbon Co., Inc 4

Projection carbons. All dealers.

19 — National Super Service Co., Inc 29

Vacuum cleaners. All dealers.

20 — National Theatre Supply 15

Distributors.

21 — Nestle Co., Inc 27

Chocolate candy. Direct.

22 — Payne Products Co 34

Carbon savers. Dealers II. 17, 22, 37, 41, 55. 56,

®6,: 79. 105, 110, 112. 115, 119, 126 and NTS,
Albany, N. Y.f Memphis and Denver.

Reference Adv.

Number Page

23 — Poblocki & Sons 35

Marquees (23A), name signs (23B), box offices
(23C), theatre fronts (23D), poster-cases (23E), port-
able snack bar (34F), drive-in screens (23G). NTS
and direct.

24 — Projection Optics Co., Inc 21

Projection lenses. Distributor: Raytone Screen Corp.

25 — Radio Corp. of America 5

International auditorium chairs. Dealers marked*.

26 — Raytone Screen Corp. II, 17

Wide projection screens (26A), wide projection
screen frames (26B). Direct.

27 — RCA Service Co., Inc. 21

Projection and sound equipment maintenance service.

28 — S. O. S. Cinema Supply Corp 35

Distributors.

29 — Stroble-Dodge Equipment Corp II

Magazines for 3-D. Direct.

30 — Strong Electric Corp., The 13

Projection arc lamps (30A), rectifiers (34B). Deal-
ers I, 2, 3, 4. 7. 8, 9, 10, 12, 13, 16. 17, 18, 19.

20, 21, 23, 24, 25, 27, 31, 34, 35, 36. 38, 39. 40,

41, 42, 43. 45, 46, 48. 49, 52, 53, 54, 55, 56. 57,

58, 60, 61, 62, 64, 65, 67. 69, 72, 73, 74, 75, 76,

77, 78. 80, 81, 88. 89, 90. 91, 94, 95. 96, 98. 100,

101, 102, 103, 104, 105, 107, 109, 110, III, 112,

113, 114, 115, 118. 119, 121, 126, 127, 128, 129.

31 — Theatre Seat Service Co 29

Theatre chair rehabilitation service. Direct.

32 — Vocalite Screen Corp 1 36

Projection screens. Direct.

33 — Wagner Sign Service, Inc 3

Changeable letter signs: Front lighted panels for
drive-ins (33A); back-lighted panels (33B): and
changeable letters (33C). Dealers I, 8, 10, 12, 13,

14, 15, 16, 20, 21, 22, 23. 24. 25, 27, 28, 29, 31.

33. 34, 35, 39, 40, 41, 42, 43. 49, 51, 52. 54, 55,

57, 58, 60, 62, 64, 65, 66, 67, 69, 70. 71. 72, 74,

76. 77, 81, 83, 85, 86. 88, 89, 95, 97, 98, 101, 103,
104, 105, 110, III, 114. 115, 116, III, 119, 121,
125, 126, 127 and NTS Detroit.

34 — Westrex Corp 30

Foreign distributors.

35 — Whitney-Blake Co., The 16

Non-conduit speaker system cable for drive-in
theatres. Distributors: Graybar Electric Corp.

36 — Williams Screen Co 35

Projection screens. Direct.

37 — Wrigley, Jr., Co., Wm 22

Chewing gum. Direct.

EDITORIALLY. . .

HOT POOD TIMING UNIT, page 26

New portable timing unit to control the warm-
ing period of hot foods marketed by Helmco, Inc.
Postcard reference number E38.

BUTTER DISPENSER, page 27

New butter dispenser with "triple-jet" nozzle,
automatic heat control and flasher sign. Made by
White Manufacturing Company and distributed by
Cretors Corporation. Postcard reference number
E39.

PROJECTION ARC LAMP, page 23

Adaptation of the Strong Electric Corporation's
"Mighty 90" projection arc lamp to permit use of
two new carbon trims. Postcard reference num-
ber 30A.

NEW SCREEN PAINT, page 28

New screen paint developed by Eprad Corpora-
tion for 2-D, wide-screen or 3-D at both indoor
and outdoor theatres. Postcard reference num-
ber E40.

ALL-PURPOSE SCREEN, page 28

New model of Poblocki & Son's all-purpose
drive-in screen, "Permalum," made of metal and
prefabricated for individual installation. Postcard
reference number 23G.

REFLECTOR LAMP, page 29

Reflector lamp for operation at a maximum of
128 amperes added to RCA line of projection
lighting equipment under trade-name "Wide-Arc."
Postcard reference number E4I.

INSECTICIDE UNIT, page 30

Portable, pulse-jet unit which atomizes a liquid
insecticide into a dense, clinging fog. Developed
for use at drive-in theatres by Devenco, Inc. Post-
card reference number E42.

NEW BOBTAILS, page 26

Two new models of soda fountain units with ice
cream capacity of 30 and 40 gallons, announced
by Everfrost Sales, Inc. Postcard reference num-
ber E43.

TO BETTER THEATRES Service Department:

Please have literature, prices, etc., sent to me according to the following
reference numbers in the August 1953 issue —

NAME— — - — ■ — — -

THEATRE or CIRCUIT - — — — ■ -

STREET ADDRESS

QITY — STATE.

Theatre Supply Dealers

Dealers in the United States listed alphabetically by states, numbered or other-
wise marked for cross-reference from Index of Advertisers on preceding page

ALABAMA

1— Queen Feature Service. I9I2'/j Morris Ave., Birmingham.

ARIZONA

2— Girard Theatre Supply, 932 W. Van Buren St., Phoenix.

ARKANSAS

3 — Arkansas Theatre Supply, 1006 Main St., Little Rock.

4 — Theatre Supply Co., 1021 Grand Ave., Fort Smith.

CALIFORNIA

Fresno:

5 — Midstate Theatre Supply, 1906 Thomas.

Los Angeles:

6— John P. Filbert, 2007 S. Vermont Ave.*

National Theatre Supply, 1961 S. Vermont Ave.

7— Pombrex Theatre Supply. 1969 S. Vermont Ave.

8— B. F. Shearer. 1964 S. Vermont Ave.

San Francisco:

National Theatre Supply. 255 Golden Gate Ave.

9 — Preddey Theatre Supplies, 187 Golden Gate Ave.

10 — B. F. Shearer, 243 Golden Gate Ave.

11 — western Theatrical Equipment, 337 Golden Gate Ave.*

COLORADO

Denver:

National Theatre Supply. 2111 Champa St.

12 — Service Theatre Supply, 2054 Broadway.

13— Western Service & Supply, 2120 Broadway.*

CONNECTICUT
New Haven:

National Theatre Supply, 122 Meadow St.

DISTRICT OF COLUMBIA (Washington)

14 — Brient &. Sons, 925 New Jersey Ave.. N. W.*

15— Ben Lust, 1001 New Jersey Ave.. N. W.

FLORIDA

16 — Joe Hornstein, 273 W. Flagler St„ Miami.

17 — Southeastern Equipment, 206 E. Bay St., Jacksonville.*

18 — United Theatre Supply, 110 Franklin St„ Tampa.

19 — United Theatre Supply. 329 W. Flagler St., Miami.*

GEORGIA

Albany:

20 — Dixie theatre Service &. Supply. 1010 N. Slappey Dr.

Atlanta:

21 — Capital City Supply, 161 Walton St., N. W.

National Theatre Supply, 187 Walton St., N. W.

22 — Southeastern Theatre Equipment, 201-3 Luckie St„ N. W.*

23 — Wil-Ktn Theatre Supply, 301 North Ave., N. E.

ILLINOIS

Chicago:

24 — Abbott Theatre Supply, 1311 S. Wabash Ave.*

25 — G. C. Anders Ce., 317 S. Sangamon St.

26 — Gardner Theatre Service, 1235 S. Wabash Ave.

27 — Movie Supply, 1318 S. Wabash Ave.

National Theatre Supply, 1325 S. Wabash Ave.

INDIANA

Evansville:

28 — Evansville Theatre Supply, 2900 E. Chandler Ave.

Indianapolis:

29 — Ger-Bar. Inc., 442 N. Illinois St.

30 — Mid-West Theatre Supply Company, 448 N. Illinois St.*
National Theatre Supply, 436 N. Illinois SL

IOWA

Des Moines:

31 — Des Moines Theatre Supply. 1121 High St.

National Theatre Supply, 1102 High St.

KANSAS

Wichita:

32 — Southwest Theatre Equipment, P. O. Box 2138.

KENTUCKY

Louisville:

33— Falls City Theatre Equipment, 427 S. Third St.

34 — Hadden Theatre Supply, 209 S. 3rd SL

LOUISIANA
New Orleans:

35 — Hodges Theatre Supply, 1309 Cleveland Ave.

36 — Johnson Theatre Service, 223 S. Liberty SL
National Theatre Supply, 220 S. Liberty SL

37 — Southeastern Theatre Equipment, 214 S. Liberty St.*

Shreveport:

38 — Alon Boyd Theatre Equipment, P. O. Box 362.

MARYLAND

Baltimore:

39 — J. F. Dusman Co., 12 East 25th SL
National Theatre Supply, 417 St. Paul Place.

MASSACHUSETTS

Boston:

40 — Capitol Theatre Supply, 28 Piedmont St.*

41 — JOo Cifre, 44 Winchester SL

42 — Independent Theatre Supply. 28 Winchester St.

43 — Massachusetts Theatre Equipment. 20 Piedmont St.
National Theatre Supply, 37 Winchester SL

44 — Standard Theatre Supply, 78 Broadway.

45 — Theatre Service &. Supply, 30 Piedmont St.

MICHIGAN

Detroit:

46 — Amusement Supply, 208 W. Montcalm St.

47 — Ernie Forbes Theatre Supply, 214 W. Montcalm St.

48 — McArthur Theatre Equipment, 454 W. Columbia SL
National Theatre Supply, 2312-14 Cass Ave.

Grand Rapids:

49 — Ringold Theatre Equipment, 106 Michigan St„ N. W.

MINNESOTA

Minneapolis:

50 — Elliott Theatre Equipment, II 10 Nicollet Ave.

51 — Frosch Theatre Supply. 1111 Currie Ave.*

52 — Minneapolis Theatre Supply, 75 Glenwood Ave.

National Theatre Supply, 56 Glenwood Ave.

53 — Western Theatre Equipment, 45 Glenwood Ave.

MISSOURI
Kansas City:

54 — Missouri Theatre Supply, 115 W. 18th SL*

National Theatre Supply. 223 W. 18th St.

55 — Shreve Theatre Supply, 217 W. 18th St.

56 — Stebbins Theatre Equipment, 1804 Wyandotte SL

St. Louis:

57 — McCarty Theatre Supply, 3330 Olive St.

National Theatre Supply, 3212 Olive St.

58 — SL Louis Theatre Supply Co., 3310 Olive St.*

MONTANA

59 — Montana Theatre Supply, Missoula.

NEBRASKA

Omaha:

60 — Ballairtyne Co., 1712 Jackson St.

National Theatre Supply, 1610 Davenport St.

61 — Quality Theatre Supply, 1515 Davenport St.

62 — Western Theatre Supply, 214 N. 15th St.*

NEW MEXICO

63 — Eastern New Mexico Theatce Supply, Box 1009, Clovis.

NEW YORK
Albany:

64 — Albany Theatre Supply, 443 N. Pearl.

National Theatre Supply, 962 Broadway.

Auburn:

65— Auburn Theatre Equipment. 5 Court St.

Buffalo:

66 — Eastern Theatre Supply, 496 Pearl St.*

National Theatre Supply. 498 Pearl SL

67 — Perkins Theatre Supply, 505 Pearl SL

68— United Projector & Film. 228 Franklin St.

New York City:

69 — Amusement Supply, 341 W. 44th St.

70 — Capitol Motion Picture Supply, 630 Ninth Ave.*

71 — Crown Motion Picture Supplies, 354 W. 44th SL

72 — Joe Hornstein, 630 Ninth Ave.

National Theatre Supply. 356 W. 44th St.

73 — S.O.S. Cinema Supply. 602 W. 52nd St.

74 — Star Cinema Supply, 441 W. 50th SL

Syracuse:

75 — Central N. Y. Theatre Supply, 210 N. Salica St.

NORTH CAROLINA
Charlotte:

76 — Bryant Theatre Supply, 227 S. Church St.

77 — Charlotte Theatre Supply, 116 S. Poplar.

78 — Dixie Theatre Supply, 213 W. 3rd St.

National Theatre Supply, 304 S. Church St.

79 — Southeastern Theatre Equipment, 209 S. Poplar St.*

80 — Standard Theatre Supply, 219 S. Church St.

81 — Theatre Equipment Co., 220 S. Poplar St.

82 — Wil-Kun Theatre Supply, 229 S. Church St.

Greensboro:

83 — Standard Theatre Supply, 215 E. Washington St.

84 — Theatre Suppliers, 304 S. Davie SL

OHIO

Akron:

85 — Akron Theatre Supply. 120 E. Market SL

Cincinnati:

86 — Mid-West Theatre Supply, 1638 Central Parkway.*

National Theatre Supply, 1657 Central Parkway.

Cleveland:

National Theatre Supply, 2128 Payne Ave.

88 — Ohio Theatre Equipment, 2108 Payne Ave.

89 — Oliver Theatre Supply, E. 23rd and Payne Ave.*

Columbus:

90 — American Theatre Equipment. 165 N. High St.

91 — Mid- West Theatre Supply, 962 W. Third Ave.

Dayton:

92 — Dayton Theatre Supply, III Volkenand St.

93 — Sheldon Theatre Supply, 627 Salem Ave.

Toledo:

94 — American Theatre Supply, 439 Dorr St.

95 — Theatre Equipment Co., 1206 Cherry St.

OKLAHOMA
Oklahoma City:

96 — Century Theatre Supply Co., 20 N. Lee St.

97 — Howell Theatre Supplies, 12 S. Walker Ave.

National Theatre Supply, 700 W. Grand Ave.

98 — Oklahoma Theatre Supply, 628 W. Grand Ave.*

OREGON

Portland:

99 — Modern Theatre Supply, 1935 N. W. Kearney St.*

100— Portland Motion Picture Supply, 916 N. W. 19th St.

101— B. F. Shearer, 1947 N. W. Kearney St.

102 — Inter-State Theatre Equipment. 1923 N. W. Kearney St.

PENNSYLVANIA

Philadelphia:

103 — Blumberg Bros., 1305-07 Vine St.*

National Theatre Supply Co., 1225 Vine St.

Pittsburgh:

104 — Alexander Theatre Supply, 84 Van Bramm St.*

105 — Atlas Theatre Supply, 402 Mlltenberger St.

National Theatre Supply, 1721 Blvd. of Allies.

106 — Superior Motion Picture Supply, 84 Van Bramm St.

Wilkes Barre:

107 — Vincent M. Tate, 1620 Wyoming Ave., Forty-Fort.

RHODE ISLAND

108 — Rhode Island Supply, 357 Westminster St„ Providence.

SOUTH DAKOTA

109 — American Theatre Supply, 316 S. Main St„ Sioux City.

TENNESSEE

Memphis:

110 — Monarch Theatre Supply, 492 S. Second SL*

National Theatre Supply. 412 S. Second SL

111 — Tri-State Theatre Supply, 318 S. Second SL

TEXAS

Dallas:

112 — Hardin Theatre Supply, 714 South Hampton Rd.

113 — Herber Bros., 408 S. Harwood St.

114 — Modern Theatre Equipment, 1910 Jackson St.

National Theatre Supply, 300 S. Harwood St.

115 — Southwestern Theatre Equipment, 2010 Jackson St.*

116 — Sterling Sales & Service, 2019 Jackson St.

Houston:

116 — Southwestern Theatre Equipment, 1622 Austin SL*

San Antonio:

117 — Alamo Theatre Supply. 1303 Alametoe St.

UTAH

Salt Lake City:

118 — Intermountain Theatre Supply, 264 E. First South SL

119 — Service Theatre Supply, 256 E. First South SL

120 — Western Sound & Equipment, 264 E. First South SL*

VIRGINIA

121 — Norfolk Theatre Supply, 2700 Colley Ave., Norfolk.

WASHINGTON

Seattle:

122 — American Theatre Supply, 2300 First Ave., at Bell SL

123 — Inter-State Theatre Equipment Co., 2224 Second Ave.

124 — Modern Theatre Supply, 2400 Third Ave.*

National Theatre Supply, 2319 Second SL

125 — B. F. Shearer, 2318 Second Ave.

WEST VIRGINIA

126 Charleston Theatre Supply. 508 Lee St., Charleston.

WISCONSIN

Milwaukee:

127— Manhardt Co.. 1705 W. Clybourn St.*

National Theatre Supply, 1027 N. Eighth SL

128— Ray 8mlth, 710 W. State SL

129— Theatre Equipment & Supply, S4I N. Seventh SL

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.

FIRST CLASS

( Sec. 34.9, P.L&R.)
PERMIT NO. 8894
NEW YORK, N. Y.

( Continued from page 18)

In practice it is hard to defend the inclu-
sion of any material in the reading columns
which does not have definite reader inter-
est. The sports pages have frequently been
ctied as examples which are loaded with al-
most unlimited FREE space for an event
competitive to theatre entertainment. Both
are operated for a profit. The newspapers’
justification? Reader interest! 1 he line-
age of paid advertising from the sports pro-
moters? Very little, if any!

If the theatre’s story has reader interest
- — and it is our contention there are far
more theatre patrons than sports fans,
though they are less vociferous in their de-
mands— then it might well be included as
a (free) service to the readers. No amount
of money in payment should justify the
newspapers’ running the story if it is no
more than publicity.

GOOD PRESS RELATIONS

The theatre manager wants to maintain
friendly relations with the local newspaper,
for to a very large extent his personal re-
lations will determine the character of
stories the paper will give his pictures. This
is not to infer that a reviewer will be
swayed in his critical comments concerning
a particular picture, but rather that in the
over-all coverage of theatre events the man-
ager may get more space and of a generally
higher caliber if his relations with the press
tend to be pleasant rather than unfriendly.

Most newspapers assign a staff writer
to cover all amusement events, and it is
with this reporter the manager will have
most of his dealings at the paper. Making
a real friend of this person will go a long
way towards assuring the theatre adequate
coverage of a reasonably sympathetic
nature. What more could be expected ?

On the business side of the newspaper,
the advertising manager has a lot to say
about theatre ads which can be helpful to
the theatre manager. He usually assigns
the handling of theatre ads to a particular
member of his staff, which assures responsi-
ble assistance and guidance in getting the
ads desired.

A number of season passes are usually
allocated to the newspaper, the list being
made out by the theatre manager and ap-
proved, or acknowledged, by the editor or
publisher. Other members of the staff not
covered by the season passes can be taken
care of with occasional trip passes in
recognition of their assistance.

WILFRED P. SMITH's "Setting Into the
Drive-In Business" is omitted from this issue
because of unavoidable circumstances. The
next installment will appear in the Septem-
ber issue.

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Camden, N. J.

BETTER THEATRES SECTION

MOTION PICTURE HERALD, AUGUST I, 1953

Unfreezing Ice Cream Profits
Through Special Promotion

Drive-in or indoor theatre, winter or summer, ice cream can
mean profits at the refreshment stand. Here are some devices
operators have used to boost sales of this popular product.

while popcorn and candy
have continued over the years to cop most
of the prizes in polls to determine the most
popular merchandise at the theatre snack
bar, another item has been quietly creeping
up. That is ice cream, which is now sold
at over 93% of drive-in theatres through-
out the country, and at 50% of the indoor
stands.

Ranked numerically in order of popu-
larity, ice cream is now third at drive-ins,
immediately following popcorn and bever-
ages. At indoor theatres it is now fifth, be-
ing preceded by popcorn, candy, beverages
and chewing gum. There are plenty of
exceptions to the latter, however, with one
indoor theatre owner in Boston recently
reporting that ice cream is his “best-seller
by far.” Accordingly, he has given it first
place at the stand and is continuing to ex-
pand the variety of frozen products he
offers patrons.

Naturally it is during the hot summer
months that ice cream sales hit their peak.
But in the opinion of a good many opera-
tors, it need not be a “seasonal” commodity.
According to one of them, “The supposed
‘common sense’ barriers against selling pop-
corn in the middle of summer or beverages
or ice cream in colder weather have defi-
nitely proved to be 100% wrong.” He goes
on to explain that giving ice cream a “year-
’round” appeal among patrons is a matter
of using special selling approaches.

Putting that extra effort in promoting

sales of ice cream will pay off, as with all
other refreshment items, no matter what
the time of year. It has, for one instance,
this summer at the Garden Auto-Torium
drive-in at Ledgewood, N. J., where owner
Wilfred P. Smith conceived the idea of
moving his “cone counter” from its usual
position behind the main refreshment sta-
tion to a conspicuous spot by itself. He has
placed it near the picnic benches and tables
(see photographs) where speakers enable
patrons to hear as well as see the film
program while eating.

SCHEME DOUBLES SALES

The result of this scheme was an increase
of 100% over last year’s ice cream sales!
And in addition the new arrangement has
made for more rapid and efficient handling
of the products, Mr. Smith has found.
The freezer is simply rolled on casters back
into the storage room overnight and in case
of rain it is covered with canvas and the
special “cone counter” closed down.

Further evidence that the method of dis-

pensing ice cream products means a tremen-
dous difference in the volume of sales is
offered by the manager of an indoor theatre
in California. Some time ago he introduced
a self-service ice cream cabinet adjacent to
the stand and within a short time he found
that sales had almost doubled ! Patrons
seemed to like the idea of being able to
reach for their own ice cream bars without
having to wait for an attendant.

The only trouble with this type of
service, as another manager who has suc-
cessfully used it explains, is that it intro-
duces the risk of pilferage. If the sales
attendant is busy or perhaps looking the
other way, patrons can leave without pay-
ing. However, there are on the market
ice cream cabinets with transparent fronts
so that the product can be displayed openly
as it is in the candy case. These cabinets
can be placed right on the refreshment
stand counter — rather than away from it —
and theft possibility is lessened.

Increased acceptance by theatre operators
of these self-service freezers has been noted
( Continued on page 25)

BETTER THEATRES SECTION

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Write today to —

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1920 Wyandotte St.
Kansas City 8, Mo.

Jree and £aMj

Some advertisements offer literature on
the product advertised, and often a coupon
is included as a convenient means of pro-
curing it. Moreover, The Theatre Supply
Mart (insert at page 19) provides a post-
card for this purpose. . . . Or, if you do
not see what you want advertised in this
particular issue, you may write the BETTER
THEATRES SERVICE DEPARTMENT,
Rockefeller Center, New York 20.

A NATURAL for Movie Theatres!

CONNOLLY

AUTOMATIC

ROLL-A-GRILL

Now Operating in Thousands of

INDOOR THEATRES • DRIVE-INS

Boosting FRANKFURTER Sales and Profits

_ , t n c c now

cnME of the THEATRES GRILLS:
These are SOME one or more ROLL

extra profits | paUce, Theatre, Huntington,

W. V a.

Elov Drive:ln Theatre,

Floy. Ariz.

Columbus Drive- in Theatre,
Columbus, Ind.

Rialto Theatre, Tulsa. Okla.
Mission Theatre, Dalbert,

^ i,. nrive-ln Theatre,

Starlight Drive • >
Parkersburg.

Renfro Drive-In Theatre.

Vancouver, wa n-
Alamo Theatre, Indian-
apolis, Ind.

Twi-Lite Drive-In Theatr ,
Ontario, Oregon
Roosevelt Theatre,

St Louis. Mo.
orchards Drive- In Theatre,
Lewiston, Idaho

Granada Theatre Monte

Vista, Colorado
Don Drive-in Theatre,

Eossier City. La.

Park Theatre. Benton Park,
Illinois

Orpheum Theatre,

St. Joseph, Mo.

W . V *»•

Hilltop Drive- in Theatre,
Escanaba, Mich.

Dells Theatre, Wisconsin
Dells. Wisconsin
canal Drive-In Theatre,

Tucumcari, N. w •

Hollywood Theatre, Leaven-
worth, Kansas
Odin Drive-In Theatre.

Greensburg. Fa.

Pekin Theatre. Montgomery
Alabama

61 Drive-In Theatre.

Delmar. Iowa

Civic Center Theatre, Great
Falls. Montana
Wabash Drive-In Theatre,
Wabash. Ind.

Mesa Drive-In Theatre,
Yuma, Arizona
Columbia Theatre. Dayton.
Ohio

Holdridge Drive-In Theatre,
Holdridge, Nebraska

Studio Theatre, Sacramento,

Motor Vu Theatre, Belling
ham. Wash.

Yandell Theatre. El Paso,
Texas

. . _ are Finding

YES! ;h0lt-A-GR.LL an impor-

ta-t source of

write today -Ceta.U.

Consult your local dealer —

or use handy coupon for further information.

J. J. Connolly, Inc., 457 W. 40th St„ N. Y. 18. Dept. BT-
Send Connolly Automatic Roll -A - Grills literature to-

Name

Address

City State

STOPS TRAFFIC with its fascinating slow
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NO SMOKE— NO ODORS. No installa-
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and labor — No attendant to watch or turn
franks — no scraping of grill. And it's EASY
TO CLEAN! Gleaming stainless steel ROLL-
A-GRILL remains bright, shiny, attractive —
grills clean, wholesome-looking franks!
SELF-BASTING, seals in juices, barbecues
frankfurters evenly on all sides, retains
natural flavor — frankfurter expands in size
— -looks worth more, and you GET MORE
for it! Turns out up to 500 deliciously
barbecued franks per hour!

NEW FEATURE: "No-Waste" Stand-by
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TYPICAL ROLL-A-GRILL INSTALLATION at
KENMORE DRIVE-IN THEATRE, KENMORE,
WASHINGTON

MANUFACTURER

457 W. 40th St.. N. Y. 18. N. Y.
Phone: CH 4-5000 Cable JAYCONLEY

. . . abput lines of noteworthy
candy bars and pack special-
ties for theatre sales.

Brock's Dream. Boats

/! NEW line of cello package candies,
consisting of four different chocolate-
covered varieties and designed to sell at
10c, has been announced for general in-
troduction in the fall by the Brock Candy
Company, Chattanooga, Tenn.

Called "Brock Dream Boats, " the new
candy includes peanut butter chips, mints,
caramels and coconut, all covered with

chocolate. Following experimental sale tests
in all types of retail outlets last spring, the
company has decided to merchandise the
candies in a display box to contain one
dozen each of the four varieties.

"Dealers have found," W. E. Brock, Jr.,
company president, points out, "that when
the candies are displayed in this box on
the counter, they sell approximately three
times as fast as when they are removed
from the box and placed inside a case or
on a candy rack."

In addition to the four-dozen display
box, packed six to the case, the candies
v/ill be marketed in 60-count cases.

•

CANDY CONVENTION SLATED

Over 2,000 candy wholesalers, manufac-
turers and salesmen from all over the coun-
try were expected to attend the eighth an-
nual convention and exposition sponsored
by the National Candy Wholesalers Asso-
ciation, set for five days beginning August
2nd at the Conrad Hilton Hotel, Chicago.
The convention, which heralds the begin-
ning of the fall candy buying season, is not
usually held so early, this being the first
time it has been set for August. Over 100
lines of confectionery and allied merchan-
dise will be featured at the event.

MOTION PICTURE HERALD, AUGUST I, 1953

UNFREEZING ICE CREAM PROFITS

CONTINUED FROM PAGE 23

recently. Yet at the great majority of snack
bars across-the-counter service is the rule.
A few theatres have also installed auto-
matic dispensers for ice cream.

Introduction of new items is a further
means of increasing ice cream sales at
theatre stands. A number of operators —

both indoor and outdoor — have reported
great success with “walkaway sundaes.”
These are simple to prepare, since in most
cases regular 5-ounce cups of plain ice
cream are used. All the attendant has to
do is to take off the cup lid, put on the
desired flavoring and top with whipped
cream and chopped pecans. Usually sold at
around 30c, this item is said to yield a fine
profit — all the way up to 60% !

The most popular ice cream with theatre
patrons generally continues to be that on a
stick, probably because of youngster de-
mand. Close behind are cups, sandwiches,
cones and bon-bons. Frozen custard is ex-
tremely popular at many drive-ins, but it
is by no means restricted to them, with sev-
eral indoor operators finding it profitable.
At the drive-ins the variety is greater, with
many of them offering such novelties as
“snow cones” and ice cream cake rolls.

Sales of ice cream doubled this summer at the
Garden Auto-Torium drive-in at Ledgewood, N. J.,
when owner Wilfred P. Smith conceived the idea
of moving his "cone counter" from behind the
main station to a spot by itself near the picnic
benches and tables. (See below.) A front view of
the counter is shown at left. For details see text.

It is at the drive-ins, too, that a com-
plete soda fountain service is more likely
to be offered than at indoor stands. More
and more of the outdoor theatres should in-
stall this extra service, in the opinion of a
manager in Wisconsin, who calls the foun-
tain “one of the best attractions at the
stand.” It is in fact a “necessity,” he says,
“if you wish to break away from the stand-
ard indoor theatre items and build volume
with a near-restaurant type of operation.
It certainly means a good deal of extra
revenue for you.”

INVENTORY PROBLEMS

Where soda fountains are installed, how-
ever, special problems of inventory control
arise. With regular ice cream products
this is not the case, since cups, cones, sand-
wiches, etc., can be counted and recorded
in the same fashion as candy and other in-
dividually wrapped and sold merchandise.
But with fountain operation, where bulk
ice cream is used, an exact count is impos-
sible. The only answer is through careful
supervision, which can mean the difference
between profit and loss.

BETTER THEATRES SECTION

25.

DER-VANE

Mews and Comment about
Merchandise Sold in the Theatre

Special Racks Help
Sales etf Dime Bars

sales of dime bars have
jumped as much as from 61% to 268%
in retail candy outlets employing special
racks designed to separate the larger bars
from nickel goods as developed by the
National Candy Wholesalers’ Association.
This was disclosed by Ernest Prince of the
McKeesport Candy Company, McKees-
port, Pa., in a report to the National Con-
fectioners’ Association at its 70th annual
meeting recently held at the Waldorf-
Astoria in New York.

Investigation has also shown that the
dime bars move even faster when such
special displays contain a large variety of
product, Mr. Prince pointed out. His re-
port was based on early results of a survey
the NCWA is making of the effectiveness
of its special candy racks. Approximately

500 retail candy outlets are taking part in
the experiment, and at the time Mr. Price
made the report more than half of the re-
turns had come in.

Intermission Trailers
For Drive-in Theatres

A new series of six film
trailers for use at intermission time to in-
crease sales of all products at drive-in re-
freshment stands has been announced by the
Hygrade Food Products Corporation, De-
troit, together with its Kingan Division,
Indianapolis.

The trailers are in color, and their run-
ning time is one minute. The films carry
virtually no brand identification, according
to the company’s announcement, and are
offered free of charge to drive-in operators
carrying Hygrade’s or Kingan’s meat prod-
ucts. They can be secured on a rotating

basis from plants of the two companies.

Development of the trailers is the first
phase of a new program to help drive-in
operators increase their refreshment sales.

Portable Timing Unit
For Hot Food Items

a new portable timing
unit designed to control the warming period
of hot food products has been announced
by Helmco, Inc., Chicago.

Known as the “Hot Cup Timer, Model
HCT-1” the new unit can be set to register
any time from one to ten minutes. When
the warming period is up, a bell rings to
notify the operator; and the current cuts
off to prevent overheating and eliminate
scorced and wasted foods and drinks.

The new timer was designed by the com-
pany to be used with its Helmco Service

Station and fits all of their line of hot cups.
It can be used in preparing such hot foods
as soups, cereals, chili, eggs, chocolate
drinks and toddies.

Finished in baked enamel, the unit is
rated to 700 watts and uses 110 volts a.c.
only. It also incorporates “Dial-a-heat.”

Bobtails with Two
Ice Cream Capacities

two new models of self-
contained soda fountain dispensing units
(“bobtails”), equipped with an ice cream
storage capacity of 30 and 40 gallons, have
been announced by Everfrost Sales, Inc.,
Gardena, Calif.

The new units are companion models of
the company’s “Everfrost Fountainette,”
which has an ice cream capacity of 20 gal-
lons. All three units are designed to pro-
vide complete fountain dispensing service
and have a compressor, carbonator and
water cooler. They utilize three tempera-
ture controls, one serving the cold storage
compartment and syrup bank ; one for plain

MOTION PICTURE HERALD, AUGUST I, 1953

AT COCA-COLA'S BOOTH FOR ALLIED MEETING

Refreshment time was enjoyed at the display booth of the Coca-Cola Company by delegates to the 34th
anniversary convention of Allied Theatre Owners of New Jersey, Inc., held in Atlantic City in July.
Shown above (left to right) are Louis Gold, Allied vice-president; Wilbur Snaper, Allied president;
Richard Gatt, Newark district manager for Coca-Cola; Charles Okun, special theatre representative for
Coca-Cola, from the New York office; Fred Meyer, special representative for Coca-Cola; and Edward
Lachman, ex-official of Allied.

and carbonated water cooling and a third
for the ice cream storage compartments.

The only installation required, outside
of electrical hook-up, is attaching the
water line, the company explains.

New Butter Dispenser
For Popcorn Service

a new butter dispenser
equipped with a special “triple-jet” nozzle
designed for quick action in pouring melted

butter over popcorn, is now available
through authorized distributors of Cietors
Corporation, Nashville, Tenn., manufac-
turers of popcorn machines. The dispenser
is a product of the White Manufacturing
Company, Toledo.

Called the “Butter-Spray,” the unit has
a flasher sign with copy reading “Buttered
Popcorn.” Heat control is automatic with
dual thermostats. The “double boiler”
principle of moist heat is employed, it being
designed to prevent burning or scorching
while keeping the butter at the desired
temperature.

Capacity of the unit is four pounds of
butter, and it can be adjusted to dispense
either }i- or J4- ounce of liquid butter.
It has a nickel-chrome finish and all parts
coming in contact with the butter are of
stainless steel.

Theatres Launch New
Popcorn Promotion

“the popcorn carni-
val,” a giant summer program to stimulate
the sale of popcorn in motion picture thea-
tres throughout the United States and
Canada, has been launched by the Popcorn
Institute, Chicago, with the release to
operators of new point-of-sale kits con-
taining promotional material.

The popcorn kits are composed of 14
colorful display pieces, including streamers,
pennants and backboard posters, designed
to be used throughout the theatre lobby
and around the box-office, as well as at the
refreshment stand.

Orders for the kits from theatre opera-
tors totaled 4500 within two weeks after
the program was announced, according to
Clark Rhoden, Institute chairman. For the
assistance of those theatres not having their
own display department, an idea sheet
showing ways the various pieces can be
used is included in the kit. The material
can be obtained through popcorn processor
suppliers tvho are members of the Institute.
•

CANDY SALES SHOW INCREASE

Manufacturers of confectionery and
competitive chocolate products reported

sales during 1952 of $967,000,000, a slight
increase over those for 1951, according to
final tabulations made by the Bureau of
Census, U. S. Department of Commerce.
Sales for 1951 totaled $965,000,000. The
figures also revealed that manufacturer-
wholesalers and manufacturer-retailers
had increases for the year, but that the
sales of chocolate manufacturers were
down. It was also reported that sales of
bar goods were down in value from 1951
by 3.8% while five- and ten-cent special-
ties were up in value 4.2%. In poundage
the former showed a loss of 5.4% ; while
the latter showed a gain of 1%.

LfesHes

■ WINNING MORE FANS
DAY AFTER DAY!

Available in
both 5e and 10f
sizes, packed
100 bars per case.

See your Nestle representative or write for more details

THE NESTLE COMPANY, INC., 2 WILLIAM STREET, WHITE PLAINS, N. Y.

BETTER THEATRES SECTION

about Products

★ news and views of the market and its sources of supply

Strong Lamp Adapted
To New Carbon Trims

adaptation of the Strong
“Mighty 90” projection arc lamp to permit
use of two new carbon trims to meet the
demand for increased screen illumination
as required by 3-D and wide-screen as well
as standard drive-in projection, has been
announced by the Strong Electric Corpora-
tion, Toledo.

With proper combinations of negative
heads, positive drive motors, carbon con-
tacts and carbon drive roller sets, the
11mm regular uncoated carbon can be
burned to 120 amperes and the new 10mm
“Hitex” carbon or equivalent can be
burned to 135 amperes. Approximately
25% more illumination can be obtained at
135 amperes with the 10mm “Hitex”
than with the 10mm regular at 105 am-
peres, the company points out.

The necessary parts required to burn any
of these carbon trims can be supplied either
as original equipment on new lamps or as
conversion parts for field installation in
older lamps. A technical bulletin (No.
101 ) with information regarding the il-

lumination, arc power requirements and
parts required to use the new carbons, as
well as the 9- and 10mm regular carbon
trims in present use, will be supplied by
the company upon request. ( 1 City Park
Avenue, Toledo 2.)

New Screen Point for
2-D, W-S, and 3-D

a new screen paint,
marketed under the trade name “Uni-
M ax,” has been developed by the EPRAD
Corporation, Toledo. The paint is suited
to either 2-D, wide-screen or 3-D presenta-
tion, according to A1 Boudouris, president
of EPRAD, who states that it can be used
for both indoor and outdoor theatres.

“LIni-Max” appears black, and the man-
ufacturer explains that it does not reflect
light from the sky, but only projection
light. This is said to enable drive-ins to
show films from 15 to 30 minutes earlier.

The paint was recently used on the
screen of the Jesse James drive-in at Toledo
for a showing of “House of Wax,” which
caused traffic to be tied up for two miles
in both directions on Ik S. Highway 24.

AIE-Purpose Type of
Metallic Drive-In Screen

EFFORTS TO MAKE a
wholly metallic drive-in screen that would
be suitable to third-dimensional as well as
two-dimensional projection, are reported
by Poblocki & Sons, Milwaukee, to have
been successful, with the result that the
company has replaced production of both
its “Permascreen” and “Permalum” 3-D
screen with a new all-purpose model of the
“Permalum” type. The new “Permalum”
is also entirely of metal and is prefabricated
for installation according to ramp measure-
ments and throw of each drive-in, accord-
ing to data supplied by the purchaser.

Describing the effort to develop a screen
that would be suited to 3-D pictures, and
also provide desired distribution of light
across the screen for 2-D projection, the
announcement says:

“We started to work on metallic screens
that would reflect light to extreme angles
and evenly over the entire ramp area. This
was diflicut since there are many different
drive-ins. A survey had to be made by ask-
ing hundreds of exhibitors for the plot plan
of their drive-ins to determine the extreme
angle of each one, then after that the prob-
lem was to develop a ‘Permalum’ screen
tailored to fit each particular extreme
angle. We considered, too, that many
drive-ins do not have enough light to give
good definition at ramps farthest away from
the screen at right angle, let alone at ex-
treme angle or end ramps, and that if we
developed a screen to fit each drive-in, mil-
lions of dollars could be saved in abandon-
ing extreme angle ramps and building new
ramps. Also millions could be saved by
making the proper screen for each drive-in
so that drive-ins could show all pictures
in the same manner as could the indoor
theatre.”

The experimental “Permalum” screen
of the new type was made with hand tools,
but dies are now in process of manufacture,
the announcement explains, so that deliver-
ies are beginning in August.

For fabrication of the new “Permalum”
for a specific drive-in, the manufacturer

EXHIBITS AT NEW JERSEY ALLIED CONVENTION

Delegates to the 34th anniversary convention of the Allied Theatre Owners of New Jersey, Inc., held in
July at Atlantic City, saw a number of equipment manufacturers' exhibits, including that of Carbons,
Inc., Boonton, N. J. (left), which featured a display map of their distribution set-up; and that of
Cinematic Corporation, Bloomfield, N. J., manufacturers of 3-D and wide-screen projection equipment,
including generators, rectifiers, 25-inch magazines, and screen frames.

MOTION PICTURE HERALD, AUGUST I, 1953

needs to know ( 1 ) the angle of projection,
(2) distance from front ramp to screen
face, (3) distance from screen to last ramp,
(4) extreme viewing angle, and in the case
of a curved screen, (5) projection throw.

A brochure on the new screen is avail-
able on request from the manufacturer
(2159 S. Kinnickinnic Avenue).

RCA Reflector Lamp for
Operation at 128 Amperes

a reflector lamp for
operation at a maximum of 128 amperes
has been added to the RCA line of pro-
jection lighting equipment under the trade-
name “Wide-Arc.” Basically similar to the
RCA “Brite-Arc,” the new lamp is de-
signed for use of the new “National Hitex”
positive carbon.

The positive is rotated at 15 revolutions
per minute, compared with 8 rpm for the
“National H. I.” and comparable 10mm
positive used in the “Brite-Arc.” The
“Wide-Arc” is of the type employed for
demonstrations of CinemaScope, presenting
pictures 65 to 70 feet wide.

The lamp is equipped with a “light-
cooling” device consisting in glass capable
of filtering out light in the “hot” side of the
spectrum, placed on a slant in a vent having
a small fan at the top. This is mounted
between the lamp and the shutter housing.

Carbon jaws are cooled by recirculated
water. The circulator operates directly
from the arc voltage so that it starts oper-
ation automatically as soon as d.c. power is
supplied the arc.

To cope "with the increased heat at the
arc, as well as to draw off combustion dust,
the lamphouse is equipped with a stack
assembly located immediately above the arc
flame, and the door on the operating side
contains ventilating holes directed in louver
fashion toward the floor to allow passage
of air and not subject tail flame to draft.

Dowser controls are located on both
sides of the lamp at the forward end, and
both horizontal and vertical carbon adjust-
ments are placed at the rear.

It is pointed out that the “Wide-Arc”
is also adapted to use of the 10mm “H. I.”
positive for operation at amperages to 98.

Also added to the RCA line to meet the
higher power requirements of “wide-
screen” technique, are two motor-gener-
ators, one (Type 19) for a 208-volt line,
the other (Type 20) for a 220-volt line.
Output ratings of both are 125-250 am-
peres, 90 volts.

RCA SOUND IN MUSIC HALL

The Radio City Music Hall in New
York City has been equipped with an RCA
stereophonic sound system, according to an

We're not a "general store" operation.

There's only one item we handle and
that's theatre seats. All we know and
do centers around rehabilitation . . .
parts replacement and replacement of
worn seats or backs. Modestly, we're
sort of proud of each job we do and
don't mind referring you to our many
pleased customers. Better still, we'd
love to do an actual job for you. Why
not let us quote you cost?

MANUFACTURERS — foam rubber & spring cushions, back & seat covers.
DISTRIBUTORS — upholstery fabrics and general seating supplies.

W~ theatre seat seruice to.

160 Hermitage Avenue

Nashville, Tennessee

Model JS — The new
compact low-priced
Super, smaller and
lighter than the big
Super, but with the
same power, pick-up
and performance. Ex-
tremely quiet in oper-
ation. Can quickly be
converted into a
powerful blower.

Other Super Models

Model M — For all general cleaning and blow-
ing. Powerful, readily portable.

This New Super Still
Further Cuts Cleaning Costs

Ask your supply dealer or write for
complete data about this and the
other specialized Super theatre
cleaners.

for both wet and dry pick-up.

Model BP-1 — A quiet, double duty cleaner

NATIONAL SUPER SERVICE CO., INC. /iTN Super cleaners are approved by Underwriters’

1941 N. 13th St. Toledo 1, Ohio yM Laboratories and Canadian Standards.

Sales and Service in
Principal Cities

In Canada: Plant Main-
tenance Equipment Co.,
Toronto, Montreal,
Vancouver

' Once Over Does It'

SUPER SUCTION

SINCE 1911

“THE DRAFT HORSE OF POWER SUCTION CLEANERS”

PARAMOUNTS’

GAREE

In 3D, Stereophonic Sound and Technicolor

Is another ©f the many pictures that can be
shown on the . . .

IIALLAIMTYINIE

ALL - SYSTEM

PACKAGE

Less then $6,000 for most theaters

The Ballantyne Company, 1712 Jackson, Omaha, Nebr.

5UPERIOR Comfort in

GRIGGS CHAIRS

Comfort — the minute
they're occupied!

Their Beauty sparkles!

Superior construction
gives years of service.

WRITE FOR CATALOG

CRH

SGS EQUIPMENT CO.

Belton, Texas

BETTER THEATRES SECTION

announcement by J. F. O’Brien, manager
of the Theatre Equipment Section for the
Engineering Products Department, RCA
Victor Division, Radio Corporation of
America, Camden, N. J. In addition to
three of the largest type RCA stage
speaker systems, two reproducers were in-
stalled in the projection booth. The Cri-
terion theatre, New York, has also been
equipped for stereophonic sound by RCA.

Portable, Pulse-Jet
Insecticide Device

A NEW, PORTABLE pulse-
jet device that atomizes a liquid insecticide
into a dense, clinging fog, designed to de-
stroy mosquitoes and other insects which
prey on drive-in theatre audiences, has been
introduced by Devenco, Inc., New York.

Called “Swingfog,” the unit has a gaso-
line-fueled, pulse-jet heater which gen-
erates an exhaust stream through a rifle-
like tube. As the heater is operating, a
pesticidal formulation is automatically in-
jected into the end of the tube. When
the pesticide-charged exhaust hits the atmo-
sphere, the resulting condensation forms a
fog composed of millions of poison-
charged droplets. Since the heating period
is of fleeting duration, pesticide potency is
unaffected, the company points out.

Besides the tube and heater, the device
consists of insecticide and fuel tanks and a
hand air pump. Weighing about 30 pounds
filled, the apparatus is carried by hand,
suspended by a shoulder strap. It is started
by momentary contact with a storage bat-

tery and by a few strokes of the hand pump.
After the heater starts functioning, the de-
vice, providing its own ignition, operates
automatically with the battery disconnected.
Because of its portability and relative light-
ness, it can penetrate any terrain accessible
to its operator, according to the company.

The unit is designed to operate one hour
on one filling of its fuel tank, which has a
capacity of 1.2 quarts. The insecticide
tank holds 4.2 quarts, enough for a half-
hour’s operation. During use, both tanks
may be refilled without using the battery
for restarting. The device is designed to

cover two acres with pest-killing fog in
less than 20 minutes and to fog 35,000
cubic feet of enclosed space in five minutes.

Since the unit has only two moving
parts, lubrication is unnecessary and main-
tenance small. The micron size of the
droplets can be adjusted to meet specific
field situations.

The first drive-in theatre in North

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

111 EIGHTH AVENUE, NEW YORK 11, N. Y.
HOLLYWOOD DIVISION: 6601 ROMAINE STREET, HOLLYWOOD 38, CAL.

Research, Distribution and Service for the Motion Picture Industry

America to use the “Swingfog,” according
to the company, was the Trail drive-in at
Houston, Tex. Jack Farr, manager of
the theatre, gives the device top billing in
newspaper advertisements. The ads feature
a drawing of the device and invite the pub-
lic to see it in action. “Come out,” they
say, “enjoy the show and see this machine
work.” He has also exploited the fact that
the unit traces its ancestry to a famous
terror weapon, the German V-l bomb,
used in World War II.

The new unit also can be used as a frost-
fighter, according to the company. Utiliz-
ing a suitable fog solution in the insecticide
tank, it can quickly generate a fog cover to
combat radiation frost that occurs when
there is no natural cover, like clouds, to
reflect heat radiated from the earth’s sur-
face.

Moreover, when the insecticide tank is
filled with gasoline and the tube is capped
with a special cone, the unit becomes a
flame-thrower for destroying weeds and
other noxious plant growths.

Motional Carbon Names
New Product Sales Head

J. R. Johnstone has been appointed
manager of the Carbon Product Sales De-
partment, it is announced by the National
Carbon Company.

D. B. Joy, who has
occupied that posi-
tion for many years,
has been named to
an executive post in
another department.

Mr. Johnstone
graduated from the
University of Illi-
nois in 1933 with a
B.S. degree in Elec-
trical Engineering
and has been with National Carbon Com-
pany since 1937. He was engaged in vari-
ous sales and administrative functions be-
fore being given his present assignment.
Lighting carbons for the motion picture in-
dustry will be high among Mr. Johnstone’s
interests because of the increased light de-
mands of 3-D and wide-screen systems.

MOTIOGRAPH INSTALLATIONS

Installation of the largest model in its
line of stereophonic sound reproduction
equipment has been completed in the Strand
theatre, Louisville, Ky., by Motiograph,
Inc. Chicago. Other recent installations in-
clude ones at the Paramount theatre, Roch-
ester, N. Y. ; Loew’s Paradise and Valencia
theatres in New York City; the Villa thea-
tre, Salt Lake City; and United Para-
mount’s Fox theatre, Atlanta.

J. R. Johnstone

MOTION PICTURE HERALD, AUGUST I, 1953

Zke Needle’s Bye

A Department on PROJECTION & SOUND

New Carbons for the
New Projection Systems

By F. P. HOLLOWAY, R. M. BUSHONC, W. W. LOZIER

of the National Carbon Company

the attention of thea-
tre owners, as well as projectionists, is be-
ing focused on the need for more projec-
tion light created by recent developments in
the motion picture field, such as “wide-
screen” and three-dimensional motion pic-
tures, and also outdoor theatres. In some
instances, the projection light requirements
have been greatly altered, necessitating a
complete re-appraisal of carbon arc light
sources and lamp equipment.

A paper published in 1947 1 gave a com-
plete summary of the amount of screen il-
lumination which could be obtained with
the popular combination of lamps, optical
systems and carbons used for 35mm projec-
tion. The years since that earlier report
have seen important new developments in
all aspects of motion picture projection sys-
tems. “Hitex”* 13.6mm Super-High-In-
tensity carbons were introduced in 1949 for
use in rotating carbon, condenser type
lamps at 178-180 amperes. Recent months
have witnessed the introduction of a new
13.6mm standard High-Intensity carbon to
replace the former one used in condenser
type lamps at 125-150 amperes.

A new “Suprex”* 9mm positive carbon
has extended the range and output of the

*The term “Hitex”, “Ultrex”, and “Suprex”
are trade-marks of Union Carbide and Carbon
Corporation.

fR. J. Zavesky, C. J. Gertizer and W. W.
Lozier, “Screen illumination with carbon arc
motion picture projection systems,” Jour. SMPE,
48: 73-81, January 1947.

non-rotating carbon, reflector type lamp
used with copper-coated non-rotating car-
bons. A new “Suprex” 7mm positive has
made possible increases in efficiency and
light output compared to “Suprex” 7mm
carbons formerly used. New high-speed
reflector type lamps employing rotating
9mm and 10mm positive carbons have been
marketed and are finding wide usage.

FOR HIGH AMPERAGE

In addition to these combinations already
in commercial usage, the National Carbon
Company has developed several new car-
bons specifically to meet the demands of the
new projection systems. These include the
new “Hitex” 9mm and 10mm carbons for
rotating type reflector lamps; and the new
“Ultrex” 10mm, 11mm and 13.6mm car-
bons, which are most effective when used
with adequate water cooling in rotating
reflector as well as condenser type lamps.
While these latter new carbons have not
been placed on the market as yet, they will
be available whenever suitable lamps are
announced.

Figure 1 shows maximum screen lumens
at different arc currents for various lamp
and carbon combinations with no film,
shutter or filters. Values of screen lumens
obtained with the lamps and optical systems
adjusted to produce 80% side-to-center
distribution ratio are not shown but gen-
erally fall 10% to 25% below the maxi-
mum values. Figure 1 shows that the ro-

idi II X SUPER -CHARGED

the most

VERSATILE

CARBONS

WIDE SCREEN

PROJECTION

I Amper-
age

Posi-

tive

Grade

Nega-

tive

Grade |

65-75

9x14

544 c

7x9

545 c

75-85

9x14

544 c

8x9

545 c

75-90

9x20

552-09

5/16x9

557 c

; 85-105

10x20

552-09

1 1/32x9

557 c

100-120

10x20

552-09

3/8 x9

557 c

120-135

13.6x22

553-01

7/16x9

557 c

135-160

13.6x22

553

1/2 x9

555 c I

160- ISO

13.6x22

583-08

1/2 x9

555 cn I

CARBONS, Inc.

Boonton, N. J.

BETTER THEATRES SECTION

'Jor thcAe who
4e*ire the kM . • •

CINEMATIC

Motor Generator

Designed for continuous duty operation

Will operate two arcs continuously or two arcs
intermittently.

Type 230 for up to 230 amps, continuous duty
" 250 " " " 250

" 300 300

D.C. voltage output 80 to 110 volts. Automatic con-
trol allows operation of single arcs intermittently
or double arcs continuously. Silent, vibrationless
operation.

A few of the numerous items
carried in stock:

# Magazines to fit any projector

# Lower 25'' mag. for universal base
© Interchange switching cabinet

# Screens and Screen Frames

# Electric Interlocks ® Port Filters

# Stereophonic © Sound Systems

Write for details

CINEMATIC CORPORATION

122 Washington Street, Bloomfield, N. J.

COLUMBIA’S

MAN Z DARK

3-Dimension Mystery Film

Is another of the many pictures that can be shown
on the

BAELAIMTYINIE

ALL - SYSTEM

PACKAGE

Less than $6,000 for most theaters

The Ballantyne Co., 1712 Jackson, Omaha, Nebr.

taring type reflector and condenser lamps
are capable of projecting more than 20,000
lumens with standard carbons, and more
than 30,000 lumens with suitable experi-
mental carbons.

It must be mentioned that in some cases
these lamps can project more light and
heat on to the film than can be accommo-
dated without some suitable cooling means.
It is not the purpose of this article to
specify means of protecting the film from
high levels of radiant energy flux. It will
be pointed out, however, that the use of

jection systems may be analyzed in cor-
relation with these latest developments,
beginning with a restatement of the Ameri-
can Standards Association indoor theatre
brightness standards, which recommends a
screen brightness of 9-14 foot-lamberts
with the projector running and no film in
the gate.

STANDARD INDOOR PICTURES

The data of Figure 1 have been used to
calculate the widths of screens which can

</)

l/>

40 80 120 160 200 240

ARC CURRENT - AMPERES

280

320

360

FIGURE I — Screen light produced by various trims and arc currents.

infra-red absorbing filters, infra-red re-
flecting filters, controlled air blast and of a
water cooled film gate have all been
claimed to provide some protection to the
film. Such protective means may require
the sacrifice of a small portion of the screen
light and will correspondingly change the
lumen values of Figure 1.

The light requirements of the new pro-

be illuminated to the ASA Standards, with
a projection shutter of 50% transmission,
a projection room port glass of 90% trans-
mission, and a projection screen of 75% re-
flection factor. The resultant screen
widths are shown in Figure 2. The lower
ends of the screen width ranges shown in
Figure 2 belong to the smaller and lower
power carbon trims and to the maximum

MOTION PICTURE HERALD, AUGUST I, 1953

recommended screen brightness; and the
larger screen widths pertain to the larger
and higher power combinations and to the
minimum recommended screen brightness.
No allowance has been made for light
losses that may occur with heat filters
which may be needed under some condi-
tions to prevent “heat on film” troubles.
The data of Figure 2 will need to be cor-
respondingly altered in case there are any
additional light losses beyond those as-
sumed. For example, a 10% loss in light
will reduce the indicated screen widths
about 5 % .

Reference to Figure 2 shows that
“Suprex” carbon trims are capable of il-
luminating screens approximately 16-30
feet wide at maximum light. Rotating type
reflector lamps increase these screen w'idths
to 23-33 and 26-37 feet with standard
carbons. Generally speaking, the rotating
type condenser lamps are capable of illu-
minating screens of about the same width
as the rotating type reflector lamps.

OUTDOOR THEATRES

The foregoing discussion of standard
projection conditions shows the present dif-
ficulty of lighting screens 50-70 feet in
width, common sizes at outdoor theatres, to
the standards of 9-14 foot-lamberts ap-
plicable to indoor theatres. However, the
screen brightness requirements of outdoor
theatres are not as precisely known as are
those for indoor theatres, because of the
widely variable physical conditions. Just
what level of screen illumination can be
obtained on these large screens depends on
the maximum amount of light available
from the projection system.

Increasing the indicated screen widths
by 50%, without changing the present
standard ratio of height to width , cor-
responds to a screen area 2.25 times great-
er. Such a screen can be illuminated by
the combinations of Figure 1 to a center
brightness of 4-6.2 foot-lamberts. These
screen brightness limits have been chosen
not because of their ultimate desirability,
but rather because they are in the range
being obtained by some outdoor theatres.
The rotating type reflector lamps, and the
rotating type condenser lamps, can illu-
minate screens of 45-70 feet wide to a
center screen brightness of 4-6 foot-
lamberts.

WIDE-SCREEN REQUIREMENTS

Although the data contained in the tables
are limited to projection from a standard
35mm motion picture film aperture of
0.600x0. 825-inch and thus are not di-
rectly applicable to other film aperture
sizes and picture aspect ratios, rough esti-
mates can be made in some distances. For
example, the outputs of the various 35mm

msk

BOTHERED WITH THE JUMPS ?

> " m &

3-D demands rock steady projec-
tion in both machines. Your dealer
can show you the advantages of
using LaVezzi parts in your projec-
tors and sound heads. Unexcelled
for high precision and long life.

Write for complete catalog

aVezzi Machine Works

4635 W. LAKE ST., CHICAGO 44, ILL.

BETTER THEATRES SECTION

Announcing
a New Low Price

on the

CRON-O-MATIC

Fully Automatic

CARBON SAVE^

Effective August 1st

Now Only

*42.50

through any theatre supply dealer.

DEALERS NOT PRESENTLY HANDLING
THIS SENSATIONAL CARBON SAVER
ARE INVITED TO INQUIRE ABOUT A
DEALERSHIP

The Cron-O-Matic will save you $400 a yea-
on carbons if you are using Ashcraft "D" or
"E", Brenkert-Enarc, Peerless Magnarc or
Strong Mogul lamps.

Burning average lengths (3*4'') down to 3^"
saves 2l/2" or 22.2% of the carbon cost.

Uses positive carbon stubs of any length,
withoui preparation. When entirely consumed,
the new carbon goes into use without losing
the light, or otherwise affecting lamp opera-
tion.

If your dealer can't supply you, order direct.

i PAYNi PRODUCTS C©.,

! Cron-O-Matic Division

• 24S1 W. Stadium Blvd., Ann Arbor, Mich.

• □ Send literature on the Cron-O-Matic.

J □ Ship Cron-O-Matic Carbon Saver.

. □ C.O.D., including postage.

D Remittance herewith.

! NAME

I THEATRE

J STREET

; CITY & STATE

EXPORT: Frazar <£ Hansen, Ltd.,

■ San Francisco, New York, Los Angeles

WARNER BROTHERS’

thc Charge at
Feather River

In Natural Vision 3D, WarnerPhonic Sound, Giant Screen,
and WarnerColor.

Is another of the many pictures that can be shown
on the

BALLANTYIME

ALL - SYSTEM

PACKAGE

Less than $6,000 for most theaters

The Ballantyne Company, 1712 Jackson, Omaha, Nebr.

film projection systems may be redistrib-
uted by optical means over various sizes
and shapes of film apertures and projection
screens. If this is accomplished with minor
or known losses, the results expected can
be closely approximated.

The requirements of CinemaScope,
which employs a projection frame substan-

duce by one-half the available screen
brightness obtainable with a normal un-
expanded image. Therefore, the light re-
quirements for the same screen brightness
would be double those of conventional
35mm pictures on the same type screen.

If suitable directional type screens of
higher reflection factor, with adequate uni-

SCREEN WIDTH - FEET

FIGURE 2 — Center brightness attainable tor screens ot various sizes.

tially of standard dimensions, but a 2.55-to-
1 picture aspect ratio, can be calculated
once the information on the transmission
and reflection of the added accessories em-
ployed is known. Not considering the opti-
cal losses in the added anamorphic lens,
which functions to produce a two-fold ex-
pansion of picture width during projection,
this expansion would produce a two-fold
increase in picture area and therefore re-

formity over the audience area can be ob-
tained, the lumen output required to il-
luminate a screen of given size to
a specified brightness can he reduced
proportionately.

In the case of CinemaScope projection,
if a directional screen can be obtained with
twice the reflection factor of a normal
matte screen, the two-fold increase in
screen area produced by the anamorphic

3 D PROJECTION LIGHT OUTPUT BASED ON ONE HOUR

RUNNING TIME

( Given for various “National” carbons. Values in parentheses are approximate.)

Typical Positive Positive Max. Light

Carbon Travel (1) Cons. Rate Screen %

Positive Carbon Inches Amps Inches/Hour Lumens (2) Dist.

Non-rotating , Reflector Type Lamps — “ One Kilowatt” D-C. Trim

7mm “Suprex”

714 40

5.8

6500

Non-rotating, Reflectoi

r Type Lamps — '"‘‘Suprex

” Trims

7mm New “Suprex”

10500

8mm “Suprex”

11800

9mm “Suprex”

(10)

13000

Rotating, Reflector Type

Lamps —

■Standard Carbons

9mm High Intensity

16800

10mm High Intensity

(95)

(16)

(18500)

11mm High Intensity

115

21500

Rotating , Reflector Type Lamps — Experimental Carbons

10mm “Hitex”

(120)

(16)

(20500)

Rotating, Condenser Type Lamps—

—Standard Carbons

13.6mm New High Intensity .

160

17.5

20500

13.6mm “Hitex” Super. . . .

175

22500

(1) Depends upon lamp design.

(2) Screen lumens ivitliout shutter, film, filters or stereoscopic accessories.

MOTION PICTURE HTRA1 D AUGUST I, 1953

For Endurance
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lens would be approximately compensated
for, and the existing screen brightness with
the same projection lamp would be essen-
tially the same.

REQUIREMENTS OF 3-D

The stereoscopic motion pictures of the
type being show in this country employ
separate lamps, projectors and 35mm films
for the projection of right and left eye
pictures, each polarized at right angles to
the other. A metallic type screen is used,
and polarizing viewers are worn by the
audience. The light losses will depend
upon the transmission factors of these vari-
ous stereoscopic components, which vary
with the particular design and technical
characteristics. Typical transmission values
must be discussed here, realizing that these
may be altered by future design changes
during the evolution of stereoscopic motion
picture projection.

Present-day polarizing materials are re-
ported to have a typical light transmission
value of 40%. The viewing spectacles,
likewise, are reported to have a transmis-
sion of 80%. At the present time, the
screen reflection factor of suitable metallic
type screens is more uncertain and subject
to variation, depending upon the particular
type employed.

A general characteristic of the metallic
type screen is an inverse relation between
maximum screen reflection factor and uni-
formity of screen brightness over all angles
of vieiv in the theatre. Consequently, a
compromise is chosen between high screen
reflection factor with undesirable direc-
tional variation on the one hand, and lower
screen reflection factor with better direc-
tional characteristics on the other.

A reflection factor of 125% is typical
for a number of these specular screens,
meaning the reflected screen brightness
measured in foot-lamberts is 125% times
the light intensity in foot-candles incident
on the screen. The combination of this
screen reflection factor with the transmis-
sion values of the polarizer and the viewer
results in an overall light transmission of
40% (1.25 x .40 x .80 = 0.40), compared
to the 75% reflection factor assumed for a
matte screen. The stereoscopic projection
components therefore reduce the final
screen brightness to a value equal to 53%
(40 divided by 75 = 0.53) of that of the
same projection system with a matte screen
without stereoscopic accessories.

In other words, the screen brightness re-
quirement is approximately double that for
conventional 35mm projection. The fact
that separate projectors are employed for
the right and left eye pictures does not
alter the basic facts of this analysis, for
each projector is subjected to this approxi-
mately 50% loss in brightness and con-
tributes only to the brightness and picture

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observed by one eye, and the composite
picture brightness visible to both eyes is
still equal to that furnished by the indi-
vidual projectors to each of the observer’s
eyes. Should efforts be successful to pro-
duce screens with higher reflection factor
and with adequate uniformity of brightness
over the theatre viewing angles, then the
final screen brightness figure will be in-
creased, with a corresponding decrease in
the required amount of projection light.

On the basis of a 50% loss in picture
brightness, the output of light with vari-
ous sizes of screens can be estimated by
a simple proportioning of the screen widths,

A combination of these lumen outputs,
with the transmission and reflection factors
already described for stereoscopic projec-
tion, results in the screen widths which can
be illuminated to the recommended 9-14
foot-lamberts screen brightness range.
These screen widths have been plotted in
Figure 3 for the various lamps and carbons
which permit one hour of operation.

Removal of the limitation of one hour’s
operation would permit the use of all car-
bons at their maximum operating current,
at which in each case they would produce
at least 20 minutes of continuous burning
and would project a standard 1800-foot

NON-ROTATING, REFLECTOR TYPE LAMPS

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10 mm. "HITEX" CARBON

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AMPERES

40-65

78-115

120

SCREEN WIDTH - FEET

FIGURE 3 — Size of stereoscopic screen capable of illumination to 9-14 foot-lamberts brightness
at center of screen — based on operating conditions producing a minimum of one hour
continuous operation.

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or screen brightnesses, shown in Figure 2.
Accordingly, the indicated widths of
screens could be illuminated to one-half the
brightness values shown and, alternatively,
the various systems would illuminate
screens about 70% of the widths shown
to the same brightness levels employed in
Figure 2. Still another way to look at
the situation is that two projection lamps
with twice the lumen output shown in
Figure 1 will be needed to produce equiva-
lent brightness with the same size of screen
as in Figure 2, but with stereoscopic pro-
jection.

Current practice with stereoscopic mo-
tion pictures using two interlocked projec-
tors makes it desirable to consider operating
conditions which will permit a minimum
of one hour of operation of the projection
lamps without interruption in order to
minimize intermissions for rethreading
projectors. Usually this is determined by
matching the burning rate of the positive
carbon to the available length of positive
carbon travel permitted by the lamp design,
and is subject to future change with lamp
modifications now being considered.

The arc current, consumption rates and
lumen output for one hour of operating
time are given in an accompanying table.
It should be remembered that these screen
light values are the full output of the pro-
jection system, undiminished by shutter,

I film, filters or any stereoscopic accessories.

reel. This would increase the light from
some of the more powerful trims sufficiently
to permit an increase in screen width of
approximately 5 feet, and would make
available recommended levels of brightness
for screens fully 30 feet in width.

Development of a suitable magazine type
lamp, designed for joining of carbons and
continuous burning from one carbon to an-
other, may be possible, permitting maximum
currents and adequately long burning pe-
riods.

SUGGESTED PRACTICE

The foregoing discussion emphasizes the
need for more projection light. The revo-
lutionary techniques are still new, and
since it is not practical to develop and
control everything all at once, immediate
perfection cannot be expected. The new
carbons which have been developed will
produce considerably more screen light ;
their successful utilization, however, will
require suitable lamps and other projection
equipment. For the present, however,
acceptable levels of screen brightness for
these new systems are within reach, pro-
vided the equipment necessary to operate
the higher capacity carbons is installed ; and
provided the entire projection system, in-
cluding lenses, mirrors, condensers and port
glasses, is in adjustment and in good clean
optical condition.

MOTION PICTURE HERALD, AUGUST I, 1953

-othorW«*i vejoctsobou*

• • •

^TeSt^ScoPE, Wide- Screen, TJiiJJJ

Production • Exhibition • Exploitation

N\.\N sawA>

VVA.WNH.'V vs

A QUIGLEY
PUBLICATION

208 pages, 50
illustrations;
printed on fine
quality, coated
paper; durable
cloth binding. Price
$4.50 postpaid.

Edited by

Martin Quigley, Jr,

24 .

, iiUn*

To meet the need for a simply and soundly presented
explanation of the new processes and their commer-
cial aspects, Quigley Publishing Company enlisted the
co-operation of the recognized authorities on each of
the established new techniques. The result is a book
of great value for everybody in or connected with the
motion picture industry. “New Screen Techniques”
will be mailed as soon as printing and binding are
completed — in order of reservations received.

QUIGLEY PUBLISHING CO.

Rockefeller Center, 1270 Sixth Avenue

Please reserve copy/copies/ of "New Screen Techniques."

□ Enclosed please find check (or money order) for $4.50 per
copy in full payment, including packing and postage.

□ Bill me/us.

Name

Address

Date of this reservation |

Summary of Contents:

Preface — Dr. Alfred N. Goldsmith, Consulting Engineer

Introduction — Martin Quigley,

Jr., editor, Motion Picture Herald

part 1 -3-D

Three-Dimensionally Spooking

— Pete Smith, producer & commentator

Polaroid and 3-D Films

— William H. Ryan, research engineer,
Polaroid Corp.

Principles of 3-D Photography and

— John A. Norling, president,

Projection

Loucks and Norling Studios

What Is Natural Vision?

— Milton L. Gunzburg, president.

Natural Vision Corp.

The Stereo Window

— Floyd A. Ramsdell, general manager,
Worcester Film Corp.

3-D in Europe

— Frank A. Weber, Dutch 3-D engineer

Technicolor and the New Techniques

— Dr. Herbert T. Kalmus, president,
Technicolor, Inc.

1927, Sound— 1953, 3-D

— Jack L. Warner, vice-president,

Warner Bros. Pictures

The "House of Wax" Campaign

— Mort Blumenstock, vice-president,
Warner Bros. Pictures

3-D in Theatres

part II — wide screens

— James Brigham, theatre engineer,
Natural Vision Corp.

CINERAMA SECTION:

The Birth of an Idea

— Ralph Walker, architect

Cinerama Goes to War

— Fred Waller, chairman of board.
Cinerama, Inc.

Adding the Sound to Cinerama

— Hazard E. Reeves, president,

Cinerama, Inc.

This Cinerama Show

— Lowell Thomas, vice-chairman of board,
Cinerama Productions, Inc.

Finding Customers for a Product

— Lynn Farnol, publicist

CINEMASCOPE SECTION:

Importance of CinemaScope

— Spyros P. Skouras, president.

Twentieth Century-Fox

CinemaScope in Production

— Darryl F. Zanuck, vice-president,
Twentieth Century-Fox

Stereophonic Sound

— Lorin Grignon, sound engineer,
Twentieth Century-Fox

Directing in CinemaScope

— Henry Roster

New Medium — New Methods

— Jean Negulesco

Filming "The Robe"

— Leon Shamroy, A.S.C.

CinemaScope and the Public

— Charles Einfeld, vice-president,
Twentieth Century-Fox

CinemaScope in Exhibition

OTHER WIDE SCREEN TECHNIQUES

— Earl 1. Sponable, technical director,
Twentieth Century-Fox

The Anamorphoser Story

— H. Sidney Newcomer, M. D.

There Is No Substitute for Creative

— William Goetz, in charge of production,

Talent

Universal Pictures

Why New Aspect Ratios

— George Schutz, editor, Better Theatres

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COSTELLO MEET DR. JEKYLL & MR. HYDE, THREE GIRLS FROM ROME, SWEETHEARTS ON PARADE, MAIN
STREET TO BROADWAY, NO ESCAPE, MY HEART GOES CRAZY, TIMES GONE BY

Entered as second-class matter, January 12, 1931. at the Post Office, at New York City. U. S. A.. under the act of March 3, l!-"-. P .
lished weekly by Quigley Publishing Co., Inc., 1270 Sixth Avenue, Rockefeller Center, New York 20, N. Y. Subscription $;■

a year in the Americas, $ 10.00 a year Foreign. Single Copy, 25 cents. All contents copyrighted 1953 by Quigley Publishing Co any

In Two Sections, Section One

Wide-Screen Projection Factors

WITH CHART FOR DETERMINING CURVATURE

for august Theatre and Program Promotion

I’M BUSTING
MY BUTTONS C
WITH PRIDE ” |X

said the Ad Man,
just back from M-G-M’s
Coast Studios where he
got an eyeful of wonderful
coming attractions filmed
in the exciting new media. You’ll
hear plenty about them but listen
to him briefly here:

"MOGAMBO” (Technicolor)

I saw the greatest African adventure-romance
of all time. It was filmed on safari in Techni-
color and is even bigger than M-G-M’s “King
Solomon’s Mines.’’ The jungle tears the veneer
of civilization from a society beauty and a
night club doll who fight for the devil-mav-care
leader of an expedition into the untravelled
wilderness of the Dark Continent. Clark Gable
and Ava Gardner are sensational together!
There’s passion, conflict, danger of wild animals
and savage natives, all topped by the unprece-
dented BATTLE OF THE GORILLAS!
“MOGAMBO” means The Greatest!

★

"ALL THE BROTHERS WERE VALIAHT”

(Technicolor)

I heard a Theatre Preview audience cheer the
wide screen presentation of this famed action
novel filmed in Technicolor in Jamaica, British
West Indies. Brother against brother ( Robert
Taylor, Stewart Granger) for the arms of a
beautiful girl (Ann Blyth) aboard a mutinous
whaling ship. A strange honeymoon, a seething
mutiny, a romantic tropical voyage, a spec-
tacular encounter on a thrilling whale hunt, an
adventuring rogue and a seductive island girl,
the fight for the pearl fortune ... it’s all BIG
and PACKED WITH TICKET - SELLING
ENTERTAINMENT by the director and
producer of “Ivanhoe.”

"TAKE THE HIGH GROUND”

(Technicolor)

I attended the audience Preview of this glori-
ous attraction on a big theatre screen. It was
made by the producer of “Battleground” in
the same tradition of high humor and thrilling
group spirit. The audience loved every minute
of the stirring saga of boys from over the entire
nation who become the men who’ll “Take the
high ground and hold it” as their rousing song
tells it. Richard Widmark and Karl Malden,
as tough sergeants, give memorable perform-
ances and beautiful Elaine Stewart adds to her
star build-up in a provocative role. The gags,
the gripes, and the training routine of the
typical foot-soldier kept the Preview audience
in constant merriment.

"KISS ME KATE” (Ansco Color)

What an attraction I saw! Stars, romance, Cole
Porter melodies, comedy. They combine to
make this superb production of the stage hit of
two continents the big musical news of com-
ing months ( Print by Technicolor) . Kathryn
Grayson, Howard Keel, those “Show Boat”
sweethearts, are wonderful as the sparring stage
couple who are brought together in a perform-
ance of “Taming of the Shrew.” Ann Miller,
gorgeous dancer of the show, is the new girl
in Keel’s life, but Kathryn gets her guy back
finally after hilarious complications. A big cast
of great dancing and singing talents delivers
Cole Porter’s most melodious score in thrilling
style. Add this to the Hall of Fame of
M-G-Musicals!

★

"FORT BRAVO" (Ansco Color)

I sat on the edge of my seat, just as a theatre-
full of lucky patrons did who caught the sneak
Preview on the exciting wide screen of this
fast-paced spectacular outdoor drama! Fort
Bravo is a stockade manned by Union soldiers
that contains Southern rebel prisoners. Of con-
stant danger to all are savage Apache Indians.
To this outpost comes a Southern belle ( Eleanor
Parker) who dupes the handsome Captain
Roper (William Holden) and escapes with sev-
eral of the rebels including her Southern fiance
(John Forsythe). The chase, filmed in Death
Valley and the mountains of New Mexico, is
gripping. The conflict of the love story, the
savage attack by the Indians in an episode of
memorable stature, the pictorial grandeur, the
color make this an attraction to pack any
house in the land.

(continued)

"THE ACTRESS”

I saw performances that will take their place
in the Screen Hall of Fame. Spencer Tracy is
superb as the father of a stage-struck
daughter, played with pathos and laughter by
Jean Simmons, whose Mother, played by Teresa
Wright, is touching in her understanding of her
family. It’s got the wide audience appeal of
“Father of the Bride” and like that famed suc-
cess, has national penetration in advance, in
this case because of the Broadway stage hit
“Years Ago” on which it is based. The play
told of the girlhood of actress Ruth Gordon,
and its authenticity yields laughter, tears,
courage, youthful dreams and romance and all
the ingredients that send patrons out of the
theatre eager to tell friends: “Don’t miss ‘The
Actress.’ It’s a wonderful picture.”

★

"TORCH SONG” (Technicolor)

I saw the new Joan Crawford picture, her very
first in Technicolor. It will make the millions
who thrilled to her performance in “Sudden
Fear” say: “Joan has done it again.” In “Torch
Song” she plays the sultry musical comedy star,
Jenny Stewart, who came up the hard way and
treats everybody that way until a blind pianist,
handsome war veteran Michael Wilding comes
into her life. This picture bristles with tension
and suspense. Its love story is truly great.
Magnificent in Technicolor, beautifully gowned
and jewelled, Joan has a rare opportunity to
combine her powerful diamatic talents with
the singing and dancing that first won her ac-
claim. The story moves from rehearsal halls,
where a big musical is in production, to smart
supper-clubs and swank apartments. It’s de-
luxe in every detail . . . the tops in mass
audience entertainment!

★

"RHAPSODY” (Technicolor)

I saw a romance in big screen stature that is as
inspiring as its setting Paris, Zurich, The
Riviera and told against the love music of
the world’s immortals. It is fitting that Tech-
nicolor has been used to film its glories because
Elizabeth Taylor has never been more alluring
as the wealthy girl, whose selfish need of atten-
tion causes the man she loves to desert her and
almost destroys another musical student who
gives up his career for her. Handsome, exciting
Vittorio Gassman, a new screen idol, and John
Ericson, of the New York stage, are the two
young men caught in the silken web of this
seductress. Primarily a drama of conflict and
passion, this superb attraction ranks with the
great motion pictures that have been inter-
woven with the brilliant music of the masters.

"EASY TO LOVE” (Technicolor)

I saw an Esther Williams Technicolor musical
in big screen grandeur to challenge “Million
Dollar Mermaid” or any of her other great
spectacular romantic attractions. Shapely
Esther is the Aqua-Queen of Cyprus Gardens,
Florida, beloved by all except her Boss (Van
Johnson) who is too busy as a promoter. On a
trip to New York she meets a famed night-club
singer (Tony Martin) who gives her a White
Way whirl and pursues her to Florida where
her Boss finally realizes what he’s been missing.
Until you see for yourself you can’t truly
visualize the wonders of the four lavish water
spectacles, one of them, for instance, showing
Esther Williams leading 100 top American ski-'
jumpers towed by eight speedboats. After
jumping over 12 -foot ramps, she is lifted by
helicopter 75 feet high to dive from a trapeze
into the center of the 100 skiers. It’s breath-
taking! “Easy To Love” is easily the industry’s
next Musical Sensation!

★

AND MORE!

I saw completed footage of other great
M-G-M attractions destined to make box-
office headlines. For instance: Cinemascope
scenes of “Knights of the Round Table” now
being filmed in Technicolor in the locale of the
story abroad. This masterpiece of the days
when knighthood was in flower stars Robert
Taylor, Ava Gardner, Mel Ferrer and many
more. I saw hilarious sequences of the coming
Lucille Ball-Desi Amaz Technicolor comedy
riot “The Long, Long Trailer” and it’s every-
thing you dreamed from this nationally
beloved pah'. I saw parts of a remarkable pro-
duction filmed in Technicolor in French
Morocco called “Saadia” starring Cornel Wilde,
Mel Ferrer and the new beauty Rita Gam. It
is rich with the intrigue, the dancing girls, the
crack riders, the mystic excitement of that ro-
mantic setting. YOU BET I’M BUSTING
MY BUTTONS WITH PRIDE . . . AND
YOU’LL BUST YOUR RECORDS!

★

And when I got back, I heard the great
/-x "BAND WAGON” news! A sensation in
NrQ ^ ] its Washington, D. C. opening, the first

^ /" date out-of-town to play simultaneously
with its record-breaking Music Hall run!

obody had ever seen Doo

scared before . He had nerve to burn

and he’d burned his way to a hot corner of the globe where no man

had ever been before — the white-hell of the wasteland. And now

against avalanche, hurricane winds
and all the fury of man
and mountain— he was beatin
his way back— and he was
pulling the guttiest miracle
a guy on his own ever dared

A man
didn't need
a photo to
remember
Maggie!

■ * • * * < t \ *

ALBANY

Warner Screening Room
110 N. Pearl St. • 12:30 P M
ATLANTA

20th Century-Fox Screening Room

197 Walton St. N.W. • 2:00 P.M.

BOSTON

RKO Screening Room

122 Arlington St. • 2 30 P.M.

BUFFALO

Paramount Screening Room
464 Franklin St. • 8 00 P.M.
CHARLOTTE

20th Century-Fox Screening Room

308 S. Church St. • 2:00 P.M.

CHICAGO

Warner Screening Room

1307 So. Wabash Ave. • 1 30 P.M.

CINCINNATI

RKO Palace Th Screening Room

Palace Th. Bldg. E. 6th • 8:00 P.M.

CLEVELAND

Warner Screening Room

2300 Payne Ave. • 8:30 P.M.

DALLAS

20fh Century-Fox Screening Room
1803 Wood St. • 2:00 P.M.

DENVER

Paramount Screening Room
2100 Stout St. • 2:00 P.M.
DES MOINES
Paramount Screening Room
11 25 High St. • 12:45 P.M.
DETROIT

Film Exchange Building
2310 Cass Ave. • 2:00 P.M.

INDIANAPOLIS

20th Century-Fox Screening Room

326 No. Illinois St. • 1:00 P.M.

JACKSONVILLE

Florida Theatre Bldg. Sc. Rm.

1 28 E. Forsyth St. • 3:30 P.M.
KANSAS CITY
20th Century-Fox Screening Room
1720 Wyandotte St. • 1:30 P.M.

LOS ANGELES
Warner Screening Rm
2025 S. Vermont Ave.
MEMPHIS
20th Century-Fox Sc R
151 Vance Ave. • 12:
MILWAUKEE
Warner Theatre Sc Rm
212 W. Wisconsin Ave.

Wayne

From the blood-racing adventure best-seller by
Ernest K. Gann, author of ‘The High and The Mighty'

CO-STARRING

WITH

SCREEN PLAY BY

DIRECTED BY

PRODUCTION * DISTRIBUTED BY

ALL ITS THRILLS THRILLINGLY HEIGHTENED BY

WarnerPhonic Sound

£^this picture also can be exhibited ON WIDE OR GIANT SCREENS

MINNEAPOLIS
Worner Screening Room

• 2:00 P.M. 1 000 Currie Ave. • 2:00 P.M.

NEW HAVEN

m Worner Theatre Projection Room

15 P.M. 70 College St. • 2:00 P.M.

NEW ORLEANS

20th Century-Fox Screening Room

• 2:00 P.M. 200 S. Liberty St. • 8:00 P.M.

NEW YORK
Home Office

321 W. 44th St. • 2:15 P.M.
OKLAHOMA

20th Century-Fox Screening Room
10 North Lee St. • 1 30 P.M.
OMAHA

20th Century-Fox Screening Room
1502 Davenport St. • 1.30 P.M.

PHILADELPHIA
Warner Screening Room
230 No. 1 3th St. • 2:00 P.M.
PITTSBURGH

20th Century-Fox Screening Room
1715 Blvd. of Allies • 1 30 P.M.
PORTLAND
Star Sc. Rm.

925 N. W. 19th Ave. • 2:00 P.M.

SALT LAKE

20th Century-Fox Screening Room

316 East 1st South • 1.00 P.M

SAN FRANCISCO

Republic Screening Room

221 Golden Gate Ave. • 1 30 P.M.

SEATTLE

Modern Theatre

2400 Third Ave. • 10:30 A.M.

ST. LOUIS
S renco Screening Room
3143 Olive St. • 100 P.M

WASHINGTON
Worner Theatre Building
1 3th & E Sts. N W • 1:30 P.M.

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MOTION PICTURE HERALD

MARTIN QUIGLEY , Editor-in-Chief and Publisher

Vol. 192, No. 5

MARTIN QUIGLEY, JR., Editor

August I, 1953

Playing With Fire

by MARTIN QUIGLEY

A NYONE who does not know that the motion pic-

/% ture and the industry stand in a particularly
/ % sensitive relationship with its public is gravely
X. -A. unaware of the nature of the medium and the
history of the industry’s public relations as well.

The motion picture is a medium of uniquely great
potentialities of influence upon the thought and behavior
of its patrons, particularly the youth who constitute such
an important part of the theatre’s public.

Arising out of this and other considerations the in-
dustry—whether it likes it or not- — stands charged by
all qualified leaders of public opinion with a grave re-
sponsibility for the character of the entertainment pre-
sented in the theatres.

As an imperative, and also practicable, means of dis-
charging this responsibility the industry in 1930 adopted
and put into effect a Production Code. This Code and its
related method of application has been offered to the
public as proof of the industry’s acceptance of its respon-
sibility for the moral character of its product and as
evidence of its intention sensibly to discharge that re-
sponsibility.

During the twenty-three years since the adoption of
the Code the spread of politically constituted censorship
has been stopped. During this period the motion picture
and the industry have risen in public esteem. Parents,
clergy and educators, observing that production has been
carried on in an atmosphere of responsibility under the
Code, have developed an attitude of respect for motion
pictures. This good repute has become a great asset of
the industry. It should not be heedlessly jeopardized.

RECENTLY a judgment of the administrators of the
Production Code was challenged and defied by
^ an independent producer who has his own ideas
as to what constitutes acceptable entertainment in a mass
medium and may be more concerned about these and
other considerations than he is about the reputation of
the industry and the measure of public goodwill which
it enjoys.

Whether or not the judgment exercised by the ad-
ministrators of the Production Code in this instance was
sound and proper is beside the point. These adminis-

trators are the persons who have been authorized by the
organized industry to render such a judgment. They are
not strangers to the industry or to the work in which
they have been authorized to deal. They constitute,
moreover, the authority which the industry has offered
to the public as assurance of the moral custodianship
which the public demands that the industry provide.

Any effort in the direction of repudiating this authority
is, simply and plainly, a betrayal of the industry’s com-
pact with its public. Any such betrayal is not likely to
come off with impunity.

It is true that when the producer in the present in-
stance appealed from the judgment of the Code ad-
ministrators the appeal was denied. But most unfortu-
nately the denial of the appeal has not, in effect, been
concurred in by several leading exhibition interests
which— strangely enough in the circumstances — stand in
the most immediate and sensitive relationship with the
public and which are in the most exposed and vulnerable
position for adverse public reaction.

THE Production Code has been of great and sig-
nificant aid and protection to these very same
theatres. In the past, in face of outraged public
reaction, it has been such theatres that have been hit
first and hardest. It was the important theatre operator
who cried loudest for ways and means of restoring public
confidence in his business. He found out then that the
public knows that irrespective of what the producer
makes it is the exhibitor who decides what the public
will see.

Obviously, just exactly what constitutes a fit or an
unfit subject for public exhibition in the theatres to
persons of all age and social groups becomes at any
time or place a question of many controversial aspects.
In the prevailing moral climate of these days it is only
to be expected that there should be differences of
opinion, even though there is unanimity among those
who by training and experience seem best qualified to
judge.

But all this is beside the essential point, which is that
the motion picture industry has made a bargain with its
public. It has offered the Production Code as its assur-
ance to the public that it maintains a sentry on watch to
guard the public welfare. It should keep the faith for
these two very good reasons: The first is because it is
the honorable thing to do; the second is because be-
trayal of public confidence is always dangerous — and
sometimes disastrous!

Challenging a Canard

To the Editor:

As one who earns his bread and butter
in the motion picture industry, I feel that
I would be remiss if I permitted Noel
Meadow’s statement in last Sunday’s
“Times” that “the disease is, and has been,
bad pictures” — referring to the present state
of the film industry — to go unchallenged.

The time is past due when the canard
about movies being "bad” was spiked. Some
time ago it became “smart” for individuals
to assume a superior attitude toward the
movies and employ an odoriferous six-letter
word in alluding to them. Apparently, Mr.
Meadow, who should know better, has wit-
tingly or unwittingly fallen in line with the
spurious and fallacious attitude toward the
movies.

No responsible individual associated with
motion pictures would be intemperate
enough to suggest or contend that every film
produced is a masterpiece or of superior
quality. The law of averages in any en-
deavor precludes perfection. I do contend,
however, that the motion picture industry
over the years has established a remarkable
and commendable record for turning out top
quality productions.

There was a period after the war, due
to the impact of television and other causes,
when the quality of production was admit-
tedly low, but that has long since been cor-
rected. This truth is unequivocally evident
to any individual who is fair and objective
in his appraisal of the motion picture.

The fact is that the improvement in mo-
tion picture production has made it increas-
ingly difficult for the New York Critics
Circle and other established and highly-
regarded polls to select the ten best films
of the year. There is sufficient quality pro-
duction from which to choose as to make
it a comparatively easy task to select double
that number of “best” films.

As a young creative art form, I submit
that the motion picture industry can take
tremendous, justifiable pride in the follow-
ing list of pictures of superior quality which
were produced in the 1952-53 season — a
period that runs approximately from Sep-
tember 1, 1952 to August 31, 1953.

I have no doubt that a concensus of opin-
ion of the New York film critics will con-
cur in my opinion that the enumerated films
were all of superior quality, and therefore
belie any charge that motion picture busi-
ness isn’t what it should be because of “bad”
movies.

The films I would offer in evidence are
“Just for You,” “Come Back, Little Sheba,”
“Shane,” “The Lusty Men,” "Hans Chris-

tian Andersen,” “Peter Pan,” “Split Sec-
ond,” “The Steel Trap,” "My Cousin Ra-
chel,” “Ruby Gentry,” “The Star,” “The
President’s Lady,” “Call Me Madam,” “To-
night We Sing,” “O. Henry’s Full House,”
“The Quiet Man,” “Snows of Kilimanjaro,”
“Springfield Rifle,” “High Noon,” “The
Thief,” “Breaking the Sound Barrier,”
“Limelight,” “Moulin Rouge,” “The Iron
Mistress,” “I Confess,” “The Happy Time,”
“Member of the Wedding,” "The Juggler,”
“The Prisoner of Zenda,” “Above and Be-
yond,” “The Bad and the Beautiful,” “The
Naked Spur,” “Lili,” “Sudden Fear,” “The
World in His Arms,” "Young Bess,” “Ju-
lius Caesar,” “The Story of Three Loves.”

When one considers what the motion pic-
ture craftsmen have been doing over the
years with the five basic story plots from
which they draw for their screen stories,
no one but an implacably biased critic would
not take off his hat to them. Up until a
few years ago, they successfully wrested 400
film productions a year from the five basic
plots. In recent years, this has been cut to
300 annually.

While almost any motion picture season
will turn up anywhere from fifty to seventy-
five productions of superior quality, its much
older sister art, the stage, is considered to
have had quite a successful season if four
or five hits are turned up. In this connec-
tion, permit me to quote the observation of
Jack Gaver, United Press drama reviewer,
on the drama season just drawing to a close.
Mr. Gaver says of the season that it was
“almost as uninspired as a testimonial din-
ner. Or television.”

I sincerely hope we have heard the last
of loose talk about “bad” movies. — JOSEPH
G. ERHLICH, New York City.

Community Asset

To the Editor :

It seems me a great part of the public
could be aroused to the realization that
television can and is a threat to a basic
and needed industry if the entertainment
world is to remain on a high level and
progress.

So often the people are unaware and
apathetic to their very interests, and in this
case do not realize that the only source of
good pictures is from the movie industry.
It takes money and talent to produce mas-
terpieces, and unless the box office is ade-
quately supported, we will be subjected to
mediocrity and oblivion.

It is up to the far-seeing alert individuals
not in the industry to sense this situation
through the press and personal support to
solve the fading drama in many of our

MOTION PICTURE HERALD

August 1, 1953

PRESIDENT studies tax bill as w

hole indus-

try waits

Page 12

THE Good Fight — An editorial

on the in-

dustry tax fight

Page 12

COMPO wins its spurs for work

in drive for

tax repeal

Page 16

TERRY RAMSAYE Says — A column of com-

ment on matters cinematic

Page 18

CINEMASCOPE on world trip

with deals

made for use abroad

Page 20

FOUR sound tracks on one fil

m is latest

device

Page 20

EADY Plan views weighed by British trade

organizations

Page 22

ENTHUSIASM key to success of career of

Leon Netter, Jr.

Page 24

CINERAMA opens in Chicago

, repetition

of success seen

Page 24

'BAND WAGON” rolling along pathway

to top box office gross

Page 25

TAX exemption for stars likely to have a

dollar limitation

Page 25

FRENCH and Italians seen in discord over

film policies

Page 26

NATIONAL SPOTLIGHT — Notes on indus-

try personnel across country

Page 30

SERVICE DEPARTMENTS

Film Buyers' Rating

3rd Cover

Hollywood Scene

Page 28

Managers' Round Table

Page 37

People in the News

Page 34

IN PRODUCT DIGEST SECTION

Showmen's Reviews

Page 1933

Short Subjects

Page 1935

The Release Chart

Page 1936

smaller cities and drops in attendance in
many large cities.

We must inform the public that they get
what they pay for and that the loss of a
theatre is their loss. — L. W. OSWALD ,
Osxvald's Pharmacy, Naperville, Illinois.

[L. W . Oswald, pharmacist of Naperville,
III., a local merchant of experience and repu-
tation, wrote in a guest editorial in the
“Naperville Sun” that the local theatre
should be patronized as an essential part of
community life. — Editor .]

MOTION PICTURE HERALD, AUGUST I, 1953

THE Society of Independent
Motion Picture Producers
wants its own export associa-
tion, and Ellis G. Arnall, its presi-
dent, was in Washington last week
exploring possibilities. He talked,
first, with the Federal Trade Com-
mission, because the Society must
have its approval to be immune from
anti-trust action ; secondly, with
Charles Mayer, former executive of
the Motion Picture Export Associa-
tion. Mr. Arnall stressed the Society
wants to “sell pictures’’ abroad
rather than haggle about remit-
tances and import permits. He didn’t
say the Society was unhappy about
the MPEA, but did say: “We are
dissatisfied with our own lack of
activity in the foreign market.’’

^ There are many places for special
corporate pleading, and one which
has grown in importance is the
newspaper page. A unique applica-
tion came last Friday when Warner
Brothers took half the page opposite
the Wall Street Journal’s editorial
page to present its case for Warner
SuperScope. The advertisement was
a duplicate of the one appearing in
motion picture trade publications,
bearing messages from Jack L.
Warner, vice-president in charge of
production, and Benjamin Kalmen-
son, general sales manager.

► There is a limit to how long a
complaint can he. Skouras Theatres
recently was granted the fight to
file an amended complaint in its
$88,000,000 anti-trust suit against
the distributors by Federal Judge
John F. X. McGohey. The right was
granted following dismissal of the
action on a motion by distributor
defendants on the ground that the
Skouras complaint was too long
and, according to Federal legal pro-
cedure, complaints must be simple
and concise. The Skouras complaint
ran approximately 35,000 words,
covered 124 pages and 291 para-
graphs, plus lengthy sub-para-
graphs.

► Some of the strongest Senate sup-
porters of the Mason admission tax
relief bill were the members of the
Small Business subcommittee which
studied industry trade problems.

► One company admits to “strad-
dling the fence’’ these days. It is
Allied Artists. Norton Richey, presi-
dent of the AA subsidiary, Mono-
gram International, said the other
day before leaving for Europe that
this was the best policy “amid
frenzy and confusion.’’ He added:
“This is a position which can be
maintained indefinitely, comfortably
and profitably, and becomes unten-
able only when the fence no longer
exists, and frankly I think that is a
long way off, so far as overseas mar-
kets are concerned.” He said AA
would produce in CinemaScope and
3-D, but would not lessen its supply
of two-dimensional product. He
added there were 3-D films m the
twenties, color films long before
that, and talkies in 1905, and that
anybody who had climbed off the
fence in those days would have in-
vited disaster.

► The always grim spectre of a
product shortage is made to appear
a little less threatening by figures
released last weekend by Geoffrey
Shurlock, operating head of the Pro-
duction Code Administration, to the
effect that studios have been submit-
ting scripts to the PCA at the rate
of 40 per month, which suggests
loosely that the 1953 production
might total more than 400 features

in spite of the fact that only 165
domestic films were given PCA
seals in the first six months. The
1952 total was 317. Although it is
true that not all scripts submitted
to the PCA become pictures, and
that not all pictures produced have
been submitted to the PCA in script
form, it is a reasonably dependable
rule of experience that the numerical
relationship between submission of
scripts and production of pictures is
constant.

► The French have a reputation for
logic. The English and the Ameri-
cans have a saying that the French
are a funny people. Behold, brethren
of the industry, the Cinema Aid Law
passed recently by the French Senate.
It provides that each time television
shows a film, television must nay
into the Cinema Development Fund.
The Senators passed the bill at 4:45
in the morning. They were hot in
debate. Some of them said the law
would give the film industry a false
sense of security. Others claimed the
industry was weak even before tele-
vision. One clause in the law forces
producers to personally contribute
at least 10 per cent of the capital
for any production. One Senator
claimed that of France’s 300 pro-
ducers only 90 were active, and of
these only 50 worked regularly.

In BETTER THEATRES

Efforts to make more light available at the screen, accelerated by wide
screen and 3-D, already have brought results in reflector lamps of 125-130
amperes, and in more efficient light (heat) filtering; yet among new carbons
discussed in the Needle’s Eye department are several which await further reduc-
tion of the aperture heat problem. With wide screen presentation on the way,
substantial gain in brightness is attainable at the screen itself, through its design
and installation. These phases of application are dealt with by Gio Gagliardi in
"Projection Factors of Wide-Screen Installation."

In continuing his series on Management, Curtis Mees this month sets forth
considerations and procedure of advertising and publicity.

MOTION PICTURE HERALD, published every Saturday by Quigley Publishing Company, Inc., Rockefeller Center, New York City 20. Telephone Circle 7-3100; Cable address,
"Quigpobco, New York", Martin Quigley, President; Martin Quigley, Jr., Vice-President; Theo. J. Sullivan, Vice-President and Treasurer; Raymond Levy, Vice-President; Leo J. Brady,
Secretary; Martin Quigley, Jr., Editor; Terry Ramsaye, Consulting Editor; James D. Ivers, News Editor; Charles S. Aaronson, Production Editor; Floyd E. Stone, Photo Editor;
Ray Gallagher, Advertising Manager; Gus H. Fausel, Production Manager. Bureaus: Hollywood, William R. Weaver, editor, Yucca-Vine Building, Telephone HOIlywood 7-2145;
Chicago, 120 So. LaSalle St., Urben Farley, advertising representative, Telephone, Financial 6-3074; Washington, J. A. Otten, National Press Club; London, Hope Williams
Burnup, manager, Peter Burnup, editor, 4 Golden Square. Correspondents in the principal capitals of the world. Member Audit Bureau of Circulations. Other Quigley
Publications:^ Better Theatres, published thirteen times a year as Section II of Motion Picture Herald; Motion Picture Daily, Motion Picture and Television Almanac and Fame.

MOTION PICTURE HERALD, AUGUST I, 1953

AS THE "PARAMOUNT JUBILEE
SHOWS" were run in 33 cities Monday,
company executives welcomed exhibitors,
critics, reporters and civic leaders. Above,
in New York, showmen Leon Rosenblatt,
Tom Adams and Jack Harris; Henry Ran-
del, Paramount New York district manager;
Arthur Steele, exhibitor; Myron Sattler,
New York branch manager; and Larry
Morris, B. S. Moss Theatres. Right, in New
York, Sol A. Schwartz, RKO Theatres presi-
dent; Adolph Zukor, Paramount board
chairman, and Samuel Rinzler, Randforce
circuit head.

A NEW DISTRIBUTION AGREE-
MENT, between RKO Pictures and
Walt Disney Productions. The men
are James R. Grainger, seated, RKO
Pictures president, and Roy Disney,
president of Walt Disney Productions.
The pact provides for release of "Rob
Roy," and short subjects, and re-
release of "Pinocchio," next April.

"ROMAN HOLI-
DAY," right, will fol-
low MGM's "The
Band Wagon" into
Radio City Music
Hall. Produced and
directed by William
Wyler, and starring
Gregory Peck and
Audrey Hepburn, it
is one of the three
Paramount films
screened for exhibi-
tors and public opin-
ion makers Monday
in Paramount’s series
of Jubilee showings.

MOTION PICTURE HERALD, AUGUST I, 1953

IN Jellico, Term., Mayor William Hum-
phries shows touring Grace Moore
Scholarship winners the singer's birth-
place. Warners' "So This Is Love,"
based on her life, opened Wednesday
at Knoxville.

by the Herald

IN BOSTON, where "No
Escape" opened, producer
Hugh MacKenzie, left,
and star Lew Ayres, cen-
ter, meet with exhibitors
at luncheon. They are
with American Theatres'
film buyer Henri Schwartz-
berg, and, right, bookers
Joe Saunders and Sam
Feinstein.

PROMOTING the new theatre
collection to aid the American
Korean Foundation drive for funds,
General James A. Van Fleet (Ret.)
poses for still and newsreel pho-
tographers at the 20th-Fox home
office with Koreans and collection
cans. Shown to news and trade
writers and publishers and radio
and television specialists were the
special films for television and
theatres. See page 34.

AT THE ALAMO, stars of Universal-International's "The Man from
the Alamo," which opened in San Antonio, lay a wreath. In array
are Hugh O’Brian, Texas Attorney General John B. Sheppard, Chill
Wills, Julia Adams, and Lynn Krueger, Majestic theatre manager.

by the Herald

TELLING ABOUT "Duel in the Jungle," which they will make
in South Africa, Northern Rhodesia and London. The men
are George Marshall, director, and Tony Owen, producer.
The picture will be in color and will have as stars Jeanne
Crain, Dana Andrews and David Farrar. It will be dis-
tributed in Great Britain by Associated British Pictures, one
of the backers, and elsewhere probably by an American
major company. Sam Marx wrote the screenplay.

MOTION PICTURE HERALD, AUGUST I, 1953

PRESIDENT MULLS
TAX; TRADE WAITS

by J. A. OTTEN

WASHINGTON : The Mason bill to exempt motion picture theatres from the 20 per
cent Federal admissions tax Monday went to President Eisenhower, following last
Friday’s speedy Senate passage of the measure without amendment.

The president, who has been more than a little occupied with foreign affairs this
week, has until midnight Friday. August 7, to act, one way or the other, on the legis-
lation.

If on the deadline date, Congress is in
session and the President does not act, the
bill will become law anyway. If Congress
should have adjourned by then, and the
President does not act, the hill automatically
dies, the victim of a "pocket veto.” If, as
did not seem likely at mid-week, the Presi-
dent should veto the bill, Congress could by
a two-thirds vote override the veto.

When — and, of course, if — the bill be-
comes law, the tax exemption will take
effect September 1. The bill provides that
“amendments made by this act shall apply
only with respect to amounts paid, on or
after the first day of the first month which
begins more than 10 days after the day on
which this act is enacted, for admissions on
or after such first day.” In plain English,
this means that theatres would not have to
pay Uncle Sam the tax on any tickets sold
on or after September 1.

At midweek officials of the Council of
Motion Picture Organizations were at work
trying to swing Administration sentiment to
favor the bill. To counteract reported Trea-
sury opposition, COMPO chiefs were sched-
uled to see President Eisenhower Thursday
afternoon to present their case.

Opinion Makers Reached
To Explain Position

They were contacting newspaper and
radio reporters and commentators, giving
the industry’s answers to the three main
criticisms to the bill — that the saving will
not be passed on to the public ; that the
Treasury will lose too much money and
that it’s unfair to single out one industry
for early excise tax relief.

COMPO optimism concerning the bill’s
final approval appeared to be based princi-
pally on the fact that the Administration
and the Treasury made no determined effort
to halt the progress of the bill through Con-
gress. COMPO officials point out that the
Administration might have obstructed the
bill at any of several stages, but did not, and
that the Treasury presented what appeared
to be only perfunctory opposition to it.

COMPO also was putting heavy reliance
on the support the bill got from Republican
leaders in both the House and Senate and
from the lack of opposition on both the
House and Senate floors. “In view of the
attitude demonstrated by the Senate leader-
ship during the debate,” said H. A. Cole,
COMPO tax committee chairman, “I don’t
see how the President could veto the bill.”

The Senate took only 35 minutes to pass
the bill Friday, with only one Senator criti-
cizing it, and that criticism only indirect at
that. Final passage was by a voice vote,
with, at most, only two or three negative
votes.

From the start it was obvious that
COMPO’s intensive work had paid off and
that the skids were greased for speedy Sen-
ate approval without amendments. Finance
Committee chairman Millikin (R., Colo.)
and Acting Majority Leader Knowland (R.,

THE campaign for repeal of the Federal
tax on motion picture theatre admis-
sions has been a good fight in every
sense of the term. This is true not merely
because members of both houses of Con-
gress were overwhelmingly convinced of
the justice of the industry's request for
ending the tax. There is always a merited
sense of satisfaction in attaining a difficult
and elusive goal. However, the campaign
was "a good fight" for reasons other than
because it was victorious. The benefits of
the unified action which was achieved will
accrue to the industry for a long time to
come.

The victory in the campaign is a victory
for COMPO. That organization, so slow
a-borning, had a difficult infancy. Now
that it has proved itself an effective instru-
ment for the welfare of all branches of the
industry and everyone in it, it should enjoy
a long and fruitful maturity of service.

Everyone in the industry who helped in
any way during the campaign, and in the
abortive one just prior to the outbreak of
the Korean War three years ago, deserves
a share in the credit for the good fight.
Special mention is due to the leaders. A
heavy burden fell on Robert Coyne,
COMPO special counsel. The co-chairmen
of COMPO's tax committee, Col. H. A.
Cole and Pat McGee, worked tirelessly and
effectively with little regard to the de-
mands of their own affairs during the many
months of the campaign. COMPO's trium-
virate— Trueman Rembusch, Sam Pinanski
and Al Lichtman — were responsible for the
original selection of the tax committee and
for some of the basic policy. They co-

Calif.) both warned strongly against any
amendments as jeopardizing the chances for
passage of the bill.

Senate approval climaxed an almost un-
believable last minute drive by COMPO to
get approval before the end of current Con-
gressional session. The bill was reported
out of the House Ways and Means Com-
mittee only July 10, and in less than three
weeks was driven through both houses of
Congress.

One feature of COMPO’s last minute
drive was the preparation of an all-inclusive
informational kit regarding the bill and
which was placed in the hands of every
Senator.

Designed as ready reference material to
aid Senators in consideration of the meas-
ure, the kit covered these subjects: Tax

operated with the tax committee through-
out the campaign. Others with key roles
were Charles E. McCarthy, COMPO's infor-
mation director, who devoted almost all his
time to the campaign, and Albert E. Sind-
linger whose stafistifcal studies v/ere effec-
tive weapons. Congratulations also are in
order for the COMPO fax committee men in
every exchange area, so all — "Well done!"

The point now has arrived when every
exhibitor should express thanks for their
help on the Mason Bill. COMPO has
asked that every exhibitor write to his Rep-
resentative, his two Senators and to the
leaders in both houses who made passage
of the measure possible. Writing these
letters will be one duty that will give great
pleasure and satisfaction to every theatre
operator.

There still remains to be done a certain
amount of public relations work. Thus far
efforts have centered on Congress and the
Treasury. The reasons for the elimination
of the admission tax apparently are not
well known by some newspaper editors and
other "opinion makers." In this connection
every exhibitor has work to do in his own
community. A presentation of an outline
of the same type of information given Con-
gressmen will inform newspapermen. Some
members of the public will also ask ques-
tions.

In the years ahead, whenever the indus-
try faces a difficult problem, it may look
back with satisfaction and draw strength
from the fact that virtually the impossible
was done in the 1952 and 1953 tax repeal
campaign by industry-wide teamwork.

— M. Q., Jr.

( Continued on page 16, column 3)

THE GOOD FIGHT

MOTION PICTURE HERALD, AUGUST I, 1953

After ten years of planning and preparation, the
first assembled version of “The Robe” in CinemaScope was
screened a few days ago at our Hollywood studios.

It was the proudest and most exalting experience of
my entire association with the motion picture industry.

It was an event that made an indelible impression in
the hearts and minds of all those who witnessed it. It was
worth all the pains of its creation; all the untiring travels
by Spvros P. Skouras in his unceasing search for enter-
tainment progress; all the sleepless nights, the unending
experimentation and diligent application by Darryl F.
Zanuck and his production associates.

Filmed in any medium, Lloyd C. Douglas’ celebrated
novel “The Robe” would rank with the biggest money-
makers the screen has ever known. In the unparalleled
CinemaScope process, in Color by Technicolor, and pro-
jected on our panoramic Miracle Mirror Screen with

Continued, on following pages

CinemaScope Stereophonic Sound, it will be the greatest box-
office attraction of all time.

For there can be no doubt that (( The Robe” in CinemaScope
opens an historic new chapter in the annals of motion pictures.
From beginning to end, during every minute of its more than
two hours of running time, it surges with dramatic power that
beggars description.

“The Robe” is one of the greatest novels of our time and
the impact of its timeless story is doubly intensified and glori-
ously enhanced through the magic of the anamorphic lens.

“The Robe” in CinemaScope relates the greatest story of
love and faith ever told, and in its unfolding, casts a spell that
elates the spirit as it excites with its spectacle; it stuns with its
glory as it embraces the audience without the use of glasses.

There is unprecedented greatness in majestic sweep and
grandeur of its spectacle. There is overwhelming power in its
cast of teeming thousands, in the rise of armies as the Imperial
might of Rome hurls all its power against the Word of God.
There is greatness in the impassioned love of a man and
woman who find in each other’s arms what all mankind is
searching for.

20th Century- Fox

presents

I 1 0

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* W

TECHNICOLOR

The First Motion Picture in

n Picture in

SCOPE

The Modern Miracle You See Without The Use Of Glasses

Above all, “The Robe” in CinemaScope renders an inspired service
to humanity as it transports you back through the centuries to the dawn
of Christianity .

You will see never-to-be-forgotten performances by Richard Burton,
the sensational young star who portrays Marcellus; Victor Mature, as
the Greek slave Demetrius; Jean Simmons, Michael Rennie, Jay Robinson,
Dean Jagger, Torin Thatcher, Richard Boone, Betta St. John and many
other outstanding players in the cast of thousands.

“The Robe” in CinemaScope has been superbly produced by Frank
Ross, whose imagination first was gripped by this wonderful story more
than a dozen years ago. Frank Ross had a vision of greatness and
splendor and now that vision has been realized as a miraculous reality.

“The Robe” in CinemaScope has been masterfully directed by
Henry Koster, whose record, already replete with brilliant achieve-
ment, is crowned with the glory of the “The Robe” in CinemaScope.

The inspired screen play for “The Robe” in CinemaScope was
written by Philip Dunne, who with “The Robe” surpasses even his
previous towering and memorable scenarios.

The breathtaking photography for “The Robe” in CinemaScope
reiterates the genius of Leon Shamroy, three times the recipient of an
Academy Award. It was properly fitting that he should have been
selected for this pioneering assignment, and his work in “The Robe”
in CinemaScope touches the very peak of magic and will be recorded
as the ultimate in cinematic annals.

And now “ The Robe” in CinemaScope will be delivered to the
showmen of the world, to exhibit it with power and dignity, to realize
its infinite potentials, to march forward with its surpassing greatness.

I believe that “The Robe” in CinemaScope fulfills every promise
inherent in the motion picture medium. I am convinced that “The Robe”
in CinemaScope will bring to theatres throughout the world the great-
est number of people ever to see a single motion picture.

Al Lichtman, 20th Century-Fox

TAX BILL

COMPO WINS ITS SPURS

Photos by the Herald

THE ORGANIZERS of fhe tax campaign, as
they met originally in New York, in June,
1952. In left to right order, above, are
Al Lichtman, Sam Pinanski, and Trueman Rem-
busch, representing distribution, the Theatre
Owners of America, and Allied States Asso-
ciation, respectively; Pat McGee and Col.
H. A. Cole, co-chairmen of the campaign, and
Charles McCarthy, public relations executive
of the Council of Motion Picture Organiza-
tions. At the right, Robert W. Coyne,
COMPO special counsel.

WASHINGTON : The Council of Motion
Picture Organizations and the motion pic-
ture industry as a whole have emerged from
the tax repeal campaign in the one case,
more firmly entrenched than ever as a vital
segment of the industry, and, in the second,
with more friends in Washington than ever
before in industry history.

COMPO officials Monday urged industry
members to keep the many good friends won
during the campaign. Said Trueman Rem-
busch, a member of COMPO’s ruling tri-
umvirate, “It’s all too customary for indi-
viduals, organizations and industries to
petition their Congressmen for support of
particular legislation and, if it is forthcom-
ing, to say no more about it.

“It is unprecedented for people to return
and thank the lawmakers once they have
obtained what they asked for. That is what
we ask every member of the industry to do
— send a message of thanks and appreciation
to their own Representatives and Senators
and to those key people in Congress who
did so much to obtain passage of the bill.”

COMPO, said Mr. Rembusch, especially
urged industry members to send such mes-
sages to the following:

Senator Eugene Millikin, chairman of
the Senate Finance Committee;

Senator William Knowland, Senate ma-
jority leader;

Representative Joseph Martin, Speaker
of the House ;

Representative Charles Halleck, House
majority leader ;

Representative Daniel Reed, chairman

of the House Ways and Means Commit-
tee ;

Representative Noah Mason, author of
the tax exemption bill ;

Representative Allen (R., 111.), chair-
man of the House Rules Committee.

Along these lines, Arthur Freed, presi-
dent of the Motion Picture Industry Coun-
cil, on Monday telegraphed Vice-President
Nixon, Senator Knowland and Representa-
tive Kuchel (R., Calif.) expressing the
gratification of the entire Hollywood indus-
try on their work in behalf of the repeal
of the admission tax.

No matter what fate overtakes the Mason
bill on President Eisenhower’s desk, the in-
dustry was generally agreed that as a result
of the tax campaign COMPO’s future was
assured, the drive being called an example
of teamwork by all branches of the industry
and an example of what can be done when
individual forces operate as a unit to accom-
plish a purpose.

The immediate future projects of COMPO
have not been determined, all other func-
tions having been put aside to concentrate
on the tax repeal campaign. However, the
vast potentials of the organization have been
( Continued on page 18, column 3)

( Continued from page 12)

Revenue Estimate — Mason Bill vs. Present
20 Per Cent Admissions Tax; the favorable
House Ways and Means Committee report
on the bill; a joint statement by H. A. Cole
and Pat McGee, COMPO tax committee co-
chairmen ; argument against amendment to
the bill — “Any amendment is a vote against
the bill” ; excerpts from the “Congressional
Record” concerning the tax on theatres;
trend of admissions tax declines, 1946-53;
impact of theatre closings on other taxes
and local businesses ; urgency of emergency
chain reaction hits film production ; fact
documentation — sources, methods, and pro-
cedures, and comments from the “Congres-
sional Record.”

The kit was prepared under the direction
of Col. Cole and Mr. McGee, and two of
COMPO’s governing triumvirate, Trueman
Rembusch and Sam Pinanski, as well as
Robert Coyne, COMPO special counsel.

With these kits on each Senator’s desk,
Chairman Millikin called the bill up for
consideration Friday afternoon. He opened
by reading excerpts from the Finance Com-
mittee report on the bill, describing the
“serious economic condition” confronting
the industry and pointing out that since
1946 more than 5,000 theatres have closed.

Supporting Senator Millikin were Sen-
ators Neely (D., W. Va.) and Long (D.,
La.), as well as Senator Smathers (D.,
Fla.), a member of the small business sub-
committee which recently held hearings on
industry trade problems.

In a strong plea against any amendments,
Senator Millikin went on to say that he
doubted the bill would get out of a House-
Senate conference or would “survive a veto”
if the revenue loss incurred by the bill were
increased by amendments. Senator Butler
(R., Neb.) made a half-hearted attempt to
introduce an amendment to favor the watch
industry, but this was withdrawn in an
exchange between Senators Butler and
Knowland which some observers felt might
have been arranged in advance to discour-
age the offering of other amendments.

Only Senator McCarran (D., Nev.) re-
fused to be discouraged and tried to add a
clause exempting cabarets, roof gardens and
restaurants from the tax, but it was voted
down. Immediately afterwards, the bill was
passed by the Senate and sent on its way
to the White House.

RCA Announces Equipment
For 3-D 16mm Pictures

New portable 16mm arc projection equip-
ment designed to use 3-D motion pictures
for business and industry was announced
last week by the Engineering Products De-
partment, RCA Victor Division, Radio
Corporation of America. The Raphael G.
Wolff Studios of Hollywood is cooperating
with RCA in providing a 3-D experimental
production to demonstrate with the new
equipment, a demonstration of which was
scheduled to be held at the Sheraton Hotel in
Chicago Friday.

MOTION PICTURE HERALD, AUGUST I, 1953

BURT LANCASTER MONTGOMERY CLIH

DEBORAH KERR FRANK SINATRA DONNA REED

Screen Play by DANIEL TARADASH • Based upon the novel by JAMES JONES • Produced by BUDDY ADLER • Directed by FRED ZINNEMANN

Terry

PETER PAN PASSES — With the crossing of
the last horizon by Maude Adams we are
made conscious of how the swift evolutions
of the century are leaving the fames of not
so long ago to tradition. Only a fortnight
before another famed lady of the stage,
Frankie Bailey, a very anfithesis of Miss
Adams and some 14 years her senior, came
to her end in Hollywood.

Miss Adams, at the age of twenty-five,
with years of stage behind her, came into
her real fame in the fairyland role of "Peter
Pan" in the year of 1905. That was the
year the nickelodeon was born.

The screen sometimes hopefully sought
her in vain. There was that about the
motion picture, of then, which was most
incompatible with the amazingly reticent
nature of Miss Adams. Somewhat by dis-
position and very much by the advice of
Charles Frohman she lived aloof, and in-
accessible. She was to be seen and known
only in her roles on stage. For years there
was but one photograph, and a none too
flattering one either, available for publi-
cation. She stepped from the stage door
at the Empire into a closed carriage and
away to the station where a special train
nightly sped her away to her retreat estate
at Lake Ronkonkomo out on Long Island.
No interviews, no autographs, no lobster
palaces, no romantic speculations. To the
public she was what they saw on stage,
and only that.

Miss Adams was in truth not so great an
actress as she was a symbolic figure with
with William Winter called "innocent, art-
less, elfin personality." It is a great regret
that no screen record is had of her. Her
passing, after years of retirement, comes
with no sunset glow of reminiscences of the
Great White Way but rather like moon-
down on a woodland lake.

Miss Adams was through the heritage
from her mother an "old American" with
ancestral roots in the colonial days and of
derivation from those Adamses of historic
renown. Vagrant curiosity brings one to
wonder what of Jim Kiskadden of Salt Lak^,
her Mormon father. He seems never to
have been more than a reference in "Who's
Who."

One may hope that he lived to know that
Lis little girl came to fame, the most pure
fame of her art.

BRITISH SCIENCE — A coming function to
honor John ickeringill Crabtree's com-

pletion in August of his fortieth year of
service in the photographic chemistry de-
partment of Kodak Research Laborafories
reminds one of the important contribution
which British science has made to the
American photographic industry, through
the institution of Eastman at Rochester,
where film was born. Mr. Crabtree arrived
in 1913, the same year as his contemporary
and colleague John George Capstaff, color
expert and 16mm pioneer, arrived. They
came in sequel to the Eastman acquisition
in 1912 of the service of Charles Edward
Kenneth Mees, now vice-president in
charge of research, and way back then had
been managing director of the celebrated
British house of Wratten & Wainright, Ltd.,
famed in panchromatics.

That was, may one whimsically observe,
the last British invasion of the American in-
dustry which got anywhere. For many the
year all the science and real technology in
movieiand came in the film cans from
Rochester.

Mr. Crabtree is of course particularly
known from his work in the Society of Mo-
tion Picture Engineers. He is less known,
one suspects, as a trilingual author. His
titles include such works as "Herstellung
photographischer Losungen und Behandlung
photographischer Chemikalien," and "La
Developpement des Films Cinematogra-
phiques," as well as various works in both
English and American.

PISCATORIAL PROMOTION — With an
indulgent eye toward promotional devices
in our industry one observes with interest
that the display for "The Sea Around Us"
at the Trans-Lux 60th Street in New York is
a salt water story with a fresh water lobby.

By reports the picture is doing very' well
anyway.

However, from the official announce-
ments the lobby aquarium tanks display
such items as the knife fish from the Ama-
zon, assorted goldfish, blind cave fish from
Mexico, the neon-rasbora and the pompa-
dour fish. Special attention is given to the
small voracious pirahna, which in swarms in
South American streams eats anything or
anybody dead or alive, reducing same to
skeletons in a matter of minutes. Of course
it is a matter of practicality in showman-
ship. A sea fish lobby would be hard to
come by and hard to handle, with such
items as tuna, tarpon and sailfish.

COMPO WINS

(Continued from page 16)

proven and it is expected that a definite
program will be formulated when the loose
ends of the tax fight have been picked up.

The consensus is that nobody in the in-
dustry now can afford to stay out of
COMPO, that its physical and financial
status is assured and that its activities will
be expanded. If the industry-wide interest
grows, as it is expected to grow, the big
problem of sufficient finances on which to
operate will have been solved.

It was indicated unofficially in New York
this week that COMPO’s next big project
will be the repeal of censorship laws in
those states which have censor boards. An-
other function, it was said, might be an
effort to ward off state and municipal ad-
mission taxes which are seen as likely poli-
tical moves to replace the Federal tax.

A tax victory, however, is not expected
to change the administrative set-up of
COMPO. A COMPO leader was reported
as saying that the triumvirate type of ad-
ministration was adopted because of the in-
ability to acquire a full-time president. The
plan has worked out so well that it probably
will be retained. The trio now consists of
Mr. Rembusch, Sam Pinanski and A1 Licht-
man.

Nord Plans Package Deal
For Non-3-D Theatres

HOLLYWOOD: The Nord extended area
system has planned a package deal by which
“15,000 theatres not yet equipped for 3-D”
will be able to exhibit 3-D productions
“from a single film strip and in normal sin-
gle-projector procedure,” it has been an-
nounced by Nathan Supak, head of the
company. Negotiations are now in progress
with producer associations to make a blanket
agreement with all producers for prints of
their two-strip 3-D films for transfer to his
single-strip system.

According to Mr. Supak, the members of
the producer groups have indicated favor-
able disposition toward the Nord system.
He announced that he and his associates
were interested solely in providing simpli-
fied 3-D equipment for theatres.

MPAA Spokesmen Plan
Tax Law Testimony

WASHINGTON: Scheduled to testify be-
fore the House Ways and Means Committee
during the next few days, spokesmen for
the Motion Picture Association of America
are planning testimony on two tax changes
sought by the organization. Even if Con-
gress adjourns this weekend, the committee
will continue its hearings on general tax
revision.

On August 4, the industry representatives
are scheduled to testify in support of a
measure for easier tax treatment for assets
sold pursuant to court order in anti-trust
actions. On August 6, the MPAA spokes-
men will plead for better tax treatment of
overseas blocked income.

MOTION PICTURE HERALD, AUGUST I, 1953

New York , N.Y., Monday, July 27, 1953

KOREAN WAR!

tian '?nal Stages of Produc-

OMr t,me"'eSt dra™ Of

sensafT* W^lie Me most
ensationa I ever in 3-D. Keen

w close touch with Paramount

your earliest possible date!

'en i-rtmip

under battle conditions in Korea in n

Pe,S0""e' rtaraC,WS Members °(

mreo Nations Armed forces

CINEMASCOPE IS
ON WORLD TRIP

Deals Now Set to Handle
Method Abroad; See Key
U. S. Spots Ready Soon

There will be no shortage of CinemaScope
and its components of screens and stereo-
phonic sound, if Twentieth Century-Fox has
its way- The company is making agree-
ments all over the world for manufacturing
and servicing and selling. This week, it
announced deals made in Sweden, Italy,
Spain and France.

In the latter country, in addition to the
previously announced production of ana-
morphic lenses by Professor Henri Chretien,
the inventor, Brockliss-Simplex, Establisse-
ments Charlin, and Compagnie Radio-Cine-
ma will manufacture stereophonic sound
equipment, and Michael Avenard will work
on screens for the CinemaScope installa-
tions.

Local Deals Completed

In Spain, Industria Electronica, S.A., will
manufacture the sound equipment, and
Manufacturas Jose Jover, S.A., will make
the screens.

In Italy, the stereo sound will be made by
Cinemeccanica, Microtecnica, and Ing. An-
gelo Fedi; while the lenses will be produced
by Officine Galileo di Molano, and the
screens by Cinemeccanica.

In Germany, Zeiss Ikon, Siemens and
Halske will manufacture the sound equip-
ment, and Max Schumann will make the
screens.

In Sweden, it is also announced, A. B.
Nils Nessim will distribute the Cinema-
Scope screens.

Says Circuits Are Ready

Meanwhile, the company boasted Monday
that by September 15, key situations of many
of the country’s leading circuits will be
ready for CinemaScope. These include the
Stanley Warner Corporation, RKO, Loew’s,
and National Theatres. They and others
make the total of theatres equipped amount
to 300.

The company pointed out that by that time
the supply of product in the new process will
begin to flow, led by “The Robe” and “How
to Marry a Millionaire.” The company also
noted that other major producers, including
MGM, Columbia, and Allied Artists, and
independents, such as Walt Disney, and
Errol Flynn will also be releasing features
and short subjects in CinemaScope in addi-
tion to the 20th-Fox product.

Of the Warner decision to use the ana-
morphic system, Spyros Skouras, president
of 20th-Fox, said last week “that’s the best
thing that ever happened to us.” He com-
mented that Warners had gone in another
direction (it has been a pioneer in 3-D de-
velopment and promoting) for new screen

techniques, but that it is in the end adopt-
ing a method similar to 20th-Fox’s.

Mr. Skouras also disclosed that his com-
pany is committed to $10,000,000 worth of
retooling financing necessary for those com-
panies, American and European, which are
producing sound systems, screens, and
lenses. He added that in his estimation,
having just returned from Europe, manu-
facturers there are quite as advanced as
their counterparts here. He also pointed
out his company is not risking much in
underwriting retooling because the orders
in hand would take care of the amount.

As an example, he told of a demonstra-
tion of CinemaScope planned August 15 at
Frankfort, Germany. Everything used will
be German-made. He also pointed out that
the Venice Film Festival CinemaScope
demonstration will use an Italian-made
Miracle Mirror screen.

Producers abroad he found anxious to
produce in the new process but held up
temporarily by lack of camera lens adapters.
They will find the cost of equipment nomi-
nal, he asserted, giving as an instance 2,500
pounds in England for a studio sound sys-
tem, screen, and lens. He added that the
license fee also would be small. This has
not been worked out yet, he said ; but he did
believe a sliding scale would be adapted
here, with a single picture producer paying
more than a studio with a string of films.

Cites Success in Britain

Mr. Skouras declared that despite reports
co the contrary the industry in Great
Britain hailed CinemaScope. He said he
had orders from 480 British theatres, and
added probably about 1,000 applications
would be in by the end of the month. This
is even better response than here, he
asserted, on a proportionate basis. He
noted that in this country, 4,500 theatre
orders for CinemaScope have been reg-
istered.

Of this development, he commented that
he believes that by January, 1,500 theatres
here will be equipped, and 700 abroad. By
the end of next year, he sees 10,000 theatres
here and another 10,000 abroad equipped.
By 1956, all theatres will have Cinema-
Scope, he predicted.

Set CinemaScope Fi!m

Sol C. Siegel, 20th Century-Fox producer,
has departed for Rome to supervise the
filming of the studio’s CinemaScope produc-
tion in color by Technicolor, “We Believe in
Love.”

Distribute 3-D Posters

The Polaroid Corporation, Cambridge,
Mass., is distributing free to exhibitors a
poster showing how 3-D viewers should be
handled and worn by theatre patrons.

Will Show
Single Film
Sound Soon

The new 20th Century-Fox single stereo-
phonic sound system, four sound tracks and
the picture on one film, will be demonstrated
at the New York home office within a few
weeks, the company announced this week.
The system, developed by Earl I. Sponable,
director of research, will eliminate the sepa-
rate reproducers needed in the theatre. It
has a “simple soundhead, easily affixed to
the projector in order to pick up the four
tracks in one continuous picture and sound
transmission.”

Mr. Skouras will be host to press and in-
vited persons from the industry, at the dem-
onstration, which will feature new footage
from the British Coronation, and scenes
filmed in Europe for the Continental show-
ings which have been held in recent weeks.

The four track system places magnetic
tracks on each side of the sprocket holes,
which have been narrowed to take them.
This has reduced the Cinemascope picture
from the ratio of 2.66 to 1, to 2.55 to 1.

The new sound system will be shown
publicly for the first time in the release of
the company’s important picture, “The
Robe.”

A1 Lichtman, the company’s director of
distribution, stressed the advantages to the
exhibitor, in the new sound system. It means
less cost and more ease of operation. Less
space will be needed in the booth ; the sound
head fits easily to the projector; audiences
will immediately realize the higher standard
of projection ; and exhibitors also will save
on shipping costs because four sound tracks
are on one film.

Set Vistarama Short
Three-City Premiere

Vistarama’s initial production, “Sports-
man’s Holiday,” one-reel subject in Eastman
color with stereophonic sound, will have
simultaneous premieres the week of August
17 in New York, Chicago and Los Angeles,
it has been announced by Carl Dudley, presi-
dent. Due to the limited number of theatres
equipped for the required 2.66 to 1 aspect
ratio projection, Vistarama, for the present,
will handle its own distribution. Mr. Dudley
declined to name the theatres in which the
short will open but it is known that he is
negotiating with the RKO 86th Street, New
York, where he demonstrated the process
last month.

Grant Exhibitors Charter

The Secretary of State of North Carolina
has granted a charter to Stellings-Gossett
Theatres, Inc., Charlotte, N. C., to engage
in operating motion picture theatres. The
principal stockholders in the firm are F.
Grainger Pierce, R. E. Wardlow and I. H.
Gulledge.

MOTION PICTURE HERALD, AUGUST I, 1953

VICTOR

SAV/LLE

READERS WAITING

introducing

FF ELLIOT as MIKE HAMMER margareT she™ a n PESAr^

Written for the Screen and Directed by HARRY ESSEX * A Victor Saville Production

violence blasts the screen!

/ presents lf§g %JII •» " '

60,000,000

wnm \

VIEWS OX EADY
PLAN WEIGHED

British Industry Groups
Study Positions Prior
to Joint Conference

by PETER BURNUP
LONDON: In anticipation of the critical
meeting, scheduled to he held this week, of
the Joint Committee of the four trade asso-
ciations to discuss the future of the Eady
Plan, producers and distributors last week
issued memoranda setting forth their re-
spective points of view.

Corner-stone of the Producers Associa-
tion’s proposals is an insistance that, no
matter how the levy he collected, "the
scheme should aim at the payment into the
Production Fund of an annual sum which
on the basis of present attendances and box
office receipts would amount to not less
than three million pounds.”

Demand Sanctions

The producers, moreover, will not have it
that individual exhibitors may contract out
of the scheme on whatever grounds they
may please. They demand that sanctions be
imposed by distributors on any exhibitor
who defaults on his Eady payments. They
are prepared to ensure that none of the
money accruing to the Production Fund
goes to films made primarily for TV and
that payments from the Fund in respect of
each film are devoted, after paying off out-
standing loans raised for the production of
the film, to the making of a new film or
films.

The distributors’ document has a different
approach. Stating that the KRS decision to
participate in the Eady Plan in 1950 and
1951 rested on the basic character of the
plan itself and on the conditions existing
at the time of its adoption, it proceeds to
recite the basic characteristics of the plan
which affected the decision.

These were :

1. It is a voluntary arrangement on the
part of the trade organizations concerned ;

2. It imposes a known obligation subject
at all times to their control ;

3. To safeguard the operation of the
Anglo-American Film Agreement, increased
earnings accruing to distributors of Amer-
ican films as a result of the plan are trans-
ferable outside the agreement.

Differentiations Absent

Another condition, says the document,
affecting the decision was the absence, apart
from the import duties and provisions of
the Act then in force, of any differentiation
in the U.K. between American films and
British films, and the absence of any differ-
entiation whatever in the U.K. between the
British films produced by American distrib-
utors here and those produced by other
British companies.

The document concludes: “We are pre-

pared to participate in the Eady Plan so
long as the foregoing conditions prevail.
Should they be modified we reserve the right
to reconsider and, with due notice, to modify
our decision.”

In other words, American interests, with
one eye doubtless on the forthcoming
Monetary Agreement discussions in Wash-
ington, give warning that the status quo
ante must be preserved. They don’t want
to play in with their British colleagues and
then find themselves faced, for example,
with a resuscitation of the detested Dalton
ad valorem duties or a sudden stiffening of
the quota percentage. It is reported here,
on the highest authority, that Board of
Trade delegates will give Eric Johnston
ample assurances in both those regards.

Exhibitors Are Silent

Exhibitors so far haven’t made public the
views of their association. But one thing is
clear. Theatre men never will consent to
guarantee the annual £3 millions which pro-
ducers demand. They say, with logic, the
harvest itself must determine the amount.
They will urge that the levy be operated
on a percentage of a given theatre’s take
and not on the basis of a fixed three-far-
things per admission.

The Producers’ Association here laments
in its just-issued annual report a decline in
Britain’s film exports.

The report says that due to a decline in
international trade, difficulties in obtaining
remittances increased in some countries but
the increased cost of distribution is now
probably more effective than import quotas
in restricting the number of British films
that are exhibited in foreign countries
where such quotas exist and particularly
where dubbing is essential.

Statements are widely current here that,
due partly to uncertainty about future screen
dimensions and other developments, and to
the form in which the Eady Plan may be
continued after 1954, producers are slowing
down in their activities. This is categori-
cally refuted in the Association’s report
which says: "The latest information avail-
able to the Association suggests that for the
year to September 30, 1954, the output of
new first and second feature films will be
higher than in any of the previous two or
three years and should provide greater at-
tractions as well as showing improved tech-
nical qualities.”

Herman M. Levy, general counsel of the
Theatre Owners of America, sailed for
America on the Queen Elisabeth Wed-
nesday.

Prior to his departure he emphasized to
newsmen that his survey of the workings
of the CEA and the exhibition business
generally here had been made in a strictly

personal capacity, but that he would be
making a comprehensive report to TOA.

Apart from detailed discussions with
CEA’s general secretary, Walter Fuller, he
had had meetings while here with repre-
sentative exhibitors like Granada’s Sidney
and Cecil Bernstein, Sir Alexander King,
Frank Cousens of Birmingham, and with
ABPC’s (Associated British Picture Cor-
poration) managing director, C. J. Latta.

He was impressed with the mechanics of
CEA’s tightly-knit organization and liked
particularly the monthly meeting of dele-
gates from all parts of the country. Similar
meetings might be impracticable in the U.S.
owing to geographical conditions but, Mr.
Levy said, the CEA obviously exercised
much more influence in the industry than
did its American counterpart.

“Quo Vadis” goes into general release
through the ABC circuit September 28.
Cuts have been made which MGM refused
to do at the time of the picture’s West End
showing. The Censor has now given it an
"A” instead of the "X” Certificate it car-
ried previously. The sequences cut are con-
cerned with Christians mauled by lions.

"Cruel Sea" Wins Award;
Opens in New York Aug. 10

“The Cruel Sea,” the J. Arthur Rank
Organization’s production of the Nicholas
Monsarrat novel which will be released in
the United States by Universal-Interna-
tional, has been chosen the winner of the
Silver Laurel Award as the “Best English
Language Film of 1953,” and is eligible for
the Golden Laurel Trophy judging to be
held in Edinburgh August 30.

Civic officials of New York and British
and American naval officers are expected to
attend the New York premiere of the British
picture, which is scheduled for August 10
at the Fine Arts theatre.

3-D Receipts Give RKO
Theatres Good Gross

SAN FRANCISCO : Box office receipts of
RKO theatres have been given a tremen-
dous lift by the advent of three-dimensional
films, William A. Howard, first vice-presi-
dent of the circuit, has announced. Mr.
Howard is on a transcontinental tour of the
company’s properties. Milroy A. Anderson,
West Coast district manager, guided him
through the San Francisco area.

Although Mr. Howard was pleased with
the 3-D receipts, he warned that the new
process by itself was not enough to hold
new audiences. The basic need of the in-
dustry, he said, was still good stories and
good actors. He said that after viewing
some of the new product in Hollywood, he
believed that producers are preparing to
meet these needs.

Retains Shaw Play Rights

Gabriel Pascal has settled with the trustee
of the George Bernard Shaw Estate and
retained the motion picture rights to "Doc-
tor’s Dilemma,” “Man and Superman.”
"Don Juan in Hell,” "Devil’s Disciple” and
a musical adaptation of "Pygmalion.”

MOTION PICTURE HERALD, AUGUST I, 1953

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Physical Distribution by NATIONAL SCREEN SERVICE Exchanges

ENTHUSIASM IS KEY TO
SUCCESS OF NETTER

by FLOYD E. STONE
LEON NETTER, JR., Altec Service Cor-
poration general sales manager at the age
of 32, has seen a lot of action, in the in-
dustry and in the war, and he has a lot
of wisdom. There is youth on the surface,
and simmering there also are the hints of
firmness and decision.

As young Leon will tell you, closing the
door to his downtown New York office
reluctantly (“this door is almost never
closed”) :

“I am in this industry because I like it,
even love it, and I’ve had my heart in it
since I can remember. My father never en-
couraged or discouraged his children. He let
us think on our own. I never got a job
through him. He is merely pleased I am
in the industry.”

Worked While in School

His father is president of Florida State
Theatres and he will admit it was the con-
versational atmosphere at home in Pelham
and Scarsdale, N. Y., which started him.
They were interesting conversations he re-
calls, about people in the theatre, about prob-
lems, about entertainment. In summers off
from high school and then from Holy Cross,
he began to work.

One summer he ushered at the Paramount
theatre, New York; another, he worked in
the Paramount home office clerical and mail
departments. Still another, he took a junior
executives’ course.

Before he could advance further the war
sent him into the Navy, first as an ensign,
then as lieutenant, junior grade, finally as
lieutenant, senior grade, his experience
ranging from a destroyer in the North At-
lantic to action in the battles of the Ad-
miralty Islands and New Guinea, and the
Philippine Sea, and to his own boat, a hos-
pital ship bound again for the Pacific when
in 1945 they told him he had enough.

Was Salesman with PRC

“I knew what I wanted to do now, and
I kept hold of it during those years, and
when I got out I started doing it.” He
landed with PRC in New York, as sales-
man for Manhattan, and shortly became
assistant manager.

These were the rugged days, he recalls.
Being a salesman to Manhattan film houses
was “different” and it “took long hours of
weary work to make a job like that go.”
He adds he has “always been very pleased
to have had the opportunity — especially with
that product !”

The merger of PRC and Eagle Lion in-
directly led him to his present Altec posi-
tion ; for he was made manager of non-
theatrical sales at the home office. As such,
his contacts broadened to include the Navy,
Army, Red Cross and television, and with

LEON NETTER, Jr.

them came an understanding of installation
problems.

Came then an offer from Altec. He ac-
cepted and in 1947 became national sales
representative. The present position came in
December, 1949.

“I like the nature of this job,” he com-
ments. “The company is small but its reputa-
tion is excellent, and that means much to
a man. I could see in it a splendid oppor-
tunity. I have maintained some contacts I
had and gained many more. I have cer-
tainly made more friends, nationally.”

Much of Altec’s work is in the non-thea-
trical field, he points out : microphones, am-
plifiers, loud speakers, test equipment, home
hi-fidelity sets.

Much of it, also, is in the new processes
which have set the industry on its ears.
And Mr. Netter remarks : “I love what is
happening. It certainly has livened up this
industry. I would like to boast at this point
we are pioneers in stereo sound — and that
we took a terrific chance on Warners ‘House
of Wax’.”

He mentions in that connection that when
Warners desperately needed equipment to
open its pioneer 3-D film in Los Angeles,
Hollywood, Chicago, St. Louis, Philadelphia,
Pittsburgh, Boston, and Detroit, Altec tied
up all its resources making equipment.

“They'told us they’d make as many prints
as we could make sound installations. We
did it on faith in Jack Warner. The decision
at that time was not so easy !”

Mr. Netter married the former Ann Ham-
mett Giles of Bronxville, in 1943. They live
at Chappaqua, N. Y., with their children,
Leon D. Netter III, aged 7; Michael, aged
6, and Maggie, aged 2>l/2.

Mr. Netter sticks to tennis as the game
for him.

Chicago Has
„ 1 View of
Cinerama

CHICAGO : Cinerama finally arrived in the
second largest city in the United States this
week, opening at the Palace theatre here
Wednesday night at a benefit premiere at-
tended by local social and civic leaders as
well as Cinerama executives from east and
west coasts and newspaper correspondents
from as far as Kansas City, St. Paul and
Louisville.

Staged for the benefit of the Peacock
Camp for Crippled Children, the premiere
brought Louis B. Mayer, chairman of the
board of Cinerama Productions, from Holly-
wood ; Thomas L. Perkins, chairman of the
executive committee of Cinerama Produc-
tions, and Fred Waller, Cinerama inventor,
from New York. Acting as host for the
evening was Otto K. Eitel, Palace manager.

The Palace installation for the wide
screen attraction departs from past proce-
dures in that the three projectors are sus-
pended from the balcony instead of being
housed in booths on the orchestra floor. The
Palace screen, 76 feet by 27 feet, is said to
be the largest in the world.

Prominent in the first night audience
were Chicago’s Mayor Martin Kennelly and
Senator Wayland Brooks. The local State
Street Council made a community block
party out of the affair with a kilted band
performing in front of the theatre. All pro-
ceedings were televised. Tieups with local
merchants helped publicize the event.

Over-all proceedings were directed by
Lester Isaac, director of exhibition for Cin-
erama Productions, with Cliff Gieseman as
resident director, and John Joseph in charge
of publicity and exploitation.

Stars Join Festivities
In Premiere of "Alamo"

SAN ANTONIO : With Julia Adams, Chill
Wills and Hugh O’Brian present for promo-
tional purposes, Universal-International held
its world premiere of “The Man from the
Alamo” last Thursday at the Majestic
theatre here. State and local officials took
part in special ceremonies held at the Alamo
and a parade through the streets of the city
which preceded the premiere. The stars will
also visit Fort Worth, Houston, Amarillo,
Wichita Falls, Dallas, Austin and Corpus
Christi to attend openings of the picture in
those Texas cities.

Union Reelects Nuzzolo

Joseph Nuzzolo has been reelected presi-
dent of Local 182 of the projectionists union,
Boston, for the sixth consecutive year.
Others elected were Walter E. Diehl, busi-
ness agent; Ralph Frazier, vice-president;
William H. Lawler, financial secretary;
James Gibbons, recording secretary , and
Jack Rosenberg, treasurer.

MOTION PICTURE HERALD, AUGUST I, 1953

Would Set
Limit on Tux
Exemptions

WASHINGTON : The Senate Finance
Committee Monday voted to continue to
exempt from U. S. income taxes the first
$20,000 a year earned by taxpayers working
overseas for 17 out of 18 consecutive months.

At present, all income earned abroad by
such persons is tax-exempt, and many film
stars have taken advantage of this provision
to go on extended overseas film-making
tours. The House voted to repeal completely
the present tax exemption. However, the
Finance Committee decided to keep the
exemption up to an annual $20,000 figure
so as to encourage people to go overseas
to work on military bases and the Point
Four program. Thus a film star who earned
$100,000 a year overseas would save taxes
on the first $20,000 but would have to pay
on the remaining $80,000.

The Finance Committee said its change
should be retroactive to January 1, 1953.
The House made its repealer efifective April
14, 1953. If the Senate should approve the
bill in the form reported by the Finance
Committee, a House-Senate conference
would be needed to work out a compromise.

To Cease Advertising
Film Screening Deals

WASHINGTON-. The Federal Trade
Commission won a court victory last week
when the A. V. Cauger Service Company,
Independence, Mo., agreed to discontinue
long term exclusive screening agreements
with theatres for the showing of its adver-
tising films. This follows a similar court
victory by the Commission which stopped
similar contracts by four advertising film
companies. In the terms of the settlement,
the Cauger group will void any current
contracts with more than one year to run
and not enter into any agreements extend-
ing over a year.

Form Cassidy Pictures

ALBANY : Cassidy Pictures, Inc., has reg-
istered with the Secretary of State to con-
duct a motion picture business in New York.
Authorized capital stock is $20,000, $1 par
value. Incorporators are : Dale M. Cassidy,
O. M. Bernuth and Charles Bernuth, all
of New York City.

Acquire 'Glory at Sea1

Rogers and Unger Associates, New York,
have acquired the Western Hemisphere dis-
tribution rights to “Glory at Sea,” a Molton
Films production.

To Reissue French Film

Joseph Burstyn, Inc., will reissue the re-
cently reedited “A Nous La Liberte.” Her-
man G. Weinberg did the English titles for
the French film.

ROLL "BAND WAGON” ALONG
THE ROAD TO TOP GROSSES

ON THE BAND WAGON, in Cleveland, one of
the several cities covered by Howard Dietz
and Arthur Schwartz for MGM's "The Band
Wagon." Above, Doris Pearl, Adams Thea-
tres; Al Weitschat, "Detroit News" film
critic; Mr. Schwartz and Mr. Diefz; Norman
Meyers, Adams Theatres managing director,
and Walter Stevenson, "Detroit Times"
critic. At the right, Mr. Schwartz and Mr.
Dietz with the anniversary token presented
them.

Not a little of the success MGM’s “The
Band Wagon” is enjoying is probably due
to some unique tub-thumping, personally
seen to by top executives Howard Dietz and
Arthur Schwartz, who let their dignities
drop and became advance men among
opinion makers such as newspaper, radio
and television men and women in cities such
as Boston, Philadelphia, Cleveland, and
Detroit.

Mr. Dietz is a vice-president of MGM in
charge of advertising and publicity. Mr.
Schwartz is a producer. Both men collabo-
rated on the picture, Mr. Dietz as a lyricist,
and Mr. Schwartz as a writer of music.
These are specialties for which both are
renowned.

Needless to say, they made friends wher-
ever they went. They also caused a lot of
comment and — incidentally — had a lot of
fun. Mr. Dietz also keeps on plugging, in
an article in the current issue of “Look”
entitled “The Musical Band Wagon Keeps
on Rollin’,” in which he notes that the
writing for the picture spans 25 years, dur-
ing which the Hollywood musical comedy

has changed from awkwardness into a
format of its own, with its own character
and maturity.

Meanwhile, “The Band Wagon” Wednes-
day night ended three weeks at the Radio
City Music Hall, New York, with almost
$500,000, a figure which indicates it will
stay there for seven or eight weeks and roll
up a gross of more than $1,000,000. If it
does this, it will be the seventh MGM pic-
ture to reach this amount. The record
holder is “The Great Caruso,” which did
$1,391,000 in 10 weeks.

Hold "Sailor of the King"
Premiere in Richmond

The American preview of “Sailor of the
King,” 20th Century-Fox’s adaptation of C.
S. Forester’s novel, was held Tuesday at the
Byrd theatre, Richmond, Va. Prominent
citizens and government officials attended
the premiere, which was held as a benefit
for the local Sheltering Arms Hospital. A

parade and stage ceremonies were held in
conjunction with the premiere.

To Complete 3-D Drive-In

Fritz & Whitaker have announced that
their 300-car drive-in theatre currently un-
der construction at Fallon, Nev., will be
completed by the end of this month. Tht
theatre is being equipped to handle 3-D pro-
jection.

MOTION PICTURE HERALD, AUGUST I, 1953

FRENCH-ITALIAN
DISCORD SEEN

by HENRI KAHN
in Paris

The French and Italians seem to be hav-
ing some misunderstandings over film agree-
ments. At a recent meeting here between
representatives of both countries, a pact for
the exchange of films was signed, but the co-
production agreement appeared to have hit
some obstacles.

On both sides of the Alps there has been
dissatisfaction with the co-production ar-
rangement. The French complain that Italy
benefits more than France from the pact —
that French cinemas play more Italian prod-
uct than French product shown by the
Italians.

However, the Italians, too, are complain-
ing, saying that co-produced films bring
more glory to France than to Italy. They
also say that Italian audiences are more en-
thusiastic about French directors and actors
than their Italian counterparts.

They cite as an example "The Little
World of Don Camillo,” which smashed all
records. Although it had a French star and
director, it was a co-production, but the Ital-
ian public thought of it as almost completely
French.

There seems to be no doubt that Franco-
Italian co-production will continue, but it
will not be on the same basis as before. The
Italians were expected to return to Paris at
the end of July with a new plan which they
were to discuss.

A co-production accord also may be signed
with Mexico. Already completed is one ex-
perimental co-produced film, which is con-
sidered highly satisfactory. The French
would now like to conclude a regular co-pro-
duction treaty.

The departure of Eric Johnston, president
of the Motion Picture Association of Amer-
ica. from Paris without the signing of a new
film agreement between the United States
and France has caused local exhibitors to
worry anew. If not revised, the agreement
should at least be renewed, the exhibitors
feel. Last year no dubbing permits were
granted to U. S. films for several weeks and
stocks ran perilously low, a situation the
theatremen do not want to see repeated.

AUSTRALIA

by FRANK O’CONNELL
in Sydney

In Australia now there seems to be no
excitement whatever concerning 3-D or
wide-screen, in any shape or form. The
public is not rushing to see the stereo films
or those projected on “panoramic” screens
in any greater numbers than attend conven-
tional product. According to one industry
executive, the difference between the recep-
tion for new techniques in the United States

and Australia can be explained by the fact
the Australians have not yet become accus-
tomed to watching indifferent material on a
postage stamp-sized TV screen.

The coming of TV to this country con-
tinues to occupy the focal point of attention.

In a showmanly bid to counter the current
economic doldrums, Hoyts Theatres has
adopted a bold policy on two 20th-Fox films,
“Niagara” and “Call Me Madam.” “Nia-
gara" is showing in two Sydney theatres, the
Mayfair and the Park. “Call Me Madam,”
which opened to record business in four
Hoyts Melbourne houses, will be shown in
four Sydney theatres at the conclusion of
the current Regent "Limelight” season.

There is a strong rumor going about that
Filmcraft Laboratories, local processing
plant, is trying to interest Technicolor in
establishing a laboratory in Sydney. Dis-
tributors would be all for it, since the cost
of importing Technicolor prints of features
and shorts has become almost prohibitive.

MEXICO

by LUTS BECERRA CELIS
in Mexico City

There has been a second startling devel-
opment in the strike of the technical and
manual workers section of the Picture Pro-
duction Workers Union (STPC) which
began July 1 against Mexican producers.

The first development was the alliance of
the directors with the strikers. The second
was the ousting of Jesus Grovas veteran
producer, from the Mexican Picture Pro-
ducers and Distributors Association. Accord-
ing to a statement issued by the association,
Mr. Grovas was dropped because of “un-
ethical professional practices,” i.e., accepting
the managership of the Alianza Cinemato-
grafica, formed by a group of players and
directors to produce pictures during the
strike.

The strike, to enforce demands for a 40-
hour week, a four per cent of overall pay
donation to the sections’ savings fund, and a
paid day-off after every four weeks of steady
work. The stoppage has suspended comple-
tion of 44 pictures, valued by producers at
$44,000,000. Five producers, who have met
the demands, are not affected.

United States film distributors here are
assured of labor peace until the middle of
1955, following their granting of a 15 per
cent wage hike to members of the National
Cinematographic Industry Workers Union
(STIC). STIC had originally demanded
a 50 per cent wage increase, but settled for
the 15 per cent offer of the distributors.

Enrique Zienert, the Americans’ attorney,
said his clients granted the considerable
wage increase in order to spare the Mexican
Government one less picture trade problem.
This referred to the strike of technical and

manual workers’ section of the Picture Pro-
duction Workers Union (STPC) which
started July 1.

STIC hailed the acceptance of the 15 per
cent hike as a singular victory and said its
members were not only receiving more pay
than they ever did, but that they were the
only unionists to win such a pay boost from
such strong employers since 1947.

The union now is demanding a 15 per
cent wage increase from Mexican distribu-
tors, after earlier asking a 12 per cent raise.
The Mexicans, of course, are dismayed and
argue, like the Americans, that their income
is less, largely as a result of the 20 to 35
per cent reduction in theatre admission
prices which went into effect last December.

Permits for the exhibition of an unspeci-
fied number of foreign pictures, including
some American, were suspended in July be-
cause of fears of the Mexican trade that
imports during May and June exceeded the
number of Mexican films available. This
was revealed by Jose de Larrea, chairman
of the National Cinematographic Board.
May imports totaled 84, of which Holly-
wood supplied 59, and during which period
only 13 Mexican features were screened.

“We do not intend to sabotage foreign
pictures but merely to regulate our markets
with foreign ones,” said Mr. de Larrea.
"There is a field for foreign films. There-
fore we are continuing to allow their im-
portation in accord with the necessities of
our industry. There have been recent months
when Mexican pictures only had 24 per cent
of the playing time, against 64 per cent for
American films and 12 per cent for other
imports.”

Antonio Cornejo, 59, founder and a board
member of local radio station XEAL, “Ra-
dio Metropolitana,” died here last week after
a long illness. He was also a prominent
automobile dealer along with his other pur-
suits.

ISRAEL

by ALBERT D. MATALON
in Tel-Ainv

Tel-Aviv’s 24th cinema, the 800-seat
Yaron, is scheduled to open shortly in a
magnificent new building on the shore, and,
despite a recent decrease in general atten-
dances, its owners confidently expect fine
business.

Attendances in April, May and June this
year were, respectively, 752,000, 637,000 and
645,000. In recent months, however, five
new cinemas, having a total seating capacity
of 5,400, have opened in Tel-Aviv. The
city’s 23 cinemas now offer 43,000 seats
a day for two performances a day, making
a total of 1,075,000 seats available a month
to an audience which ranges between 600,-
000 and 700,000.

Despite these figures, there are still peo-
ple anxious to construct new theatres. There
currently is a plan afoot to build a cinema
for the exclusive showing of half-hour short
subjects, all around the clock. A building
permit has been issued for the North Tel-
Aviv area, as well as a municipal permit.

MOTION PICTURE HERALD, AUGUST I, 1953

Production • Exhibition • Exploitation

A QUIGLEY
PUBLICATION

208 pages, 50
illustrations;
printed on fine
quality, coated
paper; durable
cloth binding. Price
$4.50 postpaid.

Edited by

Martin Quigley, Jr.

Summary of Contents:

Preface — Dr. Alfred N. Goldsmith, Consulting Engineer

Introduction — Martin Quigley, Jr., editor, Motion Picture Herald

part 1 — 3-D

Three-Dimensionally Speaking

— Pete Smith, producer & commentator

Polaroid and 3-D Films

— William H. Ryan, research engineer,
Polaroid Corp.

Principles of 3-D Photography and

— John A. Norling, president,

Projection

Loucks and Norling Studios

What Is Natural Vision?

— Milton L. Gunzburg, president,

Natural Vision Corp.

The Stereo Window

— Floyd A. Ramsdell, general manager,
Worcester Film Corp.

3-D in Europe

— Frank A. Weber, Dutch 3-D engineer

Technicolor and the New Techniques

— Dr. Herbert T. Kalmus, president,
Technicolor, Inc.

1927, Sound— 1953, 3-D

— Jack L. Warner, vice-president,

Warner Bros. Pictures

The "House of Wax" Campaign

— Mort Blumenstock, vice-president,
Warner Bros. Pictures

1 3-D in Theatres

part II — wide screens

— James Brigham, theatre engineer.
Natural Vision Corp.

CINERAMA SECTION:

The Birth of an Idea

— Ralph Walker, architect

Cinerama Goes to War

— Fred Waller, chairman of board.
Cinerama, Inc.

Adding the Sound to Cinerama

— Hazard E. Reeves, president,

Cinerama, Inc.

This Cinerama Show

— Lowell Thomas, vice-chairman of board,
Cinerama Productions, Inc.

Finding Customers for a Product

— Lynn Farnol, publicist

CINEMASCOPE SECTION:

Importance of CinemaScope

— Spyros P. Skouras, president.

Twentieth Century-Fox

CinemaScope in Production

— Darryl F. Zanuck, vice-president,
Twentieth Century-Fox

Stereophonic Sound

— Lorin Grignon, sound engineer,

Twentieth Century-Fox

Directing in CinemaScope

— Henry Koster

New Medium — New Methods

— Jean Negulesco

Filming "The Robe"

— Leon Shamroy, A.S.C.

CinemaScope and the Public

— Charles Einfeld, vice-president.

Twentieth Century-Fox

CinemaScope in Exhibition

OTHER WIDE SCREEN TECHNIQUES

— Earl 1. Sponable, technical director,
Twentieth Century-Fox

The Anamorphoser Story

— H. Sidney Newcomer, M. D.

There Is No Substitute for Creative

— William Goetz, in charge of production,

Talent

Universal Pictures

Why New Aspect Ratios

— George Schutz, editor, Better Theatres

Illlllllllllllllllllllllllllllllllllllllllllllllllllllllllll

by WILLIAM R. WEAVER
Hollywood Editor

PROBABLY few exhibitors realize that the
color which has become such an important
part of the product they offer is not just a
thing a producer
goes out and buys,
like a bucket of
paint, when he’s got
a picture coming up
that he thinks rates
it, or needs it. Cer-
tainly not many
know that a good
many of the color
pictures they play
could not have been
made, could not have
been, in color or
black-and-white, if it
weren’t for financ-
ing provided, arranged, induced or prompted,
by a color company. “Under the conditions
of the past few years,” says Otis Willard
Murray, vice-president and assistant general
manager of the Color Corporation of Amer-
ica, formerly Cinecolor, “the field of produc-
tion-financing has been taking nearly as
much of our time and attention as the proc-
essing of films. If the trend in independent
producing continues in the direction it's been
taking recently, we in the laboratory busi-
ness will find ourselves in the banking busi-
ness up to our fountain pens.”

Mr. Murray, a calm, level-eyed 39, is by
no means unhappy about the circumstance
described above. It gives him greater free-
dom of choice, with respect to the type of
properties accepted for processing, than
would be possible if the industry were so fat
with profits that producers stood in line com-
peting for the opportunity to plunk down
cash in advance for color. And choice is a
very important matter to this young execu-
tive of today who but yesterday was — and of
course still is — a research engineer.

Joined Du Pont in 1937 and
Obtained 30 Patents

In that role he joined the Du Pont com-
pany in 1937, and in the next decade he ob-
tained 30 patents in the field of color
photography, which he assigned to that
concern. He is co-inventor of Du Pont
color film. In 1947 he came west to the
Cinecolor Corporation, as director of re-
search, rising to his present status last year.
It makes a great deal of difference to him,
as color expert, whether the pictures he, as
an executive, accepts for processing in his
plant are color-compatible. Expert and ex-
ecutive get along very well together.

A color company can help a producer in a
good many ways, according to Mr. Murray,

who points out that of course he speaks for
himself and his company only. In some
cases it can dispel a reluctance on the part
of a bank to lend a producer the money he
needs for a given picture by merely display-
ing its own confidence in the project by giv-
ing the producer a color commitment under
favorable credit terms. In other instances
it can participate directly in primary financ-
ing, or it can supply or underwrite comple-
tion bonds. He says, “There are so many
variations of the financing operation these
days that, in simple fact, no two deals ever
are exactly alike.

And what does the color company receive
for its trouble? Well, the processing work,
of course, which is the company’s basic func-
tion, is an immediate result. Goodwill is
another. And down the calendar a way,
when the picture’s gone out and earned
whatever it may, there is participation in
the yield, if yield there be (the loss, if loss
it is).

Color Company Stands
To Win or Lose Heavily

Under conditions of utter adversity in the
land it would be possible, no doubt, for a
color company to lose its colored shirt on a
flock of financed films that happened to col-
lide with collective disaster, but that could
happen to the sternest of banks (did, in fact,
remember?) as well. And conversely, under
conditions of pridigious prosperity, a color
company sharing in the financing of its cus-
tomers could accumulate astonishing incre-
ments. Contemplating neither of these ex-
tremes, Mr. Murray stays on the safe side
of the law of averages — taking a big piece
of that picture, a small piece of the other,
together with a big participation and a small
one, respectively — and gives every picture
the fullest benefit of the finest color job his
background knowledge and his personally
schooled laboratory technicians can most
efficiently produce.

The CCA laboratory will process better
then 20 pictures this season, according to the
Murray estimate, and that many will place
the company in fine position for its tomor-
rows. One of these tomorrows has to do
with the processing of color-television films,
which is another story for another time and
another space. Chiefly of inter00*- ox'
hibitor readers now is the mani
ance that the flow of color produc
source is going to continue steac
pedited if anything, under tl
policy.

FOUR OF THE five pictures s
ing the week are in color, two {
and one in CinemaScope. Eight

O. IV. Murray

THIS WEEK IN
PRODUCTION:

STARTED (5)

ALLIED ARTISTS

Pride of the Blue Grass
(Color)

INDEPENDENT

Top Banana (RoadShow
Prod., 3-D, Color)

Hollywood Stunt Man
( Bernard B. B. Ray)

COMPLETED (8)

ALLIED ARTISTS

Tabloid

Slade (Lindsley Parsons
Prod.)

COLUMBIA

Jesse James vs. the
Daltons (Technicolor,
3-D, Esskay Pic. Co.)

INDEPENDENT

The Man Who Saved

SHOOTING (23)

COLUMBIA

The Caine Mutiny
(Kramer Co., Techni-
color)

INDEPENDENT

Free and Easy (Greene-
Rouse Prod.)

Beachhead (Aubrey
Schenck Prod., Pathe-
Color, U.A. release,
Stereophonic, W.S.)

Camel Corps (Edward
Small Prod., 3-D, East-
man Color, U.A. re-
lease, W.S.)

Hondo ( Wayne-Fellows
Prod., Warner release,
3-D, WarnerColor,
All-Media)

Carnival (King Bros.,
RKO release, Color,
3-D, Munich)

MGM

Tennessee Champ
(Technicolor)

Gypsy Colt
(Ansco Color)

Rhapsody (Technicolor,
Wide Screen)

Knights of the Round
Table (Technicolor,
CinemaScope,
London)

The Flame and the Flesh
(Technicolor, Wide
Screen, Europe)

RKO RADIO

Rangers of the North
(3-D, Technicolor)

20TH CENTURY-FOX

King of the Khyber Rifles
(CinemaScope, Tech-
nicolor)

the Earth (W. Lee
Wilder Prod.)

Crazylegs, All-American
(Hall Bartlett Prods.)

The Bigamist (Filmakers
Releasing Org.)

REPUBLIC

Geraldine

UNIV-INT'L

The Glass Web (3-D)

Crest of the Wave
( London )

PARAMOUNT

Mr. Casanova (Techni-
color, Wide Screen)

Alaska Seas (Wide
Screen)

The Naked Jungle
(Technicolor, Wide
Screen )

Knock on Wood (Tech-
nicolor, Wide Screen)

RKO RADIO

The French Line

(Edmund Grainger
Prod., Technicolor)

20TH CENTURY-FOX

Prince Valiant (Techni-
color, CinemaScope)

Hell and High Water
(CinemaScope, Tech-
nicolor)

UNIV.-INT'L

Ride Clear of Diablo
(Technicolor)

Son of Cochise (Tech-
nicolor, 3-D)

The Glenn Miller Story
(Technicolor)

WARNER BROS.

The Bounty Hunter
(3-D, All-Media,
WarnerColor)

iiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiimiiiiiiiimiiiMiiii

Holly ivood
Unions Ash

HOLLYWOOD : Contract demands filed
by 15 local IATSE units ask producers to
contribute 25 cents per hour worked by their
members to a proposed employer sustained
pension fund. The union’s 33 proposals,
given to the Association of Motion Picture
Producers, includes a plan to have em-
ployers contribute three per cent of their
payrolls to a health-and-welfare fund already
in operation, instead of the five cents per
hour plan currently in operation.

The Plollywood locals are also asking for
five per cent of the revenue received from
theatrical reissues and from selling theatrical
films to television. The labor group is seek-
ing a four-year pact, which is reopenable
in two years to discuss wages and working
conditions. Local units of the union are ask-
ing for increases ranging up to 15 per cent.
IATSE demands are usually the standard
upon which other studio unions base their
contract conditions.

A 15 per cent increase and a wide variety
of changes in the work-week definition have
been requested by the Publicists Guild, un-
affiliated, which also presented contract de-
mands to the producers’ organization.

Women Form Industry
Club in New Orleans

NEW ORLEANS : A number of the fem-
inine members of the New Orleans motion
picture exchange center have organized the
WOMPIS club (Women of the Motion
Picture Industry) to promote better public
relations among the women in the industry
and undertake charitable projects. Officers
chosen by the group include Mrs. Loraine
Cass, president; Mrs. Connie Aufdemorte,
first vice-president; Ida Klos, second vice-
president; Mrs. Lee Nickolaus, secretary;
Agnes Garcia, treasurer; and August Wol-
verton, Georgia Bruno, Gene Barnette,
Rosalie Lutenbacher, Leona Schmitt, Gladys
Montreuil and Cornelia Schmitt, directors.

RKO Signs Deal with
Independent Artists

C. J. Tevlin, RKO’s vice-president in
charge of operations, and Frederick Brisson,
head of Independent Artists Pictures, Inc.,
have signed an agreement which grants
RKO distribution rights to Independent’s
next film. Executives of the two companies
will select a story for the production within
the next few weeks. The film will be pro-
duced on the RKO lot.

Area's First Drive-In

Rose Schwartz, Mrs. Florence Musman
and I. C. Jacocks have opened the first
drive-in theatre in the Ansonia-Derby,
Conn., area. The recently completed theatre
is called the Center Drive-In.

International Organization
Set by Filmakers Firm

HOLLYWOOD : Filmakers Releasing Or-
ganization has completed the establishment
of a worldwide distribution setup. William
Pizor has been appointed vice-president in
charge of foreign sales in the recently
formed organization. The initial campaign
to be planned by Mr. Pizor will be for “The
Bigamist,” starring Joan Fontaine, Ida
Lupino, Edmond O’Brien and Edmund
Gwenn. In the next 18 months, the company
plans to produce and release four additional
pictures.

Unnudian
Product Up

OTTAWA : Canada’s motion picture indus-
try produced three features, 73 theatrical
shorts and 308 non-theatrical films of five
minutes or longer during 1952, the Canadian
government reports. The output also in-
cluded 111 TV commercials, 893 theatre
trailers, 716 newsreel stories for theatres
and 157 film-strips.

Private industry produced the three fea-
tures, 15 of the theatrical shorts, 206 of the
non-theatrical films, all of the TV com-
mercials, all but five of the theatre trailers,
641 of the newsreel stories, and 61 of the
film-strips. The balance was produced by
government agencies.

Most of the non-theatrical films were pro-
duced in color, all were in English, and 16
of them were produced for sponsors outside
of Canada. Film production was mainly con-
centrated in Ontario and Quebec. The three
features were made in the latter province.

HOLLYWOOD SCENE

( Continued from preceding page )

of the North,” directed by Louis King. Vic-
tor Mature, Piper Laurie, William Bendix
and Vincent Price are top names.

Three-dimensional cameras is the word
for “Top Banana”, the stage success. Road
Show Productions is making it in color.
Phil Silvers, who starred in the stage show,
is starred in the film, and the original stage
cast goes along with him. Rose Marie is
the feminine lead. Ben Peskay is executive
producer, Albert Zugsmith is producer, and
Alfred E. Green is directing. No distribut-
ing channel has been chosen.

Hayes Goetz began shooting “Pride of
the Blue Grass” for Allied Artists, a turf
story filmed in the Color Corporation of
America process, which has Lloyd Bridges,
Vera Miles, Margaret Sheridan and Arthur
Shields in principal roles. William Beaudine
is directing.

Astor, Zimbalist in Deal

Bob Savini, president of Astor Pictures,
has concluded negotiations with A1 Zimba-
list, executive producer of Three Dimen-
sional Pictures, Inc., for distribution rights
to the 3-D science-fiction feature, “Robot
Monster.”

An Anti-Red

Outh II ins

SAG Vote

HOLLYWOOD : The membership of the
Screen Actors Guild has voted 3,769 to 152
its approval of the board-recommended anti-
Communist by-law. The by-law, thus ap-
proved by more than 96 per cent of the
Guild’s members, and which could become a
pattern for other Hollywood organizations
in kind, reads :

“No person who is a member of the Com-
munist Party or any other organization
seeking the overthrow of the government of
the United States by force and violence shall
be eligible for membership in the Screen
Actors Guild. Application for guild mem-
bership shall contain the following statement
to be signed by the applicant : ‘I am not now
and will not become a member of the Com-
munist Party or any other organization
that seeks the overthrow of the Government
of the United States by force and violence.’ ”

Voting was conducted by mail referendum,
with certified public accountants Thomas
& Moore auditing the returns.

U-l Signs Miss Universe
Pageant Contestants

Eight contestants from the Miss Universe
Beauty Pageant, held at Long Beach, Cal.,
last week, have been sig-ned to contracts by
LTniversal-International Pictures. Those
who signed contracts were Christine Martel,
Miss Universe; Myrna Hansen, Miss
U.S.A.; Kimuko Ito, Miss Japan; Ingrid
Rita Mills, Miss South Africa; Synove Gul-
brandsen, Miss Norway; Maxine Morgan,
Miss Australia ; Emita Arosemena, Miss
Panama, and Alicia Ibanez, Miss Uruguay.
All the girls have been enrolled in the
studio’s dramatic school.

Name Balaban, Skouras

Barney Balaban, president of Paramount
Pictures, and Spyros Skouras, president of
20th Century-Fox, have been named hon-
orary chairmen of the Sophie Tucker
Golden Jubilee Celebration, sponsored by
the Jewish Theatrical Guild, it has been
announced by Harry Brandt, chairman.

Report Tribune Settlement

Warner Brothers and LTniversal have
reached a settlement with the Tribune Thea-
tre Corporation, New York, which has an
action against the majors pending in U. S.
District Court. RKO Radio previously had
settled with the corporation.

Gamble Gets TV Channel

The Mount Hood Radio and Broadcasting
Corporation, in which Ted Gamble has a
major interest, has been granted a television
channel in Portland, Ore., by the Federal
Communications Commission.

MOTION PICTURE HERALD, AUGUST I, 1953

BUFFALO

ALBANY

“White Witch Doctor’’ and “Powder
River,’’ which brought the Stanley Warner
Strand one of its biggest grosses in recent
months, despite temperatures in the high
90’s, was moved to the Ritz for a second
week. The Strand reported night standees.
. . . John Brousseau shuttled between the
Delaware and the Madison while Oscar J.
Perrin, manager of the latter, vacationed.
. . . Fabian’s Cohoes, Cohoes, managed by
George Seed, has a new all-purpose screen,
while the Strand, Albany, piloted by A1
LaFlamme, has received from CinemaScope
company a 45-foot-wide curved screen. . . .
Fabian Theatres are well pleased with re-
sults obtained so far in exhibiting 3-D fea-
tures at Mohawk drive-in. Incidentally, the
3-D screen at Fabian’s Palace showed a ten-
dency to pull apart at the seams during a
recent week, when the air-conditioning sys-
tem was on. Stage hands nursed it with an
adhesive susbtance. . . . Mrs. Carrie Rod-
gers, manager’s secretary in Warner ex-
change, was honored at a party marking
her 30th anniversary with that company and
First National.

ATLANTA

J. H. Thompson, of Martin & Thompson
Theatres headquarters in Hawkinsville, Ga.,
was in Atlanta buying for his circuit. . . .
William Karrh, owner of Dixie Theatres in
Georgia, is rapidly improving from the ef-
fects of a stroke sometime ago. While he is
out, Mrs. Karrah is looking after the busi-
ness. . . . William C. Bostwick has been ap-
pointed assistant to Lamar Sarra for Florida
State Theatres in Jacksonville, Fla. . . .
L. Z. Henry, owner of the Home theatre,
Zephyrhill, Fla. has resigned as president of
the City Council there. . . . Miss Shirley
Fuller, accounting department of Astor Pic-
tures of Georgia, was honor guest at a
luncheon given by Mrs. Rose Lancaster,
same company, at Davidson Tea Room on
Jul y 25. Miss Fuller will be married Sep-
tember 3. . . . The Drew theatre, Monticello,
Ark., was destroyed by fire with loss of
$100,000. The fire was started by lightning.

. . . Miss Alma Cook, formerly with U-I,
was visiting with Miss Betty Landers of
Monogram. . . . David Katz, co-owner of
Kay Exchange, was in Florida on vacation.

. . . Mrs. Cleme Lewis, Realart Pictures,
has returned to her desk after a spell of
illness.

BALTIMORE

The Gaertner Circuit’s newest theatre,
the Harford, a 1,000-car drive-in, is ready
for opening in Aberdeen, Md. . . . Les
Coulter, formerly manager of the Hip-
podrome is now the manager of the Cameo
theatre. . . . Orville Crouch, Loew division
manager, in town visiting the local Loew
outlet. . . . Ted Routson, Playhouse man-
ager, is back on the job after a long siege
of illness. . . . Kenny Most has resigned as

assistant manager at the Hippodrome. . . .
Owen Schnepf, Century assistant, is vaca-
tioning. . . . Caryle Hamburger, Little thea-
tre, back from a West Virginia visit. . . .
John Murphy, Loew’s Theatres executive,
along with Orville Crouch was in town to
attend funeral of Howard C. Burkhardt,
who died while managing Loew’s Midland
in Kansas City, Missouri. . . . Bernard
Terry, Stanley projectionist, ill at home
with the grippe. . . . Allen Mellits, on vaca-
tion from College is handling the food con-
cession for his father, Sam Mellitis, at the
Cross Road drive-in, Denton, Md.

BOSTON

Stanley Eilenberg has been elected clerk
of the Middlesex Amusement Company, of
Malden, assuming the position held for
many years by his father, the late Abner
Eilenberg. The buying and booking for the
circuit, which had been handled by the late
Abner Eilenberg, is now under the direction
of two directors of the company, Winthrop
Knox, Jr. and Lloyd B. Clark. . . . When
Mario Cicchesi reopens the Jasan theatre,
East Weymouth, August 14, he will change
the name to the Victor. . . . Fred Phinney,
75, doorman at the Beacon Hill for several
years, died suddenly July 22. . . . Nathan
E. Goldstein, Arcade theatre, Springfield,
and Mrs. Goldstein are the proud grand-
parents of twin sons born this month to Dr.
and Mrs. Joseph Goldstein of Washington,
and of a daughter born to Mr. and Mrs.
David Goldstein of New York. . . . Tom
Dowd, managing director of the Beacon Hill
theatre, is handing out cigars again in honor
of the birth of Maureen, the eighth child
born to Mr. and Mrs. Dowd.

WHEN AND WHERE

September 1-2: Annual convention, West
Virginia Allied Theatres Association,
Matz Hotel, Bluefield, West Virginia.

September 28-30: Conference, Texas
COMPO and International Drive-in The-
atre Owners Association, Adolphus
Hotel, Dallas.

November 12: Annual dinner, Motion Pic-
ture Pioneers, Hotel Astor, New York
City.

October 3-4: Fall board meeting, Allied
States Association, Sheraton-Plaza Hotel,
Boston.

October 5-7: Annual convention, Allied
States Association, Sheraton-Plaza Hotel,
Boston.

Dave Miller, manager of the U-I branch,
is passing Corona Coronas to friends along
Film Row. The reason is that Dave is a
grandfather for a second time. A baby
daughter, Susan Dee, has been born to his
daughter, Mrs. Marvin Schwartz in Cleve-
land. . . . Dave Leff is handling IFE re-
leases in the Buffalo and Pittsburgh area,
making his headquarters in the Eastern
Theatre Supply headquarters, Buffalo. . . .
Mrs. Thomas R. Sacher, wife of Tommy
Sacher, longtime projectionist at Shea’s
Buffalo, is dead. Mrs. Sacher was widely
known in the Keith-Orpheum and Pantages
vaudeville circuit. . . . J. Fred Schoellkopf
IV, one of the officers of Skyway Drive-In
Theatres, Inc., has been named third vice-
president of the Buffalo Chamber of Com-
merce. . . . Arthur E. Bullett, shoe store
proprietor, is dead. He was the husband of
the former Edith Maurer, who was a mem-
ber of the Shea Theatres office staff for
many years. . . . The Empire drive-in,
Rochester, now is putting on Sunday morn-
ing church services. The last service at-
tracted more than 360 persons and more
than 100 cars.

CHICAGO

Mayor Kennedy of Chicago proclaimed
the week of July 25 as “Cinerama Week”
in honor of the opening of “This Is Cine-
rama” at Eitel’s Palace theatre here. . . .
Harry Goldman, United Artists branch man-
ager, has been released from Michael Reese
Hospital. Fortunately, it was found that he
would not have to submit to surgery and
he is recuperating at home. . . . Ted Tokarz,
who operated the Holiday, Round Lake, 111.,
which was destroyed recently by a wind-
storm, has reopened the Hegewisch theatre,
Chicago. Plans have been made for rebuild-
ing the Holiday. . . . The late Ludwig Suss-
man, who operated the Adelphi theatre here
for many years, will have a plaque to his
memory placed in the theatre by a group
of religious and business leaders of Rogers
Park, the neighborhood in which the
Adelphi is located, on August 21, the anni-
versary of his death. . . . Bill Newton has
left Filmack Studios here to join Kling
Studios as an account executive in the mo-
tion picture-television division.

CINCINNATI

Business at the first run houses, which
has been below average for the past several
months, is showing considerable improve-
ment, despite the record heat, with the ther-
mometer registering in the mid-90’s. . . .
Murray Baker, former booker for the re-
cently discontinued headquarters of Northio
Theatres here, has opened an office on
Logan Street adjacent to the Film Build-
ing, as representative of Italian Films Ex-
port. . . . Roselyn Rosen, sister of William

( Continued on opposite page)

MOTION PICTURE HERALD, AUGUST I, 1953

{Continued from opposite page )

Bien, local circuit operator, died at her home
July 15. Mr. Bien’s son, Jack, will he mar-
ried to Nancy Marx, local girl, September
6. . . . Charles Basham, West Virginia sales-
man for 20th Century-Fox, has resigned to
enter another line of business. . . . Allan S.
Moritz, former branch manager for Colum-
bia here, and now operating theatres in the
Louisville, Ky. area, is recovering from an
attack of pneumonia, which confined him in
Jewish Hospital here. . . . The 750-seat
Lyric theatre, opened more than 40 years
ago in Hamilton, Ohio, has been razed, so
that a portion of the site can be used for a
new store building. . . . Ira B. Dyer, who
operated the Clinton theatre and the Albany
Drive-in, at Albany, Ky., has sold both
houses to Tennessee operators. He will re-
turn to his former home in Florida. . . . The
city commission, at Piqua, Ohio, is planning
to repeal the city three per cent admission
tax December 31.

CLEVELAND

Howard Dietz, MGM vice president, and
Arthur Schwartz, celebrating their 25th year
as collaborators, spent two days in Cleve-
land to promote "Band Wagon’’ and doing
saturation appearances on radio and TV. . .

Phil Isaacs, captain of the Paramount Jubi-
lee Drive, was here Tuesday for a pep
branch meeting. . . . Helen Shoma succeeds
Jeanette Emery, resigned, as secretary to
Paramount branch manager Harry Bux-
baum. . . . Mrs. Barbara Spicka, 89, mother
of Mrs. M. H. Fritchle, wife of the head of
Oliver Theatre Supply Co. died. . . . Ernest
Schwartz, president of the Cleveland Motion
Picture Exhibitors Association, and Mrs.
Schwartz are visiting their daughter at a
Michigan lake resort. . . . Paul Vogel,
Liberty theatre, Wellsville, was recalled by
the army for a 2-month teaching session at
Fort Meade. . . . State Theatre, Akron,
operated for more than 35 years by the Rom-
webber family, closed August 1st when Mrs.
Elizabeth Romwebber, widow of John Rom-
webber and her two sons, attorney Richard
and probate court deputy Robert take over
a long term lease on the Allen theatre,
closed since 1950. . . . Bernard Rubin, head
of Imperial Pictures, has the northern Ohio
distribution franchise for Filmaker Pictures.

COLUMBUS

Theatremen breathed a sigh of relief when
the Columbus Transit Company and the bus
operators’ union agreed on a new contract
which would permit the buses to roll follow-
ing and 11-day strike. . . . Herbert Stein-
berg and Ralph Buring of Paramount were
here to confer with city officials and Loew’s
executives on plans for the world premiere
of the Dean Martin-Jerry Lewis picture,
“The Caddy” at Loew’s Ohio August 17.
. . . William Brooker, Columbia Pictures’
exploitation representative, was here for the
campaign on “Fort Ti.”. . . Loew’s Ohio
is the first local house to have new wide
screen in use. The panoramic screen will be
used for the showing of Twentieth Centurv-
Fox’s “White Witch Doctor” starting Au-
gust 4. . . . RKO Palace is completing its
Miracle Mirror wide screen installation.

DENVER

With all Variety members working at
making the forthcoming “Denverieties”
Aug. 19 a big success, the Tent is closed

LUX ENDORSED FOR
MAYOR OF BUFFALO

BUFFALO: Elmer F. Lux, the man of many
parts, may yet wind up Mayor of Buffalo.
The Elmart Theatres nead has been en-
dorsed by the exec-
utive committee of
the Erie County
Democratic Com-
mittee. Mr. Lux is
a joiner of great
talent. In the indus-
try, it's the Variety
Club, Tent 7, of
which he's been
head barker. He
now is a national
canvassman. Out-
side the industry,
it's the Holy Name
Society, the Elks,
Eagles, Moose, Buffalo Athletic Club,
Greater Buffalo Advertising Club, Rotary,
and the Knights of Columbus. For 25
years or so, he's been active in all "fund"
drives in Buffalo. He's been in politics
since 1948. He was a councilman-at-large,
and president of the Common Council.

His circuit was formerly the Darnell, and
then the Lazar. It also has houses in Ohio,
West Virginia, Maryland and Kentucky.

down until Aug. 6, with Tommy and Mary
Snyder on vacation. The "Denverieties” will
be held at the Park Hill country club. . . .
Robert Patrick, Realart and Preferred Pic-
tures exchange owner, flew to Los Angeles
to meet producers. While there he made
arrangements to handle “Hannah Lee” for
the Denver and Salt Lake territories. . . .
Ray Hazzlett has been named a city man-
ager at Albuquerque, N. M., for Albuquer-
que Exhibitors Inc., and will operate the
Kimo, State, Hiland and Lobo. . . . Lou
Gasparini, formerly purchasing agent, has
also been advanced to a city manager in
Albuquerque, where he will supervise the
El Rey, Sandia, the Cactus drive-in and the
66 Drive-in.

DETROIT

Next week “This Is Cinerama” will pass
the long run record of any production in
Detroit. It has already run longer that any
moving picture. Celebration is being plan-
ned with prizes to tie in with the figure 20
— that being the number of weeks the pro-
duction has run. . . . Blond Detroit lovelies
will vie for the “most-like-Marilyn-Monroe-
in-a-bathing-suit” title in a contest spon-
sored by the United Artists theatre. Winner
will wear a prize diamond wrist watch and
display gems from a local diamond collec-
tion as she hostesses “Gentlemen Prefer
Blondes” opening. ... Neal Tailing, High-
land Park Krim manager, wonders what
there is to contests. He offered an all-ex-
pense paid trip to the Film Festival in
London, Ont., featuring Alec Guiness Brit-
ish star in person. After several weeks of
waiting, Tailing concluded Highland Park
kids just aren't ambitious as no entries
poured in.

HARTFORD

Mrs. Mary T. Grady, treasurer of the
Hartford Theatre Circuit, Hartford, and her
husband, Robert, have returned from a vaca-
tion trip to Toronto and other Canadian
cities. . . . Fred Quatrano, Waterbury,
Conn., theatreman, has disclosed plans for
construction of a drive-in theatre at
suburban Watertown, Conn. . . . Albert M.
Pickus, owner of the Stratford theatre,
Stratford, Conn., and a national TO A
officer, is serving as chairman of the budget
sub-committee of the Bridgeport (Conn.)
Area Community Chest. . . . Two units of
the neighborhood Hartford Theatre Circuit
have increased adult admissions. They are
Colonial, Hartford, and Central, West Hart-
ford. . . . The Warner Bros. Connecticut
exchange will observe Aug. 16-22 as “Max
Birnbaum Week,” in honor of the exchange
manager.

INDIANAPOLIS

“Shane," inaugurating the Indiana's big-
screen with the summer’s outstanding busi-
ness, has rounded into a second week. . . .
Gloria Van Deweel of the “Main Street to
Broadway” cast will be feted here Monday
by manager Howard Rutherford of Loew’s.
Nori Nelson will be here Tuesday on behalf
of “All I Desire,” at the Circle. . . . Tom
Dillon, booker at Columbia, has resigned to
join the Republic sales organization here.

. . . Edwin R. Bigley, new United Artists
branch manager, has sold “Shoot First” and
“The Neanderthal Man” first run to four
local drive-ins. . . . The Allied Theatre Own-
ers of Indiana report 20 Indianapolis neigh-
borhood houses have closed since Jan. 1,
1952. . . . Paramount will preview new
product for exhibitors in an all-day session
at the Cinema Monday. . . . Loew’s and the
Indiana are shifting back to Thursday open-
ings this week, after giving Fridays a try.

KANSAS CITY

Work in construction industries has re-
sumed after a 10- week stoppage when an
estimated 30,000 men in this area were not
engaged in their normal occupations, reliev-
ing substantially the shortage of labor in-
come that has drastically affected business,
including theatres. . . . Rains in many sec-
tions of Kansas give promise of good crops
where disaster had threatened. The ex-
change area as a whole has gained largely in
total income prospects. . . . Committees have
been appointed for the coming year’s activi-
ties of the Motion Picture Association of
Greater Kansas City. . . . Hot weather has
come back— and the week’s total of theatre
attendance appears much improved. . . . It’s
the eleventh week for “Lili” at the Kimo.
. . . “Second Chance” was held over at the
RKO Missouri.

LOS ANGELES

Fred Greenberg-, Warner branch manager,
was back at his desk after being confined to
St. Vincent’s Hospital. . . . Barney Rose,
Universal-International district manager,
flew into town from San Francisco. . . .
Passing out stogies to celebrate the arrival
of a seven-pound baby girl, was Charley
Geary, Metro salesman. . . . One of the
old-time exhibitors of the Southland, Bill
Knotts, paid a visit to the Row after an ab-
sence of many years. Knotts formerly oper-
ated a theatre in Covina, and is now resid-

( Continued on follozuing page)

Elmer F. Lux

MOTION PICTURE HERALD, AUGUST I, 1953

( Continued from preceding page )

ing in Palm Springs. . . . Dave Barnholtz,
former theatre operator in Pittsburgh, is
now a restauranteur in Los Angeles. . . .
At a luncheon of the golfers of the Film
Row Club held at the Roger Young’s, the
following members received prizes as
winners of the recent golf tourney held
at Brookside, Pasadena: Leonard Srere,
George Tripp, E. Fitzpatrick, Gail Parker
and Harry Camp.

LOUISVILLE

The new drive-in under construction at
Summerville, Ky. was scheduled to open
July 23. . . . The ozoner is named the Sky-
line. Russell Phillips who supervised the
construction and equipping will also super-
vise the management. At present Russ is
handling the operation of the Franklin,
Greensburg, Ky. . . . The summer season of
light opera is on in full swing at the Iro-
quois Amphitheatre here. A “Radiant Multi-
Fleet Wide Screen” has been installed in the
Plaza theatre, Glasgow, Ky., for Bruce and
Walter Aspley. . . . Also equipped with wide-
screen and 3-D is Foster Lane’s Lane thea-
tre, Williamsburg, Ky. . . . Lou Arru’s Twi-
lite drive-in theatre here is the first drive-in
theatre in the area to announce the installa-
tion and running of 3-D programs. The
initial program, “House of Wax,” was
scheduled to begin July 29. . . . Circuit Judge
Stuart A. Lampe has issued a temporary
injunction against the Motion Picture Oper-
ators Local No. 163, forbidding the picketing
of the Downs theatre by the union.

MEMPHIS

Two theatres in the Memphis trade ter-
ritory have installed 3-D equipment and
have started booking 3-D pictures. R. B.
Cox, owner, Eureka, Batesville, Miss., and
Howard Langford, owner, Folly, Marks,
Miss., reported record business as they
opened their first 3-D films. . . . The 13th
Memphis theatre to put in a wide screen in
Memphis was the Hollywood, owned by Jim
West. . . . Delta theatre, Clarksdale, Miss.,
owned by A. T. Dunn and W. R. Tutt, was
burned to the ground last week by fire of
unknown origin which broke out after the
last show for the evening. . . . Leon Round-
tree, owner, has re-opened Valley theatre at
Water Valley, Miss., to take the place of
Grand theatre which burned July 13. . . .
A1 Rothchild, Memphis branch manager for
National Screen Service, has been promoted
to a special assignments position with the
company’s New York office. He will be
succeeded as Memphis manager by Jack
Lustig, salesman with National Screen in
the Memphis territory since 1944. . . . Malco
Theatres, Inc., and The Press-Scimitar,
Memphis afternoon newspaper, are co-oper-
ating in a talent search in connection with
“Main Street to Broadway.”

MIAMI

The Bernstein Theatres are adding an-
other house to their circuit with the early
August opening of the 850-car Turnpike
drive-in. Seats for about 250 ‘walkins’
have been included. Bob Bernstein, execu-
tive vice-president has been very actively
supervising the project. . . . The local papers
gave the Hollywood star treatment to the
chimp, J. Fred Muggs, of the Dave Gar-
roway TV show, “Today” when he made a
personal appearance in town. His stage
appearance at the Essex was a spectacular

success according' to manager Walton
Oakerson. . . . Harry Kronewitz, assistant
at the Carib, Miami Beach, has planned a
motor trip through the midwest with his
wife as his vacation schedule. . . . Lee
Ruwitch, vice-president and general man-
ager of TV station WTVJ, announced the
appointment of Norman J. Werthmann to
the post of executive producer for industrial
films.

MILWAUKEE

At the recent board meeting of Variety
Club, Tent No. 14, president, Gordon
Hewitt, along with Ray Trampe, who were
the club's representatives to the national
convention in Mexico City, related the
events of the session there. . . . Mrs. Sadie
Tandlich, of New York City, mother of
Karl Harte, Universal home office represen-
tative here, died. ... At Wisconsin Allied’s
regional meeting at Rice Lake, August 12.
Mr. J. Robert Hoff, president of the Bal-
lantyne Co., will be guest speaker. . . .
Irene Preston, secretary to Harold Pearson
in the Wis. Allied office, is vacationing at
Lac du Flambeau. ... In town is Sam
Levin, general manager of the Drive-In
Theatre Concession Co., New York City,
who has charge of the remodeling of the
Bluemound drive-in’s newest concession
building. . . . Killed, along with two other
men in a plane crash on a fishing trip to
Canda, was Leonard Gappa, owner of the
Salter Electric Co., Inc., Waukesha. Until
about four years ago he had been with Fox-
Wisconsin Amusement Corp., as a purchas-
ing agent.

MINNEAPOLIS

Pete and Mike deFea have opened their
new 350-car Chateau drive-in at Milbank,
S. D. The deFeas also operate two conven-
tional houses at Milbank. . . . Work has
started on a new 500-car drive-in in the
Morgan Park section of Duluth. The
$125,000 ozoner, being built by Ted Mann
and Charles Rubenstein of Minneapolis, is
expected to be completed by spring. . . .
Billy Evidon, branch manager of Columbia
in Los Angeles, was a visitor. . . . Gert
Weber, branch manager’s secretary at 20th-
Fox, and her husband Wally Weber, head
shipper at UA, are vacationing near Be-
midji, Minn. . . . Jack Compston sold the
Pix, Sleepy Eye, Minn., to Ray Poirier of
Montevideo, Minn. . . . Pines drive-in at
Custer, S. D., and Hills drive-in at Spear-
fish, S. D., will install CinemaScope equip-
ment for next year’s season. . . . Don
Swartz, operator of Independent Film Dis-
tributors, is back from a vacation at Yellow-
stone Park. . . . Ev Seibel, advertising
manager of Minnesota Amusement Co., and
family are vacationing near Park Rapids,
Minn., with Robert Murphy, Star and
Tribune movie critic, and family.

NEW ORLEANS

J. R. Farrell, Iota, La., advised Transway
that he closed the Royal for a few weeks for
renovation. . . . Evans Sprott, of Bijou
Amusement Co., Nashville, Tenn., an-
nounced that the company turned over
operations of Lincoln, Laurel, Miss., to Brad
Suddith, July 16. . . . C. A. Gulotta, local
Fox theatre, is confined to Mercy Hospital
due to a heart attack. His many friends
wish him a speedy recovery. . . . James
Prichard, manager Monogram Southern,
Dallas, visited with local manager Henry

Glover and personnel. . . . Hap Barnes,
Atlanta, was here in the interest of his
Rebel drive-in, Baton Rouge, La. . . . Dan
and Shirley Brandon, and their two kiddies,
Danny, Jr., and Diane, were on a pleasure
jaunt in Mississippi and Memphis. . . .
Southeastern Equipment manager, Win.
Murphy, and wife Dotty, are vacationing in
Atlanta. . . . Sammy Wright, Connett

Buying and Booking Service, will represent
the new Rio drive-in, Bidalia, La., which
is scheduled to open August 10. Baker
Newton and Ernest Davis, both of Ferriday,
La., are the owners. . . . Edward I. Fess-
ler and Meyer A. Ripps of Do Drive-In
Theatre Corp., Mobile, Ala., jointly an-
nounced that they had assumed a goodly
portion of the stock in Nile, Inc., builders
of the drive-in, the largest combined out-
and in-door theatre project in New Orleans
area.

OKLAHOMA CITY

“Francis Covers the Big Town” is now
showing at the Warner theatre. . . . The
Center theatre has completed the installa-
tion of their new screen. . . . Mrs. Zelma
Plato, manager of the Chieftain theatre, has
returned from Arkansas where she spent
her vacation. . . . Mrs. Margaret Young
was named manager of the Agnew theatre
last week. . . . Mr. and Mrs. Harold
Combs will leave for Nova Scotia August
20 for an extended vacation. Mr. Combs is
concession manager for Barton Theatres.
. . . Grover Willinham, manager of the 77
drive-in theatre, is convalescing at his home
after undergoing an operation last week. . . .
Jake theatre, Shawnee, Okla., held penny
day July 21. . . . Tri-State drive-in thea-
tre, Joplin, Mo., held Club Night July 21.
The evening was a success.

OMAHA

Axel Sorenson, exhibitor at Beresford,
S. D., reported he was taking his first vaca-
tion since World War II and planned a
western trip. . . . The theatre at Irene,
S. D., formerly owned by Charles Trenker,
who was killed in a car accident, is reopen-
ing under the management of J. Maier-
hauser. . . . Town theatre manager, Jim
Schlater, after resting the first part of his
vacation in an Iowa town where he was
born, returned to Omaha and got back in
shape painting his house. . . . Jake Rach-
man, World-Herald movie and drama critic,
left an estate valued at $52,998, according
to County Judge R. R. Troyer, excluding
Illinois property valued at $30,000. . . .
The old Fortieth Street neighborhood
theatre is giving way to a doughnut factory.
. . . Wally Johnson, exhibitor at Friend,
Neb., is touring Europe after attending the
coronation in England. . . . Steve Kasi,
exhibitor in Grand Island, is in St. Francis
Hospital. Members of the Row wish Steve
a speedy recovery.

PHILADELPHIA

20th Century-Fox has let out contracts in
the amount of $38,000 for alterations and
subdivisions of the ground floor of the build-
ing at 314-22 No. 13th Street to provide new
quarters for the local exchange. . . . Office
manager Joseph Farrow is no longer with
RKO. . . . Bob Weber, assistant to Howard
Minsky, mideastern division manager for
Paramount, recently became the father of a
baby daughter. . . . The Newtown Hall,
( Continued on opposite page )

MOTION PICTURE HERALD, AUGUST I, 1953

( Continued from> opposite page )
Newtown, Pa., has changed hands and is
now a community enterprise with Allied
Motion Picture Theatre Service here han-
dling the booking and buying. . . . RKO
booker John Phelan is on the sick list. . . .
Comerford and Capitol, Comerford houses
in Scranton, Pa., completed the installation
of wide-screen equipment and stereophonic
sound. . . . A. M. Ellis circuit here closed its
Center in Trenton, N. J., and Classic in
Lehighton, Pa. . . . Mrs. Robert O’Hara, the
former Marge Comerford, daughter of the
late M. B. Comerford, founder of the theatre
circuit bearing his name, gave birth to a
daughter last week in Scranton, Pa. . . .
Main Line drive-in, in Philadelphia’s exclu-
sive Main Line section, opened this week
with “Salome.”

PITTSBURGH

This city was one of 34 selected by Para-
mount for the triple showing in a single day
of “The Caddy,” “Little Boy Lost,” and
“Roman Holiday.” A large crowd of ex-
hibitors, movie critics and radio and TV
representatives attended the morning, after-
noon and evening, showings in the Shady-
side theatre. . . . Bud Taylor is serving as
relief manager of the J. P. Harris while Bill
Zeiler is on vacation. . . . The Fulton sneak-
previewed “The Great Sioux Uprising,”
while the Warner did the same with “The
Hitch-Hiker.” . . . Local 171 of the Motion
Picture Operators Union is mourning the
death of Albert Earl Wicke, a 38-year vet-
eran in the business who was in the projec-
tion room at the Ritz theatre at the time of
his death. ... It isn’t very often that a thea-
tre brings back a hit within a four-week
period, but the Art Cinema did just that
with “The Seven Deadly Sins.” . . . Morty
Henderson took a trip to Bermuda in con-
nection with the Harris Showmanship
Award. . . . B. N. Rosenberg, movie exhibi-
tor will succeed Morry Berman as com-
mander of the Variety Club’s Post 589 of
the American Legion.

PORTLAND

First run business should start to perk
here this week after being in a slump due to
poor product. Nearly all downtown houses
have hot pictures. “Shane” opened at the
Orpheum on a new, big, panoramic screen.

. . . Russ McCullough, chief sound engineer
for National Theatres was here from the
film capital for the big screen installation.

. . . Ditto Eddy Grub, ace installation man
from Los Angeles. . . . Carl Mahnde, Ever-
green maintenance engineer, was here from
Seattle. . . . Evergreen president Frank
Newman, Sr., and vice-president William
Thedford, from the Seattle headquarters,
were in town for a couple of days. . . . The
press and Evergreen managers from Oregon
and Washington thoroughly enjoyed the
CinemaScope exhibition at the 5th Ave.
theatre in Seattle last weekend. . . . Mayfair
manager Herb Royster back from vacation.

. . . Mrs. J. j. Parker met with a top archi-
tect last week and will give all of her thea-
tres a facelifting.

PROVIDENCE

“Shane,” which was held over for a sec-
ond week at the Strand, was the subject for
Brad Swan's column in the Providence Sum-
day Journal. . . . “The Charge at Feather
River” held for a second week at the Majes-
tic. ... As a thousand or more cars sought

admission to see a 3-D picture at the Cran-
ston Auto theatre on a recent Sunday night,
traffic was snarled for a distance of two
miles. Theatre-bound motorists tangled
with cars returning from shore and beach
resorts compelling an emergency call for
extra police. . . . The Somerset Family
drive-in offered the 3-D “House of Wax” at
regular prices with glasses available at 10c
extra. . . . The Community presented the
3-D “It Came From Outer Space” at usual
admission charges plus a dime for glasses.
. . . The RKO Albee recently installed a
new full-stage-size screen. . . . All sur-
rounding drive-ins did near-capacity busi-
ness as the second torrid spell of the season
hit this area.

SAN FRANCISCO

Earl Long, district manager, United-Para-
mount, is on vacation. Mervin “Buz” Dav-
enport, manager Downtown Paramount, Los
Angeles, is relieving him. . . . Frank Jen-
kins, formerly exploiteer, 20th Century-Fox,
is now in the Denver, Salt Lake territory for
MGM. . . . K. R. Mellgren, at one time with
RKO, Seattle, replaced Ted Lundigren a-s
booker at United Artists. . . . Howard New-
man, one-time manager, St. Francis, re-
portedly will soon marry Ginger Malladin,
former wife of Paul Malladin, once with Fox
West Coast, here. . . . R. B. Smith, Chow-
chilla exhibitor, is out of the hospital, but
will be on crutches for about four weeks be-
cause of a knee injury. . . . Edward Sutro
put his Gateway, Oakland, on a Friday-
Saturday-Sunday basis. . . . Golden State
opened the rebuilt Grove, Pacific Grove, fol-
lowing fire of three years ago. . . . Barbara
Rogers, new industryite, replaced Lorraine
McQuillan at the switchboard of Columbia.

. . . James Henry, 1st assistant shipper, Par-
amount, was promoted to booker and Dean
Malcolm of Warner Bros, took Henry’s
place in the shipping room.

TORONTO

Winner of the “Young Bess” contest con-
ducted by MGM among the 10 top managers
in Canada, was Bill Novak, manager, Capi-
tol, Winnipeg, a FPCC unit. . . . Norman
MacCutcheon has joined the 16mm depart-
ment of MGM in Saint John. . . . Canada’s
largest drive-in, the Sky-Vue, has been
opened a mile east of Edmonton, Alta. The
theatre spreads over 20 acres and holds 1,100
cars. . . . Tom Daley is tournament director
of the Canadian Motion Picture Golf Cham-
pionships being held Aug. 25, rain or shine.
Ralph Dale is chairman of the prizes com-
mittee. . . . Night baseball proving consider-
able opposition for theatres in the Maritimes.
... Jay Lieberman, manager of the Odeon
Rialto, Edmonton, was a visitor to the city.
... Ed Baumgarten of Lippert Pictures was
in for discussions with franchise-holder
Cardinal Films. . . . Winners in the Famous
Players district B Jamboree have been an-
nounced. They include Bob Harvey, man-
ager, Capitol, North Bay; Bill Burke, Capi-
tol, Brantford; Art Cauley, Paramount,
Brantford; Truman Walters, Regent, Osh-
awa, and Earl Scandrett, Royal, Woodstock.

WASHINGTON

The Variety Club July 22 dedicated a
plaque at Emergency Hospital in memory of
eight deceased members of the club : J. C.
Brown, William F. Crockett, Stephen T.
Early, Frederic B. Klein, Paul Linson,
Julius Lulley, Hardie Meakin and Reverend

John Palmer. . . . Paramount’s Jubilee Show
was held Monday at the Circle theatre. . . ,
Semi-final judgings of the “Miss Washing-
ton” contest will be held at the Naylor,
Langley and Apex theatres. The finals will
be staged August 17 at Loew’s Capitol. . . .
C. Glenn Norris, 20th Century-Fox Atlantic
division manager, was in New York for a
series of meetings. . . . Joe DeMaio, Sandy
Film, is recovering from injuries received
in an automobile accident. . . . “The Band
Wagon” was given a special screening at
MPA headquarters July 17, by Orville
Crouch, MGM Washington representative.

Massachusetts Theatres
Change Wage Scales

The minimum wage laws of Massachu-
setts, effective last week, have changed
scales for theatre employees. Ticket sellers’
wages go from 65 to 70 cents on hour, those
of ushers from 62 ]/2 cents an hour to 65.
Cashiers at refreshment stands will receive
a minimum still to be set, more than 65
cents. Inexperienced sales girls are to re-
ceive 65 cents, and experienced ones 67 p2
cents. Cleaners and doormen are to receive
70 cents.

Name Industry Leaders
To JDA Drive Posts

Nine industry executives have been named
to posts in the amusement division of the
1953 Joint Defense Appeal campaign, it has
been announced by William J. German, pres-
ident of W. J. German, Inc., and division
chairman of the drive. Edward Fabian, of
Fabian Theatres, has been named treasurer
of the campaign. Joseph Bernhard, Paul
N. Lazarus, Jr., Charles E. Lewis, Charles
Moss, Louis Phillips, Walter Reade, Jr.,
Harold Rinzler and Burton Robbins have
been appointed vice-chairmen in the cam-
paign.

Pastime Circuit Pla ns
Extensive Changes

The Pastime circuit, Charleston, S. C.,
plans to alter its Gloria, Riviera, American,
Garden, and Ashley theatres. The Garden
will have a new projection booth, for larger
pictures. The Gloria will have stereo
sound, and an all-purpose screen. The
American has been altered for 3-D and will
be used solely for that effect. The Riviera
will have a wider screen. The Ashley also
has been given one. Albert Sottile heads
the company.

To Open Big Drive-In

The 1,000-car Hartford Drive-In theatre,
Aberdeen, Md., will be opened shortly. Con-
struction of the theatre is nearly completed,
it has been announced by Louis Gaertner
Enterprises, operators of the drive-in.

Altec Concludes Deal

After several months of negotiations,
Altec Service Corporation has concluded a
deal with the Veterans Administration cov-
ering the entertainment facilities of the Ad-
ministration’s installations.

MOTION PICTURE HERALD, AUGUST 1, 1953

People in Dke U

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J. Cheever Cowdin, former chairman of
the board of Universal Pictures, has been
sworn in as director of the Motion Pic-
ture Division of the International Admin-
istration Service.

Albert M. Pickus, owner of the Stratford
theatre, Stratford, Conn., and a national
officer of the Theatre Owners of America,
has been appointed chairman of the budget
sub-committee of the Bridgeport, Conn.,
area Community Chest campaign.

Melvin Edelstein and William
Schwartz have been appointed to branch
manager positions in RKO Radio’s for-
eign exchanges, it has been announced by
Alfred Crown, foreign manager. Mr.
Edelstein has been assigned to Colombia,
succeeding Hltgo Stramer, recently
transferred to Argentina. Mr. Schwartz
succeeds Mr. Edelstein as manager for
Puerto Rico.

S. B. Alderman has been named Miami
branch manager of United Theatres.

Morey R. Goldstein, Allied Artists vice-
president and general sales manager, is
in Hollywood for a series of conferences
with Steve Broidy, president, Harold
Mirisch and G. Ralph Branton, vice-
presidents, and Walter Mirisch, execu-
tive producer.

J. M. Franklin, president of the Franklin
& Herschorn Theatre Company, St. John,
N. B., Canada, was chairman of an Israel
bond drive in the eastern provinces of
Canada. His wife served as honorary

French Pact Extension
Unofficially Accepted

“Unofficial assurance” has been received
by the Motion Picture Association of Amer-
ica that the French Government has accepted
Eric Johnson’s proposal for a four-month
extension of the current pact with American
film companies. Confirmation of this report
would mean the pact would run through
October. Under this arrangement, American
industry would continue to receive $120,000
a month from France. Negotiations on a
new agreement would continue during the
extension period.

New Finance System Set
For Italian Productions

Hal E. Chester, producer, has returned
from Europe where he arranged for a new
system of financing American productions in
Italy. Working with ANICA, Italian
equivalent of the American Motion Picture
Producers Association, Mr. Chester has
evolved a system whereby American pro-
ducers can produce films if they put up a
bond in dollars. In order for the plan to

chairman of the women’s auxiliary of the
drive.

Matthew Fox, president of Motion Pic-
tures for Television, has been elected a
director of WSJL-TV, Bridgeport, Conn.

Richard Todd, star of Disney’s “The Sword
and the Rose,” was guest of honor Mon-
day at a luncheon at the 21 Club, New
York, attended by top executives of the
RKO and Disney home offices.

Richard D. Kriebel, public relations di-
rector of the Polaroid Corporation, has
also been appointed the company’s director
of sales and advertising for 3-D. Robert
C. Casselman, sales manager of the
photographic division, has been appointed
sales and advertising manager. Edward
R. Speare has been named assistant sales
manager of the photographic division.

Phil Hodes, manager of RKO’s New York
exchanger who is retiring August 1, will
be given a testimonial luncheon August 5
at the Hotel Astor, New York.

David Sarnoff, chairman of the board of
the Radio Corporation of America, has
been appointed as tentative president and
director of the National Broadcasting
Company, succeeding Frank White, who
has resigned effective August 7.

Edward Mullen, United Artists office man-
ager at the New York exchange, has re-
signed to enter his own business. Mr.
Mullen has been with the company for
30 years.

work satisfactorily, Italian banks and their
American correspondents must cooperate.
Italian officials believe the new plan will
attract millions of production dollars, pre-
viously frightened away by restrictive money
practices.

Call Sheriff in Sunday
Exhibition Ban Case

UNION CITY, S. C.: Lee W. Wann, local
exhibitor, has had county sheriff Rochelle
Boyle ordered to show cause why he cannot
operate his drive-in theatre on Sundays. Mr.
Wann claims that the state ban on Sunday
exhibition is unconstitutional and prevents
him from making a livelihood. Several South
Carolina counties are allowed to exhibit on
Sundays by special laws. Circuit Judge
Bruce Littlejohn has set an early hearing
for the case in Spartanburg, S. C.

TV Channel to Pickford

Mary Pickford’s Triangle Broadcasting
Company has been granted a television
channel in Winston-Salem, N. C., by the
Federal Communications Commission.

Korean liVf
Hrice Gets
Screen Help

“Aid to Korea” week began in the nation’s
theatres Monday and continues through
August 7. It is for the American Korean
Foundation, and is sponsored by the Council
of Motion Picture Organizations.

Theatre collections will be aided by a
special appeal trailer, featuring a short
speech by President Eisenhower.

In New York Monday afternoon, General
James A. Van Fleet (Ret.) spoke to re-
porters, publishers and public relations spe-
cialists at a screening in the 20th-Fox home
office. He spoke of the trailer and also of
a 24-minute short subject, "Give Them This
Day,” which was made in Hollywood for
showing over television stations Tuesday.
General Van Fleet described the sufferings
of the Korean people, the devastation of
their properties, and the efforts made vol-
untarily by our soldiers to aid widows,
orphans and homeless and wounded. He ap-
pealed for support of the drive in remarks
which were covered by newsreel cameras.
He is a director of the American Korean
Foundation and also of Twentieth Century-
Fox.

The COMPO sponsorship is in line with
industry response to appeals for community
service, and at the request of President Eis-
enhower. The COMPO announcement was
by co-chairman Trueman Rembusch, A1
Lichtman and Samuel Pinanski, and in-
dicated Robert W. Cowyne, special counsel,
will handle COMPO activities in the drive.
COMPO regional and state chairmen are
serving as campaign directors.

Drive-In Petition Denied
By County Commission

SAN FRANCISCO : The San Joaquin
County Planning Commission has denied the
petition of Syufy Enterprises to locate a
drive-in theatre in Stockton, Calif. The
business manager of the Stockton State
Hospital Farm pointed out that the proposed
theatre would border on the institution’s
“garbage-fed hog ranch,” and offensive
odors would irritate the patrons. A Syufy
Enterprises spokesman said they would ap-
peal the decision to the County Board of
Supervisors.

Roxy Theatre Dividend

A quarterly dividend of 37^2 cents per
share on the preferred stock has been de-
clared by Roxy Theatre, Inc., New York.
The dividend will be payable September 1
to holders of record August 14, 1953.

Forms Film Division

Nola Recording Studios, Inc., New York,
has formed the Nola Studios Film Division,
it has been announced by Vincent J. Nola,
president.

MOTION PICTURE HERALD, AUGUST I, 1953

CBS to Offer
Color TV

The Columbia Broadcasting System in-
tends to begin supplying color television
programs to its network about September
15, J. L. Van Volkenburg, president of
CBS Television, announced this week. The
programs will be selected sustaining pro-
grams and in National Television Systems
Committee color.

If and when this standard of color is
adopted by the Federal Communications
Commission, CBS Television will imme-
diately begin a regular schedule.

The network also plans a color clinic in
New York for executives of its affiliate
stations.

Senator Bricker Heads
Commerce Committee

WASHINGTON : Senator John W.

Bricker (R., O.) has been named chairman
of the Senate Commerce Committee — which
has jurisdiction over television, radio and
other interstate activities — succeeding the
late Senator Tobey (R., N. IT). A frequent
critic of the film industry, Sen. Tobey at-
tacked producers for refusing to make film
available for Phonevision and criticized the
Federal Communications Commission for
approving the American Broadcasting-Par-

amount Theatres merger. Senator Bricker
has had little to do with television and
film matters in the past, having devoted
most of his time on the committee to rail,
gas and oil matters.

Star at "Love" Premiere;

Radio Stations Cover

Kathryn Grayson, star of Warner
Brother’s “So This is Love,” attended the
world premiere of the film Wednesday at
the Tennessee theatre, Knoxville, Tenn.
Five local radio stations broadcast the
ceremonies, which were held in conjunction
with the premiere. Tennessee’s Governor
Frank Clement was to have served as host
at the premiere, which was to have been
attended by Senators Estes Kefauver and
Albert Gore, Congressmen Edward Baker
and B. Carroll Reece, Mayor George Demp-
ster and C. E. Brehn, president of the Uni-
versity of Tennessee.

Set Additional Bookings
For "Joe Young" Film

RKO’s “Mighty Joe Young” will receive
a specialized campaign when it opens in
Kansas City, New England, Omaha, Wash-
ington, Philadelphia, Minneapolis, St. Paul,
New Orleans and other Gulf cities. The re-
issue, which has set a number of additional
bookings in New York, will be aided by an
intensive TV spot campaign and a cutout
giveaway distribution plan.

if rive Will
Honor Zukor

Paramount will hold a 14-week sales drive
honoring its board chairman, Adolph Zukor,
lor his 50 years in the industry. The drive,
planned for August 30 to December 5, will
be titled “Adolph Zukor Golden Jubilee
Salute,” and will feature awards of many
thousands of dollars to branch and sales
managers, salesmen, office managers and
bookers. There also will be special cita-
tions to be known as “Schwalberg Merit
Awards,” named for A. W. Schwalberg,
president of the Paramount Film Distribut-
ing Corporation.

Mr. Zukor was honored earlier this year
by Variety Clubs International, which spon-
sored dinners in New York and Hollywood.

Monroe R. Goodman, assistant to A. W.
Schwalberg, has been appointed national co-
ordinator of the drive. Mr. Goodman will
send all branches a promotional package, in-
cluding satin banners, color desk standees,
color blotters, postage meter slugs and spe-
cial letterheads and postcards, to assist per-
sonnel in putting over the drive.

Open Arkansas House

The recently-completed Littletown theatre,
Poyen, Ark., opened last Thursday with an
“open house” ceremony.

COLUMBIA PICTURES ANNOUNCES THAT PRINTS OF THE FOLLOWING
PICTURES ARE NOW AVAILABLE IN OUR EXCHANGES FOR SCREENING

CHINA VENTURE

starring

EDMOND O’BRIEN * BARRY SULLIVAN
JOCELYN BRANDO

Screen Play by GEORGE WORTHING YATES and RICHARD COLLINS

Produced by ANSON BOND • Directed by DON SIEGEL

General Release: September

CONQUEST OF COCHISE

color by TECHNICOLOR

starring

JOHN HODIAK • ROBERT STACK • JOY PAGE

Screen Play by ARTHUR LEWIS and DeVALLON SCOTT

Produced by SAM KATZMAN • Directed by WILLIAM CASTLE

General Release: September

SKY COMMANDO THE VI

n am miDVEJk S0NNYTUF

DAN DURYEA georg

| co-starring

FRANCES GIFFORD . TOUCH CONNERS EDGAR BUG

Based upon a SATU

Screen Play by SAMUEL NEWMAN Djre

Produced by SAM KATZMAN • Directed by FRED F. SEARS Produ

General Release: September

Gene

JTAMED BREED GENE AUTRY

T» niripi ■ n ■ - CHAMPION

TS* BARBARA BRITTON

E “GABBY” HAYES SAGINAW TRAIL

HANAN “ WILLIAM BISHOP "i,h Connie MarshaN

reen Play by Tom Reed and SMILEY BURNETTE

RDAY EVENING POST Story by Eli Colter story an„ Screen play by

cted by CHARLES LAMONT DOROTHY YOST and DWIGHT CUMMINS

ced by HARRY JOE BROWN Produced by ARMAND SCHAEFER

A REPRINT Directed by GEORGE ARCHAINBAUD

A GENE AUTRY PRODUCTION

‘ral Release: September General Release: September

MOTION PICTURE HERALD, AUGUST I, 1953

Asks FCC
Control of
Theatre TV

WASHINGTON : Theatre television plans
could be affected by legislation introduced
by Rep. Hinshaw (R., Cal.) calling for
the regulation by tbe Federal Communica-
tions Commission of all subscription televi-
sion services. Under the FCC’s recent televi-
sion decision, any attempt by the industry
to set up its own system would be regulated
as a common carrier. But the FCC decision
left unclear the status of theatre TV opera-
tions using existing common carriers such
as American Telephone and Telegraph Co.
The Hinshaw bill might well class such
operations as common carrier operations
subject to complete FCC control.

The bill would classify subscription TV
as a common carrier, rather than as a broad-
casting operation.

Phonevision and other subscription TV
plans want to be classed as a broadcasting
operation. In that event, the FCC would
license initially but would not have con-
tinuing, detailed power over whom they must
sell or what rates must be charged, etc. If
they are classed as common carriers, as pro-
posed in the Hinshaw bill, tbe FCC would
have such power.

Representative Hinshaw is a ranking
Republican on the House Commerce Com-
mittee, which handles amendments to the
Communications Act.

Judge Awards Counsel
Fees in Loew's Suit

Counsel for the minority stockholders of
Loew’s who attacked the contractual rela-
tions of Louis B. Mayer and J. Robert
Rubin, have been awarded $57,513 by Fed-
eral Judge Alfred C. Coxe of U. S. District
Court in New York. The attorneys had asked
for $90,000 in fees, a figure which defense
counsels contended was too high. The law-
yers who were awarded the fees were Gus-
tave Garfield, Charles Trynin and Irving
Steinman.

Laboratory Workers Sign
New Wage Boost Pact

Members of the eastern laboratory tech-
nicians, represented by Local No. 702, have
accepted a new contract which offers a
wage boost of 7)4 per cent. The terms of
the new agreement also provide that lab-
oratories will contribute 7j4 cents per hour
per man up to 40 hours to a welfare fund.
Each employee will contribute five cents an
hour to the fund on a 40-hour week basis.

Ask New TV Licenses

WASHINGTON: The Federal Communi-
cations Commission has passed a proposal
that television station licenses be granted
for a three-year period, instead of the pres-
ent one-year period.

RCA Sales and Earnings
Show Big Increase

Sales of products and services of the Radio
Corporation of America and subsidiaries
attained an all-time record volume of $410,-
686,162 during the first six months of 1953,
exceeding by $104,848,337 — or 34% — the
previous peak established for the first half
of 1952, David Sarnoff, chairman of the
board, announced Monday.

RCA earnings before Federal taxes, for
the first six months of 1953, amounted to
$38,809,228. This represents an increase of
$15,472,498 or 66% over the pre-tax earn-
ings for the first six months of 1952. After
providing $20,624,000 for Federal taxes,
the net profit for the period amounted to
$18,185,228, an increase of 61%.

Products and services sold by RCA in
the second quarter of 1953 also set an all-
time record for the period totaling $202,-
678,629, compared with $141,966,494 in the
second quarter of the previous year, an in-
crease of 43 per cent.

Congressmen Kill Census
Business Survey Plan

WASHINGTON : Members of the House
of Representatives have killed plans of the
Census Bureau for a comprehensive survey
of business and manufacturing set for next
year. The proposed census would have in-
cluded information about the industry never
before gathered by the Government. The
House, which had originally eliminated all
funds for the project, finally agreed to
$1,500,000 for “spot checking” business after
the Senate voted $9,400,000 for the complete
project. Although some industry work may
be included in the survey, it will not be the
far-reaching data the Bureau had hoped to
compile.

New England Variety Club
Spends Day at Races

More than 100 members of the Variety
Club of New England braved the area’s
severest rain storm of the year last Friday
to attend the club’s third annual “Day at the
Races” as the guests of Judge James A.
Dooley, president of the Narragansett Rac-
ing Association. Each member was given
a daily double ticket which was won by Lou
Freedman. William Koster, executive di-
rector of the Variety Club, presented Judge
Dooley with an engraved silver tray on be-
half of the club.

Laskey Drive-In Circuit
Files Anti-Trust Action

PITTSBURGH : Asking treble damages
totaling $1,952,000, Laskey Brothers Amuse-
ment Corporation of Uniontown has filed an
anti-trust action against eight major distri-
butors. The corporation operates drive-in
theatres in Western Pennsylvania and West
Virginia. The suit, which charges monopol-
istic practices, names Paramount, Loew’s,
20th Century-Fox, RKO, Warner Brothers,
Universal United Artists and Columbia as
defendants.

A sk FCC
To Approve
Color TV

WASHINGTON: The National Television
System Committee last week asked the Fed-
eral Communications Commission to approve
its technical standards for compatible color
television.

The all-industry group has been working-
on the standards for several years. Com-
patible color television means that color
signals can be received in black and white
on existing sets and in color on new color
receivers.

The Commission three years ago ap-
proved a non-compatible color system ad-
vanced by CBS, but that system has been
lying dormant practically since its approval.
Recently, NBC and RCA asked the Com-
mission for approval of standards based on
the NTSC standards.

The NTSC last week said that “exhaus-
tive” tests had showed that its system pro-
duced a “highly satisfactory” color picture
and a “high quality” black and white image.
Dr. W. G. Baker, NTSC chairman, de-
clared that adoption of its standards would
encourage “keen competition” in developing
TV apparatus and encouraging the rapid
growth of color TV. The committee said it
would help arrange a demonstration of its
system at the FCC’s Laurel, Md., labora-
tories.

The FCC is expected to order hearing on
the proposed new color standards.

28 Nations to Participate
In Venice Shorts Fair

The International Documentary and Short
Film Exhibition to be held August 11-19 in
Venice will have entrants from 28 nations.
Each nation will be limited to 15 films to
be judged in the competition; 118 shorts and
documentaries have been entered to date.
The participating nations are Australia,
Austria, Bolivia, Belgium, Canada, Ceylon,
Costa Rica, Denmark, France, Germany,
Japan, Great Britain, Honduras, India,
Italy, Yugoslavia, Malay, Morocco, Norway,
New Zealand, Holland, Peru, Puerta Rico,
Union of South Africa, Sweden, Switzerland
and the United States, to which is to be
added the work of UNESCO.

Plan Program Material
For Popcorn Meeting

CHICAGO : One of the main subjects on
the agenda of the Popcorn industries con-
vention, to be held here October 11-14 at
the Conrad Hilton Hotel, will be theatre
concessions management, it has been an-
nounced by Bert Nathan, theatre concessions
program chairman. Leading concessionaires
have been invited by Mr. Nathan to join his
committee and plan discussions of candy,
ice cream, soft drinks and drive-in problems
confronting concessionaires.

MOTION PICTURE HERALD, AUGUST I, 1953

f(eu> iA the Tim for a greater HUvrte £eaAon

f¥~^HIS year, of all years, we should

' ; really get out and sell the idea of

■*“ “Greater Movie Season” — for we have
something to offer that is convincing proof.
There are more new pictures of topbracket
quality that have been offered in recent
years, and the public are ready to accept the
popular belief that something has happened
to put the movies back in top place as
American’s most popular entertainment. (If
we ever lost that place, it was through a
certain kind of “snide” publicity that creeps
in against us.)

To offset the influence of the carping-
critics, who can find nothing good in the
public’s finest family entertainment, and
who want to push their own special favor-
ites, which are generally foreign to our
American taste, we have movies that are
truly better than ever, and dimensions that
accent the limitations of our growing com-
petition in home television. The size of a
picture doesn’t necessarily make it better,
but in our case, it offers just the right com-
parison in the theatre.

Folks will be going to see our new
product, and if first-runs and film critics
are correct, they will find plenty to rave
about. There will be fewer films this
year, probably quite a lot fewer than have
come from Hollywood in some previous
years, but they will be of better quality, and
this difference will show. Costs of produc-
tion have gone so sky-high that it is no
longer a possibility for a major studio to
create low-budget, so-called “B” pictures.

Television offers competition in the stu-
dios, too, for the technical sources of former
“B” pictures are at work making films for
television, and on what were formerly con-
sidered typical low-budgets, only today you
get so much less for the money. The family
will go out to see movies, in the future,
because they will expect something of thea-
tre quality, theatre-size, and with the added
interest of audience participation. Audiences
are always part of the attraction, in theatre
presentations.

And don’t be deceived about new dimen-
sions, in that they replace or entirely sup-

BOY SCOUT JAMBOREE

Recently, the Boy Scouts concluded their
International Jamboree — in Hollywood, this
time — the biggest event of the year for
Boy Scouts the world over. More than
50,000 Scouts have been in camp, at New-
port, California, and this year, they called
it a "Scoutorama Jubilee" — to be quite up-
to-date.

There isn't a village or hamlet in the
country where you won't find Boy Scouts or
Cub Scouts, and in some Round Table
situations, the theatre manager is a Scout-
master, which is as it should be. The
Jamboree is their big interest, right now,
and it is to our credit to capitalize the
Hollywood background.

We can be glad that the studios have
thrown out the welcome mat, and are giv-
ing the visiting Scouts preferential treat-
ment. The red carpet has been unrolled to
make them feel at home, on their "Scouto-
rama" tour. The newspapers and magazines
will be covering the event for the benefit
of readers, back home.

The least that we can do, in the field, is
to recognize the importance of this event
in their eyes. Pay some attention to it, and
look for films you can show that may be
available in the future. Stir up local in-
terest in what the visitors have seen in
Hollywood, to connect up and make valu-
able good public relations that have been
accomplished. We don't have an industry-
wide P.R. bureau to guide you, but the
facts are in your favor.

plant standard films. There will be better
quality in 3-D films, plus Cinemascope and
Cinerama, but also there will be a sufficient
supply of the kind of films your audience has
learned to like best. If there are fewer of
them — then run them with greater apprecia-
tion and for longer runs.

€“This Is Cinerama” will shortly break
all records in Detroit, with a run of
20 weeks, the longest run in that city since
“Neptune’s Daughter” ran for 19 weeks,
back in 1914. The attraction is averaging
better than $30,000 a week, and is one of
four places where Cinerama may be seen.
The New York engagement, now at War-
ner’s theatre on Broadway, has grossed close
to two million dollars since it opened at the
Broadway theatre last October, and is do-
ing better than $50,000 a week, right now,
with seats on sale five months in advance.
Hollywood is in its 12th week, hitting.
$36,000 and better, and in for an indefinite
run. Chicago received Cinerama this week
and indications are that the sensational runs
in other cities will be repeated.

We are frequently asked “When will we
have Cinerama” — and our answer to visitors
is that it will be limited to a maximum of
a dozen or so big cities, for the year to
come. They can ask themselves “How long
a run would you predict?” and that tells the
story. We can’t see a long enough run in
Albany or Buffalo, to justify installation,
but it will come in St. Louis and Dallas or
other centers of a wide-range trading area,
where there will be a mail order business
over a 500-mile radius.

€“Cuys and Dolls” — the stage show,
that is — has grossed 10^ million dol-
lars to date, about evenly divided between
the original company, now in its third year
at the 46th Street theatre, in New York,
and one company on the road, now in Wash-
ington, after playing in from the west coast.
The total distributed profits to date, from
both companies, together with cash at
hand, adds up to about two million dollars,
which is slightly less than the 20% admis-
sion tax would be on this volume of busi-
ness at the box office. It is apparent that
more than 80% of income goes for labor,
talent, royalties and rental paid for theatres,
who generally participate on a sharing basis,
including some basic costs of operation.

— Walter Brooks

MANAGERS' ROUND TABLE SECTION, AUGUST I, 1953

Sidney Schaefer, of Columbia, with Eugene Picker and
Ernie Emerling, of Loew's, look over a Columbia float in
Loew's Jubilee parade (top); Eugene Picker of Loew's,
Hugh Owen and Sid Blumenstock of Paramount inspect
the "Sangaree" float in the parade.

Rjoenv9& Sets
The Style

The trade owes a vote of thanks to Ernie Emer-
ling, of Loew's theatres in New York, for the
spectacular street parade and ballyhoo for their
"Movie Jubilee," which will tour sixty theatres in
the metropolitan area.

Eddie Dowden, of Loew's;
Sidney Schaefer of
Columbia, and Eugene
Picker, of Loew's, interested
in some very comely
Indians who are advertising
Columbia's "Fort Ti" in
the big parade of hits.

Far above, you see Polly
Bergen, star of MSM's
"Arena," driving the jeep
that pulled the float that
carried this load of publicity
and pulchritude down
Broadway, and just above,
you get a closer look at
these lovelies, who attracted
no end of attention and
applause from sidewalk
throngs.

MOTION PICTURE HERALD, AUGUST I, 1953

SHOWMEN IN ACTION

Round Tuhle
Ruck Home

The Rialto theatre, on Main Street, Can-
ton, Pa., is our measure of small town
theatres, because we’ve known it as “a
situation” for forty years. It was formerly
the Crawford, and before that there was
the Pastime, and in the beginning, the
AmusU. That’s where we came in. In the
old days, we had competition, too. Stiff
competition, from the old Hippodrome and
the Dreamland, but Canton has had only one
movie theatre these many years.

Business Is Regular

Business is neither too good nor too bad.
They say, up there, business at the Rialto
is “regular” — and it is the dyed-in-the-wool
movie fans that make it so. They have good
films — as new as Broadway. We saw
Young Bess — which closed at the Radio
City Music Hall only a few weeks ago, and
we noted how bright and clear the projec-
tion was, and good sound. They don’t need
new screens nor other devices to meet com-
petition with big-town movies. But they
will eventually have new dimensions.

Television hurts in Canton, now. There
are many more sets than when we were
home a year ago, and something new has
been added. Last year, all the television
in Canton was plain awful, in our opinion.
The weak signals produced drifting snow
and it was a punishment to sit through the
TV programs even if you wanted to be
among the first to have an aerial on your
roof. Now, it’s different, and for a sur-
prising reason. A new business has
sprung up.

Today, in the small towns, up in Penn-
sylvania— groups of citizens create their
own “community” aerials, high on the hills,
and "pipe” the program down into town
on a community-owned coaxial cable. Any-
where from fifty to 150 homes will under-
write the cost, at about $50 to “join” — plus
from $2 to $3 a month for upkeep — and it’s
a new business, on a non-profit basis, in
the hands of friends. In one rural spot we
know, the bartender in a roadside private
club has installed a "ladder aerial” down
from a high knob, and serves his friends,
cost free.

Reception Is Perfect

TV reception, on this basis, is perfect.
It is as good or better than we can get, in
the heart of New York City. No wonder
folks stay home to see television, after they
spend $400 or more for installation, and
with $100 a year, for upkeep. Programs
are still poor, for the most part, but this
doesn’t matter much, if you are a television
pioneer, in the far places. Movies are bet-
ter than ever, up there in the country, but
competition is a word we’ll be hearing more
often, than in the last 25 years. Once upon
a time, we had only the outdoors and sports
events, competing with the desire to “go
down town to the movies.”

—W.B.

F. C. Leavens, manager of the Elmdale
theatre, Ottawa, Out., announced a week
before school closed that the theatre would
show three serials on matinee days in addi-
tion to regular programs and also reduce
prices. He calls the move “a successful sum-
mer stimulant.”

Sid Kleper of the College theatre, New
Haven, Conn., sends snapshots of his many
tie-ins for Dream Wife, and we especially
like that flash enclosure for the box office.
Another of his good ideas is to give out
guest tickets to each couple obtaining a mar-
riage license during the week of playdate.

Walter Kessler, manager of Loew’s Ohio,
Columbus, received the new improved
Polaroid glasses for his engagement of 3-D
Arena and took samples of them to the local
newspaper, with resulting write-up and pic-
tures of a girl demonstrating the old and
new glasses the day before opening.

Bob Carney of Loew’s Poli, Waterbury,
Conn., making sure every customer knew
It Came From Outer Space was coming
by attaching the 14x28 from National Screen
to doorman’s ticket box. He says “Lots of
readers on this one.”

▼

Carl J. Ferrazza, manager of Keith’s the-
atre, Cincinnati, gave his theatre an African
touch with extensive trimmings of palmetto
leaves for his run of White Witch
Doctor.

▼

Lou Cohen’s all-out campaign for Pick-
up on South Street at the Poli theatre in
Hartford included “Man on the Street” plug
for the picture with guest ticket hand-outs.

H. G. Boesel of the Fox Palace in Mil-
waukee had two models in bathing suits
with Let’s Do It Again lettered on then-
backs working the lake front beaches on
Sunday and distributed heralds.

Tony Masella obtained newspaper story
and picture on the erection of his new 47 x
27 foot screen installation. The screen will
be put in use with the showing of the 3-D
film White Witch Doctor.

▼

To emphasize the comedy angle in
Dream Wife, Arnold Gates of Loew’s Still-
man theatre had an attractive model with
fancy sun glasses, lettered parasol — and box-
ing gloves — for a street stunt in Cleveland.

▼

Paul W. Amadeo, Pike Drive-In, New-
ington, Conn., ran the first dusk to dawn
drive-in show in the Hartford area, with six
features and free coffee at 4 :30 A.M.

Brookie LeWitt, Arch Street theatre.
New Britain, Conn., promoted a Gene Autry
children’s yodeling contest on stage, with
free soft drinks for the first 100 youngsters
in line on performance day.

John E. Petroski, manager of the Stanley-
Warner Palace theatre, Norwich, Conn., has
arranged with nearby property owners to
provide free parking facilities daily for 50
theatre patrons’ cars.

During his showing of Trouble Along
the Way, Murray Spector of the Tea-
neck theatre, Teaneck, N. J., arranged with
the Motor Club of America to have a por-
table traffic safety clinic set up in his lobby.

Colonel Bob Cox, manager of Sehine's Kentucky fheatre, Lexington, Ky., with another
old friend, J. E. "Watty" Watson, MG M's energetic exploiteer from Cincinnati, who covers
the Ohio River valley with his exuberance, pose with Maggie Welsh, radio commentator,
in the "Young Bess" museum trailer, as it visited Kentucky. The portable radio set-up
broadcast interviews over station WLEX to promote the picture, in the best style of a
Kentucky Colon el and a showman.

MANAGERS' ROUND TABLE SECTION, AUGUST I, 1953

DRIVE-INS CREATE Morie Picnic
NEW PROMOTIONS /n Panniu

This is the summer when the drive-in
theatres are turning- in their own promotions,
beyond the first-string few that have lead
in this field in the formative years. We’re
getting examples of exploitation, in better
supply, and straight from outdoor situations
that can command first-runs and even
premieres.

Carl J. Ferrazza, manager of Keith’s
theatre in downtown Cincinnati and the
Twin Drive-in theatre, both of which are
operated by the S. & S. Amusement Cor-
poration, sends us pictures of his premiere
performance of “The Glory Brigade” —
you’ll see two of them across the bottom of
this story. One shows the parade bally-
hoo, in cars that brought inductees to an
outdoor ceremony at the drive-in, followed
by a potato peeling contest, for laughs. And,
the winner, kissing Miss Glory Brigade, is
good for another laugh. A very brave guy,
this one, who shuts his eyes in the face of
what must be a new and greater risk than
he’s accustomed to ! The motor caravan
took the inductees from the premiere show-
ing of the picture straight to Union Station,
on their way to the wars, and the whole
evening was devoted to the awards and the
presentation.

Drive-Ins Are Getting
Better Exploitation

Bob Retzer, manager of the Solano Drive-
In, Fairfield, California, had a drive-in wed-
ding, probably the first of record, in which
a local couple were married in a setting
created in front of the big screen, with
microphone to carry the ceremony direct to
car speakers. Local merchants donated over
$1000 in wedding gifts, which makes this
an interesting prospect for a young couple,
and both were supplied with complete ward-
robes. Also, as you’ll see in an adjoining
picture, they were interviewed on the
“Shoot the Works” program, as guests of a
northern California TV show, with good
stories in the San Francisco papers. It was
the best June bride promotion in the area.
Everything, Bob says, “including the minis-
ter,” was promoted !

William Brett, manager of the Niagara
drive-in theatre, near Buffalo, is shown in

the remaining picture, presenting guest
tickets to a prize-winning family, who were
interviewed outdoors by tape recording
which was afterwards broadcast over station
WGR as part of a popular program. Wil-
liam P. Rosenow, manager of the nearby
Lakeshore drive-in, is mutually responsible
for this particular hook-up for drive-in pro-
motions via local radio stations. Both are
veteran Buffalo showmen, and they have
brought their skills out in the open, for ap-
plication to drive-in theatre business.

Good Will Program

Archie Adlman, manager of the S-3
Drive-in theatre, at Rutherford, N. J., had a
good-will program in honor of Father’s Day
which resulted in plenty of free publicity in
the South Bergen News, with business 30%
above normal. A Mercury used car was a
give-away, sponsored by a local dealer.

One of the things we wanted to do this
summer was to attend the meeting of the
Western Colorado Theatre Owners and
Managers Association at Paonia, Colorado.
Francis Gill invited us, months ago, and we
have dreamed about going, in July, when
the Bing cherries were ripe (only eight to
the pound, or maybe, it’s twelve ! ) but we
didn’t make it. Too far away, too long a
time, to travel.

Now comes the report from Paonia, where
genial Tom Poulos, owner of the Paonia
theatre, gave a “Greek style” picnic to 350
members of the Association, their wives and
friends, in the public square at Paonia.
There were people from every town on the
Western Slope of the Colorado Rockies, for
a perfect day of peace, harmony, friendship
and goodwill. Bob Walker, owner of the
Uintah theatre, Fruita, Colo., who is a fre-
quent contributor to the Round Table, writes
us his own enthusiastic report of the festivi-
ties. Civic leaders, city and county officials,
business men and bankers, newspaper pub-
lishers, radio-station owners and friends,
consumed barbecued turkeys and lamb, cases
of beer, quarts of Metaxas and all the fix-
ings, for a feast in the wide-open spaces.
Mrs. Poulos and Mrs. Gill were in charge
of the commissary department.

Huge “welcome” signs greeted the vis-
itors, and a 75-piece summer band provided
music, with another orchestra for after-
dinner. Following the picnic, the exhibitors
adjourned to the Paonia theatre to see an
industry film on tax repeal, furnished by
Pat McGee, and resolutions were passed to
send wires to Congressmen, the President,
and others, in anticipation and appreciation,
for their support. The group saw President
Eisenhower's “Korean Relief” trailer and
voted to give help in a drive. (We urge
that Round Table suggestion for Children’s
Clubs, in the July 11th issue, as an idea for
Paonia theatremen.)

Among those present, in the brief report
of the meeting, are listed Mr. and Mrs.
Lane, Princess theatre, Hotchkiss; Mr. and
Mrs. Guy, and Mr. and Mrs. Armstrong,
Cortez Theatres ; Mr. and Mrs. Lloyd
Files, Starlight Drive-In, Grand Junction;
Mr. and Mrs. Luther Strong, Westland
Theatres, Grand Junction; Mr. and Mrs.
Harvey Taylor, Cooper theatres, Grand
Junction; Mr. and Mrs. Don Monson, Ute
and Chief theatres, Rifle; Ed Nelson, Fox
theatres, Montrose; Joni Nelson, Olathe
theatre, Olathe; Mr. and Mrs. Neil Ross,
Fox theatres, Delta ; Mr. and Mrs. Tag-
gart, Drive-In, Delta; Mr .and Mrs. Max
Storey, Drive-In, Montrose; Mr. and Mrs.
Ivermit Hurst, Elberta, Palisaide. “Dutch”
Stroh and his family, of Telluride, were
unable to make the trip ,as they were caught
in a slide. Francis Gill sends us a news-
paper clipping and we wish we had the
original photograph, so we could print the
picture. He’s on the right, next to the
barbecue.

MOTION PICTURE HERALD, AUGUST I, 1953

VISITOR FROM CANADA

British Bound Table

Mel Jolley, manager of the Century thea-
tre, Hamilton, Ontario, was a welcome
visitor at the Round Table last week, and
we were glad to see him, looking as fine
as you see him here. Mel is our Round
Table member who had an unfortunate auto-
mobile accident, last year, when he was on
vacation, down in Virginia. A reckless
driver crashed into him from behind, at
70 miles an hour, and as a result, Mel and
his wife and children, had a hospital experi-
ence which is now happily among things
they can never forget, but from which they
are entirely recovered. While the Jolleys
were hospitalized at Farmville, Va., good
Round Table members took time out to look
for them and see that they were not alone
or among strangers. Mel says he took home
half a suitcase full of letters and cards, and
a few, from nearby, were on personal call,
as visitors. It’s a nice feeling, to know that
the Round Table is a fraternal organization
with members alert.

Ken Prickef+ Reports
From Shreveport, La

Ken Prickett, whom we’ve known in the
past as an MGM exploiteer in the Boston
exchange area, reports from Shreveport,
La., where he submits a truly colossal news-
paper supplement (forty pages) in celebra-
tion of the sixth anniversary of the Don
theatre, under the management of Don
George, Inc. It takes a lot of doing to get
up a supplement such as this, with lots of
movie news, publicity pictures, cooperative
ads and complimentary gestures from civic
leaders and prominent people, in praise of
the theatre. The supplement is tabloid size,
inserted and extra in the regular-size issue,
and the editorial page carries a lead article
on Don George, whom they designate as
“Shreveport’s Little Giant” — for his various
business and civic interests. A contest idea,
Ken says, brought over twice as many re-
plies as the newspaper anticipated.

ft R. H. Romaine, manager of the Regal,
Darlington, had two of his staff dressed
in native Welch costume for street ballyhoo,
and scenes of the Welch countryside in his lobby
to exploit “Valley of Song.”. . . Victor Sims,
assistant manager at the Regal cinema, Oxford,
sends campaigns on recent pictures which would
do credit to an old-time showman. One of his
ideas was a life-saving contest for children in
a local pool for “The Cruel Sea.”. . . Owen
Taylor, late of the Union Cinema, Dunstable,
writes that he is on his way to Canada and
we’ll be looking for his address when he is
settled there. . . . David B. Williams’ cam-
paign book of recent exploitation shows he has
been hard at work selling his programs. He
used the old but effective stunt of stair tread
slogans for “Marching Along,” and received so
many comments that he felt guilty that he had
neglected to use this “oldie.”. . . V. L. Winter-
burn, now manager of the Palladium cinema,
Ripon is anxious to contact his colleague in
Ripon, Wisconsin (Jack Heinemann, manager
of the Campus theatre in that town, please note)
with a scheme in mind which he thinks will be
mutually beneficial. He also sends details of
good exploitation on recent pictures. . . . Frank
Witts of the Hippodrome, Gloucester, con-
sidered “Blackbeard the Pirate” a marvelous
title to provide appeal to children of all ages
and used that good old standby, the coloring
contest, to exploit the picture. He also had a
pirate street ballyhoo. . . . Street bally of comic
lion and horse costumed staff was also used
by John W. Wilkinson, manager of the Hay-
market, Newcastle-on-Tyne, for his showing of
“The Lion and the Horse.”. . . Charles Smith
of the Regent, Brighton, arranged for announce-
ment of his showing of “Fair Wind to Java”
over the public address system at the local pier.

. . . For “Turn the Key Softly,” Harold Sham-
pan of the Gaumont, Islington, promoted co-
operative newspaper ads with real estate agents,
headed “Turn the Key in Your Own Home”

▼ T

Ml L. H. Berry, manager of the Ritz,
J Keighley, tied up his poster advertising
with road safety rules, and the local Road
Safety Committee paid all costs of 40 posters.

. . . R. N. Brown, Astra manager in Kirton,
tied in with a local stocking company with a
beautiful legs contest for “The Merry Widow.”

. . . Learning that descendants of John Alden
of “Mayflower” history were residing in Ox-
ford, assistant manager T. C. Buttle invited
a party of them to the first night showing of
“Plymouth Adventure” at the Ritz Cinema. . . .
Another assistant manager, W. J. Caldwell of
the Regal cinema, Paisley, West Scotland, sends
information on recent good exploitation ideas
and writes that he is finding help in the Round
Table toward furthering his showmanship edu-
cation. . . . R. J. CrabB', manager of the Lyric,
Wellingborough, using an amateur talent con-
test to stimulate interest in attending his thea-
tre. . . . Lawrence Edge of the Alhambra
cinema, Shotton, using a newspaper ad to invite
prisoners of the last war to be his guests for
the showing of “Prisoner of Zenda.”. . . From
far away Johannesburg we have word from
Hugh Ellis that he is now manager of the
Metro Theatre there. He was formerly at the
Granada, Maidstone. ... A. T. Fowle, man-
ager of the Astoria, Brighton, gives credit to
his assistant, P. Button, for his help on recent
exploitation, and Mr. Button is declared in as
a Round Table member, with identification card
on the way. . . . D. Francis, manager of the
New Bohemia theatre, Finchley, used good
florist window tieups for “The Naked Spur”
and “Never Let Me Go.”. . . Robert P. Goss,
assistant manager of the Odeon, Crewe learned
that the actual locomotive used in “The Titfield
Thunderbolt” was at the local railway works
and had a 20' x 3' banner attached to it to
advertise the picture.

B 1 Sidney Hopkins of the Oxford cinema,
<" Blackpool made the most of opportunity
when a set of false teeth was found in his thea-
tre. He contacted the press who ran a story
to the effect that a patron had laughed his teeth
out at “Worm’s Eye View.”. . . D. Hughes
of the Regal, Cheltenham, had the local male
voice choir on stage the week previous to play-
ing “Valley of Song.” This was the first time
any choir had been on the Regal stage, and the
press wrote it up with mention of the film. . . .
John E. Lake, manager of the Savoy cinema,
Luton, holding a Search for Talent contest with
a week’s seaside vacation for two as first prize.

. . . S. Moar, Corona Theatre, Liverpool, sent
letters to schools in the area with descriptive
booklets about “The Cruel Sea.” Seven parties
of school children attended afternoon showings
as a result. . . . Desmond McKay, manager of
the Playhouse, Galeshiels, obtained the coopera-
tion of the local newspaper and a baby foods
firm for his Bonnie Baby contest, which was
run at no expense to the theatre. . . . L. A. C.
Warner and S. A. C. Brailesford of the Astra
cinema, Ismailia, use eye-catching signs which
extend well above the theatre roof to advertise
coming attractions. . . . Another Astra man-
ager, C. A. Purves, in Hemswell, invites pa-
trons to decide by ballot on serial to be played.
He sends photo showing list of serials and
ballot box. . . . Numerous photographs of at-
tractive Coronation displays to hand with re-
ports of increased business on “Elizabeth is
Queen” and other Coronation films. Managers
used the occasion for children’s Coronation day
parties, “Queen for a Day” contests, etc. . . .
G. J. Pain, manager of the Gaumont theatre,
Glasgow promoted a week’s vacation at a pop-
ular resort for the girl whose measurements
were nearest to those of Marilyn Monroe, to
exploit “Niagara.”. . . L. Mitchell, Princess
theatre manager in Barnsley, went on stage
nightly the week before the run of “The Cruel
Sea” to give it his personal recommendation,
which he says is done only on very rare occa-
sions. — W. T.

Another Potential Old
Home Town Located

R. O. Hall, manager of the Brooks theatre,
Brooks, Maine, joins the Round Table as
a new member, although he writes that he
follows our regular weekly meetings in the
Herald, and we welcome the samples of his
showmanship, for this is surely another of
our old home towns, and we must get around
to visit namesakes. The Brooks theatre seats
250, and boasts the finest in entertainment, in
a town of 700 population — just right for the
community and to serve an adjoining trad-
ing area. The house issues a small bi-weekly
program, mailed direct to box-holders, and
a larger flyer, made up of publicity mats,
under the headline, “Screen Scenes” — from
outstanding attractions.

That Get You BEST
Us RESULTS and Always
Your Next Arrive ON TIME Is
What You Get From

Send

Order!

CHICAGO 1 327 S. Wabash
NEW YORK 630 Ninth Ave

FILMACK

MANAGERS’ ROUND TABLE SECTION, AUGUST I, 1953

CLASSIFIED ADVERTISING

NEW EQUIPMENT

HELP WANTED

SERVICES

EVERYBODY’S BUYING ’EM! MASONITE

Marquee Letters 4" — 35c ; 8" — 50c; 10" — 60c; 12" — 85c;
14" — $1.25; 16" — $1.50 any color. Fits Wagner, Adler,
Bevelite Signs. S. O. S. CINEMA SUPPLY CORP.,
604 W. 52nd St., New York 19.

WINDOW CARDS, PROGRAMS. HERALDS,
photo-offset printing. CATO SHOW PRINTING CO.,
Cato, N. Y.

BOOKS

GET SET FOR 3D! INTERLOCKS $150; ME-
tallic Screen 90c sq. ft.; 24" Magazines $302; Porthole
Filters $47.50 pair. S. O'. S. CINEMA SUPPLY

CORP., 604 W. 52nd St., New York 19.

USED EQUIPMENT

DEVRYS FOR EVERY SIZE THEATRE! COM-
plete dual Projection and Sound equipments: Mazda,
$895; lkw, $1,595; H.I., $1,995. Time payments avail-
able. S. O. S. CINEMA SUPPLY CORP., 604 W.
52nd St., New York 19.

MANAGER. EXPERIENCED' ALL PHASES,
but particularly adept at writing good copy and daily
newspaper display ads. Submit sample ads. Tell all
first letter. References used your permission only.
Salary $5,200 annually, group insurance, hospitaliza-
tion, self and family. G'ood opportunity for advance-
ment. Will reimburse moving expenses. Midwest. BOX
2731, MOTION PICTURE HERALD.

MAGIC SHADOWS — THE STORY OF THE
Origin of Motion Pictures by Martin Quigley, Jr.
Adventurous exploration of all the screen’s history
told in 191 crisp pages and 28 rare illustrations. Excit-
ing reading for now and authoritative reference for to-
morrow. A Georgetown University Press book. Price,
postpaid, $3.50. QUIGLEY BOOKSHOP, 1270 Sixth
Ave., New York 20, N. Y.

POSITION WANTED

DRIVE-IN EQUIPMENT

STAR SAVES YOU MONEY! 3-D EQUIPMENT
at low prices, write us ; Imperial 50 amp. Rectifiers,

8 tubes, with fans, $195 pair; Strong 1 kw Lamp-
houses and Rectifiers, excellent, $405 ; Automatic Re-
winder, $44.50, Film Cabinets $1 section. Mon-Arc
Lamphouses, late model, 14" Reflectors, excellent
$375 pair. STAR CINEMA SUPPLY, 441 W. 50th St.,
New York 19.

DEVRY DRIVE-IN OUTFITS $1,595 UP (SEND
for lists). In-car speakers w/4" cones $15.50 pair
w/junction box; underground cable $65M. Time pay-
ments available. S. O’. S. CINEMA SUPPLY CORP.,
604 W. 52nd St., New York 19.

HELP WANTED AGENCY

SHOWMAN, TWELVE YEARS’ EXPERIENCE,
desires position, manager with small circuit or drive-in
with living quarters. Capable management, exploita-
tion, publicity. Young, married, presently employed as
manager with large circuit. Not limited any particular
section country. BOX 2733, MOTION PICTURE
HERALD.

THEATRE MGR. & TOP PUBLICIST, SOLID AD-
vertising, promotion and exploitation — creative talent
and ideas, plus versatility in 3-D technology fields for
proper promotion. Year’s Top Award winner in other
amusement branches for best publicity and promotion.
Interested in solid operations large or small. Also ex-
perienced in auditoriums, ballrooms, amusement parks
and theatre restaurants. Desire salary plus incentive.
Age 46. Strictly sober, reliable, neat appearance.
Top references. BOX 2732, MOTION PICTURE
HERALD.

SEATING

S. O'. S.— SAVE ON SEATS! REBUILT THE-
atre chairs from $4.95. Send for Chair Bulletin.

S. O. S. CINEMA SUPPLY CORE., 604 W. 52nd St.,
New York 19.

STUDIO EQUIPMENT

WANTED TO BUY

WANTED: 35MM. PROJECTORS AND OTHER
equipment for small drive-in theatre. GEO. HOLTON,
Grantsboro, N. C.

TURN ADVERSITY INTO' ADVANTAGE— SHOOT
local Newsreels. TV Commercials. Make advertising
tie-ups with local merchants. Film Production Equip-
ment Catalog free. S. O'. S. CINEMA SUPPLY
CORP., 604 W. 52nd St., New York 19.

Ben Friedman, Pioneer
Exhibitor, Dies at 67

MINNEAPOLIS : Ben Friedman, 67, a
pioneer exhibitor in this area, died July 23
at Mount Sinai Hospital. He was presi-
dent of Edina Theatre Corporation, operat-
ing the Edina and Westgate theatres, Min-
neapolis ; the Albert Lea Amusement Com-
pany, Albert Lea, Minn., and the St. James
Theatre Corporation, St. James, Minn. Mr.
Friedman was one of the originators of the
Variety Heart Hospital project on the Uni-
versity of Minnesota campus. He is sur-
vived by his wife, three daughters and a
brother, Israel, associated with him in the
operation of the theatres.

Oren W. Evans

Funeral services were held Tuesday in
Hollywood for Oren W. Evans, 53, director
of the broadcasting and motion picture ac-
tivities of the National Council of Churches
of Christ in America, who died July 25 in
Los Angeles. His widow, two daughters and
two brothers survive.

G. Kingston Howard

Funeral services were held last Thursday
in Baltimore for G. Kingston Howard, an

organizer of Local No. 181, IATSE, who
died July 20 at his home, Baltimore. Mr.
Howard was a retired projectionist.

Frank J. Simek

Frank J. Simek, pioneer exhibitor, died
July 20 at Ashland, Neb. The burial took
place last Thursday at Scotland, S. D. Mr.
Simek’s son, Woodrow, operates the Circle
A theatre, Ashland.

A. B. Friedman

A. B. Friedman, head of Affiliated Thea-
tres, Omaha, died July 20 at his home in
Sioux City, la. Mr. Friedman, an industry
veteran, operated the Hollywood Drive-In,
Victory and Iowa theatres, Sioux City.

Jarrico Will Sue Four,

Charging Conspiracy

HOLLYWOOD : Paul Jarrico, independent
producer of the controversial “Salt of the
Earth,” has announced that he will file a
damage suit against Roy Brewer, AFL film
council chairman; Donald Jackson, Un-
American Activities Committee member;
Howard Hughes, of RKO, and Pathe Lab-
oratories, charging a conspiracy to prevent
the completion of his production. Mr. Jar-

rico figured in litigation over the removal
of his signature from “Las Vegas Story”
following his refusal to testify before the
House Un-American group. Mr. Brewer
has issued a statement asserting that AFL
members and other organizations have been
asked to refuse aid in completing the inde-
pendent production.

Local Officials Modify
Exhibition of "Moon"

Local officials of Detroit and St. Paul
have changed their stands and are allowing
“The Moon Is Blue” to run on a modified
basis. In Detroit, Police Commissioner Leo-
nard has permitted the feature’s exhibition
with dialogue cuts, based on a decision of
the local censors board and members of local
civic groups. City officials of St. Paul, who
originally opposed a showing of the film,
have agreed to permit exhibition of the
United Artists film on an “adults-only”
basis.

Sponsor "War” Premiere

Atlantic City’s Civil Defense Administra-
tion sponsored Wednesday’s world premiere
of Paramount’s “The War of the Worlds”
at the Warner theatre, Atlantic City, N. J.

MOTION PICTURE HERALD, AUGUST I, 1953

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 129 attractions, 6,428 playdates.

EX means Excellent ; AA — Above Average; AV — Average
BA — Below Average; PR — Poor.

Abbott & Costello Go to Mars (Univ.)
*Above and Beyond (MGM)

All Ashore (Col.)

Ambush at Tomahawk Gap (Col.)

Androcles and the Lion (RKO)

Angel Face (RKO)

Anna ( I FE )

April in Paris (WB) .

Bad and the Beautiful, The (MGM).

Battle Circus (MGM)

Beast from 20,000 Fathoms, The (WB)

Blue Gardenia, The (WB)

Breaking the Sound Barrier (UA) . . . .

Bwana Devil ( UA)

By the Light of the Silvery Moon (WB)

Call Me Madam (20th-Fox)

City Beneath the Sea (Univ.)

Clown, The (MGM) .

Code Two (MGM)

Column South (Univ.)

Come Back, Little Sheba (Para.)

Confidentially Connie (MGM)

Count the Hours (RKO)

Cry of the Hunted ( MGM ) . .

f Dangerous When Wet (MGM)

Desert Legion (Univ.)

Desert Rats ( 20th- Fox )

Desert Song, The (WB)

Desperate Search, The (MGM) .

Destination Gobi ( 20th- Fox )

Down Among the Sheltering Palms ( 20+h- Fox )

Fair Wind to Java (Rep.)

f Farmer Takes a Wife ( 20th - Fox )

Fast Company (MGM)

Fort Ti (Col.)

Four Poster, The (Col.) .......

fFrancis Covers the Big Town (Univ.)

Girl Next Door, The { 20th - Fox )

Girl Who Had Everything (MGM)

Girls in the Night (Univ.)

Girls of Pleasure Island (Para.).

Glass Wall, The ( Col.)

Gunsmoke (Univ..)

Hans Christian Andersen (RKO)

*Happy Time, The (CoL). .......

Hitch-Hiker, The (RKO)

House of Wax (WB)

I Confess (WB)

I Don't Care Girl, The (20th-Fox)

I Love Melvin (MGM)

111 Get You ( Lippert)

Invaders from Mars ( 20th- Fox )

It Happens Every Thursday (Univ.)

Ivanhoe (MGM)

Jack McCall, Desperado (CoL)

Jalopy (AA)

Jamaica Run (Para.)

Jazz Singer, The (WB) ...

Jeopardy ( MGM )

1 1

! 3

„

1 1

! 7

1 1

Kansas City Confidential (UA)

Kansas Pacific (AA)

Lady Wants Mink (Rep.)

Last of the Comanches (CoL)

Law and Order (U mv.)

Lawless Breed (U niv.)

Limelight (UA)

Lone Hand ( Univ.)

Ma and Pa Kettle on Vacation (Univ.)
Magnetic Monster, The (UA)

Man Behind the Gun (WB)

Man in the Dark (Col.)

Man on a Tightrope ( 20th-Fox )

Meet Me at the Fair (Univ.)

Member of the Wedding (Col.)

Mississippi Gambler (Univ.)

Moulin Rouge (UA)

My Cousin Rachel (20th-Fox)

Naked Spur, The (MGM)

Never Let Me Go (MGM)

Never Wave at a Wac ( RKO)

Niagara ( 20+h-Fox )

Off Limits (Para.)

*Pathfinder, The (Col.) . . .

Peter Pan ( RKO) .

Pickup on South Street ( 20th- Fox )

Pony Express (Para.)

Powder River ( 20+h- Fox )

President's Lady, The ( 20+h- Fox )

Prince of Pirates (Col.)

Queen Is Crowned, A (Univ.)

Raiders of the Seven Seas (UA)

Redhead from Wyoming (Univ.)

Remains to Be Seen (MGM)

Ride the Man Down (Rep.)

*Road to Bali (Para.)

Rogue's March (MGM)

Ruby Gentry ( 20+h- Fox )

Salome ( Col. )

San Antone ( Rep.)

Sangaree (Para.)

Scandal at Scourie (MGM)

Scared Stiff (Para.)

Seminole ( U niv. )

Serpent of the Nile (CoL)

She's Back on Broadway (WB)

Silver Whip ( 20th- Fox )

Small Town Girl (MGM)

Snows of Kilimanjaro ( 20th- Fox )

Sombrero (MGM)

South Sea Woman (WB)

Split Second (RKO)

Star, The ( 20th- Fox )

Stars Are Singing, The (Para.)

Stooge, The (Para.) . . . .

*Stop, You're Killing Me (WB)

Take Me to Town (Univ.)

Tall Texan, The (Lippert)

Taxi (20th-Fox)

Thief of Venice (20+h-Fox)

Thunder in the East (Para.)

Titanic (20th-Fox)

Tonight We Sing ( 20+h- Fox ) .

Torpedo Alley (AA)

Treasure of the Golden Condor ( 20th-Fox)

Tropic Zone ( Para.)

Trouble Along the Way (WB)

f White Witch Doctor (20th-Fox) . . . .
Woman They Almost Lynched (Rep.)

Young Bess (MGM)

1 1

1 5

1 1

That pain you’ve been getting . . . right in your POCKETBOOK . . . has been
caused by the epidemic of rising prices . . . that has been hitting you
where it hurts the most.

According to the Bureau of Labor Statistics, you’ve been stung
with an increase of 133.2% in the cost of FOOD since 1939. . .and CLOTHING,
RENT and other costs of living have accounted for an average increase of
98.9%. In your theatre, you’ve been hit pretty hard, too, by increases in
the cost of THEATRE EQUIPMENT and SUPPLIES . . . that, according to Exhib-
itor’s Digest, have averaged 90.9%, from 1940 to 1952! Nowonderit hurts!

However, it will ease the pain, a little anyway, if you take note of
the negligible increase, IF ANY, you’ve received from NSS during this
painful period.

Yes, COMPARE all your costs with the LOW COST, Service-With-
A-Smile Policy of the Prize Baby!

servicc

\Jr>o/zr ooor or THfmDusmr

AUGUST 8, lpT

r ap|&J

, '\*te ' ;

HERALD

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SKY, THE ACTRESS, THE CRUEL SEA. THE CADDY,

kRUSO, THE STRANGER WORE A GUN, THE SLASHER

1§§?!

S. A.. tinder the act of March i. 1879. . •••<•. '
r, Xcv.' York 7ti. X. )'. Subscription prices : tip

•'“‘frighted 1933 by Quigley Publishing Con- fan, trie

GIVE THIS LITTLE
GIRL A GREAT
BIG HAND!

Few motion pictures enjoy such a long run as
M-G-M’s enchanting Technicolor Musical
which is the champ of New York as it is across
the nation!

22nd Week in New York
11th Week in Kansas City
10th Week in Portland
7th Week in Chicago
5th Week in Buffalo
4th Week in Houston
3rd Week in Cincinnati,

Seattle and Oakland
15 Weeks in Los Angeles
7 Weeks in Philadelphia
5 Weeks in Washington, D. C
4 Weeks in Boston, Frisco

Patrons come again and again to visit “LILI”,
the lonely girl, poignant and appealing, who
finds a haven and love with a traveling carnival.

"MY COMPETITOR IS
LUCKY TO GET TILE"

says M. A. Lightman, President of
Malco Theatres, in an unsolicited
letter to M-G-M. Mr. Lightman
writes:

**Once in a great while a motion picture theatre
owner sees a picture which he thinks is so won-
derful that he wants to tell the world about it,
even though his competitor will have the privi-
lege of showing it! Well -that happened to me
the other night when I attended a private
screening of ‘LILI’. Never before have I had
the pleasure of seeing a more beautiful, tender,
glorious picture! My only regret is that we can-
not show it in our Malco Theatres. This is a
MUST picture. It will bring joy and happiness
to all people of all ages from four to eighty-four.
This testimony is unsolicited. It is my pride in
being identified with an industry which can
give such joy and happiness to millions of
people that prompts me to make this
statement . * *

(signed) M. A. LIGHTMAN

★

I WILL PROMOTE
TILL WITH A
BIG CAMPAIGN’’

states Fred J. Schwartz,
President of Century
Circuit, Inc., N. Y. Says
Mr. Schwartz:

**It looks like it may be months before ‘LILI’ is
available to us since it will soon be rounding
out half a year at its first run on Broadway and
continues strong. Our theatres will place a big
promotion campaign behind ‘LILI’ because we
know from the experience of other engagements
it pays off. This industry needs pictures with
the wonderful qualities of ‘LILI’. It is warm,
human, romantic, a thoroughly entertaining
Technicolor musical that is truly a credit to the
entire industry. We consider it a privilege to
get this attraction and urge every fellow-
showman to book it and get behind it.**

( Signed ) FRED J. SCHWARTZ

— — ★

NATIONWIDE ACCLAIM!

“A total delight.” — Life Magazine

“One of the most ingratiating motion pictures
imaginable.” — Newsweek

“Something rare in musicals, gay, imaginative
and heart-warming.” —The Saturday Review

“A beguiling film, full of infectious tunes and
dances.” — Parents’ Magazine

“Picture Of The Month.”

— Seventeen, Parents’ and American Magazines

12 TIPS
TO MAKE
LILI” A
DILLY!

1- Tie-in with a favorite local enterprise, Boys’
club, local charity or other popular movement to
sponsor a showing the night before regular open-
ing. Local newspaper or prominent radio or TV
personality is helpful to hypo the tie-up. This
creates long-range publicity.

2- The caricature ads (similar to drawings on
this spread) have proved successful. They are
available in supplement to pressbook. Start teaser
ads at least ten days in advance.

3. Follow same designs on house front displays
as on ads.

4. The trailer is a great selling medium. Run it
two weeks in advance.

5. Try to “circus up” theatre opening night, if
possible with small portable carousel or other
rides. Balloons imprinted with “LILI” are avail-
able for use in quantity in lobby, tied to marquee,
etc. See pressbook.

Do an advance “teaser” posting campaign.
One-sheets, black and white, with copy: “‘LILI’
is coming to (imprint theatre name)” or “Keep
your eye on ‘LILI’ ” — are very effective. They are
available at National Screen Service.

J’ TV has proven most effective in selling
“LILI”. It lends itself to this medium; copy
should be simple, heart-warming type. TV slide
is available. Where there is no TV, radio will do
as well.

9- Very effective photographic blow-ups of
Leslie Caron as “LILI” are available in various
sizes. Use them for window displays, in theatre
lobby, etc., See pressbook.

9* Get the younger folks interested by planting
the coloring contest as illustrated in the
pressbook.

19- Go after your music shops and disc jockeys
with the catchy tune, “Hi-Lili-Hi-Lo”. Available
on M-G-M records.

11=, Take advantage of the many tie-up stills
illustrated in pressbook. Also for lobby display,
11 x 14 full-color scene stills available through
National Screen Service.

12„ Give “LILI” the send-off it merits. As the
manager, put your personal guarantee on this
attraction. You won’t go wrong and your patrons
will thank you for urging them to see it.

“Leslie Caron rates an Academy Award nom-
ination for her make-believing in ‘Lili’.”

— Ed Sullivan in nationally syndicated column

M-G-M presents in Color by Technicolor “LILI” starring
Leslie Caron • Mel Ferrer • Jean Pierre Aumont • with
Zsa Zsa Gabor • Kurt Kasznar • Screen Play by Helen
Deutsch • Based On a Story by Paul Gallico • Directed
by Charles Walters • Produced by Edwin H. Knopf

gpl gainst
All the
White Hell
of the
Wasteland
Dooley
Was

Beating
His Way
Back /

He was fighting
man and mountain
to get where his
woman was! A man
born to adventure
in the adventure
of his life!

ALL ITS THRILLS THRILLINGLY
HEIGHTENED BY

WarnerPhonic

Sound

THIS PICTURE ALSO CAN
BE EXHIBITED

ON WIDE OR
GIANT SCREENS

From the blood-racing adventure best-seller by Ernest K. Gann, author of 'The High and The Mighty'

IUCTI0N • DISTRIBUTED BY

Nobody
needed
<3 photo to
remember
Maggie!

PREVIEW REACTION:

TERRIFIC! TERRIFIC!

TERRIFIC!

ISLAND IN THE SECT

IS A STORY
IN ATHOUSAND

WARNER BROS/

*-FROM

20th Century-Fox presents

Kid FROM werr neii

—DAN DAILEYANNE BANCROFT

with Billy Chapin - Lloyd Bridges • Ray Collins

Produced by Directed by

LEONARD GOLDSTEIN • HARMON JONES
Written by JACK SHER

Put all the great selling

THERE’S NO BUSINESS LIKE

CENTURY-FOX

"THE KID FROM LEFT FIELD"

MOTION PICTURE HERALD

MARTIN QUIGLEY, Editor-In-Chief and Publisher

Vol. 192, No. 6

MARTIN QUIGLEY, JR., Editor

August 8, 1953

The President’s Dilemma

LONG before the deadline arrives for action on the
Mason Bill to abolish the Federal tax on motion
J picture theatre admissions (midnight Friday,
August 7th) this issue of The HERALD will be en-
route to readers. Reports from Washington indicate that
should President Eisenhower decide to sign the bill and
thereby make it law, he would not do so until shortly
before the deadline. On the other hand, the adjourn-
ment of Congress last Monday night relieved the Presi-
dent of the compulsion of taking action if he wished
to block the measure. When Congress is in session the
President must sign or veto bills sent to the White
House within ten business days or they automatically be-
come law. When Congress is adjourned, the President
may sign bills or allow them to die through the use of
the so-called “pocket veto”.

COMPO delegates led by Robert Coyne, general
counsel, were given a friendly interview by the President
on July 30. At the time Mr. Eisenhower gave no indica-
tion of what his decision would be. Favorable omens for
the industry are that the Mason Bill passed both houses
of Congress virtually unanimously and that any ultimate
revenue loss to the Treasury from the Bill is small.
Unfavorable omens are that the Administration has been
seeking to balance the budget — now more unbalanced
than ever in peacetime — before lowering taxes and
powerful groups in other industries object to motion
picture theartes getting tax relief first.

Whether the President signs the Mason Bill as he
should, or not, the COMPO tax committee and all ex-
hibitors have a continuing responsibility to make the
admission tax situation better understood by their local
press and public. Tax relief would be not only for the
benefit of theatres but for the communities they serve.
A significant part of the social and commercial life of a
community dies when a theatre closes its doors.

Arbitration Redivivus

SINCE arbitration was so solemnly and definitely
buried by the industry in the Fall of 1952, it might
be appropriate to refer to its disinterring as “arbi-
tration redivivus”, meaning “revived or born again”.
How long arbitration, or rather the illusive dream of a
workable arbitration system within the industry, may
survive in the present not-too-friendly atmosphere is
unpredictable at this time.

No matter what ultimate effects the final report of
the Senate Small Business committee will have on mo-
tion picture trade practices, one result of the release
this week of the report is that arbitration — after months
of absence — has returned to the industry headlines. The
committee feels that an effective arbitration system is a

“must” for ameliorating industry trade practice prob-
lems. The recommendations of the Senate group do not
carry the weight of command but they are certain to be
attentively studied by exhibition and distribution au-
thorities.

The report of the Senate Small Business subcommittee
which held hearings on motion picture matters divides
the blame for collapse of the 1952 arbitration plan be-
tween Allied and the distributors. It was asserted that
Allied’s “slamming of the door on arbitration constituted
a betrayal of the very interests which Allied professes
to champion” and that the distributers “acted improperly
in permitting their representatives to draw up a draft
which substantially changed the provisions of a draft
formulated earlier by a duly-constituted group.”

These sharp words about the actions of Allied leaders
and distributor representatives notwithstanding, the way
is now open — as soon as ruffled feelings smooth down —
for renewed arbitration negotiations. As the Senate
Small Business subcommittee feels (and has been often
noted on this page), arbitration is not a panacea “but
it would provide an inexpensive and expeditious means
of settling many of the exhibitor complaints relating to
trade practices.”

To Gimmick or Not

SOME within the industry have adopted the custom
of referring to all 3-D scenes where an object comes
forward of the stereo window as “gimmicks.” These
“gimmicks” are variously praised and derided. Properly
speaking, bringing action forward is a legitimate part of
3-D. It certainly is the part that has made the greatest
impression on theatre audiences. However, like every-
thing else, such action needs to be properly done. It
should fit in with the action of the story, otherwise
naturalness is lost. Like any special effect, it can be
done too much. On the other hand, action forward of
the stereo window brings to the spectators an unique
feeling of intimacy with the action of the screen story.
Hollywood is not faced with the decision on 3-D, as
some assert: “To gimmick or not.” Rather it is a matter
of using the 3-D technique to best advantage.

€J The vitality of an outstanding motion picture of
special interest has never been better demonstrated than
the runs of “Fantasia” at the Studio One theatre in Lon-
don. This week the Walt Disney feature opened its
tenth “season” there. It has played the same theatre a
number of weeks in ten of the past eleven years. In 1952
it ran fifteen weeks.

— Martin Quigley, Jr.

MOTION PICTURE HERALD

For the Reviewers

To Terry Ramsaye:

What a question you ask in your column
of July 18, 1953 ! “Why must the lay press
elect to give experting attention only to
theatrical entertainment !” That is what
you profess to want to know !

We have never met and I know you only
through your column, which I read and
enjoy each week. But I know you well
enough, even so, to recognize you behind
those false whiskers. You’ve been in the
business more than a year or two and I’ll
bet you know the answer to that one very
well indeed.

The lay press elects to give experting
attention to theatrical entertainment — and to
books, baseball, records, radio and television
— because the public (ticket buyers at the
box office ) does not have a chance to
inspect the merchandise before buying. They
can’t return it if it doesn’t fit or because it
turns out to be a different color than it
looked under the flattering lights in the
showroom. They can’t tell if it's a stinker
from either the ads or the lobby displays,
can’t judge its quality from the trailers.

Without the reviews — and sometimes with
them, since I certainly don’t pretend that all
reviewers are right either — or honest — they
would be buying a hour without peeking
under the veil, which would be a worse
bargain than buying a pig in a poke.

Now, few people are actually influenced
in how they will spend their movie money
by a reviewer’s opinion. They know what
they like and, if the}' follow a reviewer’s
words at all, they know they do not neces-
sarily or even usually dislike the same
things he does.

We reviewers don’t consider ourselves
shopping guides. All most of us expect to
do is write interestingly and informatively
in the hope that someone will want to read
what we have to say. I myself deny any
apocalyptic vision, messianic mission or
desire to lead anyone at all out of the wil-
derness of their own personal taste in enter-
tainment.

My opinion on a movie has my name
above it and doesn’t necessarily represent
the opinions of my newspaper or of any-
one else, living or dead — a point of view
which I take care to emphasize from time
to time. It has no more validity or univer-
sality than the opinion of anyone else, except
for the weight of greater experience. I see
more movies than most people do and care
as much about them as anybody.

Those who read my reviews and disagree
— and their name is legion — aren’t guided
by what I say at all. Nearly all the minority

To Martin Quigley:

I very much admired your reasoned
statement of the argument in your edi-
torial in the HERALD Aug. I for adher-
ence to the Association's Production
Code. It perhaps is not a new point,
but I've never before seen it articu-
lated. It ought to persuade all your
readers. I wish it could be made cer-
tain that everyone of importance and
responsibility in the industry did read
it.— SIDNEY SCHREIBER, Secretary,
Motion Picture Association of Amer-
ica, Inc.

who flatter me by saying they always agree
with me will go further and say that they
go on to see the picture anyway to see if I
have fallen apart or something.

However, if a reviewer warns them of a
bad picture — and there are some had pic-
tures— and they go to see it anyway, they
can't hlame him, or the movie — maker, or
the theatre-owner, or the sometimes mis-
leading advertising. They can just kick
themselves in the pants 85c worth. But they
won't quit going to movies, which they
might do if they hadn’t been warned and
rather felt that someone, somewhere should
have told them the truth about the mer-
chandise.

Take as an exetnple the pants-buying
public, which includes you and me.

If we had to buy suits in a sealed pack-
age, guided only by the shop’s advertising,
had to pay for thern before we tried them
on or saw what color and style they were,
we would not only be mad as hell most of
the time but we would go around in some
mighty strange-looking pants.

I’ll just bet, if that were the case, news-
papers would review pants just as thor-
oughly, and even more caustically, than they
review movies. And I’ll bet you would
thank them for it .—ALEX MURPHREE,
Drama Editor, The Denver Post.

Appreciates

To Terry Ramsaye,:

Just a few words to tell you again how
much I appreciate your writing in the
HERALD. Found your article on Russia
(July 11) very enlightening and entertain-
ing. Got chuckle out of your reference to
the popcorn idea.

Looking forward to many more years of
your fine editorials. — CHARLIE JONES,
Dazvn Theatre, Elma, Iowa.

August 8, 1953

CONGRESS adjourns leaving tax repeal bill
up to Eisenhower Page 12

COMPO tax committee sees President in
last stages of tax fight Page 12

ARBITRATION — without film rentals —
urged by Senate Committee Page 13

MGM schedules sales meeting and "see for
yourself" screenings Page 16

RKO THEATRES net for second quarter
more than double last year Page 17

STANLEY WARNER agrees to limit num-
ber of Cinerama theatres Page 17

TERRY RAMSAYE Says — A column of com-
ment on matters cinematic Page 18

BIDDING starts for long run of "The Robe"
in Chicago theatres Page 18

REPUBLIC to standardize on 1.66 to I
ratio for major features Page 19

CINEMASCOPE demonstrations to start in
Canada; sign Mexico deal Page 19

ALTEC cuts cost of stereophonic sound
units for theatres Page 19

BRITISH exhibitors fight rising rentals, see
tax fight influence Page 22

UNIVERSAL schedules 13 major pictures to
end of the year Page 23

NATIONAL SPOTLIGHT — Notes on indus-
try personnel across the country Page 26

SERVICE DEPARTMENTS

The Box Office Champions Page 17

Film Buyers' Rating 3rd Cover

Hollywood Scene Page 24

Managers' Round Table Page 33

Obituaries Page 38

People in the News Page 32

IN PRODUCT DIGEST SECTION

Showmen's Reviews Page 1941

Short Subjects Page 1943

The Release Chart Page 1944

Most Unfair Tax

To the Editor:

I think that the 20 per cent admission
tax is the most unfair tax we have. Why
not tax a bottle of pop. A man does not
need a bottle of pop any more than he has
to see a movie, yet that is one item that has
been tax free. — EXHIBITOR, Lorain
Theatre, Armour, S. Dak.

MOTION PICTURE HERALD, AUGUST 8, 1953

ANEW theatre chain is in the
offing. Joseph M. Schenck,
: chairman of the board of
United Artists Theatres and a prin-
cipal financial factor in Magna Cor-
poration, developing a new wide
screen process, this week confirmed
reports he is discussing amalgama-
tion of his circuit possibly with the
Golden Gate, Skouras, and Rowley
chains. He denied the move was
aimed at greater buying power and
commented national buying for local
situations was impractical, and also
denied Magna was involved. He did
say technical changes are coming
rapidly and a national organization
could “handle today’s problems of
change and progress.”

► Theatres are always there with
public service. The Stanley, in Utica,
has been running Saturday shows of
two hours of westerns plus cartoons,
and asking only six empty pop bot-
tles. The reason : a shortage of pop
bottles. The Central New York
Bottlers Association needed help.

► Possibly coming from J. Cheever
Cowdin, banker and film industry
factor, is a program which will let a
curious industry know how he pro-
poses to use films to aid the Ameri-
can message. Mr. Cowdin, deputy
administrator of the motion picture
division of the Government’s over-
seas information agency, had been
awaiting a budget, which Congress
now has set at $75,000,000,

► Another research program is at-
tempting to plumb the strange pub-
lic mind. Producer George Pal, in
conjunction with Dr. Mason Rose,
director of the National Foundation
for Psychological Research, is on a
project which involves using fea-
tures and a special film for “testing
emotional and psychological re-
sponses.” Mr. Pal’s “War of the
Worlds” is one of the features. Mr.
Pal says the project goes deeper
than others, and he expects “more
significant reaction strata.” Also,
more publicity.

► No more of this staying out of the
country for 17 months to escape U.S.
taxes. One of the last things Con-
gress did was to repeal the exempt-
ing legislation of 1951. However, it
has been qualified. The Senate

added an amendment excepting
earnings up to $20,000. The original
idea was to get people to accept
work overseas for the “Point Four”
program of international aid.

Denmark now admits Mr. Gold-
wyn was right to film “Hans Chris-
tian Andersen.” The newspapers
there are saying the country is being
crowded by Americans, even those
warned of lack of accommodations :
and that this must be due to the
picture. There are 50 per cent more
American visitors there this year
than last. Originally, the critics de-
cried “liberties” taken with the life
of their great personality.

^ New York is not the only place
to report box office sensations. Simi-
larnews iscomingfrom Chicago. Tne
Oriental, playing 20th Fox’s “Gentle-
men Prefer Blondes,” headed for the
best business since it went into a
films-only policy last year. Its first
week was a record $50,000. Also
doing very well in the Windy City
are “I, The Jury”, “Pick Up On
South Street”, “Cinerama” and “The
Moon is Blue”.

If there be any among present
company still fuzzy about the shapes
signified by the various aspect ra-
tios they can get them clearly and
quickly into mind’s-eye^ifW by
visualizing a screen 10 feet high and
$s many feet wide as the decimal-
pointed numeral in the ratio equa-
tion will read after the point is
moved one integer to the right. Try
it out with one aspect-ratio and the
rest come tumbling.

Legislation to give Federal courts
discretion to award less than treble
damages in anti-trust suits has been
slowed by the serious illness of the
bill’s proponent, House Judiciary
Committee chairman Reed (R., 111.).
The bill is definitely dead for this
session, might be revived early next
year.

► The adoption by the Screen Actors
Guild of a by-law making it a requi-
site of applying for membership that
the applicant disavow present and
future membership in the Commun-
ist Party or “any other organization
that seeks to overthrow the govern-
ment of the United States by force
and violence” is rather more likely
than not to be emulated by other
guilds and unions in the film indus-
try, for the SAG’s 17-year record of
upstanding service to its member-
ship and to the screen has distin-
guished it as a leader that any or-
ganization can follow unabashed.

► Nip this one while it’s small, fel-
lows ! Out in Kansas City, a home
owner is giving shows for the neigh-
borhood— on his television set, with
the 21 inch screen. Mr. and Mrs.
Manuel Solis, so it is reported, each
night wheel their set to the open
doorway facing the back yard, and
attract as many as 125 neighbors on
a fight night, for instance. Mrs. Solis
is quoted as saying the shows keep
the kids off the* streets. And away
from the theatres, too.

► A really smart use of TV, this is,
and using the film medium to adver-
tise the film medium. First, Art
Baker’s “You Asked for It” show
contrasted classic film fights : it dis-
played clips from the old “The
Spoilers” and others from “Shane.”
Secondly, the same show is contrast-
ing classic escapes : the one in
“Terror Island,” in which the real
Houdini escapes from an under-
water sealed box, and the one in
“Houdini,” in which Tony Curtis
does the same. Paramount gets the
credit, all along.

► Columbia has a coveted break
this week. The current issue of
“Colliers,” telling in two pages about
Frank Sinatra’s campaign for a part
in “From Here To Eternity”, also
of course is a remarkable boost for
the picture.

^<Subco New York* ^Martin Ouialev C?mfTy' ,n=- Rockefeller Center, New York City 20. Telephone Circle 7-3100; Cable address.

Secretary Martin Ou alev J Editor Terrv Rnm r ^-President; Theo J. Sullivan, Vice-President and Treasurer; Raymond Levy, Vice-President; Leo J. Brady

Ray GaMaqher Advertislna Manaapr-' ' p00"50'1.1^ 1Edlt°ri JalT'eS D- l^rs News Ed, tor; Charles S. Aaronson, Production Editor; Floyd E. Stone, Photo Editor

Chicago 120 So La Sa le 9St uXn ^ ■ .Production Manager Bureaus: Hollywood, William R. Weaver, editor, Yucca-Vine Building, Telephone Hollywood 7-2US

Burn up,°' manager, Veter eBi?rnuDUred^torar4e',b°Uonr^'^r!^,rIef:>r-^fnr=ca^i'l^i_Ji^ eP^0inL.e.' fela! ^074; Washington, J; A, Otten, National Press'ciub;' "London, H^pe Williams

BurnuD manaaer Ri.mnn ori:+~P a ^ wj .^.ui w-jw-t, nujnuiyion, j. rv. unen, iNanonai rress uiud; London, nope williams

Publications:! Better Theatres Du'blished 'thirWn timp? ^ °Je' ^orrQesP?nc,er)ts m principal capitals of. the world. Member Audit Bureau of Circulations. Other Quigley

' ^ ^ a year as Section II of Motion Picture Herald; Motion Picture Daily, Motion Picture and Television Almanac and Fame.

MOTION PICTURE HERALD, AUGUST 8, 1953

GUESTS, at the Paramount Jubilee showings. Above, ax
Cincinnati, M. Noble, Roxy, Lockland, Ohio; Herb Gillis,
branch manager; Mr. and Mrs. Frank Weitzel, JUR Cir-
cuit; and Mrs. Nobie. At the left, in Chicago: above
Bob Allen, sales manager; Saul Horowitz, Balaban and
Katz; Roy Rogan, Publix Great States; Harry Lustgarten,
and Jerry Winsberg, B & K; and Jim McCullough, Publix
Great States; below, Charles Becker, Alamo; J. H.
Stevens, branch manager; Basil Charuhas, Montclaire;
and Morris Solovy, Stony.

MGM SHORTS
PRODUCER Pete
Smith meets some
old associates on the
set of "K iss Me,
Kate." At the left,
Jack Cummings,
producer; Mr.
Smith; George Sid-
ney, director; and
Dave O'Brien, writer-
actor-director.

THE REV. THOMAS F. LITTLE, above, assist-
ant secretary of the National Legion of De-
cency, this week was designated executive
secretary, succeeding the late Very Rev.
Monsignor Patrick J. Masterson. Born in New
York and a graduate of the Gregorian Uni-
versity in Rome, he was appointed to the
Legion in 1 947.

MOTION PICTURE HERALD, AUGUST 8, 1953

IN LONDON, at the trade screening of
Paramount's "Roman Holiday," Margaret
Rawlings, Lady-in-Waiting to Queen Eliza-
beth, chats with Paramount British produc-
tion chief Richard Mealand.

OPENING NIGHT CROWDS watch ceremonies in front
of the Tennessee Theatre, Knoxville, for Warners' story
of singer Grace Moore, "So This Is Love." The film
premiere was the climax of a state celebration.

AT THE PREMIERE of 20th-
Fox's "Sailor of the King": Gen-
eral of the Army George C.
Marshall, left, is escorted by
producer Frank McCarthy. The
opening was at the Byrd Thea-
tre, Richmond, Va., July 28.
The picture, filmed in England
and Malta, stars Michael Ren-
nie and Wendy Hiller.

MEETING, in New York^of
Warners' Eastern district.
Seated, Bernard R. Good-
man, exchanges supervisor;
I. F. Dolid; Jules Lapidus,
Eastern and Canadian divi-
sion manager; Norman Ayers,
Eastern district manager; and
Robert Smeltzer, Washing-
ton. Standing, Charles Bailey,
shorts; Ben Bache, Washing-
ton; Max Birnbaum, New
Haven; Ray Smith, Albany;
Ralph lannuzzi, Boston; Nat
Marcus, Buffalo; Robert A.
McGuide, auditor of ex-
changes; and Ben Abner,
New York.

AS THE WASHINGTON VARIETY TENT presented
to the Arlington-Fairfax Heart Association a 16mm
projector and screen. At left, R. Wade Pearson,
Variety governor; Victor Orsinger, chief barker; Mrs.
Anna Van Sickler and H. H. Coiner, of the Association.

asm

1 1

MOTION PICTURE HERALD, AUGUST 8, 1953

TAX TP TO PRESIDENT
AS CONGRESS ADJOTRNS

OTHER INDUSTRIES ANGRY,
PRESIDENT TOLD SHOWMEN

Pocket Veto Possibility
As Trade Waits for
Eisenhower' s Decision

WASHINGTON : The adjournment of
Congress Monday night left the fate of the
Mason admission tax revision bill in the
hands of President Eisenhower — with no
hope of Congressional reversal should the
bill receive the Chief Executive’s veto.

The deadline for Presidential action on
the measure was midnight Friday, August 7.
If the President had not acted by that time,
the Mason bill was scheduled to die the
victim of a “pocket veto,” ' bringing to a
close one of the motion picture industry’s
most intensive legislative campaigns, no less
remarkable because of the final defeat.

May Be Part of General
Tax Revision Measure

If the victim of a veto, either outright or
pocket, admission tax revision was certain
to come up before the next session of Con-
gress opening in January. Consideration
then would probably be included with that
of a number of other hard-pressed industries
in a general revision of all excise taxes.

Film industry spokesmen, who have been
working here on the current tax campaign,
were reticent about disclosing plans for a
new campaign until the fate of this one was
decided. However, it was generally believed
that any relief forthcoming in the next ses-
sion of Congress would fall short of the
flat repeal of the 20 per cent tax voted by
this session of the House and Senate.

At mid-week, with still no formal indica-
tion of what the President had in mind for
the bill, the atmosphere in the capital was
heavy with rumors. No action was ex-
pected before Wednesday since the President
was in Seattle attending the conference of
state governors.

Last Sunday Col. H. A. Cole, co-chairman
with Pat McGee of the Council of Motion
Picture Organizations tax committee, an-
nounced that the industry was making no
further efforts to contact the President him-
self although further conversations were
being held “at the White House level,” in-
dicating White House staff members. “The
President,” said Col. Cole, “gave us a good
hearing, gave us twice as much time as he
had promised. We can’t accomplish any
more with another (Presidential) confer-
ence.”

Meanwhile, COMPO’s last minute efforts
to contact newspaper and radio reporters,
opinion makers evidently overlooked in the
industry’s initial drive to educate the law-
makers, began to pay off, be it though some-
what belatedly.

Among the newspapers during the last ten
days who have called, editorially, for the
President to sign the Mason bill, are the

WASHINGTON : “A sympathetic and
friendly” reception was given to the film
industry delegation which spent 25 minutes
with President Eisenhower at the White
House last week, but the President gave no
indication at that time what he planned to
do with the Mason admissions tax relief bill.

Heading the five-man delegation were Col.
H. A. Cole and Pat McGee, co-chairman
of the Council of Motion Picture Organiza-
tions tax committee. Others were Senator
Carlson (R., Neb.), a member of the Senate
Finance Committee and one of the Presi-
dent’s closest advisers during last year’s
campaign; Robert Livingston, Lincoln, Neb.,
exhibitor, and Robert W. Coyne, COMPO
executive secretary, who presented the in-
dustry’s case to the President.

Following the 20 minutes during which
the industry representative talked, the Presi-
dent spoke for about five minutes, Col. Cole
reported later. Among other things, the
President indicated he had been embarrassed
by the industry’s success in getting its bill
through Congress, because the President had
announced earlier that all excise revision
should wait for next year. Now other in-
dustries are angry, the President told the
exhibitor leaders.

Coyne Regrets “ Choice ”

In his opening remarks to the President,
Mr. Coyne said that it was “a tragic single
choice” that had pushed the film men first
to their Congressmen at home, then “to Con-
gress and the Treasury here, and finally to
you.”

Mr. Coyne then went into three points of
issue on the bill : effect on revenue, public
benefit and discrimination.

Concerning the first point, he stated: “On
April 1, when we appeared before the Ways
and Means Committee, theatres were closing

“New York World-Telegram and Sun,” the
“Brooklyn Eagle,” the “Albany Times-
Union” and the “Washington Times-Her-
ald,” all opinion-makers of the first rank.
Earlier some other powerful newspapers and
widely read commentators had blasted the
measure on grounds which the industry
found to indicate a lack of information about
the industry, more than any positive facts.

Paul Raibourn, vice-president of Para-
mount Pictures Corporation, was one of the
first to answer a critical editorial appearing

at the rate of three a day. We predicted
stepped up closings to reach 5,000 a year.
Now, three months later, they are closing
at a rate of 10 a day; at the rate of 3,800
a year, and accelerating. . . . 5,000 more
theatre closings — indeed, 2,000 more — and
film producing companies cannot exist.

Predicts Revenue Drop

“We’ve seen theatre industry taxes plum-
met from 450 millions to 260 millions in five
years. They will dive another 100 millions
in the next 12 months with this tax on and
5,000 theatres will close. With the tax off,
the Treasury will not be harmed for with
5,000 theatres taken out of the red, the
Treasury will get four millions more from
all theatres in corporate and other taxes
than it would from all taxes (including ad-
missions) if these theatres close.”

On the second point, Mr. Coyne flatly
denied that the public will not benefit from
the tax revision.

“The public,” he said, “will benefit
through reduced prices where theatres are
at a reasonable profit level now. Where the-
atres are losing money and closing — cannot
continue to exist — theatres that are to close
because of these losses — they will, frankly
and honestly, take advantage of this tax,
totally or in part, in order to continue in
business.”

Saying that it had been charged that tax
revision meant “discrimination” in favor of
the film industry, Mr. Coyne admitted simply
that it was. “It’s the same discrimination,”
he said, “you use when you throw a life
belt to the foundering swimmer rather than
the swimmer with a fingerhold on the dock.”

In conclusion he stated that the industry
could not stand the tax for another year
and, “if we fail here, for us there is no sec-
ond chance.”

in the “New York Times,” July 29. His
letter, appearing on the editorial page of the
“Times” the following day, scored what he
called the newspaper’s “complete disregard
of facts and figures which were furnished to
every Congressman and which demon-
strated that the motion picture industry is
the single example in all industry — includ-
ing all other elements of the amusement in-
dustry— which has a record of severely de-
clining income in the face of violent infla-
tion in all other incomes.”

MOTION PICTURE HERALD, AUGUST 8, 1953

SENATE REPORT URGES
ARRITRATION. POLICING

Chides Individuals for

Breakdown of Talks; The Committee Recommends:

WASHINGTON: A summary of the highlights of the Senate Small Business sub-
committee's report follows:

The sub-committee favors renewal of efforts for an industry arbitration system.

Allied States and its general counsel, Abram F. Myers, by implication are
criticized for rejecting the industry arbitration plan.

The sub-committee specifically states film rentals are not properly arbitrable.
Absence from last year's plan of arbitration of rental disputes was the principal
ground for Allied rejection.

The sub-committee recommends stronger enforcement of the anti-trust laws
and consent decrees by the Department of Justice. It does not recommend new
legislation or reopening of consent decrees.

It indicates that basic economic ills rather than practices raise dissatisfaction
in the industry.

It recommends elimination of the 20 per cent admission tax.

WASHINGTON •' The Senate small business
subcommittee on Tuesday officially made
public its report on the investigation of in-
dustry trade practices.

There were no substantial changes from
the original draft reported last week which
recommended that a “voluntary system of
arbitration within the motion picture in-
dustry” be set up, and that the anti-trust
division of the Justice Department under-
take “a more forceful and vigilant policy
in assuring compliance with the decrees
resulting from the extensive litigation
against the major motion picture com-
panies.”

Two new recommendations were added
and some of the sharply-critical language
aimed at Allied States and its general coun-
sel and board chairman, Abram F. Myers,
in the original draft were toned down some-
what, and all reference to Mr. Myers by
name was deleted.

Recommends Elimination
Of Admission Tax

The additional recommendations made by
the committee which were not included in
the original draft are : elimination of the 20
per cent Federal admissions tax; and con-
sideration by the appropriations committees
of Congress of the anti-trust division’s com-
plaint that it lacks adequate personnel to
handle the problems before it. “However,”
the report adds, “the committee feels that
the development of a satisfactory arbitration
plan would relieve considerably the burden
of the anti-trust division.”

The early draft criticized Mr. Myers
for “summarily rejecting” the 1952 arbitra-
tion draft and specifically declared that the
subcommittee feels film rentals should not
be arbitrated. It urged all branches of the
industry to promptly resume work on a new
arbitration system, and that Allied and other
exhibitor groups start the ball rolling.

Recent activities of the Anti-Trust divi-
sion in enforcing the anti-trust laws and con-
sent decrees leave much to be desired, the
report states. It also expresses the hope that
the new Justice Department administration
will do a better job.

No legislation is recommended by the
subcommittee in the report. Neither is
there any suggestion that the consent decree
be reopened.

Testimony given the hearings clearly in-
dicates that motion picture exhibitors are
operating a sick industry, the report states.
It points out that while disposable income
rose 40 per cent between 1947 and 1952, the

proportion going to theatres dropped 20 per
cent.

The subcommittee has no illusions that
any single recommendation will completely
change the picture, the report continues. It
states that the impact of TV and changing
recreational habits are “basic facts of life
which must be faced and met by exhibitors.
It may unfortunately be true that changes
in our living habits threaten the closing of
many theatres, not matter what action may
be taken. On the other hand your com-
mittee is convinced that a portion of the
problem arises in past actions taken by the
Federal government and by an unwillingness
of Government agencies to take necessary
and proper steps at this time to afford
wholly proper support to the independent
exhibitor. This does not call for subsidies
or financial aid, but rather for quasi-judicial
decisions which are completely in keeping
with the free-enterprise traditions of our
economy.”

Independent Exhibitor
Importance Stressed

Stressing the importance of the indepen-
dent exhibitor to the industry as a whole,
the subcommittee says that the record clearly
shows that the independents have a “multi-
plicity of grievances against the distribu-
tors.” The question before the committee,
the report states, was how best to meet these
grievances “in order to stem the tide of
failures among independents and to bring
better order to the industry.”

On the basis of the hearings, the report
continues, “Two media suggest themselves
as the best means for achieving these objec-
tives. The first is a voluntary system of arbi-
tration within the industry. The second is
a more forceful and vigilant policy on the
part of the Anti-Trust division of the Jus-
tice Department in assuring compliance with
the decrees resulting from the extensive liti-

gation against the major companies.”

Abitration is not a panacea, the report
states, “but it would provide an inexpensive
and expeditious means for settling many of
the exhibitor complaints relating to trade
practices. Such matters as clearances and
runs, pre-releases and competitive bidding
would lend themselves to arbitration. The
record indicates these constitute the great
bulk of exhibitor complaints.”

The 1952 arbitration plan “impresses your
committee as being a sound starting point
for the resumption of negotiations on arbi-
tration,” the subcommittee says. “The fact
that the best minds of all the major seg-
ments of the industry could agree on such
a document gives hope of general adoption
of such a plan,” the Senate committee report
said.

Does Not Believe Rentals
Subject of Arbitration

“This committee does not believe that film
rentals should be the subject of arbitration.
The distributor is entitled to receive the
best possible price for his product and the
exhibitor should not be entitled to dictate
the price he will pay. Exhibitors would
never agree to make whole a producer or
distributor who lost money on a picture.
Conversely, neither should a distributor be
required to insure a profit to every exhibitor.
The law of supply and demand should gov-
ern to the maximum possible extent con-
sistent with the anti-trust laws.”

The great majority of exhibitor witnesses
“would be happy to see the adoption of an
arbitration plan which would encompass
matters other than film rentals,” the report
states.

It is the fervent hope that responsible rep-
resentatives of Allied and the other exhibitor
groups will be take the initiative in reopen-
ing the negotiations on arbitration, it says.

( Continued on page 16)

MOTION PICTURE HERALD, AUGUST 8. 1953

FOR PARAMOUNT WEEK SEPT. 6-12

World Premiere Engagement
Radio City Music Hall

IN HONOR OF OUR BELOVED

FOUNDER'S GOLDEN JUBILEE ,
YOU ARE INVITED TO..

con

GREGORY PECK
AUDREY HEPBURN

William Wyler’s

ROMAN

HOLIDAY

GINGER ROGERS
WILLIAM HOLDEN
PAUL DOUGLAS

FOREVER

FEMALE

with JAMES GLEASON
and Introducing

PAT CROWLEY

SOON

Timeliest drama of our time.
Filmed on the spot in Korea.

HAL WALLIS’

CEASE

FIRE

IN 3-D

Stereophonic Sound

THOSE

REDHEADS

FROM

SEATTLE

IN 3-D

Color by TECHNICOLOR

Starring

Rhonda Fleming • Gene Barry
Agnes Moorehead • Teresa Brewer
Guy Mitchell • The Bell Sisters
Stereophonic Sound

All In Addition To Current Hits Like: SANGAREE *

with Paramount’s greatest

• • H ' •/ . f. ril ■

centration of big profit attractions

SEPTEMBER

Trade -shows clocked more
laughs than any picture
they’ve made.

DEAN JERRY
MARTIN - LEWIS

THE

CADDY

Co-starring DONNA REED
Stereophonic Sound

OCTOBER

First engagement, Atlantic
City, sensational. Next on
Broadway at the Mayfair.

THE WAR
OF THE
WORLDS

Color by TECHNICOLOR
For Panoramic Screens
Stereophonic Sound

BOB HOPE
TONY MARTIN
ARLENE DAHL
ROSEMARY CLOONEY

HERE

COME THE
GIRLS

Color by TECHNICOLOR

JOAN FONTAINE
JACK PALANCE
CORINNE CALVET

FLIGHT TO
TANGIER
IN 3-0

Color by TECHNICOLOR
Stereophonic Sound

OCTOBER

“Greatest of the great newpix,
and one of all-time greats.”

— Hollywood Reporter

BING CROSBY

CLAUDE DAUPHIN

A Perlberg-Seaton Production

LITTLE
DOY LOST

America’s favorite cartoon
character — in the biggest
novelty short entertain-
ment in years ! Another
proof that there is no
substitute for

Paramount Shorts

HOUDINI • SHANE • STALAG 17 and ARROWHEAD

SENATE

( Continued from page 13)

At another point, the report, says that
distributors must share with exhibitors the
blame for the failure of the arbitration nego-
tiations. It states that the distributors “acted
improperly in permitting their representa-
tives to draw up a draft which substantially
changed the provisions of a draft formulated
earlier by a duly-constituted group.’’

The hearings’ record is filled with com-
plaints against the Anti-Trust division, the
report declares. “It is quite clear that the
performance of the division has left much
to be desired. After winning one of the
greatest victories in the history of anti-trust
litigation, the Department of Justice has
seemingly been resting on its laurels in re-
cent years.”

Cite Exhibitor Complaints
Of Little Consideration

Exhibitors complained that they got little
consideration from the division or unfulfilled
promises to do something, the report con-
tinues. “Spokesmen for the Department of
Justice admitted tacitly that they are ill-
equipped to discharge their responsibilities
under the court decrees,” the subcommittee
says, “They alluded to the heavy volume of
complaints from exhibitors and at the same
time admitted they are woefully under-
staffed.”

The subcommittee says anti-trust officials
try to handle complaints “by the easiest
available means, by correspondence and con-
ferences with the distributors complained
against. The difficulty with that approach is
that the division is prone to accept what-
ever concessions the distributors will make
but is reluctant to pursue a complaint on
its merits. The result is the exhibitor gets
only that relief which the distributor is will-
ing to grant and must enter into private
litigation if he is not satisfied.”

The Anti-Trust division, the report rec-
ommends, “must adopt a more objective ap-
proach on exhibitor complaints and must be
more aggressive in its role of enforcing the
decrees and anti-trust laws. This is not to
suggest that the division should file an anti-
trust action every time an exhibitor com-
plains. Litigation in and of itself is not cure
for the ills that plague the motion picture
industry. Your committee does feel, how-
ever, that the adoption of a more aggressive
policy by the Anti-Trust division would re-
store confidence in that office and would con-
sequently, result in fewer private suits in
the motion picture industry.”

Complexity of Problems
Cited in Report

The film industry’s problems are com-
plex and do not lend themselves to easy
solution, the report admits. “It is apparent,
however, that arbitration and the Anti-Trust
division can lead the way out of many of
the difficulties besetting the independent ex-
hibitor today,” the Senators declare. “The
committee has no power to impose an arbi-
tration system on the industry. It can only
hope that the spirit of responsibility and

REPORT CITES "ABLE"
INDUSTRY LEADERS

WASHINGTON: In urging the
speedy setting-up of an arbitration
system, the Senate small business sub-
committee in its report declared that
the industry, "both exhibitors and dis-
tributors, have able leaders whose
record of performance in the past
augurs well for the future.

"The prosperity of this great indus-
try rests upon their willingness to sit
down together and work out their
problems in good faith and with
prudence and common sense."

urgency which motivated responsible indus-
try representatives to undertake arbitration
negotiations in 1952 will again move the
same parties to the same steps in 1953.

The report seems to agree that exhibitors
had valid criticisms of the pre-release prac-
tice, especially in view of the increasing
number of pre-release films. But it also
notes that Mr. Keough suggested that dis-
tributors be held to two pre-releases a year
and that pre-releasing be included in the in-
dustry arbitration plan. “Such statements,”
the report says, "indicate that distributors
do understand that extensive use of the pre-
release practice is injurious to exhibitors
and and that they are willing to consider
effective remedies.”

Says Zone System
Give Rise to Violations

On competitive bidding, the report says
that decree violations very easily grow out
of the zone system and the frequency of
zone changes. It criticizes the Justice De-
partment for not investigating the situation
in the Los Angeles area. Testimony given
the subcommittee indicates that Paramount
has used compulsory competitive bidding
there, the Senators say. In view of the past
position of the Anti-Trust division opposing
compulsory bidding” the report states, “it
seems that the division should investigate the
system in effect in Los Angeles, which was
imposed contrary to the wishes of many af-
fected exhibitors. There is hardly a distinc-
tion between compulsory bidding ordered by
a court and that imposed by a distributor."

On Monday Sen. Schoeppel made public
a wire he had received from Mr. Myers as
well as his answer.

Myers and Schoeppel
In Exchange of Views

Mr. Myers declared that reports of a
“proposed report” on the subcommittee’s
hearings, indicated that the subcommittee
had “accepted in its entirety the testimony
of Austin Keough. . .” Sen. Schoeppel told
Mr. Myers that “it would be incorrect to
assume or charge that the committee is crit-
ical of exhibitors or exhibitor organizations
when, in fact the responsibility lies at the
door of one or two intransigent individuals
whose personal views may have unwittingly
harmed the cause the very organizations
they seek to effectively represent.”

MGM Sets
Sales Meet*
Screenings

MGM domestic and international sales
executives from all over the world will be
invited to the studio in September, it was
announced Thursday by Dore Schary, studio
head, following conferences during the past
week with executives of the company.

Enthusiasm for the 10 important pictures
screened for the executives and scheduled
for fall and winter release, it was stated by
Charles Reagan, domestic distribution chief,
and Arthur M. Loew, vice-president of
Loew’s International, resulted in the deci-
sion to arrange a series of “see for your-
self” showings at a sales meeting to be held
in California.

Following these Coast showings special
“see for yourself” trade previews in approx-
mately 100 cities will be set up.

Nicholas M. Schenck, president of Loew’s
Inc., Charles Moskowitz, treasurer, Charles
Reagan, general sales manager, and How-
ard Dietz, advertising and publicity vice-
president represented the home office in the
meetings with Mr. Schary and members of
the studio executive board.

Mr. Reagan returned to New York last
Friday to start immediate arrangements for
bringing the sales heads to the studio.

Howard Dietz left over the weekend to put
into effect a program for aggressive national
advertising, promotion and exploitation
campaigns, formulated at the meeting,
whcli will be coordinated with the release of
the new product.

Since all MGM pictures will be filmed in
wide-screen with sterephonic sound, the
company heads believe it is highly important
that every member of the sales organization
be familiar with the various media.

Among the important pictures screened
at the studio or at sneak previews and which
will be shown to members of the MGM sales
organization are: Mogambo, Take the
High Ground, Kiss Me Kate, The
Long, Long Trailer, Torch Song, Easy
to Love, Fort Bravo, All the Brothers
Were Valiant, and Rhapsody. Kiss Me
Kate is the first musical to be produced in
3-D, and Fort Bravo the initial production
filmed in MGM’s own wide-screen process.
All the pictures are either in color by Tech-
nicolor, Atisco or Eastman Color.

Iron Curtain Countries
Enter Venice Festival

Russia, Poland, and Czechoslovakia are
sending entries to the Venice Film Festival
after a lapse of six years. Their entries are :
from Russia, “Sadko,” “The Return of Vas-
sili Bartniakov,” and “Rimsky-Korsakov” ;
from Poland, "The Youth of Chopin,” and
from Czechoslovakia, “The Secret of Blood.”
Russia also has announced it will participate
in the documentary and children’s film fes-
tivals which precede the major event by nine
days.

MOTION PICTURE HERALD, AUGUST 8, 1953

Box Office
For July*

The Box Office Champions are selected on
theatres throughout the country.

THE CHARGE AT FEATHER RIVER

(Warner Bros.) (3-D)

Produced by David WeisbarL Directed
by Gordon Douglas. Written by James R.
Webb. WarnerColor. Cast: Guy Madison,
Frank Lovejoy, Helen Westcott, Vera Miles,
Dick Wesson.

DANGEROUS WHEN WET

( Metro-Goldwyn-Mayer)

Produced by George Wells. Directed
by Charles Walters. Written by Dorothy
Kingsley. Technicolor. Cast: Esther Wil-
liams, Fernando Lamas, Jack Carson, Char-
lotte Greenwood, Denise Darcel, William
Demarest.

IT CAME FROM OUTER SPACE

(Uunver sal-international) (3-D)
Produced by William Alland. Directed
by Jack Arnold. Written by Harry Essex.
Cast: Richard Carlson, Barbara Rush,
Charles Drake. (Champion for second
month.)

Champions

1953

the basis of the gross revenue at key city

SANGAREE

(Paramount) (3-D)

Produced by William H. Pine and Wil-
liam C. Thomas. Directed by Edward
Ludwig. Written by David Duncan. Tech-
nicolor. Cast: Fernando Lamas, Arlene
Dahl, Patricia Medina, Francis L. Sullivan,
Charles Korvin, Tom Drake, John Sutton,
Willard Parker.

SECOND CHANCE

(RKO) (3-D)

Executive producer: Edmund Grainger.
Produced by Samuel Wiesenthal. Directed
by Rudy Mate. Written by Oscar Millard
and Sydney Boehm. Technicolor. Cast:
Robert Mitchum, Linda Darnell, Jack Pal-
ance.

SHANE

(Paramount)

Produced and directed by George Ste-
vens. Written by A. B. Guthrie, Jr. Tech-
nicolor. Cast: Alan Ladd, Jean Arthur, Van
Heflin, Brandon De Wilde, Jack Palance.

(Champion for second month.)

Limit SW
Cinerama
Theatres

The Stanley Warner Corp. has agreed to
limit the number of its Cinerama theatres in
the United States to a total of not more
than 24, and its production to not more than
15 pictures, it was disclosed Tuesday when
the company filed its petition in the New
York Statutory Court.

Carries Justice “ Safeguards ”

The petition, which has the sanction of the
Department of Justice, seeks court approval
to amend the Warner consent decree. It
carries “safeguards” in regards to exhibi-
tion, production and distribution of pictures
in the Cinerama process which were in-
sisted upon by the Justice Department.
Under the petition S-W would be limited
to not more than 24 Cinerama theatres at
any one time, and further limited to one
Cinerama theatre per city, except two each
in the cities of New York, Chicago and Los
Angeles. Included among the 24 theatres, it
was stated, are the existing four Cinerama
theatres in New York, Detroit, Chicago and
Los Angeles.

As to production, S-W would be limited
to the filming of not more than 15 Cinerama
pictures until Dec. 31, 1958, the date when
S-W’s exclusive licensing agreement with
Cinerama, Inc., expires. As to each Cine-
rama production, standard versions could
also be produced by S-W, it was stated. On
the distribution of the standard motion pic-
ture versions, the petition stated that S-W
would at all times be enjoined from distrib-
uting such films. No such restriction was
included on the Cinerama version.

Agree to Restrictions

The petition took note that S-W and Cine-
rama, Inc., have agreed to all the restrictions
imposed by the Justice Department. The
consent of Cinerama, Inc., the equipment
manufacturing company, was needed in order
to transfer its exhibition and production
licensing agreement from Cinerama Produc-
tions, Inc., to S-W. As previously stated,
the deal between S-W and Cinerama Pro-
ductions grants S-W a five-year exclusive
production and exhibition contract in return
for a share in the box-office.

S-W asked that the bid to amend the
decree, which bars the new Warner ex-
hibition companies from engaging in dis-
tribution and limits its acquisition of
theatres, be heard in court on August 12.
The petition requested that the case be
heard before Justice A. N. Hand at the
court house near his summer home at
Elizabethtown, N. Y. It notes that the
deadline for consummation of the deal
with Cinerama Productions is August 19.

In addition, Stanley Warner would be re-
quired to dispose of its stock in Cinerama by
Jan. 10, 1959, or to deposit it under a voting

trust agreement with a court-approved trus-
tee, and then to make final disposition by
Dec. 31, 1960.

Finally, Cinerama, Inc., would be required
after Dec. 31, 1958, to consent to grant com-
pulsory exhibition sub-licenses, production
sub-licenses, and leases of exhibition and
production equipment on a non-discrimina-
tory basis and subject to the payment of
reasonable royalties and rental fees.

To further the circulation and distribu-
tion in all media of motion pictures made by
the late documentary film producer, Robert
Flaherty, the Robert Flaherty Foundation
was isued a certificate of incorporation at
Albany, New York, last week. The under-
standing is the unit is non-profit, and the
distribution of the product is for educational
and cultural purposes, “in order that greater
understanding among the different peoples
and cultures of the world may be achieved.”
The incorporators are David Flaherty,
Richard Griffith, Frances Flaherty, Mrs,
Ellsworth Bunker, and Charles A. Siern-
mann.

Brandt's Acquires Bryant Lease

Bernard Brandt has acquired the lease-
hold for the Bryant Theatre, 42nd Street,
between Sixth Avenue and Broadway, New
York. He begins operations August 15.

RhO Circuit

Net $92*240

Consolidated net profit of RKO Theatres
Corporation and subsidiary companies for
the second quarter of 1953* was $92,240.54,
after taxes and all other charges (including
profit of $5,569.59 on sale of capital assets,
before taxes).

This compares with consolidated net profit
for the second quarter of 1952 of $36,935.60,
after taxes and all other charges (including
profit of $9,253.99 on sale of capital assets,
before taxes).

Consolidated net profit for the first six
months of 1953 was $417,602.32, after taxes
and all other charges (including profit of
$19,323.45 on sale of capital assets, before
taxes), as compared with consolidated net
profit for the first six months of 1952 of
$174,802.99, after taxes and all other charges
(including profit of $16,518.55 on sale of
capital assets, before taxes).

Paramount Releases "Money"

HOLLYWOOD : “Money From Home,”
Martin-Lewis 3-D Technicolor feature pro-
duced by Hal Wallis and retained by Wallis-
Hazen when the company disbanded after
completing its Paramount releasing contract,
will be distributed by Paramount under a
special one-picture deal made this week.

MOTION PICTURE HERALD, AUGUST 8, 1953

I err? Raantsii'

RESEARCH AND
MOYIELAND

THE impending issuance of a volume
entitled ' New Screen Techniques" by
the Quigley Publishing Company
brings some reflections on the inertia of
the industry of the motion picture with
respect to the instruments of its complex
technology. A casual examination of the
American industrial scene finds a decidedly
aggressive pursuit of research generally, a
sharp contrast with movie lethargy.

This book coming up may be a stimulus
toward a constructive attitude for the to-
morrows. That will have to come, or else.
The motion picture of course will survive,
come what may, but the process could
entail some revolutions of organization and
ownerships.

So far as its technology is concerned —
and technology is only part of the story' —
the motion picture industry is even yet
not quite conscious that this is the elec-
tronic era. That became conspicuously
evident with the arrival of electrically re-
corded and amplified sound. There was a
period of vast alarum then lest "the Big
Electricals" would be taking over. They
would have taken over, too, except for two
factors: I — their ineffectiveness in enter-

tainment; 2 — their wise reluctance in that
political period to incur further vulnerabil-
ity under the anti-trust laws.

Now the "Big Electricals" have in a
fashion taken over the great electronic
growth areas of that form of motion pic-
ture distribution-exhibition known as Tele-
vision. The motion picture industry with
large resources available, after the upturn
of 1935, could quite as well have taken the
initiative in the development of Television,
so obviously a motion picture medium.
There had also been the lesson of the
arrival of both color and sound from the
outside, and against movieland resistance.

Today's h eadlong pursuit of new appeal
for the screen is more defensive than
aggressive in its origins. A new conscious-
ness of something beyond mere compe-
tition is needed. Perchance this coming
book on the techniques now called new
because they have been taken off the
laboratory shelves and dusted off for de-
velopment can help toward an awakening.
Anyway the belated anxieties and action
are new.

American industry, according to a recent
government survey, is spending about
$2,000,000,000 a year on research. We
hear much about research among the

chemical, drug and metallurgical industries.
But many concerns not commonly thought
of in research are spending heavily. Gen-
eral Foods, for instance, in the year ending
last March, is said to have spent $3,000,000
for research. More than 15 percent of its
sales last year were on products evolved
since the end of World War II.

Let us not forget that there are re-
searches now in work and making progress
toward the electro-magnetic recording of
pictures on tape, somewhat as sound is
recorded increasingly now. One day that
may by-pass the intricate and sensitive
processes of photo-chemistry and film as
we know it. The industry might be giving
thought to that, too. It could make a lot
of difference.

At high noon September 23, 1938 the
Westinghouse Time Capsule was com-
mitted to earth, for safe-keeping for 5,000
years, deep under Flushing Meadows at the
New York World's Fair. It contained two
micro-filmed articles about the motion pic-
ture by Terry Ramsaye, its invention, his-
tory, development and destiny. About now
he feels an impulse to go dig it up and
make some sharp revisions.

CHAPLIN'S JOKE — From the round-about
of the British press we come by this: Those
comedies of Charles Chaplin which remain
in any degree under his control are just
plainly unavailable save for commercial pur-
poses. Not so long ago the Museum of
Modern Art came by what is said to be an
illegally made print of "The Kid" in Italy.
The Museum in the height of propriety
wrote Mr. Chaplin for permission to show
it on occasion. Now the story runs that Mr.
Chaplin answered yes, but solely on condi-
tion that it retain its Italian subtitles.
Happily Chaplin's art is so thoroughly
pantomimic that subtitles matter little.

z^'*.

NOTE ON TASTE — A British trade journal
in its exploitation department reports on a
Brighton house thus: "The shop window of
the theatre was turned into a miniature
mortuary . . . illuminated by a green light.
This pathological theme was repeated in
the foyer, which resembled a chamber of
horrors. . . . Behind the draperies was a
figure representing a ghost complete with
a skull, which had been borrowed from a
hospital . . . the patrons seemed to revel
in it!" That shudder market again. Ap-
parently some find life so boresomely civil-
ized they must seek escape.

Bids Start
In Chicago
For "Bo ho"

CHICAGO : Competition among Chicago
theatres for the first Chicago run of "The
Robe,” with a release date here of Sept. 23,
has started with 20th Century-Fox inviting
bids on their first CinemaScope feature pro-
duction. Minimum terms asked bv the com-
pany for the picture and understood to be
seventy percent of the gross receipts, with
the exhibitor guaranteed ten percent of the
gross as profit and the picture to play as
long as the company wants it to continue.

"The Robe” was granted an unlimited
first run here by Federal Judge Michael L.
Igoe, exempting it from the two-week lim-
itation imposed by the Jackson Park decree
on pictures running in theatres affiliated
with the defendants in the Jackson Park
case — now reduced in practice to the four
Balaban and Katz theatres in the Loop.

Exhibitors also would receive five cents
for each sale of a program book the com-
pany will sell for fifty cents per copy in
conjunction with the run of the picture.

See Theatres Contributing
$2,000,000 to Korea Relief

The nationwide drive for funds for Ko-
rean relief, which got under way this week,
already has brought in $750,000 from one-
third of the theatres involved, the Council
of Motion Picture Organizations announced
Wednesday. At this rate, total theatre col-
lections are expected to reach approximately
$2,000,000. The campaign’s goal, from all
sources, is $5,000,000. To expedite the cam-
paign, COMPO has requested all film indus-
try area chairmen to report their collections
as soon as possible.

Castle Promises Further
Fighting On "Information"

Eugene W. Castle, former president of
Castle Films, will continue his scrutiny of
the Government’s overseas information pro-
gram, especially in its film aspects, he
promised in New York last week. Mr.
Castle last year toured areas serviced by
the International Information Administra-
tion, and this year plans another trip at his
own expense. He contends propaganda films
are ineffective even if their content is good.
He publicly asks how American audiences,
for instance would react to propaganda films
made abroad, however excellent. He terms
the Gobernment’s film program "foreign
WPA in celluloid.”

Managers Ask Sunday Shows

Managers of five leading theaters in
Gastonia, N.C., have asked the City Council
for permission to stage Sunday movies.
Howard Amos, manager of the Temple, told
the Council theaters were badly off and
Sunday showings might help them.

MOTION PICTURE HERALD, AUGUST 8, 1953

Republic
Adopts 1.66
Standard

Republic Pictures has adopted the 1.66
to 1 aspect ratio for new product so that
their films can be shown on wide screens
having aspect ratios ranging from the con-
ventional 1.33 to 1 to 1.85 to 1, without loss
of pertinent action. The 1.66 to 1 standard
is that which was adopted sometime ago by
Paramount.

The new Republic policy was announced
in New York this week in a statement de-
signed to clear up any “confusion” that may
have developed in determining the aspect
ratios in connection with the production or
projection of Republic films.

In stating that Republic’s new pictures
are being filmed so that they can be pro-
jected on screens of varying widths, the
company pointed out that “theatres will find
that they can choose one set of wide-angle
projection lenses which can project aspect
ratios of 1.66 to 1 up to 1.85 to 1, and mere-
ly change projection aperture for the dif-
ferent aspect ratios.”

The company also carefully pointed out
that in changing to a 1.66 to 1 aspect ratio,
it has not altered the actual picture frame
from the conventional size, but has composed
its subject matter in production so that art-
ists’ heads and important subject matter will
not be cut off when screened with the wide
aperture plates.

It was further emphasized that Republic
films can be projected by any theatre equip-
ped for CinemaScope with the right projec-
tion lenses and correst projection aperture
aspect ratio. This means simply that the film
would be projected on a portion of the Cin-
emaScope screen in the conventional fashion.

Bell & Howell Show

S6mm. Wide Screen

A new wide screen system for 16mm
movies was demonstrated to the press and
to visual educators last week at the National
Audio-Visual Association convention in the
Sherman Hotel. The announcement about
the system says it was patterned after the
20th Fox CinemaScope system. The dem-
onstration features scenes from that com-
pany’s “The Robe” and Coronation films.
A single anamorphic lens atachment is used
for shooting and projecting. The company’s
release states it expects its system to be
used widely in sales and industrial films.
And, also that “there is an immediate need
for the system in foreign movie houses,
many of which show 16 mm only.”

Sign Hawkins For "The Seekers"

Jack Hawkins, whose popularity in Eng-
land is high because of his performance in
“The Cruel Sea,” has been signed by the
J. Arthur Rank Organization for “The
Seekers,” which will be filmed in Techni-
color in New Zealand.

"ROBE" TO OPEN
SEPT. 16 AT ROXY

Twentieth Century-Fox announced
this week that the world premiere of
the company's first feature in Cinema-
Scope, Lloyd C. Douglas' Biblical
epic, "The Robe," will be held at the
Roxy theatre in New York the eve-
ning of September 16. The film
earlier had been tentatively set for a
late August premiere. The company
promises that the occasion will be
an historic, star-studded event, with
Hollywood celebrities, headed by
Darryl F. Zanuck, 20th-Fox vice-presi-
dent in charge of production. The
film, in color by Technicolor, and 10
years in the making, stars Victor
Mature, Richard Burton, Jean Sim-
mons and Michael Rennie.

Altec Cuts
Sound Cost

Altec Service Corporation this week an-
nounced that as a result of experiences
gained in installing approximately 100
stereophonic sound systems throughout the
country, it was reducing installation costs
to exhibitors effective August 1.

L. U. Netter, general sales manager, said
in New York Monday that whereas previous
installation costs ranged from $600 to $900,
with an average of $750, the new schedule
goes from a low of $375 to a maximum
charge of $750, with the average cost run-
ning about $450.

Mr. Netter said there were several reasons
why Altec now was able to offer all types
of theatres a considerable saving in the in-
stallation of stereo-sound systems.

“We are passing on to all exhibitors who
have not yet availed themselves of the use
of directional sound the benefit of our ex-
perience during our pioneering efforts in
this field.”

He said that, as in all technical departures,
many problems were encountered in the
early installations. He pointed out that
“bugs” of various nature lengthened the
time, research and corrective procedure
which marked the early contracts. That was
the reason, he added, that Altec established
the series of stereophonic sound clinics. The
practical results gained from these “on the
job” forums have enabled Altec to shorten
the time involved and to overcome the
natural technical difficulties encountered, he
said.

"Jury" On Coast August 20

United Artists’ “I, The Jury,” a Mickey
Spillane film, will be given its West Coast
premiere August 20 at the Paramount
Downtown Theatre, Los Angeles, and the
Paramount Theatre, Hollywood. It has been
bieaking records in its run at the Chicago
Theatre, Chicago.

CinemaScope
In Canada

.V<».vY II eek

CinemaScope, 20th-Fox’s new screen
process, will be given its first demonstration
to the public in Canada next Tuesday. The
site will be the Imperial theatre, Toronto,
and the guests will be showmen from all
over the country, news reporters and editors,
equipment manufacturers, and government
and financial leaders.

Meanwhile, the company this week signed,
at the New York office, an agreement which
will result in the process being installed in
more than 100 theatres in Mexico. It is the
first such contract for that market. The
principals at the signing were Spyros P.
Skouras, president of the company ; Miguel
Bujazan, general manager of the Rodriguez
Theatre circuit; Emanuel Silverstone, vice-
president of 20th Fox International ; and
Edward D. Coheb, supervisor for Central
and South America. Thirty four Mexican
houses will be equipped for CinemaScope
projection this year alone.

Also this week, the company gave per-
mission to W. R. Frank to make a picture
in the process. It will be “Sitting Bull,” to
be in color. It is the second picture in Cin-
emaScope for United Artists release. The
first is “The Story of William Tell,” now
being made in Europe, in color, by Errol
Flynn.

Urges Dakota Exhibitors to
Delay 3-D Installations

Ben Berger, president of North Central
Allied, and Stanley Kane, executive counsel,
this week recommended that North Dakota
exhibitors drop plans for 3-D and wide-
screen installations until after the national
Allied convention in Boston this fall. The
recommendations were made Monday and
Tuesday at regional NCA meetings in Fargo
and Minot, N. D. Mr. Berger said he be-
lieved that a complete clarification of the
new techniques will be made at the October
convention.

UA Will Release
Five in September

United Artists will release five top pro-
ductions during September, it was an-
nounced this week by William J. Heineman,
vice president in charge of distribution. The
five films and their national release dates
are: “Sabre Jet,” Sept. 4: “99 River
Street,” Sept. 11; “The Joe Louis Story,”
Sept. 18; “The Fake,” Sept. 25, and "Don-
ovan’s Brain,” Sept. 30.

Mason Signed tor "Contessa"

James Mason has been signed to a co-
starring role in “The Barefoot Contessa,”
the first independent film production to be
made by Joseph L. Mankiewicz for release
by United Artists.

MOTION PICTURE HERALD, AUGUST 8, I9S3

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BRITISH FIGHT
RISING RENTAL

CEA General Council May
Set Ceiling; Influence
On Move to Cut Tax

by PETER BURNUP
LONDON : Apprehension grows among ex-
hibitors here that wide-screen and 3-D de-
velopments allied with an already evident
shortage of product will result in increased
rentals. Many of them cite in justification
of their fears the case of “House of Wax”
and "Quo Vadis” for which, they allege,
increased rates have been asked.

The Cinematograph Exhibitors’ Associa-
tion takes the view that no rental should
exceed 50 per cent. At its September meet-
ing C.E.A.’s General Council will be asked
to make that a mandatory condition on all
Association’s members.

Effect on Tax Reduction

One argument advanced is that increased
rentals will militate against a reduction in
entertainment tax. The Chancellor of the
Exchequer, so that reasoning runs, would
hesitate to give relief if a considerable pro-
portion thereof went into the American un-
remittable sterling account.

Whatever validity there may be in those
arguments, a considerable revolution in
booking arrangements is in progress here.
Renters are obtaining six day bookings for
their better product in theatres which hith-
erto have never played programmes for
more than three davs.

’ V

Last week’s meeting of the four trade
associations to discuss the future of the
Eady Plan stands adjourned. As antici-
pated, producers, with the support of dis-
tributors, pressed their claim that an annual
minimum of £3 millions be guaranteed them
under the Plan.

Exhibitors insisted that they should not be
bound to a given figure. They claimed that
the amount should be conditioned by the
turn of business at the box-office and that
the levy on their takings be made on a per-
centage basis.

See Ultimate Agreement

Producers agreed to an adjournment to
enable C.E.A.’s General Council again to
discuss the matter. (General Council will
not meet again until September.) Despite
the apparent impasse it is generally accepted
here that agreement will ultimately be
reached. The Government has stated that
failing agreement on a voluntary scheme,
it will make the Plan statutory. That is a
contingency which none would welcome fol-
lowing other unhappy experiences with
Governmental interference in trade affairs.

Most likely outcome will be acceptance by
producers of the exhibitors’ point that no
fixed minimum is possible.

Shape of things to come is to be seen in a
report of a film industry technical commit-
tee made to the industry’s four associations
and dealing with the impact of television on
motion picture matters.

The report has not been published but it
is understood to be concerned with the dis-
tribution to theatres of programmes not on
film but electronically from a chain of
micro-wave TV transmitters. It discusses
also the practicability in the near future of
news transmissions to theatres in place of
the present newsreels.

The recommendations are based on a sur-
vey which the technicians made in an area
in a forty-mile radius of Birmingham. In
view of overcrowding in the wave-bands
commonly used in this country the commit-
tee is understood to favor super-high fre-
quencies above 7,000 megacycles.

The report has been sent to the Govern-
ment’s Television Advisory Committee.

In spite of widespread opposition from
religious leaders, educational authorities and
the like, the Government persists in its de-
termination to set up a TV service in com-
petition with the B.B.C.

Latest project under consideration by the
Cabinet is a plan to set up a public corpo-
ration to control any form of commercial
TV which may develop. It is suggested that
the Government should take a minority
share-holding in the corporation and thus
ensure a measure of Parliamentary control
in place of the unfettered control by adver-
tisers which occasions the fears expressed
by many.

Gammans Ridicules Critics

Indication of the Government’s attitude
towards critics who claim that sponsored
TV would debase the country’s standards is
to be seen in a speech made last week by
the Assistant Postmaster-General (Mr.
L. D. Gammans) in unveiling a tablet to
the memory of TV pioneer John Logie
Baird.

Mr. Gammans said that many people who
felt themselves competent to tell their fel-
low-citizens what they should took at on
television proclaimed that they had no tele-
vision set and did not propose to have one.
"Others seems to forget that the primary
aim of television is to interest and enter-
tain and not to be a sort of glorified night-
school,” he added.

The Watch Committee of the Sussex
beach-resort of Worthing has recommended
to the Town Council that revised plans for
a car-park and open-air cinema on the out-
skirts of the town be approved.

Promoters of the project made application
a considerable time ago. Plans were held
up in order that the Watch Committee might
be satisfied that safety and other conditions

imposed by the Government’s Home Office
were satisfied.

The Worthing drive-in will be the first
ever in Britain. Theatremen generally have
taken the view hitherto that Britain’s uncer-
tain climate and the long hours of daylight
prevailing during the summer make the
drive-in trade impracticable.

Films made by the National Film Fi-
nance Corporation’s Group Three will in
future be distributed by British Lion in-
stead of by Associated British Film Dis-
tributors. First film to come under the new
arrangements will be “Everest,” made on
the recent successful expedition.

It is understood that the change arises out
of the belief of the Film Finance Corpora-
tion’s J. H. Lawrie that British Lion will
be able successfully to tie in Group Three
product with its own top features. British
Lion is the distribution organization in-
debted to N.F.F.C. to the tune of £3 mil-
lions. Group Three is sponsored by
N.F.F.C. with a view to giving opportunity
to novitiate technicians.

G & P Appeals Decision
In Its Monopoly Suit

The G & P Amusement Company, whose
suit was heard last year in Cleveland Fed-
eral Court and against whom Federal Judge
Emerich B. Freed ruled in favor of de-
fendents Loew’s, 20th Fox, Universal, War-
ners, Columbia, Cooperative Theatres, and
Paul Gusdanovic, has appealed. The suit was
unusual in that it involved a cooperative
buying and booking agency which allegedly
favored the defendant Regent Theatre over
the plaintiff’s Moreland Theatre so that, ac-
cording to the charge, the latter was unable
to secure suitable product and had to close.

U. S. District Court Rules
Lettered Tickets Illegal

Alphabetically designated tickets are
against the law, the United States District
Court, Louisville, ruled last week. The Hil-
and Amusement Company had raised the
issue. This company had been employing
the “Standard Cryptix Numbering System.”
The law requires tickets be numbered, for
the benefit of agents of the Internal Revenue
Department. The Internal Revenue Com-
missioner had ordered the company’s tickets
discontinued and destroyed, whereupon the
issue went to court, which remarked adpha-
betical tickets would “tend to hinder, delay,
and hamper” government agents.

Zukor's Book September 28

G. P. Putnam’s Sons will publish on Sep-
tember 28 the autobiography of Adolph
Zukor, industry pioneer and chairman of the
Paramount board. It is titled, “The Public
is Never Wrong.”

United Lowers Air Freight

United Air Lines on August 26 will lower
its air freight on film from Honolulu to
Los Angeles or San Francisco, to 40 cents
per pound on shipments of 100 pounds 01-
more. This is a 30 per cent reduction.

MOTION PICTURE HERALD, AUGUST 8, 1953

!/#>« Spits
To Retire

Leo Spitz on Saturday retired as execu-
tive head of production at the Universal-
International studios. He had been ill and
inactive for over a
year, and in fact still
is hospitalized. The
announcement came
to the trade through
a statement issued
this week by Mr.
Spitz and by Milton
R. Rackmil, presi-
dent.

It added Mr. Spitz
will retain his office
on the lot until No-
vember 12, when his
contract expires.
Meanwhile, taking
charge is Edward Muhl, whose title now is
vice-president in charge of production.

Mr. Spitz joined the company in 1935,
at the same time as William Goetz, whose
job as head of production also ended on
August 1. Mr. Goetz also will retain his
office on the lot until his contract ends No-
vember 12. It was their International Pic-
tures which Universal acquired in 1935.

GPE Quarter Net Shows
Rise to $804,157

Consolidated net income of General Pre-
cision Equipment Corp. and subsidiaries for
the second quarter of 1953 amounted to
$804,157, equal after preferred dividends,
to $1.21 per share on 649,087 shares of com-
mon stock. These earnings were 147 per
cent higher than consolidated net income of
$325,452 reported for the second quarter of
1952, equal to 48 cents per share after pre-
ferred dividends, on 646,087 outstanding
common shares.

For the six months ended June 30, 1953,
consolidated net sales of the company were
more than double the figure for the first
half of 1952, aggregating $41,102,567 as
against $19,216,574. Net income for 1953
first half total $1,469,067, equal to $2.22 per
share as compared with $361,112, or 54 cents
per share of common stock. The board of
directors also announced a dividend of 25
cents per share on the company’s common
stock, payable September 15, 1953 to stock-
holders of record August 25, 1953.

UA Gets Philippine Picture

Arthur B. Krim, president of United Art-
ists, this week announced the completion of
arrangements with Manuel L. Padilla, Philip-
pine financier, and Manuel Conde, Philip-
pine producer, under which United Artists
will release “Sarangani,” a $3,000,000 mo-
tion picture production. Mr. Conde, who
made the recent United Artists release,
“Genghis Khan,” will produce, direct and
star in “Sarangani” and Mr. Padilla will
be co-producer.

TENTH ANNIVERSARY
"FANTASIA” BOOKING

Talk about the stage for repertory
and certain historic plays of proven
value as timeless entertainment! Walt
Disney's “Fantasia" would appear to
be proving the screen can do the
same. In London, for instance, it is
playing its tenth year. It is at Studio
One on Oxford Street. August 2 was
the date of the tenth anniversary.
It had at that time played 146 weeks
at the house. It has been seen dozens
of times by the same patrons. The
theatre owners feel at this rate, it
can be brought back each year in-
definitely.

Thomas, Jacobs Form
New Distribution Unit

HOLLYWOOD : Veteran distribution ex-
ecutives Harry Thomas and N. P. “Red”
Jacobs this week announced the formation
of the new distribution company, to be
known as Atlas Pictures Co., with Mr.
Thomas, president; Sam Nathanson, vice-
president, and Mr. Jacobs secretary-treas-
urer. Mr. Thomas said he will call a meet-
ing of regional distributors for Kansas City
August 20th. “Man of Conflict,” produced
and directed by Hal R. Makelin, with Ed-
ward Arnold, John Agar and Susan Morrow
in the cast, has been acquired as the new
company’s first release for national distribu-
tion.

Technicolor Reports
Half Year Increase

Technicolor, Inc., this week reported
that its consolidated net profit after taxes
on income, for the first six months of this
year, is estimated at $1,608,709. This is
equivalent to 84 cents per share on the new
stock outstanding which is the old stock split
two for one on May 18, 1953. This compares
with $1,025,420 for the corresponding six
months of 1952, which was equivalent to 55
cents per share.

ASCAP Issues A Listing
Of Favorite Tunes

“As a result of many requests,” the Amer-
ican Society of Composers, Publishers and
Authors has issued a listing of hit tunes
of the past 35 years, available under ASCAP
license. The listing is complimentary. The
Society feels the listing will serve as a ready
reference source of program material for
television and radio broadcasters, advertising
agencies, and theatre exhibitors.

Announce "Laurel" Winners

“Barabbas” has been selected as the win-
ner of the Silver Laurel Award from the
Scandinavian contestants and joins winners
from other European linguistic groups in
the David O. Selznick 1953 Golden Laurel
Award. The winner will be disclosed at the
Edinburgh Film Festival August 30.

f -# Sets
13 Pictures
For 1933

Universal-International will release 13
major features, 10 of them in color by Tech-
nicolor and two in 3-D, during the remain-
der of 1953, it was announced this week by
Charles J. Feldman, general sales manager.

The 13 films, Mr. Feldman noted, com-
prise the most important group of features
to be released by the company in any com-
parable period in many years. They repre-
sent virtually all categories. All are suitable
for wide screen projection and many have
stereophonic sound tracks.

All the pictures will be backed with heavy
promotional and advertising campaigns, per-
son appearance tours and gala premieres.

The month-to-month release schedule fol-
lows :

August: “Thunder Bay.” Technicolor,
James Stewart; “The Man from the Alamo,”
Technicolor, Glenn Ford; “Abbott and Cos-
tello Meet Dr. Jekyll and Mr. Hyde,” Boris
Karloff.

September: “Wings of the Hawk,”
Technicolor, 3-D, Van Heflin; “The Stand
at Apache River,” Technicolor, Stephen
McNally; “The Golden Blade,” Technicolor,
Rock Hudson.

October: “The All American,” Tony
Curtis; “East of Sumatra,” Technicolor, Jeff
Chandler.

November: “The Glass Web,” 3-D,
Edward G. Robinson; “Back to God’s
Country,” Technicolor, Rock Hudson; “The
Veils of Bagdad” Technicolor, Victor
Mature.

December: “Tumbleweed,” Technicolor,
Audie Murphy ; “Walking My Baby Back
Home,” Technicolor, Donald O’Connor.

Matthew Fox Signs Roach, Jr.,
For "Duffy's Tavern" TV Series

Ed Gardner and his “Duffy’s Tavern”
will be filmed for television appearances,
through a three-year agreement announced
this week in New York by Matthew Fox,
chairman of the board of Motion Pictures
for Television. Hal Roach, Jr., will make
the series, 39 subjects per year, for three
years, at a cost of $45,000 each. They will
be 30 minutes long and be made at the Hal
Roach studios in both Eastman Color and
black and white. William Morris Agency
represented Mr. Gardner.

Studio Worker's Wages
Increased During June

Weekly earnings of craft workers in the
studios during the month of June averaged
$118.19, compared to $107 in May, the
California Department of Industrial Rela-
tions has just disclosed. The increase is at-
tributed to a longer work week. This be-
came 42.4 hours instead of 39.1. The De-
partment also reports fewer workers em-
ployed than normally.

MOTION PICTURE HERALD, AUGUST 8, 1953

1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 ( 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 ! 1 1

bv WILLIAM R. WEAVER
Hollywood Editor

Abner J. Greshler is putting the finishing
touches on his “Yesterday and Today.” This
is a feature-length picture composed of
scenes and sequences
from films produced
as long ago as 1893
and all the way
down the calendar to
now, plus new con-
nective footage in
which George Jessel,
narrator of the
whole, sings a couple
of songs by way of
establishing the nos-
talgic mood of the
enterprise. Producer
Greshler is 41. He
came into the motion
picture business in 1951 and has a lot more
confidence in it than most people who got
in when gold dripped from every reel. He’s
spent no millions of dollars on “Yesterday
and Today” — didn’t need to — and hasn't de-
cided yet about a distribution channel, but
he’s dead certain of one thing: “This pic-
ture ought to play the Music Hall !”

Abner J. Greshler is one of the two or
three young men around here who can say
that about his own production without being
discounted or worse. But this town doesn’t
discount a young man who can put a couple
of unremarkable nightclub singles together
and come up with a Martin & Lewis. Nor
one with savvy enough to stick with a
Jimmy Boyd through his growing pains in
the conviction that he’d rock the recording
industry one day with an “I Saw Mama
Kissing Santa Claus.” No project ever
looked more improbable, to everybody hut
him, than these did before they landed.

Yes, a man who could see the undis-
covered merit in Martin & Lewis and in
Jimmy Boyd could be right about “Yester-
day and Today” belonging on the Music
Hall screen, without its having cost as much
as “Band Wagon” to produce. Because
there’s a growing amount of evidence at
hand these days to suggest that the motion
picture itself is of wider and deeper interest
to the population than any single picture is.
It is clear enough that the whopping turn-
outs greeting the 3-D features and the other
technological precedents are made up of
people interested in what is happening to
the motion picture rather than in what may
be happening in a motion picture.. And the
Greshler “Yesterday and Today” is a pic-
torial record of what has been happening to
the motion picture from the day it was born !
The reasoning tracks.

That was, in rough, the basis of the

Greshler thinking when he started out to
assemble, edit and integrate the tremendous
assortment of scenes and sequences, from
all over the world, which he has used in
“Yesterday and Today.” He thinks the
public is right for such a picture, and that
the industry will prosper with it both finan-
cially and in public regard. And just in
case he proves to be right about “Yesterday
and Today,” or even if it doesn’t quite make
the Music Hall, he’ll have completed by
then a successor picture entitled “Past and
Present” in which scenes and sequences
from comedies of the past will be used ex-
clusively, with the Ritz Brothers furnishing
the connective and additional footage.

Three pictures were started, and six
others were finished, during the week,
bringing the shooting level down to 25.

Twentieth Century-Fox started "River of
No Return,” in CinemaScope, in Techni-
color, and in Canada, with Marilyn Mon-
roe, Robert Mitchum, Rory Calhoun and
Tommy Retting among the principals.
Stanley Rubin is producer, and Otto Pre-
minger is directing.

Warner Brothers launched “Rear Guard,”
using the Warner all-media camera, which
means the picture is going in 3-d, as well
as wide-screen and also standard, and in
WarnerColor with WarnerPhonic sound.
David Weisbart is the producer and David
Butler is directing, with Guy Madison, Joan
Weldon, James Whitmore in the cast.

Down in Brazil Hollywood’s Robert Still-
man began producing “Americano,” which
United Artists will release, with Glenn Ford,
Arthur Kennedy, Cesar Romero and Sara
Montiel in the cast directed by Budd Boet-
ticher. It’s in Eastman color and for wide
screen.

Warners Will Make
Ferber's "Giant"

Warner Brothers have ended negotiations
with Edna Ferber and will produce the
novelists current best selling novel, “Giant.”
Other principals in the negotiations have
been Henry Ginsberg, and George Stevens,
the director and producer, who will take on
the job. According to Jack L. Warner,
executive producer, “the screen production
of Miss Ferber’s ‘Giant’ will be on a scale
commensurate with the novel’s title and
subject, the vast state of Texas.”

Kings Complete "Carnival"

“The Carnival Story” has been completed
by the King Brothers, shooting in Germany.
It is in color, and was made in German and
English versions.

A. J. Greshler

THIS WEEK IN
PRODUCTION:

STARTED (3)

INDEPENDENT

Americano

(Moulin Prod., U.A.
release, in Brazil)

20TH CENTURY-FOX
River of No Return
(CinemaScope, Tech-
nicolor, Canada)

WARNER BROS.

Rear Guard

COMPLETED (6)

INDEPENDENT

Free and Easy

(Greene-Rouse Prod.)

Top Banana

(Road Show Prod.,
3-D, Color)

Camel Corps

(Eclipse Prod., 3-D,
Eastman Color, U.A.
release, W.S.)

MGM

Crest of the Wave
(London)

PARAMOUNT

Alaska Seas
(Wide Screen)

UNIV.-INT'L

The Glenn Miller Story
(Technicolor]

SHOOTING (22)

ALLIED ARTISTS

Pride of the Blue Grass
( Color)

COLUMBIA

The Caine Mutiny
(Kramer Co., Techni-
color)

INDEPENDENT

Hollywood Stunt Man
( Bernard B. B. Ray)

Beachhead (Aubrey
Schenck Prod., Pathe-
Color, U.A. release,
Stereophonic, W.S.)

Hondo ( Wayne-Fellows
Prod., Warner release,
3-D, WarnerColor,
All-Media )

Carnival (King Bros.,
RKO release, Color,
3-D, Munich)

MGM

Tennessee Champ
(Ansco Color)

Gypsy Colt
(Ansco Color)

Rhapsody (Technicolor,
Wide Screen)

Knights of the Round
Table (Technicolor,
CinemaScope, Lon-
don )

The Flame and the Flesh
(Technicolor, Wide
Screen, Europe)

PARAMOUNT

Casanova's Big Night
(Technicolor, Wide
Screen) (formerly
Mr. Casanova)

The Naked Jungle
(Technicolor, Wide
Screen )

Knock on Wood
(Technicolor, Wide
Screen )

RKO RADIO

Rangers of the North
(3-D, Technicolor)

The French Line

(Edmund Grainger
Prod., Technicolor)

20TH CENTURY-FOX

King of the Khyber
Rifles (Ci nemaScope,
Technicolor)

Prince Valiant (Techni-
color, CinemaScope)

Hell and High Water
(CinemaScope,
Technicolor)

UNIV.-INT’L

Ride Clear of Diablo
(Technicolor)

Son of Cochise
(Technicolor, 3-D)

WARNER BROS.

The Bounty Hunter
(3-D, All-Media,

WarnerColor)

iiMiiiimiiiiiiiiiiiiiimiiiiiMiimiiiiiiiiiiiiiiiiiiii

Allied Artists Executives
End Production Conference

Major Allied Artists executives wrere in
sessions in Hollywood last weekend, dis-
cusing 1954 plans and productions. Among
these were Morey R. Goldstein, vice-presi-
dent and general manager, who returned to
New York; Steve Broidy, president; Harold
Mirisch and G. Ralph Branton, vice-presi-
dents; Walter Mirisch, executive producer;
Harold Wirthwein, western division sales
manager; and John C. Flinn, director of
advertising and publicity.

MOTION PICTURE HERALD. AUGUST 8, 1953

WELCOME

-■j'% V;

if-

BURT LANCASTER

'BRONCO APACHE" - color by Technicolor

HUMPHREY BOGART BEAT THE DEVIL”

GARY COOPER “RETURN TO PARADISE ’— color by Technicolor
KIRK DOUGLAS ACT OF LOVE"

ERROL FLYNN "CROSSED SWORDS" and “THE STORY OF WILLIAM TELL"
- both in Pathecolor

WILLIAM HOLDEN THE MOON IS BLUE”

JOEL McCREA “SHOOT FIRST”

JOHN PAYNE “RAIDERS OF THE SEVEN SEAS" -color by Technicolor
and "99 RIVER STREET"

GREGORY PECK "THE MILLION POUND BANK NOTE" and

“THE PURPLE PLAIN” — both in color by Technicolor

not to mention MICKEY SPILLANE "I, THE JURY"

JOHN HUSTON “BEAT THE DEVIL"

ANATOLE LITVAK "ACT OF LOVE-
LEWIS MILESTONE "MELBA” -color by Technicolor
ROBERT PARRISH “THE PURPLE PLAIN ’-color by Technicolor
OTTO PREMINGER “THE MOON IS BLUE”

MARK ROBSON "RETURN TO PARADISE" -color by Technicolor

GREAT

STARS

and #

ELIA

JOSEPH L.

ROBERT

KAZAN

MANKIEWICZ

ROSSEN

"THE GOLDEN

"THE BAREFOOT

"ALEXANDER

WARRIORS"

CONTESSA"

THE GREAT"

GREAT

DIRECTORS

Stories, Writers, Producers, Directors . . .

THE BIG NEWS TODAY COMES FROM

•:£s

ALBANY

Two Albany conventional theatres, a pair
of nearby drive-ins and a Schenectady in-
door house featured 3-D pictures in the first
saturated simultaneous showing of 3-D films
hereabouts. Fabian’s Palace screened “Fort
Ti”; the Stanley Warner Madison played
“House of Wax"; Fabian’s Mohawk drive-
in exhibited “It Came From Outer Space";
the circuit’s Saratoga presented “Man In
the Dark"; its Plaza, Schenectady, offered
“The Charge At Feather River.” Most of
them were reported to have done pretty
well. . . . Exhibitors in town included : Louis
W. Schine, Donald G. Schine, George
Lynch, Gloversville ; Mr. and Mrs. Frank
Varga, Roxbury; Mrs. Wade Boumansour,
Malone; R. Dushaene, Tupper Lake; Mrs.
Oscar Frezon, Athens; William Barrington,
Rensselaer, and Rube Canter, Syracuse and
Watertown. . . . Will of Walter H. Wer-
time, owner of the Chester, Chestertown,
and Regent, Cohoes, who died recently at
the age of 81, left an estate of $70,000 to
the widow and seven children.

ATLANTA

Mrs. Lillian Anglin, Monogram South-
ern Exchanges, is on a visit with her daugh-
ter in Buffalo, N. Y. . . . S. A. Lynch, Jr.
has succeeded his father as president of
S. A. Lynch, Corp. in Miami. . . . The Pa-
lace theatre, Lakeland, Fla., has leased the

theatre to Carter-Carr-Tate, Inc J. H.

Thompson, president, Martin and Thomp-
son Theatres in Georgia, was on the row
with friends. . . . Paul Breo and E. E.
Moyer, of Eastman Kodak, were in for their
annual visit. . . . Thomas Read, former city
manager for Georgia Theatres, will handle
the concessions at the Atlanta Municipal
Auditorium for the next five years. . . . Bob
Moscow, general manager, Rialto Theatre
Co., back after a business trip to New York.

. . . R. B. Wilby, president of Wilby-Kincey
Theatres, and his wife, are on a visit to
the Orient. . . . The Blueberry drive-in,
Elkton, Tenn., has closed. . . . Georgia Thea-
tres Macon, Ga., appointed as city manager
Jimmy Cartedge.

BOSTON

Ray Canavan, who started as an usher
in Boston theatres 20 years ago, has been
appointed executive assistant to E. M. Loew,
president of a circuit of 40 theatres and 15
drive-ins. He replaces Frank Wolf, who
resigned to move to the west coast. Canavan
has been with the E. M. Loew circuit for
13 years and was promoted from division
manager to assume the new position. . . .
Edward S. Canter, treasurer of American
Theatres Corp. and who also is chairman
of New England area for the Korean Relief
Committee, announced that nearly all the
circuits and independents in this territory
agreed to take audience collections for the
week of August 3-7, as requested by Presi-

dent Eisenhower. ... Nat Ross, veteran film
salesman who is with Relston, Inc., theatre
candy concessionaires, is in Pratt Diagnostic
Hospital for observation. . . . More than 500
entries were received by Paine Furniture
Company in its “All I Desire” contest, which
was won by a Hyde Park lady, Mrs. Roland
Warde.

BUFFALO

Harry Rubin, UlPT chief of projection,
was in town last week-end and also in
Rochester, supervising the installation of
giant, full-stage screens in the Paramount,
Rochester, and the Center, Buffalo. . . . Six
first-run films of a major producer will have
premiere showings in Buffalo-area drive-ins,
beginning next Wednesday, in an unpre-
cedented booking plan instituted by U-I.
Universal has given a title to the innova-
tion, “City-Wide Drive-In Film Festival.”
. . . Fox branch manager Charlie Kosco
noted a full house attended his trade show-
ing of “Sailor of the King” Tuesday in his
exchange screening room. . . . Duane Marks,
manager, Strand, Seneca Falls, N. Y. gets
some swell co-operation from the local news-
paper in the form of mat illustrations used
on his various attractions. ... Ed DeBerry,
Paramount branch head, is captain of the
combined Zukor and Paramount drive and
this week visited exchanges in New York,
New Haven, Albany and Boston where he
delivered pep talks on the campaign. . . .
Harold N. Reid has launched S&R Film
Laboratories in association with Ted Snell
at 62 Niagara Street and are now prepared
to turn out trailers for western N. Y. thea-
tres.

WHEN AND WHERE

September 1-2: Annual convention, West
Virginia Allied Theatres Association,
Matz Hotel, Bluefield, West Virginia.

September 28-30: Conference, Texas
COMPO and International Drive-in
Theatre Owners Association, Adolphus
Hotel, Dallas.

November 12: Annual dinner, Motion Pic-
ture Pioneers, Hotel Astor, New York
City.

October 3-4: Fall board meeting, Allied
States Association, Sheraton-Plaza Hotel,
Boston.

October 5-7: Annual convention, Allied
States Association, Sheraton-Plaza Hotel,
Boston.

■»

CHICAGO

Harry Goldman, who was to have been
released from the hospital last week, was
held there for what the doctor believed
would be another week or ten days because
his recovery was not progressing satisfac-
torily. . . . Andrew Flando, owner of Lo-
testo’s Restaurant on Film Row here, has
hired the employees of A1 Simon’s restau-
rant, which was gutted by fire recently, until
Simon’s reopens. . . . Wally Heim, local
U.A. publicist, and Mrs. Heim have an-
nounced the arrival of their third child, a
boy, at Augustana Hospital last week. . . .
The Bismarck Hotel, which houses Eitel’s
Palace, Chicago home of Cinerama, has
inaugurated a Sunday noon “Cinerama
Brunch.”. . . Mrs. Robert Harrison is back-
in the hospital with the recurrence of an
old illness. Her husband is a partner in
Goodman and Harrison, local theatre cir-
cuit.

CINCINNATI

Something of a record is being established
for neighborhood runs by “Lil,” which is
in its fourth week at the Hyde Park Art
theatre. . . . The annual season of summer
opera has ended at the Cincinnati Zoological
Gardens, which was extended for an extra
week. One of the hghlights was the pre-
sentation of the opera “Salome,” playing
“day and date” with the screen version at
Keith’s at popular prices. Both did excellent
business. . . . What is believed to be a record
in the “usefulness” of a motion picture
screen is claimed by the Paramount theatre,
a Northio unit at nearby Hamilton, Ohio,
where William Dodds, manager, reports that
the RCA screen was in constant use since
the house opened 22 years ago. It was re-
cently replaced by a 3-D screen. . . . Variety
Manor, a hospital for emotionally unstable
children, at Dayton, Ohio, sponsored by the
Dayton Variety Club, received $1,000 from
the club’s annual picnic held recently. . . .
Benjamin Bien, service manager for Na-
tional Screen Servce here, is a surgical
patient in Jewish Hospital. . . . Paul Har-
rington, of nearby Covington, Ky., has
opened his new Calvert drive-in, at Calvert
City, Ky., of which S. H. Pewitt is manager.

CLEVELAND

With a growing theft of loudspeakers in
drive-ins in the Akron area, owners have
taken means to stop this type of vandalism
by having private detectives parole the thea-
tres and publicizing the plan to prosecute
thieves. As many as seven speakers a night
are being stolen. . . . Jimmy Ochs, USMC,
son of Canadian circuit owner Herbert Ochs
has orders for service in the Far East. . . .
Mary Drews, Republic head booker is back
from a Maine vacation. . . . Robert Martin,
Shaker theatre manager, was in Dayton as

( Continued on page 28)

MOTION PICTURE HERALD, AUGUST 8, 1953

, ^

ore than 50 million people are reported to
heard Mary Martin and Ethel Merman sing
a cavalcade of American songs on the great
Ford 50th Anniversary Show." Critics and
.public alike agreed that this act was the high
spot of the show. Their medley of songs, all
written by A SC A P members, were rated as an
all-time Hit Parade.

As a result of many requests, ASCAP now
is offering complimentary a listing of hit tunes
which America has sung and played throughout
the past 35 years and which are available under
an ASCAP license. It is the Society's sincere
hope that this booklet will serve as a ready
reference source of program material for tele-
vision and radio broadcaster*, advertising
agencies, theatre exhibitors, and ali those
engaged in entertaining the American public.

Although this listing contains only a very
small portion of the Society's vast repertory,
we believe that it should make it possible for
those in the entertainment field to discover
more ways in which their ASCAP license can
help them to make greater profits.

THE AMERICAN PUBLIC CHOOSES

ASCAP

MUSIC

AMERICAN SOCIETY OF COMPOSERS, AUTHORS AND PUBLISHERS

575 MADISON AVENUE, NEW YORK 22, N. Y.

( Continued from page 26)

a delegate of the Shaker Heights chapter
of the Fraternity Order of Police Associates.
. . . Robert Long, Fairview theatre man-
ager, and family leave in mid-August for
a visit in California. . . . Harry Buxbaum,
Paramount branch manager, and family left
for a vacation in the east. . . . Lieut. William
Rush succeeds Capt. Emmett Porter as Film
Row fire inspector, Capt. Porter having been
promoted to chief of the fire prevention bu-
reau. . . . Evelyn Friedl, of Community Cir-
cuit, is on Cape Cod. . . . Eddie Cutler is
back in the RKO booking department after
a try in the automotive parts industry. . . .
Paramount theatre, Steubenville, recently
acquired from the Ted Gamble interests by
Skirball Brothers, was scheduled to re-open
August 5.

COLUMBUS

The North Hi Auto theatre, operated by
Lee Hofheimer and Charles Sugarman, is
the first Franklin County drive-in to show
3-D films. Warners’ “House of Wax” was
the first depth film to be exhibited. . . .
Walter Miles, chief projectionist, Ohio
censor board, was named chairman of the
Lantern Movies’ committee for the Coroners’
National Convention here. Harry Schreiber
and Fred Oestreicher were members of the
committee. . . . Avondale, West Side neigh-
borhood operated by Lee Hofheimer and
Charles Sugarman, has closed. The theatre
is one of the oldest in this area. . . . Earl
Wilson, nationally-known columnist, will be
master of ceremonies at the world premiere
of the Dean Martin-Jerry Lewis comedy,
“The Caddy" at Loew’s Ohio August 17.

. . . Ohio censor board is installing 3-D
equipment in a $1,200 revamping project.
Next month a “wide” screen measuring nine
feet by 22 will be installed at a reported cost
of $500.

DENVER

The latest addition to the list of prizes
to be given at Variety Tent 37 Denverities
Aug. 19 is a three-day vacation at the Fla-
mingo, Las Vegas, Nevada — given through
the cooperation of Past Chief Barker Ben
Goffstein of the Las Vegas Tent. . . . Ray
Davis, northern district manager, Fox Inter-
Mountain Theatres, has also been named
manager of the Denver City district, vacated
recently when Hall Baetz left for Seattle,
Wash., to become general manager for Ster-
ling Theatres. . . . Earl Hollingsworth, Na-
tional Theatre Supply shipping clerk, was
killed in an auto accident when driving a
new foreign car. . . . Herbert Buschmann,
United Artists salesman, St. Louis, has been
transferred to Denver, succeeding A1 Bran-
don, who resigned a couple of weeks ago.
Buschmann will cover New Mexico, and will
live in Albuquerque, N. M. . . . Robert
Patrick has bought the Intermountain Film
Exchange from Dick Ivy and Gene Vitale,
and has absorbed the exchange into his other
independent film distributions. Vitale has
gone to work for Patrick as a booker, but
Ivy has not made any announcement of his
plans as yet.

DETROIT

Krim, Highland Park, Mich., is holding
“Elizabeth Is Queen” a second week. The
Queen’s visit to Wales and Princess Mar-

CALLS WIDE SCREEN
THEATRE SALVATION

JOY N. HOUCK, president of Joy Thea-
tres, operating more than 50 houses in
Louisiana, Mississippi, Arkansas, and Texas,
sees the 3-D and wide screen revolutions
as more benefit than trouble. He opines
they are "keeping this industry on its toes."
He also sees the wide screen winning out.

For instance, he relegates the 3-D pic-
tures to the "gimmick" classification, and
sees the spectacles only being brought out
on special occasions. And as for the wide
screen, well, he's thinking lately of "The
Robe," which he claims will make more
money than any picture ever made. He
also says it will be one of the greatest pic-
tures made. Is 20th-Fox listening?

Mr. Houck's interest in production stems
from his captaincy of Howco, a Hollywood
production company. This company, which
should know public taste, just completed
"Untamed Mistress," with Sabu; and its
next will be one with a Louisiana back-
ground, in color. And, of course, with the
wide screen process.

He's remodeling his theatres lately.
There's the Joy, in Rayville, La., and there's
the Strand, in New Orleans, to be renamed
the Panorama, with a wall to wall screen,
and no side seats, a new projection booth,
and banks of new speakers.

garet’s Rhodesia trip are playing the Tele-
news. Proximity to Canada and high Cana-
dian ancestry make film of royalty sure sales.
. . . Mark Parsons, manager, Broadway-
Capitol reports “The Desert Rats” racked
up the biggest week of the summer. . . . En-
couraged by success of “Anna” and other
foreign films in competing houses, The
Coronet poked its head out of the darkness
a month early to show “The River.” Origi-
nally Labor Day had been set for relighting.
. . . The Michigan theatre unleashed 200
balloons carrying oil painting canvases.
Finders who returned canvas to the theatre
received a complete oil painting set.

HARTFORD

Paramount’s “Stalag 17” was held for a
second week in its initial Connecticut book-
ing at the independent Plaza, Stamford. . . .
The Loew’s Poli-New England Theatres
Circuit has installed wide-screen facilities at
Loew’s Poli, New Haven; Majestic, Bridge-
port; Palace, Meriden; and Poli, Water-
bury, with other situations to follow shortly.

. . . The Stanley Warner Circuit has in-
stalled a 23 feet high and 40 feet wide screen
at the first-run Strand, Hartford. . . . The
Columbia (Conn.) Zoning Commission has
approved a long-pending drive-in theatre
application filed by Benjamin Hochberg and
Willard B. Rogers. Construction will start
immediately, and an opening is planned for
early 1954. . . . Atty. Joseph W. Shulman
of the Shulman Theatres, Hartford, and
Mrs. Shulman have returned from a three-
month vacation trip to Europe. . . . James
F. McCarthy of the Stanley Warner Strand,
Hartford, has been vacationing on Long
Island. . . . R. K. Lewis, business agent,
Local 84, IATSE, Hartford, has resumed
his duties at his desk following a surgery
operation.

INDIANAPOLIS

William A. Carroll, secretary of the Allied
Theatre Owners of Indiana, left Monday on
a 2-week vacation trip to Cleveland, Buffalo
and New York. . . . Mrs. Ann Kraft, former
ATOI office secretary, became the mother of
an 8 y2 pound daughter, Nancy Ann, July
18. . . . Emmett V. Martin, 75, veteran thea-
tre man and father-in-law of Carl Niesse,
owner of the Vogue, died here July 28. . . .
The Ritz at North Vernon, owned by C. C.
Klinger and leased to Albert Thompson,
suffered $35,000 damage from fire July 26.
. . . Bob Conn, new 20th-Fox branch man-
ager, has found a house and is moving his
family here from Des Moines. . . . Rex Carr
has installed 3-D at the Zaring here, the
Mailers circuit at the Wayne in Fort
Wayne. . . . Eden Hartford of the “Band
Wagon” cast slipped into town for a quiet
weekend before making a round of appear-
ances that have been scheduled for him Mon-
day and Tuesday on behalf of Loew’s.

JACKSONVILLE

A September opening is expected for Fred
Kent’s new Southside drive-in theatre under
the management of Talgar Theatres. It will
be the first drive-in in the city’s southern
area where there is a population of 50,000.
. . . Hinton Stewart, Bob Anderson’s assis-
tant at the Main Street drive-in, flew to
Hong Kong, China, for a two weeks vaca-
tion. . . . Earl Turbyfill, Warner booker, is
back at his desk after a vacation. . . .An
IASMPO union meeting and social affair
was planned at the George Washington
Hotel. . . . Shirley Gordon, Warner office
worker, left for Minneapolis, and Carroll
Ogburn, Warner branch manager, attended
a sales meeting in Atlanta. . . . Doris
Wazeka, Teresa Avery, and Musette Stovall
are new Fox employees. The former Miss
Mary Smith, Fox staffer, is now Mrs. Wil-
liam Thurman. . . . Jerry Gold and Leonard
Dobrow, Pahokee exhibitors, and Hugh
Martin, Sr., Clermont, made the rounds at
several booking offices while visiting here.

( Continued on opposite page)

MOTION PICTURE HERALD, AUGUST 8, 1953

( Continued from oppposite page)

KANSAS CITY

Temperatures at the 100° -mark nearly
every day do not stimulate attendance at all
air-conditioned theatres. It was reported
that neighborhood theatres (particularly
where top pictures were being shown) have
fared well, but that apparently people who
work downtown don’t want to go back there
in the evening for entertainment. . . . The
joint use of TV broadcasting facilities by
radio stations KMBC and WHB on chan-
nel 9 with CBS programs as national hook-
up, was to start August 1 but has been de-
layed. . . . The downtown Esquire theatre
of Fox Midwest, which recently has been
showing second-run 3-D, is this week show-
ing the first run “Inferno.” Incidentally;
this is the first 3-D picture that has received
highly favorable local review. . . . Senn Law-
ler, public relations director of Fox Midwest,
is one of half a dozen leaders in civic,
charitable and cultural activities designated
to act in the setting up of a memorial to
Mrs. William E. Kemp, wife of the mayor
of Kansas City, Mo., who died recently.

LOS ANGELES

Earl Rice, Admiral theatre, Hollywood,
is sailing to Europe with Mrs. Rice for a
vacation on the Continent. . . . Jack Van
Leer, former booker and buyer for the
Cinema Park drive-in, Phoenix, has joined
the Harry L. Nace Theatres as assistant to
Vincent Murphy. . . . Norma Cain, Warner
Bros, biller, is ailing with a severe case of
ptomaine poisoning. . . . Henry Herbel,
Warner district manager, and Fred Green-
berg, branch manager, flew to San Fran-
cisco to attend a district meeting. . . . Fox
West Coast recently made the following-
shifting with their managerial personnel :
Ray Duff was transferred to the Stadium,
supplanting Dick Mason, who reports to the
La Reina, Sherman Oaks. Duff’s place at
the Culver was filled by Frank Ramsey. In
addition, Jack White has been named man-
ager of the Carmel, relieving Emmett Shane,
who is awaiting transfer. . . . The Surf thea-
tre in Huntington Beach has gone on a
seven-nights-a-week policy, after being on
a part-time basis for several months. . . .
Jim V omble has been named general man-
ager of the Lompoc Theatres, Inc., Lompoc,
to succeed Vincent R. Dixon, who resigned.

MEMPHIS

A CinemaScope screen and stereophonic
sound system are being installed at Loew’s
Palace theatre in Memphis, manager Cecil
Vogel announced. This will be the second
Memphis first-run with this 2Gth-Fox wide-
angle process. Malco finished its installation
last month. . . . Variety held its annual picnic
last week. . . . Robert Wilson, owner, has
opened his new 64 drive-in at Whiteville,
Tenn., and is booking out of Memphis. . . .
Richard Lightman, Malco Theatres, Inc.,
made a business trip to Jonesboro. . . . J. V.
Frew, district manager, Atlanta, was a vis-
itor at Universal’s Memphis exchange. . . .
Elton Holland, manager, Crittenden theatre,
West Memphis, Ark., is on a vacation trip.

. . . Herbert Kohn, Malco executive, made
a business trip to Fulton. . . . Barbara Cason
won the Memphis talent contest held at
Malco theatre in connection with the open-
ing of “Main Street to Broadway.”

MIAMI

Alfred Panetz, assistant at the Olympia,
reports manager Jimmy Barnett off on a
vacation which will include an auto trip up
the east coast. . . . Lawrence Ifshin, assis-
tant at the Normandy, reports the iminent
vacation of manager Wayne Rogers will be
planned around the convalescence of Mrs.
Rogers who has just returned from the hos-
pital. ... At the Strand, managed by Oran
Cohen, ‘bargain nights’ on Wednesday and
Thursday have entry for adults at 25c with
youngsters for 9c, and double features as
usual. . . . George West, manager of the
Dade returned from a variety filled holiday
which included a visit with his 85-year-old-
mother in Long Island and trips to Cuba
and the Isle of Pinos. . . . Ralph Ryder, now
on vacation, will take over his old post as
manager of the Embassy on his return.

MILWAUKEE

Don Baier, former manager of the Cen-
tury theatre here, has left for the service.

. . . Harry Karp takes Dick Saeger’s place
as buyer and booker for the Eskin Thea-
tres. . . . Theatre janitors here, belonging
to the Building Service Employee’s Local
150, received a 5c raise with a 2l/2c raise
next year. . . . Among the outer-towners
here recently was Bob Wile, executive sec-
retary of Ohio Allied, who was here to con-
fer with Harold Pearson and Ed Johnson,
Roosevelt theatre, regarding the National
Drive-in theatre convention which will be
held at the Netherland Plaza Hotel, Cincin-
nati, February 1954. . . . Another visitor
here was Charlie Niles, from Anamosa,
Iowa, well known theatre man who has re-
cently sold his theatre holdings there. . . .
Mike Lee, district manager for United Art-
ist, was in town last week to visit the ex-
change, as was William Bucholtz, Forest
theatre, Trenary, Michigan. . . . Ken Siem,
office manager at United Artists, is on his
vacation at Kangaroo Lake near Sisters
Bay.

MINNEAPOLIS

Front office and service employes of the
film exchanges received 10 cents an hour
increase in salary retroactive to Dec. 1, 1952,
under a new contract negotiated by the
union (IATSE) with the distributors. . . .
Branch managers from Minneapolis, Mil-
waukee, Omaha, Kansas City, St. Louis and
Des Moines attended a 20th-Fox division
meeting in Minneapolis conducted by M. A.
Levy, 20th-Fox district manager. . . . The
new 435-car Moonlight drive-in at Moor-
head, Minn., was opened this week by the
Welworth circuit, operators. Bert Johnson
and Dan Peterson also opened their new
300-car Sioux drive-in at Redfield, S. D.,
this week. . . . Clarence Ellingboe is the new
office assistant at Northwest Sound Service.

. . . Irving Mills, office manager at Columbia,
is leaving the industry to sell women’s ac-
cessories on the road. . . . About 300 persons,
including 24 exhibitors, attended the three-
in-one-day Paramount trade screening held
at the Loring theatre last week. . . . Betty
Mae Libra is the new stenographer-typist
at Republic.

NEW ORLEANS

Mr. and Mrs. Wm. Castay and son are
vacationing in Key West and Miami, Fla.
They own and operate the local Jeff and

La Place drive-in theatre, La Place, La. . . .
Ruth Toubman, secretary, Southeastern
Theatre Equipment, is leaving Aug. 8 on a
three weeks vacation jaunt on the east coast
with stopovers in Atlanta, Washington,
D. C. and New York City. . . . Mr. and
Mrs. Cecil Kendrick, Milba, Haynesville,
La. ; the theatre's cashier, Joan Johnson, and
friend, Mrs. Wilson Brewer, visited with
buyer and booker, J. G. Broggi. . . . Don
Kay, Kay Enterprises, is back home re-
cuperating after a brief stay in the hospital.
. . . John Richards is back at his desk at
Slidell Theatres, Inc. after an extended stay
in Jackson, Miss, in the interest of their
Pix theatre. . . . Sue Jones, of the Hill Top,
Clinton, Miss., advised that operations will
be suspended from August 16 to September
7. . . . The Livonia, Livonia, La. ceased
operations July 29. . . . Manager Wm. Holli-
day, Paramount and family are back from
a pleasure trip in North Carolina.

OKLAHOMA CITY

Employes of the Kerr-McGee Oil Indus-
tries, Inc., who turned movie actors for a
brief time during the filming of the picture
“Thunder Bay,” had an opportunity to see
themselves perform at a special showing of
the movie July 29 at the Midwest theatre.

. . . “City of Badmen” now showing at the
Harber and Plaza theatres, will be shown
at over 100 theatres throughout Oklahoma
and Texas, during July and August. . . .
Del Cith theatre held a Kiddie Matinee
July 29. . . . Midwest theatre is another
first-run movie house to install a wide-angle
screen. . . . Both the Starlite drive-in and
Skyview drive-in theatres at Ardmore,
Okla., recently held “Bargain Nights” when
price of admission was 50c per car load.

PHILADELPHIA

Dave Milgram, head of the Milgram
Theatres Circuit, has branched out into the
building business, constructing houses. . . .
Addie Gottschalk, RKO salesman, is now
handling the office manager’s post at the
local exchange. . . . Harry I. Waxmann,
veteran Atlantic City, N. J., exhibitor, has
accepted the chairmanship of the 1953-54
Israel Bond Drive there. . . . Sam Tannen-
baum, owner of the Surf and Lyric, Atlantic
City, is up and around again following in-
juries he received when he was struck by an
auto while visiting the film exchanges here.

. . . Local Variety Club, Tent No. 13, held
its outing and picnic luncheon this week at
the club’s Camp for Handicapped Children.

. . . Orient, closed neighborhood house, has
become a farmers market. . . . Morrisville
drive-in, Morrisville, N. J., is the latest
open-arier in the territory to open, operated
by Bob Baranoff. . . . Paramount product
now being split in the downtown district,
with the William Goldman Theatres getting
the brand features for the first time. . . .
Wilson and Day closed down their Sher-
wood here. . . . Both the local Variety Club
and the Motion Picture Associates issued an
appeal for blood donors to come to the aid
of Tom Elliott, of the Garden, Frackville,
Pa., who is in a serious condition at Jeffer-
son Hospital here.

PITTSBURGH

Film Row is mourning the death of Wil-
liam H. Fox, general manager of the Her-
man Theatres at Carnegie. He was on the
( Continued On following page)

MOTION PICTURE HERALD, AUGUST 8, 1953

( Continued from preceding page )

board of directors of the Allied Motion Pic-
ture Theatre Owners of Western Pennsyl-
vania and served as its treasurer. . . . The
Fulton had to shut down for an entire day
to have a new large screen installed for the
incoming “Thunder Bay.” . . . One reason
that the movie houses in the downtown dis-
trict are having a tough time matching
grosses, the Civic Light Opera’s production
of "Naughty Marietta” did an excellent
$39,000 for six days. . . . Projectionists
Dutch Lauth and Joe De Man took a ma-
chine and “Gentlemen Prefer Blondes” to
the home of ailing Carl Doser, chief Barker
of Variety Club Tent No. 1. That did some-
thing to cheer the Variety Clubber who is
having a long seige. . . . After a great run
in the suburban Squirrel Hill theatre, Gave
Rubin brought a “Queen Is Crowned” down-
town to his Art Cinema theatre and the pic-
ture still is packing in the customers.

PORTLAND

Business is on the upgrade here for the
second week with strong product in at all
first run houses. “Shane” is going great
for a second week at the Orpheum at in-
creased prices. . . . “The Moon Is Blue”
opened at the Mayfair with inflated admis-
sion. . . . Same goes for “Inferno” at the
Paramount. . . . “Lilie,” set for two weeks
at Marty Foster’s Guild’ has been doing un-
believable business for 10 weeks and will
head into another. . . . Mr. and Mrs. Charles
P. Skouras Sr. and the son visited town all
week. . . . Evergeen brass, Frank Newman,
Sr., and William Thedford, were also on the
scene. . . . The Mayfair will be completely
rebuilt after being torn down to the four

way. . .

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For Foil Information On Renral Equipment Write:

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walls. . . . Name will be changed to the Fox
theatre. . . . Irwin Westenskow, owner of
the Pix theatre, Woodburn, Ore., just
opened a 400-car drive-in at Woodburn. . . .
Dick Edge, J. J. Parker city manager in
Astoria, Ore., was the “Admiral” for the
annual regatta.

PROVIDENCE

Hearings on a second petition for a drive-
in theatre off Warwick Avenue, near Sandy
Lane, in nearby Warwick, are expected to
provide nearly all the fireworks at the next
meeting of the Warwick City Council. Leo
T. and Louisa Martineau previously sought
a change in the zoning law of the property to
enable them to construct the theatre. De-
spite the fact the proposal was unanimously
rejected at the last session, the Martineaus
will put up a strong fight for a reversal.

. . . Three of this city’s four first-run houses
are now equipped with full-stage-sized
screens. They are the Majestic, Loew’s
State, and RKO Albee. . . . The Strand,
which not too long ago installed a larger-
than-customary screen, may soon switch to
the full-stage screen. . . . Gene Moulasion,
manager of the Strand, Syracuse, is relieving
Maurice Druker, Loew’s State manager, who
is vacationing. . . . Chester McLean, assis-
tant at the Strand, this city, is enjoying his
summer vacation.

SAN FRANCISCO

New theatres opening were the San Pablo
Auto Movies (T & D), San Pablo, August
1 ; the new 350-car Mineralite drive-in at
Hawthorne, Nevada (owned by Charles P.
Leonard), July 31. . . . The Chabot theatre
in Castro Valley went from ownership of
Norman Goodin to Edwin B. Rivers. . . .
Bill Greenbaum Buying and Booking Agency
now has the contract for booking two
Brown-Pacific-Maxon Company theatres on
Guam. . . . George Archibald of the film buy-
ing and booking agency bearing his name,
in an expansion move, has closed his San
Francisco office and established new head-
quarters in Palo Alto. . . . The row was sad-
dened with the death of John Forde, 71, pro-
jectionist, who died of a heart attack in the
booth at the Golden Gate theatre July 24.
He was the father of John Forde, business
manager of the IATSE projectionists’ local
here. . . . Resignations include Alice Crain,
head booker, Motion Picture Service, to live
in Long Beach, and Terry Cox, Loew’s
Warfield press agent. . . . John Bach, for-
merly with Westland Theatres, is now man-
ager of Nasser Bros.’ Alhambra.

ST. LOUIS

Harry G. Arthur back from a west coast
trip. . . . Lester Bona, St. Louis manager
for Warner Bros., and Hall Walsh, south
prairie manager, back from Chicago meet-
ing of midwest, north and south prairie dis-
tricts. . . . Andy Doetz, boss man of Dietz
Enterprises and Cooperative Theatres, re-
covering at St. John’s Hospital here follow-
ing major operation. . . . Committee member
selections for the December 14-15 meeting
of the MPTO of this area has been an-
nounced by Tom Bloomer, president of
MPTO. . . . John A. Fisher, a charter mem-
ber of the Motion Picture Operators Union
Local No. 143 died in July. . . . Arch Hosier,
St. Louis Theatre Supply Co., and family
are on Virginia vacation. . . . With his pro-
motion to district manager for UA, Mike
Lee had to turn in his resignation from the

Executive Committee of the Amusement
Employees Welfare Fund.

TORONTO

First Canadian engagement of UA’s
“Moon Is Blue” at the Uptown, Calgary, is
breaking the records set by “Moulin Rouge,”
with the picture now into its third week.
CinemaScope installations are being planned
for Hamilton and London, following instal-
lation here in the Imperial, PPCC’s flagship.
First demonstration is planned for Aug. 11.
. . . Canadian premiere of “Shane” will be
at the Imperial Aug. 14. . . . Allan Hewitt is
the new assistant manager at the Nortown,
following the shift of Bob Shearing over to
the Eglinton . . . Bill Novak was named
winner of the “Young Bess” contest. He
received a $250 cash prize from MGM. . . .
Hugh C. Elsam has been named sales man-
ager of Shelly Films, it has been announced
by Leon Shelly, president. . . . Only English
film to open in many weeks in Toronto is
Rank's “Titfield Thunderbolt,” at the Odeon
Hyland. . . . Death in New York of Ned
Buddy, well-known newsreel executive, was
received here with regret as he had made
many friends during his association with
Cinema (Canada) Pictures, Ltd.

WASHINGTON

The Variety Club of Washington pre-
sented to the Arlington-Fairfax Heart As-
sociation, a 16mm projector and screen, to
be used in their educational program
throughout northern Virginia. At the pres-
entation were Victor J. Orsinger, chief
barker of Tent No. 11, and Wade Pearson,
board of governors. . . . Fred S. Kogod, of
K-B Theatres and Kogod-Dubb, has ac-
cepted a three-year appointment to the newly
set up Public Welfare Advisory Council of
the District of Columbia. . . . The Rockville,
Md., city council, has given K-B Theatres
permission to build a $250,000 drive-in. . . .
K-B Theatres also has taken over the Col-
ony theatre, formerly a Warner house. . . .
Robert Smeltzer, district manager of War-
ner Bros. Pictures, attended a home office
meeting in New York. . . . Alvin Q. Ehr-
lich, 2nd assistant chief barker of the Vari-
ety Club’s annual Welfare Awards Drive.

. . . Sam Roth has taken over the Apollo and
Strand theatres in Martinsburg, West Vir-
ginia, from Warner Bros.

Columbia Promotes Sherman;
Herbert Smith Succeeds

Irving Sherman, personnel director and
office manager for Columbia, at the New
York home office, this week was tranferred
to an executive administrative post with
Columbia International. Herbert L. Smith,
director of purchases, is assuming Mr. Sher-
man’s former duties. Additional promotions
have been made as a result of this transfer.
Jack Kerness has been made assistant man-
ager of the purchasing department. Gloria
Weinstock has been named assistant man-
ager of the personnel department.

IATSE Board, August 24

The general executive board of the Inter-
national Alliance of Theatrical Stage Em-
ployees will meet in New York August 24.
This is the annual mid-summer session. It
will continue until all business is considered.

MOTION PICTURE HERALD, AUGUST 8, 1953

An International Association of Motion Picture Showmen — Walter Brooks , Director

"Theatre tftanagerA £ay '“Thank tfcu ” for "Tax Help

WIN, lose or draw, it is proper for
theatre managers generally, and all
good members of the Round Table,
to put their thanks in writing, and see that
these letters of appreciation are dispatched
immediately to their Congressmen, and to
legislators in both houses who helped in the
vote for tax repeal.

It was in the face of odds, against opposi-
tion in many quarters — and as this is writ-
ten, we are still waiting for the final ver-
dict— whether or not the President will
sign the measure. But whether he does or
not, it is as Trueman Rembusch says — we
should by all means, convey our thanks to
the men in Washington who stood by our
cause. Members of the Congress are often
asked for their support, but seldom thanked
for their efforts, afterwards.

Please, let’s do this, promptly, properly,
with your gracious appreciation. We are
sincerely grateful, and we should say so —
to the members of Congress from your own
district, to all those who contributed to the
Mason Bill, in Washington, and to the
President himself — but do it now, regardless
of the outcome, for we have won a victory.
And it will remain a victory.

There can be no crowding, industrywise,
to take credit for the phenomenal result,
thus far. This cause was fought and won
at the grass roots, and none need elbow their
way into the foreground for reflected glory.
Praise to Colonel Cole and Trueman Rems-
busch, of Allied; to Pat McGee and Sam
Pinanski, of TOA; and to Robert W. Coyne,
of COMPO, and A1 Lichtman, of 20th
Century-Fox, for a super-effort, well done.
But the thanks of the industry go to the
grass root exhibitors, the independent the-
atre owners, who won this fight because
they had to fight alone. It couldn’t have been
won any other way. It would never have
been done any other way. For once, out of
a welter of talk, we have seen action. The
circuits couldn’t have made the same pre-
sentation of the case. It was the small town
theatre owner and manager who deserved
the break. We’ve often said, “all business is
local — and it is proven again.

PATRON SAINT

The John Hancock Mutual Life Insurance
Company, in their national magazine adver-
tising— and over their own "John Hancock"
— have published this fine, descriptive illus-
tration of the patron saint of showmanship,
Phineas T. Barnum, of Bridgeport, Conn.
We borrow that illustration, forthwith, to
praise its source and to acknowledge the
debt of all showmen to this old master.

To quote the original advertisement —
and a showman, Sam Pinanski, of Boston, is
a director of John Hancock Mutual Life —
P. T. Barnum, a storekeeper, said to him-
self, one day: "I sell people food, but
people need more than food. People need
fun. I will show them things to make them
marvel and to make them laugh. I will
show them sights to broaden their minds
and lighten their hearts."

We are a nation that has known from the
beginning that there is a connection be-
tween fun and freedom. Our founders told
us so when they put liberty and the pur-
suit of happiness together in the Declara-
tion of Independence. We, who are also
showmen, will always have a warm spot in
our memory for men like Barnum, who
added happiness in big and little ways.

He appealed to the kid in all of us.

No thanks are necessary to the League
of New York Theatres, for their wire
of protest in opposition to the benefits of
tax repeal, unless they have it, too. There
is no comparison in the purpose or program
of the so-called “legitimate theatre’’ with
the motion picture theatre which constitutes
America’s best entertainment.

In the first place, the Broadway theatre
has priced itself out of reach, and those
who can and will pay $6.60 and up, for a
theatre ticket are not in any comparable
bracket with those who pay 60^ and less for
the movies. Also, the League makes the
admission, that it has a record of 75%
failures — but they don't say why — and we
can tell you. It’s because a majority of
stage shows are too vulgar to obtain family
trade. They cater to a “cafe society” au-
dience that likes filth, and it has long been
a matter of record, that they often fail.

We can praise the fur industry, who are
hard hit with a 20’% luxury tax, on what
most people consider an admitted luxury —
expensive furs. But this industry came out
in favor of tax repeal for the movies, on a
basis of long-range thinking.

CSV,

Bob Wile, executive secretary of the
Independent Theatre Owners of Ohio,
has apparently forgotten much that was fa-
miliar to him when he sat at this editorial
desk, some years ago. Nor would Gus Eyssell
thank him for the suggestion in the current
Ohio bulletin that the Radio City Music
Hall “could well afford to reduce its price
from $1.25 it is now charging, to $1.00 and
still make money — in fact, the price reduc-
tion might bring more business.”

Not so, Robert. The Music Hall has an
employed staff of over 400 people, it is an
expensive operation, they offer a costly and
beautiful stage show. And the ordinary ad-
mission price on Broadway, evenings, is
$1.80 — if he didn’t know. Our argument on
this point is to tell and sell your patrons in
the small towns that they get the same pic-
tures on the home front for about one quar-
ter the Broadway price. — Walter Brooks

MANAGERS' ROUND TABLE SECTION, AUGUST 8, 1953

3-IM Premiere Of
“Feather Hirer"

Out of Texas, state-wide, via the Interstate circuit, The Charge
at Feather River opened with a roar that could be heard across
mountains and plains. In three dimensions, it spread to Denver and
the Coast, and back to the Paramount on Broadway, to break box
office records. It's super-Warner, sight and sound, in color!

Chief Running Bear scalps a couple of Los
Angeles newspapermen (who didn't need the
treatment!) preliminary to the premiere; at
left, the motor caravan escorted by cowboys
at Vernon, Texas, and below, visiting stars at
the historic Alamo, for the Majestic opening
in San Antonio.

Above, at left, local Indians do their war-dance in front
of the Denver theatre, Denver, Colorado, for the Rocky
Mountain premiere; and below, Interstate circuit execu-
tives greet visiting stars in San Antonio with typical Texas
hospitality. Left to right, behind the table, Jack Chalman,
publicity director, Lynn Kruger, Majestic manager, and
George Watson, city manager.

MOTION PICTURE HERALD, AUGUST 8, 1953

Han Krendel SHOWMEN IN ACTION

Names His
Winners

Dan Krendel announces the top winners
in his 25-week showmanship drive — six-
jam-packed with a thousand ideas, a thou-
sand selling approaches, with particular
emphasis on the three “P’s,” Publicity, Pro-
motion and Pubilc Relations, in his Ontario
“B” district, of Famous Players-Canadian
theatres, up north of here. Our congratula-
tions to those winners, and our apologies,
if we coudn’t keep up with the speed and
frequency of Dan’s direct hits on the target.
It’s been quite an experience.

First prize in group “A” to Bob Harvey,
manager of the Capitol, North Bay, and
that we can believe, for we’ve seen many
of his exhibits. Second prize winner in the
group is Art Cauley, at the Paramount,
Peterboro, and third, is Bill Burke, of the
Capitol, Brantford. In group “B” — Len
Gouin, manager of the Capitol, Peterboro,
was first, T. Walters, manager of the Re-
gent, Oshawa, second, and Earl Scandrett,
manager of the Royal, Woodstock, was
third. Prizes awarded the two groups are
about even-stephen, and we don’t quite un-
derstand the distinction, but we do note
several names in this news that haven’t been
familiar.

Our sincere compliments to Dan Krendel
for a terrific job, proving again how impor-
tant and valuable is the consistent selling
of the theatre and product, the: company and
the industry. He has lead a .splendid demon-
stration of showmanship on a broad scale,
and he deserves all the credit and compli-
ments that can be accorded him. In typical
fashion, he personally extends his apprecia-
tion and thanks to the good showmen that
made such a drive possible. It is factual
information in the Round Table that Canada
leads in our showmanship mail, and that
“business is good for those who make it
good” — as they do, north of the border. Dan
is particularly well pleased with the sus-
tained efifort, the enthusiasm that was cre-
ated from the beginning and which held true
to the line, throughout such a long drive.
We know that it took many hours of diligent
effort, directing, doing and describing these
results in “Ballyhoo”.

A luncheon honoring the winners is sched-
uled in Toronto at an early date, and we
hope for a group picture of these winners,
as a proper illustration for “Showmen in
Action.” We’re keeping the score sheet, un-
til we can see them, left to right.

Picture, Please

Jerry Baker promises us pictures — and
we’ll be looking for them — for his campaign
on It Came From Outer Space. One of
his stunts was a 3-D Space Girl Contest,
with the winner in an enclosure in front of
theatre with the world’s largest 3-D glasses
through which patrons were invited to look.

Lou Cohen is another of Loew’s man-
agers in the field who have had lovely
models distributing MGM record albums to
disc pockeys around town, a friendly bit of
promotion for Loew’s Poli theatre, Hart-
ford, and it flatters the platter spinners.

▼

Colonel Bob Cox, of Schine’s Kentucky
theatre, Lexington, Ky., had a reel co-op ad
tieup, with merchants using a film strip de-
sign to border their ads for All I Desire.

▼

Warner’s is launching an 18-city personal
appearance tour for Merv Griffin, rising
young singing star of So This Is Love —
which is the Kathryn Grayson story of
Grace Moore's life — starting in Pittsburgh
and doubling back from Boston to Los An-
geles.

▼

D. P. Savage, manager of the Capitol
theatre, Listowell, Ontario, built a crown
over two feet high of various colored flowers
as the pinnacle of his promotion for A
Queen Is Crowned.

▼

Ted Davidson, manager of Walter Reade’s
Paramount theatre, Asbury Park, used
boardwalk tactics to ballyhoo Houdini with
a local magician and staff people doubling
in magic tricks.

▼

Vincent Youmatz, manager of the Tor-
rington Drive-In, Torrington, Conn., run-
ning a comic-book giveaway as an underline
for his “Kiddies Kartoon Karnival” — for
Tots to Totterers !

▼

George D. Landers, spreading three-di-
mensional display in the newspapers for
Stranger Wore a Gun — 3-D attraction at
E. M. Loew’s theatre, Hartford.

Bill Elder, manager of Loew’s Penn the-
atre, Pittsburgh, sends us tear sheets on
Herb Shriner’s personal appearance in ad-
vance of Main Street to Broadway.

The Catalina Bathing Suit Pageant
which George Cameron, manager of Schine’s
Vernon theatre, Mt. Vernon, Ohio, pro-
moted, went over with a splash, according
to headquarters dispatches. The local store
did a real job, even hiring professional
models.

▼

Schine’s theatres have been giving away
a free “Thousand Island Vacation” in a
number of their towns that border on this
resort area, with phenomenal results, via
sponsored contests and local tieups.

Egon Easer writes from his new Odeon
theatre, Beuel/Rhine, Mittlestrasse 1, Ger-
many, and says he had the pleasure of meet-
ing Gregory Peck, on location, and that
Bing Crosby, Errol Flynn, Gary Cooper and
others, have been recent visitors.

Paul Pine, manager of Schine’s theatre
at Ravenna, Ohio, found a picture of Clark
Gable in Coronet magazine and the story
that he once attended school in Ravenna.
Result: some free publicity mats and a story
in the local newspaper.

Seymour Morris, of Schine’s headquarters
staff at Gloversville, reports that the Rem-
ington-Rand Kiddie Shows held annually at
the Liberty, Herkimer, and Capitol the-
atres, Ilion, N. Y., were a bigger success
than ever, with breaks in the Utica papers.

Frank Lynch, manager of the Meriden
theatre, Meriden, advertised a hold-over
“No gimmicks, no gadgets — Shane stays on
the screen.” He calls his house “the indoor
drive-in theatre” with free parking for 500
cars.

Ernie Gracula, advertising manager of
the Central theatre, West Hartford, and
Jim McCarthy, at the Strand theatre, Hart-
ford, getting big breaks for wide screens in
all the newspapers.

Harry Unterfort, city manager for S chine's theatres in Syracuse, probably read about
striking oil on the Fox studio lot , so he started drilling in front of the Paramount,
incidentally as ballyhoo for "Thunder Bay"— In any event, he'll strike something!

MANAGERS' ROUND TABLE SECTION, AUGUST 8, 1953

Came Back?

Can the Maries

A COMMENTARY BY MARTIN BOUHAN
RADIO STATION WOPA, OAK PARK,
ILLINOIS, FRIDAY, JULY 31, 1953

The death knell of the motion picture
emporiums is being rung by the exhibitors
themselves, who like the riverboat captains
of a nostalgic era, live in a dream world
of yesterday. The majority are not show-
men. For the past twenty years, the ordi-
nary exhibitor has depended on the studio
experts to prepare his publicity. All he had
to do was use it.

Since the house was usually packed, he
felt important as he strode the lobby, shak-
ing hands with the socially prominent. And
he was convinced of his genius as he stepped
out on the sidewalk and saw a block-long
queue waiting for the late show. He con-
sidered his primary function was giving
passes to the right people. His authority
was supreme as he ordered the ushers to
check the front rows and admonish the kids
to keep their feet off the seats.

Says We’re Not Showmen

Today the lobby is empty, there are no
kids in the front seats and no crowds on
the sidewalk. Since he is not a showman,
the exhibitor is lost. He inherited his the-
atre from men like Roxy, Barney Balaban,
Sid Grauman and others . . . who were
men of vision, who knew the pulse of the
people. These men realized that all people
are creatures of habit and susceptible to
emotion . . . and the screen portrayed emo-
tion. They played on the public’s emotions
to create the habit of movie attendance.

The suggestions I am going to make are
based on the assumption that soon every
theatre will be in a TV area. They may
seem radical, if not stupid, to many an
exhibitor who has never had a creative
idea. I realize that what I am going to
say applies to the smaller communities
rather than the large cities. For the sug-
gestions are limited by the facilities of the
stage as well as the house; also, union regu-
lations are always a problem. However,
I feel that some of the suggestions could
be used to advantage by all exhibitors.

Vetoes Double Features

First — Get rid of double features. They
are passe. Where is the logic of charging
one admission for two full length features?
This fad started in the depression when for
75 cents two people could spend from four
to six hours in a movie. Today, the pace
has speeded up. The public is used to TV,
where the running time of movies has been
cut to an hour or less.

How can anyone enjoy or understand a
novel by starting at the middle, following
it to the end, then turning to an entirely
different story, reading it through and com-

The opinions expressed by this
commentator are his own, and do not
necessarily reflect the viewpoint of
the Round Table or its members. But
we figure it is good to see and study
what men in other and related lines
may be thinking of our industry. It
would be easier to toss this piece in
the waste-basket, but it may be profi-
table to stop, look and listen, when
such warnings are sounded.

Perhaps you may recall that once
upon a time, twenty-odd years ago,
our industry was about to go out
of business because of the new radio,
which would bring free entertain-
ment into every home, and so why
should anybody pay admission to
the movies? . Well, it didn’t work out
that way; in fact, no one can say
that radio, as such, ever did the mo-
tion picture industry a bit of harm,
intentionally or otherwise, so there’s
no hard feelings, on either side.

Also, more recently, a new elec-
tronic development has sprung up,
right in radio’s back yard, and just
a little while ago, they were holding
preliminary inquests over the prob-
able demise of the radio industry.
So, it’s encouraging to read that the
total number of radio sets in use
now totals 110,000,000, the all-time
high, and that this industry has
grown in the face of new, and deva-
stating competition. So we give Mr.
Bouhan the floor, without interrup-
tion, and counsel our readers to con-
sider thoughtfully all that he has to
say, with their own, and our reser-
vations. — W. B.

ing back to the first one? This is also true
of a lecture, stage play, or even a funny
story. Yet this is what the moviegoer has
been forced to do for years with double
feature after double feature. With a single
feature the starting time can be made con-
venient for the theatregoer. For years now,
the fan has had no choice ... he saw his
movies in slices, or he didn't see them. To-
day he isn’t seeing them. Show one fea-
ture, publicize it, and encourage the audi-
ence to get in at the start.

We’re Wishful Thinkers

In my opinion, it’s wishful thinking to
hope that 3-D or Cinerama will cure the
box office ills. Already 3-D has been shown

successfully on the TV and soon it will be
available in color to the viewer on his
home screen. Why can’t the exhibitors
see further than the end of their nose?
They have had the amusement tax repealed
on the pretense that many people have
stayed away from movies because the tax
made the admission too high. Yet they
raise the prices 50 to 100 percent to a 3-D
or Cinerama production. How long will
the public continue to pay higher admissions
to see this new fad after the novelty has
worn off ?

The newsreel is no feature. It’s as dead
as yesterday’s newspaper. Who is going
to pay an admission to see last week’s news
that they have already viewed on their own
TV screen? Here is a suggestion. Present
a LOCAL newsreel of the events in the
community. The public would come to see
themselves and their friends. Possibly this
idea is too expensive. However, most TV
stations use daily local newsreels. Possibly
some sort of a reciprocal deal could be
worked out and the print blown up from
16mm to 35mm.

He’s Got Something Here

TO STAY IN BUSINESS IN THE
FUTURE THE THEATRE MUST BE-
COME THE COMMUNITY CENTER
FOR THE AREA IT SERVES. It must
forget its dignity and concentrate on dol-
lars . . . and this means resorting to gim-
micks to bring about the rebirth of an
audience. Forget double features and short
subjects and concentrate on local personali-
ties and groups.

Capitalize on the theatre’s assets ... its
air conditioning . . . lounges . . . seats, etc.
If there is no loge . . . partition off part of
balcony. Invite different women’s organi-
zations to hold their meetings or card par-
ties in the theatre and let them see the film
attraction afterwards free of charge. Do
the same with Cub Scouts, Boy Scouts, and
other groups. Let your local fans create
your audience by presenting community
dramatic groups in non-royalty plays. Ar-
range community town meetings once or
twice a month. Let prominent civic and
social leaders discuss local problems. Have
a panel on stage with questions from the
audience. Encourage women’s groups to
use the lobby for bake and rummage sales.

Each exhibitor is going to have to bring
back his own audience. To those who may
feel these ideas are corny or below their
dignity, may I reply that so is a darkened
marquee.

Today, all forms of entertainment are in
the process of revolution. The present-day
exhibitor must adapt himself to meet the
challenge of these changing times or the
fabulous motion picture palaces built by
the showmen of yesterday will become as
decadent as the castle of old-world mon-
archs . . . like the Colosseum of Rome or
the Acropolis of Athens, they will become
ruins of an ancient glory.

MOTION PICTURE HERALD, AUGUST 8, 1953

Allied Artists

CRAZY OVER HORSES: Bowery Boys— We always
do at least average or better with a Bowery Boys’
picture on Friday- Saturday. Doubled it with “Fort
Osage” (AA) and did a little above average in this
drought-stricken town. Small town and country
patronage. Played Friday, Saurday, July 17, 18. —
Shirley Booth, Booth Theatre, Rich Hill, Mo.

Columbia

HAPPY TIME, THE: Charles Boyer, Louis Jour-
dan — If a little of this “Happiness” could have been
radiated at the box office, I’d have been better pleased.
Salesman warned me to pull my Sunday date and
put it in midweek, but I had a case of big head and
thought I could sell it on my own. He was smarter
than I gave him credit. It’s a wonderful show, but I
don’t know how you’ll prove it to very many people
in a small country town. Played Sunday, Monday,
June 14, IS. — Bob Walker, Uintah Theatre, Fruita,
Colo.

TARGET HONG KONG: Richard Denning, Nancy
Gates — The aroma of war scared too many away, so
few Fruitaites learned what a nice job a little-known
cast did in this pleasing little programmer. Played
Friday, Saturday, June 12, 13. — Bob Walker, Uintah
Theatre, Fruita, Colo.

Metro-Gold wyn-Mayer

ABOVE AND BEYOND: Robert Taylor, Eleanor
Parker — A wonderful picture and it drew accordingly.
Should be of interest to everybody, young and old.
Played Sunday, July 12. — Marcella Smith, Vinton
Theatre, McArthur, Ohio.

I LOVE MELVIN: Donald O’Connor, Debbie Rey-
nolds— How I’d like to have had this a couple of years
ago when farm prices were good. Donald and Debbie
are wonderful in this all-to-short comedy offering
from Leo. Our allocation was fair, so we came out
all right. Don’t pass it, as there are too few this
good on the present celluloid market. Played Sunday,
Monday, Tuesday, June 7, 8, 9. — Bob Walker, Uintah
Theatre, Fruita, Colo.

PLYMOUTH ADVENTURE: Spencer Tracy, Gene
Tierney — An excellent picture in every detail. Our
audience was enthused about it. Our patronage is
mostly rural and they like action. The storm scene
was a breath taker. Played Monday, Tuesday, July
20, 21. — D. P. Savage, Capitol Theatre, Listowel, Ont.

SKY FULL OF MOON: Carleton Carpenter, Jan
Sterling — It’s hard to be fair with a feature that
doesn’t get back film rental, but even so, I couldn’t
help liking this different rodeo story. Think the
trailer held a few back, but lack of names didn’t helo,
even though the cast turns in a mighty creditable job.
It’s strictly double bill fare. Played Wednesday,
Thursday, June 10, 11. — Bob Walker, Uintah, Fruita,
Colo.

Paramount

COME BACK, LITTLE SHEBA: Burt Lancaster,
Shirley Booth — When a gal like Shirley Booth (no
relation to the owner of this theatre) gets a part
like this one with a fine supporting cast, it is time
to even forget all about hard times and the excise
tax. There were more adults on Monday night than
on Sunday, which is only accounted for by word-of-
mouth. We were proud to run this one and bad
nothing but fine compliments. Certainly Miss Shirley
Booth brought fame, even to the writer, Mr. Shirley
Booth, to whom she sent a personally autographed
photograph from the Empire theatre on Broadway
just before “The Time of the Cuckoo” closed the old
Empire theatre forever. Small town and rural patron-
age. Played Sunday, Monday, July 19, 20. — Shirley
Booth, Booth Theatre, Rich Hill, Mo.

MOTION PICTURE HERALD, AUGUST 8, 1953

COME BACK, LITTLE SHEBA: Burt Lancaster,
Shirley Booth — Those who came with a “you gotta
show me” attitude were agreeably surprised. Only
to a few in town does the New York stage mean
anything and they hadn’t heard much about the play,
much less the star, other than her Academy Award.
Play it by all means. It will please and add prestige
to your theatre. Played Monday, Tuesday, Wednes-
day, July 13, 14, 15. — D. P. Savage, Capitol Theatre,
Listowel, Ont., Canada.

SCARED STIFF: Dean Martin, Jerry Lewis— One
of their better pictures which kept the audience in
howls of laughter. Had many people say it was the
best picture we had shown for a long time. You
won’t go wrong with this one. Played Thursday,
Friday, Saturday, July 16, 17, 18. — D. P. Savage,
Capitol Theatre, Listowel, Ont., Canada.

STARS ARE SINGING, THE: Rosemary Clooney,
Lauritz Melchior — Tile name of Rosemary Clooney
will draw the customers, but they should have let her
sing more often. The customers were a bit let down,
as she only warbled three times. Picture has appeal
to all ages of the femme side — the men felt it a bit
arty. Played Wednesday, Thursday, Friday, Julv 22,
23, 24. — D. P. Savage, Capitol Theatre, Listowel, Ont.,
Canada.

RKO Radio

BEST OF THE BADMEN: Robert Ryan, Claire
Trevor — My public tired of “Badmen” long since, but
I’ll agree with RKO, this is the “Best” of them. A
big cast, a somewhat different story and gorgeous
Technicolor will please those you can lure in. Doubled
with “Target Hong Kong” (Col.) for break-even
business, which doesn’t add much to a bad week.
Played Friday, Saturday, Tune 12, 13. — Bob Walker,
Uintah Theatre, Fruita, Colo.

LAS VEGAS STORY: Jane Russell, Victor Mature
—Not a bad picture with a terrific different chase for
the finale. Liked by most of our patrons and did
well for us. It will do well in most situations. Star
value helps a lot too. Played Friday, Saturday, June
26, 27. — Dave S. Klein, Astra Theatre, Kitwe/Nkana,
Northern Rhodesia, Africa.

Twentieth Century-Fox

BLOODHOUNDS OF BROADWAY: Mitzi Gaynor,
Scott Brady — A lovely musical that played to excel-
lent houses and was given nothing but praise by all
who saw it. It’s the type of musical that goes down
with nearly every type of audience. Mitzi Gaynor
was excellent in this one and we would really like to
see more of Mitzi Green and Gaynor’s very good
looking fine dancer who also had a small part in
“Snows of Kilimanjaro.” Play this musical, it will
make money for you! Played Thursday, Friday,
Saturday, June 11, 12. 13. — Dave S. Klein. Asra

Theatre, Kitwe/Nkana, Northern Rhodesia, Africa.

MY COUSIN RACHEL: Olivia de Haviland, Rich-
ard Burton — An excellent picture, perhaps a little
slow, but the acting is so brilliant it holds your
attention all the time. The best thing of its kind
since “Rebecca,” and the acting of Richard Burton
is really something. Fox has a gold mine in this
fellow. Hope he gets the parts he deserves. “My
Cousin Rachel” is a money-spinner for most houses
except smaller situations. Played Sunday, Monday,
Tuesday, Wednesday, Thursday, Friday. Saturday,
July 5, 6. 7, 8, 9, 10, 11.— Dave S. Klein, Astra
Theatre, Kitwe/Nkana, Northern Rhodesia, Africa.

O. HENRY’S FULL HOUSE: All Star Cast— As
good as “Trio” and “Quartet,” with the exception of

the one episode, “Ransom” with Oscar Levant and
Fred Allen. Otherwise it was difficult to pick the
best, except that Charles Laughton’s performance was
excellent. A natural for most houses. Played Thurs-
day, Friday, Saturday, June 4, 5, 6. — Dave S. Klein,
Astra Theatre, Kitwe/Nkana, Northern Rhodesia,
Africa.

PONY SOLDIER: Tyrone Power, Cameron Mitchell
- -I’ll start out by saying I paid too much for this.
It drew fairly well, but I still didn’t take in enough
to meet expenses — Good picture though. Played Sun-
day, July 19. — Marcella Smith, Vinton Theatre, McAr-
thur, Ohio.

United Artists

B'WANA DEVIL: Barbara Britton, Robert Stack-
Add another dimension to this 3-D picture — 4-D (a
smellie'). But who’s crying? The novelty is defi-
nitely there, there’s thousands of curious film goers,
the tills are full and what more can one ask? This
could have been a real fine movie if more attention
had been paid to the story. We were the first to
show this 3-D in Northern Rhodesia and it caused
quite a sensation! If you can afford the rental and
extra equipment expenses and incidentals, play it.
You can’t lose! Played Sunday, Monday, Tuesday,
Wednesday, Thursday, Friday, Saturday, July 12, 13,
14, 15, 16, 17, 18. — Dave S. Klein, Astra Theatre,
Kitwe/Nkana, Northern Rhodesia, Africa.

Universal

IVORY HUNTER: Anthony Steel. Dinah Sheridan
— This would be a fine picture except for one thing —
too draggy. I avoid English pictures for this reason,
but slipped up on this one, or I should say this one
sneaked up on me. Anyhow, it drew! Played Friday,
Saturday, July 17, 18. — Marcella Smith, Vinton Thea-
tre, McArthur, Ohio.

Shorts

Metro-Goldwyn-Mayer

BEAUTIFUL BAVARIA: Fitzpatrick Travel Talk—
Its complete shape-up puts it in the category of a
very good travelogue in Technicolor. — Sharon Boden-
stein, Telepix Theatre, Boston, Mass.

TV OF TOMORROW: Technicolor Cartoon — The ex-
hibitor or manager who fails to give this Fred Q'uimby
short the same space as his feature and fails to
start a talking campaign on this excellent short isn’t
worthy of being called a showman. — Hugh G. Martin,
MCM Theatres, Leesburg, Fla.

TV OF TOMORROW: Technicolor Cartoon — This is
cute and it makes plenty of fun of TV, in fact, much
of it makes sense. Your seat dusters will like it.—
Bob Walker, Uintah Theatre, Fruita, Colo.

WEE WILLIE WILDCAT: Technicolor Cartoon—
Here’s another crowd pleaser you’ll be glad you
bought. This series gets better all the time. — Bob
Walker, Uintah Theatre, Fruita, Colo.

Paramount

BEAR CRAZY : Good short about cub bears. An
ideal fill-in for the delight of all audiences. — Sharon
Bodenstein, Telepix Theatre, Boston, Mass.

People in Dlie f]t

e in su e t lews

mimniiiimmiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiimiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiimiiiiitiimiimiiiu

Eric A. Johnston, president of the Motion
Picture Association of America, has been
confirmed by the Senate to be chairman of
the International Development Advisory
Board, following his nomination by Pres-
ident Eisenhower.

Nicholas M. Schenck, Charles C. Mos-
kowitz, Charles M. Reagan, Howard
Dietz and Oscar Doob, returned to New
York last weekend from conferences at
the MGM studio.

Robert Goodfried, has been named exploi-
tation manager in the Paramount studio
publicity department, heading a new unit
organized by publicity director Teet
Carle to handle pre-release exploitation,
commercial tie-ups, previews, premieres,
junkets and key openings.

Arnold M. Picker, United Artists foreign
distribution vice-president, left London by
air last weekend for a 10-day tour of Ger-
many and Italy.

Robert M. Gillham, has been elected a
vice-president of Cunningham and Walsh,
Inc., to serve in an executive capacity on
the Liggett and Myers Tobacco account.

Legion Reviews Nineteen;

Finds 14 Unobjectionable

The National Catholic Legion of Decency
this week reviewed 19 pictures, and finds
five morally objectionable in part for all,
these being “Arena,” “From Here to Eter-
nity,” “Gentlemen Prefer Blondes,” “I, The
Jury,” and “O.K., Nero.” In Class A, Sec-
tion Two, morally unobjectionable for adults
are “City Is Dark,” “Genghis Khan,”
“Gentle Gunman,” “Roman Holiday,” “The
Sword and The Rose,” and “Vice Squad.”
In Class A, Section One, morally unobjec-
tionable for general patronage are “It Came
From Outer Space,” “The Kid From Left
Field,” “Melba,” “Mission Over Korea,”
“The Sea Around Us,” “Shoot First,” “So
This Is Love,” “Valley of Head Hunters.”
Meanwhile the Legion also had changed its
classification of “Arrowhead,” which it had
found objectionable. Now it is in the cate-
gory objectionable only for general patron-
age.

Allied Artists Will
Make Three In Auqust

Allied Artists will put three pictures be-
fore the cameras in August, Walter Mirisch,
executive producer, disclosed in Hollywood
last week. Two of them will be in 3-D, he
added. The pictures are “Dragonfly Squad-
ron,” in 3-D, which John Champion will
produce, using John Hodiak as star, and
with Lesley Selander directing; “Riot In

Ray Canavan, associated with the E. M.
Loew circuit in Boston for the past 13
years, has been named executive assistant
to Mr. Loew, president of the company.

Lou Gerard, industry writer, has been
named director of advertising, publicity
and exploitation of Box Office Television,
Inc., theatre TV organization.

George Ganetakos and B. C. Salamis,
Montreal exhibitors were among those
cited by Greek Ambassador to Canada,
Raoul Bibica-Rosetti for assistance rend-
ered to Greece in relief and other fields.

Richard S. Leghorn, assistant manager of
Eastman Kodak’s European and Over-
seas Organization, also has been appointed
manager of Kodak Portuguesa, Ltd.

Robert W. Selig, executive assistant to the
president of Fox Inter-Mountain Thea-
tres, has been reelected president of the
board of trustees of the University of
Denver.

Deon Detitta, chief projectionist for 20th
Century-Fox, has retired after 37 years
with the company.

Cell Block 12,” a Walter Wanger picture to
be directed by Don Siegel ; and “House in
the Sea,” which Richard Conte will star in
along with Wanda Hendrix. This will be
in 3-D, with William F. Broidv producing
and Jerry Juran directing.

Schaefer Buys British
Novel; Closes TV Deal

George Schaefer, distribution executive,
returned to New York last week with the
screen rights to the British novel “The
Singer, Not the Song,” by Audrey Erskine
Leslie, a top best seller in the British Isles.
He said the picture will be made there as
his own project, with an executive producer
still to be named and a screenplay to be
written. He added he also negotiated with
singer Patrice Munsel for a series of musi-
cal films to be made in Italy, which he will
distribute here for television. They each run
27 minutes and will be made by her hus-
band, Robert Schuler.

Industry In Williams Tribute

Baseball player Ted Williams’ homecom-
ing to New England will be marked by
extensive industry participation. The wel-
come home banquet August 17 at the Hotel
Statler, Boston, will be co-sponsored by the
Variety Club, along with the Red Sox ; and
on the welcoming committee includes Mar-
tin Mullin, New England Theatres presi-
dent, and William Koster, executive director
of the Variety Club.

Critic Gets
Into Booking
Argument

Showmen of Oakland, Cal., who’ve been
feeling they’re neglected in their clearances
in favor of the large area of across-the-bay
San Francisco, have a powerful ally in
Wood Soanes, drama critic of the Oakland
Tribune, who’s been crusading for better
pictures in his home town. He wrote lately,
in part :

“There is no escaping the fact that the
movies are suffering the torments of the
damned at the boxoffices of Metropolitan
Oakland . . . the basic cause, it seems to
me, has been overlooked entirely. Good pic-
tures do not get here until they have been
milked dry at the boxoffice' of San Fran-
cisco.

“This is not the fault of the Fox West
Coast or the Blumenfeld Theatres, who
serve the first run houses in Oakland,
Berkeley and Alameda. It is the fault of
the Hollywood producers who, through their
controlled distributing agencies, have main-
tained steadfastly through the years that
Metropolitan Oakland, for want of a better
term, is a ‘one horse town,’ if not ‘the bed-
room of San Francisco’.”

Mr. Soanes also added : "On the rare
occasions when some crazy, nervous, mixed
up little kid in the booking offices has de-
cided to open a film simultaneously in Oak-
land and San Francisco, the results are
frightening. The last example that comes
to mind is ‘The House of Wax.’ The Oak-
land run outgrossed the San Francisco en-
gagement.”

Streibert Heads Government
Overseas Information

Theodore C. Streibert, former board
chairman of the Mutual Broadcasting Sys-
tem, was named last week by President
Eisenhower to head the Government’s Over-
seas information program. His title will be
Administrator of the International Infor-
mation Administration, from which Dr.
Robert L. Johnson resigned. Mr. Streibert
had been recalled from Germany, where he
was consultant on public affairs in the office
of the High Commissioner.

Congress Gives Information
Services $75,000,000

Congress before adjourning gave the
United States Information Agency $75,-
000,000 in a sort of compromise over dis-
puted allocations. Of the amount $70,000,-
000 is for the Voice of America, the film
program, and other activities. The remain-
der is for liquidation of certain operations
and personnel. The Agency is an unit just
created by transfer of the State Depart-
ment’s International Information Adminis-
tration to an autonomous status. The orig-
inal budget request was for $87,900,000.

MOTION PICTURE HERALD, AUGUST 8, 1953

Fabian Hits
The Hall In
Brooklyn

Johnny Burke, publicist for Fabian’s Fox
theatre in Brooklyn, writes enthusiastically
of what’s going on over the River — leading
off with the statement that the Messrs. Fa-
bian and Rosen are not only making news
nationally, but also locally, in his borough.
They’ve just installed a giant panoramic
screen, that stretches all the way across
the proscenium at the Fox, for the proper
showing of Salome and her seven veils,
and with Warner’s Charge at Feather
River coming in to add 3-D and stereo-
phonic sound, as well.

Publicity-wise, he submits several cam-
paign books as entries for the Quigley
Awards in the third quarter, which is news
because there are some who think that their
situations are either too big or too small
to become contenders. Johnny has a book
on Fort Ti, which was current in June,
and which has had full treatment for this
big house, in our suburb across the river
(population three million!) All kidding
aside, it’s the world biggest neighborhood,
that boasts it’s own postoffice. We New
Yorkers sometimes think that Manhattan is
New York, and there’s no bigger mistake
possible. There’s so much of America that’s
just across the river, in either direction.

The Beast from 20,000 Fathoms and
South Sea Woman are two other recent
attractions which he submits as campaigns.
He gets more free space than is usual in
large situations.

"Young Bess" Gets Play
In Small Situation

Keith Maupin, manager of the Richland
theatre, Richland, Washington, sends a pic-
ture of his attractive display for “Young
Bess” — which was put together out of ma-
terials at hand, or which could be borrowed
from convenient sources. It looks regal, and
makes an impressive selling approach for a
distinguished color film. He says, “It was
a joy to construct” — and different from the
usual lobby display. The Coronation has
been called the best example of showmanship
this year, and it has promoted much that is
above average in typical showmanship at the
box office line.

That Get You BEST
Send Us RESULTS and Always
Your Next Arrjve ON TIME Is

What You Get From

Order!

CHICAGO 1 327 S. Wabash
NEW YORK 630 Ninth Ave

FILMACK

Selling Approach

PICK-UP ON SOUTH STREET— 20th Cen-
tury-Fox. When the B-girls, the pickpockets,
and the stoolies join the fight against Com-
munism on the side of the law. No holds
barred, no punches pulled, nothing left out.
You've never seen anything like it. ' Candy''
is the central figure in a counterblast
against spies. She had a job to do for the
F.B.I., and she was doing it the only way
she knew how. Not since House on 92nd
Street has the screen dared such realism.
24-sheet and all posters ideal for art-work
cut-outs, to create your own lobby and
marquee display. It's exciting stuff, capable
of compelling attention at the box office
line. A set of teaser ads, 2-colums wide,
are worth using, and the complete cam-
paign mat, at 35c, which should be on your
standing order at National Screen, has all
the ad mats needed for small situations,
very well selected, and with two publicity
mats thrown in, all for the price of one
ordinary ad mat. Get the selection and
give your composing room a treat. No
herald mentioned, but you certainly can
create your own with several oversized ad
mats, and good, too — with a cooperative
advertiser to pay for the whole job, by
using his ad on the back. Look at the press-
book cover, or mats 402, 401, for this spe-
cial use. This picture, at the Roxy in New
York, and in other first runs, ran away with
box-office records, because it was well sold,
and because it delivered the goods.

THUNDER BAY — Universal-International.

In color by Technicolor. The saga of a man
who fought for the biggest bonanza of
them all! Jimmy Stewart in a brawling,
mauling story of the tidelands oil fields,
drilling for oil off the Gulf Coast. Exciting,
co lorful, romantic drama. The story of a
mighty man and a bayou woman, in a
coastal town that struck it rich. 24-sheet

is particularly colorful, with all posters
making good cutrouts for lobby and mar-
quee display. Herald keys the campaign
for most situations, and a set of Color-Glo
stills will sell color with color in a special
lobby frame. Ad mats, some very big, but
enough in smaller sizes for those who pay
for their own newspaper space. The big,
bargain, 35c composite mat, at National
Screen, has all the ad mats and slugs
needed for small theatres, six of them with
two publicity mats additional, to illustrate
reviews and stories. Where can you get
more, for less, and so, why not put this
on your standing order immediately?

DREAM WIFE— MGM. H ilarious enter-
tainment with Cary Grant, Deborah Kerr
and Walter Pidgeon. Too hot to handle!
Cary's flirtation with an Oriental dancing
beauty turns into a tangle when a cutie
from his own home town puts a bee in his
fez! Betta St. John is the dancer and she's
new — -but you'll want to adopt her. Press-
book suggests a stag preview for men only.
Where the Dream Wife comes in, you'll
have to come in to find out. 24-sheef and
all posters designed to create cut-outs for
lobby or marquee display. You can't get
better art work for so little money. No
herald mentioned, but a set of door panels
is plenty colorful. Newspaper ad mafs fea-
ture Cary in a fez, and Betta in her dancing
costume, with a Dream Wife supervising
the scene. The complete campaign mat,
special ad mat No. I on every exhibitor's
list, at National Screen Service, gives you
ten ad mats and slugs, two publicity scene
mats and still more borders to use all week
to dress up your newspaper ads and make
them look different — all for 35c, the cost
of just one ad mat! Small theatres will put
this bigibargain, on standing order, to sup-
ply more, showmanship.

These lucky kids were the luckiest of all, for when Roy Rogers visited their Roy Rogers
Riders Club, at the Music Box theatre, Tacoma, Washingon, they also won a trip to
Hollywood, as Roy's guests,. Roy Gordon, manager, at far right, boasts that his Riders
Club has 2,000 members, but we wonder what they do for new Roy Rogers' pictures?

MANAGERS' ROUND TABLE SECTION, AUGUST 8, 1953

CLASSIFIED ADVERTISING

NEW EQUIPMENT

EVERYBODY’S BUYING ’EM! MASONITE
Marquee Letters 4" — 35c; 8" — 50c; 10" — 60c; 12" — 85c;
14" — $1.25; 16" — $1.50 any color. Fits Wagner, Adler,
Bevelite Signs. S. O. S. CINEMA SUPPLY CORK,
604 W. 52nd St., New York 19.

GET SET FOR 3D! INTERLOCKS $150; ME-
tallic Screen 90c sq. It.; 24" Magazines $302; Porthole
Filters $47.50 pair. S. O. S. CINEMA SUPPLY
CORP., 604 W. 52nd St., New York 19.

USED EQUIPMENT

DEVRYS FOR EVERY SIZE THEATRE! COM-
plete dual Projection and Sound equipments: Macda.
$895; lkw, $1,595; H.I., $1,995. Time payments avail
able. S. O. s. CINEMA SUPPLY CORP , 604 W
52ncl St., New York 19.

STAR SAVES YOU MONEY! 3-D EQUIPMENT
at low prices, write us; Imperial 50 amp. Rectifiers,
8 tubes, with fans, $195 pair; Strong 1 kw Lamp-
houses and Rectifiers, excellent, $405; Automatic Re-
winder, $44.50. Film Cabinets $1 section. Mon-Arc
Lamphcuscs, late model, 14" Reflectors, excellent
$375 pair. STAR CINEMA SUPPLY, 441 W. 50th St..
New York 19.

SEATING

S. O. S — SAVE ON SEATS! REBUILT THE-
atre chairs from $4.95. Send for Chair Bulletin.
S. O. S. CINEMA SUPPLY CORP., 604 W. 52nd St.,
New York 19.

HELP WANTED

WANTED— EXPERIENCED PROMOTTON-MIND-
ed Managers for two situations in New York State.
Please reply, giving full particulars, salary require-
ments, and whether available for interviews to be held
in New York City. BOX 2729. MOTION PICTURE
HERALD.

MANAGER. EXPERIENCED ALL PHASER,
but particularly adept at writing good copy and daily
newspaper display ads. Submit sample ads. Tell all
first letter. References used your permission only.
Salary $5,200 annually, group insurance, hospitaliza-
tion, self and family. Good opportunity for advance-
ment. Will reimburse moving expenses. Midwest. BOX
2731, MOTION PICTURE HERALD.

DRIVE-IN EQUIPMENT

DEVRY DRIVE-IN OUTFITS $1,595 UP (SEND
for lists). In-car speakers w/4" cones $15.50 paii
w/ junction box; underground cable $65M. Time pay-
ments available. S. O. S. CINEMA SUPPLY CORP..
604 W. 52nd St., New York 19.

HELP WANTED AGENCY

STUDIO EQUIPMENT

TURN ADVERSITY INTO ADVANTAGE— SHOOT
local Newsreels. TV Commercials. Make advertising
tie-ups with local merchandise. Film Production Equip-
ment Catalog free. S. O. S- CINEMA SUPPLY
CORP., 604 W. 52nd St., New York 19.

SERVICES

WINDOW CARDS, PROGRAMS. HERALDS,
photo-offset printing. CATO SHOW PRINTING CO.,
Cato, N. Y.

BOOKS

MAGIC SHADOWS — THE STORY OF THE
Origin of Motion Pictures by Martin Quigley, Jr.
Adventurous exploration of all the screen’s history
told in 191 crisp pages and 28 rare illustrations. Excit-
ing reading for now and authoritative reference for to-
morrow. A Georgetown University Press book. Price,
postpaid, $3.50. QUIGLEY BOOKSHOP, 1270 Sixth
rive.. New York 20, N. Y.

RICHARDSON’S IiLUEBOOK OF PROJECTION.
Best Seller, since 1911. Now in 7th edition. Revised to
present last word in Sound Trouble Shooting Chart.
Expert information on all phases of projection and
equipment. Special new section on television. Invalu-
able to beginner and expert, $7.25 postpaid. QUIGLEY
BOOKSHOP, 1270 Sixth Avenue, New York 20, N. Y.

MOTION PICTURE AND TELEVISION ALMANAC
—the big book about your business — 1953-54 edition.
Contains over 12,000 biographies of important motion
picture personalities. Also all industry statistics. Com-
plete listing of feature pictures 1944 to date. Order your
copy today, $5.00, postage included. Send remittance to
QUIGLEY BOOKSHOP, 1270 Sixth Avenue, New
York 20, N. Y.

Bert Reisman, With RKO
30 Years, Succumbs

Bert Reisman, 57, RKO Radio sales rep-
resentative at Johannesburg-, South Africa,
died of a heart attack July 31, according
to a cable received in New York. He had
been with RKO and other film companies
30 years, and was a brother of Phil Reis-
man, former RKO vice-president in charge
of foreign distribution.

He is survived by the widow, a daughter,
and two brothers and two sisters.

Howard Roth

Howard Roth, Paramount office manager
and head booker at Cleveland, died July 31,
en route to the hospital after a heart attack.
He was 50, and would have shortly marked
his 25th year at the Cleveland branch. He
leaves his widow.

Hugh Gardner

Hugh Gardner, exhibitor, of Neosho, Mo.,
died August l.at Tulsa, Okla. He operated
two theatres and a drive-in. His widow and
two daughters remain.

Charles Gulotta

Charles “Alex” Gulotta, owner of the
Fox Theatre, New Orleans, died July 29,
after a short illness.

Oscar Libros

Oscar Libros, retired owner of the Na-
tional Poster Exchange and the Penn Print-
ing Company, Philadelphia, died at his
Atlantic City home July 31, at the age of
65. He started the industry’s poster ex-
changes in the area 40 years ago. His
widow and son survive.

W. A. Andlauer

William A. “Billy” Andlouer, pioneer ex-
hibitor at Kansas City, died August 1, at
the age of 72. He also for many years was
with Paramount in the making of newsreels
and sport shorts. He is survived by a widow
and two daughters.

E. C. "Ned" Buddy, Newsreel
Editor, Dies at 46

Edward Carr “Ned” Buddy, general
manager of the television new/film division
of the Columbia Broadcasting System, was
buried at Vineyard Haven, Martha’s Vine-
yard, Saturday. He died from a heart sei-
zure July 28, at Norwalk, Conn., at the age
of 46. Mr. Buddy has been in his position
six months, having come from Cinema
Canada Pictures, Ltd., of Toronto, where
he was managing director. Previously, he
was foreign news editor of Warner Pathe
Films, and European manager of Paramount

News. In 1942 he became editor of United
Newsreel, put out by the five newsreel com-
panies at the request of the OWI for au-
diences abroad. His widow, Juliet, three
daughters, two sons, and a brother are
among the survivors.

Herman Stern

Herman Stern, a pioneer in the industry,
and one of the older executives of the old
Universal Pictures, died in New York,
July 30. He had been in retirement many
years.

Loew's International Promotes
Seely, Pati, and Carroll

Three promotions were disclosed by
Loew’s International Corporation, in New
York this week. They are Joseph L. Seely,
elected assistant treasurer ; Charles Pati,
who has been appointed assistant to Morton
A. Spring, first vice-president ; and Ronald
Carroll, who has been made assistant to
Sam N. Burger, the sales manager. Mr.
Seely has been with the company since 1929,
at that time entering its sales department,
then going to accounting, and then being
appointed chief accountant. Mr. Pati started
at the age of 14 as an office boy. Mr. Car-
roll joined about ten years ago, after being
with the OSS during the war. He started
in the 16 mm department.

MOTION PICTURE HERALD, AUGUST 8, 1953

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 130 attractions, 6,366 playdates.

EX means Excellent; AA — Above Average; AV — Average
BA — Below Average ; PR — Poor.

Abbott and Costello Go to Mars (Univ.)

All Ashore (Col.)

(All 1 Desire (Univ.)

Ambush at Tomahawk Gap (Col.)

*Androcles and the Lion (RKO)

1 1

Angel Face ( RKO )

♦Anna (IFE)

April in Paris ( WB)

1 1

Bad and the Beautiful, The (MGM)

Battle Circus (MGM)

1 1

Beast from 20,000 Fathoms, The (WB)

1 1

Blue Gardenia, The (WB)

Breaking the Sound Barrier (UA)

1 1

Bwana Devil (3-D) (UA)

By the Light of the Silvery Moon (WB)

Call Me Madam { 20th- Fox )

(Charge at Feather River, The (3-D) (WB)

City Beneath the Sea (Univ.)

♦Clown, The (MGM)

Code Two (MGM)

Column South (Univ.)

Come Back, Little Sheba (Para.)

Confidentially Connie (MGM).

Count the Hours (RKO)

Cry of the Hunted (MGM)

-•

Dangerous When Wet (MGM)

Desert Legion (Univ.)

Desert Rats (20th-Fox)

Desert Song, The (WB)

Desperate Search, The (MGM)

Destination Gobi (20th-Fox)

Down Among the Sheltering Palms ( 20th- Fox ) .

(Dream Wife (MGM)

Fair Wind to Java (Rep.)

Farmer Takes a Wife (20th-Fox)

Fast Company (MGM)

Fort Ti (3-D) (Col.)

fFort Vengeance (AA)

Four Poster, The (Col.)

Francis Covers the Big Town (Univ.)

Girl Next Door, The (20th-Fox)

1 1

Girl Who Had Everything (MGM)

1 1

Girls in the Night (Univ.)

Girls of Pleasure Island (Para.)

1 1

Glass Wall, The (Col.)

Gunsmoke (Univ.) .

Hans Christian Andersen (RKO)

Hitch-Hiker, The (RKO)

House of Wax (3-D) (WB)

1 Confess (WB)

1 1

1 Don't Care Girl, The (20th-Fox)

1 Love Melvin (MGM)

I'll Get You (Lippert)

Invaders from Mars (20th-Fox)

1 1

It Happens Every Thursday (Univ.)

Ivanhoe (MGM)

Jack McCall, Desperado (Col.)

Jalopy (AA)

Jamaica Run (Para.)

Jazz Singer, The (WB)

Jeopardy (MGM)

Kansas City Confidential (UA)

Kansas Pacific (AA)

Lady Wants Mink (Rep.)

Last of the Comanches (Col.)

Law and Order (Univ.)

♦Lawless Breed (Univ.)

Limelight (UA)

Lone Hand (Univ.) .

Ma and Pa Kettle on Vacation (Univ.)
Magnetic Monster, The (UA)

Man Behind the Gun (WB)

Man in the Dark (3-D) (Col.)

Man on a Tightrope (20th-Fox)

Meet Me at the Fair (Univ.)

Member of the Wedding (Col.)
Mississippi Gambler (Univ.)

Moulin Rouge (UA)

*My Cousin Rachel ( 20th- Fox )

Naked Spur, The (MGM)

Never Let Me Go (MGM)

Never Wave at a Wac (RKO)

Niagara (20th-Fox)

Off Limits ( Para.)

Peter Pan (RKO)

Pickup on South Street (20th-Fox)

Pony Express (Para.)

Powder River (20th-Fox)

President's Lady, The (20th-Fox)

Prince of Pirates (Col.)

1 1

...

1 1

Queen Is Crowned, A (Univ.)

3 7

Raiders of the Seven Seas (UA)
Redhead from Wyoming (Univ.)
Remains to Be Seen (MGM)

Ride the Man Down (Rep.)
Rogue's March (MGM)

*Ruby Gentry (20th-Fox)

I I 6 2

5 42 21 6

4 22 5 I

I 8 15 15 6

9 11 5

10 37 26 27 5

Salome (Col.)

San Antone (Rep.)

Sangaree (3-D) (Para.)

Scandal at Scourie (MGM)

Scared Stiff (Para.) ...

Seminole (Univ.)

Serpent of the Nile (Col.)

She's Back on Broadway (WB)
Silver Whip (20th-Fox)

Small Town Girl (MGM)

Snows of Kilimanjaro ( 20th- Fox )
Sombrero (MGM)

South Sea Woman (WB)

Split Second (RKO)

Star, The ( 20th- Fox )

Stars Are Singing, The (Para.)
Stooge, The (Para.)
f Story of Three Loves, The (MGM)

9 24 I I I

- - 4 5 4

2 6 2 --

I 4 7 2

12 25 4 2 -

- 22 26 16 3

2 10 I

I II 30 40 10

I 26 16 5

9 28 50 3

28 55 14 3 I

I 4 1 6 44 3

6 8 6

9 13 2

- 15 17 29

4 25 27 13

31 44 37 7 I

3 2 - 3

Take Me to Town (Univ.)

Tall Texan, The (Lippert)

Taxi ( 20th- Fox )

Thief of Venice (2Qth-Fox)

Thunder in the East (Para.)

Titanic (20th-Fox)

Tonight We Sing (20th-Fox)

Torpedo Alley (AA)

Treasure of the Golden Condor (20th-Fox)
Tropic Zone (Para.)

Trouble Along the Way (WB)

1 1

■(Vanquished, The (Para.)

2 5 2

White Witch Doctor (20th-Fox)
Woman They Almost Lynched (Rep.)

8 12 3 I

7 8 8 3 1

Young Bess (MGM)

12 21 15 2

second 2-reel comedy

I CURIUMS! tf
STOOGES' fir.

SPOOKS

featurette m JjjjjjJ

Ideal for showing with your next

three-dimensional feature

Proved

is made-to

made-fo-<
£yre &oos/ for

LARRY

BENNY RUBIN FRANK S

i Screen Play by FELIX ABLER * Produi

A COLUMBIA FEATURETTE IN

ction

SUPPORT

, at New York City, U. S A., 11
Rockefeller Center, New York 2
AH contents copyrighted 1952 l

HAS LEO BEEN

% DRINKING?

HE'S SO

r/v/

HIGH

NO, dear friends, here's whats

making him so GLEEFUL/

BAND WAGON" IS A
NATIONWIDE SMASH !

Not only at Radio City Music Hall where in the 5th week
of a long run it’s M-G-M’s Biggest Musical in 2 years, but
everywhere it’s the same. For instance, Biggest M-G-M
Musical in 2 years in Philadelphia and Atlantic City.
Washington, D. C. second week continues to be top M-G-M
musical in 2 years. Toronto sensational, best M-G-M musical in
12 months. Pittsburgh and Rochester terrific. In first 5 4 spots
happy patrons are climbing aboard. Hitch "The Band Wagon”
to your theatre for a long and merry run!

THE FANS LOVE MAIN
ST. TO BROADWAY'!

Names make boxoffice news and in the first 39
engagements of this Lester Cowan production the
folks are flocking to see the greatest assemblage of
top show business personalities ever. A love story
that’s socko for the fans. An exploitation gold-mine.

LIU" IS A DILLY !

Every new date adds further to the fame of M-G-M’s
enchanting Technicolor Musical. At press time the
Toronto opening is close to house record and in
New York its 21st week is best since the 15th. Long
runs continue in N. Y., Kansas City, Portland,
Chicago, Buffalo, Houston, Cincinnati, Seattle,
Oakland, as the list of extended engagements mounts.
A showmanship delight that pays off.

LANA’S 'LATIN LOVERS
LOOKS LOVELY !

Exciting trade forecast for M-G-M’s next big Tech-
nicolor Musical with the "Bad and Beautiful’’ girl in
a racy romance of gay Rio.

YOU’LL REMEMBER
SEPTEMBER !

Trade talk is HIGH about the "SEE FOR YOUR-
SELF” Trade Previews for exhibitors in 100 cities
following M-G-M’s "SEE FOR YOURSELF” Sales
Meeting at the Studio, where 10 Big Pictures, largest
number of top attractions ever produced for consecu-
tive release, will be screened.

- mmm

to*5***!:

ill

GREAT IN CLEVELAND!

GREAT IN BALTIMORE !

GREAT IN READING

GREAT IN HARTFORD!

GREAT IN WASHINGTON! ^

GREAT IN MEMPHIS!

BULLETIN 25 MORE DATES
JUST REPORTED-AND ALL GREAT!

-ijj8

Warner Bros, present

Robert Louis Stevenson s

MASTERWORK OF ADVENTURE

™ BEATRICE CAMPBELL
YVONNE FURNEAUX<
ROGER LIVESEY
ANTHONY STEEL

SCREEN PLAY BY ADDITION AL Dl ALOGU E BY

HERB MEADOW- HAROLD MEDFORD

\ DIRECTED BY

k WILLIAM KEIGHLEY A

hivalry- against -tyranny in the Age of Pageantry
and Plunder !.. .when rebellion roared across crag and moor
and castle moat... when the tartans of Scotland blended into
one f ury - flag ... and the surging hosts hurled down from thej
Highlands into history!

ON WIDE OR GIANT SCREENS

THIS PICTURE ALSO CAN BE EXHIBITED

THE BIGGEST ATTRACTION
IN THE INDUSTRY TODAY!

MOTION PICTURE HERALD

MARTIN QUIGLEY , Editor-in-Chief and Publisher

Vol. 192, No. 7

MARTIN QUIGLEY, JR., Ed, tor

August 15, 1953

Hard Action — Soft Words

THE action of the President in refusing to sign the
Mason Bill repealing the tax on motion picture
theatre admissions was a hard blow to the indus-
try. The particular circumstances increased the disap-
pointment because hopes for repeal this year had been
raised by the swift and virtually unanimous passage of
the measure by both houses of Congress.

Some statements in President Eisenhower’s “memor-
andum of disapproval’’ which gave the reasons why he
did not approve the bill are encouraging for the future ;
others are not. Presumably the prime reason for reject-
ing tax relief to theatres was that the Administration
decided on a policy of no tax reductions of any kind this
year. That was the reason for the passage of the bill
extending the excess profits tax (a type of tax which
Mr. Eisenhower attacked in his election campaign). It
is regrettable that the “memorandum of disapproval”
went further than that.

However, Mr. Eisenhower has taken the position that
the theatre admissions tax is just one of a number of
excise taxes that require revision next year. He has
promised to recommend “a reduction” next January and
went on to comment, “Action could be taken by the
Congress early in 1954 and relief could be given at thai
time.”

These are soft words. Elsewhere in two places in the
memorandum the President stated that the country
“cannot afford the loss of any revenue.” There is no cer-
tainty that the budget will be any nearer balanced in
1954 than this year. The President also asserted that “it
is unfair to single out one industry for relief at this
time”. The Congress did not think it was unfair but
only just and prudent.

The “memorandum of disapproval” also stated, some-
what gratuitously, that “the basic causes of the indus-
try’s distress arise from new forms of competition.” The
President might well have passed over that argument
because the reasons for “the industry’s distress” are
multiple and “the new forms of competition”, princi-
pally TV, are not subject to a twenty per cent tax.

The effect of the President’s action is to have the
matter of tax relief for theatres reviewed with all other
excise taxes when Congress reconvenes in January. Un-
fortunately, it is likely that as much or more emphasis
will be placed at that time on finding new taxes as on
cutting or eliminating old ones. This is true because
many tax cuts already have been voted: (effective Jan-
uary 1, 1954) — a ten per cent cut on individual income
taxes and elimination of the thirty per cent excess profits
tax; (effective April 1, 1954) — reduction of the corporate
tax from 52 per cent to 47 per cent and cuts in whiskey
and other alcoholic beverages, cigarettes, gasoline, fuel
oil, automobiles, sporting goods and truck taxes.

Well Done!

Columbia Pictures' production of “From Here to
Eternity" is a noteworthy development in several im-
portant respects. It has received an extraordinary and
well-merited critical acclaim. The public has responded
in impressive numbers.

Yet this production is based upon a recent novel
which contained a formidable array of problems with
respect to the screen, many of which appeared to be
of such proportions as to tax the experience, skill and
judgment of any group of creative workers. Credit in
a large measure for solving so happily the threatening
problems belongs to Mr. Harry Cohn, Columbia head,
who with his co-workers succeeded in preserving the
dramatic impact of this powerful novel, meanwhile
dispensing with much shocking incident and language
which in a motion picture would only have aroused
public resentment and limited its audience.

"From Here to Eternity" is another proof in the long
series that given sufficient ability and goodwill a pro-
ducer is able to bring to the screen the best in the
available dramatic material without outraging the
sense of decency of an audience.

-—Martin Quigley

Furthermore, powerful groups representing many
votes on whom members of the Congress will have their
eyes during the 1954 election year are pressing for other
changes including tax credit for working wives and more
liberal deductions for medical expenses and dependents.
The total tax revenues to be lost in 1954, according to
laws already approved, completely dwarfs the one hun-
dred to one hundred and twenty million that the Presi-
dent said would have been the net loss if he approved
the Mason Bill.

The tax outlook is reviewed here not to discourage
but to indicate the magnitude of the task ahead of the
COMPO tax committee and every individual member
of the industry. Results obtained this year, though short
of complete success, show what teamwork can accom-
plish. The 1954 campaign will be even more difficult but
the plight of thousands of theatres warrants and re-
quires complete victory at the earliest possible moment.
■ ■ ■

Q Reporting from Berlin recently Jack Gould, televi-
sion editor for the “New York Times,” noted what may
be another Russian “first” — the use of pornography to
make television propaganda programs more palatable.
This might be considered another sign that the Com-
munists are losing their political grip on subjugated
people.

MOTION PICTURE HERALD

No Cure-All

To the Editor:

I have been reading everything I can get
on 3-D and talking to everybody I can who
has seen 3-D or has had experience with
3-D. I am convinced that the present two-
machine-glasses method is headed for
trouble and will soon prove of little value
to any one except the makers of raw film
stock.

When you consider all the extra cost in
film rental, film delivery service, operators,
and glasses, not to mention extra equipment
cost, plus the many small increased costs
such as carbon, electricity, depreciation, etc.,
then take a look at the public reaction to
glasses, intermission, and extra delay from
mechanical defect due to the two machine
method and imperfect film out of frame, etc.,
sure to trouble later runs. After all this, sit
down and read about later 3-D pictures
doing only average business. It occurs to
me that our industry has gone plain crazy
and is grabbing at straws.

I feel that exhibitors should refuse to
show further 3-D pictures until such time
(if ever) that we can project a good clear
3-D picture from one machine and it can
be viewed without the use of glasses. If we
exhibitors don’t speak out and be heard now,
we will continue to get more 3-D' pictures
with impossible price tags plus increased
operating cost and continue to have fewer
show-going people.

The wide screen may hold some hope to
increased business but I fear that this too can
be overdone, as I don’t think the public will
want to see people presented in the size
of large giants. The extra screens at the
sides will no doubt improve the presenta-
tion of the picture some; however, I doubt
if it will greatly improve the box office as
I feel that people usually follow the action
and the stars, usually shown in the center
of the screen anyway. If the wide screens
lead to large extra sound costs, it too can
become unprofitable for small theatres.

I think the industry should take a middle
of the road policy in new experiments and
concentrate on producing more A pictures
in the present standard film.

If the tax is eliminated, we will be able
to bring back the glitter to show business.
How many so-called up and going busi-
nesses of today could survive under a 20%
sales tax? How anyone with this thought
in mind can dare say our business is any-
where except at the top of the list of suc-
cessful businesses of today is beyond my
understanding. With our present standard
method of projection, we are delivering
unquestionably the world’s finest entertain-

To Martin Quigley:

Your editorial, "Playing with Fire"
(The HERALD, August I}, is so sound,
so wise and so timely that I hope
everyone in the industry will read it
and take it to heart.

It is an eloquent manifestation of
your deep and abiding faith, not only
in the industry but in the public which
we serve and on whose support we
depend.

As you say, we must keep the faith.
I am sure that this must be the re-
solve of every person who wants to
advance the best interests of the mo-
tion picture and of the public.

Congratulations on an inspiring
message! — ERIC JOHNSTON, Presi-
dent, Motion Picture Association of
America, Inc.

AAA

To Martin Quigley:

You are, in my opinion, so right in
the position you have taken (Playing
with Fire, The HERALD, August I)
and therefore these few words of ap-
plause to you for the comment you
have seen fit to make in the interests
of the Production Code. — WILLIAM
F. RODGERS, New York City.

ment. Show business is not what it once
was and it never will be again, because new
mediums of entertainment have found their
way to the public and will remain. We
still and always will have plenty of follow-
ing to cure all the industry’s financial ail-
ments if we can obtain relief from the 20%
tax which we are rightfully entitled to and
without which we cannot survive regardless
of how many new methods of presenting
our programs are invented. We no longer
have a monopoly on the entertainment world
and therefore can survive only by the elimi-
nation of the ticket tax.

There is nothing wrong with the movie
business that good pictures, fair rentals, and
tax elimination can’t cure. — VERNAL M.
ELLIOTT, Clayton Theatre, Clay City,
Illinois.

For Better 3-D

To the Editor:

The producers and film companies will
have to put out better 3-D pictures than they
are or the theatre business is on the way out.
People are tired of the same old gimmicks
all the time. — T. CALLAGHAN , Sandusky
Ohio.

August 15, 1953

20th-FOX cuts price of CinemaScope
lenses; stresses investment Page 12

INDUSTRY ready to fight for tax repeal in

1954 Page 13

TEXT of President Eisenhower's "memoran-
dum of disapproval" Page 13

TERRY RAMSAYE Says — About Experting
in the Lay Press Page 18

EQUIPMENT experts form informal group
in East to study new techniques Page 20

RCA announces stereophonic sound equip-
ment for single film at $5,000 Page 20

SUBSCRIPTION TV urged by four station

owners in petition to FCC Page 21

SINGLE FILM multiple track sound system
shown to trade by 20th-Fox Page 21

ARBITRATION revived as subject for in-
dustry discussion Page 22

TOA ready "now or any time" to negotiate
on arbitration proposals Page 22

COLOR TV speed up seen in FCC moves
to approve new system Page 24

MARCIANO heavyweight championship
fight set for theatre TV network Page 24

BRITISH labor leader warns of world film
crisis if tax relief is not given Page 28

CINERAMA price tag to Stanley Warner
put at $962,637 Page 29

WARNER BROTHERS PICTURES net profit
$796,000 for first quarter Page 29

NATIONAL THEATRES net profit $1,-
873,521 for 39 weeks Page 29

NATIONAL SPOTLIGHT — Notes on indus-
try personnel across the country Page 30

"HERE TO ETERNITY" leads Broadway
grosses in heavy business Page 33

SERVICE DEPARTMENTS

Film Buyers' Rating
Hollywood Scene
Managers' Round Table
People in the News

3rd Cover
Page 26
Page 37
Page 36

IN PRODUCT DIGEST SECTION

Showmen's Reviews
Short Subjects
Short Subjects Chart
The Release Chart

Page 1949
Page 1949
Page 1950
Page 1952

MOTION PICTURE HERALD, AUGUST 15, 1953

WITH a cause and effect pat-
tern, the death of the Mason
admission tax exemption bill
is being followed swiftly in scattered
areas of the country by increases in
box office price scales. Many thea-
tres, looking forward to the elimina-
tion of the tax, held off price in-
creases for months. Now the bars
are down, and with some operators
already having taken the step, it is
expected that many others will fol-
low. In other situations, where the
market will not absorb admission
hikes, exhibtors say theatre closings
are inevitable.

MPAA REAFFIRMS CODE AS
"CONTRACT WITH PUBLIC'

“Job Night,” a promotion being
offered by some theatres in down-
state Illinois as an added attraction,
has been ruled illegal by Latham
Castle, attorney general of Illinois.
To participate in “Job Night” a per-
son must file an application seeking
a job as good will ambassador for
the theatre. Along with the applica-
tion goes a theatre ticket. On “job
night” a ticket is drawn and the
person who holds the number is
paid the sum of money, if he accepts
the job within three minutes to act
as good-will ambassador and pro-
mote the theatre.

► Twentieth Century-Fox has not.
applied for any patents covering its
CinemaScope process nor does it
plan to, Spyros P. Skouras, presi-
dent asserted this week. The posi-
tion, he emphasized, is in keeping
with the company’s policy of mak-
ing its technical improvements avail-
able to the entire industry.

► Business is slow in Milwaukee
because it’s summer and business
always is slow in the summer, opines
John R. Freuler, who ought to know.
He’s been in the industry since 1905,
and owns the new Century and the
remodeled Atlantic in the home of
the Braves. He’s been checking his
books back to 1910, and, sure
enough, the records bear him out.
You just wait out the period from
the first week in June to the final
week in July.

► Photographing the climbing of
Mount Everest was a problem pecu-
liar and interesting, Tom Stobart,
official cameraman to the British

The board or directors of the Motion
Picture Association of America Wednes-
day afternoon formally reaffirmed their
support of the Production Code. Eric
Johnston, MPAA president, informing
the press of the board's action Wednes-
day afternoon at Association head-
quarters in New York, said,

"Reports that producers were weaken-
ing in their support of the Code are
pure and utter nonsense. The board
unanimously reaffirmed its firm and
wholehearted support of the Code. It
is a contract with the American people."

. Explaining in detail the organized in-
dustry's support of the Code, Mr. John-
ston continued, "There has been a feel-
ing in some areas both within and out-
side the industry that the Code or some
parts of it are out of 'style'. The Code
has nothing to do with 'style'. It is a
living and vibrant document that deals
with principles of morality and good
taste. These are ageless."

He detailed the arguments in favor
of self-regulation and pointed out that
the Code has been the industry's most
valuable weapon in fighting local politi-
cal censorship "with which we have had
enough experience to know its deaden-
ing effect." He pointed out that the

expedition, said the other day in
London. For one thing, there was
care of the cameras alone. The range
of temperatures encountered was
100 degrees. Cameras were carried,
and bounced, on the backs of native
Sherpas. They had to be water-
proofed against monsoons, and the
waterproofing had to be checked
constantly. When Mr. Stobart’s na-
tive took ill, he then carried his
equipment, 30 pounds, which soon

fight against such censorship would be
crippled without the Code and that its
operation is so admired by other in-
dustries, notably television, that its ex-
ample has been followed.

Concerning the matter of theatres
not playing pictures from which a Code
seal had been withheld, Mr. Johnston
pointed out that while some do, many
do not and that those which do not
follow that course not because of any
possible sanctions but solely because of
their support of the principles of the
Code.

Supporting the stand taken by the
company presidents who comprise the
MPAA board, Geoffrey Shurlock, acting
Code administrator, who was present
at the interview, told the press that he
recently had questioned Hollywood
producers about their feeling toward
the Code. Without exception, he said,
they also had reaffirmed their support
of the Code and its principles. Among
those whom he said had gone on record
in this regard were: Y. Frank Freeman,
Jack Warner, Darryl F. Zanuck, Harry
Cohn, Steve Broidy, the MGM studio,
and independent producers such as
Clarence Greene and Russell Crouse,
among others.

seemed a great deal more. Mr. Sto-
bart’s 16mm film, exposed as high
as 26,000 feet, is being enlarged onto
Technicolor 35mm, and will be ready
in the Fall.

One newspaper critic, at least,
cannot blame those 3-D glasses.
Donald Kirkley, reviewer for the
“Baltimore Sun,” had his optometrist
make a pair, ground to his prescrip-
tion, for $40.

^Ou^HhrnCM»^EvHt"AMD' rP' n h1d every Saturday by Quigley Publishing company, Inc., Rockefeller Center, New York City 20. Telephone Circle 7-3100; Cable address,
c7.“!?nP„ N,?w A k , 1 Mc;rt|n Quigley, President; Martin Quigley, Jr., Vice-President; Theo. J. Sullivan, Vice-President and Treasurer; Raymond Levy, Vice-President; Leo J. Brady,
Pnv rnlL^ar l4j '?■ ■y’ kY Edl+or; Jerry Ramsaye, Consulting Editor; James D. Ivers, News Editor; Charles S. Aaronson, Production Editor; Floyd E. Stone, Photo Editor;

im c A i! ii'n9c.Ma?iaf r’ ^Ui H' F?usel.' .Production Manager. Bureaus: Hollywood, William R. Weaver, editor, Yucca-Vine Building, Telephone HOIlywood 7-2145;
k m n d + en 1 UrbfrP Far|ey. advertising representative, Telephone, Financial 6-3074; Washington, J. A. Otten, National Press Club; London, Hope Williams

PnhlL?nf R ++' xler B u m u p , e d i to r 4 Golden Square. Correspondents in the principal capitals of the world. Member Audit Bureau of Circulations. Other Quigley
Publications.1 Better Theatres, published thirteen times a year as Section II of Motion Picture Herald; Motion Picture Daily, Motion Picture and Television Almanac and Fame.

MOTION PICTURE HERALD, AUGUST 15, 1953

PUBLIC ACCLAIM shows at the boxoffice. The
lines and the records at the Loew's Capitol, New
York, for Columbia's "From Here to Eternity"
are staggering the local industry. Above, at the
premiere, some of the personalities who at-
tended: Louis Weinberg, sales executive: Joseph
Vogel, Loew's vice-president; Buddy Adler, the
producer, and Eugene Picker, Loew's executive.
Pre-selling, it's agreed, did the job.

Below, some of the national magazine pre-
selling for Columbia's "Salome", now going into
general release.

AT THE REUNION of the late Grace Moore's
friends, at Reuben's Restaurant, New York, as
Warners' "So This Is Love" opened at the Nor-
mandie: David Weinstock, the theatre's owner, and
Arnold Reuben, restaurateur. The picture is about
the late, great singer.

TECHNIQUES won’t bring back
customers, and 3-D has lost its
novelty and is too expensive;
and stereo sound in many spots
is just too loud, Alfred Starr,
TOA president, asserted at a
New York press conference last
week. He also said his unit
would shortly have a declara-
tion on arbitration. See page
22.

mmmmmnm

MOTION PICTURE HERALD, AUGUST 15, 1953

AT THE FAREWELL PARTY for Frank Wolf,
left, who resigned as assistant, in Boston, to
E. M. Loew, circuit head, Mr. Wolf congratu-
lates his successor, Ray Canavan, former dis-
trict manager.

VISITORS, on the set of
Paramount's "Casanova's
Big Night". Raymond
Levy, Quigley Publishing
Company vice-president;
Mrs. Levy, and daughter
Carol stop by for a chat
with Bob Hope. The Levys
were in Hollywood and
Los Angeles for a week of
renewing acquaintances.

RETIREMENT, for Phil Hodes,
RKO Pictures branch manager,
with the company over 30 years.
As friends of the New York indus-
try look on, Charles Boasberg (be-
hind microphone), general sales
manager, bids Phii farewell. Others
on the dais are Walter Branson,
RKO; Samuel Rinzler, guest
speaker; James R. Grainger, com-
pany president; and Len Gruen-
berg, another RKO executive.

NOW IT'S POPEYE who's
gone 3-D. The man who
won't be beaten comes
into the new medium with
Paramount's "Popeye —
The Ace of Space," next
month.

AT THE CAPACITY
OPENING, Monday
night, in the Fine Arts
Theatre, New York, of J.
Arthur Rank's Universal
release, "The Cruel Sea":
left, Milton R. Rackmil,
Universal president; Mar-
tin Quigley, publisher,
and Charles J. Feldman,
Universal general sales
manager.

By the Herald

aaaaatatnatn

amn

MOTION PICTURE HERALD, AUGUST 15, 1953

FOX CUTS CINEMASCOPE
LENS COST TO THEATRES

Photos by The Herald

THE SUBJECT OF CINEMASCOPE. The scene Tuesday morning, above, in the board room
of 20th-Fox, New York, as Spyros Skouras, center, company president, announced a price
reduction in lenses and also explained in detail the company's tremendous investment and
effort in pioneering a new system. With him are Earl I. Sponable, left, director of research;
and Al Lie htman, director of distribution.

Skouras Emphasizes Ex-
tent of Investment; Fore-
cast 50 Films for 1954

Spyros P. Skouras, president of Twentieth
Century-Fox, announced August 11 in New
York a sharp reduction in prices of Cinema-
Scope lenses.

The old prices have been cut, retroactive-
ly to the first order, from $2,875 a pair of
projection lenses to approximately $1,900 a
paid for the 4" lenses for long projection
throws and $1,800 a pair for the 2%" short
throw lenses. These reductions have been
made possible, Mr. Skouras said, by de-
creased prices from the lens manufacturers
(notably Bausch & Lomb in the United
States) on account of the large volume of
orders. The savings are being passed on to
exhibitors.

Guaranteed $10,000,000 in
CinemaScope Orders

The announcement of the price cuts for
the anamorphic lenses highlighted a news
conference in which Mr. Skouras reported
about a number of developments concerning
CinemaScope, including the following:

1) 20th-Fox has given guarantees total-
ling $10,000,000 to equipment makers in
the United States and major countries a-
broad in order to insure the rapid produc-
tion of lenses, stereophonic sound systems
and screens ;

2) The production commitments of these
equipment makers for sound, lenses and
screens for CinemaScope now amount to
some $100,000,000;

3) 20th-Fox is expected to have in re-
lease during 1954 about 20 CinemaScope
productions ;

4) Production of CinemaScope features
by other U. S. producers for release in 195‘4
is expected to amount to about 30 with an-
other 25 to 50 being made in various for-
eign countries by producers of those coun-
tries.

5) Although no price cut in the Miracle
Mirror Screen ($3 per square foot) is to be
made at this time, 20th-Fox is developing
another screen— the Magniglow Astrolite
screen — which is expected to be less expen-
sive yet satisfactory for subsequent run
houses and small theatres.

‘‘Quality ” Is Watchword
For CinemaScope

Mr. Skouras emphasized that the pur-
pose of the company in its development oi
CinemaScope was to avoid the mistakes
that occurred when sound was first intro-
duced. His watchword is quality. High
quality lenses, screens and sound are de-
sired in order that CinemaScope pictures
may be presented under the best possible cir-

Mr. Sponable tells about the lenses.

cumstances. The basic aim, Mr. Skouras
said, “is for CinemaScope pictures to bring
the public back to the theatres.”

Pointing out that he had seen for the first
time the process that is called CinemaScope
only last December, Mr. Skouras said that
the progress made thus far was achieved
“by breaking one bottleneck after another”
in the way of equipment. For example, be-
tween 750 and 1,000 stereophonic sound
equipment will be produced in October, a
figure that would have been judged impos-
sible only a short while ago.

In order to further industry acceptance of
CinemaScope Mr. Skouras said 20th-Fox
has sought no patents on its developments.

Mr. Lichtman cites a point.

He said that the system, developed by Earl
I. Sponable, research director, for four
sound tracks on the same film with the pic-
ture probably could be patented but 20th-
Fox wants it available to everyone.

So far as production is concerned, pro-
ducers in the United States may contract
for use of CinemaScope lenses on a per
picture basis or by the year. The single
picture price, Al Lichtman, 20th-Fox dis-
tribution head explained, is $25,000 which
includes two camera lenses, one or two pro-
jector lens sets and a Miracle Mirror screen
for the studio. The annual license was not
stated but indicated to work out to approxi-
( Continued on page 16, column 3)

MOTION PICTURE HERALD, AUGUST 15, 1953

TRADE READY TO
FOR TAX REPEAL

PRESS
IX ’54

Leaders Emphasize Need

For Full Relief Despite rri - W99

Promise of “Reduction” 1 GXl OJ the UlSCLppVOVCll

With the first shock of disappointment
passed, the industry this week was un-
daunted and actively planning new drives
to have the admission tax burden lifted from
exhibitors.

Last Thursday President Eisenhower
‘‘disapproved” the film admissions tax re-
pealer, but promised he would recommend
reduction in the tax next year. Coming al-
most as an echo to the President’s action
was a statement from the Council of Motion
Picture Organizations pledging to continue
the tax-removal campaign without abate-
ment.

Pledge Continuation
Of Fight for Relief

“After such a gallant and extraordinary
fight that brought the industry within sight
of victory,” the statement said, “COMPO
leaders indicated they are not going to take
anything for granted.”

“We are disappointed,” declared Colonel
Cole, Pat McGee and Robert W. Coyne,
“but we are far from being defeated. We
realize the problem that President Eisen-
hower has had to face in considering relief
for our industry. We regret that he has not
viewed the matter differently. His very
statement of itself indicates that lie realizes
relief is necessary. We know that repeal of
the 20 per cent admissions tax is vital for
the continuance of the industry and we are
not going to give up the fight until this re-
lief shall be had.”

President Cites “ New
Forms of Competition ”

In his “memorandum of disapproval” of
the Mason Bill, President Eisenhower said
that the basic causes of the industry’s dis-
tress lie in new forms of competition.

The reason for his action, he said, is that
it would be unfair to single out one industry
for relief at this time, and he pointed to the
fact that the excess profits tax on all busi-
ness had just been extended for six months.
Tax relief for one industry therefore would
be unfair, he contended.

President Eisenhower estimated that re-
peal would result in a gross loss of revenue
of $200,000,000 and a net loss, after allow-
ing for resulting increase in corporation in-
come taxes, of between $100,000,000 and
$120,000,000 per year.

The President’s action was neither a veto,
since Congress has adjourned and no veto
message could be sent, nor a pocket veto,
since a statement of reasons for failure to
sign were presented.

After the president’s statement, the

Following is the text of President Eisen-
hower’s “Memorandum of Disapproval” :

I am withholding my approval of H. R.
157, entitled “To Provide That the Tax on
Admissions Shall Not Apply to Moving
Picture Admissions.”

My reasons for taking this position are
that we cannot afford the loss of revenue
involved and that it is unfair to single out
one industry for relief at this time.

In my message to the Congress on
May 20, I said : “Tax receipts will appar-
ently fall considerably short of our nec-
essary expenditures during the next fiscal
year. In view of this fact, I have come to
the conclusion that no reductions in tax
rates should become effective during this
calendar year.”

In accordance with this policy, the
Treasury Department advised the chair-
man of the House Committee on Ways
and Means and the Senate Committee on
Finance of its opposition to this bill.

Because of the need for revenue I
recommended an extension of the excess
profits tax for six months and the exten-
sion has now been made. Tax relief for
one industry now would be inconsistent
with that action.

It is estimated that the repeal of the
admissions tax on motion picture per-
formances, which has been on the books
at the present rate since April 1, 1944,
would result in a gross loss of revenue of
$200,000,000. After allowing for a result-
ing increase in corporation income taxes,
the net loss is estimated to be between
$100,000,000 and $120,000,000 a year.

It is not contended by the industry
that the present scale of admission prices
which reflects the 20 per cent tax is re-
sponsible for the existing distress situa-
tion in the industry. Indeed, the industry

COMPO tax repeal committee in Washing-
ton declared: “We do not believe that the
complete implications of this event at the
eleventh hour are fully realized, even by
those of us close to the situation. This fol-
lowed an uphill struggle for more than one
year in which the industry members, exhibi-
tors, distributors and producers, functioned
as a team under the COMPO banner. There
were many junctures at which defeat was
predicted as certain and where the opinion
was universal that success during- this term
of Congress was unattainable. The fight
waged by exhibitors was inspiring. It is a
tremendous victory, a tribute to unity, and

apparently expects in many cases to main-
tain the present price to consumers even
though the tax is repealed.

There is distress in large but not all
segments of the industry. The basic
causes of the industry’s distress, however,
arise from new forms of competition.

A strong case can also be made for
tax relief in other industries which are
subject to high excise taxes, including
other forms of entertainment subject to
the admissions tax. If relief is to be given
to motion picture theatres at this time it
would not be fair to refuse relief to these
other industries. If widespread relief were
given, however, the loss in revenue would
be very large.

As I said in my message of May 20,
“The wide variety of existing excise taxes
makes little economic sense and leads to
improper discrimination between indus-
tries and among consumers. Specific pro-
posals for a modified system of excise
taxation will be included in the recom-
mendations for tax revision that will be
submitted to the Congress next January.”

The Treasury analysis has already pro-
gressed to the point where I can say that
I will include a recommendation for a
reduction in the admissions tax in my
proposals for a modified system of excise
taxation. Action could be taken by the
Congress early in 1954 and relief could
be given at that time.

It is for these reasons that I cannot
give my approval to the repeal of the tax
on admissions to motion-picture perform-
ances. The country cannot afford a loss
of revenue at this time. Furthermore, it
would not be fair and would be discrim-
inatory to give relief under a single ex-
cise tax and then only to one of the in-
dustries subject to that tax.

it is a thrilling testimonial to the power that
still resides in the hands of the folks at
home to rectify wrongs through Congress.”

Col. Cole declared: “It is our pledge to
repay our friends in Congress who did their
utmost to win our case by continuing this
fight.”

Sam Pinanski and Trueman Rembusch,
speaking for the COMPO governing board
consisting of themselves and A1 Lichtman,
said: “Our pride is great today. We have
lost the battle and our hearts are sick for
theatre men and industry members who
sorely needed this relief. But we hope they
( Continued on page 16, column 1)

MOTION PICTURE HERALD, AUGUST 15, 1953

starring

BURT MONTGOMERY

UNCASTER CLIFT

DEBORAH FRANK DONNA

KERR SINATRA REED

Screen Re, by DANIEL TARADASH • Based upon a novel by JAMES JONES • Produced by BUDDY ADLER • Directed by FRED ZINNEMANN

FROM COLUMBIA!

TAX FIGHT

(Continued from page 13)

will take courage. The tax fight must go on.
We urge exhibitors to keep their marquees
bright, for although we have lost this battle
the war against discrimination has just be-
gun. This has been an amazing demonstra-
tion that we can win and we will win !”

Robert Coyne, special counsel, com-
mented: "... I think the Treasury was
wrong ! I think the Congress was right ! Our
gratitude to Congress for doing the un-
popular thing is watered down in no measure
by our regret that the persuasion that moved
both houses of Congress and won favorable
action by the toughest Congressional com-
mittees, failed to move the Secretary of the
Treasury. In this last hour of defeat our
feelings toward our supporters in Congress
and to our thousands of supporters in and
out the industry are very warm indeed.”

Pat McGee said: “. . . I am proud that I
was associated with the effort. We should
hold no bitterness. We have the satisfaction
of knowing that we, and by we I mean every
industryite who pitched in — and that is
almost across the board— fought the good
fight.”

Meet for Action

In New York during the week the govern-
ing triumvirate of COMPO was to have met
to blueprint a program to underwrite a re-
newed drive to eliminate the 20 per cent tax.

Slated to confer were Mr. Lichtman, Mr.
Rembusch and Mr. P'inanski. One of the
major items on the agenda was to be the
replenishment of the COMPO treasury.
While it is know that COMPO raised more
than $300,000 in last year’s dues collection
drive, including distributions’ 50 per cent
share, it is understood a greater portion of
that sum was spent during the 14-month
campaign against the Federal admissions
tax.

In addition to beginning preparations for
the January tax elimination campaign, the
COMPO leaders were expected to examine
proposals for other and new activities for
the organization. Among these, it is being
suggested, is a comprehensive public rela-
tions campaign designed to better the lot of
the imperiled small theatres across the coun-
try, in more dire straits now than ever be-
cause tax relief has been denied them.

Campaigns Urged

It is being urged that COMPO might, on
both local and national levels, conduct public
relations programs aimed at winning new
patronage for the theatres in jeopardy in an
effort to prevent them from closing. Tax
campaign estimates were that several thou-
sand theatres, without tax relief, would have
to close in the next six months.

Few avenues of assistance other than
those that COMPO might devise, are avail-
able to such theatres, it is pointed out. Rais-
ing admission prices is out of the question,
the industry is agreed. If the traffic would
have borne increases, they would have been
made long before now. The admission tax

ADMISSION TAX KILLED;
DIDN’T EVEN HURT

CLEVELAND: Lakewood, a suburb of
Cleveland, has taken resolute action
on its three per cent amusement tax
— it has repealed it, effective Au-
gust I. Lakewood has three film thea-
tres and a population of 70,000. The
houses are the Hilliard Square and
Hemstead, units of the Associated
Circuit; and the Detoit, owned by
General Theatres. The three per cent
tax was enacted October I, 1947.
Lakewood is the first of Cleveland
suburbs to repeal the tax.

freezes the price ceiling for thousands of
small theatres, with any increase being met
by a falling off in attendance with a re-
sultant gross lower than that which pre-
vailed before the prices were raised.

Alfred Starr, president of Theatre Own-
ers of America and head of a circuit of
more than 50 theatres, said that the average
patron would have to side-step motion pic-
tures entirely if prices were increased.

At a press conference in New York Mon-
day, Mr. Coyne asserted., that COMPO is
not discouraged by President Eisenhower’s
failure to sign the Mason Bill and he urged
every exhibitor who planned to close his
theatre to do everything possible to stay in
operation.

Mr. Coyne said that exhibitors should
“'hang on by their teeth,” raise prices if
practicable and borrow money if necessary
to stay in business, because there is a “living
promise” that the tax will be removed in
the next effort.

Telegram to President

Mr. Coyne did not want to comment on
the President’s action, but said that his
attitude and that of the others associated
with him was best expressed in a telegram
which was sent to the President in Colorado.
It read: “In defeat today after a fight we
believe we should have won, we want you to
know we have deepest respect for your con-
viction. The industry, as always, is com-
pletely at your service. Respectfully.” The
wire was signed by Mr. Coyne in behalf
of COMPO.

Mr. Coyne said that COMPO would not
lose ground and would finalize plans for the
future in its relations with Congress.

Mr. Coyne also said there would be a
drive for dues in the next 60' days, indicating
that the tax drive drew heavily on
COMPO’s treasury. The cLues for theatres
range from $10 to $100, a year, based on
seating capacities, with the distributors
matching the total paid by the exhibitors.

In Dallas it was announced that a special
session of the Texas COMPO conference
to be held Sept. 28-30 will honor Congres-
sional leaders who were instrumental in
aiding the Mason Bill to pass the House and
Senate.

One of the highlights of the conference
will be a tribute to Col. Cole, Mr. McGee,

FOX CUTS

( Continued from page 12)

mately the sum, per picture, charged to
foreign producers of CinemaScope features,
viz. about $5,000 to $7,000.

The first picture in CinemaScope, 20th-
Fox’s “The Robe” is to have its premiere
at the Roxy, New York on September 16
and openings are planned for all the prin-
ciptal capitals of the world before the end of
the year. Following the opening of “The
Robe” 20th-Fox plans to put a CinemaScope
production in release every four weeks.

LTp to the present time, Mr. Skouras said,
extensive tests by engineers have shown
that the Miracle Mirror Screen is the best
screen for CinemaScope. They have not
yet found any other screen to equal it for
even distribution of light and for brilliancy.
However, the firm hopes that the Magni-
glow Astrolite screen which it is develop-
ing will be acceptable for smaller theatres.
Its price will be considerably less than the
$3.00 per sq. ft. (which includes .60 per sq.
ft. dealer’s commission) for the Miracle
Mirror screen.

Announcing first demonstrations of the
four track composite stereophonic sound
with picture system for August 13 in New
York Mr. Skouras noted that four different
methods are under test for placing the mag-
netic striping on the prints. Under present
practice the striping is added after the prints
are made ; then the sound is recorded onto
the tracks. Reproduction involves the use
of a special sound head mounted on the stan-
dard projector above the projection gate in-
stead of below it as has been the custom
since sound on film was adopted a quarter
of a century ago.

While improvements are expected to be
made in CinemaScope technique in produc-
tion— “The Robe” was filmed with French
lenses made 28 years ago by Prof. Henri
Chretien — the projection lenses now being
manufactured and offered to exhibitors are
expected to be satisfactory indefinitely.

Mr. Pinanski, Mr. Lichtman and Mr. Rem-
busch.

A three point proposal was submitted to
COMPO by the Texas unit.

1. Recommend that every exhibitor in
Texas raise his admission price equivalent
to the 20 per cent tax.

2. Make available an “extraordinary”
trailer created for the purpose of relating
to the theatre patrons that the campaign
to remove the tax was designed to abstain
from raising admission prices, and since
it was unsuccessful, it now becomes
imperative to raise admission prices to
offset costs of innovations and increased
operations. The trailer would stress that
the increase will be remitted to the public
when the Federal tax is eliminated.

3. A continuous weekly report of thea-
tre closings and the amount of tax money
lost to the government, the report to be
submitted to President Eisenhower and
copies to the Treasury and Congressional
leaders.

MOTION PICTURE HERALD, AUGUST 15, 1953

with GEORGE DOLENZ- ANTONIO MORENO -NOAH BEERY

SCREENPLAY BY JAMES t MOSER -PRODUCED BY AARON ROSENBERG -A Universal-International Pici

the

4 MEW bnJ0f£XC/TEM£Nr

from the screen in

and

SUITABLE
FOR
WIDE
SCREEN!

Fora

NATION'S
RICHEST
PRIZE HE
FOUGHT
WILDEST
REVOLT!

...and tamed a
fiery Bandit Queen
for his own!

I crr^ RtamsaTe

About Exporting In The Lay Press

THE Letters page of The Herald has
presented a communication taking me
to task, in a somewhat friendly manner,
by Alex Murphree, drama editor of "The
Denver Post." He takes off with a quotation
from this column of July 18: " 'Why must
the lay press elect to give experting atten-
tion only to theatrical entertainment?'
That is what you profess to want to know!"

Mr. Murphree's answer: "The lay press
elects to give experting attention to the-
atrical entertainment — and to books, base-
ball, records, radio and television — because
the public (ticket buyers at the box office)
does not have a chance to inspect the
merchandise before buying . . ."

As to books and records the public in
fact does have a chance to inspect before
buying. Those really interested do. As to
baseball, radio and television the lay press
experts get the show right along with the
public.

His key word is "merchandise." I'll take
that.

Mr. Murphree, admitting my experience,
twits me with dissembling and says he'll bet
I know the answer very well indeed. Per-
haps so; I have been among those present,
and participating since when. Some facts:
the lay press has two controlling reasons
for its special departments and critics,
notably in the case of the motion picture:

I — The amusement industries' prin-
cipal merchandise reposes in the
skills, charms and agility of personali-
ties, especially the stars. They are
people. They make copy in words and
pictures, for the press, from news to
gossip and from beauty to cheese-
cake. That wins readers and makes
circulation. That's editorial merchan-
dise. Movieland is a splendid source.

2 — The motion picture and its
theatre has been these many years
a great advertiser, nationally and
locally. It has in general paid what
are called "amusement rates," con-
siderably higher than for soap, pickles,
sox, motor cars, refrigerators, depart-
ment stores and groceries. That repre-
sents the price of being an "art," and
the journalistic stance. The newspaper
is a business, generally either a big
business on its own or intertwined with
business in politico-economic rela-
tions.

I am for newspapers, and I am for busi-
ness. They are of the American Way, which,
imperfect as it may be, has been the best

way. I distinguish between the Republic
and that hybrid thing some call democracy.
It is the Republic I like.

The journalistic stance in the matter of
art criticisms has its roots in the pre-
journalistics of what may for brevity be
called pamphleteering punditry. Criticisms
were highly personal expressions addressed
at small audiences of the decidedly thin
layer of intelligent literacy. For literature
and the drama there were no mass audi-
ences, no mass circulations.

* * *

Motion picture criticism came in through
the circulation department. It came in be-
cause newspapers were striving to reach
down into the lower and less literate strata
whose buying power had been demon-
strated by the movies and the nickelodeon.

The precise spot was at the corner of
Madison and Market streets at the edge of
Chicago's "Loop" district, in the office of
the "Chicago Evening American," and in
the mind of the late Moses Koenigsberg,
an editor of that paper. He arrived at a
notion of a story that should run concur-
rently on the screen and in the paper. He
engaged the interest of William N. Selig,
a Chicago major producer. Hearst office
politics delayed and defeated Mr. Koenigs-
berg and incensed Colonel Selig. He took
the notion to the "Chicago Tribune."

There was a circulation war in Chicago.
Max Annenberg, who had come to fame
in circulation for the Hearst papers, had
been acquired by the "Tribune," which was
undergoing a change from its conservative
policies. So it came that the "Tribune"
launched the motion picture serial with the
Adventures of Kathleen, adding consider-
able circulation thereby.

* * *

It followed with The Million Dollar Mystery
with expanding success. "The Tribune" con-
currently acquired a widening motion pic-
ture interest. It started with a line of copy
which soon fell into the pattern of atten-
tions to the stage, along with what might
have been called reviews of the screen.
This was, mind you, just as the feature pic-
ture was dawning, 1913-14-15.

The serial era was upon us with a wave
of journalistic interest and an awakening
interest in movies, much stimulated by the
slightly belated Hearst attentions on a
national basis.

Your reporter on this page was con-
siderably a participant, having come into
the Chicago scene as a re-write man, and

as always functioning between the editorial
department and the offices of advertising
and circulation. He entered with the
Hearst papers and transferred, in course,
to "The Tribune." Thence he was called to
New York and movieland to become the
advertising and publicity functionaire for
one of the Big Three distributors.

One of the problems was to get serious
attention to the movies from important and
conservative papers. This reporter, with the
dynamics of rough Chicago journalism,
used everything in the kit, including ad-
vertising pressures used in big figures,
nationally. It became a pattern. He is re-
minded that the first heed the august
New York "Times" gave was no concession
at all. Items about movies in six-point fillers
began to appear in the "Times" dramatic
section; I was amazed, and running it down
I found it was solely because the late Brock
Pemberton was tucking them in since he
wanted to recognize "another fellow from
Kansas." I later bedevilled the "New York
World" for editorial attention until it
offered me a job of establishing and con-
ducting a movie column. No deal. But the
"World" installed a column.

* * *

In that early period the reviews were not
so expert and pontifical. There were several
reasons and I as representing a movement
was one of them. Those were merchandis-
ing days.

One may take no exception to Mr.
Murphree's declaration of altruistic pur-
poses, either for himself or the "Denver
Post," even if it is a paper with a decidedly
pragmatic tradition. His zeal is representa-
tive of that precious quality that publishers
are able to buy.

The movie industry is conscious of, and
in its fashion, grateful for a friendly press.
The motion picture, unlike radio and tele-
vision, is not a competitor for advertising
dollars.

The helpful friendship of the lay press
for the movies will continue as long as the
Interest of the readers continues.

'YW W'f' YW

COUNTRY NOTE— Up here in the valley
of the Silvermine in Yankeeland we have
come to a state of suspension between
seasons. ’Tis neither summer nor yet quite
early autumn. It is a time of drowsing,
drought and heat. Only in the water-
gardening of fhe pond with its lilies and
lotus are there abundant flowers. There
anyway there is no weeding and watering.
At sundown perfumes come lazily through
the air. The birds, retreated to the thickets
are silent, and even the rowdy crows and
gaudy jays are heard only in their daily
helling-around at dawn. The songsters are
busy raising new costumes of feathers for
the flight south. The elders, rich with ber-
ries, dripping with wine juices, droop under
load, and no one to pick them. It is a
splendid time in which to do nothing, in
the shade.

MOTION PICTURE HERALD, AUGUST 15, 1953

Stakes the M°netf Makers/

His blade of gold...
a legend in battle

Her kiss of surrender
...the prize of victory!

with GENE EVANS • KATHLEEN HUGHES • GEORGE MACREADY

JURAH • Slow and sCAttNM Ay JOHN RICO • aaoom ay RICHARD ISON • co-producer LEONARD GOLDSTEIN • A UNIVERSAL-INTERNATIONAL PICTURE

EXPERTS STCDY
3-D ADVANCES

Symposium Represented
By Executives from All
Industry Phases

Technical executives of various motion
picture companies in the production, dis-
tribution, exhibition and equipment fields
met last week informally at the Warner
Brothers home office in New York to dis-
cuss new 3-D projection devices and the
latest developments in stereophonic sound.

The symposium of technical men, under
the chairmanship of Frank E. Cahill, Jr.,
of Warner Brothers and a vice-president of
the Society of Motion Picture and Tele-
vision Engineers, is scheduled to meet again
the week after Labor Day. Whether the
informal meetings will be held at regular
intervals thereafter has not been announced.

Chubb Holds Spotlight

The spotlight at the group’s first meeting
was held by L. W. Chubb, a senior research
engineer of the Polaroid Corporation, who
demonstrated two of the company’s new
synchronization monitoring and control de-
vices for 3-D films, whereby the projec-
tionist can maintain perfect synchronization
of the two linked projectors at all times.

Mr. Chubb reported that a survey of some
70 theatres, mainly in the New England
area, had indicated that 20 per cent or more
of the 3-D showings were out of synchron-
ization to a sufficient degree to cause dis-
comfort to the audience.

The Polaroid official demonstrated an
electronic synchronization monitor, which
provides an automatic warning for any mis-
synchronization up to four frames, and a
cheaper, more compact stroboscopic model
which scans the screen and indicates by a
break in its line pattern any partial frame
mis-synchronization. Both are accurate to
one-tenth of a frame.

“Sync” Control Devices

Demonstrating the synchronization con-
trol devices, Mr. Chubb used them to bring
out-of-sync pictures immediately back into
synchronization while the film was being
projected.

For use with selsyn interlock, two types
of device could be employed, he said. One
is a differential selsyn between the two ex-
isting selsyns and the other a multiple snap
switch inserted between the selsyns, with
steps equivalent to one-tenth of a frame
variance at each interval. For mechanical
interlocks, a mechanical differential has
been developed, the Polaroid representative
reported, and is now in use in the Boston
area with excellent results.

R. T. Kriebel, also of Polaroid, showed
the assembled group a new projectionist’s
viewing device consisting of two sheets of

polarizing filters whose axes of polariza-
tion are at right angles to each other. Look-
ing through them, the projectionist can de-
termine immediately whether the amount of
light being projected by each projector is
of matching intensity.

Set Pilot Quantities

It was announced that pilot quantities of
the Polaroid devices would be available in
about 10 days, with synchronization monitor
and control units — the complete equipment
— priced probably under $100. Polaroid
officials were said to be conferring with in-
dustry technical experts on further programs
of research and development in the 3-D
field.

The discussion of stereophonic sound at
the meeting indicated that there is a need
for more information regarding what type
of stereo sound tracks would be used and
specifying the number of features ready or
in work with separate 3-track recording.
With this information, the experts agreed,
exhibitors would have some guidance as to
the type of equipment they should install.

List Those Attending

Attending the meeting were C. J. Bach-
man, Henry A. Eberle, Gio Gagliardi and
C. A. Piltz of Stanley Warner ; L. W. Dave
of Century Projector Corp.; H. H. Heacock
and J. F. O’Brien of Radio Corporation of
America; J. M. Florio and Bernard R.
Goodman of Warner Bros.; William Hecht
of International Projector Corp.; George
Hornstein and Jack Schaffer of Joe Horn-
stein, Inc.; J. R. Johnstone of National Car-
bon; J. J. Kohler and M. D. O’Brien of
Loew’s, Inc.; Boyce Nemec and Allen P.
Snody of SMPTE; A. J. Platt of Radio
Corporation of America; A. J. Rademacher
and Elmer Wilschke of Altec Service Com-
pany; P. D. Ries of National Carbon; G. F.
Sandore of RCA Service Company, Inc. ;
J. W. Servies of National Theatre Supply,
and Basil Wedmore of Westrex Corp.

4,000 Attend CinemaScope
Showing in Canada

Nearly 4,000 exhibitors, newspaper repre-
sentatives, members of the Government and
financial leaders attended the first Canadian
demonstration of 20th Century-Fox’s Cine-
maScope process at the Imperial theatre in
Toronto Tuesday. Shown were scenes from
two forthcoming productions, “The Robe”
and “How to Marry a Millionaire,” as well
as panoramic shots of the Coronation and
of Paris. 20th-Fox officials in attendance
included Arthur Silverstone, eastern and
Canadian sales manager ; Alex Harrison,
home office representative ; Peter Myers,
Canadian division manager, and V. J. Beat-
tie, Toronto branch manager.

RCA Ready
With S.J. ooo
Sound Unit

Theatre Equipment news was made dur-
ing the week with an announcement by
Radio Corporation of America of Streo-
Scope Sound, “an easily installed soundhead
for the new single-film, magnetic sound pic-
tures and a complete sound system” at prices
beginning under $5,000. Twentieth Cen-
tury-Fox for its CinemaScope — and Para-
mount have announced single film stereo-
phonic sound methods.

The RCA equipment is made for Cinema-
Scope pictures and engineered for easy inter-
changeable handling of standard films and
for new methods of single-film, magnetic
four-track pictures.

The design permits quick installation of
what RCA has named a “Button-On Sound-
head” between the projector mechanism and
top magazine. It does not interfere with
showings of standard films. It permits the
showing of the new multi-track films with-
out intermissions, with standard two-pro-
jector setup. Other features are: four mag-
netic tracks feeding sound to four pick-up
heads which in turn feed into stereophonic
sound system ; four magnetic heads, ar-
ranged for maximum response from high-
fidelity magnetic sound and minimum head
wear.

The Stereoscope sound system also fea-
tures controlled horn angles and a new
speaker design. Any combination is avail-
able for every theatre regardless of size or
shape.

Also featured is a new RCA amplifier
system with the all new audio-sync circuit.

"Helen of Troy" to Be First
In WarnerSuperScope

HOLLYWOOD : “Helen of Troy” will be
the first Warner Bros, production to be
filmed in the newly-perfected WarnerSuper-
Scope wide screen process, Jack L. Warner
announced last Thursday.

The world-wide search for the actress to
play the title role has narrowed down to a
select list of stars. Advance preparations,
including the planning of sets and the crea-
tion of wardrobes, are virtually completed.
The picture is scheduled to go before the
cameras at Warner Bros, studios in a mat-
ter of weeks. “Helen of Troy” will be
filmed in WarnerColor.

“The Homeric story of ‘Helen of Troy'
possesses all the qualities of a spectacle —
background, sweeping action, and colorfully
intriguing characters — to make the ideal
vehicle to introduce WarnerSuperScope,”
Mr. Warner stated. “It is our conviction
that WarnerSuperScope will open a whole
new wonderland of entertainment for War-
ner picture audiences by enlarging screen
vistas to the full limit of the human eye.
No more exciting entrance could be made
‘into this wonderland than ‘Helen.’ ”

MOTION PICTURE HERALD, AUGUST 15, 1953

UHF STATIONS ASK FCC TO

APPROVE SUBSCRIPTION TV

Fox Shows
New Sound

Twentieth Century-Fox’s method of in-
cluding stereophonic sound tracks on the
same film strip with the picture was sched-
uled to be demonstrated to the press for the
first time at the company’s home office
screening room August 13.

The system, as previously announced, in-
volves the use of four stereophonic magnetic
sound tracks on the 35mm, one outside and
one inside each of the lines of sprocket
holes. In order to make room for the tracks
the size of the sprocket holes has been si ight-
ly decreased. New sprocket teeth will be
required on the projector to show this film
but the new teeth may handle all kinds of
35mm film, new and old.

Advantages of the composite film includ-
ing the stereophonic sound tracks are re-
ported to be the elimination of the synchro-
nization problem between the picture and
a separate film carrying the sound tracks;
savings of large sums in print costs and
simplification for the exhibitor. Further-
more the use of four tracks instead of three
used in most stereophonic sound systems
permits one track to be used exclusively for
special effects reproduced through audito-
rium speakers.

Chicago Bans Re-Use

Of 3-D Spectacles

Chicago theatres have reverted to use of
throwaway spectacles for 3-D pictures, after
objections to the permanent type by the
Chicago Board of Health. Herman Gold-
stein, president of the company which leases
machines to sterilize glasses, was in that
city this week to confer with Dr. Herman
Bundesen, Board of Health chief.

Meanwhile, the Polaroid Corporation
stressed that glasses to which the Board
objects are “reworked’’; that is. glasses
made by taking material from standard
Polaroid viewers and putting them in plastic
frames; or they are glasses made in plastic
frames by other companies. Its associate
director of research, Dr. Elkan R. Blout,
warned that the “reworked” glasses are en-
dangering the future of 3-D. Samples
tested, he said, are shoddy, shabby, and the
material is misaligned. The company added
its lawyers are considering suits for patent
and trade mark infringements.

Schedule Opening Dates
For "Devil's Canyon"

RKO’s three-dimensional film, “Devil’s
Canyon,” will open August 19, it has been
announced by Charles Boasberg, general
sales manager. The color by Technicolor
production, starring Virginia Mayo, Dale
Robertson, Stephen McNally and Arthur
Hunnicutt, has opening day dates set at the
Missouri, Kansas City; Pantages and Hill-
street, Los Angeles ; Orpheum Theatres,
Minneapolis and St. Paul; Keith, Syracuse;
and the Golden Gate, San Francisco.

WASHINGTON : Federal Communications
Commission approval of subscription tele-
vision was asked last Friday by four ultra
high frequency grantees as a means of sav-
ing ultra high frequency stations.

The FCC was told that one UHF station
had been forced to discontinue television
operations and that many licensees had re-
linquished their authority, all because of
inability to compete with established very
high frequency stations.

Home News, New Brunswick, N. J. ;
Pennsylvania Broadcasting, Philadelphia ;
Stamford-Norwalk Television, Stamford,
Conn., and Connecticut Radio Foundation,
New Haven, presented a combined petition.

Subscription TV need not compete with
free TV, and on the other hand would aid
baseball, football, boxing and other sports
and entertainment enterprises currently be-
ing hurt by television, the petition said.

The four companies told the commission
that TV set owners in areas presently re-
ceiving adequate VHF service will not pay
the $50 to $75 necessary to convert each
set to receive UHF.

Unless UHF stations can present high
quality programming, they are at a com-
petitive disadvantage.

If only 10 percent of the Washington,
D. C., sets were tuned into a program for
which the charge was 50 cents a station they
would gross $18,425. “Possibilities for local
programming in the public interest” would
be great, the petition said. As to network
programming, if only 10 percent of U.S.
sets were tuned into a 10-cent program, the
take would be $232,500.

The companies’ detailed experiments with
various types of subscription television and

Pola-Lite Company

Names New Officers

The Pola-Lite Company, recently pur-
chased by Matthew Fox and associates, an-
nounced in New York Wednesday that Mr.
Fox- has been named chairman of the board.

S. G. Fassoulis, 31-year-old head of a
large export-import business, has been ap-
pointed president and chief executive officer.
A1 O’Keefe, former national sales manager
for Universal pictures, has been signed
as vice-president in charge of sales. Mr. Fas-
soulis and Mr. Fox are the two principal
owners of the company.

The company also announced that it has
signed a long-term deal with National Film
Service, Inc., whereby Pola-Lite’s 3-D
glasses will be sold and distributed through
National Film Service’s affiliated 33 ex-
changes in the nation’s key cities.

The Pola-Lite release claimed that with
the completion of its fifth plant, production
“will soon reach 7,000,000 glasses per week.”

several surveys of public opinion proving
that there is a public demand for subscrip-
tion TV.

The petition asked that the FCC set hear-
ing dates for proceedings at which stand-
ards would be set for a subscription tele-
vision service, and suggested that it be
approved on a basis limiting the number of
hours per day, per station.

This would enable the new UHF stations
to show first-run films, legitimate stage
shows, opera, concerts, sporting events, etc.
The public would be “stimulated” to convert
for UHF, and the stations would be saved,
according to the petition which was filed by
the station owners.

In commenting on the application, Arthur
Levey, president of Skiatron Electronics
and Television Corp., declared in New York
that public demand for subscription TV
“already is high.”

“Approval of this application,” he said,
“would mean swift expansion of the tele-
vision and related industries. Communities
throughout the country would benefit from
this opening of new sources of income for
TV stations, the entertainment industries
and educational institutions. Better pro-
grams would result. New stations would
open, with many of them being in areas
where TV broadcasting is not available,
or where it is being held to a minimum by
economic factors.”

He said that at a recent public demon-
stration of Skiatron Subscriber -Vision in
New York City, 93.6 per cent of those filling
in questionnaires stated that they would be
willing to pay nominal fees for TV pro-
grams that would bring outstanding enter-
tainment into their homes.

The new plant is located in Brooklyn. Two
other plants are located in Long Island, and
one each in Leominister, Mass., and Toron-
to, Canada.

The viewers now being made by the com-
pany are an all-plastic type with malleable,
adjustable plastic ear-pieces.

Ballantyne Shows 3-D,
Stereophonic System

OMAHA : The first demonstration of the
Ballantyne Company’s complete 3-D, stereo-
phonic sound, wide-screen package was
given for upwards of 100 engineers and
theatre supply dealers here Monday at the
Admiral theatre.

Ballantyne’s executive vice-president, J.
Robert Hoff, was host. Shown was the
company’s new magnetic sound reproducer,
details of which had been kept under wraps
pending the filing of patent applications.
Another demonstration will follow shortly
in New York, it was said.

MOTION PICTURE HERALD, AUGUST 15, 1953

ARBITRATION
REVIVAL DDE

TO 1 Ready
To Riscuss
Arbitration

Senate Committee Report
Starts Talk of Opening
Discussions Once More

Arbitration seems likely once again to be-
come the foremost topic of the day — sup-
planting, for a while at least, the talk of
new screen techniques. That was the gen-
eral industry opinion this week following
release of the Senate Small Business sub-
committee’s report which recommended that
such a system be set up.

Hope to Start Soon

Industry leaders are hopeful that negotia-
tions leading to an all-industry arbitration
system will be resumed this autumn, but the
feeling is also that the move should be
initiated by exhibitors.

In New York, one key figure in the draft-
ing of proposals last year expressed the
sentiment that the distributors are more
than willing to meet with exhibitor organ-
ization representatives in another attempt to
work out a plan. With the exception of
the film rentals issue, all other factors stand-
ing in the way of dic‘ . Autoi -exhibitor
agreement are negli: h.c, this individual
said.

He added that there should be no pro-
vision of arbitration of film rentals, point-
ing to the support which the Senate Small
Business subcommittee furnished on that
point. He described all other issues to
which Allied took exception as “making a
mountain out of a molehill.” Asked whether
an arbitration system could be adopted
without Allied participation, he said it would
be extremely difficult. He maintained that
Allied represents a large number of theatres
and that its cooperation would be necessary
for a workable system.

Allied Meets in October

As far as Allied is concerned, nothing
can be done without the authorization of its
board of directors. Wilbur Snaper, Allied
president, said in New York last week that
the board will not meet again until October,
convening just prior to the Association’s
national convention in Boston. Mr. Snaper
declined to make any comment about the
SBC report until he had read it in its
entirety.

Abram F. Myers, Allied’s chairman and
general counsel, said in a bulletin from
Washington that “in the main the draft
appears to be sound and should prove help-
ful to exhibitors.”

However, most of his comments in the
bulletin were directed at the subcommittee’s
criticism of Allied and its leaders for break-
ing off arbitration discussions last year. Mr.
Myers reviewed the record on this, showing
that he made alternate recommendations to
the Allied board and a “plus and minus”

report to the Chicago convention last year
before both the board and convention re-
jected the arbitration draft. In face of this,
he said, the subcommittee’s conclusion “is
beyond comprehension.”

“Somewhere along the way,” wrote Mr.
Myers, “Senator Schoeppel, the committee
chairman, ceased to be objective and became
a partisan in connection with this detail of
the draft.”

Buffalo Area Drive-Ins
Feature U-l First Runs

BUFFALO : Drive-ins in this area are
featuring first run showings of Universal-
International in a unique film festival. Nine
drive-ins — the Broadway, Delaware, Sky-
way Lakeshore, Niagara, Buffalo, Park,
Sheridan, Aero and Star — have cooperated
in the purchase of large newspaper adver-
tisements announcing the first run showings.
The first attractions to be offered by the
theatres were “Thunder Bay,” “Take Me
to Town,” “All I Desire,” “The Great Sioux
Uprising,” "The Man from the Alamo” and
“Abbott and Costello Meet Dr. Jekyll and
Mr. Hyde.” The bill plays for one week
and then the same features are rotated for
subsequent showings among the drive-ins.

Discuss CinemaScope
Policies at Meeting

TORONTO : Salesmen for 20th Century-
Fox discussed Canadian sales plans and
policies for “The Robe” and “How To
Marry a Millionaire” — the first two Cinema-
Scope pictures — at a three-day meeting here
which ended Tuesday. Arthur Silverstone,
eastern and Canadian sales manager, con-
ducted the sessions which were held at the
Imperial theatre. Participating in the talks
were Peter Meyers, Canadian division man-
ager; and branch managers Robert A.
Cringon, Calgary; G. L. Chernoff, Mon-
treal; R. G. March, St. John; V. J. Beattie,
Toronto; J. E. Patterson, Vancouver; and
J. H. Huber, Winnipeg.

Altec Signs Service
Contracts With 100

One hundred first run theatres last week
retained Altec Service on a contractural
basis. The deal was closed by Leon D. Net-
ter, Jr., for Altec, and John Murphv and
Gene Picker, for Loew’s. Mr. N otter is gen-
eral sales manager. Also in negotiations were
E. O. Wilschke, Altec operating manager,
and William Boettcher, in chaije of Loew’s
sound department. The deal runs for three
years, and covers the Capitol and the State
theatres, New York key houses, and the en-
tire string of Loew Poli theatres in New
England.

Theatre Owners of America is, has been
and always will be willing to sit down
once again around the conference table and
work towards an all-industry arbitration
system, Alfred Starr, president, told the
trade press at a news conference in New
York last week.

Although unwilling to comment on the
Senate Small Business Subcommittee’s re-
port, which recommended the industry’s set-
ting up of an arbitration system, without
first having studied it carefully, Mr. Starr
said the official TOA attitude had not
changed in the long months since arbitra-
tion was apparently “killed” last year at the
Allied convention in Chicago.

The industry cannot be helped by legisla-
tion, said the TOA head, nor is it any
good to “air dirty linen” before Senate com-
mittees. He added that he hoped to an-
nouce in the near future the Association’s
policy in regard to initiating new arbitra-
tion talks as soon as he had studied the
Senate report.

In passing, Mr. Starr also commented on
the first “couple of hundred days” of the
era of new screen techniques. The 3-D
novelty is passing, he said, and no techniques
in themselves, no matter how impressive,
will continue to draw customers after the
newness has worn off. Stereophonic sound
which is too loud, Mr. Starr termed “the
curse of our time.” However, he praised
the research now in progress and called it
a healthy trend.

In that respect, Mr. Starr bemoaned the
lack of coordinated research program by the
industry. The stumbling block, he said, was
the apparent unwillingness of the major
film companies to pool their resources. He
indicated that TOA might revive its once
announced intention of initiating a research
program.

Miss Booth On "Time" Cover

Shirley Booth, winner of the Academy
Award for her performance in Paramount’s
“Come Back, Little Sheba,” is featured on
the cover of “Time” Magazine’s August 10
issue. The issue also contains a five page
article about the actress.

Distribute Film Catalog

Association Films, Inc., distributor of
16mm non-theatrical motion pictures, has
released its annual catalog, “Selected Mo-
tion Pictures,” in which more than 1,400
subjects are described.

Plan Walk-In Drive-In

Provisions are being made to accom-
modate 150 walk-in patrons at a new 250-
car drive-in theatre near Bathurst, N. B.,
Canada. The owners of the theatre are B.
Girouard and S. Pines.

MOTION PICTURE HERALD, AUGUST 15, 1953

Another New Paramount
Sensation For Your Public:

THE ACE OF SPACE”
IN 3-D

COLOR BY

TECHNICOLOR

Produced by Famous Studios
©King Features

Paramount, the company that gave you early deliveries
of product for the wide screen, of 3-D features, of

stereophonic sound, is
now proud to announce

^ another new screen
thrill — its first 3-D
cartoon.

Here is something
the public will buy on
sight. The demand for
dates is already terrific
— and growing every
day. To avoid disap-
pointment, get your
date set NOW!

FCC Speeds
Color-TV
Approval

II ASHINGTON : The Federal Com-
munications Commission this week took the
first step in what observers predict will be
reasonably fast approval of the National
Television System Committee’s compatible
color television system.

The FCC announced “rule-making pro-
ceedings” looking toward the adoption of
new rules for color television transmission.

The Commission noted that it had ap-
proved the Columbia Broadcasting System
"Field Sequential” system in 1950. But that
nobody in the television industry is doing
anything with it. Even CBS has told the
Commission it has no plans to push its sys-
tem, which cannot be received on present
sets without adapters either in color or in
the other hand, is “compatible,” in that it
black and white. The NTSC system, on
can be received on existing sets as black-
and-white without adapters.

FCC also said that in approving the non-
compatible system it had left the door open
for any satisfactory compatible system.

Radio Corporation, Philco, National
Broadcasting, Sylvania Electric, General
Electric, and Motorola as well as NTSC,
have all petitioned for approval of the NTSC
System, and the ECC said that they have
“taken the necessary steps” for new hear-
ings.

Interested parties have until September 8
to submit arguments in writing, and some
time thereafter the FCC will set dates for
further proceedings. Industry observers be-
lieve there will be no opposition to substitu-
tion of the NTSC system for the CBS sys-
tem, and that the Commission will rubber-
stamp the new system after merely observ-
ing demonstrations.

Industry sources expect final approval of
the system within a few months, but say that
commercial color telecasts on any significant
scale may be delayed for as much as six
months longer.

Cost of the first color sets will be one
obstatcle, with receivers comparable to pre-
sent 14 inch sets expected to bear $900 or
$1000 price tags. As quantity production be-
gins, the price is expected to slide and the
screens to get bigger until color sets cost
perhaps 25 percent more than present-day
black and white receivers.

Schedule TV, Radio Spots
For "Mister Scoutmaster"

The national saturation campaign for 20th
Century-Fox’s “Mister Scoutmaster” will be
aided by 24 television trailers and radio spot
announcements which have been prepared by
the company. More than 100 stations
throughout the nation will use the line-up of
announcements, which consists of eight one-
minute TV trailers, four 20-second TV
trailers, eight one-minute radio transcrip-
tions and four 20-second transcriptions.

Glowmeter Firm Buys
New Plant Facilities

BUFFALO : The Glowmeter Corporation
of Buffalo, screen manufacturer, has pur-
chased one of the principal buildings of the
American District Steam Company in North
Tonawanda, N. Y., for an estimated $1,-
000,000. Glowmeter, which has recently
signed a contract to supply screens for 20th
Century-Fox’s CinemaScope, has announced
that the new plant will enable it to double
its production of screens. Marketed under
the trade name Magniglow Astrolite, the
company’s screens can be used for all types
of projection systems. Company officials
have announced that screen orders to be
filled in the next year will exceed $5,000,000.

Close 'Queen9
Competition

A up. 29

TORONTO : Entries in the international
showmanship competition, sponsored by the
J. Arthur Rank Organization, for the best
Canadian campaign for “A Queen Is
Crowned,” will close August 29. Chairmen
of the panel of judges that will choose the
top Canadian entries, September 9 in Toron-
to, is Martin Quigley, publisher and editor-
in-chief, Motion Picture Herald and
“Motion Picture Daily.” Other judges in the
contest are Ray Lewis, publisher and editor,
“Canadian Moving Picture Digest” ; Hye
Bossin, managing editor, “Canadian Film
Weekly;” H. T. Venning, president of the
Association of Canadian Advertisers; and
Athol MacQuarrie, managing director of the
Association of Canadian Advertisers.

The winning entries will be forwarded to
England were they will be judged by an
international panel consisting of Sir Miles
Thomas, chairman of the B.O.A.C. ; Sir
Connery Chappel, editor, Picturegoer; Jock
MacGregor, London representative of Show-
man’s Trade Review; and Harry Agerbak,
president of the Foreign Press Association.

There will be cash prizes given to national
winners and the three top showmen chosen
by the international committee will receive
additional cash prizes plus two weeks’ all-
expenses paid vacation in London.

Paramount's Popeye Sets
3-D Debut Labor Day

Paramount’s cartoon star Popeye will
make his three-dimension film debut during
Labor Day week in the short, “Popeye —
The Ace of Space,” it has been announced
by Oscar A. Morgan, short subjects sales
manager. The Labor Day week showing of
the 3-D color by Technicolor short will be
set up as special pre-release bookings, with
the picture due to go into general release
on September 15. The short will subse-
quently be made available in standard form
for theatre that are not equipped for 3-D
presentations.

Atarciano
Fight on
Cheat re F\r

Exclusive theatre television rights to the
heavyweight championship bout between
Rocky Marciano and Roland LaStarza,
slated for New York’s Polo Grounds Sep-
tember 24, have been acquired by Theatre
Network Television, it was disclosed by
James D. Norris, president of International
Boxing Club, and Nathan L. Halpern, TNT
president.

Under terms of the deal, the following
areas will be blocked out for theatre TV :
New York City Metropolitan area; Boston,
Brockton and Lynn, Mass. ; and Providence,
R. I., and their immediate vicinities.

Despite the blocked out areas, TNT said
it expected the number of theatres for this
bout to exceed all previous attractions on
ciano-Wolcott bout in September 1952, was
theatre TV. The last major fight, the Mar-
carried by 50 theatres.

It is understood that that TNT, in order
to clinch the deal for theatre TV, had to
guarantee from $105,000 to $125,000 to the
Boxing Club.

This Wednesday it was disclosed a deal
was concluded by TNT with Radio Corpora-
tion of America and General Precision Lab-
oratories to lease theatre television equip-
ment for the bout.

The arrangement represents the first time
theatre TV equipment will be made available
on a leased basis. It is of particular value to
drive-in theatres, it was pointed out due to
the comparative ease of installation .

The move to harness the drive-in trade
came in the wake of the smash box office
results last September realized by the S-3
Drive-in theatre, Rutherford, N. J., which
telecast the Marciano-Walcott bout. RCA
put in installation there, it was learned, on
an experimental basis and was pleased with
the draw, estimated at $12,000, in net re-
ceipts at $10 per car.

Name 19 Industry Hea ds

As Chairmen of JDA

Nineteen industry executives have been
named to serve as chairmen of their firms
and, in some instances, as chairmen of
industry branches, in the 1953 Joint Defense
Appeal campaign, it has been announced by
William J. German, of William J. German,
Inc., general chairman of the campaign.
Named as firm chairmen were Morey Gold-
stein, Leo Jaffe, Leopold Friedman, Arthur
De Bra, William B. Brenner, Arthur
Israel, Jr., Charles Boasberg, James O’Gara,
Harry Goldberg, A1 Lichtman, Max E.
Youngstein, A. W. Schwalberg, Leon Gold-
berg, Adolph Schimel, and Samuel Schnei-
der. Division chairmen appointed were
Emanuel Frisch, exhibitors; Harry Mandel,
RIvO Theatres; Charles O’Reilly, vendors
and Martin Quigley, trade papers. The
group will hold an organizational meeting
August 20 at the Hotel Astor, New York.

MOTION PICTURE HERALD, AUGUST 15, 1953

A STATEMENT

In order that there should be no mystery about Republic’s policy in the “New Era Of
Screen Dimensions” and no confusion in determining aspect ratios in connection with the
production or projection of Republic product, we wish to bring these simple facts to all
exhibitors:

1. REPUBLIC’S new pictures are being photographed so that they can be projected
on either wide-screen or the conventional style screen.

2. REPUBLIC has adopted the 1.66 to 1 aspect ratio so that its new product can be
projected on wide-screen with aspect ratios from the conventional size of 1.33 to
1 up to wide-screen ratios of 1.85 to 1. Theatres will find that they can choose one
set of wide-angle projection lenses which can project aspect ratios of 1.66 to 1 up
to 1.85 to 1, and merely change the projection aperture for the different
aspect ratios.

3. REPUBLIC, in changing to a 1.66 to 1 aspect ratio, has not altered the actual
picture frame from the conventional size but has composed its subject matter in
production so that artists’ heads and important subject matter within the picture
frame will not be cut off when screened with the new wide-screen apertures.

4. REPUBLIC pictures can be projected on any wide-screen with a special wide-
angle lens, a change in projection aperture to the proper aspect ratio, and more
light for projection. This is true of any wide-screen method and information
regarding the type of lens, projection apertures, and added light needed can be
obtained from regular theatre service organizations.

5. REPUBLIC pictures can be projected by any theatre equipped with wide screen
for CinemaScope with the right projection lens and the correct projection
aperture aspect ratio. However, Republic pictures cannot be projected through a
CinemaScope projection lens since this lens is a companion lens to the Cinema-
Scope camera lens used in production.

6. REPUBLIC pictures now available for wide-screen exhibition are:

1. FAIR WIND TO JAVA

2. CITY THAT NEVER SLEEPS

3. THE SUN SHINES BRIGHT

4. WOMAN THEY ALMOST LYNCHED

5. SAN ANTONE

6. A PERILOUS JOURNEY

7. THE LADY WANTS MINK

8. RIDE THE MAN DOWN

9. THUNDERBIRDS

10. OLD OVERLAND TRAIL

11. IRON MOUNTAIN TRAIL

12. SWEETHEARTS ON PARADE

13. CHAMP FOR A DAY

14. SEA OF LOST SHIPS

by WILLIAM R. WEAVER
Hollywood Edition

Five of the six pictures started this week
are going in color, of one kind or another,
and all of them are being “composed,” a
word the trade may as well get used to, in
such manner as to facilitate their satisfac-
tory exhibitioa in your choice of aspect
ratios. (Exception to this last is the Cinema-
Scope aspect ratio, too wide a stretch for
five of the pictures, although not for the
s.xth, which is a CinemaScope production
and therefore not exhibitable — what strange
words hath dimensionalism wrought — in any
of the lesser accepted widths.)

Three of the six new undertakings are
being filmed elsewhere than here.

One of the six is going in 3-D, as well
as otherwise.

The CinemaScope production, by 20th
Century-Fox, is “We Believe In Love,” and
it is being shot in Rome, which turned out,
in “Roman Holiday,” under other auspices,
to be about the most interesting setting a
story can have. This film is being produced
by Sol Siegel, r id directed by Jean Negu-
lesco, and it has Clifton Webb, Dorothy
McGuire, Jean lAters, Louis Jourdon and
Maggie McNamara in the cast. Technicolor,
of course, as in all other CinemaScope uses
to date.

“Dial M for Murder,” with that old mas-
ter of suspense Alfred Hitchcock directing,
got started at the Warner Brothers studio,
with the Warner all-media camera, which
gives you 3-D, wide-screen, WarnerPhonic
sound, together, separately or in various
combinations, in operation. The cast is
headed by Ray Milland, Grace Kelly, Robert
Cummings, John Williams and Anthony
Dawson. WarnerColor, naturally.

LTp in Canada a Universal-International
location company, with Aaron Rosenberg as
producer and Raoul Walsh as director, be-
gan shooting “Saskatchewan,” Technicolor,
employing a cast headed by Alan Ladd
(ever to be associated with “Shane” in ref-
erence and in memory) and Shelley Winters,
with Robert Douglas, J. Carrol Naish, Hugh
O’Brien and Richard Long.

Trucolor is being used by Republic pro-
ducer-director Joseph Kane on “Jubilee
Trail,” a Vera Ralston vehicle with Forrest
Tucker, Joan Leslie, Pat O’Brien, Ray Mid-
dleton, Buddy Baer, John Russell, Jim Davis
and Barton MacLane in the cast.

“Yankee Pasha” is the second Universal-
International starter of the week, and it
goes, like “Saskatchewan,” the Technicolor
way. Howard Christie is producing this one,
with Joseph Pevney directing, and the cast
is topped by Jeff Chandler, Rhonda Fleming,
Lee J. Cobb and Mamie Van Doren. It’s
being made here.

Republic’s second undertaking of the week,
“Hell’s Half Acre,” is being filmed in Ha-
waii, with producer-director John Ii. Auer
in charge of a cast that includes Wendell
Corey, Evelyn Keyes, Marie Windsor, Elsa
Lanchester, Jesse White, Keye Luke and
Nancy Gates.

The six projects stack up as a pretty
substantial week’s launchings at this time of
this year. They average relatively higher,
as to properties, quality of personnel, use of
color and apportionment of dimensional fea-
tures, than has been the case in most recent
weeks. Collectively they aggregate an in-
vestment in the motion picture’s future that
clearly does not contemplate the industry’s
collapse in the near, nor in the distant,
future, although in point of fact these pro-
ductions were committed for prior to the
President’s rejection of the Mason Bill.
And contrary-wise, so to speak, the fact that
half of the new product is being produced
elsewhere than here must be interpreted to
mean that the abolition by the 83rd Con-
gress of the 17-month tax holiday was with-
out bearing on the geographical placement
of the production companies concerned. The
week’s work reflects nothing but confidence
in a business that needs it as keenly this
week as ever.

LAST WEEK was brightened by the an-
nouncement of the signing of a new long-
term contract binding producer Mel Epstein
and the Paramount studio to a continuation
of their long-standing association. Producer
Epstein has been at work at the Paramount
studio for the past 23 years, after joining
on, aged 20, as stand-in for Edmund Lowe.
Deciding early that acting was for others
than he, young Epstein got himself switched
to the production setup and became a second
assistant director. A first assistant next, he
moved over to unit-managership, establish-
ing there some records for efficiency and
economics that still stand, before becoming
an assistant producer, a director of short
subjects, and finally a producer. Most re-
cent of his eight productions for the studio
is “Alaska Seas” and his next is to be
“Legend of the Incas,” a Technicolor job
starring Charlton Heston, Viveca Lindfors
and Wendell Corey, and filmed in part in
Peru.

The Epstein-Paramount story is impres-
sive proof of several things about Holly-
wood that need proving somewhat more at
this time than commonly. It proves that it
is possible for a young man to begin at the
bottom, as they say, and work his way up,
in the production business as in any of the
old-line industries, in spite of the belief to
the contrary that has been allowed to build

mmmmmiimmmmmmmmmmmmmmi

THIS WEEK IN
PRODUCTION:

STARTED (6)

REPUBLIC

Jubilee Trail
(Trucolor)

Hell's Half Acre
( Honolulu )

20TH CENTURY-FOX

We Believe in Love
(Technicolor,
CinemaScope —

Rome)

COMPLETED (6)

ALLIED ARTISTS

Pride of the Blue Grass
(color)

independent

Hollywood Stunt Man
( Bernard B. B. Ray)

Beachhead

(Aubrey Schenck
Prod., PatheColor,

U.A. release, Stereo-
phonic, W.S.)

SHOOTING (19)

COLUMBIA

The Caine Mutiny
(Kramer Co., Tech-
nicolor)

INDEPENDENT

Americano

(Moulin Prod., U.A.
release, in Brazil)

MGM

Gypsy Colt
(Ansco Color)

Rhapsody

(Technicolor, Wide
Screen)

Knights of the Round
Table (Technicolor,
CinemaScope, Lon-
don )

The Flame and the Flesh
(Technicolor, Wide
Screen, Europe)

PARAMOUNT

Casanova's Big Night
(Technicolor, Wide
Screen)

The Naked Jungle
(Technicolor, Wide
Screen )

Knock on Wood
(Technicolor, Wide
Screen )

UNIV.-INT'L

Yankee Pasha
(Technicolor)
Saskatchewan
(Technicolor —
Canada )

WARNER BROS.

Dial M for Murder
(3-D, All-Media,
WarnerColor)

Hondo

( Wayne-Fellows
Prod., Warner release,
3-D, WarnerColor,
All-Media )

Carnival

(King Bros., RKO re-
lease, Color, 3-D)

MGM

Tennessee Champ
(Ansco Color)

RKO RADIO

Rangers of the North
(3-D, Technicolor)

The French Line
(Edmund Grainger
Prod., Technicolor)

20TH CENTURY-FOX

River of No Return
(CinemaScope, Tech-
nicolor, Canada)

King of the Khyber
Rifles (CinemaScope,
Technicolor)

Prince Valiant
(Technicolor,
CinemaScope)

Hell and High Water
(CinemaScope,
Technicolor)

UNIV.-INT'L

Ride Clear of Diablo
(Technicolor)

Son of Cochise
(Technicolor, 3-D)

WARNER BROS.

Rear Guard

(3-D, WarnerColor,
All-Media )

The Bounty Hunter
(3-D, All-Media,
WarnerColor)

111 iiiiiii mill iiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiii linn

up. It proves that a man can stick with a
single studio through the thick and thin of
23 years quite as advantageously as he can
follow the hop-skip-jump policy advocated
by so many talent agents — nay, more so.
These are things unchronicled in the Holly-
wood legend, unreported by the syndicated
columnists, and not very widely or deeply
believed by Hollywood itself. Nice things
to have proved out in plain sight of the
industry when, as now, the going is tough
and the future obscure.

MOTION PICTURE HERALD, AUGUST 15, 1953

Now Off The Press

New Screen Techniques—

the book that is certain to
increase your knowledge and
understanding of 3-D, Wide Screen,
Stereophonic Sound, Cinerama,
CinemaScope and other processes —
is now off the press and available
for immediate distribution within
the motion picture industry. It
is written in non-technical
language by 26 authorities. It
is illustrated with many pictures
and drawings. Order your copy
today.

“The price of New Screen Techniques is
$4.50 and pictures at ten percent of
the gross would not be a better buy. ” —

Arthur tflaifer

Quigley Publishing Company, Inc.

Rockefeller Center, 1270 Sixth Avenue
New York 20, N. Y.

Please ship immediately copy/copies/ of “New Screen Techniques.”

□ Enclosed is my check or money order for $4.50 per copy
including packing and postage.

□ I will remit on receipt of invoice.

Name

New Screen Techniques —
208 pages, 50 illustrations.
Durable cloth binding.

Price $4.50 postpaid.

Edited by Martin Quigley , Jr.

Address

BRITON WARNS
OF FILM CRISIS

O’Brien, Labor Leader, Says
Taxes in U. S., Britain
Are Killing Industry

by WILLIAM PAY

LONDON : News that President Eisen-
hower had vetoed the Mason Bill brought
forth a warning to both British and Ameri-
can Governments from Tom O’Brien, M.P.,
president of the Trades Union Congress that
unless the tax burden was lifted there will
be a world film crisis.

The greatest factor, said Mr. O’Brien,
contributing to the deterioration of world
film production and consequently world film
distribution and exhibition is taxation. In
America we see thousands of cinemas clos-
ing down. The issue will no longer be
whether there is a 20 or 30 per cent quota
on British screens of British films or even
whether we are to have American film pro-
duction in Britain. The issue will sharply
arise as to whether there will be any real
permanent film making in the world at all.

Repeats Council Proposal

Mr. O’Brien repeated his proposal for an
Anglo-American Films Council which was
recently rejected by the Cinematograph
Films Council.

“Never has the need been so great for
such a consultative body as now. I said
then and I say now that the issues before
the American and Pritish film industries
and indeed every producing centre in Europe
cannot be resolved by exchange of individual
visits, the writing of documents and reports.
They need close contacts by the heads of the
industries concerned on all sides for the
thrashing out of opinions and the sorting
out of our problems and their resolution.”

He concluded with a call to forget spec-
tacular grandiose campaigns and to put de-
termined factual pressure upon the Govern-
ment and to ask, “does the Government
want a British film industry or not or does
it want cinemas to open at all whether the
films shown are to be American, British or
any other nationality.”

The future form and scale of the Eady
plan continues to be loudly debated here.
Latest development is a report producers
have sent to the Board of Trade in support
of their case for an annual £3 million. The
report, detailing figures of production costs
and box-office returns for British films,
will not, however, be submitted to the ex-
hibitors.

Questioned on this at his monthly press
conference Sir Henry French, director-
general of the B.F.P.A., said: “It has
nothing whatever to do with the C.E.A.
whether it is three, three and a half or five
millions. It is for the Government to make

up its mind how much money is re-
quired ... in order to maintain British
production and to see that the scheme is so
re-arranged that the money will be there
and not taken out of the exhibitors’ pocket.”

The third year of the Eady scheme ended
last week and it is estimated that about
£2,750,000 will have been collected compared
with £2,969,149 the previous year. It was
expected to be £3 million. Official figures
reveal that collections for the 47 weeks
ended June 27 amounted to approximately
£2j4 million so that “it looks as though we
shall be about a quarter of a million short,”
agreed Sir Henry.

Sees Eventual Accord

Commenting on these figures he said:
“We started off by thinking that the money
would be provided by changes in prices and
changes in taxation. That has not come
about. We all suffer — the Exchequer suf-
fers most, the exhibitors next and the pro-
ducers suffer least.”

He added : “The original plan has been
brought about very largely between exhibi-
tors and the Treasury with the producers’
wholehearted support. We are looking for-
ward to doing the same again.”

Producers are pressing the exhibitors for
an early decision and the Government has
stated that failing agreement on a voluntary
scheme it is prepared to make the Plan stat-
utory. On the other hand, there is an in-
creasing- number of rank and file exhibitors
who would prefer the Government to make
a direct subsidy to producers but the
C.E.A.’s General Council meeting on Sep-
tember 9 is likely to agree on the principle of
a voluntary scheme. They will insist, how-
ever, that they should not be bound to a
given figure and that the amount should be
conditioned by the turn of business at the
box-office.

Tax Receipts Down from ’52

In this connection, the Exchequer returns
for the first 6 months of 1953 show that
entertainment tax receipts were £847,000
down compared with the same period in
1952.

Meanwhile the 3-D’s continue as top
grossers here. “House of -Wax” is now in
its 14th week at the Warner. It has al-
ready attracted over 300,000 paying cus-
tomers. Paramount’s “Sangaree,” in its 4th
week at the Plaza, is playing to exceptional
business. Of the others, “Call Me Madam”
is 20th Century-Fox’s biggest grosser ever
at the Gaumont where the second week’s
takings were nearly £500 up on the first.
“Salome,” despite a very mixed press re-
ception, is drawing the crowds at the Odeon,
Leicester Square.

A.B.C.’s Carlton, Upton Park, London,
was re-opened August 10 after being closed
since 1945 when a German rocket put the
already bomb-damaged theatre out of com-
mission.

Overcoming severe building restrictions,
A.B.C.’s chief architect, Jack Foster, has
given the Carlton a completely new look.
A total of £40,000 has been spent on the
restoration and re-equipping which includes
the latest R.C.A. sound equipment and
Andrew Smith Harkness large screen.

Italian Stars to Tour
U.S. for "Three Girls"

The I.F.E. Releasing Corporation an-
nounced in New York this week that to
publicize the September and October pre-
release bookings of its “Three Girls from
Rome” it has arranged a nationwide tour
of the U.S. of three Italian film starlets and
a collection of original Fontana gowns.

The tour wil get under way immediately
after Labor Day and will be highlighted by
fashion shows in each city under sponsor-
ship of top local department stores or a
society-charity organization. Final plans
for the tour are being drawn by Signora
Fontana, head of the Rome couturier estab-
lishment: Jonas Rosenfeld, Jr., vice-presi-
dent of I.F.E. in charge of public relations,
and Bernard Lewis, promotion manager.

Among the cities tentatively set for the
tour are Boston, Philadelphia, Baltimore,
Washington, Chicago, Cleveland, Dallas,
Los Angeles, San Francisco, New Orleans
and Atlanta.

Name Murphy Paramount
Montreal Branch Manager

TORONTO : Elevation of Bob Murphy, for
many years Vancouver branch manager, to
Montreal branch manager, was announced
Tuesday as one of four important promo-
tions within Paramount’s Canadian sales
organization.

Mr. Murphy replaces Tom Dowbiggin
who, because of ill health, is entering semi-
retirement. Mr. Dowbiggin will continue
with the Montreal branch as Consultant
Sales Manager. The announcement included
naming of Bob Lightstone as Vancouver
branch manager. He was promoted from
salesman in the Winnipeg branch. Norm
Simpson has been promoted within the
Winnipeg branch from booker to salesman.

Pete Smith Has Short
On Hoarders of Money

MGM has completed a short subject made
in cooperation with the United States Treas-
ury Department called “Cash Stashers,” in
which Pete Smith shows the many accidents
that could happen to people who hoard or
hide money instead of investing in govern-
ment savings bonds. In order to stimulate
the showing of the short and the sale of
government securities, MGM is putting out
a special enlarged short subject press book.
Mr. Smith has also made a special tape
recording to be used for radio publicity for
the short, which is scheduled for national
release August 29.

MOTION PICTURE HERALD, AUGUST 15, 1953

Cinerama
Peal Price

$962,6.37

Stanley Warner will pay $962,637 for the
purchase of the assets of Cinerama Produc-
tions, Inc., it was disclosed this week in a
letter mailed to all creditors of Cinerama
Productions.

It is understood the $962,637, or approxi-
mately that sum after adjustments are made,
will be delivered to Cinerama Productions
following court approval of the projected
deal. Stanley Warner’s petition seeking to
amend the Warner consent decree was ap-
proved by Justice Augustus Hand at the
Elizabethtown, N. Y., courthouse this week.

According to the letter, the assets to be
sold and transferred to the new Stanley
Warner-Cinerama Corp. will consist chiefly
of the rights that Cinerama Productions has
in the production and exhibition equipment
leased from Cinerama, Inc., all of the prints
of the film “This Is Cinerama,” the leases
of the four theatres currently exhibiting
“This Is Cinerama,” and 700,100 shares of
stock of Cinerama, Inc.

In addition to the cash consideration, the
letter noted that Cinerama Productions will
receive a percentage of the net income of
motion pictures produced under its license
from Cinerama, Inc., and an amount equal
to the value of the inventory and prepaid
items transferred by Cinerama Productions.

Charles Skouras in Group
Buying WINS, New York

Charles Skouras, president of National
Theatres, and two radio-television station
owners have bought radio station WINS,
New York, from the Crosley Broadcasting
Corporation.

The announced price was $450,000. Pur-
chase is subject to Federal Communications
Commission approval.

The new owners did not state their new
policy, if any. The operating company will
be known as Gotham Broadcasting Corpora-
tion. The men with Mr. Skouras are J.
Elroy McCaw, of Seattle, and Jack Keating,
also of the Coast. Mr. McCaw has interests
in KLZ, Denver, a controlling interest in
KELA, Chehalis-Centralia, Wash., and also
in KALE, Richmond, and KYAK, Yakima,
also in Wash. Mr. Keating has stations in
San Francisco and Honolulu in association
with Mr. McCaw, and also a station in
Portland.

WINS is licensed for 50,000 watts, 24
hours per day. It was purchased by the
Crosley company and its parent, the AVCO
Manufacturing Corp., in August, 1946, from
Hearst Radio.

Hoffberg Releases Short

Hoffberg Productions, Inc., is releasing
a short called “Woodland Sketches,” which
features shots of wooded area and back-
ground music by the Vienna Symphony.

CBS Six Month Net
Hits All-Time High

Business is definitely on the up-swing at
the Columbia Broadcasting System. Dur-
ing the first six months of 1953, the net
earnings of CBS, Inc., and domestic sub-
sidiaries were $4,00 3,377, the largest in the
company’s history. This exceeded by 40 per
cent the net of $2,851,415 for the compar-
able period in 1952. The net per share in-
creased 49 cents over the $1.22 allotted in

1952. The board of directors of the cor-
poration has voted a dividend of 40 cents
per share on its Class A and Class B stock,
payable September 4 to holders of record
August 21, 1953.

W B Profit
$796,000

Warner Bros. Pictures, Inc., the new
separate production and distribution com-
pany, and subsidiary companies report for
the first three months of operations ending
May 30, 1953 a net profit of $796,000 after
provision of $1,250,000 for federal taxes on
income and after a provision of $50,000 for
contingent liabilities. Film rentals, sales,
etc. amounted to $17,071,000. The net profit
is equivalent to 32 cents per share on the
2,474,427 shares of common stock outstand-
ing or reserved for exchange at May 30.

1953.

Friends of Grace Moore at
"This Is Love" Premiere

Friends and colleagues of the late Grace
Moore were reunited this week by Warner
Brothers to celebrate the New York open-
ing of “So This Is Love.” On Monday, the
celebrities attended a special luncheon at
Reuben’s restaurant and the following night
they took part in the premiere ceremonies
at the Normandie theatre. Martin Starr, mo-
tion picture commentator of New York radio
station WINS interviewed celebrities from
the lounge of the theatre. Among the nota-
bles who attended the ceremonies were
Tallulah Bankhead, Mary Martin, Jane
Pickens, Ilka Chase, Cornelia Otis Skinner,
Deems Taylor, Madame Jeritza, Roberta
Peters, Lucretzia Bori, Geraldine Farrar,
Margaret Lindsay, Kay Francis, Monica
Lewis, Miriam Hopkins, Fritizi Scheff, Rise
Stevens, Nadine Conner, Freda Hempel,
Dorothy Sarnoff, Jarmila Novatna and
Kathryn Grayson and Walter Abel, stars
of the film.

Anglo-U.S. Money Talks
To Begin September 22

Negotiations on British remittances to
American film companies will get underway
in Washington starting September 22, Eric
Johnston, president of the Motion Picture
Association of America, announced in New
York Wednesday. He said a “large dele-
gation” of British representatives would be
coming over for the sole purpose of dis-
cussing the remittance situation.

A # Circuit
39 JVeek JVet
$1,873,321

HOLLYWOOD : A consolidated net in-
come of $1,873,521 for the 39 weeks ended
June 27, 1953 has been reported by National
Theatres, Inc., organized last year after di-
vorcement to operate National Theatres,
Fox West Coast and Roxy Theatre, Inc.
This figure amounts to 68 cents per share on
the 2,769,486 outstanding shares of stock
and compares with a net of $1,189,856, or
43 cents per share, for the corresponding
period the previous year.

In his report to the stockholders, Charles
P. Skouras, president, pointed out that the
theatre gross income of $14,702,288 for the
13 weeks ended June 27, 1953 shows an in-
crease of $547,995 over the corresponding
period the previous year. “This,” he said,
“is the first quarter since 1946 in which our
admission receipts were greater than in the
comparable quarter of the preceding year.”

The earnings for the 39 week period in-
clude a net profit of $168,000 realized from
the dispositions of real estate and theatres
which were disposed of either for economic
reasons or to comply with the consent judg-
ment in the anti-trust case. Although the
gross income for the 39 week period was
$546,602 less than the previous year, Mr.
Skouras stated that this could be accounted
for in the drop of operated theatres, which
fell from 421 to 383.

Stellings-Gossett Firm
Buys Seven Theatres

Stellings-Gossett, Inc., Charlotte, N. C.,
have purchased seven North Carolina thea-
tres from H. B. Meiselman Theatres, Inc.
Theatres involved in the deal are the Center,
Charlotte; Strand, Waynesville; Strand,
Rockingham ; Flamingo Drive-In, Laurin-
burg; Raleigh Drive-In, Fayetteville;
Manor, Wilmington, and Park, Kinston.
E. G. Stellings and P. C. Gossett, partners
in the firm, have also been granted charters
for three other concerns, all with headquar-
ters in Charlotte. The new companies are
Stellings-Gossett Theatres of Fayetteville,
Wilmington and Kinston.

Kansas City Censors
Ban "Moon Is Blue"

KANSAS CITY: A majority vote of the
five-member Kansas City board of appeal
has banned the exhibition of United Artists
“The Moon Is Blue” in this city. The board
was acting on the distributor’s appeal to
review the decision of the city’s motion pic-
ture reviewer which would have permitted
the showing with the deletion of two seg-
ments of the dialogue. After reviewing the
film, the board decided to ban the showing
of the film here. Several places outside of
Kansas City in Missouri have booked the
film for September.

MOTION PICTURE HERALD, AUGUST 15, 1953

ALBANY

Stanley Warner’s Strand used its Miracle
Mirror screen for the first time with “Thun-
der Bay” and “Take Me to Town.”. . .
Fabian’s Palace simultaneously plugged a
42-foot panoramic screen for “Stalag 17.”
. . . Jerome Fuller recently launched the new
450-car capacity Spa drive-in, outside
of Saratoga on the road to Corinth. He
formerly was associated with the Dix drive-
in, Glens Falls. . . . Saratoga visitors in-
cluded : Stanton Griffis, ex-ambassador to
Sweden and Spain and ranking Paramount
Pictures executive, with Bernard Gimbel,
of New York; and Louis W. Schine, vice-
president of Schine Circuit, Gloversville,
with Mrs. Schine. . . . Eddie Bracken did
his baseball act at a Booster Night staged
in Hawkins Stadium by the Chamber of
Commerce for the local Eastern league team.
Gene Teper, Variety Club member, served
as co-chairman. Tent 9 helped in the sale
of tickets. . . . Stephen R. Rintoul, former
president-general manager of WXKW
(which signed off the air July 31), has
suceeded Howard Maschmeier as general
manager of Schine-owned WPTR.

ATLANTA

Harry Williams, office manager of Wal-
lace Films, is hack from Jacksonville, Fla.
Howard Wallace, president of the firm, is
visiting in Miami. . . . It’s a happy birth-
day to Paul Wilson, 20th Century-Fox. . . .
Frank Lowry has been added to the book-
ing department at Columbia Pictures. . . .
The Rialto theatre is now playing its fourth
week of “The Moon Is Blue” to big busi-
ness. . . . Sam George, Jr., son of Sam,
manager of the Paramount theatre, is on
a visit here. . . . John W. Mangham, presi-
dent of Realart Pictures is back in his office
after a trip to New York. . . . C. J. Brown,
manager of the Martin theatre, Calhoun,
Ga., transferred as manager to the Grand,
Fitzgerald, Ga. He replaces George Slaugh-
ter who has resigned. . . . Mr. and Mrs.
Ken Laird, (he is branch manager of Re-
public Pictures, Tampa, Fla.) is back there
after a vacation spent in New York. . . .
Lane Hebson, manager of Martin theatre,
Sylacauga, Ala., was named as new com-
mander of the American Legion Post No.
45 there. . . . The stork passed over the
home of Mr. and Mrs. John Huff, (he is
with Paramount) and left a little baby boy.

. . . Foster Hotard, of New Orleans, has
been added to the booking department at
Paramount. . . . Joe Dumas, office man-
ager, Republic Pictures, back at this desk
after a fishing trip in Florida

BALTIMORE

Richard Dizon, Hippodrome assistant, is
spending a few days in Ocean City. . . .
Steve Chaseman has been appointed second
assistant at the Hippodrome theatre, re-
placing Kenny Most, resigned. . . . Stanley

Stern, Town theatre manager, in Miami on
vacation. . . . Frank Horni'g Jr.’s Monroe
theatre has closed. . . . Mike Leventhal, gen-
eral manager of Scheck Theatres, has been
appointed to the Board of Motion Picture
Operator Examiners, replacing Rodney Col-
lier, Stanley theatre who has served the
past six years. . . . Leon Back, Rome Cir-
cuit executive and president of the Allied
MPTOM, has left for a Maine vacation.

. . . Father of Clara Wible, New theatre,
passed away recently while on vacation with
his daughter in Connecticut. . . . Lawrence
Schanberger and family, Keith’s theatre, are
vacationing in Atlantic City. . . . Rodney
Collier, Stanley theatre manager, has re-
turned from an Ocean City vacation. . . .
Lou Sieber, president of Operator’s Union
Local 181, is vacationing. . . . John Dunn,
censor board projectionist, is out of Mercy
Hospital.

BOSTON

Ralph Iannuzzi, Warner’s branch man-
ager, is busily engaged on plans for the new
sales drive bearing his name. It starts Au-
gust 31 and runs through December 26.
He is the proud owner of an Omega wrist
watch given by the company as a token for
his branch winning the national Norman
Ayres Cleanup Week contest. . . . Nat Ross,
veteran film salesman now with Relston,
Inc., theatre candy concessionaires, has un-
dergone surgery at the Pratt Diagnostic
Hospital. He is celebrating his 42nd year
in the industry. . . . Emil Perodeau, for-
mer assistant at the Saxin Fitchburg, has
been transferred to the Fitchburg as assis-
tant to Frank Boyle, who is city manager
for both theatres. Con Roddy, former usher
at the Saxon, has been upped to assistant

WHEN AND WHERE

September 1-2: Annual convention, West
Virginia Allied Theatres Association,
Matz Hotel, Bluefield, West Virginia.

September 28-30: Conference, Texas
COMPO and International Drive-in
Theatre Owners Association, Adolphus
Hotel, Dallas.

October 3-4: Fall board meeting, Allied
States Association, Sheraton-Plaza Hotel,
Boston.

October 5-7: Annual convention, Allied
States Association, Sheraton-Plaza Hotel,
Boston.

November 12: Annual dinner, Motion Pic-
ture Pioneers, Hotel Astor, New York
City.

manager to Joe Tuttle, newly appointed
manager. . . . Sidney Michaels, son of vet-
eran theatre manager Max Michaels of the
Old Howard theatre, has received word that
his play, a comedy entitled “The Three-
Toed Pony” has been accepted for a pre-
Broadway tryout at the Berkshire Theatre,
Stockbridge, Mass, with Fay Bainter
starred.

BUFFALO

Harry Hoffert, formerly at Shea’s Ken-
sington, has been named assistant to Carl
Rindcen, house manager at Shea’s Buffalo.

. . . Catherine Turano, booker at Republic,
will be married in October. . . . A1 Pierce
has completed the installation of a beautiful
new refreshment pavilion in the Elmwood,
which he recently leased from the Shea cir-
cuit. . . . Arnold Febrey has been appointed
combination office manager and salesman at
the RKO Pictures exchange. Arnold, in
addition to taking on the office management
will cover the Syracuse territory. He suc-
ceeds Bill Cuddy here in the office manager
post. . . . Jack Kundstuk, MGM manager,
will visit the MGM Culver City studios the
end of the month to attend a big sales pow-
wow there. . . . Mary Ryan, MGM office
manager, is back from a vacation trip to
Quebec and St. Anne DeBeaupre. . . .“Ted”
O’Shea, Paramount Distributing company
VP, has recovered from a recent illness and
has returned to N. Y. Ted had been “resting
up” a bit across the border in Canada. . . .
The Regent theatre has been leased by
Magna Theatres Corp. for eleven more
months, until July 1, 1954. The company
will continue experimental runs of the new
Todd-AO process. . . . Helen Huber, cashier
at Paramount, flew to the West Coast this
week to visit her sister.

CHICAGO

Stanley Kohlberg has left the Schoen-
stadt Circuit and will concentrate on man-
agement of the Starlite Outdoor theatre. . . .
Max Roth of Capitol Films has been elected
to the board of Pathe Industries. . . . Ber-
nard Jacon, vice-president in charge of sales
for I.F.E., was scheduled to visit here for
three days on his tour of the company’s
branch offices. . . . Charles Dyer’s new
drive-in is being rushed to completion at
Belvidere, 111. He operates the Lyric, Earl-
ville, 111. . . . The Alger Circuit has taken
over operation of the Apollo, Princeton, 111.,
from the Bailey Circuit. . . . The McVickers,
going first-run with “Let’s Do It Again”
and “The Farmer Takes a Wife,” has raised
its prices. . . . Admission prices here are in
an “up” cycle, with many theatres going
so far as to eliminate matinee prices, par-
ticularly for 3-D pictures. . . . The women’s
auxiliary of Variety Club of Illinois has
scheduled a special preview at the Carnegie,
Sept. 29, to raise money for La Rabida
Jackson Park Sanitarium.

( Continued on opposite page).

MOTION PICTURE HERALD, AUGUST 15, 1953

( Continued from opposite page )

CINCINNATI

Rube Shor’s Keith’s theatre played a one-
night engagement of talent from local radio
stations and other sources for the benefit of
the Fraternal Order of Police, in addition
to the regular picture feature. Wisconsin
vacationists include Mr. and Mrs. Phil Fox
and Mr. and Mrs. Milton Gurian, the men
of the group being branch manager for
Columbia and Allied Artists, respectively.
. . . More than ordinary interest is being
manifest in the Variety Club’s annual golf
tournament to be held at the Kenwood Coun-
try Club, August 24, according to Hoyes
McGowan and Rickey Rosenfeld, co-chair-
man of the event, to which guests will be
operators, as well as some others in the area
welcome this year. . . . Local drive-in theatre
report a series of loudspeaker thefts, which
appear to be increasing, despite extra pre-
cautions invoked.

CLEVELAND

The 3 per cent local amusement tax in
suburban Lakewood enacted October 1, 1947
was repealed by the city council and became
effective August 1, relieving three theatres
— Detroit, Homestead and Hilliard Square —
of payments averaging a total of approxi-
mately $6,000 annually. This is reportedly
the first tax break in the Greater Cleveland
area. . . . Jerry Kerner resigned as MGM
booker to enter another business. . . . RKO
branch manager Jack Bernstein is vacation-
ing in Toronto. . . .“The Greatest Show on
Earth,” playing one show a night at Herbert
Ochs’ drive-ins in Canada, played to such
tremendous business at regular prices that
all available parking space was sold a half
hour before showtime during the 5-day run
of the picture at the London and Belleville
ozoners, Ochs reports. . . . Anne Walker,
Columbia booker, is back from an east coast
vacation. . . . Carl Scheuch, Monogram
booker, announces the birth of his second
grandson born to his daughter, Mrs. Sybill
Olson in Van Nuys, Calif. . . . Jack Shul-
man independent circuit owner, is among
the low golf scorers at the Oakwood Coun-
try Club. . . . G. A. George took over the
Home Theatre, Youngstown, from Kalmen
Erdeky.

DENVER

Fox Inter-Mountain managerial changes
announced by Frank H. Ricketson Jr., presi-
dent, include the promotion of Ray Davis
from the managership of the northern dis-
trict to that of Denver city manager. Davis
will also keep the northern Colorado cities
that have previously been under his man-
agement, not including Sterling. Tom Bren-
nan, city manager at Cheyenne, Wyo., has
been promoted to manage the northern dis-
trict, which will now include the Wyoming
and Nebraska houses, and will include
Sterling, Colo. Russell Berry has been
promoted from Rock Springs, Wyo. to
Cheyenne as city manager; James Auten,
Longmont, moves to Rock Springs ; A1
Bamossy, Rawlins, Wyo., moves to North
Platte, Neb., to assume the city manager-
ship, where he succeeds A. C. Stalcup, who
is retiring. Jim Sutton, assistant city man-
ager at Cheyenne, has been moved to Raw-
lins, Wyo., as city manager. The Long-
mont job is left open for the present. . . .
Harold Wirthwein, Allied Artists western

division manager, here conferring with C. J.
Duer, branch manager, and calling on ac-
counts. . . . Dick Ivy, who recently sold his
interests in the Intermountain Film Ex-
change, is booking and buying for the Ted
Knox houses.

DETROIT

Air Training Cadets of the RAF visiting-
in Birmingham, Mich, as guests of the Civil
Air Patrol saw their first drive-in movie
when they attended the Oak in nearby
Royal Oak. . . . Krim, Highland Park holds
“Anna” and “Elizabeth Is Queen” another
week. . . . The Huron in Pontiac, closed a
year ago, is going strong after re-opening.
Lying on the west edge of town, parking
is not the problem it is in downtown Pon-
tiac. Newly installed “Futuramic” screen
helps pull them in. . . . Largest ads in Pon-
tiac daily paper are for the three drive-ins.
This contrasts to Detroit area drive-ins that
use only liners. . . .“Second Chance,” which
held over at the Fox in Detroit, is doing
the same at Butterfield Theatres’ Oakland
in Pontiac. . . . An ad for the Waterford
drive-in, Pontiac, showing “The Jazz
Singer,” carried a box which states, “See
‘The Jazz Singer’ on the new screen in the
normal size and shaped picture. See the
added life, color, and depth.”

HARTFORD

A public hearing on application of Fred
Quatrano, Waterbury, to build a drive-in
theatre at Watertown, has been scheduled
for Sept. 21 at State Police Headquarters,
Hartford. . . . Tent 31, Variety Club of
Connecticut, will sponsor a semi-pro boxing
program for New Haven Evening Register’s
Fresh Air Fund at West Haven Municipal
Stadium, on Aug. 24. Committee is headed
by Sam Wasserman, acting chief barker,
and general chairman. . . . Manchester
Drive-In Theatre Corp. of Hartford, has
opened its newly-completed $100,000 550-
car Manchester drive-in, at Bolton Notch.
Principals in new corporation are Bernie
Menschell and John Calvocoressci of Com-
munity Amusement Corp., Hartford, and
Mrs. Frances Calvocoressci of Hartford. . . .
Francis M. McWeeney, Sr., Francis M.
McWeeney, Jr., and Louis B. Rogow of
Hartford, have filed certificate of incorpora-
tion with the Connecticut Secretary of
State’s offices for Loumac, Inc., with offices
Hartford. New firm will handle concessions
at the Pine drive-in theatre, Wolcott.

INDIANAPOLIS

Dale McFarland, general manager of
Greater Indianapolis, is vacationing for the
next' two weeks in Michigan. . . . The
Cantor circuit will open its new Lafayette
Road Outdoor theatre Tuesday with a first
run showing of “Invasion U.S.A.”. . . Bar-
ney Brager, Republic branch manager, has
lined up 19 August openings for “Sweet-
hearts on Parade” in the state. . . . Marcia
Henderson, U-I starlet, was here Thursday,
promoting “Thunder Bay.”. . . Mrs. Sylvia
Cioroianu, mother of Johnny Cioroianu,
Greater Indianapolis advertising manager,
was killed when struck by a car Aug. 3.
Howard Rutherford, manager of Loew’s,
went fishing at Monticello, upstate lake re-
sort, over the weekend. . . . Bill Woollen
has returned as manager of the Esquire,
succeeding Mrs. Mildred Allen, who quit
to teach school. . . . William Ricketts will
reopen the Elnora, at Elnora, Sept. 1 with
two changes a week.

KANSAS CITY

Durwood circuit, now operating one con-
ventional theatre in Jefferson City, Mo.,
and the Skylark drive-in north of the city,
will erect a 500-car drive-in with what is
described as the “widest screen in the state
of Missouri,” for 3-D and aspect ratios up
to 2.55 to 1. Another company operates a
drive-in west of Jefferson City. . . . The
Apollo, a Fox Midwest midtown theatre,
started August 6 a showing of the made-in-
India “Chandra Lekha.”. . . Loew’s Mid-
land theatre in Kansas City installed a 50
by 27 screen, called “giant panorama,” suit-
able for 3-D and CinemaScope; the first
attraction to be shown on it being “The
Band Wagon.”. . . Maurice Druker, who
joined Loew’s in 1929 as an usher and has
been manager of Loew’s theatres at several
cities, recently at the State, Providence,
R. I., has taken over as manager of Loew’s
Midland at Kansas City; succeeding the
late Howard C. Burkhardt. Larry Levy, re-
cently Loew’s manager at Reading, Pa.,
succeeds Mr. Druker at Providence. Ed-
ward Richardson, who has been handling
the Midland since Mr. Burkhardt’s death,
now returns to his post at the Granada,
Cleveland. . . . The Crest drive-in, of the
Commonwealth circuit, put on a circus three
nights. . . . The Lakeside drive-in theatre
opened August 7 with “House of Wax.”

LOS ANGELES

The “Row” was shocked by the sudden
passing of Harold Goldstein, booker for
Favorite Films. Goldstein is survived by
his wife and two daughters. . . . Herb Tur-
pie, Manley Pop-corn, checked in from Den-
ver and Salt Lake. . . . Arnold Shaak,
Ramona theatre, is back in town after vaca-
tioning in Chicago. . . . Hap Simpson has
resigned as manager of the Atlantic theatre,
Long Beach. . . . Don Grieve has been ap-
pointed resident manager for the B. F.
Shearer Company’s Phoenix territory. . . .
Universal-International division manager
Foster Blake flew in town from Manhattan
on company business. . . . Harvey Lithgow,
Warner Bros, office manager, is vacationing,
with “Bill Watmough, salesman, pinch-hit-
ting for him during the next two weeks.
. . . Back from a four weeks vacation in
Canada is Phyllis Weeks, Warner Bros,
biller. . . . Barney Warwick has been named
manager of the Atlantic, Long Beach. He
formerly piloted the Circle drive-in, Long
Beach, which has just been acquired by the
Pacific Drive-In Corp. . . . Vicky Pineda,
secretary to Fred Greenberg, Warner
branch manager, returned to her desk after
vacationing in New York.

MEMPHIS

First runs in Memphis have advanced
admission prices and neighborhoods are ex-
pected to follow as a result of President
Eisenhower’s failure to sign into law a bill
to repeal the 20 per cent federal admission
tax. . . . State, Palace, Strand, Malco and
Warner advanced prices from 50 to 60 for
matinees and from 65 to 74 for evenings. . . .
McRae theatre, a new show, has been opened
at McRae, Ark., by Marvin Scott, owner.
. . . A. L. Pilgram sold his WNC theatre,
Flippin, Ark., to B. L. Brixey. . . . Ed
Doherty, partner in Exhibitors Services,
was in Colorado with his family on a vaca-
tion trip. . . . Alex McKinzie, Southwest

( Continued on following page )

MOTION PICTURE HERALD, AUGUST 15, 1953

( Continued from preceding page )

Theatre Equipment Co., was a Memphis
visitor. . . . Mr. and Mrs. W. F. Ruffin, Jr.,
Ruffin Amusements Co., Covington, Tenn.,
were in Memphis booking and shopping for
their circuit. . . . Mrs. W. B. Elrod, man-
ager, announced Linden Circle theatre in
Memphis has installed an all-purpose wide
screen.

MIAMI

Variety Children’s Hospital was $16,329
richer recently when Mitchell Wolfson made
a presentation of a check for that amount to
Chief Barker Ed Melniker. The hospital is
Tent 33’s special pet and responsibility. . . .
A 3-D film, “Black Lagoon,” a Universal-
International production, will have under-
water scenes ‘shot’ at Rainbow Springs,
Dunnellon, Florida, beginning in September.
. . . With the Colony closing for the sum-
mer in Fort Lauderdale, Tom McConnell
steps over to manage the Warner there
which changes to a first run house.
James Brightwell is relief manager. . . .
Bob Clyman, general manager of Bernstein
Theatres, reports triple crews on the con-
struction gangs are sweating out the hoped
for August 18 opening of the Turnpike
drive-in. . . . Carl Jamroga resigned from
the Florida State Theatres and is now asso-
ciated with Wometco as relief manager at
the Carib. . . . Tony Capuzzi, former theatre
owner of Pennsylvania, is managing the
Sheridan, Miami Beach, Fla. . . . Robert
Battin is managing the Beach.

MILWAUKEE

Mr. John Freuler’s downtown Atlantic
theatre has reopened after having been
closed during the month of June because
Third street was torn up. . . . Jerry Youniss
is the new manager at the Century theatre
here owned by Mr. Freuler. . . . The Fox-
Strand theatre will show the film “Martin
Luther” beginnig Oct. 15. Rev. E. G. Tie-
man, pastor of Trinity Lutheran church
here, announced the movie will be promoted
through church bulletins, posters, speakers
and other forms of advertising. . . . Jack
Lorentz and J. Kemptgen, co-chairmen of
the Special Shows committee for the Show-
man’s Guild, are busy formulating plans for
the first fund rasing drive which will be
held in the near future. . . . Helen Harfh,
head inspector at RKO exchange here, is
vacationing. Another inspector there, Min-
nie Leistikow, is also away on her vaca-
tion. . . . Neighborhood houses here that
have recently installed 3-D equipment are
the Plaza and Tosa theatres.

MINNEAPOLIS

James Goggin bought the Gopher at
Wheaton, Minn., from Tom Hetherington.
Goggin formerly managed the Park and
Royal theatres at Park Rapids, Minn., for
the Home Theatres circuit. . . . Ivan Ful-
dauer, MGM Midwest press representative,
was in. . . . Harold Lundquist has been
named assistant to the division manager,
M. A. Levy, at 20-Fox. Lundquist formerly
was 20th-Fox salesman in northern Minne-
sota. . . . Sheldon Kliman, manager of the
Riviera at Hastings, Minn., was married to
Gertrude Goltzman of Minneapolis. . . .
Kenneth Thompson bought the State at
Belgrade, Minn., from Grant Hatling. Hat-
ling recently sold another theatre at New

London, Minn. ... A 25 by 55-foot Miracle
Mirror CinemaScope screen has been in-
stalled in the RKO Orpheum along with a
stereophonic sound system. . . . Sheldon
Rubenstein, Charles Rubenstein and Abe
Kaplan have reopened their neighborhood
Arion theatre. More than $15,000 was
spent in refurbishing the house. . . . All
drive-ins in the territory, numbering close
to 70, will take up collections for the Variety
heart hospital for one week starting Aug. 23.

NEW ORLEANS

Curtis F. Matherne, former field repre-
sentative with U.A. is now with Bohn Mo-
tor Company. . . . Dominick J. Olister, Sr.
veteran manager of theatres and up until
recently, manager of Abalon, Algiers, is now
with realtor Jas. H. Smith. . . . Mr. & Mrs.
David Gamelli purchased the Peacock, local
neighborhood, from Mike and Mary Pis-
ciotta. . . . J. B. Dumestre, president of
Southeastern Theatre Equipment, planed in
from Atlanta to be at the bedside of his
dying brother, Alexis C. “Lex,” who suc-
cumbed August 8 at the age of 65. Dumestre,
away from the industry for many years,
built and operated the suburban Metrie for
several years, then sold it to the United
Chain. . . . Marion Francioni, Paramount’s
booker-stenographer, was ordered by her
doctor to take an extended leave of absence.

. . . The WOMPI’S gathered at the Jung
Hotel on Thursday, August 6 for their
second meeting to outline plans for club’s
activities. It was agreed upon that their
first luncheon will take place Sept. 9. . . .
The new Rio drive-in, Vidalia, La., opened
Aug. 6.

OKLAHOMA CITY

The Agnew theatre was held up and
robbed of $52, July 29, by a pair of bandits
driving a stolen red convertible. . . . Shaw-
nee, Okla.’s new drive-in theatre, the
Tecumseh drive-in, was opened last week.
. . . The Leachman theatre, Stillwater, Okla.,
was closed Friday for the installation of a
giant panoramic screen. . . . Clark DeBusk, 53,
Paris, Texas, owner of a theatre in Roxton,
died in Greenville, Texas, July 31. . . .
Hugh Gardner, prominent Neosho, Mo.,
theatre owner, died in St. John’s hospital,
Tulsa, Okla., August 1. He had entered the
hospital on July 23 for a check-up following
his return from a Florida vacation trip
earlier in the week. . . . More than $5,000
was contributed for the “Aid to Korea”
program by moviegoers in Oklahoma last
week, M. Loewenstein, state chairman for
the drive announced. . . . M. S. McCord,
president of United Theaters, has announced
that work would be renewed August 20 on a
drive-in theatre near the Arkansas River in
Morrilton, Ark. ... A new drive-in theatre,
the Oaklawn, will be built in Wichita, Kans.
by A1 C. McClure and W. L. Barritt.

PHILADELPHIA

World, art house in the center-city area,
is taken over by the Faith Theatre Corp.,
of New York, and reopens with “Twilight
Women” and “Bachelor in Paris.” . . .
Eureka, closed neighborhood house, taken
over by record distributor David Rosen. . . .
Sydney J. Poppay, manager of the Majestic,
Gettysburg, Pa., announced the house has
been air-conditioned. . . . The 31st annual
“Comerford Day” was held last week in
honor of the late M. E. Comerford by
Comerford Circuit staff from Scranton, Pa.,

at the Boys Club Camp, Dunn Lake, Pa. . . .
Harry Knowles, assistant manager of the
Midway, Allentown, Pa., returned to his
post after a stay in the Allentown Hospital.

. . . Carl Herman, manager of the Holly-
wood, Pottsville, Pa., a patient in the Potts-
ville General Hospital suffering from an
infection of the eye. . . . Comerford district
managers in the Scranton- Wilkes Barre,
Pa., area, under the jurisdiction of Bill
Butler and Sam Friedman, staging a special
"District Manager’s Summer Drive.” . . .
William G. Humphries, prominent Lewis-
town, Pa., exhibitor, became a grandfather
with the birth of a son to his daughter,
Mrs. Patsy Bew. . . . J. J. O'Leary, Sid-
ney Samuelson, William Goldman, Ted
Schlanger and Joe Leon, local industry
leaders, head the theatre collections drive
for Korean relief.

PITTSBURGH

Zone manager M. A. Silver has appointed
Ray C. Ayrey, a veteran of 20 years in the
motion picture industry, as contact man-
ager for the Stanley Warner company here.
Ayrey will move his family to a new home
in suburban Mt. Lebanon next month. . . .
“The Juggler” is doing tremendous business
in the Squirrel Hill theatre and has had a
run of four weeks to jam-packed houses.
That is most unusual for a house a little
off the beaten path. ! . . Quite a large
number of theatres in this district are fol-
lowing the lead of the Fulton and are mak-
ing arrangements to install the wide-screens.
. . . Bill Elder, manager of the Penn, got
away to the Atlantic Coast for a vacation.
His duties were assumed by Marty Burnett,
Loew’s central district manager and Tony
Coutsombies, manager of the Ritz. . . . Gene
Kelly, who has spent 20 months overseas,
stopped off here on his way to Hollywood
for a four-day visit with his parents, Mr.
and Mrs. James P. Kelly.

PORTLAND

Business is on the upgrade at nearly all
first run theatres despite the transient
“name” attractions. Three houses are show-
ing product at raised prices. “Shane” held
for a third week at the Orpheum and is
going great. . . . “Arena” is new at the
Liberty. . . . “Moon Is Blue” goes into a
third session at the Mayfair after terrific
opening week. . . . “Goodnight Ladies” is
set for Hamrick’s Playhouse stage. This is
the first legit play for a Hamrick house
here. . . . “Lilli” set a new attendance
record at the Guild theatre during its 11-
week stay. . . . Ronald Weber, J. J. Parker,
accountant, is on vacation. . . . Jack

Marshall, husband of Hamrick's Kathryn
Marshall, has gone into business for him-
self as a display man.

PROVIDENCE

When “Roar of the Crowd” opened as a
co-feature with “The Maze” at the Majestic,
free ‘starting-line’ tickets to the Inter-
national Grand Prix to be held at the Lons-
dale Arena were awarded the first 50 per-
sons purchasing theatre tickets. This out-
standing race pits American sports-cars
against European models. . . . Eddie Zack
and his Hayloft Jamboree, featured on TV
and records, appeared in person at Route
44 drive-in as an added attraction, with no

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MOTION PICTURE HERALD, AUGUST 15, 1953

( Continued from opposite page)
advance in prices. . . . The Pike drive-in is
offering extra cartoons and lollypops every
Friday evening for the kiddies. ... In one
of its latest promotions to attract the
‘younger set’, the Boro drive-in recently
awarded a fully-equipped bicycle by means
of numbered tickets, which were distributed
free to all juvenile patrons. . . . Harold Lan-
caster, Pawtucket Strand manager, is hard
at work laying plans for his Blackstone
Valley committee’s participation in the forth-
coming “Jimmy Fund” drive.

SAN FRANCISCO

Changes in Fox West Coast personnel
include Henry Pines’ transfered from man-
ager, Fox, Redwood City, to manager of
the California, San Jose, replacing Lloyd
Howell, resigned. Herbert Gunn, manager,
Alisal, Salinas, resigned and is being
replaced temporarily by Duncan Knowles,
manager of the Fox theatre. . . . Glen Coffey,
manager, Ritz (Golden State), Hayward,
resigned to become a policeman, there. Sol
Bolnick, formerly of Golden State’s Del
Mar, San Leandro, replaced him. . . . The
Vacaville, Vacaville, owned by Walter G.
Preddy, San Francisco, is closed because of
a disputed lease-ownership. It is reported
the controversy centers around who shall
operate the theatre ; Don Isabella who has
been operating it for the past 12 years or
L. E. Blair, exhibitor of Cloverdale. . . .
Harvey Hatch closed his Patio theatre at
Half Moon Bay because of slow box office.

. . . Chan Carpenter, United-California
Theatres booker, is on sick leave. . . .
Universal Exchange is being completely
remodeled, redecorated and refurnished, ac-
cording to an announcement.

TORONTO

Business, usually slow at this time of year,
has picked up with the advance of cool
weather and the playing of boxoffice cham-
pions. . . . Only two 3-D pictures dominate
the scene here, with “The Charge at Feather
River” at Shea’s and “Fort Ti” at the Nor-
town. Opening of the former was high-
lighted by a tiein with The Toronto Tele-
gram bringing 2,600 carrier boys and girls
to a free showing of the film. . . . A1 Harts-
horn who has been in the Mountain Sani-
tarium in Hamilton for the last 12 months
has been able to leave at last. He was with
Famous Players before being stricken with
TB. . . . Father of Norm Gray, manager
Algorna, Sault Ste. Marie, died. . . . Vic
Nowe, manager, Odeon Carlton, has a dis-
play of 24 paintings done in New. York by
Alex van Svoboda, a recent Canadian. . . .
Luncheon for those attending the Cinema-
Scope showings at the Imperial followed the
screenings with Peter Meyers of 20th-Fox
as host. . . . Northwest drive-in is being
used every Sunday as a church by the
Islington Evangel Centre.

VANCOUVER

Theatre grosses took a dive as the temper-
ature ascended to new highs on ten suc-
cessive days. A French import, “Seven
Deadly Sins,” was the only picture to show
any life after top-rate publicity by Wally
Hopp, manager of the International Cinema.
. . . The Ponoka drive-in, Ponoka, Alta., a
375-car proposition, was opened recently. . . .
Victor Tombe, former Saskatchewan thea-
treman, is the new assistant manager to

Charlie Doctor at the Capitol. He replaces
Paul Mojleski who resigned to join a local
beauty supply company. . . . Sydney Chat-
ton, a former film row employee and now
a television producer in New York, was
here on vacation and looked up his many
friends in amusement business. . . . Marge
Brewer, Odeon-Hastings secretary, on the
sick list. . . . Harold Warren, Famous
Player partner in Alberni on Vancouver
Island, was here conferring with chain offi-
cials. . . . “House of Wax” is racking up
top grosses in Famous Player houses in the
B.C. interior. . . . Exhibitors report con-
fection sales reach their peak during the
showing of action and cowboy films. . . .
The staff of the Odeon-Paradise threw a
party for their departing manager A1
Mitchell, who was promoted to supervisor
of three New Westminster houses by the
circuit. . . . Warner’s manager, Earl Dal-
gleish, is on vacation at his summer home
at Gibson, upcoast from Vancouver.

WASHINGTON

Mrs. Helen Levi Brylawski, 90, known
as “Muzzy” to hundreds of her Washington
friends, died August 2. She was the widow
of Aaron Brylawski, one of the first motion
picture theatre owners locally. . . . He died
in 1929. She is survived by two sons, A.
Julian Brylawski, president of the Motion
Picture Theatre Owners of D.C., and Ful-
ton, an attorney; and two daughters. . . .
The Motion Picture and Television Council
of the District of Columbia, at their first
fall meeting on September 11, will have as
guest speaker Arthur H. DeBra of the
Motion Picture Association of America. . . .
Frank Storty, president of Midcity Theatre
Corp., is recuperating at home after recent
hospitalization. . . . Ray Ayrey, formerly
field supervisor with Stanley Warner Thea-
tres in New York, has been appointed to
the post of contact manager of the Pitts-
burgh Zone. His wife, Anne, secretary to
Charles McGowan, local contact manager
for Stanley Warner, has resigned to join
her husband in Pittsburgh.

Edgar Mannix Signs New
Contract with Loew's

WASHINGTON: Edgar J. Mannix,
Loew’s vice-president and member of the
company’s studio executive board, has signed
a new two-year contract with the firm, it has
been reported by the Securities and Ex-
change Commission. The new agreement
calls for a weekly salary of $3,000, plus
$200 per week to cover expenses. It runs
from March 1, 1954, the expiration of the
current contract, to March 1, 1956. Clauses
in the contract call for a three-year exten-
sion of the agreement if both parties decide
on such an extension by February 1, 1956
and a four week vacation period yearly.

Leon Levenson, 47, TOA
Committeeman, Dies

Leon Levenson, 47, chairman of the con-
cessions committee, Theatre Owners of
America, and head of theatre concessions
for the American Theatres Corporation,
died suddenly in Boston Tuesday. A gradu-
ate of Harvard, class of 1928, he is survived
by his widow and a brother.

“ Eternity 99
Leads Heavy
Gross List

Business in most of the New \ork Broad-
way and Chicago Loop first run theatres was
quite hearty this past week. Pacing New York
theatres was the record-smashing "From
Here to Eternity” which was piling up huge
grosses at the Capitol. Excellent product and
a helping hand from the weatherman, who
provided intermittent cloudy and rainy
weather over the weekend which kept thou-
sands away from the highways and beaches,
were the reasons offered by theatremen for
the upswing in business at first run situa-
tions.

See $175,000 for “Eternity”

Every opening week record of the 34-year-
old Capitol theatre is expected to crumble
under the weight of a predicted $175,000
gross for the initial seven days. Theatre offi-
cials estimated the week-end gross to be a
huge $59,788.

"Band Wagon” is rolling along smoothly
at the Radio City Music Hall with $153,000
expected for the fifth week. At the Roxy,
“Gentlemen Prefer Blondes” is still jam-
ming in patrons with a strong $103,000 seen
for its fourth week. The Music Hall and
the Roxy feature elaborate stage shows
along with their film attractions.

A fairly good $70,000 is forecast for the
first week of “Master of Ballantrae” which
is doubling with Ella Fitzgerald on the
stage at the Paramount. “Stalag 17” con-
tinues to hold its excellent pace at the
Astor, with $31,200 expected for the sixth
week. At the Criterion, “Second Chance”
is holding up with an expected $17,000.
“Scared Stiff” will do a predicted healthy
$14,500 at the Mayfair in its sixth week.

“Stranger Wore a Gun” closed with
$15,000 for its second and final week at
Loew’s State and was replaced by “Latin
Lovers.” “Dream Wife” is due for a good
$15,000 for its second week at the Rivoli.
The Rialto drew a strong $5,165 for the
weekend bill which featured “Fear and De-
sire” and “The Male Brute.”

“Cinerama” Paces Chicago

Leading the business pack in Chicago was
“This Is Cinerama” which was kept filled
to near-capacity to bring in $47,000 for its
second week at Eitel’s Palace. After a
healthy opening over the weekend at the
Chicago, “Thunder Bay” is expected to
gross $70,000 for its first week- “Gentlemen
Prefer Blondes” is headed for a big $36,000
second stanza after a huge opening week of
$50,000.

Other first run features doing over aver-
age business in Chicago are “Pickup on
South Street,” “The Hitch Hiker” and “The
Moon is Blue.” The last mentioned antici-
pates $25,000 for its seventh week at the
Woods.

MOTION PICTURE HERALD, AUGUST 15, 1953

URGES MEXICO
TAX U.S. FILMS

by LUIS BECERRA CELIS
in Mexico City

A form of income tax on foreign films,
similar to that in the United States on
Mexican films, is among the proposals made
recently by Eduardo Garduno, director gen-
eral of the trade’s own "bank, the semi-
official Banco Nacional Cinematografico, to
facilitate “reconstruction of the cinemato-
graphic industry.’’

Mr. Garduno outlined his program at a
meeting- of producers held at their head-
quarters here. He denied that the tax would
be discriminatory or in the nature of a re-
prisal for the taxing of Mexican films
abroad. In fact, he said, such a tax would
merely be an application of the regular
Mexican income tax to the exhibition branch
of the industry.

At the conclusion of the meeting, the pro-
ducers named a committee to examine the
tax suggestion and other proposals de-
signed to increase production and improve
distribution at home and abroad. Early re-
action in the trade is that the proposals
would mean too much Government inter-
ference in the film industry.

Exhibitors are uneasy because of the fact
that the Supreme Court has not yet acted
on the Government’s appeal from the per-
manent injunction granted exhibition groups
recently against enactment of the clause of
the Cinematographic Law which requires
50 per cent of playing time for Mexican
films. The law was passed in October, 1952.

The Supreme Court did, however, reject
the Government’s appeal from the injunc-
tion Federal Judge Ignacio Burgoa some
time ago granted more than 200 exhibitors
against enforcement of laws passed in De-
cember, 1949, and July, 1951, demanding 50
per cent of the playing time for Mexican
films. In upholding this earlier injunction,
the Court agreed with the exhibitors that
the laws were unconstitutional in that they
violated the Constitutional guarantee of free
trade.

V .

President Adolfo Ruiz Cortines has ap-
pointed Alfonso Cortina as new chairman
of the National Cinematographic Board to
succeed Jose Lelo de Larrea. Mr. de Larrea,
in turn, has hotly denied published reports
that he was forced to resign the post.

Said Mr. de Larrea: “I wasn’t fired. I
was promoted.” He has been appointed a
justice of the fiscal division of the Federal
Supreme Court. His regime as board chair-
man, which began last December, was high-
lighted by his upholding the censors’ ban on
the Italian film, “OK Nero.” Mr. Cortina
has held several Government positions, in-
cluding that of commercial attache to the
Mexican Embassy in Washington.

. V

Mexico City exhibitors have lost yet an-

other effort to induce the City Amusements
Supervision Department to permit them to
increase their admission prices by the 20
to 35 per cent the Department ordered in
reductions last December. The Department
has refused to allow increases even when
vaudeville is presented. The Department
says it doesn’t object to stage shows in
cinemas, but insists that these attractions
be sold at the same ticket tariff as for
straight film fare.

The Department only recently refused to
allow higher admission prices for 3-D pic-
tures, on top of which it demanded that the
exhibitors give new, unused spectacles to
patrons at no extra cost. Such a policy,
say exhibitors, imperils further 3-D show-
ings here because of the sharp cut in profits.
Exhibitors now are reconsidering plans
about vaudeville and favor booking only
very strong pictures.

FRANCE

by HENRI KAHN
in Paris

According to reliable but unconfirmed re-
ports, the stalemate in Franco-American
negotiations on a new film pact resulted
from the French Government’s desire to get
the U.S. film industry to promote French
films in the United States. The Government,
having passed the new film industry aid law,
seems determined to push French films on
all levels.

There is a general belief in France that
Americans have conspired to keep French
films out of the U.S. This has been
answered by one member of the U.S. indus-
try here who said :

“America is a country of 160,000,000
people and they all speak English. To the
north, Canada, there are another 12,000,000,
most of whom speak nothing but English.
Then, too, there is the British Common-
wealth in which English is spoken.

“Other countries making films in lan-
guages other than English have a terrible
job selling those pictures in the English-
speaking countries. They cannot afford to
dub and sub-titles and generally bad. . . .
The American does not want to see a film
he cannot understand. Now and again a
miracle happens. Rene Clair breaks the
barrier down for a moment or two. But
miracles do not happen every day.”

The French, of course, do not believe this.
They feel that with a little of the right kind
of pressure they can bring off the miracle.
In the meantime, they have stopped issu-
ance of dubbing visas for U.S. films. One
or two may be issued to whet the appetite,
but that is all. France wants a new agree-
ment along new lines.

It is reported that nothing concrete has
been demanded by the French, although they
have an idea that Americans should finance

certain promotional schemes, including visits
to the U.S. by French stars. This, accord-
ing to the French, will give Americans a
taste for French films.

The dubbing visa procedure, however, is
a two-edged sword which affects the French
exhibitor as much, if not more, than the
American distributor. The Government,
evidently considering that it is doing enough
for exhibitors with the new aid law which
grants funds for the redecoration of thea-
tres, now is determined that local produc-
tion must receive 100 per cent support.
While this is going on, French exhibitors
will be wondering where their next film is
coming from.

INDIA

by V. DORAISWAMY
in Bombay

In order to set up a suitable policy for
aiding its film industry, especially in rela-
tion to the import of Indian films, the Paki-
stani government has recently been busy
collecting data from all the film interests in
that country.

Among the questions being asked are
whether the Pakistan industry could com-
pete with Indian films if the latter were
allowed to enter freely ; whether the Paki-
stan industry favors restrictions on Indian
films, and whether the Pakistan industry
could survive if imports from India were
completely cut off. Also being discussed
is the extent of the aid, if any, which might
be necessary to market Pakistan films in
India and what kind of protection they
might require.

A new trade agreement between India and
Pakistan is due to be signed in October.
Industries in both countries are hoping that
whatever the terms, it will facilitate film
trade between them.

Jaimani Dewan, the new president of the
Indian Motion Picture Producers Associa-
tion, has suggested the creation of an export
corporation or syndicate for the marketing
of Indian films abroad. It would be man-
aged jointly by producers and would aim
at stabilizing the industry’s economy.

The Metro theatre in Bombay for the first
time in its history showed an Indian Hindi
Picture, “Do Begha Zamin,” recently. The
film, which has been acclaimed as an out-
standing production, ultimately did the big-
gest business ever done by the theatre.

14th Annual Film Festival
Gets Underway in Venice

The documentary shorts subjects and
children’s films division of the 14th Inter-
national Film Festival at Venice got under
way. Thirty-four countries have entered a
total of 119 films in this preliminary portion
of the festival. Special emphasis this year
is being placed on pictures suitable for pre-
adolescents. The major section of the fes-
tival gets under way August 20 and will run
through September 4.

MOTION PICTURE HERALD, AUGUST 15, 1953

7 ax Relief tc Senefit the Jamily "Trade

OBSTACLES in the patli of tax relief
may be avoided, with the President’s
promise of relief next year, by aim-
ing more directly in favor of the little fel-
low— the family — who are always patrons of
the movies, and the local theatre, which is
essentially small business.

From the beginning, it may have been an
error in policy to seek the elimination of
admission taxes for movies only, which some
termed discrimination, and equally an error
in timing, to ask relief that might upset
the Administration’s program. Our request
comes from the grass roots, and is intended
to relieve outmoded tax pressures on the
family group.

Therefore, we urge Round Table mem-
bers and industry leaders to consider the
suggestion that we seek the elimination of
the excise tax on admissions of 55c or less
— but designate that the tax may remain on
admission prices higher than this amount.
Such a reduction would apply to baseball
or any other amusement charging admission
at the box office. It would offer the greatest
good to the greatest number.

It would also wipe out another objection
— that the theatres could or should pass this
reduction along to their patrons in the form
of lower admission prices. If the tax reduc-
tion were limited to prices of 55c or less,
there would he no further argument, for it
would be apparent where the benefit applied
and in whose favor. It would accent the
fact that the movies are the family’s best
entertainment.

The whole project would then come in
line with the intentions of the Senate Small
Business Committee, for it would highlight
what that Committee proposes to do, and
would accomplish a straightforward result.
Nothing could benefit small business in our
industry more than the elimination of the
20% admission tax in the lower brackets.

Also, if and when there were increased
prices of admission, in the booking of spe-
cial films — which is widely objected to in
small theatres — then the advanced price of

SUCCESS STORY

During the Brotherhood Week campaign
this year, we received one entry without
any name signed, from the RKO Fordham
theatre, in the Bronx. Our secretary, look-
ing for identification, spotted a letter writ-
ten by the Borough President of the Bronx,
and addressed to Sol A. Schwartz, at the
theatre. She concluded he was the man-
ager, and a contender.

We can't blame her too much, although
the contenders' list was published, and
Harry Mandel called up. We were properly
embarrassed and apologetic, for not recog-
nizing the President and General Manager
of RKO Theatres in time to catch the error.
But, thinking it over, we are not sorry at
all, and hereby withdraw our apologies.

For it is all part of a success story. Sol
A. Schwartz was manager of the Fordham
theatre, in the Bronx, sixteen years ago — a
fact that was remembered by Borough
President Lyons. Sol started as an assistant
at the Alhambra theatre, in 1922. He man-
aged the Cameo, Orpheum, Prospect,
Fordham and Albee, before becoming New
York division manager in 1938. He was
appointed Western Zone manager in 1942
and general manager of RKO out-of-town
theatres in 1944; then made vice-president
and elected to his present high office in
January, 1951. Congratulations to a Round
Table member in our files since he was
manager of the City theatre, on East 14th
Street, in 1935.

75c or $1.00 would automatically lie subject
to an excise tax of 20% under the law,
and this might slow down a controversial
practice in subsequent run theatres.

We might also remind you that the League
of New York Theatres, who opposed the
tax reduction for movie theatres, have prac-
tically no seats available anywhere in the
house, for anything like 55c or less.

Ready this week, and available from
^1 the Quigley Book Shop, is the sub-
stantial volume, “New Screen Techniques,”
edited by Martin Quigley, Jr., containing
authoritative facts about the production, ex-
hibition and exploitation of 3-D, Cinema-
Scope, WideScreen, Cinerama and other
devices, written by industry leaders, tech-
nical advisors, production experts, theatre
executives or others who have made con-
tributions to our knowledge of new arts and
sciences in motion pictures.

The book will fill a need, with exhibitors
in the field, who have material to prepare,
explaining the size and scope of the new
screen, as the public will see it in coming
months. Managers of theatres will need to
supply comprehensive information to their
newspapermen, and to luncheon and busi-
ness clubs, or other organizations and groups
who will seek information.

There is a surprising degree of interest
in the explanation of 3-D and widescreen
devices, and the public really "wants to
know” as part of their “desire to see” our
new attractions. To supply yourself with a
copy of “New Screen Techniques” is to
provide basic material for promotion and
selling approach.

CWe have long admired Vincent Trot-
ta, one of the best known and best
liked persons in film industry’s home office
sector, and now in business for himself, after
many years with Paramount and National
Screen as art director. It’s nice to applaud
when a good man gets something a little
special to make up for a lifetime of hard
work, something in the nature of reward and
recognition of his talent. Vince is a mem-
ber of the Motion Picture Pioneers, a past
president of AMPA, a member of the Art
Directors Club and the Society of Illustra-
tors. But we have begun to envy his career.
He has been in California to supervise the
judges in the “Miss Universe” beauty
pageant at Long Beach. — Walter Brooks

MANAGERS' ROUND TABLE SECTION, AUGUST 15. 1953

Hip tv /Britain Solves Its
Prontoiiott Problems

Jean Cocteau's famous play, and
the winner of the Cannes Film Fes-
tival, presented special problems
in billing and handling at the Adel-
phi theatre in London, as you can
see below.

Different selling approach for dif-
ferent promotional problems are
displayed by British managers —
who are always ingenious, always
interesting and always good show-
men— for the inspiration of good
Round Table members.

THE CANNES FILM FESTIVAL TRIUMPH
« - OAlir SKETCH

-v " BAT HUN M — UAIU 3RIIVn

x “A BRITISH FILM I THINK

VJ? EVERY grown-up fan should see

Eye-filling pictorial display at
the Plaza theatre, London,
with excellent use of great
portrait heads.

Peter Myott, manager of the Electric Cinema, Tor-
quay, lives up to his reputation as one of England's
most enterprising exploiteers, with the grand dis-
play for "Peter Pan" shown below.

Harold Shampan, manager
of the Saumont, Islington, is
one who finds delight in clev-
er ballyhoo ideas. Here is
one for "Don't Bother to
Knock," revealing Marilyn
Monroe, as seen above, and
at right, which stopped traf-
fic and sold tickets.

SEE tCKI
DURING
WEEK of

dec. sr i
I THEN 2]

MOTION PICTURE HERALD, AUGUST 15, 1953

101 BEST EXPLOITATION AIDS

Weber Runs Contest
Into More Contests

Jake Weber, at Schine's Liberty theatre,
Herkimer, N. Y., has really hit the jackpot
with contest activities. In a single month, he
has merged the interest in several local con-
test ideas and continued one right into another, with
accumulative value, for the theatre and for the sponsors,
and all local participants. First, he had the second annual
"Hollywood Premiere" at his theatre, with no actual Hol-
lywood stars present, but with members of the Herkimer
High Alumnae Association selecting students to portray
famous name stars, for the benefit of the Damon Runyan
Cancer Fund. It has been a very big success, and will be
repeated next year.

Then, he had his "Big Brother and Sister Contest" with
the cooperation of the Herkimer Playground Commission.
Big brothers entered their little sisters as contenders, with
sponsored prizes for neatness, cuteness, etc. You can
readily imagine the success of this contest idea, in a small
city. Following, he held his "Miss Herkimer" and also his
"Mr. Herkimer" contest, to select the most popular and
best looking of the 'teen-age set, and concluding the
series, he will offer the 4-H Fashion Show, on the theatre
stage, with local merchants putting up prizes for the best
of these young farm agriculturalists.

The exploitation angle in all of these contest ideas runs
along a single theme, and in a city of 10,000 population,
with a rural trading area, it built up new patronage.

"Hometown USA"

Is a Fine Idea

The American Legion, through its National
Public Relations Commission, is sponsoring a
campaign to put "Hometown USA" as a gen-
eral troop morale project into effect, through
its 17,600 local posts, in every city and town in the coun-
try. By a curious coincidence, there are just about 17,600
local theatres to exactly match this number of Legion posts
and so we are twice interested, because we liked the idea
of "Hometown USA" from the first mention of it in the
magazine. The very idea of "Hometown USA" is the back-
bone of our business.

The project involves the use of tape recording, and
Legion posts are urged to have available and make use
of tapes that can be recorded by the families of service-
men at home, and sent to Korea, and to 49 other coun-
tries in the world, where the U. S. Armed Forces are now
serving. Tape recording is not difficult, nor is it expensive.
In all probability, your nearest radio or television dealer
has a tape recorder in his window, right now, for sale or
use, and it's no more costly or complicated than a type-
writer. It would pay you to approach the Legion first.

Many Round Table members have done this exact thing,
or variations of it. Many have set up direct short-wave
stations in their lobby, with the cooperation of the radio
"hams" who cover the globe with their amateur wireless.
Many more can make a good impression with a public
relations idea that is always local.

Time To Write
A New Speech

This year, it will not only be a "new movie sea-
son"— but also, a new motion picture industry,
to match. In thousands of towns, there will be
new dimensions, for the public to see and
appreciate, and understand. One of your very best ex-
ploitation ideas, these many years past, has been to talk
in a friendly way to your businessmen's association, your
women's clubs, and at the various luncheon clubs that hold
forth in almost every city and town in the nation. Set
ready now to explain the new dimensions of film business
to the Lions, the Rotary, and Kiwanis. If you don't belong
to such clubs, the more you should now, in a national
emergency. You can accomplish both results.

Last winter, in Florida, we lived next door to a retired
school teacher whose community job (at 84, in retire-
ment!) was to find speakers for the local Lions Club. We
suggested that he ask the theatre manager, something
that had never occurred to him. And he did, with sur-
prising results. The local Lions were delighted with the
theatre man. He was a showman, and a friend. He spoke
in their own language, of their own problems, and he had
his own good ideas to submit to the luncheon group. All
good showmen have ideas — and all luncheon clubs sit in
wait for a natural showman, not always knowing what they
are waiting for, but still — waiting. You can fill that need by
coming forward and offering your services. And you've
something to talk about, to bring back that lost audience.

Combine Local With
National Interests

Last month, 50,000 Boy Scouts from every
country in the world gathered near Hollywood
for their Annual Jamboree. Hollywood rolled
out the red carpet to entertain them — and the
event was called a "Scoutorama Jubilee" in salute to mo-
tion picture industry. Naturally, it was impossible for man-
agers of local theatres, across the country, to do much
about this Jamboree either before or during the event
in California. But it's not too late to do something about
it now, and that's our suggestion.

Every one of the boys who took the trip will re-
turn with wonderful tales of Hollywood. A good public
relations job was done on the West Coast, and now it
takes the local follow-up to cash in with results. By this
time, you've seen newsreel coverage of the Jamboree,
and it's been excellent. There is a picture coming up, an
hour-long feature film produced by George Murphy and
Jimmy Stewart, which will be made available to Scout
troops. 20th Century-Fox has "Mr. Scoutmaster" ready
for release in 700 situations this month, with a huge satur-
ation campaign to support it.

So, contact your Scout headquarters and make your
plans to take part in the follow-up, at home. Boy Scouts
are invaluable to your business; make yourself valuable to
them in providing space and time in which they can
recall the Hollywood trip, with favorable impressions of
motion pictures — past, present and future.

MANAGERS' ROUND TABLE SECTION, AUGUST 15, 1953

WORLD PREMIERE FOR
GRACE MOORE STORY

Knoxville, Tennessee, reached the climax
of a week-long, state-wide celebration with
the premiere of Warner Brother’s Techni-
color musical, So This Is Love at the
Tennesee theatre, with an extensive program
in honor of Grace Moore, whose biography
constitutes the screen story, with Kathryn
Grayson in the title role. Festivities began a
week in advance with a motorcade touring-
22 cities across the state, honoring four girl
winners of the Grace Moore Scholarship.

The Grace Moore Ball was held at the
Dean Hill Country Club where 50 debu-
tantes wore identical Grace Moore gowns,
when the President of the University ac-
cepted a bronze plaque with ceremonies at-
tended by the Governor and high civic
officials. Following a visit to the Grace
Moore Museum, Miss Grayson and others
of the Hollywood contingent were honored

at a luncheon at the Andrew Johnson hotel.
A specially chartered train brought 600
visitors from Jellico, Miss Moore’s home
town, sixty miles away, including family and
friends of the famous singing star.

Premiere events at the Tennessee theatre
were broadcast over five Knoxville stations
and covered by the newsreels, for television
and theatre use. Press interviews and high
spots introduced in an hour-long program
over radio network stations. Pictures above
show the excitement in front of the theatre,
the welcome at the airport for Hollywood
visitors, the event at the University of Ten-
nessee and a group of stars with the Presi-
dent of the Chamber of Commerce, and
Aubrey Couch, manager of the Tennessee
theatre. Emil Bernstecker, friend of the
Round Table, came up from Atlanta, repre-
senting- Wilby-Kincey theatres.

Vacation Manager Has
"Shane" Promotions

Spike Cary, vacation substitute manager
at Schine’s Colonial theatre, Norwich, N. Y.,
made a deal with a local radio station to run
a contest for those who made up the largest
number of other words from the letters spell-
ing Shane — and he also put out a hitching
post, in front of the theatre, with free
tickets for the first 25 who drove up on
horseback. Of course, not 25 did that, but
the publiicity was worth a lot more.

Washington Theatres Get
Sponsored Supplement

The Roth Theatre at Silver Spring, Md.,
a Washington, D. C. suburb, had a very
special eight-page advertising supplement in
the Washington Post, for the premiere of
“The Little World of Don Camillo” distrib-
uted as part of the metropolitan newspaper,
and underwritten by a number of coopera-
tive advertisers. We have seldom seen a

better typographical and printing job, with
as much style and class. It was a very fine
break for the picture, which ran simulta-
neously in three language versions — in Eng-
lish at Roth's Silver Spring theatre; in
French at Roth’s Plaza theatre, and in
Italian, at Roth’s Little theatre in downtown
Washington.

National Flag Company
Circularizes Trade

Sam Coolick, who was with Loew’s Inc.,
for fourteen years and therefore an alumnus,
writes from National Flag Company, where
he is co-owner with Sam Z. Schatz, also a
Metro graduate, to describe their flyer for
extra fall business, on the subject of lobby
display materials, valances and pennants,
florescent strings, metal twirlers, flores-
cent badges, and similar 3-dimensional ideas.
Most recent pressbooks from the major com-
panies have accented things which are ob-
viously Schatz and Coolick, if we may coin
new jive terms.

‘ Dream Wife 9
Ms Cooking/
School Idea

It’s long been axiomatic that the way to
a man’s heart is through his stomach, so
the campaign on “Dream Wife” from the
Granada theatre, Duluth, Minn., is proof of
the fact that some men dream of their wives
in terms of cooking. Dick Empey, manager,
and Harry Sears, MGM field man, made
a deal with local radio stations and the
Minnesota Power and Light Company to
promote the “Dream Wife Cooking School”
on stage at the theatre, as part of the utility
company’s overall campaign on “Cooking
With Electricity.” Naturally, this didn’t
cost the theatre anything, and in the ver-
nacular, they were cooking with gas.

A “Dream Wife” contest, in which hus-
bands described their wives, and the wives
received the prizes, was part of the total
effort, and a good idea, too, for even a loser
was probably rewarded for trying. The con-
test was the talk of the town, with phone
calls coming in from all over Minnesota,
where the program is regularly received.
Station WEBC plugged the program at
least six times a day, and were highly
pleased with results obtained.

Monty Salmon, managing director of the
Rivoli theatre on Broadway, has a lobby
art exhibit of 28 paintings — each one an
artist’s conception of a “Dream Wife” — but
we wonder if any of them appear to be
cooking anything good for supper? That
wouldn’t be a dream, at our house, but it
might be a dream for countless bachelors.

Bob Haugen, manager of the Lyric, Min-
neapolis, promoted packages of Swansdown
cake mix for the first 50 women attending
the opening of The Lady Wants Mink.

MGM Records arranged to have "Miss
Band Wagon" lin person!) visit local radio
stations and deliver albums of music from the
picture to such disc jockeys os Gene Ray-
burne, of NBC, and other platter-spinners.

MOTION PICTURE HERALD, AUGUST 15, 1953

Allied Artists

ALADDIN AND HIS LAMP: Patricia Medina,
John Sands — Play this one on a double bill with a
short western. You can get by with it. Very good
picture of its kind which appeals more to children.
Played Saturday, July 11. — James Hardy, Shoals
Theatre, Shoals, Ind.

JALOPY : Bowery Boys — The Bowery Boys are
always welcome on my weekend double bills. They
may be corny, but who cares when the audiences
continue to howl over their zany methods? Played
Friday, Saturday, July 10, 11. — James C. Balkcom,
Gray Theatre, Gray, Ga.

Metro-Gold wyn-Mayer

IVANHOE: Robert Taylor, Elizabeth Taylor — Very
good picture but failed at the box office. Not for
small towns though it has very good acting by a
wonderful cast. Played Thursday, Friday, July 16, 17.
— James Hardy, Shoals Theatre, Shoals, Ind.

JEOPARDY: Barbara Stanwyck, Barry Sullivan—
This was one of the most exciting movies that I
have ever played and I recommend it to everyone.
Barbara Stanwyck and Ralph Meeker gave some
choice acting, if I’ve ever seen any — superb entertain-
ment. Played Tuesday, July 14. — James C. Balkcom,
Gray Theatre, Gray, Ga.

SKY FULL OF MOON: Carleton Carpenter, Jan
Sterling — Regardless of the fact that some exhibitors
seem to ban this show and the trade journals don’t
give it much of a rating, we found this show quite
entertaining. It kept the patrons chuckling and
laughing most of the time, and what I liked about
it was that there was not a suggestive word or scene
in it and no shooting or killing, although more or
less on the western order. Box office was average.
Played on Friday and Saturday. — George C. Clanton,
Daw Theatre, Tappahannock, Va.

Paramount

ROAD TO BALI: Bob Hope, Bing Crosby, Dorothy
Lamour — Played this one in extremely hot weather —
also played it top late. Paramount sure does hold
the little theatres back on early dates. One of Bing
and Bob’s best pictures. Played Sunday, Monday,
July 19, 20. — James Hardy, Shoals Theatre, Shoals,
Ind.

ROAD TO BALI: Bob Hope, Bing Crosby and
Dorothy Lamour — Business was very much below
average for this film which Paramount reckoned to
be one of their supers. Played Monday, Tuesday,
Wednesday, Thursday, Friday, Saturday, June 22, 23,
24, 25, 26, 27. — W. Robert Shepherd, Regent Cinema,
South Shields, England.

SCARED STIFF: Dean Martin, Jerry Lewis, Liza-
beth Scott — These boys are still doing business, but
nothing compared to what they used to do. This is
actually one of their best pictures and should please.
Played on Sunday and Monday. — George C. Clanton,
Daw Theatre, Tappahannock, Va.

VANISHED, THE: John Payne, Jan Sterling — Here
is a movie that deals with the problems a southern
town had after the Civil War — -very realistic. John
Payne very good in a beautiful Technicolor master-
piece. Played Sunday, Monday, July 19, 20. — James C.
Balkcom, Gray Theatre, Gray, Ga.

WAR OF THE WORLDS, THE: Gene Barry, Ann
Robinson — This spectacle production was introduced
to our patrons on our new wide screen at a 5 to 3
ratio. Business good but not outstanding, dropping
off in mid-week. Played Monday, Tuesday, Wednes-
day, Thursday. Friday, Saturday, July 13, 14, 15,
16, 17, 18. — W. Robert Shepherd, Regent Cinema, South
Shields, England.

MOTION PICTURE HERALD, AUGUST 15, 1953

RKO Radio

STORY OF ROBIN HOOD: Richard Todd, Joan
Rice — Very good Walt Disney picture, but failed at
the box office. Costume pictures don’t go in this
area. In my opinion, this was much better than
“Ivanhoe.” Played Sunday, Monday, July 26, 27. —
James Hardy, Shoals Theatre, Shoals, Ind.

Twentieth Century-Fox

CALL ME MADAM: Ethel Merman, Donald O’Con-
nor— Barely paid for the picture — not enough music
lovers in my town. I thought it superbly produced
and the performance that Don O’Connor gave sur-
passed Ethel Merman’s. A great musical picture,
but it will probably flop in 90% of all small towns.
Played Wednesday, Thursday, July 22, 23. — James C.
Balkcom, Gray Theatre, Gray, Ga.

CALL ME MADAM: Ethel Merman, Donald O’’ Con-
nor— Very good! Played Sunday, Monday, Tuesday.
July 12, 13, 14. — F. W. Chopping, West Drive-In The-
atre, Riverton, Wyo.

MY PAL GUS: Richard Widmark, Joanne Dru — I
should have played this on Sunday -Monday because
it really deserves best billing time. This is an
excellent picture, one that Fox can be proud of.
Don’t pass it up! Played Thursday, Friday, July 9,
10. — James Plardy, Shoals Theatre, Shoals, Ind.

NIAGARA: Marilyn Monroe, Joseph Cotten — A very
excellent suspense movie with scenery that was un-
surpassed in beauty. It was just like taking a trip
to Niagara. What could be better than beautiful
Niagara, exotic Marilyn Monroe and all in Techni-
color? Played Wedneseday, Thursday, July 1, 2.—
James C. Balkcom, Gray Theatre, Gray, Ga.

POWDER RIVER: Rory Calhoun, Corinne Calvet —
Very good but should have been colored for tops.
Make more good westerns in color. Played Sunday,
Monday, Tueseday, July 19, 20, 21. — F. W. Chopping,
West Drive-In Theatre, Riverton, Wyo.

PRESIDENT’S LADY : Susan Hayward, Charlton
Heston — A very good picture, but not the type for
our audience. Too much darkness. Played Sunday,
Monday, Tuesday, August 2, 3, 4. — F. W. Chopping,
West Drive-In Theatre, Riverton, Wyo.

SNOWS OF KILIMANJARO: Gregory Pack, Susan
Hayward — Excellent! Played Sunday, Monday, Tues-
day, July 26, 27 , 28. — F. W. Chopping, West Drive-In
Theatre, Riverton, Wyo.

Universal

CITY BENEATH THE SEA: Robert Ryan, Mala
Powers — Very good picture about sea divers. The
color was beautiful. Did average business both nights.
Played Thursday, Friday, July 30, 31. — James Hardy,
Shoals Theatre, Shoals, Ind.

COLUMN SOUTH: Audie Murphy, Joan Evans —
Although this was O'. K., I say to Audie Murphy—
don’t leave your top western roles for anything like
this as you just don’t fit. Played Sunday, Monday. July
12, 13. — James C. Balkcom, Gray Theatre, Gray, Ga.

GIRLS IN THE NIGHT: Joyce Holden, Glenda
Farrell — This is an excellent picture about some-
thing which happens every day. The title alone will
bring them in. The dance Joyce Holden puts on is
really tops. Play it! Played Thursday, Friday, July
23, 24. — James Hardy, Shoals Theatre, Shoals, Ind,

IT GROWS ON TREES: Irene Dunne, Dean Jagger
— I thought this one was too fantastic for Irene
Dunne to star in, but I did O'. K. with it. Very
good comedy for midweek billing. Played Tuesday,
Wedneseday, July 7, 8. — James Hardy, Shoals Theatre,
Shoals, Ind.

LAW AND ORDER: Ronald Reagan, Dorothy
Malone — Universal certainly knows what to make for
the small towns. The majority of their films seem
to have the small town exhibitor in mind. This is
very good. Played Friday, Saturday, July 3, 4. —
James C. Balkcom, Gray Theatre, Gray, Ga.

MA AND PA KETTLE ON VACATION: Marjorie
Main, Percy Kilbride — Did above average box office,
but I thought it was their weakest picture to date.
Played Sunday, Monday, July 5, 6. — James C. Balk-
com, Gray Theatre, Gray, Ga.

MEET ME AT THE FAIR: Dan Dailey, Diana
Lynn— Give this one your best playing time. This
is really a good picture that should do well in any
situation — one of Dan Dailey’s best. Play it! Played
Sunday, Monday, July 12, 13. — James Hardy, Shoals
Theatre, Shoals, Ind.

SEMINOLE: Rock Hudson, Barbara Hale — Univer-
sal is making too many Indian pictures. We are
getting niore complaints every week from our patrons
and we have been forced to quit using Indian type
stories. Many parents object to their children seeing
brutality in pictures. Universal better take heed of
these complaints. Played Wednesday and Thursday.
— George C. Clanton, Daw Theatre, Tappahannock, Va.

SEMINOLE: Rock Hudson, Barbara Plale — This one
is a natural for small towns. I did below average
business on it through no fault of the picture — just
too many celebrations going on. Give this one your
best playing time. Plaved Friday, Saturday. July 3,
4.— James Hardy, Shoals Theatre, Shoals, Ind.

TAKE ME TO TOWN: Ann Sheridan, Sterling
Hayden — Now here is a small town natural if there
ever was one. The title is very poor and that is
the only bad comment I can make. Push this one for
all it’s worth and I guarantee that your “grumpy
critics” will say, “That was swell.” Flayed Wednes-
day, July 15. — James C. Balkcom, Gray Theatre,
Gray, Ga.

Warner Bros.

BY THE LIGHT OF THE SILVERY MOON:

Doris Day, Gordon MacRae — If you can get them in,
they will really like this, as it is fine entertainment
even if the story has been done many times. Played
Wednesday, Thursday, July 8, 9. — James C. Balkcom,
Gray Theatre, Gray, Ga.

HIGHWAY 301: Steve Cochran, Virginia Grey—
Here is an excellent picture that has made many
dollars for small town theatres in this area. We
played it second time after theatre only eight miles
away played it second time, and it did nice business.
Played on Thursday and Friday. — George C. Clanton,
Daw Theatre, Tappahannock, Va.

Shorts

Paramount

THERE HE GOES AGAIN: Topper— Delightful
short concerning a family of skunks. Excellent and
unusual photography — a sure boost for any program. —
.Sharon Bodenstein, Telepix Theatre, Boston, Mass.

People in OL U

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aiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiv

Arthur Doyle, currently managing direc-
tor for Universal-International in Japan,
has been appointed eastern and far eastern
supervisor replacing- Herbert L. Tonks,
resigned. Wallace Orr, currently Sing-
apore manager, will also serve as Mr.
Doyle’s assistant. Both appointments
were announced by Americo Aboaf, vice-
president and general sales manager.

Douglas Helgeson, former manager of
Warner’s Downtown, Los Angeles, has
succeeded Rollin Stonebrook, resigned,
as managing director of Eitel’s Palace,
Chicago.

Walt Disney arrived in New York from
England Monday and is holding confer-
ences with his New York staff and RKO
executives concerning forthcoming re-
leases. He will remain in New York for
two weeks prior to returning to his Coast
studio.

William S. Canning, head of public rela-
tions for the Yamins Theatres, Fall River,
Mass., was honored with the “Man and
Boy Award” of the Boys Club of Fall
River for his contributions to the com-
bined youth campaigns of the city.

William Ornstein, MGM trade press con-
tact, will appear for the fifth time in the
“distinctive” stories listing of the 1953
“Best American Short Stories,” now in
publication. Three of his stories that are

To Auction
Mlopulongs

HOLLYWOOD-. The auction sale of 200,-
000 feet of film, made by the late Harry
Sherman, has been ordered for August 24 by
Superior Court Judge Newcomb Condee.
On Monday, the judge set aside the recent
deal made by Hopalong Cassidy, Inc., with
the executors of the Sherman estate in which
$5,000 was paid for the unexhibited footage.

Mr. Sherman’s daughters, Teddi and
Lynne, brought the petition to void the
transaction, contending they were not given
an opportunity to bid on the film.

The footage, which the daughters claim
may have a value in the neighborhood of a
million dollars, reportedly includes a large
amount of film made during the period when
the producer made more than 50 Hopalong
Cassidy features. William Boyd, who starred
in the features, previously acquired some of
the footage and released it to television.

Ampex Changes Name

The board of directors of the Ampex
Electric Corporation have voted to change
the firm’s name to the Ampex Corporation.

listed are “The Pigeons,” “Diamond in
the Loaf” and “Is This the Sergeant?”

Ray C. Avery has been appointed contact
manager for Stanley-Warner with head-
quarters in Pittsburgh, it has been an-
nounced by M. A. Silver, zone manager.

J. Raymond Bell, Columbia Pictures exec-
utive, has been elected to the board of
director of the New York chapter of the
Public Relations Society of America. He
has also been named to head the eligibility
and membership committees of the organ-
ization.

Stanley Asher, formerly general manager
and vice-president of the Ansell Theatres
in New York, has been appointed assistant
to Ralph Serpe, head of the radio, tele-
vision and short subject department of
Italian Films Export, it has been an-
nounced by E. R. Zorgniotti, executive
vice-president.

Jean Yves Bigras has been signed to a
director’s contract by Frontier Films, it
has been announced by Richard Jarvis,
president.

F. Elliot Witt has been appointed to the
post of controller of Warner Brothers’
studio in Burbank, Calif. Cy Wilder will
continue as assistant treasurer for the
Burbank studios.

Italian Film Industry
Has 38 Films In Work

Italian Films Export, reporting this week
in New York on the status of the Italian
film industry, noted that during July 38 films
were in active stages of production. Of
these, seven were Italo-French projects, two
Italo-English, and one Italo-Spanish. Seven
major features are in production at the
Cinecitta Studios, Rome. One Italo-English
project is “Romeo and Juliet.” Some of the
stars known to American audiences, and now
in these pictures are Maria Fiore, Anna
Magnani, Linda Darnell, Kirk Douglas,
Cornel Wilde.

Booth Reservations Huge
For TESMA Meeting

In what is said to be the largest advance
reservation for exhibit booths for the annual
conventions of the Theatre Owners of
American and the Theatre Equiment Supply
and Manufacturers Assocation, set for No-
vember 1-5, Chicago, more than 125 place-
ments have already been ordered. The
equipment organization has planned open
forums, demonstrations and explanations
of the new screen techniques as the feature
of the convention to be held at the Conrad
Hilton Hotel.

MGM Meet
August 31

MGM’s “See For Yourself” sales confer-
ence, at which new autumn and winter re-
leases will be shown to sales executives from
all over the world, has been rescheduled for
a five-day period starting August 31 at the
MGM studios in Culver City, Calif., and
the Ambassador Hotel, Los Angeles.

In announcing the new dates, Tuesday,
Charles M. Reagan, MGM general sales
manager, and Arthur M. Loew, president
of Loew’s International Corporation, also
told of arrangements being made for the-
atre screenings of “Mogambo” in approxi-
mately 100 theatres scattered throughout the
country.

Highlighting the screenings at the studio
will be “Easy to Love,” “Fort Bravo,”
"Kiss Me Kate,” “The Long, Long
Trailer,” “Take the High Ground,” “All
the Brothers Were Valiant” and “Mogam-
bo,” plus excerpts from the company’s two
CinemaScope productions “Knights of the
Round Table” and “Rose Marie.” In an
effort to enlist exhibitor cooperation, the
company will conduct a contest for the best
campaign on “Mogambo,” following the
trade shows.

"Today" TV Program
To Promote New Films

NBC-TV’s program “Today” will show
clips from current productions of major stu-
dios in 22 markets. The segment of the show
to be devoted to the scenes from the films
will be five minutes in length and will have
its theme “The movie for Today. Go see
a movie tonight.” Among the features to
be presented in part in the “Prevue Cameos”
are “Roman Holiday,” “Little Boy Lost”
and “The Captain’s Paradise.” Irving
Zuckerman, advertising manager for Cameo
Curtains, Inc., sponsors of the film clip part
of the show, announced the series would
go on the air over a number of stations
some time in August.

A minor obstacle was thrown in the path
of the company when the current royalty
demands of the American Federation of
Musicians for musical film backgrounds used
on TV came into play. In order to avoid
any dispute with the AFM, a Cameo spokes-
man said the company was selecting only
dramatic clips and eliminating those with
musical backgrounds. Standard union de-
mands for the telecasting of theatrical films
includes a payment for each musician used
in the scoring and an additional payment of
five per cent of the program’s proceeds to
the union fund.

Favorite Covers Nationally

Favorite Attractions, Inc., of New York,
of which Moe Kerman is president, says it
now has complete coverage of this country
and Canada for the 12 pictures it recently
acquired from the Bank of America, which
has been holding them for varied financial
reasons.

MOTION PICTURE HERALD, AUGUST 15, 1953

Circuits OK
Warners9 30
Display Idea

Top bracket theatre men across the board
have written their appreciation to Bill
Brumberg, at Warners’ home office in New
York, for the three-dimensional displays
perfected for lobby use on “House of Wax,”
“Beast From 20,000 Fathoms” and “Charge
At Feather River.” This projected-image
display fixture, over 8 feet high, with title
and illustration lighting up for brilliant
effect in full color, has been a pet idea of
Mort Blumenstock’s and one that has gone
over, three-ways. More than 400 wires were
received, ordering the frames in advance of
playdates.

jimmy Thames, from Rowley United
Theatres, Little Rock; Willard Coughlan, at
the Orpheum theatre, Seattle, Norris Had-
away, manager of the Alabama theatre,
Birmingham, John J. Haney, manager of
the Publix Great States Patio theatre, Free-
port, 111., Bruce A. Ogilvie, manager of the
Arizona Paramount, Phoenix, Frank C.
Starz, Interstate Circuit, Dallas, Bob John-
son, with Fanchon and Marco, St. Louis,
L. A. Starsmore, Westland theatres, Col-
orado Springs, Walt Hamilton, Winston
theatre, Winston-Salem, N. C., Walt Jancke,
Nebraska theatres, Lincoln, Floyd Stawls,
Fabian theatres, Richmond, Cliff Buechel,
Mary Anderson theatre, Louisville, and
Leon Roundtree, for Motion Picture Thea-
tre Owners of Alabama, Tennesee and Mis-
sissippi, were among those reporting satis-
faction with the display idea.

Showmen in Action

Oscar Nyberg, manager of the Paramount
theatre, Portland, Ore., getting a front page
newspaper picture on that old Houdini stunt
of having a local magician wriggle his way
out of a straitjacket while suspended from
boom hoist parked in front of his theatre on
the day Houdini opened.

This We Want To See

When Andrea Millot, “The World’s Most
Beautiful Press Agent,” made a personal
appearance at the Paramount theatre, Syra-
cuse, for All I Desire both newspapers went
all out (it says here). All we desire is to
see Andrea, in person.

That Get You BEST
RESULTS and Always
ON TIME Is
What You Get From

CHICAGO 1327 S. Wabash
NEW YORK 630 Ninth Avc

FILMACK

Selling Approach

ARENA — MGM. First 3-Dimension West-
ern, in Life-like Ansco Color. Look out!
He's coming at you! This love affair hap-
pens to you! Romance, drama, such pretty
giris! All the excitement of men who live
dangerously. The story of the rodeo, the
cowboys, the girls they love. 24-sheet is
all-type for 3-D splash. 6-sheet and other
pictorial posters will make cut-outs for
lobby and marquee display. Two heralds,
both from Cato Show Print, a regular-size
folder herald at $3.50 per M., and a really
giant herald (17x22) in. two-colors, at $5.50
per M. Such good heralds deserve a try.
and should demand attention. Newspaper
ad mats are numerous and sell excitement
via the 3-D process. MGM's original com-
plete campaign mat, which sells for 35c at
National Screen, contains- eleven ad mats,
two publicity mats and enough linotype
border to last all week. Biggest bargain on
Film Row. The publicity mats, offered sepa-
rately, are above average and worth using.
Pressbook tells you how to use 6-sheet and
other display material to unusual advan-
tage. Good suggestions for the introduc-
tion of the first 3-D western at your theatre,
in new styles and schemes. Also the first
3-D coloring contest mats, for sure.

SPLIT SECOND — RKO-Radio Pictures.

Steel your nerves! Here's excitement — sus-
pense that screams! Six people caught in
a desert death-trap, facing utter destruc-
tion. Drama that explodes! It took only one
Split Second! 24-sheet and all posters
perfect for exciting lobby and marquee dis-
play. Are you ordering enough paper to
give you a strong showing? FJerald is up

to the high standard of this new-style RKO
pressbook, and keys the campaign for show-
men. Newspaper ads strong and black,
and sinister, in sufficient sizes and shapes
to provide for all, but no composite cam-
paign ad mat at 35c that might encourage
small theatres to buy more than their usual
minimum, just to see. Quite a few exploi-
tation ideas and photos suggested with this
attraction, which has a Benrus Watch tieup
that is a honey. TV and radio spots pro-
vided, available free at your RKO ex-
change. All-around good pressbook.

DANGEROUS WHEN WET — MGM. In

color by Technicolor. Esther Williams in a
bathing suit, and you have the title, fully
explained. Metro's current, summertime,
swim picture, which made them happy at
the Radio City Music Hall. Take the
plunge with her into fun and romance . . .
songs and hilarity . . . you'll get that gay,
vacation-time feeling. 24-sheet and all
posters contrive to give you Esther and her
talents as cut-outs for lobby and marquee
display. Use this pictorial art. Newspaper
ad mats in generous assortment have every-
thing that Esther has to sell this picture.
The big, complete campaign ad mat, which
was originated by MGM, looks just a little
flat in comparison with the curves in this
picture, but it's still a showmanship bar-
gain. Made to order for use with bathing
beauty contests and the promotion ideas
are all for merchandising swim suits. It says
here (in the pressbook) "Legs pull them in"
— and they may be right, at that! If you're
interested in proving the point, here's your
opportunity.

Newspaper advertising of excellent quality, planned for the premiere of RKO's "The
Sea Around Us" at the Trans-Lux theatre, 60th and Madison Avenue, New York, was
in keeping with Rachel L. Carson's best-seller, and had "piscatorial promotion" addi-
tionally, as lobby display. ‘

MANAGERS' ROUND TABLE SECTION, AUGUST 15, 1953

CLASSIFIED ADVERTISING

NEW EQUIPMENT

EVERYBODY'S BUYING ’EM! MASONITE
Marquee Letters 4" — 35c; 8" — 50c; 10" — 60c; 12" — 85c;
14" — $1.25; 16" — $1.50 any color. Fits Wagner, Adler,
Bevelite Signs. S. 0. S. CINEMA SUPPLY CORP.,
604 W. 52nd St., New York 19.

GET SET FOR 3D! INTERLOCKS $150; ME-
tallic Screen 90c sq. ft.; 24" Magazines $302; Porthole
Filters $47.50 pair. S. O. S. CINEMA SUPPLY
CORP., 604 W. 52nd St., New York 19.

USED EQUIPMENT

DEVRYS FOR EVERY SIZE THEATRE! COM-
plete dual Projection and Sound equipments: Mazda,
$895; lkw, $1,595 ; H.I., $1,995. Time payments avail-
able. S. O. S- CINEMA SUPPLY CORP., 604 W.
52nd St., New York 19.

GREATER VALUES THAN EVER IN OUR OWN
3-story building! E-7 mechanisms, 6 months’ guaran-
tee, $475 pair ; 3 unit late Automaticket register,
excellent. $135; Super Simplex mechanisms, rebuilt,
$750 pair; Aluminum Reels, $1.25; Hertner 65-/130
generator, like new, $675 ; 3D1 equipment at lowest
prices. STAR CINEMA SUPPLY, 447 West 52nd St..
New York 19.

SEATING

S. O. S.— SAVE ON SEATS! REBUILT THE-
atre chairs from $4.95. Send for Chair Bulletin.
S. O. S. CINEMA SUPPLY CORP., 604 W. 52nd St..
New York 19.

HELP WANTED

ASSISTANT THEATRE MANAGER: SINGLE,
young, ex-G.I. with some theatre experience preferred.
One willing to learn all phases theatre operation and
who is interested in making the new and coming show-
business his career. $50 week to start. Group and
hospital insurance. Write in confidence. BOX 2734,
MOTION PICTURE HERALD.

CITY MANAGER, 15 YEARS’ EXPERIENCE, IN-
cluding drive-ins. Small town or large city. Minimum
salary $125. BOX 2735, MOTION PICTURE HERALD.

DRIVE-IN EQUIPMENT

DEVRY DRIVE-IN OUTFITS $1,595 UP (SEND
for lists). In-car speakers w/4" cones $15.50 pair
w/ junction box; underground cable $65M. Time pay-
ments available. S. O- S. CINEMA SUPPLY CORP.,
604 W. 52nd St., New York 19.

SERVICES

WINDOW CARDS, PROGRAMS. HERALDS,
photo-offset printing. CATO1 SHOW PRINTING CO.,
Cato, N. Y.

STUDIO EQUIPMENT

TURN ADVERSITY INTO ADVANTAGE-SHOOT
local Newsreels. TV Commercials. Make advertising
tie-ups with local merchandise. Film Production Equip-
ment Catalog free. S. O. S- CINEMA SUPPLY
CORP., 604 W. 52nd St., New York 19.

BOOKS

MAGIC SHADOWS — THE STORY OF THE
Origin of Motion Pictures by Martin Quigley, Jr.
Adventurous exploration of all the screen’s history
told in 191 crisp pages and 28 rare illustrations. Excit
ing reading for now and authoritative reference for to-
morrow. A Georgetown University Press book. Price,
postpaid, $3.50. QUIGLEY BOOKSHOP, 1270 Sixth
Ave., New York 20, N. Y.

RICPIARDSON’S BLUEBOOK OF PROJECTION.
Best Seller, since 1911. Now in 7th edition. Revised to
present last word in Sound Trouble Shooting Chart.
Expert information on all phases of projection and
equipment. Special new section on television. Invalu-
able to beginner and expert, $7.25 postpaid. QUIGLEY
BOOKSHOP, 1270 Sixth Avenue, New York 20, N. Y.

MOTION PICTURE AND TELEVISION ALMANAC
—the big book about your business — 1953-54 edition.
Contains over 12,000 biographies of important motion
picture personalities. Also all industry statistics. Com-
plete listing of feature pictures 1944 to date. OTder your
copy today, $5.00, postage included. Send remittance to
QUIGLEY BOOKSHOP, 1270 Sixth Avenue, New
York 20. N. Y.

Albert A. Fenyvessy, 98,
Pioneer Exhibitor, Dies

ROCHESTER : Albert A. Fenyvessy, 98,
whose name has been linked with motion
picture exhibition since its inception, died
July 31 at his home. Often called the “dean
of Rochester exhibitors,” Mr. Fenyvessy at
one time in his career had a financial inter-
est in over 25 theatres. Fie retired from ac-
tive management in the late 1930’s.

In 1890, he made his first venture into
the theatrical field when he opened a “dime”
museum in Scranton, Pa. Three years later,
he leased a vaudeville theatre in Bingham-
ton, N. Y. He moved to Buffalo in 1898 and
purchased an interest in the old Olympic,
Lyric and Star theatres. In 1910, he came
to Rochester where he opened the two-floor
700-seat Colonial theatre. During his years
of management he owned and operated many
additional theatres in this area.

The family’s only remaining theatrical in-
terest is the 22-year-old Little theatre,
Rochester, which is operated by Mr. Feny-
vessy’s daughter, Mrs. Ben Belinson. Sur-
viving besides his daughter are five sons,
three grandchildren and two great grand-
children.

Skirball's Paramount Reopens

Skirball Brothers Paramount Theatre,
Steubenville, Ohio, reopened recently,
equipped for 3-D and wide screen processes.
The brothers acquired the house from the
Ted Gamble interests.

Mass. Wage Law Affects
Theatre Personnel

The new wage law in Massachusetts sets
65 cents an hour as the minimum scale.
Changes which affect theatres are as
follows : Inexperienced candy sales girls
who have been receiving 60 cents an hour
have been increased to 65 cents. Experienced
candy sales girls who have been receiving
$27 a week for 36 to 44 hours are limited
to a maximum of 41 hours per week for
a $27 wage. Inexperienced office help who
have been scheduled at 60 cents an hour
have been boosted to 65 cents. The new
minimum wage scale does not affect ushers.

Minimum wage for ushers is 62j4 cents
per hour. Ticket seller’s wage was increased
from 65 to 70 cents in August 1952. An
increase for cleaners and doormen to 70
cents became effective last December.

Producer King Calls for
Multi-Langauge Films

Frank King, producer for King Brothers
Productions, told reporters in New York
this week that multi-language pictures were
“the one answer to rising production costs.”
He backed this statement with the announce-
ment that in Germany, American films gross
approximately 10 million marks annually for
a company while a small German producer,
making mediocre films, can gross 27 million
marks.

Mr. King pointed out, “It makes sense

that people prefer seeing pictures in their
own native language.” He also announced
that Germany would surpass England in
revenue in a couple of years. Since there is
no television for competition there are
crowds attending the theatres just as they
were after the war.

The company’s latest film, “The Carnival
Story,” which RKO will release, was made
in English and German versions. Anne Bax-
ter and Steve Cochran are starred in the
English version, and Eve Bartok and Curd
Jurgens in the German. Mr. King shot the
English version of each scene first and then
the German cast enacted the same scene,
thus keeping the costs for each set down.

K-B Theatre Buys
Washington House

The K-B Theatres circuit, Washington,
D. C., has bought the Colony, a neighbor-
hood house formerly operated by the Stanley
Warner Corporation. The house has 900
seats, and has been improved with new seats
and air conditioning. It has an “art” policy.
The opening booking under the new manage-
ment is a two week presentation of Alec
Guinness revivals. Managing directors of
the circuit are Fred Burka and Marvin J.
Goldman.

Set "Sword" Premiere

Walt Disney’s “The Sword and the Rose,”
distributed by RKO Radio, will open August
19 at the Rivoli theatre, New York.

MOTION PICTURE HERALD, AUGUST 15, 1953

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 130 attractions, 6,226 playdates.

EX means Excellent ; AA — Above Average; AV — Average
BA — Below Average ; PR — Poor.

Abbott & Costello Go to Mars (Univ.)

All Ashore (Col.)

All I Desire (U niv.)

Ambush at Tomahawk Gap (Col.)

Angel Face ( RKO)

*April in Paris (WB)

fArena (3-D) (MGM)

*Bad and the Beautiful, The (MGM) . . . .

Battle Circus (MGM)

Beast from 20,000 Fathoms, The (WB) .

Blue Gardenia, The (WB)

•Breaking the Sound Barrier (UA)

Bwana Devil (3-D) (UA)

By the Light of the Silvery Moon (WB)

Call Me Madam ( 20th- Fox )

Charge at Feather River (3-D) (WB)

City Beneath the Sea (Univ.)

Code Two (MGM)

Column South (Univ.)

Come Back, Little Sheba (Para.)

Confidentially Connie (MGM)

Count the Hours (RKO)

fCow Country (AA)

Cry of the Hunted (MGM)

Dangerous When Wet (MGM)

Desert Legion (Univ.)

Desert Rats, The (20th-Fox)

Desert Song, The (WB)

•Desperate Search, The (MGM)

Destination Gobi (20th-Fox)

Down Among the Sheltering Palms (20th-Fox)
Dream Wife (MGM)

Fair Wind to Java (Rep.)

Farmer Takes a Wife (20th-Fox)

Fast Company (MGM)

Fort Ti (3-D) (Col.)

Fort Vengeance (AA)

•Four Poster, The (Col.)

Francis Covers the Big Town (Univ.)

Girl Next Door, The ( 20th- Fox )

Girl Who Had Everything (MGM)

Girls in the Night (Univ.)

Girls of Pleasure Island (Para.)

Glass Wall, The (Col.)

(Glory Brigade, The (20th-Fox)

(Great Sioux Uprising, The (Univ.)

Gunsmoke (Univ.)

Hans Christian Andersen (RKO)

Hitch-Hiker, The (RKO)

House of Wax (3-D) (WB)

I Confess (WB)

I Don't Care Girl, The (20th-Fox)

I Love Melvin (MGM)

•I'll Get You (Lippert)

Invaders from Mars (20th-Fox)
fit Came from Outer Space (3-D) (Univ.)

It Happens Every Thursday (Univ.)

Ivanhoe (MGM)

Jack McCall, Desperado (Col.)

Jalopy (AA)

Jamaica Run (Para.)

1 1

2 i

! 7

1 1

1 i

Jazz Singer, The (WB)

Jeopardy (MGM)

•Kansas City Confidential (UA)

Kansas Pacific (AA)

Lady Wants Mink (Rep.)

Last of the Comanches (Col.)

Law and Order (Univ.)

f Let's Do It Again (Col.)

Limelight ( U A ) ..........

Lone Hand ( Univ.) ........

Ma and Pa Kettle on Vacation (Univ.)
Magnetic Monster, The (UA)

Man Behind the Gun (WB)

Man in the Dark (3-D) (Col.)

Man on a Tightrope (20th-Fox)

Meet Me at the Fair (Univ.)

Member of the Wedding (Col.)

Mississippi Gambler (Univ.)

Moulin Rouge (UA)

Naked Spur (MGM)

Never Let Me Go (MGM)

Never Wave at a Wac (RKO) .

Niagara ( 20th- Fox ) .

Off Limits (Para.)

Peter Pan (RKO)

Pickup on South Street (20th-Fox)

Pony Express (Para.)

Powder River ( 20th- Fox )

President's Lady, The ( 20th- Fox )

Prince of Pirates (Col.)

Queen Is Crowned, A (Univ.)

Raiders of the Seven Seas (UA)

Redhead from Wyoming (Univ.) .

Remains to Be Seen (MGM)

Ride the Man Down (Rep.)

Rogue's March (MGM)

Salome (Col.)

San Antone ( Rep.)

Sangaree (3-D) (Para.)

(Savage Mutiny (Col.)

Scandal at Scourie (MGM)

Scared Stiff (Para.)

Seminole (Univ.)

Serpent of the Nile (Col.)

fShane (Para.)

She's Back on Broadway (WB)

Silver Whip (20th-Fox)

Small Town Girl (MGM)

Snows of Kilimanjaro ( 20th- Fox )

Sombrero (MGM)

South Sea Woman (WB)

Split Second (RKO)

Star, The (20th-Fox)

Stars Are Singing, The (Para.)

Stooge, The ( Para.)

Story of Three Loves, The (MGM)

Take Me to Town (Univ.)

Tall Texan, The (Lippert)

Taxi (20th-Fox)

•Thief of Venice (20th-Fox)

Titanic ( 20th-Fox )

Tonight We Sing (20th-Fox)

Treasure of the Golden Condor (20th-Fox)
Tropic Zone (Para.)

Trouble Along the Way (WB) ,

Vanquished, The (Para.)

White Witch Doctor (20th-Fox)

Woman They Almost Lynched (Rep.)

Young Bess (MGM)

1 1

„

1 1

I 13 21 16

4
2
4

4
2
9
1 1

5
3

2
29
13

2
9

6
6

I I

every turn by high prices ... trapped by increasing costs!

The pattern is explained, to a large extent, by the Bureau
of Labor Statistics report that your Cost-of-Living has jumped
98.9% since 1939... with FOOD, FUEL, RENT and APPAREL leading
offenders . . . while Exhibitors Digest adds to the bad news, the infor-
mation that the cost of THEATRE EQUIPMENT and SUPPLIES has
moved forward 90.8% ahead of 1940! It puts your badly cornered
DOLLAR in a pretty tough spot.

However, you’ll note that you have been one jump ahead . . .
during all these years of rising costs ... if you compare the negligible
increase, IF ANY, you’ve received from NSS.

Yes, COMPARE all your costs, with the LOW COST, Service-
With-A-Smile Policy of ihe Prize Baby!

pjtnonm g\Cte£tt service

P/t/Zf£//f/fy Of 7N€ WDt/STRY

woo

Juct Digest): THE S

IESSE JAMES RAID,

EN BLADE, DEVIL’S CANYON, CONQUEST OF COCHISE, DOWN
>IDITS OF THE WEST, SKY COMMANDO, IT STARTED IN PARADISE

at New York City, V. S. A-, under the <ict of March 3
Rockefeller Center. Xew York 30. X. 5 , SttbscriptiOi i i
All contents copyrighted 1953 by Qnigley Publishing Co

WATCH FOR THE FIRST TWO PREVIEWS!

(Details in next week's trade magazines )

M-G-M’s nationwide
"SEE FOR YOURSELF"

Trade Shows are the Talk
of the Industry. Watch
for others. Enter M-G-M’s
"Lucky Seven” Showman-
ship Contests. Ask for the
Contest Booklet.

"MOGAMBO

Clark Gable, Ava Gardner

(Technicolor)

In most Exchange Centers Trade Show:

SEPT. 14th

Territorial showings immediately thereafter.
Don’t miss this mighty attraction, the Greatest
African Adventure Picture Ever Made. Authentic-
ally filmed on safari in Technicolor. Watch for
the "Mogambo Showmanship Contest.”

"TAKE THE
HIGH GROUND!"

Richard Widmark, Karl Malden, Elaine Stewart

fAnsco Color)

In most Exchange Centers Trade Show:

SEPT. 15th

Territorial showings immediately thereafter.
One of the most important offerings of the Fall
season. High, wide and handsome entertainment.
Enter the Showmanship Contest.

M-G-M’s nationwide "SEE FOR YOURSELF” Previews are the Talk of the
Industry. Never before has any company ever had for consecutive release such a
group of GIANT ENTERTAINMENTS! We want you to share our enthusiasm.
You’ll remember these titles. They will be the BIG excitement in coming months.

Watch for their Trade Show announcements. AND THEY’RE ALL IN COLOR: i

Action Tops!

"FORT BRAVO” (Anscoj

■t-

William Holden, Eleanor Parker, John Forsythe

Big Holiday Musical!

"EASY TO LOVE” w

Esther Williams, Van Johnson, Tony Martin

Broadway Musical Smash!

"KISS ME KATE’Vccj

Kathryn Grayson, Howard Keel

Spectacle! Drama! Romance!

"ALL THE BROTHERS
WERE VALIANTVcj

Robert Taylor, Stewart Granger, Ann Blyth

Dramatic Sensation!

"TORCH SONG” w ;

Joan Crawford, Michael Wilding

Comedy of the Year!

"THE LONG, LONG 1
TRAILER”*

Lucille Ball, Desi Arnaz

. TOP*

\°„ Woui P*>*»

ISUAND 'NjHa rn£f B,o0

(Wayne-*6 Wellman

' William A( Cann

Director Ernest g sky-

Screenhf nove' "island £ Stout to

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PhO,0ieracameraman- ^'";aaaie, Base*. n°

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MOTION PICTURE HERALD

MARTIN QUIGLEY, JR., Editor

August 22, 1953

Production Forecast

THE present uncertainties concerning screen aspect
ratios and stereophonic sound have made the al-
ways difficult problem of planning for the future
doubly complex. More than ever exhibitors are looking
anxiously to Hollywood. Meanwhile the production col-
ony is looking anxiously for public preferences as re-
corded at the box office.

If Hollywood does not make ’em, exhibitors can not
show ’em. On the other hand, within the limits of selec-
tion enjoyed in his particular situation, an individual
exhibitor must show the pictures that are produced. Dur-
ing the coming season the exhibitor, for the first time,
may elect to show pictures in one of a variety of differ-
ent standards. Some pictures, the CinemaScope produc-
tions, may only be presented in the special methods of
that process. Many other features will be offered in
standard, in 3-D, with or without stereophonic sound,
and all photographed to permit exhibitions on wide
screens in ratio of from 1.66 to 1 on to 1.85 and even
2 to 1.

These circumstances make the tabulation assembled
by The HERALD’s Hollywood editor, William R.
Weaver, and published in this issue, of real value to all
exhibitors. It can not be concluded that these statistics
represent policy plans of the producers — quite the con-
trary, the majority of the studios do not know precisely
what they will be turning out for the theatrical season
which is about to begin. This in itself is virtually un-
paralleled.

However, at this writing certain conclusions of interest
to exhibitors may be drawn from the studios’ tentative
plans for the 1953-54 theatrical season: 1) There will be
available over 300 features suitable for exhibition in the
traditional standard; 2) At least 35 features will be
made in the United States for exhibition in an anamor-
phic lens system; 3) A higher per cent than ever before
will be in color; 4) There will be some pictures in 3-D,
the total number may be small if public interest in the
medium diminishes or be a total of 50 features or more
if 3-D enthusiasm continues; 5) CinemaScope pictures
will all have 4-track composite stereophonic sound ; re-
lease of other pictures with stereophonic sound will de-
pend on exhibitor interest. Up to now 75 pictures have
been recorded or re-recorded for stereophonic sound (and
many more are planned) in the three track system in-
volving the use of a separate sound head in the pro-
jection booth.

Exhibitors who, for economic or other reasons, do not
make any changes in their equipment may expect a rea-
sonable but tight supply of new features. Exhibitors who
install screens with aspect ratios of 1.66 to 1.85 can feel
confident that most of the new features may be exhibited

without cutting off the heads and feet of players. Ex-
hibitors who stand pat or simply put in a wider screen
of course will not be ready for CinemaScope.

For some unknown reason the studios have been re-
luctant to make high budget attractions in 3-D. For pro-
tection purposes, several studios are shooting many pic-
tures in standard and in 3-D in order to be prepared with
a large supply of 3-D pictures for 1953-54, if necessary.

At present stereophonic sound is a major source of con-
fusion. So far as CinemaScope is concerned, the path has
been charted — a special sound head located above the
projector gate is required as well as new teeth on all
sprockets. What other producers will do about stereo-
phonically recorded pictures has not been announced.
Meanwhile many exhibitors are unwilling to face the
prospect of having two different types of stereophonic
sound heads in their projection booth. Standardization
on a stereophonic sound system throughout the indus-
try is imperative.

Exhibitors are entitled to have the clearest possible
expressions from production and distribution spokes-
men about the shape in which the product is to be made.
After all it is the exhibitor who must pay — out of film
grosses — the expenses of converting his theatre for the
new techniques.

■ EH

When — or if — commercial operation of television
transmitters is authorized in Britain, there is little
likelihood that the British Broadcasting Corporation’s
dominant position will be disturbed. Alarmed by the
opposition to sponsored TV programs, the Conservative
administration has drawn up a long series of restrictions
on commercial television. These include the following:
1) only a small number of commercial stations will be
permitted; 2) the number under one ownership or con-
trol would be limited; 3) a controlling body could even
censor scripts; and, 4) operating hours and the number
and type of commercial announcements would be re-
stricted. On such terms the theatre operators in Brit-
ain would seem to have little to worry about sponsored
television because its growth, at best, will be slow.

Cj One reason for poor business in some metropolitan
downtown and neighborhood theatres is because, as
“Fortune” for August put it, “Americans are rapidly
changing into a nation of suburbanites. Since 1947 popu-
lation has increased by 15 million, but population of
what loosely may be called the suburbs has increased by
something like 17 million.” The drive-in theatres which
have been generally so successful are drawing an impor-
tant part of their patronage from “suburbanites.”

— Martin Quigley, Jr.

Why Tax-Free TV?

To the Editor :

Congress’ strong vote for the Mason Bill
has led me to believe that most Congress-
men are aware of the injustice of taxing
the theatre while letting television, our
Number One competitor, continue untaxed.
I also feel there is no desire on the part of
Congress to tax television.

. Now that Congress has strongly voted to
exempt the motion picture theatre from the
excise tax, I feel that the discrimination
view was second only to the financial con-
dition of the theatre. Now that the Presi-
dent’s view is that he should not help part
without helping all covered by the excise
tax, I think we should try to set our indus-
try apart from the excise field by comparing
ourselves to tax-free television and, on
these grounds, test the constitutionality of
our tax.

Now that the court has ruled that even
our contributions must be taxed, it appears
to me that they have gone too far to justify
letting television continue to be exempt from
excise tax, using our movies free, in direct
competition to our movies subject to twenty
per cent tax in the theatre. Television is
in business for profit just as the theatre is
in business for a profit.

Collections from advertisers used for
expenses and profits are substituting for
admissions and profits just as much as our
contributions taken up in theatres substitute
for admissions. Admissions are merely our
way of paying expenses and profits con-
nected with operating the theatre. How
many television sets could be sold if televi-
sion had only advertising to sell ? Therefore,
they are selling entertainment and adding
advertising.

While it is unlawful for us to give away
our entertainment and collect contributions
for service, there are many good and just
arguments on this subject, and I think we
should present our case to the Supreme
Court and ask for a decision on the consti-
tutionality of the theatre tax in comparison
with tax-free television, thus setting our-
selves apart from the excise taxes. — VER-
NAL M. ELLIOTT , Manager, Clayton
Theatre, Clay City, Illinois.

Let's Plan Publicity

To the Editor:

Distributors need to check their national
publicity campaigns and put it where it does
the most good. More TV publicity is need-
ed; like a cooperative program — weekly — on
a nation-wide basis. (Something like Lux
Radio Theatre on Radio.) Show a good

picture out of release and previews of cur-
rent releases. Show ’em what they are miss-
ing. Let’s face it, TV is where they are.
You have to get to them to sell. — W. D.
GUEST, Palace Theatre, Grapevine, Texas.

Stereophonic Sound

To the Editor:

I have just been having one of my peren-
nial arguments with Mr. Artistic. This is
one which has to do with stereophonic
sound. I have never been able to win an
argument from Mr. Artistic, who is always
right, and knows more about the business
than anyone else, but it has invariably hap-
pened that the public has proved Mr. Artistic
to be wrong.

It is my contention that in a territory like
the midwest, where “Ma and Pa Kettle” are
one of the biggest drawing cards, and where
program Western pictures outgross some of
Broadway’s greatest successes, that this new
sound system, while certainly it is impres-
sive, is not a must for small theatres.

In fact, I know of several instances where
the public is not even aware of stereophonic
sound, and I know of others where it is
actually confusing to certain patrons. Natu-
rally, we would all like to have it, how-
ever, if its price could be reflected in addi-
tional business. It is my contention that
even the present reduced price is out of
reason for the small theatre in certain ter-
ritories.

I recall several other arguments with Mr.
Artistic. Only a short time ago I had an
argument with him about theatre television.
He insisted that theatre television was going
to be a tremendous success, because we
would be televising operas and stage suc-
cesses like “South Pacific,” to all the various
parts of the United States. When I said
that a telecast of an opera or stage show of
this kind, even at best, would be inferior to
taking a Technicolor picture of the same
show, because the Technicolor picture could
be edited, and because it could be shown as
many times or at any time that the theatre
wished, Mr. Artistic insisted that the very
thought of the simultaneous telecast would
put it over. I am not saying that theatre
television is not going to play a prominent
part in the future of this business, especially
for news events, but I wish to call your
attention to the fact that Mr. Artistic is
strangely silent about theatre television
now.

Stereophonic sound is wonderful in the big
metropolitan cities, but a lot of spade work
is going to have to be done before its cost
will be worth while to the average small

MOTION PICTURE HERALD

August 22, 1953

A STEREOPHONIC, Amorphic box score
from Hollywood studios Page 13

MYERS, in bulletin, warns Allied members

on tax fight echoes Page 14

EQUIPMENT men now set on 20th-Fox's
new single-film sound system Page 19

TERRY RAMSAYE Says — A column of com-
ment on matters cinematic Page 22

PARAMOUNT reports quarter net profit
of $1,617,000 Page 22

PRICE scale increases studied in wake of

tax repeal defeat Page 23

BRITISH study of 3-D and other phases
halted by film group Page 26

RCA assigned the handling of Polaroid 3-D
viewing glasses Page 27

TODD-AO announces plans to make "Okla-
homa" in wide screen process Page 27

lOA meeting expected to see

film on

training of film personnel

Page 27

KALMUS named to group guiding

research

project at Stanford

Page 30

TECHNICOLOR announces reductions in

price of release prints

Page 30

RKO has a bright future, Grainger tells

staff meeting

Page 30

NATIONAL SPOTLIGHT— Notes

on indus-

try personnel across country

Page 38

SERVICE DEPARTMENTS

Film Buyers' Rating

Page 44

Hollywood Scene

Page 35

Managers' Round Table

Page 45

People in the News

Page 31

IN PRODUCT DIGEST SECTION

Showmen's Reviews Page 1957

Short Subjects Page 1958

The Release Chart Page I960

theatre, and I am willing that Mr. Artistic
will check me six months from now to find
out which one of us is right.

The things I have said, however, do not
apply to the wide screen, which I think is
worth every cent it wall cost us to install,
and much more. — RALPH D. GOLDBERG,
R. D. Goldberg Enterprises, Omaha. Ne-
braska.

MOTION PICTURE HERALD, AUGUST 22, 1953

■Hi

LEADING the high, summer
. grosses on New York’s Broad-
way again this week was the
remarkable run of Columbia’s “From
Here to Eternity.” In its second
week at the Capitol theatre it took
in more than $165,000, almost double
the highest amount grossed by any
other film in the 34-year history of
the house and more than any thea-
tre showing pictures exclusively has
ever grossed. At the Roxy the 20th-
Fox “Gentlemen Prefer Blondes”
totalled $534,000 at the end of its
fifth week, a seven and a half year
house record. MGM’s “The Band-
wagon” at the Radio City Music
Hall registered $130,000 for its sixth
week, bringing its total close to the
$1,000,000 it is expected to pass be-
fore its run ends.

► Because of the limited supply of
short focal length lenses for wide
screen projection, Allied Theatre
Owners of Iowa, Nebraska and
South Dakota is setting up an ex-
change service for its members.
Charles Jones, secretary of the
unit, is compiling data on the size
and make of each member’s present
lenses; also the length of throw in
each theatre and the focal length of
the lens required for wide screen
projection.

**“ If the production companies do
not expedite investigation into
single-strip-single-projector 3-D sys-
tems, or other methods of insuring
positive synchronization, and thus
bring to quick realization or quick
exposure exhibitor hopes bred by
their unproved publicity, many
showmen may be made to miss the
3-D gravy train entirely through
waiting too long to get aboard.

► Sales of Eastman Kodak Com-
pany and its consolidated subsidia-
ries in the U. S. for the 24 weeks
ended June 14 were $286,382,170,
about 15 per cent more than the
$249,924,131 for the same period last
year. Net earnings of $22,531,833
increased 24 per cent from $18,178,-
388 for. the first half of last year,
the company reported.

► The re-use of polarized glasses
for viewing 3-D motion pictures is
being studied by the U. S. Public
Health Service to determine whether

or not there is any danger of infec-
tion or disease being carried. De-
partment officials stress, however,
that regulations of use of the glasses
is strictly a local matter and that
the Public Health Service can only
make recommendations.

► Theatres booking the telecast of
the Notre Dame home football games
this autumn are expected to charge
from $1 to $1.50 per seat according
to a spokesman for Box Office Tele-
vision, the programming agency
which is packaging the events for
theatre use.

More than 50 per cent of the thea-
tres in the RKO circuit have been
equipped with the Miracle Mirror
wide screen and the balance of the
houses will be so equipped before
the autumn, according to William
W. Howard, vice-president of the
theatre company.

► U.S.S.R. Commissars of Culture
are giving a glimpse of their movies
to the panting outside world again-.
Pictures from behind the Iron Cur-
tain will be among the principal
attractions at the Venice Annual
Film Festival which opened last
week and runs until mid-Septem-
ber. Russia, Hungary, Poland and
Czechoslovakia — long absent from
the international competition — have
shipped some of their star produc-
tions to compete with those of 31
other nations.

► There’ll be peace in the sales field
until September, at any rate. The
contract between the distributors
and the Colosseum of Motion Pic-
ture Salesmen has been extended 60
days and it’s agreed both parties
will resume negotiating September
8. The extension also provides that
salary increases and expense allow-
ances which may result from nego-
tiations will be retroactive to Feb-
ruary 17.

► Lighter reels and containers are
desirable, everyone agrees, but
strangely are more expensive. Vari-
ous companies now experimenting
with materials under the recent
pressure for economies in shipping,
are finding this out. This is apart
from the question of durability.
Plastic reels, for instance, recently
developed, weigh four pounds in 23
inch dimensions for 3-D, against six
for metal. However, they cost $11
against metal’s $6. Another com-
pany has developed fibre glass con-
tainers. Developing was so expen-
sive it has had to obtain refinancing.
Some companies are using corru-
gated containers for air express and
interoffice deliveries ; but these are
not durable enough for the hard han-
dling containers get in shipping.

► It would seem Magna, developing
the Todd AO large screen process,
will be experimenting for some time
to come. The company has arranged
tb lease the Regent Theatre, Buffalo,
for another 11 months. Test runs are
conducted there.

The introduction of new screen
techniques has not resulted in com-
plicating the labor situation, as was
anticipated in some corners. Richard
Walsh, president of the Interna-
tional Alliance of Theatrical and
Stage Employees, in a byline article
in the August 18 “New York World
Telegram and Sun,” reported that
the coming of 3-D has been marked
by an “almost complete absence of
labor troubles.”

► In an apparent economy move,
and one that was unexpected, Texas
COMPO has cancelled the confer-
ence it has scheduled for September
28-30 and has returned such reser-
vations as had been made. It also
was announced that the organiza-
tion’s press department was closing
immediately and that the group’s
Dallas offices October 1.

MOTION PICTURE HERALD, 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, President; Martin Quigley, Jr., Vice-President; Theo. J. Sullivan, Vice-President and Treasurer; Raymond Levy, Vice-President; Leo J. Brady,
Secretary; Martin Quigley, Jr., Editor; Terry Ramsaye, Consulting Editor; James D. Ivers, News Editor; Charles S. Aaronson, Production Editor; Floyd E. Stone, Photo Editor;
Ray Gallagher, Advertising Manager; Gus H. Fausel, Production Manager. Bureaus: Hollywood, William R. Weaver, editor, Yucca-Vine Building, Telephone HOIlywood 7-2145;
Chicago, 120 So. LaSalle St., Urben Farley, advertising representative. Telephone, Financial 6-3074; Washington, J. A. Otten, National Press Club; London, Hope Williams
Burnup, manager, Peter Burnup, editor, 4 Golden Square. Correspondents in the principal capitals of the world. Member Audit Bureau of Circulations. Other Quigley
Publications-.' Better Theatres, published thirteen times a year as Section II of Motion Picture Herald; Motion Picture Daily, Motion Picture and Television Almanac and Fame.

MOTION PICTURE HERALD. AUGUST 22, 1953

HERMANN PLACE, president of General Precision and National Theatre
Supply; Earl I. Sponable, 20th-Fox research director, and Al Lichtman,
director of distribution for 20th-Fox at a CinemaScope clinic in New York
last Monday. See page 19.

JACK L. WARNER, Edna Ferber,
George Stevens and Henry Gins-
berg meet at the Warner studios
in Burbank where Mr. Warner an-
nounced plans for the production
of Miss Ferber's latest novel,
'Giant," to be made in the re-
cently announced WarnerSuper-
Scope process.

STARS of stage, screen and radio
turned out for the special opening
of Warners' "So This Is Love" at
the Normandie theatre, New York.
At right, Martin Starr, radio com-
mentator, greets Monica Lewis,
Walter Abel and Rosemarie Sheer.
The film depicts the life of Grace
Moore.

MALCOLM KINGS-
BERG, right, former
RKO Theatres presi-
dent, this week joined
Loew's, Inc., in an ex-
ecutive capacity. Mr.
Kingsberg went to
Keith -Albee-Orpheum,
predecessor of RKO
Theatres in the early
1930s as M. J. Mee-
han's representative.
He was president of
the circuit from 1946
to 1950.

PREMIERE of MGM's "The Band Wagon" at the
Egyptian theatre, Hollywood. Shown are Gene Kelly,
Ann Miller and Fred Astaire, star of the picture.

MOTION PICTURE HERALD, AUGUST 22, 1953

BREAKING GROUND for the Walter Reade TV station WRTV at Eaton-
town, N. J. Left to right: Jackie Cooper; Paul Petersen, assistant manager
of the circuit; F. Bliss Price, wielding the shovel; Hervey Keator, manager
of the Eatontown Drive-In; Walter Reade, Jr.; Hildegarde, and Ira Wolcott,
sheriff of Eatontown.

MICKEY MOUSE is celebrating his 25th birthday,
marked here by a cake from Goofy and by the Disney
Studio by the release of "Mickey's Birthday Party."

SAM GORELICK, RKO Radio Chicago branch manager, receives a watch, first
prize in the Silver Jubilee Drive, at the company's sales meeting. Left to right,
Nat Levy, east-south division manager; Mr. Gorelick; James R. Grainger, president
of the company; Herb Greenblatt, midwest district manager; Charles Boasberg,
general sales head, and his assistant, Walter Branson.

ATTENDING

the screening of
R K O 1 s "Devil's
Canyon" in 3-D
at the RKO 86th
Street, New York,
are Alfred Crown,
RKO foreign
manager, and
Walter J. Hig-
gins of the Pru-
dential circuit.

JOHN I. CRABTREE, head of the photo-
graphic chemistry department of Kodak Re-
search Laboratories, this week completed 40
years of service with the Eastman Kodak Com-
pany. The occasion was marked by his asso-
ciates and friends at a dinner Wednesday.
The recipient of many international scientific
honors, he has been an SMPTE leader.

MOTION PICTURE HERALD, AUGUST 22, 1953

THE CARLTON theatre, Upton Park, Lon-
don, reopened last week, rebuilt after its
almost total destruction by bombs during
the war. Here Herbert Wilcox addresses
the audience at the Associated British
Cinema theatre, flanked by the Mayor of
East Ham, L. A. V. Bennett; Margaret
Lockwood, Sam Luton, manager of the
theatre; Robert Beatty, Elizabeth Allen,
Kieron Moore and Tom O'Brien, M.P.

JAMES WONG HOWE, behind
camera, right, directs his first picture
after years as a famed cameraman.
The picture is "Go, Man, Go," fea-
turing the Harlem Globetrotters and
produced by Alfred Palca.

ANDREW NEATROUR, Associated British Cinemas publicity
chief, receives a silver sombrero as the Variety Club Champion
International Press Guy. With him are C. J. Latta, director of
Associated British Picture Corp., and D. J. Goodlatte, director
of ABC.

CHARLES B. GARRETT,
right, MGM publicity and
16mm executive in Cuba,
was a recent New York
visitor.

EDOUARD PHILIPS and
Mrs. Philips, center below,
are greeted by Ben Cohn
and Americo Aboaf, Univer-
sal foreign sales head at the
U-l home office. Mr. Philips
is a leading exhibitor in
Brussels, Belgium.

ttttmtmmm

MOTION PICTURE HERALD, AUGUST 22, 1953

Stereophonic* Anamorphic
Box Score frown Moliffivood

by WILLIAM R. WEAVER
Hollywood Editor

What is Hollywood going to give us for
product in 1953-54?

How much tooling-up have we got to do
to handle it ?

How’s 3-D standing up ?

What’s the score on stereophonic sound ?

Well, if Hollywood were sure about the
answers to the last two of these questions,
it would be happy to give out with a firm
reply to the first of them, and the answer
to the second would be crystal clear.

Of course nothing so cozy as that is the
case.

Ear Cocked to Catch First
Clear Note of Certainty

No. On the unhappy contrary, Hollywood
has its ear cocked to catch the first clear
note of certainty that they know will be
sounded sooner or later, and one way or the
other, by the growing number of exhibitors
whose growing experience with 3-D and
S-S (to coin a convenience) will tip off the
trend. Up to now there’s been nothing but
discord in the reports — a smash at one
theatre, a crash at another — and the plan-
ners of product admit they know, as the
saying is, from nothing. Making it unani-
mous for the trade.

Nevertheless, and with fingers as cramped
from crossing as anybody’s, it is possible to
present at this perplexing time and herewith
a rough-hewn though hard-wrought and
soundly-meant chart reflecting (as of Aug-
ust 14, it is well to say) the present expecta-
tions of the principal providers of product
with respect to the number of pictures in
the various technological categories likely
to be released in the 1953-54 season.

This is not a breakdown of official an-
nouncements of product.

It is not to be regarded as a collection of
firm statements of policy.

It is tentative, approximate, strictly sub-
ject to change.

It is the best information with respect to
product prospects to be had in this big wide
world.

So-

Allied Artists, a closely-held organiza-
tion with complete flexibility, figures it’ll be
releasing about 33 pictures in 1953-54, might
release more if show business flourishes,
isn’t likely to drop below that figure. A A
has two more 3-D pictures coming up, to
follow its successful “The Maze,” and is on
the point of launching its first film in
CinemaScope. All AA pictures, save the
last named, are shot for 1.85:1 or, of course,
1.33:1 or any point between.

Columbia, in keeping with recently
proclaimed policy, is to use its four-way

■KHHH

THE

STUDIO

SHAPE-UP

Wide Screen

3-D

Color

Anamorphic

Stereophonic

Stand

Allied Artists

Columbia

Lippert

MGM

Paramount*

—

Republic

RKO*

—

• —

—

. —

—

20th-Fox

United Artists

U-International

Warner Bros.**

* Information not available from companies. ** Announced thus far.

Under "wide screen" are grouped all aspect ratios greater than 1.33:1 but not more than 2:1.
Under "anamorphic" are grouped CinemaScope. WarnerSuperScope and Vistarama.
"Stereophonic" is used here as a round term embracing all multi-channel sound systems.
"Standard" is applied to all pictures that can be exhibited on a standard 1.33:1 screen from
a single projector, without regard to whether they are available also in any of the new screen
techniques.

camera on all but one of the 30' pictures
presently contemplated, and will use Cinema-
Scope on that one. The 29 others will be
available, therefore, in one form or another
— or perhaps it is better to say in all forms
but one (anamorphic, that is) — to any and
all exhibitors, regardless of the exhibition
installations he may or may not have at
hand. The studio also has an option on
some more uses of CinemaScope, against
the possibility of a landslide toward 2.55:1
aspect ratio.

Lippert Pictures, gearing to the widest
possible market, intends, with leave to en-
large its intention, to supply five features
in widescreen and color among the 30 it will
distribute (the five being amenable to 1.33:1
projection, also, naturally).

MGM, with much planning still to be
done and with large changes not unlikely,
expects to send about 38 pictures to market
during 1953-54, about 35 of these in color,
and one, already completed, in 3-D, al-
though the studio has no fixed policy against
increasing the number of 3-D jobs greatly
if such a move appears warranted by ex-
hibition experience. The company has six
features scheduled for CinemaScope, and all
of these could come in 1953-54 if box office
demand created need for that much haste.
All MGM product not going in Cinema-
Scope is filmed for widescreen and for
stereophonic sound, although wholly prac-
tical for standard purposes also, studio offi-
cials carefully point out.

Paramount declined to indicate its in-
tentions specifically. In New York Tuesday
Barney Balaban, after conferences with
Y. Frank Freeman and Loren L. Ryder,
research director, said the company would
not necessarily be bound by the 1.66 to 1
aspect ratio which the company declared for
originally.

Republic, last of the major studios to
take cognizance of the technological turmoil,
expects to release 20 features, 15 of them
in color, all of them designed for both wide
screen and standard. The studio has no
3-D, anamorphic or stereophonic intentions
so far.

RKO withheld forecast.

Twentieth Century-Fox, the source of
the anamorphic excitement and the result-
ant wide screen fervor, envisions a 1953-54
highlighted by its release of 20 pictures in
CinemaScope and 10, produced independ-
ently by Leonard Goldstein, in color and in
standard dimensions but expandable to
1.85:1. Four standards now in backlog also
are to go out during the year.

United Artists anticipates releasing
about 65 pictures during the season, four
of them in 3-D, two in CinemaScope, 33 in
color and three (maybe many more) with
stereophonic sound. Some of these 65 pic-
tures already are in release.

Universal-International, describing its
( Continued on following page, column 3)

MOTION PICTURE HERALD, AUGUST 22, 1953

MYERS WARNS
ON TAN ECHOES

Sees Harmful Impression
Created; Gives Limited
Praise to Senate Report

Two of the most important subjects to
face the film industry in the last six months
— the campaign for repeal of the Federal
admissions tax on motion picture theatres
and the Senate Small Business subcommittee
hearings on trade practices — are given thor-
ough review in the latest bulletin from the
Washington desk of Abram F. Myers, gen-
eral counsel for Allied States Association,
released Wednesday.

On the subject of the tax, Mr. Myers
noted with regret certain areas of influence,
namely the press, which the tax campaign
committee seemed to overlook. Concerning
the Small Business Committee report, with
which he was in general agreement, he
promised a renewal of Allied’s militant posi-
tion to see that trade practice violations are
promptly brought to the attention of the
Justice Department’s Anti-Trust Division.

In summing up he wrote pointedly :

“Allied will from time to time recall to
the Division’s attention complaints lodged
with it in the past concerning which no
action was taken.

“Regional leaders and members having
complaints involving possible violations
of the decrees are requested to forward
them to this office for appraisal and proc-
essing.

“Areas pestered by arbitrary zoning and
compulsory competitive bidding also
should describe the situation fully in writ-
ing and forward the story here for con-
sideration.”

The bulletin opened with a brief post
mortem on the unhappy end of the Mason
bill after its successful passage through both
Houses of Congress, with Mr. Myers’ noting
the somewhat peculiar position in which the
industry finds itself after painting such a
bleak picture:

Strong Impression Made

“During the long campaign the industry’s
woes were paraded before Congress, the
Administration, the public and industry
members. That was all in a day’s work be-
cause the COMPO Committee had to make
out a strong case in order to impress Con-
gress. It was the Committee’s job to put
the industry’s worst foot forward. While
there is no reason for saying the industry’s
plight was overdrawn, it certainly was not
understated, and the harmful impression has
been created that the motion picture indus-
try is on Skid Row for keeps.”

The Allied general counsel does not think
the industry “will have to raise a finger”
to get a 10 per cent reduction next year,

". . . The industry is in the position
of a hypochondriac who complains
over and over again that he is a very
sick man until he convinces himself
and all within earshot. Now we will
have a brief respite from wailing. For
the next five months it will not be
treasonable to express confidence in
motion pictures — the only thing the
industry has to sell; confidence in
their worth as the finest entertain-
ment available, confidence in their
future." — ABRAM F. MYERS, Gen-
eral Counsel, Allied States Associa-
tion.

but “to secure total elimination in a mad
scramble with all other excise burdened in-
dustries will take a heap of doing.”

The Senate Small Business subcommit-
tee’s report, issued August 3 in the name of
the full committee, was tackled by Mr.
Myers in sections dealing individually with
prerelease practice, price-fixing, competi-
tive bidding and industry arbitration. He
noted with satisfaction one paragraph of the
report which declared that “the performance
of the (Anti-Trust) Division has left much
to be desired,” but for the most part Mr.
Myers limtied himself to interpretation of
the report for Allied members.

Concerning the rumored (but not actually
forthcoming) strong criticism of Allied in
the report, Mr. Myers said that “Allied and
her leaders have no cause to apologize for
the course followed in reference to arbitra-
tion last year. That course was directed by
the board of directors by unanimous action
and the action of the board was unanimously
ratified by the exhibitors in attendance at
the Chicago convention.”

Mr. Myers noted that the Committee
plainly implied that prereleases are undesir-
able and should be restricted, if not banned,
adding Allied’s position that “prereleases
transgress the injunctions in the Paramount
case and the resulting price-fixing violates
the Sherman Act and that, therefore, they
should be prohibited.”

Says Evidence Overlooked

He found it “astonishing,” however, that
the report, in discussing the well-publicized
“Peter Pan” and “Hans Christian Andersen”
cases in regard to price-fixing, omitted men-
tion of evidence submitted to the Commit-
tee that exhibitors not only increased their
prices “on virtually every engagement but
that in competitive areas those prices were
raised to a uniform figure.”

Mr. Myers continued, “The evidence of
decree violation is in the record of the hear-
ings and hence available to the Department
of Justice. I don’t know that anybody is

crying out for criminal prosecution — for
vengeance — in the present precarious state
of the business. But adverse business con-
ditions do not justify repeated violations of
the decree or of the law. It is time some-
one in the Department of Justice or on the
U. S. District Court began talking to the
defendants like a Dutch uncle. Decree viola-
tions and law violations must cease.”

Noting that the committee recommended
that the Anti-Trust Division investigate the
competitive bidding system in Los Angeles,
Mr. Myers added: “I am sure that it meant
to include any other area where the dis-
tributors have imposed arbitrary zoning
systems contrary to the wishes of the ex-
hibitors.”

The Allied general counsel “found sur-
prising” the Committee’s list of “proper sub-
jects” of arbitration, including prereleases.

Cites Arbitration Difficulties

Wrote Mr. Myers: “The Committee does
not elaborate on how prereleases could be
arbitrated, particularly the price-fixing as-
pects of that practice, without assuming con-
trary to all decisions that price-fixing is not
illegal per se and that the extent or degree
of price-fixing can be arbitrated merely as
a matter of convenience to the parties.”

“I cite this merely to show that the prob-
lem is not nearly as simple as the Commit-
tee assumes it to be.”

STUDIO BOX SCORE

( Continued, from preceding page)

conjecturings as “strictly crystal-ball,” fig-
ures to follow pretty closely the course it
has been traveling, which would bring from
that company about 33 features, 25 in color,
and all of them photographed for wide
screen or standard. Management is com-
pletely open-minded about 3-D and S-S,
awaiting developments.

Warner Brothers has not yet announced
its complete production program, but so far
six films are definitely set for filming in the
anamorphic WarnerSuperScope, as well as
in 3-D, wide screen and, of course, standard,
with the Warner All-Media camera. All six
also will be available with Warner Phonic
sound. A studio spokesman said, “Whatever
technique or combination each story suggests
will be used.”

Thus the state of studio thinking and plan-
ning for 1953-54 as of August 14, with
leave to amend, and a good deal more sub-
ject to change than has been the case in a
great many years, if ever, at this point on
the calendar. For never has Hollywood had
so many uncertainties to give it pause. The
coming of talk to the screen made problems
aplenty, but in itself it was a single thing.
This year there is the question about 3-D,
plus the question about S-S, and there on
tomorrow’s table lies anamorphoscopy. All
these things together (not mentioning that
other old problem, television, for the mo-
ment) make motion picture production a
very exciting and stimulating business these
days, but surely the uncertain-est business
on this planet.

MOTION PICTURE HERALD, AUGUST 22, 1953

AVAILABLE

HERBERT J. YATES
presents

TRUCOLOR

BY CONSOLIDATED

ROBERT DOUGLAS • VICTOR McLAGLEN
JOHN RUSSELL • BUDDY BAER
CLAUDE JARMAN, Jr. • GRANT WITHERS /

Screen Play by RICHARD TREGASKIS •
Based on the novel by GARLAND ROARK
Associate Producer-Director JOSEPH KANE

presents

STARRINC

Written by STEVE FISHER • Associate Producer Director JOHN H. AUER

REPUBLIC PICTURES CORPORAllON

PRESENTS

STARRING

JOHN BRIAN AUDREY JOAN

LUND DONLEVY TOTTER LESLIE

WITH

BEN COOPER • NINA VARELA • JIM DAVIS • REED HADLEY

„ Screen Play by STEVE FISHER Based on a Saturday Evening Post story
by MICHAEL FESSIER Directed by ALLAN DWAN

k A REPUBLIC PICTURE

COMING- SWEETHEARTS ON PARADE • CHAMP FOR

" - HERBERT J. YATES

^ presents

JOHN FORD and MERIAN C. COOPER’S Aigosy Production

CHARLES

WINN1NGER

and ARLEEN WHELAN • JOHN RUSSELL
STEPIN FETCHIT
Screen Play By LAURENCE STALLINGS
Based on IRVIN S. COBB'S Short Stories

The Sun Shines Bright” • "The Mob From Massac" • "The Loi

Directed Bv JOHN FORD

A REPUBLIC PICTURE

HERBERT J. YATES presents

STARRING

ROD CAMERON • ARLEEN WHELAN
FORREST TUCKER • KATY JURADO

WITH

RODOLFO ACOSTA . ROY ROBERTS • BOB STEELE • HARRY CAREY. IR.

A REPUBLIC PICTURE

Screenplay by STEVE FISHER • Based on the Novel "The Golden Herd" by CURT CARROLL
Associate Producer Director JOSEPH KANE • Republic Pictures Corporation

HERBERT J. YATES
presents

Wllh sta-rmg V L MM RMLOIUH UHflU DlllHn OUUII KJIlHU I

CHARLES WINNINGER • HOPE EMERSON • EILEEN CHRISTY- LEIF ERICKSON

and VEDA ANN BORG ■ IAN MACDONALD • VIRGINIA GREY DOROTHY FORD BEN COOPER

Screen Play by RICHARD WORMSER Based on Vingie Roe's Best Selling Novel "The Golden Tide"
Bfc frUfr. Directed by R. G. SPRINGSTEEN

A REPUBLIC PICTURE

Consolidated

TRUCOLOR b

i i iJL2

MIEN

EQUIPMENT MEN SET ON
FOX’S ONE-FILM SOUND

Demonstrate New System;
New Sound Head Chief
Feature; in Production

Twentieth Century-Fox, the protectors
and promoters of CinemaScope, last week-
in New York publicly demonstrated for the
first time their recently perfected four-track,
single film magnetic sound system to be used
in conjunction with CinemaScope.

The demonstration, held at the home office
theatre, attracted leading figures of the in-
dustry and the press who were greeted by
Spyros Skouras, 20th-Fox president, and
Earl I. Sponable, the company’s research di-
rector. Shown were scenes of the British
Coronation procession and of London har-
bor, as well as clips from “How to Marry
a Millionaire” and a symphony orchestra
piece. The audience was impressed.

New Sound System Called
Historic Development

Combining for the first time a picture and
four magnetic sound tracks on one 35mm
film strip, the system is said by 20th-Fox
officials to be “an historic new development
in motion picture sound projection, over-
shadowing the revolutionary introduction in
1927 of sound-on-film.” Specifically, it ob-
viates the need for a separate sound repro-
ducer, required until now for the projection
of stereophonic sound.

Principal feature of the sound system is
a new “Penthouse” sound head, which can
be attached to any conventional projector
and which is now being produced by General
Precision, RCA and Westrex, with other
manufacturers expected to join the group in
the near future.

Projector Changes Are
Described as Slight

In his introductory remarks, Mr. Sponable
explained that to accommodate the quartet
of magnetic sound tracks he and his staff
had narrowed the sprocket holes of stand-
ard 35mm film from .110 to .078 inches.
Two of the tracks are placed on either side
of the picture.

Changes required in the projector are a
slight reduction in the width of the teeth of
the intermittent and other sprockets, to-
gether with a correction of center-line spac-
ing of the teeth of the intermittent and other
sprockets, and the addition of a simple mul-
tiple film-driven sound head installed be-
tween the upper magazine and the regular
projection head. Mr. Sponable was careful
to point out that the new sprockets will
carry all types of film.

With these changes, he said, the standard
theatre projector becomes compatible not
only with CinemaScope projection but with
every present-day sound film. He added that
he thought the 20th-Fox way “will become
the standard as time goes on.”

Shown above is 20th Century-Fox's new
"Penthouse" sound head, developed by the
company to accommodate the four-track,
single-film stereophonic sound system being
used with the CinemaScope process. At-
tached to a conventional projector, the mul-
tiple film-driven sound head is installed be-
tween the upper magazine and the regular
projection head. Film is threaded through the
new sound head and then through the regular
picture gate mechanism, as it would be for
any type of film, although by-passing the
optical sound pick-up system. For pictures
using optical, or ordinary tracks, the pro-
jectionist utilizes only the guide rollers of
the "penthouse."

To run the new magnetic sound film, the
projectionist has only to thread it through
the “penthouse” sound head, the projection
picture-gate system. When threading only
for optical or ordinary single-track-sound,
the projectionist utilizes only the guide roll-
ers in the “Penthouse.”

According to Mr. Sponable, the sound
head will effect savings for the exhibitor
and distributor in the handling and shipping
of film, and millions of feet of film stock
now required for separate sound tracks. It
also insures perfect synchronization by
eliminating the necessity of matching the
sound film and the picture film. Feasibility
of the four-track single film system stems
from the present-day utilization of acetate
film which, unlike old-fashioned nitrate film,
has practically no shrinkage and therefore
permits the use of smaller sprocket holes.

In his short introductory remarks, Mr.
Skouras called the introduction of the “com-
posite” four-track system “one of the most
important contributions” in the ushering in
of the new CinemaScope technique. He re-
peated earlier assurances that the process,
like CinemaScope, will be made available
to the whole motion picture industry.

Last Friday, the day after the initial de-

monstration of the sound system, executives
of 20th-Fox and the Radio Corporation of
America participated in a special clinic on
CinemaScope and stereophonic sound held
in the Johnny Victor theatre at the RCA
Exhibition Hall in New York. Frank Fol-
som, RCA president, and Mr. Skouras
headed the groups attending the clinic from
their respective companies.

RCA Personnel Included
Many Equipment Dealers

Mr. Skouras outlined 20th-Fox’s Cinema-
Scope plans and was followed by A1 Licht-
man, director of distribution, and Mr. Spon-
able, both of whom spoke briefly. RCA
people in attendance included theatre equip-
ment dealers from various parts of the coun-
try, as well as sales and engineering and
personnel managers of the service company’s
11 theatre service districts.

Barton Kreuzer, manager of RCA’s thea-
tre and industrial products division, ex-
plained the reason for the clinic was the
intense interest on the part of exhibitors in
such wide-screen projection systems as
CinemaScope and WarnerSuperScope.

On Monday this week a similar clinic was
held at the 20th-Fox home office with offi-
cials of General Precision and National
Theatre Supply participating. In attendance
was Hermann Place, president of General
Precision and National Theatre Supply, who
praised the 20th-Fox officials for the think-
ing which will “restore the business to its
place of eminence in the entertainment field.”
He also emphasized that the price of equip-
ping theatres for CinemaScope is small in
comparison to the dramatic gains which the
process will achieve in box office receipts
across the nation.

Other speakers included Walter Green,
president of National Simplex-Bloodworth,
as well as Mr. Lichtman, Mr. Sponable and
Herbert Bragg, assistant to Mr. Sponable.

Westrex Begins Deliveries
Of “ Penthouse ” Reproducer

In connection with the new four-track,
single film system, the Westrex Corporation
also announced that this week it was begin-
ning limited deliveries of the “Penthouse”
reproducer. These deliveries, it was said,
will be greatly stepped up in September
and October.

The company also said it had produced
and was in process of producing for 20th-
Fox the following recording equipment for
use at the studios :

Eight production recording channels with
six microphone imputs and three recording
tracks each ; a four-track dubbing recorder ;
three and four-track reproducers; three-
track modifications of existing recorders and
re-recorders ; a magnetic printer which will
make five prints simultaneously for four
CinemaScope magnetic tracks each.

MOTION PICTURE HERALD, AUGUST 22, 1953

A Clear Statement As To The Equipment

AND NEWS OF GREAT IMPO

For the perfect projection of CalNlMASeOlPH pictures,

exhibitors will require the following equipment:

Because of the tremendous volume of orders which
have been placed with Bausch & Lomb and leading
lens manufacturers of Europe for the CinemaScope
anamorphic lenses, making mass production possible,
the manufacturers have been able to effect large savings
in the cost of the lenses and, effective immediately, this
saving is being passed on to the exhibitor. The new
prices are $1900 per pair for the large lenses (for use with long focal length
lenses), and $1800 per pair for the smaller lenses (for use with short focal
length lenses), retroactive to all orders already received. The original price was
$2875 per pair, regardless of size. By acquiring the CinemaScope lenses, you will be able
to show any picture photographed in the anamorphic process and in the same aspect ratio.

In order to clear up any confusion which may
exist, we would like to spell out the facts about the
screen required for the projection of CinemaScope pic-
tures. CinemaScope is a quality product and it can be
given full justice only through the highest quality
equipment. The right screen is just as important to the
proper exhibition of CinemaScope as the right lenses
and the single-film magnetic stereophonic sound system.

We have found, by scientific test, that only the screens offered with the Cinema-
Scope process, distributed by the dealer of your choice, can capture and reflect the true
and full glory of the CinemaScope process.

This is true of the Miracle Mirror Screen, which is already in substantial supply
and whose volume is being increased daily. The only other screen CinemaScope Prod-
ucts has contracted for is the Magniglow Astrolite Screen. The Radiant Manufactur-
ing Corporation, of Chicago, is now completing plans for full-scale production of the
Magniglow Astrolite Screen so that we will be able to meet the great demand for these
superior screens. To date, these two screens are the only ones our engineers have found
which will ensure the perfection necessary for the complete enjoyment of CinemaScope
pictures.

These screens give 2-for-l light without need for boosting amperage, an important
economic factor.

They provide maximum utilization of the light reaching the screen from the projector.

They are precisely designed to reflect and distribute the light evenly over
the large surface required for CinemaScope projection, thus making every seat
a good seat because the picture is uniformly bright from any seat in the theatre,
and the light does not fall off on either side of the screen.

They are the best by test all-purpose screens, and you can use them not
only for CinemaScope but for standard 2-D, 3-D, and any other wide-screen
projection systems.

THE

CinemaScope

SCREENS

THE

ClNlMAcSC^P^

Required For OnbmaSgO^€ Pictures
RTANCE TO EVERY EXHIBITOR

Every 20th Century-Fox CinemaScope picture
will be produced for exhibition in the revolutionary
new single-film stereophonic sound system. The new
CinemaScope magnetic sound head will be in full
production in September and ready for continuous
delivery by all the leading sound manufacturers.

The sound heads for the CinemaScope process go by various names: some
manufacturers call them the Button-On sound heads, some call them “The
Penthouse”. . . but all of them give you four tracks, one of which is an overall
track for auditorium effects, on a single strip of standard 35- millimeter film.

They eliminate the “double system” of using motion picture and sound -separately, do
away with any separate sound reproducers, eliminate extra work and enforced inter-
missions, prevent errors in matching film and sound, and avoid the risk of going
“out of sync.”

Once the new sound head has been installed, your projector can be used
just as you have always used it in the past, including standard 2-D films. When
you order your sound heads you will receive from the equipment dealer of your choice
a complete kit for the minor changes needed in sprockets, aperture plates and other
minor parts required for conversion of your present standard projector.

MAGNETIC
SOUND SYSTEM

I »

Our first CinemaScope picture, “The Robe” in Color by Technicolor, will open
at the Roxy Theatre, New York, on September 16th. During October, we expect
to launch “The Robe” in most of the principal cities of the United States and
Canada, and in all the capital cities of the world before the end of this year.
This will be followed by “How To Marry A Millionaire,” “Beneath The 12-Mile
Reef,” “Prince Valiant,” “Hell And High Water,” and “River Of No Return.”
There will also be many other wonderful CinemaScope pictures coming your
way. M-G-M already has two big CinemaScope pictures in production — the first
of which, “Knights of the Round Table,” will be released in November, soon to
be followed by “Rose Marie” and many others being readied for production. From
Walt Disney there will be “Lady and the Tramp,” “20,000 Leagues Under the
Sea,” and an unlimited number of short subjects; from United Artists, Errol Flynn
in “The Story of William Tell” and W. R. Frank’s “Sitting Bull”; from Allied
Artists, “The Black Prince.” Columbia will produce a number of top quality pro-
ductions in CinemaScope.

If you intend to show these great attractions, please contact the equipment
dealer of your choice immediately for the equipment herein described, if you
have not already done so.

T eri^ Ramsaye la?%

RACE-LINE CENSORSHIP — The South
African exhibitor's operations are ruled by
a unique governmental censorship which
stratifies the audiences by race and race
mixture. We are indebted to the record-
ings of A. L. Carter, editor of Britain's
"Kinematograph Weekly," just returned
from a sojourn way over fhere on the occa-
sion of the fiftieth anniversary of the far-
flung Schlesinger Organisation. He reports:
"Films are assessed in three categories:
(A) For general exhibition; (B) Banned for
exhibition to coloured classes and natives;
and (C) for exhibition to European and
coloured classes, but not for natives."

It seems the distinction between coloured
and natives infers that those of mixed
blood have a higher intelligence and are
not to be confused with the indigenous
fullblood blacks.

The effort is to keep off the screen for
the natives anything that might undermine
the status of the whites and their position
of supremacy.

It is the opinion of Mr. Carter that ex-
hibitors, while beset with problems, con-
sider the censorship essential. I. W. Schles-
inger founded it.

MOTION PICTURE ALUMNUS — Theo-
dore C. Streibert, just chosen by President
Eisenhower to be director of the new
United States Information Agency including
those State Department debated libraries
abroad and the Voice of America, came to
the arts and industries of communication
in the service of the motion picture inter-
ests of the late Guy C. Currier, associate
of Joseph P. Kennedy's early film opera-
tions. Mr. Streibert became an executive
of Pathe Exchange, Inc., in the Kennedy
days. With his Harvard School of Business
training behind him he learned a lot in that
job about movies, people and Wall Street,
later to serve him well when he became
president of WOR and chairman of the
board of the Mutual Broadcasting system.
The administration has acquired an aide
notably unfond of baloney. He departed
movieland when Pathe's production asset*
were sold into RKO.

PLASTIC DECISION — With a charming
candour Walt Disney, submitting to inter-
view in London, said: Whichever way the
exhibitors decides he will go for 3-D, wide
screen, CinemaScope and stereophonic
sound. As of that time, the first week of

July he was making some of each. He likes
3-D "because it's fun," but says that
spectacles are "very unpopular in Amer-
ica." He thinks stereophonic sound is an
aid with CinemaScope and "annoying with
3-D." Meanwhile his live action feature
being completed at Elstree, "Rob Roy,"
was being made "with wide screen in
mind." That of course means the prints
will fit conventional projection, too. Mr.
Disney's mind is made up. He proposes to
deliver what the customers approve. He
may have to watch a while, but his policy
can't miss. He has a lot of less articulate
and less frank company.

W'C'

STATISTICS — Apparently we are going to
have plenty of potential customers around
to support an expanding entertainment
business. The U.S. population had risen to
159,473,000 by June I, according to esti-
mate, That was up 1 .7 percent for the year,
and more than eight million above the last
census, reported in April, 1950. They keep
coming and at increasing rate. The con-
tention that the movie public is becoming
more mature is painfully ill-founded. It is
perhaps an encouragement to realize that
to the on-coming youngsters the whole
world and all its stories are new, including
the most interesting one of all: "Boy Meets
Girl," rendered with variations, sound and
color.

Competition toward making more stay-
at-homers shows up in figures to show that
shipments of room air conditioning equip-
ments were 2 I 5 percent higher for the first
six months of 1953 over the like period for
'52. The use of air conditioning in fact is
calculated to have increased the consump-
tion of electrical power in spite of a decline
in industrial demand. Less work, more
comfort.

'■VW W'#"

THE BEE on BING — Just a spell back
Bing Crosby came forth with an auto-
biography entitled, modestly, "Call Me
Lucky." Now he has a million dollar tax bill
from the Government for inheriting back
half his fortune, forcing him to sell his sixty-
five race horses, his Los Angeles mansion,
and his summer home at Pebble Beach.
Under the California property law Mrs.
Crosby legally owned half his property and
left it to him. Now it costs him a fortune
to get it back. That, in the opinion of this
observer, is in the language of the law to
be called expropriation, and in plain lan-
guage it is plain proletarian political
larceny.

Paramount s
Quarter J\et
SIJH7.000

Paramount Pictures Corporation esti-
mates the earnings of the corporation and its
consolidated domestic and Canadian subsidi-
aries for the second quarter ended July 4,
1953, at $1,617,000 after provision for
United States and Canadian income taxes.
The earnings are equal to 70 cents per share
on the 2,325,465 shares outstanding and in
the hands of the public as of that date.

Consolidated earnings for the quarter
ended June 28, 1952, were estimated at
$1,430,000 and represented 61 cents per
share on the 2,3 42,096 shares then outstand-
ing.

Consolidated earnings for the six months
ended July 4, 1953, computed on the same
basis are estimated at $2,991,000 which is
$1.29 per share on the shares outstanding.
Consolidated earnings for the first six
months of 1952 were estimated at $2,785,000
which represented $1.19 per share.

The consolidated earnings reported do not
include Paramount’s net interest in the com-
bined undistributed earnings of partially
owned non-consolidated subsidiaries. Such
share resulted in net earnings of $96,000 for
the second quarter of 1953 as compared with
$48,000 for the same period of 1952 and net
earnings of $479,000 for the first six months
of 1953 as compared with $217,000 for the
same period of 1952.

The board of directors has voted a quar-
terly dividend of 50 cents per share on the
common stock, payable September 25, 1953,
to holders of record September 11.

"Eternity" Gets No Limit
First Run in Chicago

CHICAGO : There will be no limitation on
the length of the Chicago first run showing
of Columbia’s "From Here to Eternity,”
since the picture will be released in a theatre
that is not bound by the Jackson Park
decree, which prohibits first runs of more
than two weeks in theatres owned by the
defendants involved in the Jackson Park
case. Officials of the company would not
reveal the theatre which will exhibit the film
but it is rumored that it will open at Essan-
ess’ Woods theatre.

Liebeskind Sets Bookings

The Stanley Warner, United Paramount
and RKO circuits will have the initial book-
ings of International United’s "The Gay
Swordsman” and "Mistress of Treves,” it
has been announced by Nat Liebeskind,
International’s general manag’er.

Set "Holiday" Premiere

“Roman Holiday,” which Paramount Pic-
tures officials describe as the company’s
most important attraction of the year, will
have its world premiere August 27 at the
Radio City Music Hall, New York.

MOTION PICTURE HERALD, AUGUST 22, 1953

STUDY PRICE BOOST IN
WAKE OF TAX DEFEAT

Exhibitor Groups Vary in
Attitude to Problem of
Increasing Admission

A number of industry developments the
past week grew out of President Eisen-
hower’s veto of the Mason Bill, which would
have repealed the 20 per cent admission tax.

Although two Allied units have recom-
mended the immediate raising of admission
prices, and some theatre owners have
already boosted prices, in general there was
a “go slow” policy towards changes
throughout the country.

Harvey Urges Theatres
Losing Money Close

Forthright action was recommended by
Rotus Harvey, president of Western Theatre
Owners. He advocated the closing of every
theatre that is losing money, and keeping
them closed until the tax is repealed.

Other proposals suggested sending tele-
grams to President Eisenhower whenever a
theatre is forced to go dark and newspaper
stories in which tire necessity of raising
prices is explained to the public.

Most early signs point to efforts to keep
those theatres that had been earmarked for
closing in operation until at least the fall
season starts. With a pickup in business
generally reflected in August, exhibitors are
apparently waiting to see what happens
after children return to school and when
the strong fall TV shows get under way. If
patronage in those fringe houses slumps
again, there may be some closing, according
to reports.

Loew and RKO to Set
Policies After Study

Spokesmen for both Loew’s and RKO
said that admission prices would depend
upon each situation after a study of eco-
nomic factors on a theatre-by-theatre basis.
The spokesmen said it was too soon after
the death of the Mason Bill to decide on
any procedure. AB -Paramount Theatres
has no plans to raise prices and Leonard
Goldenson, president, said he has received
no information from affiliates that such a
move was contemplated. Stanley Warner
also will maintain present price levels.

From Kansas City came news that Fox
Midwest’s four first run theatres have
raised prices to 65 and 85 cents, including
tax, from the former level of 50 cents and
75 cents. The houses are the Fairway,
Granada, Tower and Uptown.

From Boston it was reported that the
larger New England circuits with “border-
line” houses, which officials were consider-
ing closing if the tax was not repealed, are
moving cautiously on a decision to shutter
them. Some consideration is given to in-
creased admissions, but with the exception

COMPO SETS MEETING
TO MAP TAX PLANS

The executive committee, board of
directors, and possibly the tax repeal
committee of the Council of Motion
Picture Organizations will meet in
mid-Sepetmber to determine a course
of action on future COMPO activi-
ties, Robert Coyne, special counsel,
has disclosed in New York. He as-
serted that one of the purposes of
the meeting would be to establish a
"sense of direction" on the continued
tax repeal campaign and to agree on
a course of procedure.

of a few scattered cases there has been no
indication of a general price rise.

In Tennessee some price increases have
been made in Nashville and elsewhere.
However, Crescent Amusement Co., operat-
ing about 80 theatres in Nashville and cen-
tral Tennessee, will not increase the scales,
according to K. C. Stengel, executive vice-
president. No closings are contemplated.
Independent exhibitors as a whole have
made no announcement on raising prices.

Acting on the premise that children’s ad-
mission prices are “ridiculously low,” Leo
F. Wolcott, chairman of the board of Allied
Independent Theatre Owners of Iowa, Ne-
braska, South Dakota and Mid-Central, is
raising the price of his juvenile tickets from
10 cents to 25 cents and his adult admissions
from 45 cents to 50’ cents on or about Sep-
tember 1.

Mr. Wolcott believes exhibitors have
“baby-sat-’em-for-a-dime” long enough and
points to Werner Grossman in Nevada, la.,
who raised his children’s prices from 10
cents to 20 cents with no complaints. Mr.
Wolcott endorses the Council of Motion Pic-
ture Organization of Texas’ proposal to
raise every admission price in the state by a
figure equivalent to the 201 per cent tax.

Scale Increase Is Urged
By Ohio Organization

Independent Theatre Owners of Ohio also
recommended price increases. In a current
bulletin, the organization points out that “to
bolster our argument that we needed this
tax to pay our rising costs, it makes good
sense now to raise prices by the amount of
the tax. The ITOO further recommends
the running of a trailer, explaining that be-
cause the needed relief was not granted the
exhibitors are forced to raise prices.

Exhibitors in Cleveland who were con-
tacted favored a general price boost, but may
hesitate to put it in force when there appears
to be a back-to-the-theatre trend.

Leo Jones, Upper Sandusky theatre, own-

er, is interested in the Texas plan to boost
admissions now so that the scale can be
cut when the tax is removed. He is explor-
ing this possibility for his theatres. Nat
Welkin, owner of the only theatre in Salem,
O., favors the plan too, but also is fearful
of incurring the disfavor of his patrons.

Chicago Scales Have Been
Undergoing Adjustment

In Ashtabula, Shea’s State theatre, which
has been on a policy of weekend programs
only, has been closed.

In Chicago exhibitors have not rushed to
raise admission prices. The local scale has
been undergoing constant upward adjust-
ments in the past year to the point where
admission prices are higher than in almost
any other large city outside of New York.

First runs have been charging a top of
$1.25 for so-called outstanding pictures and
dropping back to the usual 98 cents at other
times.

From Chicago, Jack Kirsch, president of
Allied Theatres of Illinois, sent a letter to
A1 Lichtman, Sam Pinanski, Trueman Rem-
busch, Col. P. A. Cole, Pat McGee and
Robert W. Coyne, on behalf of the mem-
bership, praising the “great amount of
effort, time, and personal sacrifice” made
during the campaign and for “the mo-
mentous accomplishment which you per-
formed in having the bill pass both houses
of Congress with such overwhelming sup-
port.”

“We fully appreciate the disappointment
you must have experienced when the meas-
ure failed of enactment — and we certainly
share this disappointment with you — but we
admire the spirit with which you have taken
this defeat and your announced determina-
tion to continue the good fight which has
given encouragement to exhibitors every-
where that while we did not gain our objec-
tive at this crucial period in our industry,
the cause is far from lost.

“It was indeed a pleasure and a privilege
to have worked with you in this effort. The
entire membership of Allied Theatres of
Illinois joins me in this expression of thanks
and gratitude.”

Georgia Group Resolves
To Continue Repeal Fight

In Atlanta, Ga., last weekend, the Georgia
Theatre Owners Association approved a
motion to continue the fight for the repeal
of the tax.

In furthering the tax relief campaign,
Congressman Daniel A. Reed, chairman of
the House Ways and Means Committee,
and Congressman Leo Allen, chairman of
the House Rules Committee, were slated
for brief newsreel appearances. Congress-
man Reed is in the August 20 issue of all
the reels, while Congressman Allen will
appear in all the August 24 newsreels.

MOTION PICTURE HERALD, AUGUST 22, 1953

MAGAZINES, TRADES AND
NEWSPAPERS ALL HAIL IT!

"Astounding! Best sus-
pense picture.”

— Cosmopolitan Magazine

"One of the biggest.”

— Look Magazine

"Boxoffice winner. Tops
by large margin previous
adventures into space.”

— Variety

"Most effective horror
picture ever produced.”

— The Independent

"Hair-raising entertain-
ment making all previous
shockers look like Hallo-
we’en pranks!”

— N. Y. Journal-American

"Most exciting and terri-
fying melodrama to
reach Broadway.”

-N.Y. Mirror

A Stand-out Money Picture with all the added impact of stereophonic sound, giant
screen and color by Technicolor. H. G. Wells’ world-famous novel is spectacular
thrill entertainment, produced by the master of science-fiction pictures, George Pal.

H. G. WELLS’

THE WAR OF THE WORLDS

color BY TECHNICOLOI

Produced by GEORGE PAL* Directed by BYRON HASKIN
Screenplay by BARRE LYNDON * Based on the Novel by H. G. Wells

Paramount’s “THE CADDY” • “SHANE” • “STALAG 17”

New Techniques in TV Selling
By Sectional Coverage To Extend
Nationwide in Powerful Support of Picture

Under Paramount’s new application of TV selling, so
sensationally successful in New York and other east-
ern exchange areas, aggressive use of TV and radio
will be integrated with local newspaper advertising
nationally.

I Adaptable particularly in television areas, this cam-
paign is designed so that exhibitors all over America
can cash in on it.

It has been created for you — proved for you — and
now it’s ready for you. It will get you the maximum
profit from one of the top attractions of the year. Call
your local Paramount Branch Manager for details.

• “ARROWHEAD” are current business toppers, too !

3-D INQUIRY IN
BRITAIN HALTED

Producer Group Refuses
to Aid Inquiry Into All
of New Techniques

By PETER BURNUP
LONDON : The Film Producers’ Association
here unexpectedly and dramatically threw
into jeopardy the ambitious plan of research
into 3-D and wide screen methods proposed
by the British Kinematograph Society.

The investigation had been at the instance
of the Exhibitors’ Association and has been
conducted hitherto by a committee presided
over by Dr. Leslie Knopp, CEA technical
adviser. Preliminary step in the inquest was
the circulation among exhibitors of an
elaborate questionnaire covering theatre
screen proportions, projection potentials and
the like. Returns were promptly made by
2,500 theatre men.

Sought Producer Aid

The investigating committee then applied
to the Producers’ Association for a grant of
£5,500 from the Eady Fund to meet the cost
primarily of the analysis of the returns and
to finance the continuance of the research
plan. The application was supported by a
memorandum detailing the scope of the pro-
posed inquisition which would include all
facets of new techniques from production
through distribution to exhibition.

The Producers’ Association decided to
refer the application for finance to the joint
committee of the four trade associations con-
cerned. That, on the face of it, seemed an
understandable and innocuous delaying ac-
tion, having regard particularly to the time
of year when the trade’s leaders customarily
go into a state of near-hibernation.

It would indeed have been so accepted
had it not been for an explanation made to
newsmen by BFPA’s Sir Henry French to
the effect that “some people doubted the wis-
dom of such a technical body making recom-
mendations at this stage when companies
with investments in new systems had not
fully developed them and found their
worth.”

Provoked Suspicions

The statement inevitably provoked suspi-
cions among- the irresponsible that high-
pressure groups had been at work on sec-
tions of the producers, particularly when it
was openly asserted by some of the latter
that the Knopp proposals had created fear
that commercial prospects of techniques now
being developed not only in America but
here might suffer.

It is precisely the fear among exhibitors
that they may find themselves saddled with
processes doomed rapidly to become ob-
solescent or impracticable which inspired
the original Knopp plan. Nothing is likely

to develop until the executives of the sev-
eral associations get back to normality in
September. Exhibitors undoubtedly will
then press the need at least of standardiza-
tion in new techniques and the continuance
of the Knopp inquiry, if only in an atten-
uated form.

In spite of the threatened suspension of
the Knopp activities other inquiries have
started. The illuminating Engineering So-
ciety has embarked on an investigation into
the effect of polarization and wide-screen
on the customers’ eyes. Under the auspices
of the Medical Research Council, the Ap-
plied Psychology Unit of Cambridge Uni-
versity is endeavoring to establish the effect
3-D has on the film-goer.

Not Due to Complaints

The director of the unit, Dr. N. H. Mack-
worth, is at pains to point out that his in-
quiry does not arise out of eye-strain com-
plaints from audiences. “The University’s
Unit is always interested in finding the best
way of doing a given thing or operating a
given machine,” he said. “We want to estab-
lish what is best and most pleasant for the
viewer.”

The Cambridge experiment promises to be
extensive. Dr. Mackworth doesn’t anticipate
making his report to the learned journals
for a "year at least.

In spite of the attitude of some of their
number to the Knopp enquiry (possibly be-
cause thereof), producers here don’t evince
much fear of widening screens. Produc-
tion schedules indeed are being extended just
at the time when Hollywood apparently
holds its hands in the face of new develop-
ments. Twelve top features on conventional
lines are now in production. It is estimated
that this year’s output will be around ten
per cent higher than that of 1952.

Attacks U. S. Handling

Austrian-born William C. Shelton arrived
here and promptly put himself forward as a
“Man With a Mission.” He aims at right-
ing the wrongs which British producers al-
legedly suffer at the hands of maladroit
American distributors. In a manifesto, Mr.
Shelton announced, among other surprising
things, that “he is convinced that the pres-
tige of British films is being ruined in
America through complete mishandling by
small, unorganized distributors who have no
standing in film trade circles and who are
dumping British pictures indiscriminately on
to TV along with cheap American-made
Westerns without making any serious at-
tempt to secure full theatre distribution.”

Mr. Shelton in subsequent evangelical fer-
vor proclaimed that “politically there are
some people in America who don’t want
British pictures to get a showing.”

He is determined chivalrously to remedy

all those evils by what he calls, with little
discernible originality, a New Deal for the
British. He has become president of a
just-formed institution known as Imperial
Film Distributors of America. This, he as-
serts, has the backing of three important
Wall Street men and a capital of $100,000.
But he can call on resources of over a
$500,000 if necessary, he says.

A Basis for Questioning

The remarkable proclamation not surpris-
ingly evoked eager questioning from inquir-
ing newsmen. Readily in the subsequent
catechism Mr. Shelton announced that "he
wanted to talk things over with British in-
dependents like Wilcox and Balcon.” Sir
Michael Balcon could scarcely be described
as an independent in view of his close affili-
ation with the Rank Organization and Mr.
Wilcox appears satisfied with his arrange-
ment with Republic, not to speak of the
Warner Bros.’ distribution of his “Beg-
gar’s Opera.”

Mr. Rank’s people, Mr. Shelton conceded,
had done a fine job of work in America in
establishing a bridgehead. But, he said
musingly, although he didn’t explain why,
all that good is liable to be undone.

Comments on Hollywood

He threw around one of two other divert-
ing Chinese crackers. “Hollywood,” he said,
“has over-extended itself. I would rather
have few pictures and have everybody come
to see them than handle as many films as
American distributors handle at the mo-
ment.”

Another of his more startling- obiter dicta
was: “You cannot solve the industry’s prob-
lems by wide screens or deep screens.
They’re of no use in the long run.” Mr.
Shelton also opined that Hollywood had a
nasty attack of hysteria at the moment.

An investigation is to be carried out by
the Illuminating Engineering Society into
the effect upon patrons’ eyes of wide screens
and 3-D films. The London County Council,
Britain’s largest licensing authority, and the
film industry will be represented in the in-
quiry. The Council’s existing regulations
are based upon a report on eye strain pre-
pared by the Illuminating Engineering So-
ciety in 1920.

Universal Plans Release
Of Three Rank Pictures

Universal has concluded arrangements for
the American release of three new pictures
produced by the J. Arthur Rank Organiza-
tion, it has been announced by Charles J.
Feldman, Universal general sales manager.
The films involved are “The Titfield
Thunderbolt,” “Genevieve” and "Desperate
Moment.” ’’The Titfield Thunderbolt,” the
first color by Technicolor film to be made at
Rank’s Ealing Studios, stars Stanley Hol-
loway and George Rolph. “Genevieve,” also
in Technicolor, stars Dinah Sheridan and
John Gregson. "Desperate Moment,” which
stars Dirk Bogarde, Mai Zetterling and
Philip Friend, will have its American pre-
miere at the Beekman theatre, New York.

MOTION PICTURE HERALD, AUGUST 22, 1953

TOA Meet to
See Film on
Training

The Theatre Owners of America’s first
training film for theatre employes will be
previewed for the nation’s theatre opera-
tors at the annual TOA convention and
trade show at the Conrad Hilton Hotel in
Chicago, November 1-5, it was announced
this week by Alfred Starr, TOA president.

Production of the first of what will be a
series of training films on the various as-
pects of theatre operation is already under
way. The first film will be titled “Courtesy
Is Contagious.”

The film will mark the first time that the-
atre owners will use their own screens for
the training of their own staffs. Filmack
Trailer Co. of Chicago, through its presi-
dent, Irving Mack, has underwritten the
production of the film as an industry service,
and will distribute both 35mm and 16mm
prints to theatres. The film is produced by
Video Pictures, Inc.

The convention committee • is planning to
combine glamor and information at the an-
nual conclave. Stars, producers and other
Hollywood personalities are invited to the
sessions. Engineers will be on hand to dis-
cuss all new media with exhibitors.

H. R. Mitchell Announces New
Wide-Curved Screen Frame

A new “practical and economical wide-
curved screen frame” has been announced
by the H. R. Mitchell Company of Hartselle,
Alabama. Known as the “Bowline Screen
Frame,” the frame is said to be simple and
revolutionary in design, “due to mechanical
principles whereby the proper radius of
curvature is set” after the frame is assem-
bled on stage. It is completely adjustable
in height and degree of tilt and can be
flown, permanently attached to the floor or
mounted on casters. It can also be con-
verted into a flat frame if desired. Accord-
ing to the company, the frame weighs
approximately one pound to the square foot
of screen surface and can be assembled in
less than 60 minutes.

"4-Runner" Is The Star
At Baliantyne Show

Over 100 sound engineers and Baliantyne
dealers attended the two-day preview of the
Baliantyne all-system theatre equipment
package last week in Omaha, the company
has announced. Featured performer in the
presentation was the “4-Runner,” the com-
pany’s new three or four track magnetic
reproducer designed to accommodate both
present and future systems for the placement
of magnetic sound on film. The 4-Runner
soundhead is removable from the magnetic
reproducer rack and will button on above
the projector for CinemaScope reproduction
and will also mount below the projector in
normal soundhead position.

Odeon Orders CinemaScope
For Canadian Theatres

TORONTO : The Odeon Circuit has or-
dered CinemaScope equipment for its key
theatres throughout Canada and is expected
to have installations by October for the
showing of “The Robe.” Earlier Famous
Players Canadian placed orders for its thea-
tres in the Dominion. The orders were
placed following a sales meeting conducted
by Arthur Silverstone, eastern and Cana-
dian sales manager of 20th Century-Fox,
and Peter Myers, division manager, follow-
ing which CinemaScope demonstrations
were held.

** Oklahoma **
in Todd" AO

Richard Rodgers and Oscar Hammerstein
II this week gave their long-expected offi-
cial consent for the filming of "Oklahoma”
in the new Todd- AO 65mm process “con-
ceived by Michael Todd and developed by
Dr. Brien O'Brien of the American Optical
Company.”

The decision to film the long-run musical
stage hit finally was settled last Friday in
Buffalo after showings of tests made by Ar-
thur Hornblow, Jr., who will produce for
Rodgers and Hammerstein, director Fred
Zinneman and Harry Stradling, cinemato-
grapher.

Concluding the agreement were Mr. Rodg-
ers and Mr. Hammerstein on one hand and
on the other, Joseph M. Schenck, chairman
of the board ; George Skouras, president,
and Mr. Todd, of the Magna Theatre Cor-
poration, which controls the Todd-AO proc-
ess. Both Mr. Rodgers and Mr. Hammer-
stein are scheduled to take an active part
in the production of the film with Mr.
Hornblow.

Fox and NBC Schedule
"The Robe" Promotion

Twentieth Century-Fox and the National
Broadcasting Company have completed
negotiations for a promotional tieup among
television, radio and motion pictures to pub-
licize “The Robe.” The promotional plan,
which is scheduled to run from August 31
through October 10, will launch the Septem-
ber 16 world premiere of the initial Cinema-
Scope production at the Roxy theatre, New
York. A series of special television programs
and spot announcements are planned.

Petersen Promoted in
Walter Reade Circuit

Paul Petersen, drive-in theatre supervisor
for Walter Reade Theatres for the past four
years, was named assistant general manager
of the circuit by Walter Reade, Jr., presi-
dent, at a meeting Wednesday of managers
at the New York home office. Mr. Reade
also announced that Ted Davidson, man-
ager of the Paramount theatre, Asbury
Park, N. J., will take over as the circuit’s
city manager in Perth Amboy, N. J.

Assign RCA
To IMstribute
For J Polaroid

CAMBRIDGE, MASS.: The Polaroid Cor-
poration has appointed the RCA Victor Di-
vision of the Radio Corporation of America
to distribute Polaroid 3-D viewers, it was
announced jointly here Monday by Jackson
Turner, sales manager of 3-D viewers for
Polaroid, and J . F. O’Brien, manager of
theatre equipment sales for RCA Victor.

“RCA’s wide experience in the theatre dis-
tribution field assures all exhibitors of fast
and efficient delivery of glasses,” said Mr.
Turner. He added that stocks of 3-D glasses
will be maintained at RCA dealers through-
out the country for emergency orders, al-
though shipment of regular orders will
continue to be handled directly from Pola-
roid plants as in the past.

The Polaroid company also plans a
stepped-up merchandising and advertising
campaign for 3-D films, consisting of full-
page ads in both trade and consumer publica-
tions, it was revealed. Numerous point-of-
sale pieces, including marquee banners, box
office signs, lobby posters and a glasses dis-
pensing stand, are to be made available.

Mr. O’Brien said the new agreement was
in actuality a “renewal of successful World
War II leadership when Polaroid and RCA
worked hand in hand on important defense
and research and production projects.”

Video Independent Shows
"Panaphonic Sound" System

A new sound system, designed to approxi-
mate stereophonic or directional sound, was
introduced last week by Video Independent
Theatres at the May theatre, Oklahoma
City. Called "Panaphonic Sound,” the sys-
tem was developed to enhance pictures made
with conventional sound tracks, according
to C. R. Guthrie, executive of the theatre
circuit. Giving no technical details of the
system, Mr. Guthrie said only that an elec-
tronic device, which can be attached to any
type of equipment, “cues” various sounds
into appropriate directional speakers behind
the screen and in the auditorium. It costs
a fraction of the price of existing stereo-
phonic systems, he said.

Gunzburg Suggests
3-D Titles in 2-D

HOLLYWOOD : The suggestion that main
titles and credit titles on 3-D pictures be
made in 2-D was voiced in Hollywood this
week by Milton L. Gunzburg, president of
Natural Vision Corp. In making his appeal
to the Motion Picture Research Council, the
Society of Motion Picture and Television
Engineers and all film-title companies, Mr.
Gunzburg emphasized that if his suggestion
were followed, “projectionists would find
their jobs less arduous and producers would
be assured that their pictures would stand
a better chance of being projected correctly.”

MOTION PICTURE HERALD, AUGUST 22, 1953

HAVE STARTED /or...

"Tremendous draw of Curtis and
strong exploitation possibilities
& makes this a money-maker!" , \

SHOWMEN'S TRADE REVIEW

f \ "The dollar returns should be most
satisfactory!"

BOX OFFICE

"Top B.O. should be a box-office
magnet!"

HOLLYWOOD REPORTER

"At 'sneak preview' packed house
voiced approval with roars and
screams of delight!77

MOTION PICTURE HERALD

1'Has click written all over it...
stands to be strong success!

Exhibitors should be able to cash

FILM DAILY

in on this!77

MOTION PICTURE DAILY

LORI NELSON

PRE-

RELEASE

LAST

WEEK

SEPTEMBER

w»h GREGG PALMER RICHARD LONG PAUL CAVANAGH- HERMAN HICKMAN

OlfiECIEO ev JE£Sf HIBffi • SBWUY BY S B BEAUCHAMP • PRODUCED by AARON RDSEBRG • A UNIVERSAL IKTERNAriONAA PICTURF

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Bright BKO

Future Seeu
Btj taruiuger

CHICAGO : RKO Radio’s future looks the
brightest in many years, James R. Grainger,
president, told the company’s sales conven-
tion Monday. Mr. Grainger said that the
entire organization, studio, field and home
office was on a forward, progressive march.

“Economy, hard work, enthusiasms and
good pictures have been paying- off,” he
told the 60 delegates from the midwest,
south and home office.

RKO’s first 3-D production, “Second
Chance,” he said, is strong at the box of-
fice and added that RKO will launch its
second 3-D attraction, “Devil’s Canyon,” at
once. “The Son of Sinbad” and “The French
Line,” he went on, are being edited. He
expressed gratification at the volume selling
which was stressed in the company’s silver
jubilee drive.

Other speakers at the meeting were gen-
eral sales manager Charles Boasberg, Ed-
ward Walton, assistant to Mr. Grainger, and
Frank Dervin, the latter’s assistant; Walter
Branson, assistant to Mr. Boasberg and Nat
Levy, eastern-southern division manager.
Mr. Boasberg announced the silver jubilee
drive prize winners, with Sam Gorelick, Chi-
cago manager, taking the national honors
for the outstanding all-around performance.
Mr. Boasberg said the closing four-week
period of the drive, concluded recently, pro-
duced the greatest number of bookings for
the 16-week campaign. This period honored
M r Grainger.

Martin and Lewis Raise
Money for Caddy Fund

COLUMBUS : A check for $10,000 was
given Monday by Dean Martin and Jerry
Lewis to Kenneth Hoag, chairman of the
National Caddy Tournament, to augment
the organization’s college scholarship fund.
The presentation was made at the world
premiere of the comedy team’s new Para-
mount picture, “The Caddy,” at the Loew’s
Ohio theatre, where an overflow crowd paid
as high as $10 per ticket to attend the fes-
tivities. Prior to their stage appearance,
the stars introduced celebrities to a huge
crowd, estimated at more than 50,000, in
front of the theatre.

Snaper Hits "Hysterical
Sales Policies" for 3-D

In the latest bulletin of the Allied States
Association of Motion Picture Exhibitors,
Wilbur Snaper, president, attacks “hysterical
sales policies” for discouraging the exhibi-
tion of 3-D pictures. Mr. Snaper says that
the “gimmick” phase of 3-D has passed and
“bad sales policies are as harmful as bad
pictures.” Asserting that distribution has
failed to recognize the added expense for
3-D exhibition, he complains of “overpricing

KALMUS ON STANFORD
RESEARCH COMMITTEE

HOLLYWOOD: With his acceptance of
the invitation from Dr. J. E. Wallace
Sterling, president of Stanford University
and chairman of the
board of directors
of Stanford Re-
search Institute, to
serve with 35 other
distinguished indus-
trialists and educa-
tors in guiding the
development of that
applied research
center, Dr. Herbert
T. Kalmus, president
and general man-
ager of the Techni-
color Motion Picture
Corporation, was
wending his metaphorical way back a half-
century to the scene of his professional boy-
hood. For it was as principal of the Uni-
versity School, in San Francisco, in 1904-5,
that the young graduate of the Massa-
chusetts Institute of Technology (1904) set
out on the career that was to attain
scholastic and industrial eminence, held in
faultless balance, unparalleled in the field
he chose to till. As a graduate fellow of
MIT he studied at the University of Zurich,
and the University of Berlin, during 1905-6,
and received his Ph.D. at Zurich in 1906.
His honorary degrees includes Doctor of
Engineering, from Northeastern University,
Boston, 1951, and a fellowship in the British
Kinematograph Society of London. He was
instructor and research associate at MIT
during 1907-10, later becoming professor
of physics and professor of electro-chem-
istry and metallurgy at Queen's University,
Kingston, Ontario. He was director of the
Canadian Government's Research Labora-
tory of Electro-Chemistry and Metallurgy
at the start of World War I. In 1915 he
founded the organization that gave the
motion picture industry access to the rain-
bow's range of color, and gave the lan-
guage a new and respected word. He will
do Stanford proud.

run-of-the-mill Westerns and mysteries.”
Mr. Snaper says that wide screen projection
is a better presentation but “you must have
the picture.”

Executives Attend Dallas
U.l. Exchange Opening

DALLAS : Milton R. Rackmil, president of
Universal-International, headed a list of top
U-I executives attending Monday’s opening
of the company’s modern new film exchange.
Other executives at the opening included
Alfred E. Daff, executive vice-president;
Charles Feldman, general sales manager;
and Frank McCarthy, southern and Cana-
dian division manager. The new building,
which will also serve as U-I’s district office
for the southwest territory, will have an
office staff of 46 and a sales staff of nine.

Technicolor
Tuts Brices
For Brin ts

A price reduction which will give the
American motion picture industry savings at
the rate of approximately $1,800,000 an-
nually, was announced last week by Dr.
Llerbert T. Kalmus, president and general
manager of Technicolor Motion Picture
Corporation.

The price reduction amounts to .035 cents
per foot on all 35mm dye transfer motion
picture release prints made by Technicolor
and delivered from its Hollywood plant. It
will affect the major portion of Techni-
color Corporation’s 35mm release print pro-
duction.

This reduction makes the base price on
such prints 4.98 cents per foot, as compared
to the previous price of 5.33 cents per foot.
The price reduction will be retroactive to
August 1, 1953, and will apply to release
prints delivered on and after that date.

Warner Brothers Sets
Nationwide Contests

Two nationwide promotional contests to
tie in with Warner Brothers’ color by Tech-
nicolor musical, “So This Is Love,” have
been set by Mort Blumenstock, vice-presi-
dent in charge of advertising and publicity.
The first contest will be for the public to
select a new name for Joan Weldon, fea-
tured in the film. Theatre managers, play-
ing the picture during the period from
August 15 to October 31, will be eligible to
take part in a lobby display contest. The
first contest will be a joint promotion with
the Pantry-Shelf Meal Division of Armour
and Company and will award 1,081 prizes
worth $32,500 to the winners.

Set Five-City Premiere for
"Take the High Ground"

A series of five all-Texas city premieres
during the week of September 20 have been
set for MGM’s “Take the High Ground,”
it has been announced by company officials.
The film, produced by Dore Schary, will
have its first preview showing at El Paso,
September 21, to be followed by similar
screenings September 23-26 at San An-
tonio, Houston, Dallas and Fort Worth, re-
spectively. Robert O'Donnell, head of the
Interstate circuit, and Raymond Willie, gen-
eral manager, completed arrangements for
the premieres following conferences at the
studio.

Guild to Honor Zanuck

The Screen Producers Guild will honor
Darryl F. Zanuck, vice-president in charge
of production of 20th Century-Fox, at the
organization’s Milestone Dinner to be held
November 22 at the Statler Hotel, Holly-
wood. William Perlberg has been named
chairman of the affair.

Dr. Herbert Kalmus

MOTION PICTURE HERALD, AUGUST 22, 1953

People in

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Stanley Loss
Exp iai nett as
MPue to Shift

Stanley Warner Corporation and sub-
sidiary companies report for the quarter
ending May 30, 1953 a loss of $360,663
which includes a loss of $258,850 from
sales of capital assets. The operating re-
sults for the quarter were adversely af-
fected by charging to the expense of the
quarter non-recurring items relating to the
organization of the company and expenses
incurred in adapting theatre equipment to
show the new 3-D pictures.

Gross income for the quarter amounted
to $12,489,316, comprising theatre admis-
sions and miscellaneous theatre income of
$11,550,099; rents from tenants, $780,113;
interest and discount earned, $46,604 and
dividends from affiliated companies, $112,-
500.

This is the first quarterly report of Stan-
ley Warner Corporation and its subsidiary
companies, set up February 28, 1953, as a
result of divorcements.

Comparable data is not available for the
quarter which ended May 31, 1952 because
the theatres now operated by Stanley War-
ner Corporation constituted a part of the
operations of Warner Bros. Pictures, Inc.
and is subsidiary companies. The gross in-
come of the theatres operated in the United
States by subsidiaries of Warner Bros. Pic-
tures, Inc. for the quarter which ended May
31, 1952 was approximately $12,300,000.

Box office receipts for comparable theatres
for the current quarter to date are higher
than those for the same period one year ago.

The financial benefits from the agreements
concluded on August 13, 1953 relating to the
acquisition of licenses to produce, distribute
and exhibit motion pictures utilizing the
Cinerama process will be reflected in the
future earnings of Stanley Warner.

Stanley Warner Signs
Deal With Cinerama

Attorneys for Stanley Warner and Cine-
rama Productions consummated a deal last
week involving the transfer of the latter’s
production, distribution and exhibition rights
to the former, following a court order signed
earlier by Federal Circuit Judge A. N. Hand
at Elizabethtown, N. Y., authorizing the
transaction.

It is understood that Stanley Warner is
paying Cinerama Productions approximately
$962,637 for the assets involved and an ad-
ditional $1,600,00(1 for equipment on hand
and orders from Cinerama, Inc., the equip-
ment manufacturing firm. The deal gives
Stanley exclusive rights to Cinerama over
a five-year period.

The court order, which amended the
Warner consent decree, limits the number
of Stanley Warner Cinerama theatres in the
U.S. to 24. S. H. Fabian, Stanley presi-
dent, announced that 20 Cinerama equip-
ment units are currently being manufactured

Irving Mack has been reelected president
of the Filmack Trailer Company. Other
officers elected to the board of directors
of the company were Joseph Mack, vice-
president; Bernard Mack, secretary:
Donald Mack, treasurer, and John
Wenner, board member.

S. H. Fabian, Harry Kalmine, Harry
Goldberg and Sam Rosen, or Stanley
Warner Theatres, were scheduled to ad-
dress the New Haven zone annual meet-
ing of the circuit Thursday at the
Waverly Inn, Cheshire, Conn.

William Perlberg, producer, has been
named chairman of the Screen Producers
Guild Milestone Dinner to be held in No-
vember in Hollywood.

David Carson, formerly of Warner
Brothers and 20th Century-Fox publicity
departments, is now the representative of
Lane-Bender Art Studios, New York.

Spyros S. Skouras, III, was born Wednes-
day in New York to Mr. and Mrs. Spyros
S. Skouras. Mr. Skouras is president of
Skouras Theatres and the eldest son of
Spyros P. Skouras, who is president of
20th Century-Fox Film Corporation.

Paul Denis, writer, has left New York
for Hollywood to interview stars for a

and will be installed in theatres bv the end
of the year. The first new installation is
scheduled to be made in Philadelphia’s Boyd
theatre. A Washington installation is due
to follow the Philadelphia opening.

Zukor to Tour Europe
For "Jubilee Salute"

Adolph Zukor, chairman of the board of
Paramount Pictures, has announced plans to
leave New York October 9 for a month’s
tour of Europe in conjunction with the
“Adolph Zukor Golden Jubilee Salute,”
August 30 to December 5. Mr. Zukor will
visit London, Rome and Paris, and possibly
Frankfurt and Stockholm, as part of his
tour. Accompanying the Paramount execu-
tive will be George Weltner, president of
Paramount International Films, Inc. While
abroad, Mr. Zukor will meet and discuss
industry problems with foreign notables,
and will take an active part in promoting
“Shane” — designated as the drive’s feature
release.

Honor Philanthropist

Sam Lesner, motion picture editor of the
Chicago “Daily News,” played a major role
in the memorial program held Friday in
honor of the late Ludwig Sussman, a philan-
thropist, at the Adelphi theatre, Chicago.

series of articles for motion picture and
television magazines.

Harry Goldman, United Artists Chicago
branch manager, has been promoted to
central district manager, it has been an-
nounced by B. G. Kranze, general sales
manager. Sid Rose, sales manager in the
Chicago branch, has been promoted
branch manager there, succeeding Mr.
Goldman.

Mickey Gross has resigned as director of
Republic studio publicity to devote full
time to the personal management of Rex
Allen, with whom he was associated
prior to joining Republic.

Carl Winston, production head of Geisel-
Gasstag motion picture studios in Munich,
Germany, has returned to Europe follow-
ing a week of conferences in New York
with Carl Dudley on the use of Vista-
rama lenses on the Continent. Mr. Win-
ston will act as official representative for
the Dudley subsidiary in Europe.

Kermit C. Stengel, Jr., Lt. (jg) U.S.
Navy, son of K. C. Stengel, executive
vice-president of Crescent Amusement
Co., Nashville, Tenn., was a runner-up in
the recent LhS. Fleet tennis tournament
at Newport News, R. I. Before entering
the Navy, Mr. Stengel was associated
with Crescent.

Dinner for Ted Williams
Enriches Jimmy Fund

BOSTON : A welcome home dinner for
baseball star Ted Williams, sponsored by
the Variety Club of New England, the Bos-
ton Red Sox and the motion picture indus-
try, held here Monday enriched the Jimmy
Fund for Cancer Research by nearly $150,-
000. More than 750 persons of the 1,000
present at the affair paid $100 each to attend
the dinner honoring the famed slugger.
Edward Kennedy, youngest member of the
family of the former Ambassador, presented
a check for $50,000 for the fund, from the
Joseph P. Kennedy, Jr., Foundation. Stars
and executives of the major companies at-
tended the charity dinner.

"Business Week" Magazine
Salutes Dore Schary

The August 15 edition of “Business
Week” magazine devotes over four pages of
copy to a salute to Dore Schary, MGM
vice-president in charge of production and
studio operations. The story covers Mr.
Schary as an individual and an executive.
A healthy segment of the coverage involves
the decisions that the executive must face in
relation to 3-D, television and the profits
squeeze.

MOTION PICTURE HERALD, AUGUST 22, 1953

ANOTHER 3-D CH

BIG NAME CA

. . . fighting like
jungle beasts for the
love of one woman!

Color by

TECHNICOLOR

starring

VIRGINIA MAYO • DALE ROBERTSON
STEPHEN McNALLY -ARTHUR HUNNICUTT

HOWARD HUGHES

presents

a, EDMUND GRAINGER Production

Photographed in Screenplay by Directed by Produced by

NATURAL VISION 3-D • FREDERICK HAZLITT BRENNAN • ALFRED WERKER • EDMUND GRAINGER

AMPION WITH A

ST FROM RKO!

...WITH A GREAT CAST OF PLAYERS, AND IN
COLOR BY TECHNICOLOR, THIS SENSATIONAL RKO
3-D FILM IS BEING BOOKED BY BIG KEY THEATRES
ALL OVER THE NATION. BACKED BY THE HIGHEST
EXHIBITOR PRAISE, DEVILS CANYON' IS CERTAIN
TO ESTABLISH THE SAME SPECTACULAR
GROSSES AS SECOND CHANCE', THAT NO. 1
BOX OFFICE ATTRACTION.

CITY

THEATRE

CITY

THEATRE

CITY

THEATRE

NEW YORK

Criterion

DUBUQUE

Orpheum

SAN ANTONIO

Majestic

SAN FRANCISCO

Golden Gate

NEW ORLEANS

Orpheum

FT. WORTH

Majestic

LOS ANGELES

Pontages & Hillstreet

WASHINGTON

Keith

AMARILLO, Tex.

State

ST. PAUL

Orpheum

BUFFALO

Century

FRESNO, Cal.

Warner

CLEVELAND

Palace

CHAMPAIGN, III.

Orpheum

DENVER

Orpheum

PHILADELPHIA

Stanley

GRAND RAPIDS

Keith

DES MOINES

Orpheum

AUSTIN, Tex.

State

BIRMINGHAM

Melba

ROCHESTER

Palace

PITTSBURGH

Stanley

COLUMBUS

Palace

WATERLOO

Orpheum

OMAHA

Brandeis

PROVIDENCE

Albee

ATLANTA

Paramount

DALLAS

Majestic

JACKSONVILLE

St. Johns

DAYTON

Keith

CINCINNATI

Albee

KANSAS CITY

Missouri

OKLAHOMA CITY

Center

MILWAUKEE

Warner

MINNEAPOLIS

Orpheum

MONTREAL

Prince

INDIANAPOLIS

Indiana

SYRACUSE

Keith

BOSTON

Keith

CEDAR RAPIDS

Iowa

El PASO

Plaza

LOWELL, Mass.

Keith

iiisneg Has
$7,000,000
Year Hudget

Walt Disney Productions has a production
budget of about $7,000,000 for the current
year, the largest in its history, Roy Disney,
president, disclosed in New York last Friday.

Mr. Disney stressed the figure to under-
score the organization’s belief in the sound-
ness of the industry, no matter what medium
is employed. He said that the important
thing is to give the people what they want.

Citing the crowds at the Capitol theatre
in New York where “From Here to Eter-
nity” is setting records, he said it shows
what a story can mean in terms of business,
whether it is wrapped in conventional form,
3-D or wide screen.

Mr. Disney said that a $400,000 stage set
is under construction at the Disney studio
in Hollywood for “20,000 Leagues Under
the Sea,” which will be filmed in Cinema-
Scope. Shooting will probably begin in
November. He said that rushes of the first
cartoon feature in CinemaScope, “Lady and
the Tramp,” which will be released in the
faall of 1954 are “exciting.” He said the
live action feature “Rob Roy” has just been
completed and will be released in Lebruary,
1954.

Others planned, or in preparation, it was
stated, include: “Sleeping Beauty,” Cine-
maScope; “Babes in Toyland,” both cartoon
features; short subjects in CinemaScope, in
addition to three live action and cartoon
features in preparation. Another true-life
film, “The Vanishing Prairie,” has been
finished and will be released in November,
1954.

20th~Fox Plans 5-Week
"Al Lichtman Drive"

The five-week period from August 30 to
October 3 has been set aside by 20th Cen-
tury-Fox for celebration of an “Al Licht-
man Testimonial,” in honor of the com-
pany’s director of distribution, it was an-
nounced this week. Preparations for the
campaign have been going on in the field
for sometime under the divisional chiefs,
with executive assistant general sales man-
ager W. C. Gehring and Edwin W. Aaron
and Arthur Silverstone, western and eastern
and Canadian sales managers, respectively,
expecting an all-time company record during
the period.

RKO Pictures Loss Is
$3,409,737 in 6 Months

The operations of RKO Pictures Corpora-
tion and subsidiary companies for the three
months ended July 4, 1953, resulted in a net
loss, after all charges, of $615,238. For the
six months ended July 4, 1953, operations
resulted in a net loss, after all charges, of
$3,490,737, which compares with a loss of
$3,712,834 for the same period of 1952.

Majors, Circuits Named
In $2,000,000 Action

BOSTON : A $2,000,000' treble damages
anti-trust action naming 10 distributors and
seven circuits has been filed here by Anna-
maco Theatre, Inc., owner of the Adams
theatre, Dorchester, Mass. Conspiracy is
charged in the complaint which states that
for a number of years the defendants have
been engaged in a system of runs and clear-
ances and alleged admission price fixing in
the Dorchester and Boston areas. The dis-
tributors named in the suit are Columbia,
MGM, Monogram, Paramount, RKO Radio,
Republic, 20th Century-Fox, United Artists,
Universal and Warner Brothers. The cir-
cuits named as defendants are Loew’s Bos-
ton Theatres, Keith’s Massachusetts Thea-
tres, RKO Keith Theatres, Inc., New Eng-
land Theatres, Inc., American Theatres
Corporation, Pilgrim Theatre Corporation
and Morton Theatre Corporation.

//.’/ Opened
in Canada

TORONTO : The total number of theatres
opened in Canada has risen to 83 with the
opening recently of 22 drive-in and three
standard type houses. Of these, 56 were
drive-in, which far exceeded 1950’s 30, the
former record, bringing the number now in
operation across the country to 158.

Construction was also reported under way
on 11 drive-ins and 16 roofed-in houses,
while plans were announced for an addi-
tional 10 drive-ins and 18 auditorium-type
houses, some to start work soon.

A break-down by provinces shows seven
drive-ins for Alberta; four for Saskatche-
wan ; three in Ontario ; two in British Co-
lumbia; one in Manitoba and one in New
Brunswick.

Fox Branch Directors
Visitinq Home Office

Twentieth Century-Fox brought six of its
branch heads to New York for a one-week
visit in order to acquaint them with home
office procedures. The sales representatives
are Robert L. Conn, Indianapolis ; David S.
Gold, Des Moines ; Dan M. Coursey, At-
lanta; T. P. Tidwell, Jacksonville; V. J.
Beattie, Toronto, and Henry Harold,
assistant to H. G. Ballance, southern division
sales manager. Hosts for the visitors are
Al Lichtman, director of distribution ; W. C.
Gehring, executive assistant general sales
manager ; Arthur Silverstone, eastern and
Canadian sales manager ; Edwin W. Aaron,
western sales manager, and Alex Harrison
home office representative.

Cashiers Gain Increase

The International Alliance of Theatrical
Stage Employes Local B-52, New York, has
completed negotiations with RKO Theatres
in New York for new wage scales providing
increases of from $3 to $5 per week for
cashiers.

Asks Haling
On Sunday
Han an i'ilnts

WASHINGTON : Charles B. McGee, op-
erator of a Charlotte, N. C., drive-in, last
week asked the Supreme Court here to de-
clare unconstitutional a Charlotte ban on
the exhibition of motion pictures during
certain Sunday hours.

Mr. McGee charged in his brief that the
law is discriminatory in that it does not
apply to film shown over television or in
other theatres outside the city limits. It
was also argued that the ban violates Con-
stitutional guarantees of religious freedom.

Mr. McGee lost his case before a jury
and his appeal was turned down by the
North Carolina Supreme Court. He told
the highest court that his theatre was outside
the city limits when it was built but was
taken partly into the limits when Charlotte
in 1950 took in additional territory. The
law, forbidding Sunday film showings be-
tween the hours of 6:30 P.M. and 9 :30 P.M.
thereupon became applicable to his North
29 drive-in theatre.

Milwaukee and Memphis
Ban "Moon Is Blue"

Milwaukee and Memphis motion picture
censorship groups have voted to ban the
exhibition of United Artists’ "The Moon Is
Blue” in its present form. The Milwaukee
commission voted seven to one in favor of
the ban unless deletions in the dialogue are
made. J. IT. Imhoff, branch manager for
United Artists in Milwaukee, said that these
deletions would have to be approved by the
producer and such approval seemed “dubi-
ous.” The Memphis Board of Censors also
cut a dance sequence from “Return to Para-
dise” because it was “suggestive.”

Ohio's Banning of "M"

In High Court Again

WASHINGTON : The State of Ohio’s
banning of Superior Films’ “M” was up
before the Supreme Court again this week.
A brief filed by the producer requested the
high court to disregard an earlier brief of
the State of Ohio asking that Superior’s
appeal be dismissed. The latest brief denied
Ohio’s contention that the state statute is
designed to exclude only such motion pic-
tures which are obscene, immoral, or which
tend to promote crime or riot. The original
suit attacked both the censorship of “M” and
the $3-per-reel censorship charge.

Appoint Rowley Buyer

D. P. Callahan has been appointed general
film buyer for the United Rowley Theatres
of Texas, it has been announced by E. H.
Rowley, president. Mr. Rowley also an-
nounced the appointment of John Rowley as
assistant to C. V. Jones, vice-president and
general manager.

MOTION PICTURE HERALD, AUGUST 22, 1953

by WILLIAM R. WEAVER
Hollywood Editor

PRODUCER Aubrey Schenck, back now
from Hawaii and deep in the editing and
stereophonic-sound dubbing of "Beachhead,”
the picture he produced there in Pathe color
and for United Artists release, says the ad-
vent of the wide-screen era, with its implied
premium on broad-scale subjects, is having
a doubly rejuvenating impact.

He says the broader screen (he filmed
“Beachhead” in 1.85-to-l aspect ratio but
it can be cropped to 2-to-l without discern-
ible damage) calls loudly for outdoor sub-
jects, and outdoor subjects typically contain
more movement than the indoor kind. He
thinks one of the greatest mistakes the mo-
tion picture ever made was in allowing pro-
duction emphasis to swing over from “mo-
tion” to "picture.” Anybody care to con-
test that opinion ?

Sees Industry Ripe for
Good, Independent Films

“Beachhead” is the second picture pro-
duced by Aubrey Schenck since he swung
out from Universal-International into the
independent-production field with Howard
G. Koch as his partner and with firm ideas
about the future of his profession. The first
picture was "War Paint,” warmly pre-
viewed a short while back and coming up
for release the 28th of this month.

The partners believed back when they
started their joint venture, and believe now,
that the industry was never riper for good
independent product, nor richer in reward
for men competent enough and bold enough
to supply it, than it has become since the
technological revolution upset the applecart
of tradition. They have staked their pro-
fessional destinies and their personal moneys
on the accuracy of analysis on which this
belief is based.

The independent producer, with his own
money and whatever funds the banks or
other co-investors may advance riding on
his judgment, has got to be right all the
time, from choice of story all the way down
to screen time, says this independent pro-
ducer, or disaster strikes. But this circum-
stance is not an unrelieved hardship. The
same independence that places on his shoul-
ders full responsibility for the success of the
venture also places in his hands full authority
to function independently and with complete
freedom in every phase of the undertaking.

Method Saves Time and
“ Suggested ” Alterations

This is at one and the same time an ex-
hilarating and a sobering circumstance. It
saves a world of time, it averts a welter of
alterations, modifications and inhibitive

“suggestions” inherent in most company-
studio setups, and liberates the creative
imagination. And it imposes its own sen-
sible restraints. It’s the kind of arrange-
ment most of the great producers of the
first half-century of the industry worked
under, Mr. Schenck reminds, and he holds
that it is likely to be the kind under which
more and more of the successful pictures
come to be made as the second half-century
unfolds.

“Beachhead” is a recounting of an inci-
dent in World War II at the time when
Allied troops were landing against decimat-
ing odds on Pacific islands taken by the
Japanese in their first fierce campaign. In
it Tony Curtis and Frank Lovejoy are mem-
bers of a small party put ashore afoot to
verify favorable reports viewed doubtfully
by the commandant of a poised landing
force, a mission that requires them to make
their way across the island unobserved be-
fore a landing is attempted.

Chose an Island Like That
Where Incident Occurred

The Schenck production party chose
Kauai Island as resembling most nearly the
authentic setting and then shot the picture,
scene for scene, in the strictest chronological
order of sequences ! Also with the same dis-
regard of weather, light, sun, shade and
wind, as world have been required if a
genuine assault and landing were being
made. No waiting around for perfect light
to shoot by, no coddling of climate — nothing
but the genuine, within the bounds of per-
sonnel safety, was permitted. Mr. Schenck
says the picture will prove this out, and that
the authenticity a producer can attain in
this era of the widening- screen (with its
fewer and longer sequences, its sustained
dialogue, its expanded view) may make the
difference between the motion picture’s
great past and a greater future.

THREE productions, in as many media,
were started during the week. The com-
pletion of five others brought the shooting
level down to 23.

MGM launched “Rose Marie,” using
CinemaScope and Eastman color, with
Mervyn LeRoy directing Ann Blyth, How-
ard Keel, Fernando Lamas, Marjorie Main,
Bert Lahr, Joan Taylor and a great many
others. Arthur Hornblow, Jr., is producer.

MGM’s John Houseman started “Miss
Baker’s Dozen,” in Ansco color and for
wide screen, with Greer Garson, Robert
Ryan, Barry Sullivan, Richard Haydn,
James Arness, Rex Thompson and Tim
Consodine in the cast. Robert Z. Leonard
is directing.

Producer John Champion began filming

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THIS WEEK IN
PRODUCTION:

STARTED (3)

ALLIED ARTISTS

Dragonfly Squadron
(3-D)

COMPLETED (5)

MGM

Rhapsody

(Technicolor, Wide
Screen )

PARAMOUNT

The Naked Jungle
(Technicolor, Wide
Screen)

SHOOTING (20)

COLUMBIA

The Ca ine Mutiny
(Kramer Co., Tech-
nicolor)

INDEPENDENT

Americano

(Moulin Prod., U.A.
release, Brazil)

MGM

Gypsy Colt
(Ansco Color)

Knights of the Round
Table (Technicolor,
CinemaScope, Lon-
don )

The Flame and the Flesh
(Technicolor, Wide
Screen, Europe)

PARAMOUNT

Casanova's Big Night
(Technicolor, Wide
Screen )

Knock on Wood
(Technicolor, Wide
Screen)

REPUBLIC

Jubilee Trail
(Trucolor)

Hell’s Half Acre
( Honolulu)

RKO RADIO

Rangers of the North

MGM

Miss Baker's Dozen
(Ansco Color)
Rose Marie

(Eastman Color,
CinemaScope)

UNIVERSAL

Ride Clear of Diablo
(Technicolor)

Son of Cochise
(Technicolor, 3-D)

WARNER BROS.

The Bounty Hunter
(3-D, All-Media,
WarnerColor)

(3-D, Technicolor)

The French Line

(Edmund Grainger
Prod., Technicolor)

20TH CENTURY-FOX

We Believe in Love
(Technicolor,
CinemaScope,

Rome)

River of No Return
( CinemaScope,
Technicolor, Canada)

King of the Khyber
Rifles (Cin emaScope,
Technicolor)

Prince Valiant
(Technicolor,
CinemaScope)

Hell and High Water
( CinemaScope,
Technicolor)

UNIV.-INT'L

Yankee Pasha
(Technicolor)

Saskatchewan

(Technicolor,

Canada )

WARNER BROS.

Dial M for Murder
(3-D, All-Media,
WarnerColor)

Rear Guard

(3-D, WarnerColor,
All-Media )

iiiiiiMiiiimiiimiiiiiiimiiiiiimiiimiiiimiiiiiM

"Dragonfly Squadron” in 3-D for Allied
Artists release. John Hodiak, Barbara
Britton, Bruce Bennett, Chuck Connors,
Pamela Duncan, Gerald Mohr and John
Lupton are in the cast, directed by Lesley
Selander.

Mickey Mouse Has Birthday

King Features has prepared a comic
strip marking Mickey Mouse’s 25th birth-
day. It ties into the Walt Disney “Mickey
Mouse Birthday Party” to be released in
September, and will appear along with a
feature story on Mr. Disney and his crea-
tion.

MOTION PICTURE HERALD, AUGUST 22, 1953

NOW another PRACTICAL

new

PRACTICAL DESIGN

REVOLUTIONARY RCA BUTTON-ON SOUNDHEAD
as used with CINEMASCOPE

permits quick installation of
RCA Button-On Soundhead
between projector and top
magazine. Does not interfere
with showings of standard films

PRACTICAL ENGINEERING

lets you show the new single
multi-track films without inter-
missions— with standard two-
projector set-up

FOUR MAGNETIC TRACKS

feed sound to four pick-up heads
which in turn feed into stereo-
phonic sound system

FOUR MAGNETIC HEADS-

arranged for maximum response
from high-fidelity magnetic
sound and minimum head wear

SOFT-LOOP SYSTEM—

— — j

for flutter-free, true-fidelity re-
production— provides plenty of
slack to avoid distortion from
bad splices or bent reels, etc.

ANSWER from RCA

mffiftemieum

NEW RCA AMPLIFIER SYSTEM WITH THE
ALL-NEW, AUDIO-SYNC CIRCUIT

Designed to save space— engineered to offer all
that high-fidelity, magnetically recorded sound
has to offer.

GET READY NOW

Be prepared for the important new features. The
startling realism of this new technique holds big
box-office potential that you can’t afford to miss.
Contact your RCA Theatre Supply Dealer for infor-
mation on delivery dates.

Again, it’s RCA— the leader in magnetic film
recording — with the easy solution to the new
motion-picture exhibition techniques — Stereo-
scope Sound, an easily installed soundhead
for the new single-film, magnetic-sound pic-
tures and a complete sound system at prices
beginning under $5,000.

Here is the equipment you need for Cinema-
scope pictures — engineered for easy handling
of all standard films and for new methods of
single-film, magnetic four-track pictures.

It’s another of RCA’s Practical Answers
to the exciting new challenges of the exhi-
bition industry.

CONTROLLED HORN ANGLES

for perfect sound distribution to
every seat in the house from
every speaker location

for unequalled high-fidelity repro-
duction . . . true stereophonic ef-
fect . . . dramatic, exciting realism

available for every the-
atre regardless of size or
shape

POWERFUL AUDITORIUM SPEAKERS match RCA’s behind-the-screen speakers for special sound effects

NEW SPEAKER DESIGN

ANY COMBINATION

RCA STEREOSCOPE SOUND SYSTEM
adaptable FOR ALL STEREOPHONIC TECHNIQUES

Unitized rack construction puts all units for
stereophonic sound in a minimum space. In
most theatres, RCA unit-built amplifier equip-
ment takes little more room than standard
sound system for 2-D films.

And Check RCA’s wide range of stereophonic sound
systems for Cinemascope and all other types of
stereophonic films. For realism in every seat in
the house — for true, dimensional sound, it’s RCA
Stereophonic Sound.

TMKS.®

THEATRE EOUIRMENT

RADIO CORPORATION of AMERICA

ENGINEERING PRODUCTS DEPARTMENT. CAMDEN. N.J.

In Canada: RCA VICTOR Company Limited, Montreal

ALBANY

Business in summer situations is reported
as good or slightly better than last year.
Saratoga is one in the latter category ; Lake
George is said to be another. . . . Drive-in
patronage, at first sharply reduced by the
long spring rains, has come abreast of the
1952 pace. Indoor grosses are reported gen-
erally a little ahead. . . . Eugene Teper and
other Variety Club members who helped to
make a Chamber of Commerce "Booster
Night’’ for the Albany Eastern League
Baseball Club a success — 5,688 paid admis-
sions— were praised by owner Thomas F.
McCaffrey. McCaffrey, guest at a Tent 9
dinner meeting last fall when international
chief barker Jack Beresin spoke, sat in the
Variety Club box for a time. So did screen
comedian Eddie Bracken, who presented a
pantomime of a pitcher, and Congressman
Leo W. O’Brien.

ATLANTA

Fred Storey, Storey Theatres, Atlanta, is
back after a vacation in North Carolina.
. . . W. D. Craddock, sales representative,
United Artists in Florida, still unable to re-
turn to work after an auto accident a year
ago. . . . Lynda Burnett, booking department,
U. A., checked in after a vacation spent in
Virginia. . . . Ike and Harry Katz, Kay
Exchanges, back from a tour of their ex-
changes. . . . Charlie Clark with his sister
back in Atlanta from Florida. . . . Jack
Flowers has opened his new 17 drive-in,
Aliceville, Ala. Its capacity is 350 cars.
. . . Betty Landers, secretary, Monogram
Southern, off for a vacation trip to Pekin,
111. . . . Branch manager Hobbs, same com-
pany, in Chicago to attend a sales meeting
of Allied Artists. . . . Robert Turner has
been appointed manager of the Buckhead
theatre, Atlanta. He replaces Marvis Smith,
who has resigned. . . . Ralph E. Hutselle
is new owner of the State theatre, Knox-
ville, Tenn. ... Ed Burchfield has opened
the new 400-car Burchfield drive-in, Oak
Ridge, Tenn. . . . The new 400-car Fox
Drive-in, Senece, S. C. has been opened by
Harry Osteen.

BOSTON

Samuel Richmond has been named man-
aging director of the Beacon Hill theatre by
owner Benjamin Sack, replacing Tom Dowd
who resigned. At one time Richmond oper-
ated six theatres in Boston for Proven Pic-
tures and later handled his own theatre in
Lawrence. He has been an independent dis-
tributor for exploitation films in Boston,
with “Bitter Rice” the standout production.
. . . Joe Levine and Joe Wolf of Embassy
Pictures are distributing their first 3-D film,
“Hannah Lee” starring Macdonald Carey
and Joanne Dru in color. They set up a
trade screening at the Coolidge theatre,
Brookline. . . . Anne Noret, manager of the
Liberty Springfield for the Rifkin circuit

was married August 9 to Paul Regan of
Springfield and is honeymooning in New
Hampshire. . . . Richard Dobbyn, treasurer
of Maine & New Hampshire Theatres, be-
came a grandfather for the eleventh time
when his daughter Mrs. John Baiorunos
gave birth to a son. . . . The Astor theatre,
Boston has been equipped with stereophonic
sound, a Miracle Screen and new 3-D and
wide-angle booth equipment in readiness for
the fall season.

BUFFALO

The nine-week old Rudolph Wurlitzer
company strike in North Tonawanda has
been settled. . . . George H. Mackenna, gen-
eral manager, Basil’s Lafayette, is campaign
manager for Elmer F. Lux, who has been
endorsed by the Democrats for mayor of the
city of Buffalo. Mackenna now is vacation-
ing in the wilds of Ontario, Canada. ... A
big Get-Together Party for Elmer Lux will
be held by the Non-Partisan Show Business
Committee Aug. 25 in the headquarters of
the Variety club. Jack Mundstuk, MGM
chief here is chairman. . . . Arthur Krolick,
UPT district manager, Rochester and Buf-
falo is vacationing this week, putting the
finishing touches to the interior of his new
home in north Buffalo. . . . Earl Robinson
has been appointed manager of the Audi-
torium theatre in Perry, N. Y. Robinson
formerly was manager of the Regal in Hart-
ford, Conn. . . . Albert A. Fenyvessy, 98, is
dead in Rochester. He started in the theatre
business in Buffalo in 1898, where he had an
interest in the old Olympic, Lyric and
Keith’s theatres. He also owned and oper-
ated the Star theatre as a movie house. . . .

WHEN AND WHERE

September 1-2: Annual convention, West
Virginia Allied Theatres Association,
Matz Hotel, Bluefield, West Virginia.

September 28-30: Conference, Texas
COMPO and International Drive-in
Theatre Owners Association, Adolphus
Hotel, Dallas.

October 3-4: Fall board meeting, Allied
States Association, Sheraton-Plaza Hotel,
Boston.

October 5-7: Annual convention, Allied
States Association, Sheraton-Plaza Hotel,
Boston.

November 12: Annual dinner, Motion Pic-
ture Pioneers, Hotel Astor, New York
City.

Colonel Bill Shirley, UA exploitation rep-
resentative, threw a birthday dinner for Vin-
cent R. McFaul, Shea circuit head and Wil-
liam Barney, Courier-Express roto editor,
the other day in Hotel Staffer.

CHICAGO

Jim Donahue, Paramount division man-
ager in this area, who had been sidelined
by illness, is back on the job. . . . Frank
Bright, assistant manager at the B. & K.
Uptown, has resigned to go into business
for himself. . . . Mrs. James Coston, recover-
ing from a leg injury, has had the cast
removed and is continuing her recuperation
at her Eagle River summer home. . . . Bill
Morrow, writer and producer for Bing
Crosby, visited with friends here on his way
back to Hollywood from Europe and Africa.
. . . Walter Colmes, formerly with Britan-
nica Films, is the top executive of Emerson
Films, organized here recently to produce
industrial, TV, and educational films. . . .
Irving Mack was reelected president of
Filmack Trailer Company at a meeting in
the company offices Tuesday, Aug. 11. Other
members of the board are: Joseph Mack,
vice-president; Bernard Mack, secretary;
Donald Mack, treasurer; and John Wenner
of Daniel F. Rice and Company. . . . L. B.
Sittler, auditor of Coston Enterprises, is well
on the road to recovery from a recent illness.

CINCINNATI

The feeling prevails in most theatre cir-
cles here that a turning point for the better
has arrived for the industry, predicated on
the almost constant upturn in grosses over
the past several weeks, which has not been
interrupted by the traditional “dog days,”
which usually are accompanied by a slump
at the box office. This applies not only
locally, but throughout the area. . . . The
RKO Palace is showing “Inferno” as its
first 3-D offering. Three houses in the
downtown sector, the RKO Albee, Palace
and Grand, now are equipped with 3-D
screens. The suburban Ambassador Theatre
also has installed 3-D equipment, and is cur-
rently showing “Second Chance.”. . . The
Guild theatre, at suburban Walnut Hills,
departing from its established policy, is
showing the French film, “Forbidden
Games” to good returns. This city does not
now have a theatre playing foreign prod-
uct exclusively. . . . C. C. Cassinelli s Wyom-
ing theatre, at Mullens, W. Va., which was
totally destroyed by fire approximately a
year ago, has been rebuilt and reopened.

CLEVELAND

Following veto of the 20% tax repeal bill,
two more local movie houses closed bring-
ing to 28 the number that have shuttered in
Cleveland within the past five years. Closed
this past week are the Mount Pleasant and

( Continued on page 40)

MOTION PICTURE HERALD, AUGUST 22, 1953

Address: Motion Picture Film Department
EASTMAN KODAK COMPANY, Rochester 4, N.Y.

East Coast Division Midwost Division

342 Madicon Avenue 132 North Wabash Avenue

New York 17, N. Y. Chicago 2, Illinois

West Coast Division
6706 Santa Monica Blvd.
Hollywood 38, California

2.®

The sound that
c-r-e-a-k-s across the room

TODAY sound keeps pace with action . . , fills first one area, then
another, then all of the screen with rich 3-dimensional reality.

Here again is proof positive of the solution of complex prob-
lems of production, processing, and projection — many of them
met and solved by an alert industry working in co-operation with
complete facilities such as the Eastman Motion Picture Film Service.

Branches are located at strategic centers; inquiries invited.

{Continued from page 38)

Victory, both neighborhood houses. In Ash-
tabula, Shea’s State, playing week-ends only,
is being torn down to make way for a park-
ing space. . . . Leo Jones, Upper Sandusky
theatre owner, approves the Texas plan to
boost admission the amount of the federal
tax in order to be able to take it off if and
when the tax is repealed. . . . Marvin Harris
completed his duties as executive director of
the Ohio Sesquicentennial, closed his Com-
modore Perry, Toledo, offices and has re-
sumed active operation of his Toledo thea-
tre chain. ... Ted Chamberlain moved out
of the Loew theatre publicity office to suc-
ceed Harvey Mendelson as Palace theatre
assistant manager. . . . Harry Weiss re-
signed from the RKO sales force to return
to publicity work and in that capacity has
joined Paramount working in the east. . . .
Gordon Campbell, onetime local RKO
booker, more recently of the Detroit book-
ing department, has been promoted to the
sales force taking over Harry Weiss’ terri-
tory. . . . Moe Dudelson, United Artists dis-
trict manager, and the company have severed
a 32 year association.

DENVER

Manager changes made in the Wolf berg
Theatres here included the moving of A. D.
Traxler from the downtown Paramount to
the Valley drive-in, and the moving of Stan-
ley Bradford from the Valley to the West
drive-in. Jennings Hooks, assistant at the
Paramount, was promoted to manager, and
Louis Silva, chief of service, was advanced
to assistant. . . . United Artists product cur-
rently either comprises the full bill, or the
top half, in five local Fox first run houses.

. . . What are claimed to be the biggest
drive-in screens in the world are being
erected for the new 1,280-car twin Centen-
nial Race Track drive-in. They will be
67x100 feet. Tom Bailey, Lippert Pictures
franchise owner, will operate the ozoner,
and hopes to have it operating by Oct. 1.

. . . Joe Kaitz has moved from the assistant
booker job at Metro to a like post at Warner
Bros. . . . E. J. Schulte, 67, Colorado and
Wyoming theatre owner, died last week in
Chicago following an operation. He was
president of the Rialto Theatre Corp. and
a vice-president of Gibraltar Enterprises, a
Denver theatre company.

DES MOINES

The Strand in Iowa City has been closed
for alterations and repairs and will be re-
opened the first of September. . . . Twenty-
six dollars was taken from the Sheldon
drive-in’s snack bar at Sheldon. Entrance
was gained by prying the locks from the
inner and outer doors. . . . Dorothy Kean,
operator of the house in Panora, also will
teach vocal and instrumental music in the
Washington township school this fall. . . .
A new curved screen has been installed at
the Monte theatre in Montezuma. First
showing on the large screen was “Salome.”
. . . The new 400-car Decorah drive-in held
its grand opening last week. Manager is
Ralph Olson, former salesman for Universal
in Des Moines. Mrs. Olson is in charge of
the concession stand. . . . More than 100
theatre owners and their families attended
the recent Allied meeting at Arnolds Park
in the Lakes regions of Iowa. . . . Hal King
of Lippert Pictures has returned from a
vacation trip to California. . . . Gerry Mc-

Glynn, Jr., son of the manager of the Metro
exchange, has returned from Korea and
obtained his discharge from the army en-
gineer corps. He plans to return to college
in the fall for graduate work. McGlynn’s
other son, Jack, who is in service and sta-
tioned in Missouri, recently announced his
engagement. . . . Kay Taylor is the new
booker’s clerk at MGM. She replaced Janet
Olmstead, resigned.

DETROIT

Sunset drive-in on the Imlay City road
east of Lapeer, Michigan lost their safe and
$700 to safe robbers recently, the latest vic-
tim of a three month rash of robberies in
the district. . . . Pontiac drive-in, Pontiac,
is the first outdoor 3-D plant in Michigan.
Projection changeover and painting the big
screen silver cost about $8,000, according to
Elton Samuels, manager. . . .“This Is Cine-
rama” continues to break Detroit records.
Only six pictures have ever run more than
13 weeks in Detroit since the first film was
shown here 48 years ago. . . . United De-
troit’s Madison theatre joined UD’s Palms
and Korman’s Broadway-Capitol to total
three downtown, first run houses open till
6 a. m. . . . All three close 4)4 hours to
breathe reopening at 10:45. . . . Nearly half
of “Cinerama” being an air tour of these
United States, it has proven ideal for foreign
visitors.

HARTFORD

Loew’s Poli-New England Theatres Cir-
cuit, continuing installation of wide-screen
facilities in key houses, has erected a pano-
ramic, at the first-run Loew’s Poli, Bridge-
port, Conn. The circuit is planning imme-
diate installations in other key houses,
according to Harry F. Shaw, division man-
ager. . . . Sal Adorno, Jr., assistant general
manager of the M&D Theatres, Middletown,
Conn., is back from a vacation at West-
brook, Conn. . . . James Grover has been
named assistant manager of the B&Q Cir-
cuit’s Bijou, Springfield, Mass. . . . Will
Dow, on an eight-week training tour for
Loew’s foreign department, is currently
studying at the MGM exchange, New
Haven. . . . Harry Feinstein, New Haven
zone manager, Stanley Warner Theatres,
and Mrs. Feinstein have returned from a
vacation trip to northern New England and
Canada. . . . David Tarantul, son of Barney
Tarantul, Burnside Theatre Corp., East
Hartford, Conn., and Mrs. Tarantul, will
enter dental school in September. . . . Alex
Schimel of the U-I New Haven exchange,
has returned from a vacation trip to Gross-
inger, N. Y.

INDIANAPOLIS

Albert R. Blocher, 49, buyer for Y & W,
was found shot to death in hall at U-I ex-
change after screening of “The Assassin”
Aug. 10. A note he left indicated suicide
on account of financial troubles. The widow
and a son, Kenyon, survive. . . . Merv Grif-
fin, featured in Warner’s “So This Is Love,”
is here for a round of promotional activity.

. . . Walter Wolverton, manager of the Cir-
cle, had Sir Edwards, local stunt man, hang
from the roof and extricate himself from
a straitjacket at high noon to open
“Houdini” with a bang Thursday. . . . True-
man Rembusch, president of the Allied
Theatre Owners of Indiana, is summering

at his Flat Rock lodge. . . . Competition is
lively among the auto theatres. With the
opening of the Lafayette Road drive-in last
week, there now are 14 in the immediate
Indianapolis area. . . . Business gave indi-
cations of an early fall revival last week, as
both “Band Wagon” at Loew’s and “Second
Chance” at the Circle posted $14,000 grosses.

KANSAS CITY

The four first runs of the Fox Midwest
circuit’s Kansas City district advanced ad-
missions from 50c-75c to 65c-85c. . . .“In-
ferno” ran three weeks at the downtown
Esquire. . . .“Martin Luther” started August
20, at Fox Midwest’s downtown Esquire. . . .
The board of directors of the Motion Pic-
ture Association of Greater Kansas City will
meet shortly to complete committee appoint-
ments, including a successor to the late
Howard Burkhardt who had been public
relations chairman for several years. . . .
The board of directors of the Kansas-Mis-
souri Theatre Association was to meet Au-
gust 19. . . . It’s the fourteenth week for
“Lili” at the Kimo. . . . The summer series
of morning matinees once a week (mid-
week) for children at several Fox Mid-
west theatres, arranged in cooperation with
P.T.A. associations, is to be followed by a
similar fall series, Saturday mornings. . . .
E. E. Maxfield has sold his circuit in the
St. Louis exchange area, and joined Fox
Midwest. His first assignment is assistant
to Joe Borders at the Isis, Kansas City mid-
town theatre.

LOS ANGELES

Harold Goldstein, Favorite Films booker,
died last week of a heart attack. Bob Bern-
hard has been given the booker's position
at Favorite. Bob is the son of Joseph Bern-
hard, independent producer, who was for-
merly president of Film Classics. . . . Dick
Pritchard is taking over the duties of Alex
Schreiber, owner of the Paradise, West-
chester, while Schreiber is in Detroit on
business. Howard Schreiber, Alex’s son, is
managing the Paradise since the resignation
of Murray Gould, who has been named pilot
of the Imperial, which was re-opened by
Tohn Wolfberg. . . . Joe Hartman, National
Screen salesman, is back from his annual
vacation. . . . Passing out stogies to celebrate
the birth of twin boys was Phil Robbins,
operator of the Variety theatre. . . . Stan
Cohen, U-I booker, and Jacklyn Stebbins
will marry in September. . . . Joe Felder,
Favorite Films vice-president, checked in
from New York for business conferences
with his son-in-law, Irving Levin.

MEMPHIS

The Memphis board of censors has ban-
ned the film version of “The Moon Is Blue”
and has cut a dance sequence from another
picture, “Return to Paradise” which was
scheduled to open at Loew’s State last week.
. . . The Delta drive-in at Osceola, Ark.,
operated by Mr. and Mrs. Jim Martin, and
the Corinth drive-in at Guys, Tenn., near
Corinth, Miss., managed by John Carter,
have opened to good crowds. Both are 350-
car drive-ins. The Corinth is equipped with
a wide curved screen 60x40 and is believed
to be the first drive-in in this area fitted
for wide-angle projection. . . . The Mena,
Ark., drive-in has been temporarily closed

( Continued on page 42)

MOTION PICTURE HERALD, AUGUST 22, 1953

Announcing publication
of a series of articles in
BETTER THEATRES on

THEATRES AND

THE NEW TECHNIQUES

By BEN SCHLANGER

NEW ERA of the industry is opening
with production of motion pictures in the "wide-
screen” technique . . . with third-dimension a
potential medium of further advance . . . and
with stereophonic sound to give either or both a
full complement of realism. To adapt them to
the widely varying conditions of a huge exhi-
bition plant will be one of the industry’s greatest
undertakings. "Wide-screen” especially presents
severe problems in thousands of existing theatres.
What are the really practical requirements of
these new techniques? What are the adjustments
to them that can be practicably .made?

"THEATRES AND THE NEW TECH-

NIQUES” is intended to answer these and related
questions in terms of actual application. What
to do, and why, will be explained with tables and
drawings to aid the text in providing a clear
presentation of both the problem and its possible
solution.

To this task BEN SCHLANGER has brought
the qualifications not only of an eminent designer
of motion picture theatres through more than
twenty years, but also of an architect who has
studied the art of the screen throughout his career.
He has written "THEATRES AND THE NEW
TECHNIQUES” after spending the first six
months of this year in Hollywood.

beginning in

for September

with MOTION PICTURE HERALD of September 5th

( Continued from page 40)

for repair of damage by a recent windstorm.

. . . Louis Ingram, branch manager MGM,
is the proud grandfather of Mathew Vick
Ingram born recently in Atlanta. The baby’s
father, Louis Ingram Jr., is a salesman out
of the Atlanta Branch for 20th Century-Fox.

MIAMI

The vacation exodus has Paul Waliga,
assistant in advertising at Claughton’s, head-
ing on a motor trip to Pennsylvania, his
home state, to visit his parents and display
his two-year-old daughter. . . . Jim Martin,
assistant at the Paramount, reports manager
Charlie Whitaker off on a holiday to the
Carolinas. . . . The Hal (Wometco art di-
rector) Kopplins were on a long Caribbean
cruise. . . . Barbara Pennely, gal Friday to
Lillian Claughton, selected Atlanta, Ga., for
her vacation locale. . . . James Camp, man-
ager of the Bunche, was summoned to Geor-
gia by the critical illness of his father. . . .
Dan Smith, manager of the Park, in Tampa,
selected Miami for his vacation spot. . . .
Sonny Shepherd and his family are enjoy-
ing the beauty and freedom of the Florida
Keys for their annual holiday. . . . Eli
Arken, city manager of the Wometco Thea-
tres in the West Palm Beach area, spent his
vacation welcoming his son home from
Korea. . . . James Maury, relief manager
for Wometco had a welcome guest at his
home recently, when the stork dropped off
a son.

MILWAUKEE

The new manager at the Tower theatre
here, and Orto theatre, is Don Palm, for-
merly from Green Bay and more recently
assistant manager at the Towne. . . . August
14 was Arden Thur’s last day in the Allied
office and when she returns to Milwaukee,
sometime in December, her plans are still
indefinite. Arden will sail for France in
September and then from Paris will fly to
India for Baha'i World Faith Interconti-
nental Conference in New Delhi. . . . The
regional meeting of Wisconsin Allied held
this week at Rice Lake was well attended
with some 80 persons present. . . . Jerry and
Gene Goderski sold their Greendale theatre
to Frank E. Schreihart. . . . “Gentlemen
Prefer Blondes” had a successful opening at
the Riverside theatre here this week. . . .
The city motion picture commission here
ordered some cuts from “The Moon Is
Blue.” At their second screening of the
movie, members of the commission, voted
7 to 1, that the movie should be banned here
unless deletions were made in dialogue.

MINNEAPOLIS

Stiff sentences are being imposed on van-
dals in a campaign by the county sheriff’s
office to stop thefts of loudspeakers at local
drive-ins. . . . The Arion, neighborhood
house which reopened recently, won’t admit
children and adolescents evenings unless ac-
companied by parents. The theatre also re-
fuses to run- any film advertising including
coming attractions. . . . Tom Collins is the
new salesman at Allied Artists. . . . The
marquee of the White Bear theatre at White
Bear Lake, Minn., near St. Paul has been
painted, according to Howard Goldman,
operator. . . . Variety Club of the North-
west has reopened, but work is continuing
on its redecorating. . . . Harry Weiss, RKO

Theatres district manager, visited situations
in Iowa, Kansas City and Omaha. . . . Ad-
mission taxes collected during July were
$597,000 as compared with $644,000 in July,
1952. Individual income tax collections,
however, reflected an all-time monthly high
for employment in Minnesota during July.

. . . Robert Chase has begun construction
on a new theatre at Carson, N. D. . . . The
new drive-in at Bemidji, Minn., has been
named the Timberlane. Wilfred Libel and
Otto Burggraf are the owners.

NEW ORLEANS

The Chimes, Baton Rouge, La. suspended
operations and will reopen Sept. 13, advised
manager Charles Bazzell. . . . Curtis B. Wil-
lard shuttered the Beack Walk-In theatre,
Fairhope, Ala. . . . Page Baker, Theatre
Service Company, was a West Monroe busi-
ness caller. . . . Mrs. Ann Butler replaced
steno-booker Mrs. Jean Pohl at Dixie Films.

. . . The State, McComb, Miss, reopened
after a few weeks closing for renovation
and installation of a panoramic screen and
stereophonic sound. ... A two day celebra-
tion marked the third anniversary of Gidden
& Resters Auto-Sho drive-in, Mobile, Ala.
One of the highlights of celebration were
flying saucers descended on the audience.

. . . Katherine Bonneval, secretary to Abe
Berenson, is vacationing in Reno, Nev., as
guest of her daughter and family. . . . Man-
ager Alex Maillho is back at his desk at
U.A. after two weeks illness. . . . Henry
Glover, Monogram Southern manager, plans
to attend Allied Artists meet at the Drake
Hotel, Chicago, AugustT 23. . . . Leroy
Adams, bookkeeper, Joy Theatres, Inc. and
family vacationed in Florida. . . . Mrs. Clara
Cote, Paramount Gulf P.B.X. operator, has
chosen Jacksonville and Miami, Fla., as her
vacation spot. . . . The opening day of Joy
N. Houck’s new Panorama had crowds in
line from early morning and all through the
day up through the night’s last show.

OKLAHOMA CITY

Mrs. Margaret Jones has been named
manager of the Agnew theatre. She assumed
management about a week ago. . . . Okla-
homa Tax Commission sales tax report the
month of June, 1953, for theatres, shows
293 returns, $31,392.78 tax, compared with
329 returns, $32,195.20 tax for June, 1952.
This indicates a decrease of 2.49 per cent.

. . . Mrs. Ethel Coxey has been named new
manager of the Knob Hill theatre. . . . Mr.
and Mrs. Lewis Barton, Mr. and Mrs. Ger-
ald Barton, Mr. and Mrs. Harold Combs
and son, returned this week from a busi-
ness trip to Los Angeles. While there they
visited the MGM studios. Lewis Barton is
head of the Barton Theatres, and Mr. Combs
heads the concession departments of the cir-
cuit. . . . Audie Adwell is the new manager
of the May theatre. He comes to Oklahoma
City from Midland, Texas. . . . Jay Kimbro,
assistant manager of Malco Theatres in Ar-
kansas, will be vacation relief assistant man-
ager of Malco Theatres at Camden, Ark.,
for the next three weeks. . . . Lawrence Ray-
mond Eaglin, 54, manager of the Glen, El
Rey and El Rancho theatres at Glendale,
Ariz., died August 4.

OMAHA

William Miskell, Tristates district man-
ager, has indicated that the Paramount thea-
tre, 2,900-seat cinema palace that opened in

1926 as the Riviera with spectacular Moor-
ish splendor, soon may be sold or torn down.
Closed for movies 14 months, it was opened
10 times last winter for stage shows and
seldom was filled. It has closed seven times,
in 1934, 1937, 1938, 1940, 1941, 1942 and
1952. Miskell said Tristates was considering
selling, particularly since President Eisen-
hower vetoed the bill removing the 20 per
cent ticket tax. . . . Tristates’ Orpheum re-
cently installed wide screen and stereophonic
sound and the 3,000-seater has been hitting
the box office high spots. . . . Latest wide
screen and stereophonic sound customer in
the territory is Cozad, Neb., where exhibitor
Walt Hagedone hopes to have installation
soon. . . . Bill Barker is now operating the
Co-Op Bookings Service himself following
the departure of his partner, Mort Ives, to
the real estate field. . . . Nebraska lost a
veteran of the movie industry with the death
of Herb Jensen, owner of the Walthill Sun,
who succumbed to a heart ailment. . . . Bick
Downey, who lost his State theatre at Has-
tings by fire, plans to rebuild in the new
westside section. The old building is being
remodeled for stores in downtown Hastings.

PHILADELPHIA

Films leased to theatres will be exempt
from the new State one per cent sales and
use tax which goes into effect on Sept. 1.
Lester Kreiger, assistant zone manager for
the Stanley Warner Theatres here, and at-
torney Lou Goffman, met with the State
Attorney General and the Secretary of Reve-
nue, and it is understood that they were as-
sured that films will not be affected by the
new State tax. . . . With the Summer sea-
son coming to a close, local industry leaders
are marshalling forces again to start the Fall
with an all-out campaign to eliminate the
city’s 10 per cent amusement tax on admis-
sions. . . . Edna R. Carroll, chairman of the
State Board of Motion Picture Censors, will
serve as chairman of the delegation for the
State Council for the Middle-Atlantic Con-
ference sponsored by the Women’s Republi-
can National Committee in October. . . .
William Goldman’s Esquire, key neighbor-
hood house here, closed over differences
with the landlord on 3-D installations, but
reopened two days later. . . . Jack Beresin,
Variety Club’s International Chief Barker,
was named chairman of the Theatre Divi-
sion for the forthcoming United Fund cam-
paign in October. . . . Stanley Warner cir-
cuit closed its suburban Lansdowne for an
indefinite period. . . . Bob Hanover has taken
over the Ambassador, a William Greenfield
house, and is converting it to “Photorama,”
his own large screen process. . . . A1 Davis,
Fried circuit executive, went on the sick list.

PITTSBURGH

Richard P. Morgan has resigned his post
as executive secretary of the Allied Motion
Picture Theatre Owners of Western Penn-
sylvania. The board of directors reluctantly
accepted the resignation and will name his
successor in the near future. . . . John D.
Walsh, still is at his home recuperating from
an operation performed last year. Bernard
Hickey is filling in for him as manager of
the Fulton theatre. . . . Allied Artists is the
latest company to try the multiple first run
idea in 20 suburban houses. It will try with
“Kansas Pacific” and “Torpedo Alley.”
Universal-International has been very suc-

( Continued on opposite page )

MOTION PICTURE HERALD, AUGUST 22, 1953

( Continued from opposite page)

cessful in this district in the twin bill ideas.
Sneak previews still are the order of things
here. The Fulton screened “Stand at Apache
River” while the Squirrel Hill theatre had
“OK, Nero.” Both attracted capacity
houses. . . . The J. P. Harris theatre, which
was closed for an entire week to install a
large screen, opened very well with "In-
ferno.” Manager Bill Zieler was on vacation
but got back to help with the opener.

PORTLAND

Nearly all first run houses have strong
product this week and the coin should roll
into the box office. Four spots have hiked
admission price. . . . Mrs. J. J. Parker is
huddling with her architect and decorator
about facelifting job for her theatres. She
is also dickering for installation of stereo-
phonic sound. . . . Movie Chain executive
A1 Forman is promoting the personal ap-
pearance of Spike Jones Revue on Audi-
torium Stage here next week. . . . Marty
Foster played “Lili” at his Guild theatre for
12 weeks and grossed over $30,000 in the
400 seater. . . . Zollie Volchock, co-owner
of NW Releasing Co., was in town for a
week. NWR Co. also has Astor and Film
Maker products. . . . Annual Film Golf
Tourney was scheduled to be held here
Tuesday and Wednesday. . . . Orpheum has
installed a panoramic screen. . . . Hamrick
Theatres is going to present stage legiters
at the shuttered Playhouse starting next
month.

PROVIDENCE

Rhode Island theatremen are mourning
the passing of Peter R. Nelson, one of the
best known and loved showmen in the state,
who recently died at the age of 76. Known
to hundreds of Cranstonians as Pete, Mr.
Nelson was at various times owner of the
old Auburn theatre, and the Park, in Crans-
ton. At one time he was also associated in
the operation of the old Bijou theatre in
Providence and the Royal in Olneyville. . . .
Jeanette MacDonald, singing star of screen
and stage, who accompanied her husband,
Gene Raymond, when he guest-starred in
summer stock recently at nearby Somerset
Playhouse, was greeted by several of her
old-time “fans” when she was spotted shop-
ping in a local super-market. . . . The RKO
Albee brought back “Mighty Joe Young” on
their giant wide-vision screen. Boris Karloff
in “Isle Of The Dead” was the companion
feature.

SAN FRANCISCO

George Archibald of the Archibald Buy-
ing and Booking Agency, has taken over
management of the Palo Alto drive-in, Palo
Alto and the Studio drive-in, San Mateo.

. . . James Stephens, formerly associated
with Sunny Mount Theatres, has taken over
the Dixon, Dixon from A. R. Peck. . . . The
controversy surrounding ownership of the
Vacaville, Vacaville, has been settled with
R. E. Degener, who also owns the Winters
at Winters, being named over three others
who were hoping to get the lease. . . . Henry
Nasser has taken over the helm of Nasser
Bros. Theatres, here, the post formerly held
by Richard Nasser. . . .Walter Chenoweth
who left San Francisco Theatres, Inc. to
manage the Carthay Circle, Los Angeles, is
now treasurer of the Curran, here. . . . Lou

Singer, manager of El Capitan, has been
transferred to Redwood City to manage Fox
West Coast’s Fox, there. He will make his
home in San Carlos. . . . Robert Marsailles,
formerly manager of Crest, Vellejo, moved
into El Capitan. . . . Graham Kislingbury,
district manager, North Coast Theatres, was
named Industry Chairman for United
Crusade drive. On his committee are Frank
Harris, Jack Marpole and Harry Becktell.

TORONTO

Famous Players Canadian Corp. will re-
open Victoria theatre with Walt Disney’s
“The Sword and the Rose,” Sept. 1. The
Victoria has been closed for about eight
months for lack of product. The theatre will
run pictures downtown date-and-date with
the University and Eglinton theatres. . . .
Into its eighth week in Montreal is the
French-language, English-subtitle film “The
Seven Deadly Sins” at the Avon theatre.
. . . Nathan A. Taylor, president of Twen-
tieth Century Theatres Limited, took a trip to
England. He was accompanied by his wife,
Yvonne, who herself is a theatre operator,
operating- the International Cinema and the
Towne Cinema, both in this city. . . . After
a complete refurbishing, the Royal Alexan-
dra, city’s only legitimate house, will open
for an announced four weeks of “South Paci-
fic” though six weeks are planned.

VANCOUVER

Business continues at an unexciting pace
here this week with most theatres reflecting
the summer doldrums. . . . Walter Mead,
owner-manager of the Paramount drive-in at
Burnaby, is enlarging his outdoor theatre
from 700 cars to 1,000 cars. It will be the

largest in British Columbia. . . . National
Drive-in Theatres, operator of the Cascade
at Burnaby, will start construction of a sec-
ond drive-in in the same zone with wide-
screen and other up-to-date projection ideas.
. . . Night horse-racing, stock-car racing and
night baseball games, along with exception-
ally fine warm weather and outdoor theatres,
continue to be stiff opposition during the
summer months to the indoor theatres. . . .
Three downtown theatre lassies: Dollie Ink-
ster, Marion Rich and Alice Ettenger are
leaving for a California vacation. . . . Film
Board of Trade played host to Bob Murphy,
Paramount manager, at the Barn Supper
Club before he left to take over the Montreal
branch. He is replaced here by Bob Light-
stone, formerly Winnipeg salesman.

WASHINGTON

Frank M. Boucher, chairman, has called
a luncheon-meeting of his special Football
Committee, August 31 to arrange plans for
the football game planned for Thanksgiving
Day at Griffith Stadium between tht Quan-
tico Marines and the Fort Belvoir Engi-
neers. The game is being sponsored by the
Armed Services and the Variety Club, and
proceeds will go to the Welfare Depart-
ments of the Services and to Children’s Hos-
pital, Washington. . . . The Ben Lusts have
a new granddaughter, born to their daughter,
Regina. The Lusts own the Ben Lust Thea-
tre Supply Co. . . . Ben Siegel, Theatre
Advertising Co., has sold his business. . . .
Rudolph Berg'er, MGM southern sales divi-
sion manager, substituted for Charlotte
branch manager Jack Reville, during his
illness. . . . Joe DeMaio, formerly with Kay
and Sandy Film Exchanges, is now cashier
at United Artists.

the man
with

200 brainpower*

ALTEC SERVICE CORPORATION has more than 200
engineers actively engaged in the servicing of
motion picture projection and sound equipment
and the investigation of every new projection
and sound technique including theatre tele-
vision. Their knowledge of new equipment and
improved servicing techniques is checked at
Altec's laboratories and distributed to every
Altec Service Man. This circulation of informa-
tion provides your local Altec Service Man with
the useful experience and knowledge of
more than 200 fellow engi-
neers. His warehouse of
knowledge is your assurance
of the right service at the
lowest practical cost.

ALTEC

161 Sixth Ave., New York 13, N. Y.

MOTION PICTURE HERALD, AUGUST 22, 1953

FILM BUYERS RATING

Film buyers of independent circuits in the U.S. rate current
product on the basis of its performance in their theatres. Tfris
report cavers 129 attractions, 6,151 playdates.

Titles run alphabetically. Numerals refer to the member of en-
gagements on each attraction reported. The tabulation is cumula-
tive. 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.

Abbott and Costello Go to Mars (Univ.)
All Ashore ( Col.)

All I Desire (Univ.)

Ambush at Tomahawk Gap (Col.)

♦Angel Face ( RKO)

Arena (MGM) (3-D)

EX AA AV BA PR

9 31 30 3

I 8 26 21 3

1 4 10 -

- 3 7 9 -

2 32 23 8

4 2 II I

Battle Circus (MGM)

Beast from 20,000 Fathoms, The (WB) .

Blue Gardenia, The (WB) . . . .

Bwana Devil (3-D) (UA)

By the Light of the Silvery Moon (WB)

13 62 28 II

6 23 I I 8 2

- 5 8 22 5

18 15 4 5 I

2 31 52 17 4

Call Me Madam ( 20th- Fox )

Charge at Feather River, The (3-D) (WB)
City Beneath the Sea (Univ.). .

Code Two (MGM)

Column South (Univ.)

Come Back, Little Sheba (Para.)
Confidentially Connie (MGM)

Count the Hours (RKO)

Cow Country (AA)

Cry of the Hunted (MGM) .

3 24 36 42 21

8 4 2 2 -

2 I 17 21 9

4 10 I

- 3 10 14 I

13 42 24 9 I

I 19 24 12

4 I 7

- 2 I 2 I

9 4

Dangerous When Wet (MGM)

Desert Legion (Univ.)

Desert Rats, The (20th-Fox)

Desert Song, The (WB)

Destination Gobi (20th-Fox)

Down Among the Sheltering Palms ( 20th- Fox )
Dream Wife (MGM)

2 29 16

7 21 35 I

5 10 19 I

I 25 18 I

5 30 42 6

I 27 21 5

- 6 10 8 2

Fair Wind to Java (Rep.) . .

Farmer Takes a Wife (20th-Fox)

Fast Company (MGM)

Fort Ti (3-D) (Col.)

Fort Vengeance (AA)

Francis Covers the Big Town (Univ.)

- I 8 12 7

12 10 4

7 6 2

12 14 7 I -

I 5 4

3 24 5 I

Girl Next Door, The (20th-Fox)
Girl Who Had Everything (MGM)
Girls in the Night (Univ.)

Girls of Pleasure Island (Para.)

Glass Wall, The (Col.)

Glory Brigade, The (20th-Fox) . .
Great Sioux Uprising, The (Univ.)
Gunsmoke (Univ.)

4 613 7 -

- 5 19 12 I

- 10 14 - 3

2 II 29 13 I

-2132

-13 3 1

13 7 2 -
2 21 31 24 I

Hans Christian Andersen (RKO)
Hitch-Hiker, The (RKO)

(Houdini (Pa ra.)

House of Wax (3-D) (WB) . .

22 26 4 I I

4 9 5

-44--

50 20 4 3 I

I Confess (WB)

♦I Don't Care Girl, The (20th-Fox)

I Love Melvin (MGM)

Invaders from Mars ( 20th- Fox )

It Came from Outer Space (3-D) (Univ.)..

It Happens Every Thursday (Univ.)

Ivanhoe (MGM)

Jack McCall, Desperado (Col.)

Jalopy (AA)

Jamaica Run (Para.)

♦Jazz Singer, The (WB)
Jeopardy (MGM)

- 17 10 5

2 8 8 -4

I 10 13 I

- 22 21 44

9 23 14 20 8

Kansas Pacific (AA)

3 13 6

Lady Wants Mink (Rep.)

Last of the Comanches (Col.)

Law and Order (Univ.)

Let's Do It Again (Col.)

♦Limelight (UA)

Lone Hand ( Univ.)

Ma and Pa Kettle on Vacation (Univ.)

Magnetic Monster, The (UA)

(Main Street to Broadway (MGM)

♦Man Behind the Gun (WB)

Man in the Dark (3-D) (Col.)

Man on a Tightrope (20th-Fox)

♦Meet Me at the Fair (Univ.)

1 1

Member of the Wedding (Col.)

♦Mississippi Gambler (Univ.)

Moulin Rouge (UA)

Naked Spur, The (MGM)

Never Let Me Go (MGM)

♦Never Wave at a Wac (RKO)

♦Niagara (20th-Fox)

Off Limits (Para.)

Peter Pan ( RKO)

Pickup on South Street (20th-Fox)

1 1

Pony Express (Para.)

Powder River (20th-Fox)

President's Lady, The ( 20th- Fox )

1 1

Prince of Pirates (Col.)

“

Queen Is Crowned, A (Univ.)

Raider of the Seven Seas (UA)

♦Redhead from Wyoming (Univ.)

Remains to Be Seen (MGM)

♦Ride the Man Down (Rep.)

t Ride, Vaquero (MGM)

(Roar of the Crowd (AA)

Rogue's March (MGM)

1 1

Salome (Col.)

1 1

San Antone ( Rep.) .

Sangaree (3-D) (Para.)

Savage Mutiny (Col.)

Scandal at Scourie (MGM)

1 1

Scared Stiff (Para.)

Seminole (Univ.)

Serpent of the Nile (Col.)

Shane ( Para.)

She's Back on Broadway (WB)

1 1

Silver Whip (20th-Fox)

(Siren of Bagdad (Col.)

Small Town Girl (MGM)

Snows of Kilimanjaro (20th-Fox)

Sombrero (MGM)

South Sea Woman (WB)

“

Split Second (RKO)

Star, The ( 2Qth-Fox)

Stars Are Singing, The (Para.)

Stooge, The (Para.)

Story of Three Loves, The (MGM)

(Sun Shines Bright, The (Rep.)

“

Take Me to Town (Univ.)

Tall Texan, The (Lippert)

(Tarzan and the She-Devil (RKO)

Taxi (20th-Fox)

Titanic (20th-Fox) ...

Tonight We Sing (20th-Fox)

Treasure of the Golden Condor ( 20th - Fox )

♦Tropic Zone (Para.)

Trouble Along the Way (WB)

1 1

Vanquished, The (Para.)

White Witch Doctor (20th-Fox)

1 1

Woman They Almost Lynched (Rep.)

Young Bess (MGM)

MOTION PICTURE HERALD, AUGUST 22, 1953

fac/Hf The DmftQAMble, ~(akeA a tittle teh^et

THE good fight for tax repeal need
not leave any wounds beyond repair,
but it’s going to be well to think
carefully of all the reverberations that have
resulted from this public reaction.

Every newspaper, large and small, has
printed a press item, from the wire services,
and consequently given complete coverage,
to the effect that the Presidential veto was
the first major legislation that Eisenhower
has refused to approve, and that this was
done “because the Government cannot afford
the loss of revenue” and because “it is unfair
to single out one industry for relief at this
time.”

Any theatre manager knows the accumu-
lative effect of this newspaper comment,
which snowballs into public reaction and
belief, and adds up to many times the pub-
licity given our side of the story. We will
suffer from this impression, widely spread,
and it may result in some feeling that we
did not deserve the President’s approval of
our claims, or that we obtained the vote
by some sort of chicanery.

It was a great fight, well fought — but the
fact remains we did not sell it to the public
in advance, nor did we do what was urged
in a Round Table edtiorial in the issue of
April 11, 1953 — to obtain “Public Relations
First — Then Tax Reductions.” Perhaps that
was impossible — and in that case, we can
fully realize that we often do the difficult
— but doing the impossible, takes just a little
longer.

Other industries, observing our defeat,
and the President’s own professed reasons
for objection, will step forward to make
equivalent claims for tax relief — this time,
with more assurance, based on our experi-
ence. And some lines have good grounds
for relief, better than the League of New
York Theatres, with their dog-in-the-man-
ger policy of merely decrying what they
were jealous of obtaining. We will do well
to avoid any such feeling in any of our
approach to legislators.

This Sunday’s papers carry an advertise-
ment by Franklin Simon, offering a luxury

BACK-TO-SCHOOL

Last Spring, when most of us were talk-
ing about special kiddie shows to signal
the fact that "School Was Out" for the
summer vacation, Seymour Morris and
Schine showmen, in Gloversville and en-
virons, were planning "Back to School"
shows that will be current in September.
That's how far they work ahead of sched-
ule, with plans laid and results assured,
long in advance of casual thinking.

It seems that many of the Schine thea-
tres do so well with local sponsors of "Back
to School" and similar shows that the
merchants themselves solicit the opportun-
ity to "do it again" in the Fall — and next
year. You couldn’t get a better round of
applause than from the sponsor who pays
the bills this time and asks to do it again!

And another good showman thinks
ahead of these days and dates. That's
Irving Mack, of Filmack Trailers, who pro-
vides the "Inspiration" for special shows
with suitable special trailers, with "Back to
School" written all over his September
bulletin. We know exhibitors read that
bulletin, for they tell us the jokes! So, it's no
more than fair to tell them they should
be using Irving's "Back to School" trailers
this week and every week until school be-
gins in your neighborhood.

Good public relations is to seek out the
school authorities at this time of year,
make a discreet issue of passes to teachers
and others who are not only opinion-
makers, but partners in your enterprise.

fur coat at $778 which is tax exempt be-
cause it is made of fine Nutria and lined
with fine Forstmann wool. It seems that,
under the law, the coat is tax-free because
it is reversible. Maybe the law is reversible,
also, and we can profit by learning.

At any rate, it takes salesmanship to win
tax reduction.

Who says there’s not opportunity, in
the classified columns of the Motion
Picture Herald? From last week’s issue —

MANAGER, EXPERIENCED ALL PHASES,
but particularly adept at writing good copy and daily
newspaper display ads. Submit sample ads. Tell all
first letter. References used your permission only.
Salary $5,200 annually, group insurance, hospitaliza-
tion, self and family. Good opportunity for advance-
ment. Will reimburse moving expenses. Midwest. BOX
2731, MOTION PICTURE HERALD.

Elmer Rhoden reported, after return-

.1 ing from his recent trip to Holly-
wood, that there would be a new cycle of
religious films, from Bible sources, following
“The Robe” — and that as many as a dozen
new films, along this story line, were in
production and in prospect.

The industry can be glad that such is the
case, for there is nothing more certain to
restore family trade at the box office than
films of Bible stories, well done, with
modern color and production quality. In
fact, we need that antidote to the influx of
films of “sexsational” quality.

Casting about for comparative exam-
pies of better than usual newspaper
ads, to make up this week’s Round Table
page, we had a couple that we couldn't
run, for reasons of space.

Boyd Sparrow, out in San Francisco, had
a wonderful display for “Dangerous When
Wet” — which dominated a full page but
occupied only eight inches across the bot-
tom and two columns down the side. The
odd shape, and the sizzling copy — with a
photograph of Esther Williams, looking
dangerous — was terrific. It would take up
too much Round Table room to attempt to
reproduce it.

And, as if in answer to' prayer, Jerry
Pickman, Vice-President in charge of New
advertising ideas at Paramount, has come
up with supplementary ads for that nice lit-
tle picture, “Girls of Pleasure Island” — this
time, accenting the fact that these were
nice girls, and it’s a family picture, with lots
of laughs. — Walter Brooks

MANAGERS' ROUND TABLE SECTION, AUGUST 22, 1953

Movie Ad Men
Make Ad News

Top bracket advertising men in New York home-offices, are always
improving on first ideas. Si Seadler, for instance, sits surrounded by
his handiwork — pinned to the wall with thumb tacks — and every now
and then, up comes a bright idea, out comes the thumb tack, and in
its place goes such improvements as you see on this page, wherein
original pressbook copy has been refined, pinpointing actual play-
dates, where new ideas have been seen and tried, for size.

Statue of Liberty

Grant's Tomb

China Town

Radio City Music Hall-

THINGS
TO SEE
IN OUR
TOWN!

It is no wonder that M-G-M’s enchanting Technicolor
Musical "LILI” has taken its place among the "must see”
attractions for visitors as well as residents in New York
City, and continues to be the town’s long-run Champ in
its 22nd week. Everyone falls in love with the lonely girl
who finds a haven with a traveling carnival and brings
you wondrous screen pleasure!

The players are Leslie Caron, Mel Ferrer,

Jean Pierre Aumont, Zsa Zsa Gabor, Kurt Kasznar

Air-Conditioned 'Sj

22nd Week! TRANS- LUX <5>3nttoit/f?xin)g/on

Feature at: 12:55.2:50.4:40. 6:35.8:25, 10:15 «-»•«>«

■

I GUARANTEE
206 LAUGHS
IN 98 MINUTES

In all my years in the theatre business I have
never seen any picture which provoked as
much continuous laughter as ^-G-M’s com-
edy “DREAM WIFE”, starring Cary Grant,
Deborah Kerr and Walter Pidgeon with Betta
St. John. My ushers report that they count
206 distinct laughs during the 98 minutes the
picture is on the screen. That works out, to
one laugh every 28 seconds. Come on over
There’s revelry at the Rivoli !

Montague Sainton, Managing Director.

Rivoli Theatre

Espcrtly Alr-Condl Honed

3^yVOr»I B'way & 49th St. • Circle 7-1633

AIR CONDITIONED

MIDTOWN

CHESTNUT
AT BROAD

PREVIEW

TUESDAY

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MOTION PICTURE HERALD, AUGUST 22, 1953

SHOWMEN IN ACTION

Small Town
Joins With
Celebration

Lou Orlove, MGM field man in the north
country, is well aware of how we feel about
small town exploitation, so he sends us a
campaign book on “Dangerous When Wet”
— which is his interest, from Ranee Mason,
manager of the Kerredge theatre, Hancock,
Michigan — which is ours. Here is a town,
and a campaign, that we wish we could have
seen in action, locally.

It’s a bathing beauty contest — and that’s
not news — but small town bathing beauties
make news just as surely as big-town gals,
and this was the town’s 50th Anniversary,
which makes a celebration of it. There are
lots of small towns across the nation that
can celebrate their 50th Anniversary, or bet-
ter. But few can do it in any better way
than is shown here.

Ranee Mason started with merchant co-
operation, and the local paper registered 20
merchants who sponsored the “Queen” con-
test to come. A display firm from Minne-
sota came in to design floats for the parade,
and build them. Long newspaper stories told
of the selection of contenders and the final
selection of the judges. Girls appeared on
stage with their ribbon labels and “Miss
Twin City Style Shop” was the winner.
We liked the looks of “Miss Hancock Hard-
ware” with “Miss Stern and Field” as a
runner-up.

Esther Williams sent a wire and a swim
suit ; and when the Mayor told the winner,
“Maybe you’ll someday be living on this
side of the Lake” she replied, “Already,
somebody is whistling from the balcony” —
which indicates increased local interest.

MGM Records Provide New
Movie Playda+e Service

Sol Handwerger, publicity manager for
MGM records, sends out a “pink sheet” in
connection with playdates for each new
MGM album, which gives playdates to rec-
ord dealers, which brings the music shop
owner back in contact with the theatre man-
ager. Currently we have an example of the
playdate service as applied to “The Band
Wagon” — and it shows first-runs and Au-
gust playdates for the MGM musical in 125
towns, including several that we know like
the palm of our hand, in a dozen states.
We’re always urging managers to go down
the street, to see their record dealers — looks
like the dealers would be coming up to see
vou-all.

Seymour School Shows

Seymour Morris says “Nice goin’, boys —
you're goin’ great guns” to a long list of
Schine managers, including many who are
well known in the Round Table, and have
their “Back to School” shows all set and
ready for the new season.

Si Seadler sends a good example of “lo-
calized appeal” for advertising for Scandal
at Scourie at Loew's theatre, London, On-
tario, which focuses on “the fighting Mc-
Chesneys” who are known in Canada.

Maurice W. Shulman getting newspaper
breaks for his giant screen at the deluxe
Webster theatre, Hartford, which now meas-
ures 32 x 16 feet, instead of 19 x 13, as
formerly.

George Peters had the front page of the
Richmond Times-Dispatch overprinted in
red to blaze the announcement that Arena
in 3-dimensions, arrived at Loew’s theatre.

▼

Morris Rosenthal, veteran manager of
Loew's Poli theatre, New Haven, launches
the new movie season in eight-column head-
lines, with the showing of The Band
Wagon.

Universal has a clever little display device,
made in the same fashion of those “pop-up”
greeting cards, to advertise Wings of the
Hawk — with figures that leap at you.

Ed Linder reports 21 inches of free pub-
licity in his neighborhood shopping news-
paper, as a result of write-ups in regard to
Thunder Bay — which opened to heavy
business at the Ontario theatre in Washing-
ton, D. C.

▼

Abe H. Kaufman is back at the Fountain
theatre, Terre Haute, Indiana again, after
3j/2 years vacation from film business — and
his first move was a press interview on the
tax situation.

Allen Widern, theatre editor of the Hart-
ford Times, always gets in line with local
theatre men and their playdates, in such
interviews as he runs currently with Merv
Griffin, who co-stars in “So This Is Love.”

Lester Pollock posted a 75-foot paper
banner along a fence enclosing the site of
the former Temple theatre, which is now a
parking lot, to bring them back to Loew’s
Rochester.

▼

Tony Masella, manager of Loew’s Poli-
Palace, Meriden, Conn., promoted a full-
page cooperative ad for The Band Wagon
with publicity mats of Fred Astaire & Com-
pany, tying it together.

▼

J. J. Kirchoff, manager of the Rialto
theatre, Tulsa, Oklahoma, built an attractive
false front display for Serpent of the Nile
and had thirty downtown windows.

Charles Gordon, manager of Walter
Reade’s 9W Drive-In theatre at Kingston,
N. Y., had a miniature Shane riding a pony
and wearing western attire, as street bally-
hoo.

▼

Joseph S. Boyle, manager of Loew’s Poli
theatre, Norwich, Conn., had a fine news-
paper story on the new panoramic screen,
which seems to intrigue public interest.

Glad to see news and photographs, in the
mail from Boyd Sparrow, who is back on
the job at Loew’s Warfield theatre, in San
Francisco, and reporting his window tieups.

▼

Fox West Coast theatres celebrating their
annual Summer Clean-Up with prizes for
managers who show the best results with
broom and paint brush. They believe clean-
liness begins at the box office and extends
right through the house.

Managers of Harry Lamont Theatres,
meeting in Albany, were told about the suc-
cessful program idea demonstrated at the
Overbrook Drive-In, Poughkeepsie, with
circularization to all postoffice box-holders.

Alice Gorham must have had a hand in planning this tine display of "Great Events
in Motion Picture History" across the lobby of the Michigan theatre, in Detroit. Many
stills, arranged in great panels, portrayed highlights of history from "The Great Train
Robbery" to "Shane" — the upcoming attraction.

MANAGERS' ROUND TABLE SECTION, AUGUST 22, 1953

RULES OF THE

Small Town Gets On
“The Rond Wagon"

A really exciting small town premiere is
reported from Hamilton. New York, where
Schine’s State theatre made a gala event of
the opening of “The Band Wagon” — as a
benefit for the Community Hospital, which
serves 18 surrounding towns in the area.
Hamilton has a population of 3500, and its
tree-shaded streets were crowded with vis-
itors for the occasion. Arthur Canton of
MGM’s field staff, was up from New York,
Cy Evans was present from Schine’s head-
quarters in Gloversville, and Steve O'Brien,
manager of the State was fully occupied
with preparations in advance.

More than $6,000 was raised in the one-
day premiere celebration, for the hospital
benefit. Barbara Ruick, MGM starlet, was

Finds a Descendent of
Hans Christian Andersen

Murray Spector, manager of the Skouras
theatre, Teaneck, N. J., who reads the
papers to advantage, found a local descend-
ent of Hans Christian Andersen not too far
from the theatre, and promoted reams of
publicity for the film and the theatre, as a
result. The patron, Hans Christian Ander-
sen Madison, also runs a restaurant, which
specializes in Danish food.

crowned queen of the Community Memorial
Hospital fund, and all the important civic
and organization heads for miles around
were present to show her honor. Hamilton
is the seat of Colgate University, and the
student population added to the weight of the
festivities, with scores of pretty girls to pro-
vide the decor. Individual “queens” from
various communities swelled the acclaim.

More than 200 organizations from the
various community services in the surround-
ing area took part in the premiere program,
and Hamilton saw the biggest crowd in town
they’ve seen in months. The picture will
get preferential treatment in Schine theatres
in saturation booking throughout northern
and central New York.

Theatre Manager Aids
Police and Firemen

David J. Kane, manager of the U. S.
theatre, Hoboken, N. J., was appointed by a
committee of local firemen and police
officials to conduct a drive for higher pay
which the voters will act on in November,
following a recent referendum. The theatre
manager will have charge of their cam-
paign promotion, publicity, and public rela-
tions, with the press and civic organizations.

QUIGLEY

AWARDS

QTWO Grand Award plaques will be
awarded annually to the two theatre
managers or theatre publicity men whose
exploitation and promotion campaigns are
adjudged best throughout the year, one 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.
V

No fancy entries are necessary. Costly
and time-wasting "gingerbread" decora-
tion 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 distinc-
tion 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 the-
atre men abroad which are deemed of
special merit shall be included in the annual
competition.

Address all entries to:

QUIGLEY AWARDS COMMITTEE
MANAGERS’ ROUND TABLE
1270 Sixth Avenue, New York 20, N. Y-

MOTION PICTURE HERALD, AUGUST 22, 1953

Dean of Press Agents

George Atkinson is known as “Dean of
Press Agents” — with 47 years of heralding
the exploits of the great and the near-great,
on both stage and screen. We print his pic-
ture, just to remind a few top-bracket ex-
ecutives in film industry that they may use
his substantial experience in special ways,
with great advantage to themselves. There’s
scarcely a newspaperman, anywhere, who
won’t pause to listen when George Atkinson
comes to offer his press-agentry.

He is one of whom they say : He can write
a two-column piece for the New York Times,
and have it pass the desk without a trace of
blue pencil ; or he can deliver a two-hour
lecture at Teachers College, on his personal
experience “out ahead” of Shakespeare. He
covered one Shakespearean tour, starting in
the Bard’s home town of Stratford-On Avon,
with $30,000 in promotion money in his
pocket. He has also been “out ahead” of
Barrymore, and George Arliss and Houdini,
by his fellow thespians.

George started as a $14 a week dramatic
critic on the Columbus Ohio, Citizen, and
switched to press-agenting when he was of-
fered $15 a week and expenses by the A1 G.
Fields Minstrels. He has written three
produced plays, and several books, including
the recently published “A Great Curtain
Falls” with Victor Kiraly. Right now, he
has just finished his autobiography, 120,000
words of Americana with a theatrical fla-
vour, as yet untitled, but which will be
issued next year by the John Day Company.

George Atkinson lives at the Lambs Club
in New York, where he is highly regarded
by his fellow thespians.

Uses "Shane" as Offering
"To Those Who Seldom Go"

Jimmie Thames, advertising and publicity
manager for Rowley United Theatres, Little
Rock, figured that Paramount’s Shane was
an ideal attraction to appeal to the so-called
“lost audience”. So he addressed a series
of small ads “to those who seldom go” and
ran them off the amusement page, with ex-
cellent resits. In an attached note to Jerry
Pickman, he says he uses Paramount press-
book materials and finds them swell.

Selling Approach

RETURN TO PARADISE— United Artists.

In color by Technicolor. The great South
Pacific adventure, with Gary Cooper and
Roberta Haynes. James Michener's great
story, filmed in the South Seas, in color.
The story of a man who came to a tropical
paradise to escape, who stayed to rule and
love. 24-sheet and ail posters, in distinctive
style, for lobby and marquee displays. You
can build your own with cut-outs of this
poster art. Herald keys the campaign, in
the advertising style that sells the picture.
Newspaper ad mats in good assortment,
from the very large to the teaser ads, which
set the style. The complete ad-pub econ-
omy mat, selling at 35c at National Screen,
contains all that is needed for small the-
atres, and gives you a choice at the press,
for the price of a single mat. No bigger
bargain along film row. Bantam Books have
a 35c edition of this very popular South
Pacific story, and there are seven record-
ings of the title song, which is another hit
on the air waves. Contact your disc jockey
to play up several variations of this popular
number. It's as great as "High Noon" and
by the same composers. Picture has been
backed up with sensational promotion in
national magazines, with bofh Look and
Colliers creating that "desire to see" with
the potential audience. Ask your Pacific
veterans if they would like to "Return to
Paradise" and encourage radio and news-
paper interviews, with a preview of the pic-
ture. Sell the South Sea atmosphere and
make your theatre attractive with sugges-
tions of romance and color in the tropics.

SO THIS IS LOVE — Warner Brothers.

Color by Technicolor. Kathryn Grayson as
the dazzling darling from Jellico, Tennesee,
the honey-voiced honey they couldn't stop
till she reached the top. The laugh-ringing,
love-rapturous life of Grace Moore, rag-
ging it to riches with men and melodies.
Special 24-sheet and smaller posters, all
planned to make cut-outs for your lobby
and marquee, with the most of the best art,
at the lowest price. Pressbook shows you
how to make Kathryn Grayson figures 8 feet
8 inches tall from posfer materials. News-
paper ad mats follow the same theme, in
iarge and small display. Watch the title of
the song "Remember" which is taboo in ad-
vertising for legal reasons. Music tieups are
numerous and should be with all this wealth
of song, and such a singer. Catch line reads,
"When she shimmied, the show-world
shook" — and Kathy can do it, even better!
You will quickly identify the advertising
slant in pictorial and other display. Special
set of Color-Glo stills are recommended,
to sell color with color. They won't have
this kind of color on television either this
or next year, believe it! National contest,
sponsored by Armour, will give away
Packard cars and there's also prize money
to theatre managers who display Packard
cars in cooperative advertising. Complete
details in a pressbook supplement.

THE SWORD AND THE ROSE— Walt
Disney. All live-action in Technicolor. From
the famous novel, "When Knighthood Was
in Flower" starring Richard Todd and
Glynis Johns, a new romantic team. Walt
Disney brings new excitement to romance,
and color to a new kind of screen enter-
tainment. A great woman's picture — just
when the critics were asking for such an
attraction. 24-sheet and other posters
have fine cut-out materials for marquee
and lobby display. Pressbook (back page)
shows a new kind of one-sheet in full color
that is an improvement. The herald also
has color, and quality beyond any ordinary
styles. It will tee-off your campaign in
many situations. There is a fine full-color
photograph of the two stars, available from
RKO, and sets of full-color 8x1 0s to sell
color with color in special lobby frames.
Color trailer and special color accessories
accent the fine Technicolor in this super-
Disney, which opens at the Rivoli this week
on the Giant Screen. Newspaper ad mats
in full assortment, plugging the line "An
adult love story from Walt Disney," in-
cluding the 35c complete campaign mat,
from National Screen, which has nine ad
mats and publicity mats, all for the price
of one. Some interesting and unusual ad
mats contain open mortices which you use
to fill, as you choose, in local papers. A
special ad supplement gives you ad mats
to sell both the feature and the Disney
short film, "Prowlers of the Everglades" on
the same bill. National tieups as only
Disney can do them, in quantity.

MELBA — United Artists, in color by Tech-
nicolor. The Most Magnificent Musical
Spectacle of Them All! The Golden Voice
of a Golden Era. What 'The Great Caruso'
was to Mario Lanza, 'Melba' will be to
Patrice Munsel. A real star in a real story,
with magnificent music! Melody, Romance,
Splendor! Also available for Giant Pan-
oramic Screen and Stereophonic Sound.
24-sheet and all posters designed to bring
you fine poster art for lobby and marquee
display. Herald keys the campaign in most
situations. Newspaper ad mats and all
accessories sell Munsel, a real opera star
and a real pretty girl. She would be good,
even if she couldn't sing a note. "Melba"
is backed with typical United Artists pro-
motions on a national scale. Lots of tieups
to choose from, so go looking for the local
applications along your own Main Street.

Cl Al TRAILERS

That Get You BEST
Send Us RESULTS and Always
Your Next Arrive ON TIME Is
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NEW YORK 630 Ninth Ave | ILlVlnVlX

MANAGERS' ROUND TABLE SECTION, AUGUST 22, 1953

CLASSIFIED ADVERTISING

NEW EQUIPMENT

SAVE 70% ON MARQUEE LETTERS! TEM-
pered Masonite: 4" — 35c; 8" — 50c; 10" — 60c; 12" — 85c;
34" — $1.25; 16" — $1.50 any color. Fits Wagner, Adler,
Bevelite signs. S. O. S. CINEMA SUPPLY CORP.,
604 W. 52nd St., New York 19.

GET WIDE SCREEN & 3D EQUIPMENT AT
S.O.S. Silver screens 90c sq. ft. (above 32' wide, $1.35).
Minimum delay on Short Focus Lenses — order now.
S. O. S. CINEMA SUPPLY CORP., 604 W. 52nd
St., New York 19.

USED EQUIPMENT

HOLMES EDUCATOR EQUIPMENTSe-LOWEST
prices ever! Dual 35mm projection- sound complete,
excellent condition, $495. Buy on time! S. O'. S.
CINEMA SUPPLY CORP.. 604 W. 52nd St., New
York 19.

GREATER VALUES THAN EVER IN OUR OWN
3-story building! E-7 mechanisms, 6 months’ guaran-
tee, $475 pair ; 3 unit late Automaticket register,
excellent. $135; Super Simplex mechanisms, rebuilt,
$750 pair; Aluminum Reels. $1.25; Hertner 65-/130
generator, like new, $675; 3D equipment at lowest
prices. STAR CINEMA SUPPLY, 447 West 52nd St.,
New York 19.

SEATING

OUR BEST CHAIR BUY! 1,000 FULLY UPHOL-
stered back, spring seat, metal lined, good condition,
only $4.95. Many more — send for Chair Bulletin.
S. O. S. CINEMA SUPPLY CORP., 604 W. 52nd
St., New York 19.

HELP WANTED

ASSISTANT THEATRE MANAGER: SINGLE,
young, ex-G.I. with some theatre experience preferred.
One willing: to learn all phases theatre operation and
who is interested in making the new and coming show-
business his career. $50 week to start. Group and
hospital insurance. Write in confidence. BOX 2734,
MOTION PICTURE HERALD.

CITY MANAGER, 15 YEARS’ EXPERIENCE, IN-
cluding drive-ins. Small town or large city. Minimum
salary $125. BOX 2735, MOTION PICTURE HERALD.

DRIVE-IN EQUIPMENT

DEVRYS AGAIN AVAILABLE! COMPLETE
drive-in projection-sound outfits from $1,595. Time
deals arranged. Incar speakers w/4" cones $15.50 pair
w/junction box; underground cable $65M. S. O S.
CINEMA SUPPLY CORP., 604 W. 52nd St., New
York 19.

STUDIO EQUIPMENT

TURN ADVERSITY INTO' ADVANTAGE-SHOOT
local newsreels, TV commercials. Make advertising
tie-ups with local merchants. Film Production
Equipment Catalog free. S. O. S. CINEMA SUPPLY
CORP., 604 W. 52nd St., New York 19.

SERVICES

WINDOW CARDS, PROGRAMS. HERALDS,
photo-offset printing. CATO1 SHOW PRINTING CO.,
Cato, N. Y.

BOOKS

MAGIC SHADOWS — THE STORY OF THE
Origin of Motion Pictures by Martin Quigley, Jr.
Adventurous exploration of all the screen’s history
told in 191 crisp pages and 28 rare illustrations. Excit-
ing reading for now and authoritative reference for to-
morrow. A Georgetown University Press book. Price,
postpaid, $3.50. QUIGLEY BOOKSHOP, 1270 Sixth
Ave., New York 20, N. Y.

MOTION PICTURE AND TELEVISION ALMANAC
—the big book about your business — 1953-54 edition.
Contains over 12,000 biographies of important motion
picture personalities. Also all industry statistics. Com-
plete listing of feature pictures 1944 to date. Order your
copy today, $5.00, postage included. Send remittance to
QUIGLEY BOOKSHOP, 1270 Sixth Avenue, New
York 20. N. Y.

Blevins Tennessee Popcorn
Plant Damaged by Fire

NASHVILLE : The Nashville plant of the
Blevins Popcorn Company, one of the larg-
est suppliers of theatre popcorn, suffered
$75,000 damages in a recent fire. Complete
destruction of the main plant was averted
by the fact that building was sealed and
filled with gas for fumigation purposes.
J. B. Blevins, president, announced, “We’ll
be back in temporary operation in two
weeks. Meanwhile, we will make shipments
from our other plants at Ridgeway, 111., and
Arcanum, Ohio.”

E. J. Schulte, 76, Dies;

Was Veteran Exhibitor

DENVER : Following an operation, E. J.
Schulte, 76, widely known exhibitor, died
August 11 in Chicago. Mr. Schulte started
in the industry 32 years ago when he pur-
chased the Rialto theatre, Casper, Wyo.,
which he still owned at the time of his
death. He was president of the Rialto
Theatre Corporation, with 18 houses in
Wyoming and Colorado; director of Gi-
braltar Enterprises; director of the Casper
National Bank; chairman of the board of the
First National Bank of Riverton, Wyo.,
and president of two Casper real estate
firms. He is survived by his widow, a
daughter, a son, a sister and two brothers.

Michael Gore

HOLLYWOOD : Michael Gore, 77, indus-
try pioneer, died in his sleep August 16 at
his home here. Mr. Gore and his brother,

the late A. L. Gore, came to Los Angeles in
1906 and established a chain of nickelodeon
theatres which eventually became the present
Fox West Coast circuit. At one time, Mr.
Gore was co-owner of the First National
Studios and had been a partner of Sol Les-
ser in several enterprises. Four years ago
he retired.

Herbert Jenson

Herbert Jenson of Sioux City, la., an
exhibitor in Walthill, Neb., for the past 12
years, died August 13 of a heart attack at
his home. The following day he was sched-
uled to have reopened his Sun theatre,
Walthill.

Legion Approves Six
Of Seven Films Reviewed

The National Legion of Decency this
week reviewed seven films, placing two in
Class A, Section I, morally unobjectionable
for general patronage; four in Class A,
Section II, morally unobjectionable for
adults ; and one in Class C, condemned. In
Section I were “The Caddy” and “Sky
Commando.” In Section II were “The
Beggars Opera,” “The Maze,” “No Escape”
and “Sailor of the King.” In Class C was
“Seven Deadly Sins” because “it contains
a group of episodes certain of which gravely
offend Christian and traditional standards
of morality and decency through the presen-
tation of incidents of gross suggestiveness
together with highly offensive portrayals
and references to religion and religious
persons.”

Seek Former Manager
On Embezzlement Charge

TOLEDO: Richard Hyman Sydney Hur-
witz is under indictment in Lucas County
for embezzlement of $2,500 from the Jack
O’Connell Theatre Enterprises. Hurwitz,
32, formerly worked for the circuit as a
theatre manager. Toledo chief of police
R. E. Allen, has urged theatre managers
to be cautious in hiring personnel. Accord-
ing to police, the former manager is about
5 feet 8 inches in height, has dark brown
hair and wears horn rim glasses. He at one
time worked in Texas under the name of
Richard Barr, it is reported.

To Reopen Theatre

After failing to come to terms on the
leasing of his theatre to a group of local
businessmen, James Pierce has decided to
reopen his Topic theatre, Fairfax, Minn.,
which has been closed since June 13.

“Luther" Set for New York

Louis de Rochemont Associates’ “Martin
Luther” will be the next attraction at the
Guild theatre in Rockefeller Center, New
York. The film is based on the life of the
16th century Protestant Reformation leader.

Ellis Gets Italian Film

Ellis Films has acquired the distribution
rights in the United States to “Three For-
bidden Stories,” an Italian film directed by
Augusto Genina, it has been announced by
Jack Ellis, president.

MOTION PICTURE HERALD, AUGUST 22, 1953

Now Off The Press

New Screen Techniques—

“The price of New Screen Techniques is
$4.50 and pictures at ten percent of
the gross would not he a better buy.

Arthur iflatfer

New Screen Techniques —

208 pages, 50 illustrations. |

Durable cloth binding.

Price $4.50 postpaid.

Edited by Martin Quigley , Jr. |

Murray Hill 2-1234

220 £»»t «d st>

EDITOR^!

MR. SHAKESPEARE: MB. ^

urged on by on,

BlgXr0AmTlf ^^of^ordB is a ^ c^b°ed

g The m°vie» to ^,n 0notonous cussing ^ situa-

young author ^es monk?g purphsh for-u^y trad But

out, and ^fen°Lundered neatly 5brutality and dumb-

Jones’ roaring protests abou ^ fire, indication an anyb0 y

S are still there, with an of inVitation i-^.g smasb.

gimmicks or
theatre — and

explanation is

.peare himself
;dtohis“Ham-
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11 the thing,
changed much

dandy, but the

stomers craved

don taxes, boys,
dernity” proves
duce some more

JS with good red

low of

STREET. CHINA

ISTER SCOUTM,
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ansco COLOR

from MGM
tecHNICOLOR

TAKE THE
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GROUND1.

greatest African
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THE FIRST TWO

BIG ONES TRADE-SHOWN

IN 94 CITIES!

Strike up the band! There’s excitement on every Film Row. Never has any
company had for consecutive release such a group of important at-
tractions, and we’re arranging Previews in 9 4 cities so that YOU can SEE
FOR YOURSELF! And wait till you hear the details of "The Lucky Seven”
Showmanship Contests for every exhibitor attending the trade shows. Ask for
the Contest Booklet. And watch for announcements of the nationwide trade

shows of other BIG ONES!

SEE

FOR

YOUR-

SELF”

OFF
TO A
FLYING
START!

M-G-M presents in Color by
Technicolor “MOGAMBO” star-
ring Clark Gable • Ava Gardner
with Grace Kelly • Screen Play
by John Lee Mahin • Based Upon
a Play by Wilson Collison
Directed by John Ford • Produced
by Sam Zimbalist.

M-G-M presents in Color by
Ansco “TAKE THE HIGH
GROUND!” • starring Richard
Widmark • Karl Malden • Carleton
Carpenter • Russ Tamblyn • and
Elaine Stewart • Story and Screen
Play by Millard Kaufman
Directed by Richard Brooks
Produced by Dore Schary

CITY, STATE

THEATRE, ADDRESS

HOUR

“MOGAMDO"

“TAKE THE

HI6H GROUND !’’

ABERDEEN, S. DAK.

Capitol, 415 S. Main St.

9:30 A.M.

*9/30

ALBANY, N. Y.

Palace, 19 Clinton St.

10:00 A.M.

9/14

9/15

ALEXANDRIA, LA.

Don, 710 Bolton Ave.

10:30 A.M.

9/16

9/17

ALTOONA, PA.

Slate, 11th Ave. & 16th St.

10:30 A.M.

9/18

9/19

ATLANTA, GA.

Loew's Grand, 157 Peachtree St., N. E.

8:30 P. M.

9/14

9/15

AUGUSTA, ME.

Colonial, 137 Water St.

10:30 A.M.

9/21

9/22

BALTIMORE, MD.

North wood, 1572 Raven wood

10:30 A.M.

9/15

9/16

BEAUMONT, TEX.

Jefferson, 345 Fannin St.

9:30 A.M.

9/16

** Special

BIRMINGHAM. ALA.

Alabama, 1811 Third Ave., N.

9:00 A.M.

9/17

9/18

BISMARCK, N. DAK.

Dakota, 401 Fourth St.

9:30 A.M.

*9/24

BOSTON, MASS.

Loew's State, 205 Massachusetts Ave.

10:00 A.M.

9/14

9/15

BUFFALO, N. Y.

Shea's Buffalo, 646 Main

10:00 A.M.

9/14

9/15

CAPE GIRARDEAU, MO.

Esquire, 824 Broadway

10:30 A.M.

9/15

9/16

CEDAR RAPIDS, IOWA

Paramount, 123 Third Ave. S. E.

10:00 A.M.

9/16

9/17

CHARLESTON, S. C.

Gloria, 329 King St.

10:00 A.M.

9/17

9/18

CHARLESTON, W. VA.

Capitol, 123 Summer St.

10:00 A.M.

9/22

9/23

CHARLOTTE, N. C.

Carolina, 226 N. Tyron St.

10:00 A.M.

9/14

9/15

CHICAGO, ILL.

B & K Uptown, 4814 Broadway

10:30 A.M.

9/14

9/15

CINCINNATI, OHIO

Albee, 13 E. 5th St.

10:00 A.M.

9/14

9/15

CLEVELAND, OHIO

Loew's State, 1515 Euclid Ave.

11:30 P.M.

9/14

9/15

COLUMBUS, OHIO

Loew's Ohio, 43 E. State St.

9:00 A.M.

9/15

9/16

DALLAS, TEX.

Palace, 1625 Elm St.

9:30 A.M.

9/14

9/8

DAYTON, OHIO

Loew's, 125 N. Main St.

9:00 A.M.

9/17

9/18

DENVER, COLO.

Orpheum, 1537 Welton St.

10:00 A.M.

9/14

9/15

DES MOINES, IOWA

Des Moines, 517 Grand Ave.

10:00 A.M.

9/14

9/15

DETROIT, MICH.

Michigan, 134 Bagley Ave.

10:00 A.M.

9/14

9/15

DULUTH, MINN.

Granada, 109 E. Superior

9:30 A.M.

* 9/17

*9/17

EAU CLAIRE, WISC.

Hollywood, 412 S. Barstow

9:30 A.M.

* 9/16

*9/16

EVANSVILLE, IND.

Loew's Victory, 600 Main

8:30 P. M.

9/22

9/23

FARGO, N. DAK.

Fargo, 312 Broadway

9:30 A.M.

*9/23

* 9/23

FT. WAYNE, IND.

Paramount, 121 E. Wayne

10:00 A.M.

9/17

9/18

GRAND RAPIDS, MICH.

Majestic, 34 Division Ave., N.

10:00 A.M.

9/16

9/17

GREEN BAY, WISC.

Bay, 117 S. Washington

10:00 A.M.

9/16

9/17

GREENVILLE, S. C.

Fox, 229 N. Main St.

10:00 A.M.

9/21

9/22

HOUSTON, TEX.

Loew’s, 1022 Main St.

9:30 A.M.

9/17

** Special

INDIANAPOLIS, IND.

Loew’s, 35 N. Pennsylvania

8:30 P. M.

9/14

9/15

IRON MOUNTAIN, MICH.

Braumart, East Bay St.

10:30 A.M.

9/21

9/22

JACKSON, MISS.

Lamar, 127 N. Lamar St.

9:00 A.M.

9/22

9/23

JACKSONVILLE, FLA.

Florida, Forsyth St.

10:00 A.M.

9/15

9/16

KANSAS CITY, MO.

Loew's Midland, 1228 Main St.

10:00 A.M.

9/14

9/15

KNOXVILLE, TENN.

Tennessee, Gay & Church Sts.

9:00 A.M.

9/29

9/30

LAFAYETTE, LA.

Nona, 908 Simcoe St.

10:30 A.M.

9/15

9/16

LEBANON, N. H.

Opera House, 51 N. Park

10:30 A.M.

9/23

9/24

LITTLE ROCK, ARK.

Center, 407 Main St.

9:30 A.M.

9/16

9/17

LEXINGTON, KY.

Ben Ali, Main St.

10:00 A.M.

9/24

9/25

LOS ANGELES, CAL.

Fox Wilshire, 8440 Wilshire

10:00 A.M.

9/14

9/15

LOUISVILLE, KY.

West End, 34th & Broadway

2:30 P. M.

9/24

9/25

LUBBOCK, TEX.

Lindsey, 1019 Main St.

9:30 A.M.

9/21

** Special

MADISON, WISC.

Madison, 113 Minona

10:30 A.M.

9/23

9/24

MEMPHIS, TENN.

Loew's Palace, 81 Union Ave.

10:00 A.M.

9/14

9/15

MIAMI, FLA.

Paramount, Flagler St.

9:00 A.M.

9/16

9/17

MILWAUKEE, WISC.

Riverside, 116 W. Wise. Ave.

10:00 A.M.

9/14

9/15

MINNEAPOLIS, MINN.

Radio City, 36 S. Ninth St.

10:00 A.M.

9/14

9/15

MOBILE, ALA.

Brookley, Michigan Ave.

10:30 A.M.

9/24

9/25

MONROE, LA.

Jim, 412 Desiard St.

9:30 A.M.

9/17

9/18

MONTGOMERY, ALA.

Paramount, Montgomery & Moulton

9:00 A.M.

9/22

9/23

MT. VERNON, ILL.

Stadium

10:30 A.M.

9/17

9/18

NEW HAVEN, CONN.

Loew’s Poli, 23 Church St.

10:00 A.M.

9/14

9/15

NEW ORLEANS, LA.

Loew's State, 1108 Canal St.

10:00 A.M.

9/14

9/15

NEW YORK CITY, N. Y.

Loew's Lexington, Lexington & 51st.

2:15 P.M.

9/14

9/15

NORFOLK, VA.

Memrose, Colley & Raleigh Sts.

10:30 A.M.

9/24

9/25

OKLAHOMA CITY, OKLA.

Will Rogers, 4322 Northwestern

10:00 A.M.

9/14

9/15

OMAHA, NEBR.

Orpheum, 16th & Harney Sts.

10:00 A.M.

9/14

9/15

PEORIA, ILL.

Madison, 502 Main St.

10:00 A.M.

9/16

9/17

PHILADELPHIA, PA.

Arcadia, 16th & Chestnut

10:00 A.M.

9/14

9/15

PITTSBURGH, PA.

Loew’s Penn, 6th & Penn

11:30 P.M.

9/14

9/15

PLATTSBURG, N. Y.

Strand, 25 Brinkerhoff St.

10:00 A.M.

9/23

9/24

PORTLAND, ORE.

Laurelhurst, 28th & Burnside

2:00 P. M.

9/14

9/15

PROVIDENCE, R. 1.

Loew’s State, 220 Weybosset St.

9:00 A.M.

9/15

9/16

RALEIGH, N. C.

Village

10:00 A.M.

9/24

9/25

RICHMOND, VA.

Byrd, 2908 W. Cary St.

10:30 A.M.

9/22

9/23

SAGINAW, MICH.

Temple, 205 N. Washington

10:00 A.M.

9/15

9/16

ST. LOUIS, MO.

Loew’s State, 715 Washington Ave.

8:30 P. M.

9/14

★ 8/28

SALISBURY, MD.

Boulevard

10:30 A.M.

9/16

9/17

SALT LAKE CITY, UTAH

Villa, 3092 Highland Drive

2:00 P. M.

9/14

9/15

SAN ANTONIO, TEX.

Majestic, Houston St.

9:30 A.M.

9/18

** Special

SAN FRANCISCO, CAL.

Loew's Warfield, 982 Market St.

8:30 P. M.

9/14

9/15

SEATTLE, WASH.

Music Hall, 7th & Olive Way

10:00 A.M.

9/16

9/17

SHREVEPORT, LA.

Don, 516 Crockett St.

9:30 A.M.

9/21

9/22

SIOUX CITY, IOWA

Capitol, 4th & Nebraska

10:00 A.M.

9/16

9/17

SIOUX FALLS, S. DAK.

Hollywood, 212 N. Phillips Ave.

9:30 A.M.

*9/29

SPRINGFIELD, MASS.

Loew’s Poli, 194 Worthington

9:00 A.M.

9/16

9/17

SPRINGFIELD, MO.

Gillioz, 325 St. Louis St.

9:30 A.M.

9/24

9/25

STEUBENVILLE, OHIO

Paramount, 132 N. 5th St.

11:00 A.M,

9/17

9/18

TAMPA, FLA.

Palace, Tampa & Zack Sts.

9:00 A.M.

9/18

9/21

TOLEDO, OHIO

loew’s Valentine, 439 St. Clair

10:00 A.M.

9/15

9/16

TOPEKA, KAN.

Jayhawk, 107 W. 7th St.

9:15 A.M.

9/21

9/22

TULSA, OKLA.

Orpheum, 12 E. 4th St.

10:00 A.M.

9/15

9/16

UTICA, N. Y.

Uptown, 2014 Genesee St.

10:00 A.M.

9/16

9/17

WASHINGTON, D. C.

Loew’s Palace, 1306 F St., N. W.

(8:30 P. M.-

9/14)

(10A.M.-9/15)

WATERTOWN, N. Y.

Olympic, 234 State St.

10:00 A.M.

9/15

9/16

WHEELING, W. VA.

Capitol, Main St.

10:30 A.M.

9/16

9/17

WICHITA, KAN.

Miller, 1 15 N. Broadway

9:15 A.M.

9/16

9/17

WILKES-BARRE, PA.

Orpheum, 139 S. Main

10:00 A.M.

9/16

9/17

* Both pictures trade shown same date. ** Special: Texas saturation bookings mid-September serve as Trade Shows.

★ Si. Louis territory only “ Take The High Ground!" will be shown August 28 • 4:15 P.M.

CASTLEBERRY -a

spotless record — ,
except for the
blood on his hands

FLAMINGO — the bayou
swamp-cat in skin-tight
blue jeans — she was
his back-door queen !

The Chiselers

the cheap Tin Horns
the Two-Time Ladies
and the Two-Bit

Crooks . . .they all

made the Little Guy

a Big, Big Wheel-art

then he started
grinding them

down I

JEB BROWN -his
heart was too big —
it made an
easy target!

GUY POLL! - a rat

who squirmed
through every
loophole in the law!l

TRADE SHOW SEPT. 3

ALBANY BOSTON

Warner Screening Room RKO Screening Room

1)0 N. Pearl Sr. •12:30PM. 122 Arlington SI. • 2 30 P.M.

ATLANTA BUFFALO

20th Century-Fox Screening Room 20th Century-Fox Screening Room

197 Walton St N W • 2 00 P.M. 290 Franklin St • 8 00 P.M.

CHARLOTTE CINCINNATI

20th Century-Fox Screening Room RKO Poloce Th Screening Room

308 S. Church St • 2 00 P.M Poloce Th Bldg E. 6th • 8 00 P.M,

CHICAGO CLEVELAND

Warner Screening Room Warner Screening Room

1307 So. Wobash Ave. • 1 30 P.M. 2300 Poyne Ave. • 8 30 P.M.

DALLAS DES MOINES

20th Century. Fox Screening Room Poromount Screening Room
1803 Wood St. • 10.00 A.M 1125 High St • 124SP.M.

DENVER DETROIT

Paramount Screening Room Film Exchange Building

2100 Stout St. • 2 00 P.M. 2310 Cost Ave. • 2:00 P.M.

INDIANAPOLIS KANSAS CITY

20th Century- Fox Screening Room 20th Century-Fox Screening Room

326 No Illinois St. • 1 00 P.M. 1720 Wyandotte St. • I 30 P.M.

JACKSONVILLE LOS ANGELES

Florido Theatre Bldg Sc. Rm. Warner Screening Room

1 28 E. Forsyth St. • 2:00 P.M. 2025 S. Vermont Ave. • 2 00 P.M.

MEMPHIS MINNEAPOLIS

20th Century-Fox Srreening Room Worner Screening Room
lSIVonceAve. • 12ISP.M 1 000 Currie Ave. • 2.00 P.M.
MILWAUKEE NEW HAVEN

Warner Yheolre Screening Room Warner Theatre Projection Room
212 W. Wisconsin Ave. ■ 2:00 P.M. 70 College St. • 2:00 P.M.

NEW ORLEANS OKLAHOMA

20th Century-Fox Screening Room 20th Century-Fox Screening Room

200 S. Liberty St. • 8 GO P.M. 10 North Lee St. • 1 .30 P M

NEW YORK OMAHA

Home Office 20th Century-Fox Screening Room

321 W. 44th SI. • 2: 1 5 P.M. 1 502 Davenport St. - 1.30 P M.

PHILADELPHIA PORTLAND

Warner Screening Room Star Sc. Rm.

230 No. 1 3th St • 2 00 P.M. 925 N W 1 9th Ave. • 2 00 P.M.
PITTSBURGH SALT LAKE

20th Century-Fox Screening Room 20th Century-Fox Screening Room
171 5 Blvd of Allies • 1 30 P.M 316 East hi South ■ 1 00 P.M.

SAN FRANCISCO ST LOUIS

Republic Screening Room STenco Screening Room

221 Golden Cote Ave. • 1.30 P.M. 3143 Olive St. • 1 00PM.
SEATTLE WASHINGTON

Modern Theatre Warner Theatre Building

2400 Third Ave. • 10.30 A.M. 13»h 8 E Sts N W • 7 30 P.M

THIS PICTURE ALSO CAN BE EXHIBITED ON WIDE OR GIANT SCREENS

-WARNER ANDERSON-JOHN MclNTIRE - JEANNE CAGNEY • LON CHANEY
ERANK McHUGH-LARRY KEATING • ONSLOW STEVENS • JAMES MILEICAN

SCREEN PLAY BY

LUTHER DAVIS

DIRECTED BY RAOUL WALSH

Music by

Franz Waxman A

DISTRIBUTED BY

WILLIAM CAGNEY PR
WARNER BROS.

WARNER BROS.

PRESENT

JAMES

CAGNEY

■ «** with en'Zt

Mias

COLOR BY

CO STARRING

MOTION PICTURE HERALD

MARTIN QUIGLEY , Editor-in-Chief and Publisher

Vol. 192, No. 9

MARTIN QUIGLEY, JR., Editor

August 29, 1953

The Case for 3-D

A QUARTER of a century ago it was accepted with-
in the motion picture industry as factual that 3-D
- pictures were simply “gimmick novelties” and
“the public won’t wear glasses”. Despite what has hap-
pened in the nine months since “Bwana Devil” opened
in Los Angeles, many continue to believe the old dicta
rather than attempt to develop the full potentialities of
the 3-D medium.

How long the public will consent to wearing polariz-
ing viewers is a matter of speculation. Obviously it de-
pends largely on the entertainment offered. That the
public has worn viewers and is wearing them — 100,000,-
000 strong — is fact, not speculation.

The industry is not so rich that it can afford to lose
interest in any potential asset before mining it to the
full. There seems to be a danger that this is what may
happen in connection with 3-D. No one denies that the
3-D features presented thus far have been rush jobs, im-
perfectly made and, alas, in a significant number of
theatres, imperfectly projected. Yet, taken as a whole
the fifteen 3-D features now in release have grossed at
least two or three times what a similar group (in point
of cast, story and production values) would be expected
to earn if in 2-D.

Last week a strong voice of exhibition, that of Robert
j. O’Donnell of Interstate Circuit, Texas, was raised
against those who would lightly dismiss 3-D. Speaking
at a meeting of the Motion Picture Industry Council,
Mr. O’Donnell said: “I am surprised to find here in
Hollywood a great and growing apathy and indecision
about pictures in 3-D. Our experience shows that we are
still in a very healthy market for 3-D films — so much so
that right now I’m trying to persuade one of our biggest
studios to release one of its best musicals in 3-D, because
I think it will be great for them and great for the ex-
hibitor. Our experience shows that an audience can en-
joy an enormously satisfying evening at the movies in
3-D.”

In answer to an objection that “3-D grosses had fallen
off terrifically”, Mr. O’Donnell said that while some 3-D
grosses had slacked off they still remained far higher
than ordinary grosses. He also expressed the opinion
that where 3-D did not seem to be a success “the fault
might lie in not creating enough showmanship excite-
ment.” Mr. O’Donnell made it clear that he did not sug-
gest that 3-D alone would insure the future of the in-
dustry but “everybody would benefit if a good supply
of 3-D films were provided as part of the regular pro-
duction schedules.”

Mr. O’Donnell has done a service not only to his cir-
cuit, and to the several thousand exhibitors — large and
small — now equipped for 3-D but also to the whole in-
dustry in urging that quality 3-D films be released regu-

larly. This stand is taken, as Mr. O’Donnell noted, with-
out any disparagement of other new techniques. (Inter-
state is also enthusiastic about stereophonic sound, wide
screens and CinemaScope).

The fifteen 3-D features now in release and approxi-
mately the same number completed and awaiting release
include only a small number of major production efforts.
Up to now more effort and expense has been put into
3-D equipment including polarizing viewers than has
gone into released pictures.

The industry may have an uneasy conscience and a
lighter purse in the months and years ahead if it turns
away from 3-D without testing it fully. This requires
quality productions of all types presented and exploited
in the best ways possible.

■ ■ ■

Broadcasters & Fee TV

WALTER READE, JR., president of the Reade
Circuit and of the Atlantic Video Corporation
which will operate an ultra high frequency tele-
vision station in Eatontown, New Jersey, has recog-
nized the dangers of subscriber fee television to broad-
casters and to exhibitors. Last week he issued a state-
ment criticizing the action of four UHF broadcasters
that have appealed to the Federal Communications Com-
mission for fee TV. Until the action of those stations,
broadcasters had taken no position in favor of the sub-
scription television advocated by Phonevision and sev-
eral other organizations.

Fee TV was characterized by Mr. Reade as “an un-
tried and improbable box office TV gimmick.” He
asserted the broadcasters which felt that subscription
television was a necessity had “little faith” in their fran-
chise and little ability to attract audiences against all
competitive television stations.

Should the FCC approve fee TV it will require many
adjustments in the broadcasting field. So far as theatres
are concerned, it could well be a mortal blow to thou-
sands because it would clear the way for the sale of re-
cent and new Hollywood features to television. Fee TV
continues to be a more serious threat to theatres than
color television.

■ ■ ■

CJ One healthy development of the wave of interest in
3-D and various wide screen processes has been the fact
that exhibitors are taking a sharp look at their theatres.
By the time theatre operators have taken the measure-
ments requested in various surveys they will know much
more than ever about the physical characteristics of
their showplaces. This intensive probing of the theatre
itself is being carried on all over the world.

— Martin Quigley, Jr.

MOTION PICTURE HERALD

"SCREEN TECHNIQUES"

EXCITES COMMENT

ADVANCE copies of “New Screen
Techniques,’’ an illustrated volume
on 3-D and wide screen methods to be
published by Quigley Publishing Com-
pany September 10, have been circu-
lated in the industry. Comments from
executives in all branches of the trade
included these :

I found “New Screen Techniques” ex-
tremely interesting and think you have done
a wonderful job in this connection.

LEONARD H. GOLDENSON,
President, American Broadcasting-
Paramount Theatres, Inc.

Congratulations on a great job!

“New Screen Techniques” is a most lucid
and highly definitive work which makes a
most valuable contribution to the written
history of our industry.

I am certain it will be of tremendous in-
terest and assistance to everyone concerned
with the producing, exhibiting and publi-
cizing of motion pictures..

CHARLES EINFELD,
20th Century-Fox Film
Corporation.

“New Screen Techniques” is very inter-
esting.

MILTON R. RACKMIL,
Universal Pictures Company, Inc.

I know that it contains a wealth of in-
formation which will prove most helpful to
all exhibitors in this period of transition.

RUSSELL V. DOWNING, President,

Radio City Music Hall Corporation.

I know that reading “New Screen Tech-
niques” will serve to clarify a lot of the
vagueness which exists in my mind along
these lines. I also feel it is a tremendous
service to the industry.

JEROME PICKMAN,
Paramount Pictures.

I am sure it will prove most useful and
measure up in all ways to the high stand-
ards you always have maintained.

DARRYL F. ZANUCK,
20th Century-Fox Film
Corporation.

It is certainly most timely and should have
great public interest as well as for the people
within our own industry.

MORT BLUMENSTOCK,
Warner Bros. Pictures, Inc.

I congratulate you on the thoroughness
with which you dealt with your subject, and
I am sure it will be a must for all who want
to keep pace with the rapid changes that
are taking place within our industry.

A. E. DAFF,
Universal Pictures.

Your new book came along just in time.
I was beginning to get lost in the labyrinth.
It is a splendid job and a fine service.

Congratulations to you and all.

KENNETH CLARK,
Motion Picture Association
of America.

Congratulations on a very thorough and
competent job.

JOHN C. FLINN,
Allied Artists.

I am sure it will be a worthwhile volume
and that all of us here in the office will gain
much useful and valuable information from
it.

MORTON G. THALHIMER, JR.,
Richmond, Virginia.

I think this book will rightfully take its
place among all the important literature that
has been done on behalf of our industry.

MAURICE BERGMAN,
Universal Pictures.

We have received the copy of “New
Screen Techniques” and like it so much
that we should appreciate your sending us
two more copies and billing us for same.

CHARLES W. CARPENTER,
Technicolor Corporation.

I am very pleased with the “New Screen
Techniques,” a copy of which I have just
received from you.

RALPH WALKER,

Voorhees, Walker, Foley & Smith.

It’s an important book — important as an
idea, and done with fine purpose and good
results.

I’m proud to have been a part of it.

LYNN FARNOL, Publicist.

Permit me to congratulate you on both
the timeliness and the scope of the book.

LEONARD SPINRAD

I find “New Screen Techniques” very
interesting and helpful since we are convert-
ing to CinemaScope.

ANSELMO RENDUELES,

Key West, Florida.

August 29, 1953

MGM plans to assist theatres threatened
with closing due to tax Page 12

METRO announces release of ten films in
next four months Page 12

O'DONNELL, in Hollywood, calls a few
shots on current problems Page 13

TERRY RAMSAYE Says — A column of com-
ment on matters cinematic Page 16

TEXAS COMPO organization may get new
lease on life Page 1 6

READE attacks subscription TV as serious
competitive threat Page 18

HUSTON sees a profitable future in films
produced in 3-D Page 19

ALLIED ARTISTS plans 15 high budget pic-
tures on schedule Page 19

IFE lists important product in progress re-
port to the trade Page 19

20TH-FOX "Robe" in CinemaScope opens
on coast September 24 Page 20

WARNERS signs for production of Warner
SuperScope lens Page 20

INDUSTRY emerges in good shape from
state legislative sessions Page 22

MAJORS turning to art theatres as outlet
for special product Page 23

BRITISH exhibitor organization launches
battle on film rentals Page 24

BROADWAY grosses strong, with "Eter-
nity" showing the way Page 25

NATIONAL SPOTLIGHT— Notes on indus-
try personnel across country Page 27

THEATRES' value as community asset cited
by real estate official Page 32

SERVICE DEPARTMENTS

Film Buyers' Rating

3rd Cover

Hollywood Scene

Page

Managers' Round Table

Page

People in the News

Page

What the Picture Did for Me

Page

IN PRODUCT DIGEST SECTION

Showmen's Reviews
Advance Synopses
Short Subjects
The Release Chart
Release Chart by Company

Page 1965
Page 1966
Page 1966
Page 1968
Page 1973

MOTION PICTURE HERALD, AUGUST 29, 1953

— — MliW-Ttlf

to “Art and Seeing,” from the Uni-

RKO Radio Pictures is operating
at a profit at present and con-
ditions indicate that this
happy circumstance will continue,
William H. Clark, treasurer of the
company, testified in an affidavit
filed with the New York State Su-
preme Court in New York this
week. The affidavit was filed in
connection with a stockholders’ suit
seeking the appointment of a re-
ceiver for the company. Roy M.
McDonald, counsel for the com-
pany, told the court at the hearing
Tuesday that the company was “en-
tirely solvent.” A company motion
for an adjournment of hearings on
the suit to September 14 was
granted. Plaintiff stockholders are
Louis Schiff of New York and
Jacob Sacks of Boston.

► New product to be released dur-
ing the autumn and winter will get
nation-wide publicity in the Fifth
Annual Motion Picture issue of the
“Sunday News Coloroto Magazine”
section of the New York “Daily
News.” The special issue will be
given over entirely to stories about
and stills from the new pictures.
Last year’s Fourth Annual issue
carried more than 60 movie stills,
43 of them in full color, and Kate
Cameron’s two page preview of the
motion picture season. Circulation
of the “Sunday News” is approxi-
mately 3,700,000.

► Last Sunday evening the Screen
Producers Guild made its first an-
nual presentation of Inter-Collegi-
ate Awards “for the best motion pic-
tures conceived and created in the
colleges and universities of the
United States,” and screened the
three winning films, at the Academy
Awards theatre to an invited audi-
ence comprised of industry leaders,
organization executives, guild and
union representatives and members
of the press. The first-place winner,
the University of Southern Califor-
nia’s “Let Me See,” was awarded a
Gold Medallion, presented by Jesse
L. Lasky, and to Herbert Skokie,
student-director of the film and re-
garded as having contributed most
to the success of the production,
went a week’s personal-participation
in the production councils of five
major studios. Second place went

versity of Minnesota, and the third
place entry was “Treasure In a Gar-
bage Can,” from the University of
California at Los Angeles. Honor-
able mentions went to McMurray
College of Abilene, Texas, to Har-
vard, and to the University of
Miami. The SPG Inter-Collegiate
Award, a short year in existence, is
notably long-range in a field of ac-
tivity seldom credited with looking
beyond today. The SPG aim is, in
simplest terms, to encourage the
college generation to study the mo-
tion picture, mayhap for some to
prepare for a motion picture career.
A Hollywood long over-stocked
with awards and awards-presenta-
tions can well add to its calendar of
kudos another so completely con-
structive as this one of the Screen
Producers Guild.

► George White, supervising editor
for Magna Productions and personal
assistant to Michael Todd, produc-
tion head ; and Stanley Lambert,
sound technician, left Tuesday by
plane for Rome to join Mr. Todd for
the filming of scenes in connection
with one of the Magna Productions
to be produced in the Todd-AO
65mm widescreen process. Mr.
White was a Metro editor for 23
years and Mr. Lambert was with
the same company 25 years before
joining Magna.

► Italy’s most popular export, Sil-
vano Mangano, gracefully adorns
the cover of the current issue of
“Newsweek.’ Three full inside
pages contain pictures of more
sirens, mention of Italian Films Ex-
port organization, and the revital-
ized production activities of the
country. Director Renato Castellani
makes an amusing point. Discuss-
ing film realism he points out that
Americans “applauded our early
postwar pictures for their newsreel-
like photography. It wasn’t stark

photography, just bad photography.
Our cameras were old, our film was
less than perfect, but once you ac-
claimed it, our cameramen continued
for a long time to make films that
way since everyone thought it so
real-like. I’ve even heard of com-
panies scratching a perfectly good
negative to give it that ‘newsreel
quality’ Americans wanted.”

► Reports from Chicago early this
week that Howard Hughes would
be in that city this week to discuss
the sale of old RKO pictures to tele-
vision interests were described in
Hollywood Tuesday by a company
spokesman as “completely ridic-
ulous.”

► Approximately 2,625 theatres in
the U. S. and Canada are now
equipped for 3-D presentations, ac-
cording to a distributor survey.
There are 450 theatres in the New
Y ork exchange area so equipped.
The Los Angeles territory ranks
second with 260 and Dallas is third
with 231.

► A Holdrege, Neb., theatre em-
ploye was its first 3-D “victim.”
Watching “Fort Ti” at the Sun,
W. O. Arvidson became so en-
grossed that he ducked when an ar-
row came zooming toward him dur-
ing an Indian scene and he struck
his nose against the wall.

► The development of drive-ins, it
would have seemed lately, has about
reached its logical conclusions, in
placement of cars, screens, speakers,
concessions, and the like. Neverthe-
less, revolutions may come along in
this medium as well as the regular
theatre. An interesting experiment
is the drive-in at Urbana, Mo., where
the cars are on the rim of a circle
and each car has its own screen.
The projection is from the center,
throwing to the back of each of 42
screens through a reflector system.

MOT|0N PiCTURE HERALD, 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, President; Martin Quigley, Jr., Vice-President; Theo. J. Sullivan, Vice-President and Treasurer; Raymond Levy, Vice-President; Leo J. Brady,
Secretary; Martin Quigley, Jr., Editor; Terry Ramsaye, Consulting Editor; James D. Ivers, News Editor; Charles S. Aaronson, Production Editor; Floyd E. Stone, Photo Editor;
Ray Gallagher, Advertising Manager; Gus H. Fausel, Production Manager. Bureaus: Hollywood, William R. Weaver, editor, Yucca-Vine Building, Telephone HOIlywood 7-2145;
Chicago, 120 So. LaSalle St., Urben Farley, advertising representative, Telephone, Financial 6-3074; Washington, J. A. Otten, National Press Club; London, Hope Williams
Burnup, manager, Peter Burnup, editor, 4 Golden Square. Correspondents in the principal capitals of the world. Member Audit Bureau of Circulations. Other Quigley
Publications:! Better Theatres, published thirteen times a year as Section II of Motion Picture Herald; Motion Picture Daily, Motion Picture and Television Almanac and Fame.

MOTION PICTURE HERALD, AUGUST 29, 1953

PREPARING for the Allied National Convention
in Boston October 5 to 7, below, are Norman
Glassman, seated left, general convention chair-
man, and Julian Rifkin, treasurer. Standing are W.
Leslie Bendslev, publicity chairman; Ray Feeley,
co-ordinator; and Al Lourie. attendance chairman.

AUDREY HEPBURN, star of Paramount's "Roman Holiday", is hon-
ored at Radio City Music Hall where the picture opened August 27.
With her are Russell V. Downing, Music Hall president and managing
director, Adolph Zukor and Barney Balaban.

WARNER BROTHERS introduced "The Beggar’s Opera", starring Sir
Laurence Olivier in his first singing role, this week at the Baronet theatre
on New York's Third Avenue. It was a "tea and crumpets" premiere as shown
above with Sir Henry Hobson, K.B.E., served by the subdeb hostesses.

EDWARD KENNEDY, below, presents a check for $50,-
000 from the Joseph P. Kennedy, Jr., Foundation to Bos-
ton's Jimmy Fund. Receiving it is Dr. Sidney Farber,
director of the Children's Cancer Research Foundation,
while Ted Williams, guest of honor at the benefit dinner,
and Martin J. Mullin, president of the Foundation, beam.

mmmmm

MOTION PICTURE HERALD, AUGUST 29, 1953

ANTHONY R. MORRIS, below right, overseas sales man-
ager of Associated British Pathe, Ltd., visits Norton V.
Ritchey, Monogram International president, in his New
York office.

ROBERT STRAUSS, above center, star of
Paramount's "Stalag 17", meets some
Paramount Gulf executives in New Or-
leans. On the left are Maurice Barr, ad-
vertising manager, and Holland Smith,
manager of the Saenger theatre; at right
are Hank Plitt, general manager, and
Jimmy Howell, buyer.

JAMES A. MULVEY, center right, returns
to New York from a vacation in Ireland,
and is greeted by members of his staff at
Goldwyn Productions. Left to right: Mar-
tin Davis, Robert Mochrie, Mr. Mulvey,
Harry Archinal and David Golding.

Hugh Owen

W. Gordon Bradley

John G. Moore H. Neal East

SALES STAFF PROMOTIONS at Paramount this week included the
naming of Hugh Owen executive assistant to E. K. O'Shea, distribution
vice-president, and the promotion of W. Gordon Bradley, Atlanta;
John G. Moore, Boston; and H. Neal East, San Francisco, to posts as
assistant division managers. Both Mr. Owen and George Smith retain
their posts as division sales managers but will be able to devote more
time to general sales problems.

JACK L. WARNER arrives at the Zeiss-
Opton plant in Oberkochen, Germany, for
formal signing of the agreement between
Warner Brothers and the German com-
pany for production of the lenses for the
WarnerSuperScope wide screen system.
With Mr. Warner, first row center, are
Dr. Heinz Kuppenbender, Zeiss-Opton;
Frank Cahill, W.B. coordinator of techni-
cal affairs; Dr. Paul Henrichs and Dr.
Hans Sauer, Zeiss-Opton; Heinz Thiele,
Zeiss-lkon; Al Tondreau, head of the
Warner studio camera department; Dr.
Horst Kohler, Zeiss-Opton; Joseph Hum-
mell, W.B. continental manager, and Jos-
eph Westreich, W.B. German supervisor.

1 1

MOTION PICTURE HERALD, AUGUST 29, 1953

MfGM to Offer
MO films in
four Months

MGM will release 10 pictures between
September 1 and the end of the year, seven
of which will be in color, it was announced
by the company in New York this week.

The new releases will make a total of 45
films from MGM during the calendar year.
Of this total, 21 are in color. The total
does not include two color reprints, “Trader
Horn’’ and “Sequoia,” released as a combin-
ation in June.

For September, the releases are “Half a
Hero,” with Red Skelton and Jean Hagen ;
“Terror on a Train,” with Glen Ford and
Anne Vernon, and “The Actress,” with
Spencer Tracy, Jean Simmons and Teresa
Wright.

The October releases, all in color, are
“Mogambo,” with Clark Gable and Ava
Gardner ; “Torch Song,” with Joan Craw-
ford and Michael Wilding, and “Take the
High Ground,” with Richard Widmark,
Karl Malden and Elaine Stewart. The No-
vember releases are “All the Brothers Were
Valiant,” with Robert Taylor, Stewart
Granger and Ann Blyth, and “Kiss Me,
Kate,” with Kathryn Grayson, Howard Keel
and Ann Miller. Both are in color.

The two December releases are also in
color. They are “Escape from Fort Bravo,”
with William Holden, Eleanor Parker and
John Forsythe, and “Easy to Love,” with
Esther Williams, Tony Martin and Van
Johnson.

Attorney Answers UA
Towne Case Brief

CHICAGO : Attorney Thomas C. McCon-
nell last week filed an answer to United
Artists’ brief in the Milwaukee Towne case,
stating that the Master in Chancery’s re-
commendation that United Artists should
return the Towne stock to the Towne Cor-
poration should be approved by Federal
Judge William Campbell, because the stock
was “obtained by coercion.” He also stated
that Towne has paid off all indebtedness,
including interest owed to United Artists
and has offered to repay to United Artists
the $10,000 plus interest for the 200 shares
of stock in the Towne Corporation. No
date has yet been set for a possible further
hearing or a decision by Judge Campbell.

Richmond Council Votes
To Keep Admission Tax

RICHMOND, VA.: The City Council has
turned down an appeal made by the com-
munity theatre interests and voted unanim-
ously to continue a municipal five per cent
admissions tax, which is expected to add
$135,000 to the city treasury. Several
months ago, an ordinance proposing repeal
of the levy had been introduced. In review-
ing the tax, Councilman Harold H. Der-
vishian said that figures he recently com-

MCM WILL HELP THEATRES
THREATENED WITH CLOSINC

MGM will seek to keep distressed theatres
open until admission tax relief can be con-
sidered by the next session of Congress, ac-
cording to a letter sent to exhibitor asso-
ciation presidents by Charles Reagan, gen-
eral sales manager of the company.

Mr. Reagan said the company feels it
is its duty to help in preventing theatres
from closing and that “all possible aid” will
be offered. The company has not set any
formula for administering its aid, but will
handle each situation on an individual basis.

The text of the letter follows :

“The bitter disappointment of theatre
owners who have been carrying on in the
hope that relief from the 20 per cent Fed-
eral tax would help keep them from closing,
may result in some communities being de-
prived of motion picture entertainment.

“We believe that motion picture theatres
are an important avenue of communication
to the Government and that amusement is
a vital necessity to the public during these
uncertain times. We want to keep them
open if possible, particularly the only theatre
in a town or community.

“Because your association is close to
these situations, if you know any who are
in distress, and have not indicated to our
local branch manager thejr predicament,
we will appreciate it if you will ask them
to contact him at once in order that all
possible aid can be given to enable them to
remain open until the much needed relief

from this unfair tax can have the considera-
tion of Congress.

“We know that their closing will injure,
if not destroy in some cases, many years
of hard work and effort they have put in
to give the people of their community a place
to see motion picture entertainment, and
we feel it is our duty to aid to prevent that
happening even at a sacrifice to ourselves
in our none-too-easy problem of keeping
our own books balanced and still furnish
good entertainment and relaxation to the
American public.

“Your assistance in advising your mem-
bers of our concern and our desires in this
matter will be greatly appreciated.”

The Reagan letter brought forth an im-
mediate and warm response from Alfred
Starr, president of Theatre Owners of
America.

In acknowledging the MGM offer, Mr.
Starr wrote: “Your letter of August 21 out-
lines a policy on the part of your company
that is indeed far-sighted and unselfish, and
one which is bound to be beneficial to the
entire industry. ... It would be a Godsend
to our industry if all distributors would
notify their branch managers to take care
of the distressed situations without the pro-
longed delay of submitting the facts to
New York. The branch manager is familiar
with these situations and he should be del-
egated the authority to act, and to act
quickly.”

piled showed that the industry paid “pro-
portionately” the same amount of taxes as
Richmond merchants. Industry representa-
tives had argued at a public hearing that
it was a discriminatory tax and cut the
amusement dollar of the city.

U.A. Meeting September 3
On Forthcoming Product

A two-day meeting of United Artists dis-
trict managers to set distribution plans for
the company’s product program will be held
at the home office September 3 and 4. Top
company executives will attend, among them
Arthur B. Krim, president; Robert S. Ben-
jamin, chairman of the board; William J.
Heineman, distribution vice-president ; Max
E. Youngstein, vice-president; E. G. Kranze,
general sales manager; Milton E. Cohen,
eastern division manager, and James Valde,
western division manager.

Barron to Head Drive

Win Barron, Paramount special repre-
sentative in Canada, has been named to head
the Canadian section of the “Adolph Zukor
Golden Jubilee Salute,” “August 30-Decem-
ber 5, it has been announced by Gordon
Lightstone, Canadian general manager.

Cull Summer
flan Success

Reports submitted so far indicate that
Theatre Owners of America’s “Summer
Vacation Plan,” helped set new attendance
records and pile up goodwill during the so-
called “dog days,” according to a recent
issue of the TOA Progress Report.

Reports from 80 theatres known to be
conducting a series of summer vacation
shows list an average weekly attendance of
more than 60,000 children. Theatres report-
ing are all circuits: Fox Midwest with 46;
Commonwealth, 25; Fox Intermountain, 12;
Evergreen Theatres, nine; Walter Reade
Theatres, seven.

The plan was outlined last January by
Elmer C. Rhoden, of Kansas City, chairman
of the public relations committee, at a meet-
ing of the TOA board of directors in New
York.

Brandt Firm Buys Theatre

Brandt Theatres, New York, have pur-
chased the Laff movie theatre on Times
Square, and will change the name of the
house to the Empire theatre.

MOTION PICTURE HERALD, AUGUST 29, 1953

O'DONNELL* AT STUDIOS*
CALLS A FEW SHOTS

Says an Exhibitor Cannot
Tell Producers How to
Make Better Pictures

HOLLYWOOD : Exhibitors should not at-
tempt to tell producers how to make mo-
tion pictures, according to Robert J. O’Don-
nell, vice-president of the Interstate circuit
and one of the nation’s leading exhibitors.

The statement, which at first glance
would seem to belong in the man-bites-dog
news category, was included among many
candid opinions which Mr. O’Donnell got
off his chest last week at a meeting of the
Motion Picture Industry Council here. It
was occasioned by a suggestion from one of
his listeners that some setup be devised by
which Hollywood producers could obtain
opinions concerning production problems
from leading exhibitors.

Said Mr. O’Donnell promptly: “I think
you’d be talking to the wrong shoemaker.
I don’t think there’s an exhibitor in Amer-
ica who can tell you how to make them
(motion pictures). Our job is to put them
over with showmanship.”

The Texas exhibitor did admit, however,
to trying “to pursuade one of our biggest
studios to release one of its best musicals in
3-D, because I think it will be great for
them and great for the exhibitor. Our ex-
perience shows that an audience can enjoy
an enormously satisfying evening at the
movies in 3-D.”

This echoed his earlier remarks to the
producers that, contrary to some Hollywood
opinion, a very healthy market continues to
exist for 3-D films — at least so far as Texas
is concerned. As with wide-screen and
stereophonic sound, he said, 3-D has helped
create new excitement about motion pic-
tures, opening up many new opportunities
for genuine showmanship and leading to
outstanding box office grosses.

Says He Is Opposed
To All Standardization

One of the greatest values of the new
technical advances is the manner in which
the so-called “lost audience” is being
brought back to the theatres, he said, re-
porting that a poll in one of his theatres
revealed that at least 1,500 persons were
attending a film “for the first time in a
year.”

Because of the new elements of advertis-
ing and showmanship made possible by tech-
nical advances, he declared himself as being
opposed to those who call for “standardiza-
tion,” arguing that “each of the processes
and methods gives you something exciting
to talk about.” It also helps to make pos-
sible “diversified entertainment — something
we’ve been talking about for years.”

ROBERT J. O'DONNELL

Mr. O’Donnell said he was “surprised to
find here in Hollywood a great and growing-
apathy and indecision about pictures in 3-D.
Our experience shows that we are still in
a very healthy market for 3-D films. . . .”
Some 3-D grosses have slacked off, he
agreed, but even so they remain far higher
than ordinary grosses, particularly when the
film lives up to expectations.

Asked whether he had any grumbling
from audiences concerning 3-D glasses, he
replied, “No.” He observed that some let-
ters of complaint had been received from
patrons expressing disappointment in some
particular 3-D film. His organization kept
a record of the letters and when a better
3-D film was booked, sent passes to the
people who had complained, with excellent
results in goodwill.

Is Not Advocating 3-D
As Industry Future

Asked whether a tremendously successful
film like MGM’s “The Band Wagon” would
have done any better at the box office if it
. had been in 3-D, the Interstate executive
said, “In my opinion, yes.”

“Please understand,” he said, summing up
his 3-D views, “that I’m not advocating 3-D
as the future of the industry. But I think
everybody would benefit if a good supply of
3-D films were provided as part of the reg-
ular production schedule.” He urged too
that stereophonic sound, “important in it-
self,” not be overlooked or minimized in
connection with recent technical develop-
ments.

Mr. O’Donnell’s remarks, however, were
not confined to 3-D and whether or not
producers should listen to exhibitors such as
he. He also touched upon television, the
past, present and future of the Council of

Motion Picture Organizations, film indus-
try research, new product, length of films,
admission prices and his position in regard
to the Production Code Administration,
which withheld its seal from “The Moon Is
Blue,” which his theatres are playing.

In regard to the latter, Mr. O’Donnell
said his action in playing the picture had
been widely misinterpreted. “We have no
intention of opposing the Code or of play-
ing pictures which don’t have the seal. We
certainly don’t want to see the Code des-
troyed or go out of business and we don't
want to tear it down in anyway.”

Sees Tax Fight Making
COMPO Status Certain

He gave the impression that the film had
been contracted for under circumstances in
which denial of the seal had come as a great
surprise. He emphasized that in showing
the film in Texas, special care had been
taken to avoid sensationalism in the adver-
tising.

Turning to COMPO and its future, Mr.
O’Donnell declared, “by the tremendous
campaign it carried on to obtain repeal of
the 20 per cent admission tax, COMPO
demonstrated its value beyond any shadow
of a doubt. It achieved great stature. The
raising of funds will now be much easier
and you can be sure that COMPO is going
forward.”

Asked about the report that Texas
COMPO was folding, he answered that so
far as he knew, this wasn’t so; that Texas
COMPO merely had cancelled a conference
scheduled for September but that the organ-
ization “would continue to function and that
it has the funds to do so.” The man who
had headed COMPO’s “Movietime U.S.A.”
campaign a couple of years ago then told
the producers that the tours of Hollywood
personalities had been “very exciting” and
“we hope to see more of them start again.
We do contemplate resuming them.”

Sees Television as
No Permanent Threat

Concerning proposals for an over-all re-
search operation, Mr. O’Donnell said, “I
think we were all terribly remiss in sitting
back the way we did. Three or four years
ago, Elmer Rhoden and I tried to push for
an industry research program. I’m sure that
if the industry had had a research depart-
ment functioning on the right scale, many
of the bugs which plagued some of the new
developments would have been eliminated
long ago. I certainly hope this will be one
of COMPO’s early future projects.”

Serious competition from television, said
the exhibitor, dwindles after the owner has
had his set for about six months. He em-
( Continued on page 16, column 3)

MOTION PICTURE HERALD, AUGUST 29, 1953

A Message from the 1300 Field Employee

NAT ROSEN

Albany

CENTURY- F

We of the distribution department want t
United States and Canada who have so wh

AL LICHTMA

AUGUST 30th-OCTOBE

We assure you of our continued dedication
at all times, the best interests of the gr

s of

SAM E. DIAMOND ABE DICKSTEIN V. J. DUGAN

Philadelphia New York Denver

Portland Washington, D. C.

o thank all the exhibitors of the
oleheartedly joined with us in our

N TESTIMONIAL

R 3rd

to the pleasure of serving,
eat motion picture industry.

gjgsggg

1 err? naiaito

CONSIDERING KINSEY
AND MOVIELAND

THE two biggest news events of the
week agone have been the "H" Bomb
in Russia and the released review of
Dr. Alfred C. Kinsey's 842-page "Sexual
Behavior in the Human Female." It per-
tains mainly to what to many will seem
misbehavior. In journalistic space and head-
lines it out-rates the bomb. Perhaps it is
because people have more sex than bombs.

So far as one may judge from the re-
views, while sex so much concerns the mo-
tion picture and now and then so involves
the films in censorships about impingement
on morals which always seem to mean sex,
the Kinsey findings will not be telling Holly-
wood and cinemaland much. But what is
told is perhaps important.

Dr. Kinsey's findings indicate, none too
clearly, the differentiation between the
male and female interest in sex. He grants
that physiologically, when the issue is really
joined, so to speak, the reactions are about
identical. Meanwhile, it seems pointed up
that the male has a sort of stabbing, im-
mediate, urgent on-the-spot interest, but
that the female tends to a long term in-
terest in something contributory to a
career, or maybe mink, yachts and or may-
be a success, including a home, family,
social security, etc.

Man more than woman, it is indicated, is
out for fun right now, while woman can take
it or leave it. That is not over-all the im-
plication of the motion picture. Creatively
the product of men, the films and their
publicity, seem to tend to present woman
in roles and attitudes nearer to the pattern
of male desire than to fact.

All-in-all, however, the screen by sheer
gravitational experience has made adjust-
ment, in merchandise fashion, to the in-
terest expressed by buying power.

Dr. Kinsey's new book is emerging from
the press with a pre-publication run of a
quarter of a million copies, certainly an
anticipation of a best seller, and at $8 the
copy. There is one best seller Hollywood
production can hardly be tempted to buy.
Sex is in the public domain, and Dr. Kinsey
is neither romancer nor dramatist.

The mass-market "New York Evening
Journal" had pages upon pages of reviews
and derivative "name" copy. The "good
grey" and great "New York Times" had a
single column of calm Associated Press
copy, on an inside page.

It is to be noted with approbation that
at the initial break there was only some
minor publicity — opportunity attempts in
Hollywood, and that it was clear that some

of the major studios had laid down a policy
lid of "no comment" on their name people.
That is probably too intelligent to prevail
across the film scene very long.

So far as indicated in the reviews, Dr.
Kinsey has paid in this volume no attention
to Hollywood. Plainly enough had he been
so minded and in ardent quest of publicity
he might have. There are many reasons, all
proper, why he did not, and to his credit.
It will be remembered, perchance, that
Hollywood sex got quite a going over in
the volume entitled "Hollywood — the
Dream Factory," in 1950, by Dr. Hortense
Powdermaker, anthropologist, who pre-
sented some purple case notes, second
hand, from chatterbox'- sources. That got
more reviews than circulation attention. It
was hardly as scientific as the Kinsey opus.

One who has been looking over the scene
and sex longer than Dr. Kinsey may observe
that his finding that there was a sex-relation
revolution in sequel to World War I, the
flapper-and-cocktail era, is probably in
error. It only looked that way. There has
never been a revolution in sex, just as there
has not been in the metabolism of Homo
Sapiens. His survey samples 6,000 women,
interviewed over a period of 15 years,
means for his four major investigators two
interviews a week with ladies who were will-
ing to talk about it, face to face with a
professor. Those fellows did not get around
very well as compared with able amateurs.
Why no female interviewers, I wonder.

The indications are that the love story
will about as now continue the staple motif
of fiction for stage and screen and printed
page. It will also be delivered to taste
from the delicacies and glamours of poetic
romance to the high-proof extra dry de-
coctions of the sexual avant garde.

All the arts, including cinema, are con-
scious.

Assembled audiences have in the main a
morality controlled by convention and the
presence of the neighbors. Individual
morality is an individual and private matter.
Never forget that.

SATURATION POLICY— Elmer Rhoden
told a Rotary Club meeting in Kansas City
the other day that the tendency in pictures
was bigger but fewer. He cited the Holly-
wood output at, in 1951, a total of 369 full
length features, in 1952 about 316, and
estimated 1953 at 240. That reminds us
that in 1895 Thomas A. Edison's agents,
after a year of selling kinetoscope peep
show films, suggested additions to the pro-
gram. His answer: "Why? Everybody
hasn't seen all those we've got, yet."

Will Seek to
Reorganize
COMPO Unit

DALLAS : Efforts will be made to reorgan-
ize Texas COMPO and establish a long-
range, intensified program of operations at
a special meeting of executive board mem-
bers here September 2, Kyle Rorex, execu-
tive director, announced here Monday.

The announcement followed last week’s
unexpected announcement, also from Mr.
Rorex, that the unit would be dissolved as
of October 15 since operating funds for the
fiscal year then ending had been depleted.

The decision to hold a special meeting
September 2 was taken last Friday, said Mr.
Rorex, following telephone conferences with
Robert J. O’Donnell, vice-president and
general manager of the Interstate Circuit,
and with the majority of the unit’s execu-
tive board.

"While we have received commitments
from some of the major contributors,” said
Mr. Rorex, “not all have pledged to go be-
yond the end of the current fiscal year.
After talking on the telephone with Mr.
O’Donnell, executive chairman of Texas
COMPO, who is in Beverly Hills, and a
majority of the executive board members, a
special meeting has been called for Tuesday,
September 2, at which time it is hoped that
there will be a reorganization of Texas
COMPO with a long-range, intensified
program.

“Mr. O’Donnell felt that he was express-
ing the opinion of all the supporters that
both the Texas and national COMPO should
if possible and practical, continue, but de-
velop on an even broader and more inclusive
scale than ever existed before. Meanwhile,
normal operations will continue.”

O'DONNELL SAYS

( Continued from page 13)
phasized, however, that the new medium can
be a fantastically effective force for selling
motion pictures, particularly through pro-
perly prepared trailers.

“The horizon, from the exhibitor’s point
of view, is getting brighter all the time,”
he added in reference to the new product
coming up on the release schedules. “There’s
a wonderful flow of product coming out of
Hollywood. The outlook for the fall is the
best I can remember, with more fine films
coming from every company than ever be-
fore.”

He cautioned, however, that “many fea-
tures are too long.”

“They have handicapped us in building
diversified programs, particularly including
shorts and we believe in making the most
of shorts with the same enthusiasm we apply
to features. The best length for a motion
picture is 90 minutes.”

Concerning admission prices, he said he
favored a “policy of flexibility,” with the
admission price fitting the attraction.

MOTION PICTURE HERALD, AUGUST 29, 1953

THE EVIDENCE IS CONCLUSIVE

"IT'S A SMASH!''

EXHIBIT A

DETROIT — Fox — HOLDOVER ! FIRST
WEEK BEAT "AFRICAN QUEEN"!

EXHIBIT B

CINCINNATI - Capitol - HOLDOVER!
YEAR'S BIGGEST GROSSER!

EXHIBIT C

PHILADELPHIA -Goldman- 3 SMASH WEEKS!

EXHIBIT D

CLEVELAND - Loew's State -TOP BUSINESS!

EXHIBIT E

BUFFALO — Shea's Buffalo — SENSATIONAL!
EXHIBIT F

SAN FRANCISCO -Golden Gate-

TERRIFIC GROSSES!

LL THE DRIVE OF A .45 SLUG!" — Time Magazine

SOL LESSER presents

EDWARD G

PAULETTE

WITH

K.T. STEVENSPORTER HALL
Adam Williams - Edward Binns - Jay Adler - Joan Vohs

Produced by JULES V. LEW and ARTHUR GARDNER
Directed by ARNOLD LAVEN • Screenplay by LAWRENCE ROMAN

Another BIG ONE thri

READE ATTACKS
SUBSCRIBER TV

Cites His Experience as a
Circuit Head to Refute
Four Who Back Plan

A sharp note against the recent appeal by
broadcasters to the Federal Communications
Commission in favor of subscription tele-
vision was sounded in New York last week
by Walter Reade, Jr., president of Walter
Reade Theatres, Inc.

Mr. Reade spoke also as president of the
Atlantic Video Corp., which will operate
an ultra-high frequency TV station in Eat-
ontown, N. J. Mr. Reade, commenting on the
recent move of four ultra-high frequency
broadcasters in support of pay-as-you-see
television, referred to his experience as a
circuit executive.

Cites Community Service

Mr. Reade said that if the UHF oper-
ators had fought competitively, as the Reade
interests have, for the patronage of the
public over the past several decades, they
would realize that by giving the public
the entertainment and service the public
wishes, a loyal and effective audience can
be built and maintained on the basis of
community service and entertainment.

Mr. Reade said that his thinking is com-
pletely contrary to those prospective UHF
operators who had been fortunate enough
to be recognized by the FCC and given a
franchise to operate a UHF television sta-
tion in their communities, both because
of their background and financial abilities.
These operators, he said, without putting a
shovel in the ground or laying out a dollar
in cash, have arbitrarily resigned them-
selves to the belief that they cannot be
financially successful unless they are sup-
ported by an untried and improbable box
office TV gimmick. That gimmick, he added,
is in itself a delusion because it is based
on the findings of a loaded questionnaire,
containing few if any facts.

Cites “ Little Faith ”

Mr. Reade said the UHF operators
showed “little faith” in their franchises by
making the appeal to the FCC, claiming
that because their areas are surrounded by
network VHF stations, they need subscrip-
tion TV as an economic “prop.” WRTV,
the New Jersey Reade station now under
construction, is in an area covered by seven
New York VHF stations and will be inde-
pendent of network affiliation, it was pointed
out.

The four broadcasters who asked the FCC
for a ruling in favor of subscription TV
were: Home News Publishing Co., grantee
of UHF channel 47, New Brunswick, N. J. ;
Pennsylvania Broadcasting Co., WIP-Gim-
bels, Philadelphia ; Stamford-Norwalk Tele-

vision Corp., and the Connecticut Radio
Foundation, Inc., of New Haven.

Pending for the past year before the FCC
is the petition of the Zenith Radio Corp.,
seeking approval of its Phonevision system.
The bid of the four grantees was the first
petition in favor of pay-as-you-see television
filed by broadcasters.

Industry Executives Plan
To Instruct at College

HOLLYWOOD : The University of South-
ern California has substituted those versed
in the practical for the usual theorizers in
its course on films. Prominent industry
executives will be guest instructors for the
series of evening classes dealing with mo-
tion pictures planned for the fall term. In-
cluded in the course will be editing, sound,
processing, art direction, films for television,
color, writing and documentation. Among
the visiting lecturers will be Leo O. Kuter,
art director, Warner Brothers; Sidney P.
Solow, general manager, Consolidated Film
Industries; Joseph Westheimer, camera
technician of Consolidated, Marlin Wald,
writer-producer of Filmakers Pictures,
Robert Joseph, publicity director of Film-
akers Carl E. Johnson, production assist-
ant, Pat Dowling Pictures, and Harry Bas-
kerville, Jr., color consultant.

Altec Announces Expansion
Of Its Field Staffs

Altec Service has appointed four new
branch managers, and 19 new field repre-
sentatives. The branch managers are F. W.
Hal', northeast New York; D. M. Cole,
east, Washington, D. C. ; J. W. McBurney,
south, Charleston, W. Va. ; and W. Wicks,
central, Minneapolis. The appoints bring
the managers’ total to 22. The new field men
are R. D. Fairbanks, D. Waddell, S. N.
Treht, R. Siegel, F. A. Brown, G. W. Evans,
D S. McLean, J. L. Pyle, J. T. Eves, L. E.
Grewell, C. C. Kaufman, W. Y. Dejarnette,
J. V. Cole, R. E. Seeley, J. B. Pesek, L. W.
Felder, F. T. Spencer, D. L. O’Brien, C. A.
Satchell.

Chicago Council Approves
New Parking Ordinance

CHICAGO : A new parking ordinance has
been approved by the Chicago City Council
which requires the owners of all buildings
to be constructed in the future to provide off-
the-street parking facilities. All future thea-
tres must provide parking space for one car
for every 10 seats up to 500 and one for
every five seats thereafter. This ordinance
applies only to buildings constructed in the
future outside of the Loop area, according to
the official interpretation.

U. .S. Picture
Program Is
Cut Sharply

WASHINGTON : Congressional budget
cuts have forced the Government’s overseas
film program to eliminate all plans for new
film production and equipment purchases
and to cut down drastically on all other
phases of the program.

The film division, it was learned Monday,
has been tentatively allocated about $3,000,-
000 of appropriations for the current fiscal
year, back to the 1950 level after three years
of far greater appropriations.

J. Cheever Cowdin, former Universal
Pictures hoard chairman, recently took over
as head of the films division. So far he is
refusing to comment on his plans, pending
further study of the effects of the budget
cut. The film division appropriations totaled
approximately $10,200,000 in each of the
1951 and 1952 fiscal years and $7,100,000
in fiscal 1953.

The $3,000,000, it was reported, will
mean no new film purchases and that no
new equipment can be bought even to replace
existing equipment that wears out. It
means a cut in the number of languages
into which existing films can be translated,
the number of prints that can be made of
each language version, the amount of main-
tenance that can be carried out on existing
equipment, and in other activities of the
division.

Rocky Mountain Owners
Honor RKO Sales Head

DENVER : Leading exhibitors in the Rocky
Mountain area honored Charles Boasberg,
general sales manager of RKO, at a lunch-
eon last Wednesday at the Brown Palace
Hotel. J. R. Grainger, president of RKO,
introduced Mr. Boasberg, who was making
his initial trip to Denver since becoming
sales manager. Among the exhibitors at-
tending the luncheon were F. H. Ricketson,
Jr., president of Inter-Mountain Theatres;
Robert W. Selig, vice-president and gen-
eral manager of Inter-Mountain ; Larry
Starsmore, president of Westland Theatres,
and Charles Gilmour, president of Gibraltar
Enterprises.

To Plug Basketball Film

The colorful Harlem Globe Trotters will
exploit Alfred Palca’s screen biography of
the basketball zanies at every game the team
plays this season. All radio, television and
newspaper publicity will also publicize the
film, “Go, Man, Go!”

Documentary at Film Fair

“Tanga Tika,” a documentary film of
Tahiti, produced and directed by Dwight
Long, has been accepted for showing on
one of the 16 programs to be presented at
the Venice Film Festival.

i 8

MOTION PICTURE HERALD, AUGUST 29, 1953

I.F.E. Gets 4
Top Films for
Release Fist

The acquisition by I.F.E. Releasing Corp.
of four major films which will spearhead the
fall and winter release schedule was an-
nounced in New York Tuesday by Bernard
Jacon, sales and distribution vice-president,
at a special luncheon for exhibitors and the
trade press that marked the six-month anni-
versary of the releasing organization.

The newly-acquired pictures are : “The
Golden Coach,” Italy’s first film in color
by Technicolor, which also marks Jean Re-
noir’s first directorial effort 'since “The
River,” and Anna Magnani’s first English-
speaking role; the new Ingrid Bergman
picture, tentatively titled “Europa 51,” di-
rected by Roberto Rossellini; “The White
Hell of Pitz Palu,” an adventure thriller
of mountain-climbing, and “Sensualita,” a
drama that introduces actress Eleonora
Rossi-Drago.

All Types of Theatres

Mr. Jacon emphasized that I.F.E. in-
tends to play all types of theatres through-
out the U. S. and is offering a production
schedule to meet all classes of American
audiences.

Having proved the acceptability to the
American public of dubbed Italian pictures,
I.F.E. has scheduled a fall release program
which includes six dubbed pictures as well
as two (“Golden Coach” and “Europa 51”)
which were originally filmed in English,
and two Italian-language subtitled features,
Mr. Jacon disclosed.

Jonas Rosenfield, Jr., advertising and pub-
licity vice-president, declared that “there
are no “sluff’ pictures on the I.F.E. sched-
ule. Every one of our pictures comes to the
exhibitor pre-sold and supported by a hard-
hitting promotion campaign. We intend to
continue, as in the past six months, to allo-
cate the lion’s share of our budget to co-
operative point-of-sale campaigns, which
we are convinced pay off best for the ex-
hibitor at the box office.”

Set Coast Exploitation

Outlining a plan to establish field exploita-
tion offices in each of the organization’s five
division areas, Mr. Rosenfield announced
that such a setup has just been arranged in
Los Angeles with Henry Levy handling ex-
ploitation and publicity in conjunction with
Western division manager Alex Cooperman’s
sales activities.

Final speaker on the luncheon program
was William Brandt, exhibitor, who spoke
of his first hand impressions of production
activity in Rome as seen on a recent trip ;
E. R. Zorgniotti, executive vice-president;
Bernard Lewis, promotion manager; Fred
Goldberg, publicity manager; Phil Levine,
and Dr. Leandro Forno, who handle sales
and publicity respectively for the Italian-
American film program, were introduced by

Seymour Schussel, eastern division mana-
ger and assistant to Mr. Jacon.

The complete schedule of fall leleases
follows: Currently in release “Anna,” “O.
K. Nero,” and “Bitter Rice.” For Septem-
ber : American language-versions of “The
Little World of Don Camillo,” and “Three
Girls from Rome,” and the subtitled “Bel-
lissima.” October: “Europa ’51,” and “The
Secret Conclave,” in English language; and
“Times Gone By,” English subtitles. Nov-
ember : “The Golden Coach,” “White Hell
of Pitz Palu,” and “The Young Caruso,”
all English language. December: “Sensua-
i;ta,” in English.

B fusion Sees
A Profitable
.*/«## feature

Disagreement with what was described as
“the general feeling in Hollywood that 3-D
is going by the boards” was voiced in New
York Monday by producer-director John
Huston.

Mr. Huston, who was to leave Thursday
for London, expressed enthusiasm for the
medium, saying he would like to do a pic-
ture in 3-D, although his present plans do
not lend themselves to it. Mr. Huston will
complete the editing of his latest film, “Beat
the Devil,” in London. He estimated its
cost at $1,800,000.

He disclosed plans for three new produc-
tions, one of them to be “Moby Dick,” star-
ring Gregory Peck, and to be released
through Warner Brothers. The two others
are “Matador,” and a film based on a Rud-
yard Kipling story. He added that he has
made no distribution commitments on the
latter two. The three pictures will be
financed by Moulin Productions, he said.

Mr. Huston said that while he favors the
use of wide screen, he does not look with
favor on “horizontal” screens, referring to
those employed in conjunction with the ana-
morphic processes. His next three films,
he said, will be filmed for wide screen and
stereophonic sound.

Mr. Huston asserted that the Production
Code has “saved us from state censorship
and political panaceas.”

Quits Italian Film Post

Dr. Renato Gualino has resigned as presi-
dent of the Unione Nazionale Produttori in
Rome, it has been announced by the board of
directors of the Italian film group. Dr.
Gualino’s resignation was caused by the ex-
panded activities of Italian Films Export
Releasing Corporation and Lux Films, both
of which he heads.

Set "Escape" Release

“No Escape,” the suspense story starring
Lew Ayres, Sonny Tufts and Marjorie
Steele, has been added to United Artists’
schedule of September releases, it has been
announced by William J. Heineman.

. 1 llied A r lists
Plans IS High
Rudget Films

Fifteen top productions with important
name casts that have not been available to
the company heretofore will be produced
by Allied Artists during the coming season,
Morey Goldstein, general sales manager,
said in New York Monday following a
weekend sales meeting in Chicago at which
he presided.

The full Allied Artists schedule comprises
approximately 45 film releases, of which
the 15 already mentioned will be in the
higher budget bracket. He asserted that
Allied Artists is prepared to make pictures
in any ratio in 3-D or any other new tech-
nique demanded by exhibitors.

One of the most important on the sched-
ule, Mr. Goldstein said, will be a picture
still untitled to be made on location in Ire-
land and starring Yvonne DeCarlo and
Barry Fitzgerald. Another will be “Hold
Back the Night,” based on a best-selling
novel about the Korean War. The one 3-D
picture scheduled so far is “Dragonfly
Squadron,” starring John Hodiak.

Others in the lineup are “House By the
Sea,” Joan Bennett; “The Annapolis Story,”
Technicolor; “Jennifer,” Ida Lupino and
Howard Duff ; “Fighter Attack,” Sterling
Hayden, Cinecolor ; “Royal African Rifles,”
Louis Hayward ; “Arrow in the Dust,”
Sterling Hayden, Cinecolor; Walter Wan-
ger’s “Riot in Cell Block 11;” “Slade,”
Mark Stevens ; “Pride of the Blue Grass,”
Lloyd Bridges, and “African Fury,” a
jungle documentary.

In addition there will be four in the
Bowery Boys series, four Bill Elliott action
films, two in the Bomba series, four with
Wayne Morris and four “Wild Bill Hickok”
pictures with Guy Madison and Andy De-
vine.

At the Chicago meeting it was announced
that Terry Turner of General Teleradio
Corporation had been retained by Allied
Artists to handle special TV and radio
campaigns for the production, “Riot in Cell
Block 11.”

David Selznick Acquires
"Bell, Book and Candle"

David O. Selznick has agreed to basic
terms with John van Druten and Irene M.
Selznick for the acquisition of the film rights
of the Broadway stage play, “Bell, Book
and Candle.” According to the producer,
Jennifer Jones will probably co-star in the
film, which will be made in London or Rome
in 1954. Mr. Selznick has announced that
the picture will not be produced by him per-
sonally but will be one of a group of co-
productions he is setting up abroad. One
of the films in this series is “Terminal Sta-
tion,” starring Miss Jones and Montgomery
Clift and co-produced with Italian director
Vittorio de Sica in Italy.

MOTION PICTURE HERALD, AUGUST 29, 1953

OPEN ‘KOBE9
COAST SEPT.

ON II '.Mi. Lenses

To Be \ Katie
in Germany

CinemaScope Is Shown by
S hour as to Film Trade
of Germany at Frankfurt

News of 20th Century-Fox’s Cinema-
Scope was echoing around the world this
week. The major events were these:

In Hollywood Charles Skouras, president
of National Theatres, announced he had
signed contracts for the exclusive presenta-
tion of “The Robe” in Southern California
at Grauman’s Chinese theatre, starting the
night of September 24. The film, the first in
the new process, will have its world premiere
at the Roxy in New York the evening of
September 16.

Skouras in Frankfort

In Frankfort, Germany, Spyros Skouras,
president of 20th-Fox, was on hand Tuesday
for the first demonstration of the process
in that country.

In New York, Michael J. Moodabe, OBE,
governing director of Amalgamated The-
atres of New Zealand, announced that ne-
gotiations had been completed for the in-
stallation of CinemaScope equipment in more
than 60 theatres of the circuit and that “The
Robe” will be premiered simultaneously
October 23 at the Civic, Auckland, the
country’s largest theatre, and the King’s,
Wellington.

National Theatres’ announcement reveals
that one of the provisions of the contract
for “The Robe” to play the famous Chinese
theatre is that the film will not be shown
in any other Southern California house in
1953. The contract also calls for the biggest
advertising campaign expenditure in the
history of the circuit. The sum of $100,000
has been allocated for the complete redecora-
tion of the theatre, inside and out, including
CinemaScope installation.

Besides Mr. Spyros Skouras, those on
hand for the Frankfort demonstration at the
Metro Au Schwan theatre were Murray
Silverstone, president of 20th-Fox Inter-
national Corporation ; Albert Cornfield,
managing director for Europe, and R. A.
Krieier, managing director for Germany for
the American company.

Exhibitors, Officials Present

Attending were several thousand prom-
inent exhibitors from all parts of Ger-
many, as well as government officials and
the press and equipment manufacturers. The
program consisted of the same Coronation
shots and clips from “The Robe” and “How
to Marry a Millionaire” shown previously
in demonstrations in other countries and in
the United States.

New Zealand’s Mr. Moodabe further an-
nounced that 10 theatres in his circuit will
be equipped with CinemaScope before

Christmas and that the remaining will be
equipped during next year. He said that
both the Liberty in Christchurch, and the
Octagon in Dunedin, currently are under-
going extensive redecoration, preparatory
to “Robe” premieres this winter during the
Royal Tour of Queen Elizabeth II through
Australia and New Zealand.

Said Mr. Moodabe : “After seeing Cin-
emaScope, I am definitely convinced that all
New Zealanders and movie-goers in every
other country of the world will be thrilled
with this marvellous technique developed by
20th-Fox.”

Promotion at High Speed

Promotion of “The Robe” itself also was
going great guns this week. The film dom-
inates the September 8 issue of “Look Mag-
azine,” which went on sale Tuesday. The
magazine’s cover and two separate lay-
outs, totaling seven pages are devoted to
the picture.

More than 300 religious and foreign lang-
uage newspapers across the country now
are receiving from 20th-Fox a publicity kit
on the film. Included are 13 news features
and stories concerning the Biblical spectacle,
as well as technical material on Cinema-
Scope.

The company has announced that exhibit-
ors will receive, beginning in October, the
biggest campaign manual in the history of
20th-Fox, on “The Robe.” The book will
cover advertising, publicity and exploitation
material. An equally large manual also is
being prepared for “How to Marry a Mil-
lionaire,” the company’s second feature in
CinemaScope.

Huff Collection Goes
To Eastman House

The George Eastman House in Rochester,
N. Y. has been given the motion picture
collection of the late Theodore Huff, writer
and film historian. The collection consists
of over 30,000 still photographs selected over
a period of 20 years. A large library of
original musical scores for silent films is
included in the material as well as an exten-
sive international library of basic motion
picture books. The collection is a gift of
Mrs. Marianne Huff as a memorial to her
son.

Lease Brooklyn Strand

Morris Goldman and David Sanders have
leased the 3,000-seat Strand theatre, Brook-
lyn, N. Y., from Fabian Enterprises, Inc.,
and will feature a Spanish language policy.
The Strand will be the largest theatre in
the United States devoted exclusively to the
presentation of Spanish films and stage at
tractions.

HOLLYWOOD : Warner Brothers an-
nounced here Monday that Jack L. Warner,
executive producer of Warner Brothers
pictures, in Munich, Germany, has signed a
formal agreement between Warners and
Zeiss-Opton G.M.B.H., lens manufacturers
of Oberkochen, Germany, for the production
and delivery of the special photographing
and projection lenses for the recently an-
nounced WarnerSuperScope wide-screen
system.

Mr. Warner and Warner Brothers’ tech-
nical representatives inspected the Zeiss
lenses at the factory and pronounced results
of the optical tests perfect. The closing of
the agreement was described as “the culmi-
nation of the research carried on for many
months at Warner Brothers’ west coast
studio.” WarnerSuperScope has an aspect
ratio of 2.66 to 1.

Among the pictures to be produced in the
new process are “Helen of Troy,” “A Star
Is Born,” “Lucky Me,” “Rear Guard,” “Mr.-
Roberts,” “East of Eden” and “Giant.”

Sell Portland Theatre;

First Runs to Change

PORTLAND, ORE.: One of the largest
theatres on the coast, the 3,400-seat Para-
mount theatre here is being dropped by the
Evergreen Theatres Corporation as of Octo-
ber 31 and transferred to the Portland Para-
mount Theatres Corporation, headed by
M. M. Mesher, former Oregon district head
for Evergreen. This is part of a big change-
over in the first run status of the theatres
in the city.

Until recently only two circuits in the
city were getting first runs but by the end
of October there will be four. The circuits
and their theatres to be showing first runs
will be Portland Paramount, Paramount ;
Hamrick, Liberty: J. J. Parker, Broadway;
and Evergreen, Fox, Oriental and Orpheum
theatres.

All the Evergreen theatres in the city
have been recently modernized or plan
modernization. The Orpheum recently in-
stalled a CinemaScope screen, and a wide
screen was put into the Oriental. On Sep-
tember 5, the Mayfair will change its name
to the Fox and start a complete overhaul
of the theatre, with CinemaScope and stereo-
phonic installations set.

Pickman Circuit Speaker

Two meetings of theatre circuit managers
were addressed this week by Jerry Pickman,
Paramount vice-president in charge of ad-
vertising, publicity and exploitation. Pick-
man will discuss Paramount product, cur-
rent and forthcoming. The Stanley Warner
zone meeting was in Pittsburgh Tuesday,
and Butterfield in Lansing, Mich., Wednes-
day.

MOTION PICTURE HERALD, AUGUST 29, 1953

SCREEN AHEAD Release of

ON STATE BILLS

War MS rut am

Taxes Biggest Issue in All
Areas; Sunday Shows in
Legislative Limelight

Taxes and fees affecting film theatres
were issues in a number of state legislatures
during the year, with the over-all outcome
favorable to the industry but of compara-
tively minor general significance as far as
affirmative action was concerned.

An analysis of reports from state capitals
throughout the country reveals that prob-
ably the most important development in the
state law-mills from the industry viewpoint
was the Pennsylvania legislature’s rejection
of a proposed 10 per cent tax on admissions.

Dropped for Sales Tax

The Pennsylvania tax proposal, which
would have raised an estimated $10,000,000
a year in additional annual revenue, was one
of a number of revenue-raising ideas dropped
when the lawmakers decided to enact a new
one per cent retail sales tax.

Pennsylvania lawmakers did enact a bill
increasing state license fees, including those
for projectionists. Under the new law, the
license fees for motion picture projectionists
were raised from $2 to $3 for initial appli-
cation to take examination and from $5 to
$7.50 after passing it.

A bill reducing license taxes on film thea-
tres was enacted in Montana. A 1947 law
required Montana theatres to pay a tax of
1%. per cent of gross ticket sales above
$12,000 a year. The new measure raises that
exemption to $20,000.

Carolina Bill Vetoed

Governor Byrnes vetoed a South Carolina
bill which would have repealed close to 90
per cent of the state’s business license tax
on theatres. Estimating that the bill would
have reduced revenue from the tax from
$223,000 to $23,000 a year, the Governor
said he was forced to veto the measure “in
the light of budget conditions.”

South Dakota’s legislature enacted a bill
allowing school districts to levy a 10 per
cent admission tax to go into a building
fund. Only cities, counties or districts main-
taining auditorium facilities can levy the tax
under the measure, which requires that the
money must be used to build or remodel
buildings or be invested in interest-bearing
bonds.

Tennessee lawmakers repealed a 1949 law
authorizing cities and counties to levy a 20
per cent tax on admissions to amusement
places. The local taxing power had never
produced any revenue because the law stipu-
lated it wouldn’t apply so long as the Fed-
eral government levied a similar tax of the
same amount.

Also enacted in Tennessee was a bill

making the state gross receipts tax on thea-
tres and other places of amusement payable
monthly in arrears instead of annually in
advance. Killed by the Tennessee solons was
a measure proposing a tax of five cents per
patron on drive-in theatres.

Failing of enactment in Texas was a
measure proposing to exempt from the state
amusement admissions tax all tickets selling
for less than 80 cents, instead of 50 cents.

A new Delaware law permits the show-
ing of films from noon until 6 p.m. and from
8 p.m. until midnight on Sundays outside of
incorporated towns and cities, as was al-
ready permitted within incorporated com-
munities. Drive-in theatres will be the main
beneficiaries of the new measure.

South Dakota lawmakers killed a bill to
legalize Sunday shows, baseball games,
operas, ballets and other forms of amusement
where an admission is charged.

Sunday Bill Rejected

Rejected by the Vermont legislature was
a bill which would have allowed Sunday
shows to start at 2 P. M. Shows already
are permitted Sunday evenings in Vermont.
The proposed afternoon shows would have
been made subject to local referendums by
the defeated bill.

State censorship of motion pictures was
raised as a legislative issue in several states,
with entirely negative results.

Delaware’s legislature rejected a bill pro-
posing the creation ot a three-member state
board of censors to pass on the morality and
propriety of films.

A bill to abolish the Kansas State censor
board was buried in legislative committee.

Killed in the Maryland legislature was a
controversial bill to tighten the state’s cen-
sorship law and extend the authority of the
three-member state board of censors.

Censor Measure Killed

Massachusetts lawmakers killed a bill
which would have provided for censorship
by the State department of public safety of
all foreign films brought into the state.

An unsuccessful attempt was made to re-
peal Ohio’s film censorship law, the consti-
tutionality of which was recently upheld by
the state supreme court.

Bills proposing new or more stringent
regulations governing the construction and
operation of drive-in theatres were intro-
duced in the legislatures of a number of
states, with enactments including a new
Tennessee law prohibiting the placing of any
obstruction between cars in drive-ins.

Apparently aimed at preventing drive-in
theatres from putting up partitions dividing
stalls in which cars are parked during show-
ing of pictures, the measure provides that
no such theatre shall maintain screens or
other obstructions.

LONDON : MGM’s spectacle, “Quo Vadis,”
is scheduled to go into general release here
September 28 after a run at the Leicester
Square Empire where it is to be shown for
the first time on a panoramic screen. The
film already has enjoyed a total West End
run of 71 weeks.

It opened here originally January 25, 1952,
at two theatres, the Carlton, Haymarket,
and the Ritz, Leicester Square. After 13
concurrent weeks at the two houses, it con-
tinued at the Ritz only.

Opposition grows among independent
producers to the plan to distribute Group
Three product through British Lion. The
Group, entirely financed through the Na-
tional Film Finance Corporation, hitherto
has concerned itself with second feature
production. The Finance Corporation’s
James H. Lawrie is credited with the inten-
tion of turning over the Group to first fea-
ture production.

Independent producers and others protest
it is unfair that they should face competition
from an organization whose sole budget
requirements are met by Government money.
They also claim the new setup will make
the Government a powerful competitor in
their field and put banker Lawrie into the
position of an unchallengeable dictator of
a considerable section of production. The
matter will be raised at the next meeting of
the Producers’ Association.

In the gaily adorned annual report of Pye,
Limited, among the leaders in Britain’s
radio industry, the company’s chairman,
Charles Orr Stanley, tilts heavily at the
film industry over its official attitude to
sponsored TV. Mr. Stanley also is closely
connected with the Associated Broadcasting
Development Company, whose business is
fostering commercial television.

Referring to the film industry, he says:
“This muot, of course, oppose commercial
television because the day commercial tele-
vision comes, programmes will improve, en-
tertainment will be a gerat deal more varied,
and the public will have more choice in their
entertainment.” He advices that only two
things can save the film industry : a cheaper
production cost for better films and partici-
pation in commercial television.

Dallas "Morning News"

Starts Film Directory

DALLAS: In an effort to increase local
theatre business, the Dallas “Morning News”
has started a cross directory of motion pic-
tures playing in all the Dallas theatres and
drive-ins. This project, in which the paper
absorbs the cost, lists films and theatres
alphabetically in a cross-reference listing.

MOTION PICTURE HERALD, AUGUST 29, 1953

MAJORS TURN TO ART
HOUSE FOR SPECIALS

by MANDEL HERBSTMAN

The swank, comfortable little art theatres
that stud New York have long been the
favored show cases for choice foreign pic-
tures. During the past year or so, how-
ever, a significant change has been develop-
ing slowly.

As a result, major Hollywood companies
today are selecting art theatres with increas-
ing frequency as the houses to open certain
pictures. Practically every major company
has had world premieres of important prod-
uct at the art houses during the past year,
and some companies have had numerous art
house openings.

Two Basic Reasons

The reason for the shift in the product
flow to the art houses is basicallv t.wo-fold.
First, many of the Hollywood companies
are becoming increasingly aware that cer-
tain caliber product can bring home a hand-
some profit when wisely placed in an art
theatre. The same product can get lost
when booked into one of the large Broadway
houses.

Clem Perry, executive of Rugoff and
Becker, New York art theatre circuit, cites
four reasons why art theatres are attractive
opening places for certain product: 1. They
bring good returns. 2. The pictures get an
appreciative audience. 3. Low opening
budget. 4. Long runs are reasonably
assured.

The second factor in explaining the grow-
ing appearance of major company films in
art houses is that foreign pictures, which
once were so widely available, to a great
extent have vanished. The reasons are best
explained by Noel Meadow, foreign film
distributor. For one thing, Mr. Meadow
explains, the French and Italians are not
turning out pictures in the same number as
before and immediately after the war. An-
other reason is that the financial demands
made on an American distributor are such
that he considers it an enormous risk. Em-
phasizing this point, Mr. Meadow asserted
that at least 10 distributors of foreign pic-
tures have gone out of business during the
past year.

Most Used by MGM

The company most widely utilizing the art
houses is MGM. The wisdom of this policy
is best indicated by its production, “Lili,”
with Leslie Caron. The picture is now in
its 25th week at the 52nd Street Trans-Lux.
Upon the completion of its run, MGM is
putting another of its attractions into the
house. It is “The Actress,” with Spencer
Tracy and Jean Simmons.

Howard Dietz, MGM vice-president of
advertising and publicity, declared happily
last week that “Lili” at the theatre will rack
up a triumphant gross of $250,000.

“It is a question,” Mr. Dietz remarked,

"QUEEN" SETS RECORD
RENTAL AT ART HOUSE

Universal-International's "A Queen
Is Crowned," which completed a 1 0th
week at the 450-seat Guild theatre
in New York recently is reported to
have rolled up the biggest gross of
any film to play an art house in the
United States for a similar period,
and to have already yielded the
greatest film rental to U-l from any
single engagement in an art house
in the U.S. The film rental accruing
to U.l. from the Guild alone is under-
stood to be $95,000. A gross in ex-
cess of $150,000 for the first 10
weeks of the J. Arthur Rank produc-
tion at the Guild was reported.

“of whether it is most desirable to give the
picture a long run at a house of limited
capacity, or a short run at a house of large
capacity.”

Among some of the other pictures MGM
has opened at art houses during the past
year are “Hour of 13” with Peter Lawford,
at the Little Carnegie ; “Scandal at Scourie,”
with Greer Garson and Walter Pidgeon, at
the same house ; “Bright Road,” with Harry
Bellafonte at the 55th Street Playhouse.
Earlier the company put “Pandora and the
Flying Dutchman,” with Ava Gardner and
James Mason, into the Normandie.

Warners ’ First Use

This month Warner Brothers went to the
art theatre for the first time by opening “So
This Is Love,” the Grace Moore story star-
ring Kathryn Grayson, at the Normandie
theatre. Last Monday Warner Brothers
strengthened the drift to art theatres by
opening its opulent production, “The Beg-
gar’s Opera,” at the Baronet theatre. The
film was produced by Herbert Wilcox and
Sir Laurence Olivier in color by Techni-
color and has the latter sing for the first
time on the screen.

Universal-International’s special film
division handles the distribution of films
specially designed for art houses, primarily
J. Arthur Rank productions. However, the
company recently sent a regular June re-
lease, “A Queen Is Crowned,” into many-
art houses with encouraging success. Among
some of the company’s regular art house
releases have been “The Promoter,” “The
Importance of Being Earnest,” “Crash of
Silence,” etc. A few weeks ago “The Cruel
Sea” was accorded a glittering opening at
the Fine Arts.

Columbia the past year or so opened two
of its major productions in art houses. They
were the Stanley Kramer production. “Mem-
ber of the Wedding,”, and “The Four Pos-

ter,” with Rex Harrison and Lili Palmer.
Currently having its premiere at the Beek-
man is its “Mask of the Himalayas.”

United Artists has had many art house
premieres for Hollywood and British-made
pictures. Now in its first run at the Sutton
theatre is “The Moon Is Blue.” The film
also opened at a Broadway house simul-
taneously. The company’s “Limelight” also
opened at a Broadway house as well as an
art house, Trans-Lux 60th Street. U.A.’s
recent release, “Guerilla Girl,” had its pre-
miere at the 55th Street Playhouse. Sev-
eral other pictures of the company had art
house premieres.

Two RKO Premieres

RKO Radio this year had two art house
premieres : “The Sea Around Us,” a docu-
mentary, and “Face to Face,” with James
Mason. Both opened at the Trans-Lux 60th
Street.

One 20th Century-Fox film had an art
house premiere this year. “O’Henry’s Full
House,” an omnibus picture, played the
Trans-Lux 60th Street.

Although Paramount has had no art
theatre openings the past year, some time
back it did have two, both omnibus pictures,
“Encore” and “Trio.”

The past year Republic was not unknown
to art house premieres. “The Lady Pos-
sessed,” with James Mason and June Havoc,
opened at the Trans-Lux 60th Street.

A few years ago, in a press interview,
David O. Selznick said pertinently : “Some-
times it is possible to make more money
with a premiere in a 450-seat art theatre
than in the 6,000-seat Music Hall.” The
observation has proved its validity time and
again.

Condon Sets Exploitation,
Publicity Survey for U.A.

Richard Condon, vice-president of the
public relations firm of Norton and Condon,
Inc., will undertake a 90-day survey of ad-
vertising, publicity and exploitation activi-
ties on behalf of films produced for LInited
Artists in Great Britain and Europe. In
announcing the assignment of Mr. Condon,
former director of advertising, publicity and
exploitation for RKO, Max E. Youngstein,
vice-president of United Artists, said he will
try to develop methods for coordinating in-
formation and material from the producers
and the firm’s publicity offices abroad for use
by the home office in New York. Mr. Con-
don is expected to sail for Europe Septem-
ber 17.

Paramount Sales Drive
Honors Oscar Morgan

Oscar A. Morgan, Paramount general
sales manager for short subjects' and Para-
mount News, will be honored by the com-
pany with the celebration of Oscar Morgan
Week October 25-3 1 , it is announced by
A. W. Schwalberg, president of Paramount
Film Distributing Corporation. Each year
at approximately this time for the past four
years, Paramount has set aside a week to
pay tribute to the short subjects and Para-
mount News general sales manager.

MOTION PICTURE HERALD, AUGUST 29, 1953

BRITISH FIGHT
FILM RENTALS

Fuller Tells CEA Members
Not to Pay Over 50%, as
Recommended Ceiling

by PETER BURNUP

LONDON : Exhibitors here are toughening
up in their resistance to the higher rentals
which American traders are allegedly im-
posing for 3-D and other special subjects
and C.E.A.’s general secretary, Walter Reg-
inald Fuller, has disturbed the summer lull
with a remarkably outspoken circular letter
on the subject.

Mr. Fuller seizes first on MGM’s “Quo
Vadis” and says that the company’s original
demands included extended playing time, SO
per cent for the average of a number of best
weeks and 70 per cent over, and increased
prices.

Reiterates Opposition

In this regard, Mr. Fuller counsels his
members as follows : “The recommendation
of General Council not to pay more than 50
per cent for any film still continues and is
emphatically reiterated. It has been stated
recently that Sam Eckman is abating these
terms. If this is so, please tell your local
bookers’ committee. If he has not done so,
do not pay them.”

Warners’ outstandingly successful “House
of Wax” then comes under the Fuller micro-
scope with the suggestion that similar rent-
als are asked for it. “Again exhibitors are
reminded of the recommendation not to pay
more than 50 per cent for any film,” says the
C.E.A. secretary. He bluntly adds: “It will
mean commercial suicide if exhibitors pro-
ceed to establish a film rental precedent of
70 per cent for 3-D pictures.

Mr. Fuller claims to be unimpressed with
the suggestion that 3-D will lead to another
El Dorado. "If you have heard reports that
3-D means a repetition of the introduction
of talking pictures and its attendant boom,
you are being misinformed,” he declares.

“If you pay 70 per cent for film rental
for one film where will you have the money
to pay the loss on those that do not attract
additional business? The rentor ought to be
supplying the polarized glasess. Instead you
have to bear the heavy cost and if you need
extra staff you will also have to pay for
that. If 3-D is to be of use to you it must
be less expensive and not mean increased
film rentals.”

Linked to Tax Campaign

Mr. Fuller links the higher rental process
with his entertainment tax abatement cam-
paign. He comments that increased rental
payments will show up in Board of Trade
statistics and thus come to the attention of
the Chancellor of the Exchequer. The lat-

ter, so the argument runs, will be well
aware that the additional hire receipts will
proceed to American renters and thereby
increase the Chancellor’s American dollar
problem. “You can forget about entertain-
ment tax relief if you increase your pay-
ments for film hire to the American ren-
ters,” he says.

Attacks U.S. Policy

The manifesto takes a crack also at recent
complaints that American renters seek to
impose an unwarranted sale-condition by
insisting that supporting programme sub-
jects be included in a first-feature deal. Mr.
Fuller advises his members to bring any such
complaint to the notice of the C.E.A. local
branch. “You will be surprised how much
attention is paid by the renters when you
complain in public at the branches,” he says.

The string of Mr. Fuller’s unexpected on-
slaught is to be discerned. The circular con-
cludes : “Film rentals, as always, have already
become the most pressing problem capable of
solution with a united effort at this mo-
ment. . . . Until relief is actually obtained
from other sources film hire is the only
item of your expense which is immediately
capable of reduction, but you will not get
it unless you ‘go after it.’ ”

The manifesto is accepted here among the
better informed as a sighting-shot in pre-
paration for a winter barrage directed not
so much at the preservation of the existing
50 per cent rental ceiling but at a general
over-all reduction in film hire.

Surprise is manifested in orthodox circles
that the C.E.A. general secretary should
have taken an unusual and unilateral action
in the matter ; the suggestion being made
that he should have had recourse to estab-
lished machinery — i.e. the joint CEA-KRS
committee — if he had a complaint about
rental rates. But Mr. Fuller is an accom-
plished and experienced tactician and no
mean opponent (for that matter, propa-
gandist also), as renters long have been
aware.

Abeles Reacts Promptly

Warners’ Arthur Abeles reacted promptly
to the Fuller bomb shell. He admitted that
special terms were asked for “House of
Wax” but claimed that in very few in-
stances had the resulting percentage ex-
ceeded 55. Metro’s sales staff withheld com-
ment. It is considered significant, however,
that other American companies with 3-D
subjects shortly going into release — they in-
clude U.A., RKO Radio and Universal —
have no announcement currently to make on
distribution terms. U.A.’s “Bwana Devil”
went out on ordinary terms.

Mr. Fuller and his followers clearly have
their eyes on the future. The film-hire

pother, it is felt, will come to the boil just
about the time CinemaScope subjects arrive
on the market which may well give concern
to 20th-Fox sales people.

Rental rates may not figure overtly on the
agenda of the forthcoming monetary agree-
ment talks in Washington but their ghostly
reflection will brood over the proceedings.
Surprise, incidentally, was expressed pri-
vately in higher reaches of the Board of
Trade to your London Bureau at news-
stories printed in the U. S. to the effect
that a larger-than-usual delegation will tra-
vel from this side. The Board later officially
announced that it will be a two-man party
only, as before. It will consist of Sir Mau-
rice Deean, second secretary to the board
and in charge of home trade, and Sidney
Golt, chief of the board’s Films Division.

The two officials will fly to Washington —
according to present plans, on September
21. Despite the recent improvement in
Britain’s gold reserve position, free convert-
ability of sterling is still a remote hope. It
is understood authoritatively that Sir Mau-
rice and Mr. Golt have been instructed to
refuse any increased American drawings
on the dollar account. The desirability of
maintaining the present turn of American
production here is nevertheless fully ap-
preciated. Some adjustment or easement of
the present agreement’s provisions in that
regard may be negotiated.

Although the future of the Eady Plan will
not have been established by the time of the
Washington meeting, the talks will proceed
on the assumption that the need will not
arise of a statutory enforcement of the
Plan.

Set "Maze" Exhibitions
For United Kingdom

“The Maze,” Allied Artists’ first 3-D
feature, has been set for release in the
United Kingdom, it has been announced by
Norton V. Ritchey, president of Monogram
International Corporation, who has recently
returned from a trip to London where he
conferred with executives of Associated
British-Pathe. The feature will receive a
special pre-release run September 7 at the
Astoria theatre, Brighton, and follow with
advance runs in Manchester, Oxford, Bristol
and Cambridge. Following the film’s pre-
release showing, it will be booked in all
the ABC theatres equipped for 3-D pro-
jection.

United States Pictures
Gets "Men from Earth"

United States Pictures has acquired the
screen rights to “The Men from Earth,”
a science fiction story by Phil Yordan, it
has been announced by Milton Sperling,
president. Mr. Yordan is writing the screen-
play for the production, which will be re-
leased by Warner Brothers. Mr. Sperling
also announced that his company currently
is negotiating for four other story proper-
ties. Mr. Sperling’s production for Warner
of “Blowing Wild,” starring Gary Cooper,
Barbara Stanwyck, Anthony Quinn and
Ruth Roman, is set for fall release.

MOTION PICTURE HERALD, AUGUST 29, 1953

•Eternity' Ms IQ / . *7/ 0/1

The Leader /eT/c ~Jhe 1 letvi

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OnRroadway

Gross records continued to topple as “From
Here to Eternity” once again this week
headed the list of first run New York box
office performers. “I, the Jury” and “War
of the Worlds” entered the scene with sub-
stantial grosses in what was described as
a good business week on Broadway. In
Chicago, gross reports indicated that patron-
age was continuing at a generally good level.

“ Eternity ” Gets $160,000 in Third

For the third week in New York, “Eter-
nity” piled up torrid grosses estimated at
$160,000, to give the film a total gross of
approximately $500,000 for the first three
weeks at the Capitol theatre, where it is
playing without a stage show. There is still
no indication of any marked drop in busi-
ness for the film.

“I, the Jury,” in 3-D, is expected to
finish its initial week at the Criterion with
a sturdy $48,000. “War of the Worlds,” in
its second stanza at the Mayfair, should
reach a strong $44,700. In the seventh and
final week “The Band Wagon” at the Radio
City Music Hall collected a neat $127,000
gross before bowing out Thursday for
“Roman Holiday.”

The Paramount’s current attraction,
“Master of Ballantrae,” was expected to
gross a good $53,000 in its third and final
week before making way for “Plunder of
the Sun” and a Dean Martin and Jerry
Lewis stage show on Wednesday. “Mister
Scoutmaster” had its premiere at the Roxy
Thursday replacing “Gentlemen Prefer
Blondes” which enjoyed a run of more than
six weeks. During the last nine days of its
run, “Gentlemen” did a substantial $95,000
business.

The first week of “The Sword and the
Rose” at the Rivoli is expecter to do a fair
$25,000. At the Bootfi, the two-a-day
“Julius Caesar” held up strong with an esti-
mated $14,700 expected for its twelfth week.
The Astor reported continued strong busi-
ness for “Stalag 17” with $29,000 in store
for its eighth week. The twelfth week of
“This Is Cinerama” at the Warner hit a big
$48,000.

Grosses Good in Chicago

In Chicago, the McVickers had another
good week as “Abbott and Costello Meet
Dr. Jekyll & Mr. Hyde” and “Man from the
Alamo” appeared headed for at least $26,000
for its initial week. “White Witch Doctor”
is doing quite well at the Chicago, with a
gross of $65,000 forecast for its opening
week. Also moving in line in the gross
parade were “The Stranger Wore a Gun”
which pulled a fine $26,000 at the U.A. and
“Gentlemen Prefer Blondes” which seemed
likely to top $27,000 for its fourth week at
the Oriental. “All I Desire” hit $13,000 for
its opener at the Monroe.

James R. Grainger, president of RKO
Radio Pictures, is in Hollywood for con-
ferences with Howard Hughes, chairman
of the board, and C. J. Tevlin, vice-
president in charge of studio operations,
and other company executives. Mr.
Grainger has just returned from a tour
of the Chicago, Denver and San Fran-
cisco company exchanges.

William Pine, of the production firm of
Pine-Thomas, replaced Jesse L. Lasky,
producer, on CBS-TV’s “Summer School”
program on Wednesday. The show was
devoted to the screen’s contributions to the
arts.

Abe Bloom, head of concessions for Bala-
ban & Katz, has been appointed chairman
of the Theatre Owners of America con-
cessions committee to fill the unexpired
term of Leon J. Levenson, deceased. The
appointment was made by Alfred1 Starr,
president of the TOA.

Harold Beecroft has resigned as head of
the Paramount Film Distributing Corpo-
ration bidding department. He will enter
business for himself.

Richard Romney has been appointed pro-
duction assistant for Theatre Network
Television, Inc.

Milt Watt has been promoted to studio
publicity director for Republic Pictures,
replacing Mickey Gross, resigned. Mr.
Watt has been assistant publicity director
for the studio for the past three years.

Terry Turner, of General Teleradio Cor-
poration, New York, has been retained by
Allied Artists to handle the television and
radio campaign for “Riot in Cell Block
11.”

A. H. Fischer has been appointed special
representative for Sidney Kramer, RKO
short subjects sales manager, in the short
subject and 16mm departments, it has been
announced by Charles Boasberg, general
sales manager.

Plans Set For Testionial
For Lichtman of 20th-Fox

Approximately 117 exhibitors and 1,300
employees will co-sponsor the 20th Century-
Fox A1 Lichtman testimonial, August 30
through October 3. The exhibitors involved
operate more than 5,113 theatres, all of
which will play a part in the testimonial.
Company officials have announced that this
will be the first time that exhibitors have
joined company employees in paying tribute
to one of its officers. Division and branch
managers of 20th-Fox believe that the period
should develop a new five-week record for

William L. Taub, president and managing
director of the Hispano theatre, New
York, has returned from a trip to Mexico
City, where he purchased a number of
films.

H. H. Everett, chairman of the board of
Stewart & Everett Theatres, Inc., Char-
lotte, N. C., has been appointed acting
president of Queens College, North Caro-
lina, of which he is chairman of the board
of trustees.

Ed Berkson, vice-president in charge of
TV for Screencraft Pictures, Inc., has
announced the appointment of Tom Cor-
radine & Associates as the company’s west
coast television representative.

Lester Irwin, Paramount salesman in
Cleveland since 1938, has been appointed
office manager, head booker and sales as-
sistant to Harry Buxbaum in the com-
pany’s Cleveland exchange.

E. O. Wilschke, operations manager of
Altec Service, has left New York for a
tour of company division and branch of-
fices.

Richard Thorpe, director has arrived in
Belfast, Ireland, to shoot background for
MGM’s “Knights of the Round Table.”

Graham Kislingbury, San Francisco dis-
trict manager for North Coast Theatres,
has been named industry chairman for the
United Crusade Drive, which will start
September 6 in San Francisco. Appointed
division chairmen were Frank Harris,
of United Artists; Jack Marpole, of Na-
tional Screen Service ; and Harry Beck-
tell, of the B. F. Shearer Co.

Edward D. Madden, former vice-president
in charge of television operations and
sales for the National Broadcasting Com-
pany, has been named vice-president of
Motion Pictures for Television, Inc., it
has been announced by Matthew Fox,
chairman of the board.

the company because of the concentration
of top U. S. and Canadian exhibitors taking
part in the drive. Of the exhibitors acting
as co-sponsors, 71 have been doing business
with Mr. Lichtman 20 to 40 years.

Jack Warner Buys Stock

Jack L. Warner has increased his direct
holdings in Warner Brothers to 231,099
shares with the purchase of 5,000 shares of
common stock, it has been reported by the
New York Stock Exchange. Mr. Warner is
a beneficiary in trust holdings which
amount to 12,750 shares of common.

MOTION PICTURE HERALD, AUGUST 29, 1953

Illllillllllllllllllllllllllllllllllllllllllllllllllllllllll

by WILLIAM R. WEAVER
Hollywood, Editor

LAST WEEK the Nord Extended Area 3-D
Process, subject of a press conference a fort-
night earlier, was demonstrated at the Pick-
wood theatre, a neighborhood house chosen
as typical (average) in most respects and
admirably equipped for demonstration pur-
poses. The first demonstration was given
for the press Tuesday, and was to be fol-
lowed by showings for the various studios
and the major independent producers.

By weekend the technological staffs of
Universal-International and of Paramount
had witnessed demonstrations, and others
were to do so later. No comment from stu-
dio technologists was forthcoming imme-
diately, of course, and the demonstrations
were to continue this week.

Demonstration for Press
Given in Two Parts

The demonstration for the press was
given in two parts, one of which came off
better than the other. The first consisted
of a screening of some sequences from “I,
the Jury,” the second of two speciments of
3-D footage that had been photographed, as
well as projected, by the Nord process. The
“I, the Jury” sequences had been photo-
graphed for the usual two-projector type of
3-D, and the two prints (right eye and left
eye) had been photo-printed on a single
strip of film for the Nord system use. This
was pretty trying stuff in the opening
scenes, but got better as Dr. Roy Clapp, in-
ventor of the process, effected adjustments.

The footage shot with the Nord camera
was flawless (but the Nord concern is not
interested in marketing its camera process,
as yet, said Nathan Supak, chief executive).

As has been stated previously, the Nord
system consists of a beam-splitting device,
placed in front of the projector lens, which
throws upon the screen, from a single film
strip, on which the two eye-viewers have
been photo-printed, the same double-image
(save that it’s in 1 :80:1 aspect ratio) as do
the usual two projectors. Polaroid viewers
are required.

One of Three Single-Strip
Methods Under Test

The Nord process is one of three single-
strip methods of 3-D known to be in exist-
ence, at various points of development,
around here. One of the others is a relative-
ly little known process developed by Milton
L. Gunzburg, president of Natural Vision
Corporation, and the other is a system de-
veloped by Friend Baker, a veteran Holly-
wood technologist, who has demonstrated it
to limited groups on certain occasions.

None of the three appears to be on the
point of widespread adoption, although
that situation can change in a split flash if
the technological revolution continues at
the rate it’s been moving since last Thanks-
giving ’eve when “Bwana Devil” premiered
at the local Paramounts, to start an inter-
national turmoil. Until such a thing happens,
however, all of the single-strip 3-D systems
have to be regarded as test tube jobs.

FOUR OF the seven pictures started dur-
ing the week are in color by Technicolor,
one is in CinemaScope, another in 3-D,
and all are being photographed in such wise
as to be amenable to wide-screen projection
(the CinemaScope picture, naturally, for
the widest, 2.55 :1.)

(It would be pretty nice for everybody
concerned, it may be conjectured here with-
out much likelihood of dispute, if the pro-
ducing companies were to agree on one or
another of the aspect ratios between 1.33:1
and the anamorphic extreme, and stick with
it long enough to find out what the public
reaction, over a period and an expanse, is
to be.)

The CinemaScope undertaking, 20th-Fox
of course, is “Night People,” and it is being
shot in Germany, with Nunnally Johnson
as producer-director. The cast includes
Gregory Peck, Broderick Crawford, Walter
Abel, Buddy Ebsen, Rita Gam, Casey
Adams, Peter Van Eyck and others. Like all
CinemaScope productions so far, it’s in
Technicolor.

Technicolor is in use also by the Univer-
sal-International junket shooting “The Far
Country” in Canada. This is a production
by Aaron Rosenberg, directed by Anthony
Mann, which has James Stewart, Ruth Ro-
man, Corinne Calvet, Walter Brennan
(where's he been?), J. C. Flippen, Henry
Morgan, Steve Brody — a whopping cast.

Leonard Goldstein is filming his Panora-
mic Production (the corporate name of the
setup under which he produces non-Cinema-
Scope pictures for 20th-Fox release) en-
titled “Three Young Texans,” which Henry
Levin is directing. Principals, so far as
named up to writing time, were Jeff Hunter,
Keefe Brasselle and Mitzi Gaynor.

Another Panoramic Production for 20th-
Fox release, “Man in the Attic,” is being
produced for Goldstein by Robert Jacks,
and directed by Hugo Fregonese. Jack Pal-
ance and Constance Smith head the cast.

Sam Katzman’s Eskay Pictures, releasing
through Columbia, is producing “The Battle
of Rogue River” in Technicolor. George
Montgomery, Richard Denning and Martha
Hyer are top pricipals.

Allied Artists launched “House in the

THIS WEEK IN
PRODUCTION:

STARTED (7)

ALLIED ARTISTS

House in the Sea
(3-D, W.S.)

Riot in Cell Block I I

COLUMBIA

Battle of Rogue River
(Esskay Pic. Co.,
Technicolor)

independent

Man in the Attic
(Panoramic Prod.,
20th-Fox release)

COMPLETED (4)

MGM

Gypsy Colt
(Ansco Color)

The Flame and the Flesh
(Technicolor, Wide
Screen, Europe)

RKO RADIO

The French Line

SHOOTING (19)

ALLIED ARTISTS

Dragonfly Squadron
(3-D)

COLUMBIA

The Caine Mutiny
(Kramer Co., Tech-
nicolor)

INDEPENDENT

Americano

(Moulin Prod., U.A.
release, Brazil)

MGM

Miss Baker's Dozen
(Ansco Color)

Rose Marie (Eastman
Color, CinemaScope)

Knights of the Round
Table (Technicolor,
CinemaScope,

London)

PARAMOUNT

Casanova's Big Night
(Technicolor,

Wide Screen)

Knock on Wood
(Technicolor,

Wide Screen)

REPUBLIC

Jubilee Trail
(Trucolor)

Three Young Texans
(Panoramic Prod.,
20th-Fox release,
Technicolor)

20TH CENTURY-FOX

Night People
( CinemaScope,
Technicolor, Munich)

UNIV.-INT’L

The Far Country
(Technicolor, W.S.,
Canada )

(Edmund Grainger
Prod., Technicolor)

20TH CENTURY-FOX

Hell and High Water
( CinemaScope,
Technicolor)

Hell's Half Acre
(Honolulu)

RKO RADIO

Rangers of the North
(3-D, Technicolor)

20TH CENTURY-FOX

We Believe in Love
(Technicolor,
CinemaScope, Rome)

River of No Return
(CinemaScope,
Technicolor, Canada)

King of the Khyber
Rifles (CinemaScope,
Technicolor)

Prince Valiant
(Technicolor,
CinemaScope)

UNIV.-INT'L

Yankee Pasha
(Technicolor)

Saskatchewan

(Technicolor,

Canada )

WARNER BROS.

Dial M for Murder
(3-D, WarnerColor,
All-Media )

Rear Guard

(3-D, WarnerColor,
All-Media)

Sea,” a William F. Broidy production in
3-D and for aspect ratios up to the com-
pany’s favored 1.85:1, with leave to expand
from there if preferred, directed by Jerry
Juran. Joan Bennett returns from the stage
to the screen in this film, with Richard
Conte, Wanda Hendrix, Iris Adrian, Reed
Hadley and Mary Beth Hughes.

Walter Wanger put “Cell Block 11” into
production for Allied Artists with Don
Siegel directing Neville Brand, Emile Me-
yer, Robert Osterloh, Bill Phipps and Leo
Gordon.

MOTION PICTURE HERALD, AUGUST 29, 1953

ALBANY

Fabian’s Palace will be the first Albany
exchange district theatre to play “The
Robe.” Stereophonic sound is to be installed
in the 3,650-seater. . . . F. Chase Hath-
away’s Hoosick drive-in, North Hoosick,
attracted good business with its third 3-D.
. . . Walter Reade, Jr. visited Saratoga for
check-ins at the Community theatre and
Community Court Motel. . . . Martin Mosko-
witz, 20th Century-Fox Empire State divi-
sion manager, and Nat Rosen, Albany man-
ager, spent two days at Schine Circuit
offices in Gloversville working out a deal.
. . . Fred Haas, construction engineer for
Fabian Theatres, was in town. . . . Jack
Keegan, Republic booker and Paul Wallen,
Grand manager, left for vacations. ... Ne-
gotiations for a new contract between the
stage hands’ local and Albany theatres con-
tinue. A “maintenance” clause is one of the
points reported under discussion. . . . Fried-
ma Hanneman, secretary to John Wilhelm,
Fox head booker and office manager, was
married to Kenneth Smith at St. Mary’s
Church, Hampton Manor, Aug. 15.

ATLANTA

Thurman Rogers has taken over the
Rogers Theatre, Montgomery, Ala. . . . J. E.
Hobbs, branch manager, Monogram South-
ern Exchanges, back after a sales meeting
with Allied Artists in Chicago. . . . Presi-
dent William Richardson, Astor Pictures,
back after a trip to Tennessee. . . . Also back
from the same company is Don Hassler.
He is office manager and booker. . . . Mrs.
Rose Lancaster, Astor Pictures, with her
husband, back from Miami, Fla. after visit-
ing their son and daughter in law. . . . Para-
mount manager, Sam George, with the
family, is back after a vacation spent in
Daytona Beach, Fla. . . . W. D. Hendley,
assistant manager, is off for a trip to Florida
and Edna McDanield, cashier, is back from
New York. . . . Johnnie Harrell, Martin
buyer, and Hap Barnes are back after a trip
to Jacksonville, Fla. . . . Bernard Jacon,
vice-president and general manager IFE,
was in Atlanta at the local branch. . . . John
and Lucille Orr, Columbia Pictures, are
back at their desks from Florida. . . . C. D.
Grimes has purchased the WJRD, Audi-
torium theatre, in Tuscaloosa, Ala., from
R. H. Hook, of Aliceville, Ala.

BOSTON

Preliminary negotiations have taken place
between American Theatres Corp. and Bos-
ton University regarding the transference of
the property housing the shuttered Esquire
theatre, owned by ATC and assessed for
$225,000. It is expected that Boston Uni-
versity will use the property for its drama
and music departments if the deal goes
through. . . . When “A Queen Is Crowned”
entered its eleventh week at the Exeter
Street theatre it shattered the long run rec-
ord for the theatre held previously by “Kon-

Tiki.”. . . Two new drive-ins opened in
August in Maine. The Belfast drive-in for
300 cars opened on the 8th under the
Graphic Circuit banner and the St. Croix
Valley drive-in in Baring near the Canadian
border opened a week later. This theatre has
accommodations for 400 cars and cost ap-
proximately $60,000 to build. . . . “Duffy”
Lewis has decided to shutter the Province-
town theatre for the winter for the first time
in the 32 years of the theatre’s existence.

BUFFALO

George H. Mackenna, general manager,
Basil’s Lafayette, is vacationing at Morri-
son’s Camp on Lake Chandus in the Bi-
wartha lakes district of northern Ontario.
Mackenna is chairman of the finance com-
mittee for the Elmer F. Lux for mayor cam-
paign. He will return to Buffalo Monday.
. . .“War of the Worlds” opened big at the
Paramount Friday following a terrific satu-
ration radio spot campaign by Paramount
Pictures which covered over 30 openings of
the George Pal production in the Buffalo
exchange area. . . .“The Moon Is Blue”
opened to excellent business at the Lafayette,
where it is now in its second week. . . . Ed
DeBerry, manager of the local Paramount
exchange, is back from a North Carolina
vacation. . . . Walter Dion and Russell Cook
are the projectionists working in the Regent
during the tests of the new Todd-American
Optical projection system. Tests constantly
are being made for visiting “big shots” of
the industry, but all are very “hush-hush.”
. . . Morris Altman, former chairman of the

WHEN AND WHERE

September 1-2: Annual convention, West
Virginia Allied Theatres Association,
Matz Hotel, Bluefield, West Virginia.

October 3-4: Fall board meeting, Allied
States Association, Sheraton-Plaza Hotel,
Boston.

October 5-7: Annual convention, Allied
States Association, Sheraton-Plaza Hotel,
Boston.

October 3 1 -November 5: TESMA conven-
tion and trade show, Conrad Hilton
Hotel, Chicago.

November 1-5: Theatre Owners of Amer-
ica, annual convention, Conrad Hilton
Hotel, Chicago.

November 12: Annual dinner, Motion Pic-
ture Pioneers, Hotel Astor, New York
City.

Stadium and Auditorium Board and brother
of Harry Altman, operator of the Town
Casino in Buffalo and the Glen Casino in
Williamsville, is dead. He had been hos-
pitalized for nine weeks.

CHICAGO

Sam Miller of Rhinelander, Wis.; Glad-
stone, Mich. ; and San Jacinto, Calif., was
in town visiting with George Weinberg of
the local Warner exchange and friends along
Film Row. . . . Don Rose, Chicago boy who
has made his mark as a screenwriter, was
in from the Coast visiting with his parents.
. . . Mr. and Mrs. John Balaban, now vaca-
tioning in Eagle River, Wis., have sched-
uled a European trip starting Sept. 18. He
is the president of Balaban and Katz Thea-
tres Corp. . . . “Red” Magen of the Allied
Buying and Booking Service is on vacation
in Colorado. . . . Kewanne, 111., exhibitor,
Rudd Lohrenz, former Warner Brothers
Chicago branch manager, is bringing out
permanent-type polarizing 3-D viewers to be
sold in theatres. The price has not been set
as yet, but chances are it will be in the
neighborhood of two dollars a pair.

CINCINNATI

The consensus of exhibitor opinion here
is that a change in the price structure now
would set up definite patron resistance, and
depress the business curve, which has risen
appreciably during the past several weeks.
Generally, a cautious attitude prevails in
connection with any upward revision of the
price scales. . . . Funeral services were held
here August 20 for Nelson G. Trowbridge,
73, who died in his home of a heart ailment.
He was manager of the Shubert, Cox and
Taft theatres for many years until illness
forced his retirement. A son and two daugh-
ters survive. ... A $40,000 goal has been
set by the Cincinnati Variety Club, Tent No.
3, for the Old Newspaper Boys’ Day, set
for September 22, the proceeds to be turned
over to the Hamilton County Council for
Retarded Children, which the club is jointly
sponsoring. Men in all walks of life who
were newsboys in their youth will sell the
special edition of the Cincinnati Times-Star,
although the other local newspapers, radio
and television stations are cooperating in
the promotion. Last year approximately
$22,000 was realized from the event. . . .
Frank Seitz, operator of the drive-in thea-
tre at St. Hemry, Ohio, has acquired the
Columbia theatre, in Coldwater, Ohio, from
Mayor Sylvester Moorman.

CLEVELAND

“Shane” holds the year’s record of popular
priced engagements with five weeks run
downtown. Only other picture that exceeded
this was “Moulin Rouge” playing 9 weeks
at advanced prices. . . . David (Dan) Rosen-
thall, United Artist branch manager is in
( Continued on following page )

MOTION PICTURE HERALD, AUGUST 29, 1953

( Continued from preceding page)
Euclid Glenville Hospital tor surgery. . . .
Lester Dowdell, Warner booker, is conva-
lescing at home after an 8-week hospitaliza-
tion. . . . Marge Sapolis has been appointed
secretary to 20th-Fox branch manager, I. J.
Schmertz. . . . Marshall Fine, Jimmy Kala-
fat and Irwin Shenker are back from a
Canadian fishing trip. . . . Ashland drive-in,
450 car outdoor theatre built by Willi Eckert
on route 250, opened Aug. 19. . . . Elmart
Theatres, Inc. is re-opening the Civic thea-
tre, Fostoria, with 3-D. . . . Mike Masandrea
re-opens the Mayfield theatre next week
with his usual week-end policy. House
usually closes during the summer. . . . Ben
L. Ogron, of Ohio Theatre Supply Co.,
installed panoramic screens in the Berea
theatre, Berea and the Vine theatre, Wil-
loughby, both owned and operated by Mod-
ern Theatres. ... Joe Leavitt, projectionist
and Marie Zellen will be married Sept. 1.

. . . Cliff Pegg, manager of the Mayland
theatre is strengthening public relations ties
with his community by turning the theatre
over to the Mayfield Height Auxiliary Po-
lice Force Oct. 6 for a benefit performance
to help raise $950 needed for safety equip-
ment. Tickets will be sold at $1.00.

COLUMBUS

Wide screen installations combined with
top product like “The Band Wagon,” “Gen-
tlemen Prefer Blondes” and “The Caddy”
have given three downtown houses several
of the best weeks in recent years. . . . RKO
Palace, Loew’s Ohio and Loew’s Broad
now have panoramic screens. . . . “Martin
Luther” did good business at RKO Grand.

. . . Thomas McCleaster, Cleveland, new
district manager for Twentieth Century-Fox,
was a local visitor last week. . . . Neth’s
State and the Linden are the first two local
neighborhood houses to install 3-D equip-
ment. . . . Mrs. Ethel Miles was hostess to
hundreds of Columbus Dispatch and Ohio
State Journal carriers at shows at the Hud-
son, Garden and Drexel.

DENVER

All the afternoon events of the annual
Denverities of Variety Tent 37 were rained
out. Golf was played in the morning and the
dinner-dance, with a 275 capacity crowd, at-
tended. Golf winners included Sid Shuteran,
Father Monahan and Roy Yost. Jim Rick-
etts, drove away the Kaiser car given as a
door prize. . . . Western Union has closed
its film row office, now that most of the
exchanges have their own direct wires. . . .
Chet Miller, retired city manager, Fox In-
ter-Mountain Theatres, Sterling, Colo., sells
holdings there and moves to California. . . .
“Moon Is Blue” still filling Aladdin in sixth
week and seemingly headed for record gross
for city. . . . Rodney Knox, manager Peak
drive-in, Wheatland, Wyo., and Miss Donna
Periman, Durango, Colo., to be married
there Aug. 30. . . . Dave Davis, general
manager Atlas Theatres, father to son,
David Evan Davis. . . . Clarence Martin,
owner of Alpine, father of son, Harve.
Mother, Dixie, formerly employed at Fox,
Rawline, Wyo.

DES MOINES

The Strand theatre, long a landmark in
downtown Des Moines, will be closed Sept.
15. Its owners have leased the buildings to
the Frankel Clothing firm, and Tri-States

JOINS STANDARD AS
GENERAL MANAGER

Alfred D. Kvool of Milwaukee, zone man-
ager for the Stanley Warner Theatres, has
resigned, effective August 28th, and will be
general manager of
Standard Theatres,
Inc. He succeeds
L. F. Gran, who will
devote his time to
television station in-
terests in which he
is associated with
James Costen, own-
er of the Standard
circuit.

Mr. Kvool, who
has been with War-
ners 20 years, was
placed in charge of
their Chicago office
in 1951, but retained his office and home
in Milwaukee. In his new position Mr. Kvool
will supervise 32 Wisconsin theatres, in-
cluding the Riverside and the Highway 41

Drive-in in Milwaukee for Standard. He

has also served on the Milwaukee motion
picture commission.

A year ago Mr. Gran became half owner
and general manager of the Milwaukee
Area Telecasting Co., which sought a per-
mit to erect a $658,870 TV station in Mil-
waukee with a transmitter near Prospect,
Waukesha County. The application is still
pending. He is also the largest stockholder
in a new TV station at Rockford, III., and is
interested in establishing one at Green Bay,
Wisconsin.

Theatre Corp., which has operated the thea-
tre for many years, does not plan to reopen
elsewhere. The Strand is the second down-
town theatre to close this year; the Rocket
went dark in June. . . . Russ Fraser, former
advertising manager and publicity director
for Tri-States Theatre Corp., has been
named manager of Kent theatre here, which
is operated by the Cowles Broadcasting
Corp. Fraser succeeds Duane Peterson, who
resigned to join Paramount Attractions of
Chicago. . . . Chester Pruyne of Ankeny has
leased the Sun theatre at Woodward from
Fred Bullen. . . . Air conditioning has been
installed at NSS and is a most welcome
addition to the offices, employees say. . . .
Hazel Hudson, Warner inspectress, was
hospitalized recently and received several
blood transfusions. . . . Bill Waters, Jr.,
Universal booker, is still waiting to bring
his new son home from the hospital. The
child weighed only 3 pounds at birth and is
being kept at the hospital until he gets a
little huskier.

DETROIT

Krim theatre in Highland Park has in-
stalled a doctor call board. Located at the
left of the screen the board lights up in
numbers without interrupting the program.
Doctors simply leave name with the cashier
and are assigned a number. Believed to be
the first installation of its kind it includes
a special telephone line for doctors calls. . . .
Hollywood and Roxy theatres are carrying

the Coronation films making them among the
summer’s best sellers here. . . . Local meat
packer provides one minute colored trailers
for drive-ins carrying their line of hot dogs.
Fresh air impresarios report as high as 20%
increase in food sales. . . . Fifteen mayors
gathered in the lobby of the Music Hall
prior to guesting at a Cinerama showing.

HARTFORD

Newest amusement concern in Connecticut
is General Theatres, Inc., which has filed a
certificate of incorporation with the West
Hartford town clerk’s office, listing as incor-
porators Louis Lipman, Pauline P. Lipman,
Morris Keppner and Helen E. Keppner. . . .
Variety Club of Connecticut, Tent 31,
sponsored a benefit boxing show Aug. 24,
at West Haven Municipal Stadium, with
proceeds going to the New Haven Register-
Family Service Fresh Air Fund. Acting
chief barker Sam Wasserman served as gen-
eral chairman and also chairman of the
arrangements committee, which included
Harry F. Shaw, Barney Pitkin, Harry Fein-
stein and Atty. Herman M. Levy. . . .
Barney Tarantul, partner, Burnside Theatre
Corp., East Hartford, Conn., and Mrs. Tar-
antul are making their 30th wedding anni-
versary. . . . Sal Adorno, Sr., general man-
ager of the M&D Theatres, Middletown,
Conn., is marking his 74th birthday. . . . Sam
Harris, partner, State theatre, Hartford, and
Mrs. Harris have returned from a three-
month tour of Europe.

INDIANAPOLIS

Rex A. Carr has succeeded the late A1
Blocher as buyer for the Y & W Manage-
ment Corp. Carr will continue to operate
his Ritz and Zaring theatres here. . . . Marc
Wolf, chief barker of Indianapolis Tent No.
10 of Variety, discussed the motion picture
industry’s problems in a talk before the
Lions Club Tuesday. . . . Del Buckley, for-
merly with RKO in Montreal, is now office
manager at the Columbia exchange here. . . .
Greater Indianapolis has shifted both the
Indiana and Circle back to Wednesday open-
ings, after trying later week days. . . . Claude
McKean, chairman of the Variety Club’s
golf tournament at the Indianapolis Country
Club Monday, reported more advance res-
ervation than in any previous year. . . .
Wm. A. Carroll, secretary of the Allied
Theatre Owners of Indiana, is back at work
after a vacation trip East.

JACKSONVILLE

Herman Silverman, head booker for the
Wometco circuit in the Miami area, was
here on business. . . . Jeanne Vavanaugh
has resigned her post as head cashier at
Universal. . . . Harry Botwick, Florida State
Theatres executive, went to the NAM A con-
vention in Chicago. . . . Leon D. Netter,
FST president, is back from a Miami trip.

. . . A. J. Terranova, Metro booker, and Pat
Tufano, Metro secretary, were both vaca-
tioning. ... A recent checkup revealed that
Lee’s drive-in theatre, tiny 140-car outdoor
at Keystone Heights, owned and operated
by veteran Bill Lee, was the State’s first
drive-in to show 3-Ds. . . . Tom Rawlings,
former Dallas, Tex., theatre man, is now
George Krevo’s assistant at the Palace. . . .
Mrs. Bobby Preacher is subbing for Col.
John Crovo, Arcade manager, while he is
on vacation. . . . Announcement was made
( Continued on opposite page)

MOTION PICTURE HERALD, AUGUST 29, 1953

( Continued from opposite page )
that Florida State Theatres’ accounting de-
partment would be moved to Atlanta for
consolidation with the Wilby-Kincey cir-
cuit’s accounting department. . . . The first-
run Florida and St. Johns are running mid-
night shows on Saturday night.

KANSAS CITY

The six-state strike of telephone employes
has hampered but not so far seriously ob-
structed communications in the film indus-
try. . . . One effect of the strike is to delay
installations necessary for providing screen
television. ... A strike of employees in
public storage warehouses, ended after 10
days, threatened to cause shortages of sup-
plies for concession stands in theatres. Ex-
hibitors were able to secure some supplies
through other means, providing their own
Transportation. . . . William Gaddoni,

branch manager for MGM at Kansas City,
leaves shortly to attend a meeting on the
coast to look at new product. . . . The down-
town Esquire theatre of the Fox Midwest
circuit is showing “Martin Luther’’ ; having
the cooperation of the local Council of
Churches and distribution of tickets through
churches at a reduced price. ... A few thea-
tres in the area have raised admission prices
in the past two weeks ; but so far there has
been no marked proportion of theatres doing
so. . . . “Lili” is in its fifteenth week at the
Kirno. . . .“The Importance of Being Earn-
est” is in its fourth week at the Vogue.

LOS ANGELES

“Sunny” Thompson, secretary to Frank
Prince, FWC booking department head, has
resigned her position in order to take up
residence in Fort Worth. . . . Pop-corn ty-
coon Arthur Unger and his wife were in
town from San Francisco. . . . Frank Fouce,
president of Fouce Theatres, completely re-
covered from a recent illness, took off for
Mexico and Cuba on business. . . . Harry
Stern, who managed the Azteca branch in
Chicago, has returned to Los Angeles to
represent Azteca in this territory. . . . Nor-
man Newman and Sherill returned from a
business junket to San Francisco. . . . Ned
Calvi, Hawthorne exhibitor, and his wife
off on a cruise to Hawaii. . . . Sam Stiefel,
operator of a number of theatres in South-
ern California, has acquired the long closed
Gem, Garden Grove, from Leo White.
House will be readied for re-opening by
Sept. 4. . . . Joe Seney, Southside Theatres
booker, returned from a vacation in San
Francisco.

MEMPHIS

Several Memphis neighborhood theatres
have advanced their admission prices from
50 to 60 cents for adults. First run admis-
sion prices were increased two weeks ago.
. . . Lawrence Lancaster has opened a new
theatre, the Best, at Bisco, Ark. . . . Betty
Beckham, clerk, Paramount and Jimmie
Baker, of the Marines, were married. . . .
Steve Stein heads a new corporation, Met
Enterprises, Inc., which has just purchased
the Met theatre and Met drive-in at Jackson,
Tenn. . . . Sunset drive-in, West Memphis,
Ark., just across the river from Memphis,
is showing the Chaplin picture, “Limelight,”
which was banned sight unseen in Memphis
by the Board of Censors. . . .“The Robe,”
first CinemaScope production, will open at
Malco in Memphis Oct. 7 on Malco’s new
CinemaScope screen. . . . R. G. Varner has

built a new 350-car drive-in, the Warren,
which he plans to open Sept. 1 at Warren,
Ark. . . . Tate Baker, salesman at RKO, has
resigned to work as a salesman at Columbia.
He replaces J. H. Martin, Columbia sales-
man, who resigned to operate his own drive-
in theatre at Osceola, Ark.

MIAMI

The 850-car Turnpike drive-in, owned by
the Bernstein circuit, held a gala opening
August 25'. The theatre is managed by ‘Sal’
Joseph, from Cleveland, Ohio. . . . To see
the mostest the fastest, the Caribbean cruise
of the Hal Kopplins will find them island
hopping via planes and the Wometco art
director may find future inspiration from the
lush colors of the tropics. . . . A1 Panetz,
assistant to James Barnett at the Olympia,
was off on a vacation. Manager Barnett’s
recent vacation to New York is now a pleas-
ant memory. . . . Biltmore manager, George
Aylesworth, chose Nassau as the locale for
his holiday recently. . . . Hold-overs in the
area included “The Band Wagon” at the
Flamingo and Paramount ; “Lili” at the
Olympia ; and “The Story of Three Loves,”
Royal. . . . Vacationers include manager
Oran Cohen of the Strand and Joe Fink,
assistant at the 27th Avenue drive-in.

MILWAUKEE

The Fox-Strand theatre has re-opened
with Miss Estelle Steinback, widely known
Milwaukee theatre woman, taking over the
managership. The Strand, closed since June
10, will show unusual first run films, mainly
single features. Miss Steinbach formerly
managed the Fox-Downer on the East Side
where a wide audience was gained for its
foreign films under her direction. The open-
ing run at the Strand is the 3-D “Arena,”
with such movies as “Lili,” “Martin Luther”
and CinemaScope pictures following. . . .
The new manager at the Downer is Robert
W. Pritchard, formerly of the Modjeska
theatre. The Downer house will occasionally
show foreign pictures. . . . The new office
girl at Wisconsin Allied, replacing Miss
Thur, is Mrs. Doug. Mellin. . . . Wilfred
Steinmann of Manti, Utah, a movie theatre
oprator there, flew his family here in his
own private plane to visit his parents, the
William Steinmanns who run the State
Hotel here.

MINNEAPOLIS

“The Moon is Blue” opened at the World
with no repercussions, although the film
earlier met some opposition in St. Paul from
its city council. The picture will not be
shown in St. Paul, according to Ted Mann,
operator of the World theatres in both Min-
neapolis and St. Paul, mainly because of
opposition by church groups. . . . Joe Schi-
kora has been named assistant manager of
the loop Gopher. He formerly was in the
shipping department at 20th-Fox and before
that was manager of the now-dismantled
Palace. . . . George Frogen is the new stu-
dent booker at Universal. . . . 3-D equipment
has been installed in the Uptown, a neigh-
borhood house operated by Minnesota
Amusement Co. ... Bill Winter, RKO sales-
man, was at the Mayo Clinic in Rochester,
Minn., for a checkup. . . . Paramount book-
ing staff is planning a saturation booking
on “War of the Worlds” during November,
with 25 prints will be available. . . . Con-
struction has been started on a new drive-in
at Ashland, Wis., by Frank Hahn, who also

owns two conventional theatres at Ashlanu.

. . . Jack Holischer has been named new
office manager of Columbia as of the end of
this month. He presently is office manager
of Columbia in Washington, D. C.

NEW ORLEANS

B. J. Keyhan acquired ownership-opera-
tion of Gretna Green drive-in, Gretna, La.

..Joel Bluestone will handle the buying and
booking. Former owner Gus C. Street. . . .
A. Lapeyrouse appointed L. J. D’ Antoni as
manager of his Park in Houma, La.
D’Antoni was formerly with Pittman Thea-
tres in Baton Rouge, La. . . . Prat-Aucoin
Theatres, Raceland, Lockport and Vacherie,
La., are being air-conditioned and equipped
with wide screens. Tom Neely, NTS, han-
dled the sale of equipment. ... Walt Chris-
tionson shuttered the Town Hall in Baldwin,
La. and B. J. Lowery, who only recently
reopened the Town in Pelahatchie, Miss.,
advised that he was obliged to close until
further notice. . . . Tem in Monroe, La. will
close for good on August 31, advised Earl
Perry, buyer and booker for Thomas Mc-
Elroy Theatres. The building will house a
commercial establishment. . . . Hodges Thea-
tre Supply Co. are installing a wide screen
in Pittman’s, Pit, Lake Charles, La. . . .
John Kirby, division manager and W. O.
Williamson, Jr., district manager, Warner
Bros., were here for three days conferring
with manager Lucas Conner in connection
with the “Lucas Conner” Drive which will
start on August 30 and finish on Decem-
ber 26.

OKLAHOMA CITY

The Del City theatre held a Kiddies
Matinee Wednesday. . . . Ed. Thorne, head
booker for Cooper Foundation Theatres, re-
turned from two weeks vacation in Wyom-
ing and Colorado. . . . Jerry Barton, son of
R. Lewis Barton, theatre owner, was in the
hospital for a few days last week. . . . The
Redskin theatre is being remodeled, with
new paint and new seats. A large screen
will be installed, and equipment for showing
3-D pictures. When completed the Redskin
will be a first-run house. ... A new screen
has been ordered for the Knob Hill theatre.

. . . Mr. and Mrs. Harold Combs, are leav-
ing in a few days for their vacation. They
will fly to Boston, where they will sail for
Nova Scotia. Mr. Combs is manager of the
concessions department of Barton Theatres.

. . . Texarkana Theatres, Inc., Texarkana,
Texas, has been granted a charter for 50
years. . . . The Glen theatre, Joplin, Mo.,
held a “ballyhoo” parade advertising the
showing of “Arena.” A wagon drawn by
Shetland ponies followed junior rodeo riders
and a convertible automobile carrying the
theatre manager, Mrs. Carl McCowan.

OMAHA

A big crowd turned out for the Variety
Club’s dinner-dance at the Blackstone Hotel
and movie distributors honored four persons
for their efforts in behalf of the Opportunity
Center, a school for retarded children. Bob
Hoff, assistant chief barker, presented pla-
ques to City Commissioner John Rosenblatt,
John P. Mainelli, Jean Sullivan and Mrs.
Christie Hedlund. . . . Several hundred ex-
hibitors, distributors and equipment repre-
sentatives attended a wide screen demonstra-
tion at the Admiral as a morning feature
of Variety Day. Afternoon golfing was at
( Continued on following page )

MOTION PICTURE HERALD, AUGUST 29, 1953

( Continued from preceding page )
Happy Hollow. . . . Dr. Edwin Lyman, city
health director, believes Chicago’s action
against re-issuing 3-D glasses “probably is
exaggerated.” He said “I’m sure there isn’t
the danger of spreading eye infection in
community use of the cardboard glasses that
Chicago authorities think there is.”. . . Top
news in the Broken Bow, Neb., paper was
the opening of Howard Kennedy’s new 400-
seat drive-in, featuring a 60 by 32 feet, two-
story concession and projection building. . . .
J. V. Maddox is managing the theatre at
Scotia, Neb., now operated by the Commer-
cial Club.

PHILADELPHIA

The State Legislature increased the salary
of Mrs. Edna R. Carroll, chairman of the
State Board of Motion Picture Censors,
from $5,500 to $6,000 annually, and the
vice-chairman from $4,500 to $5,000. . . .
Universal-International salesman Francis
Charles, who was taken seriously sick while
in the upstate territory, went home to New
England to recuperate. . . . R.K.O. booker
John Phelan was back part time following
a lengthy illness. . . . The Model, neighbor-
hood house, is now on a two-week closing
notice. . . . The newest open-airer in the
territory is the 700-car Star-Lite drive-in
near Quakertown, Pa., operated by H and
M Enterprises. . . . Larry Levy, manager
of Loew’s Colonial, Reading, Pa., has been
promoted to manager of Loew’s in Pro-
vidence, R. I. He is succeeded here by
Robert E. Diem, assistant manager of the
circuit’s Aldine in Wilmington, Del. Earl
Sitlinger, student assistant at the Colonial
in Reading, becomes assistant manager in
Wilmington. . . . Fabian circuit’s Embassy,
Easton, Pa., scheduled to reopen, has named
William Wyndham as house manager, work-
ing with Fred Osterstock, Fabian city man-
ager in Easton. He comes from the Rialto,
Allentown, Pa. Mrs. Earl Arnold was
named in his place as assistant manager of
the Rialto, where her husband, Earl Arnold,
is the manager. . . . Harold Cohen and Ber-
nard Seidman are co-chairmen for the local
Variety’s golf tourney Oct. 2.

PITTSBURGH

When Bill Zeiler, J. H. Harris manager,
returned from his vacation he had to get
busy immediately supervising the installation
of a new giant screen in his theatre. . . .
The Loew’s Ritz is now the only first-run
house in downtown Pittsburgh which does
not have the new giant screen. . . . The Ful-
ton theatre, one of the city’s oldest, has been
purchased by a group of local investors. It
was originally a burlesque house but has
been operated as a motion picture theatre
since 1930. . . . Multiple runs of new movies
in neighborhood and suburban theatres has
been so successful that Allied Artists will
try their hand at it, opening “Kansas
Pacific” and “Torpedo Alley” in 20 local
houses. . . . May Stevenson of Warners is
celebrating her 25th anniversary there.

PORTLAND

Business is really perking at all first run
houses despite the continued extreme heat
and the transient outdoor attractions. “Gen-
tlemen Prefer Blondes” is going great for a
second week at the Orpheum & Oriental. . . .
“Moon Is Blue” is pulling strong for a third
week. . . . Film Row was deserted for two

days this week for the annual golf tourney
and social at the Tualitan Country Club. . .’.
Marty Foster and Frank Breal are inaugu-
rating a "Request Feature” for one showing
(9 p.m.) Mon thru Fri at their 20th Cen-
tury News theatre. . . . Zolly Volchock and
Jack Engerman in town for a few days from
Seattle. . . . Nancy Welch took over the
steno job at NWReleasing Office for two
weeks. . . . Journal drama editor Arnold
Marks off on vacation to Seaview, Wash,
for two weeks. . . . Barney Rose, West Coast
Sales Rep for U-I, here conferring with
Mrs. J. J. Parker. . . Darlene Bally, Mrs
J. J. Parker’s secretary, off to Denver for
vacation. . . . UA branch manager Jack
O’Bryan working hard on the annual Shrine
Football Game.

PROVIDENCE

Peter Lee Siner, son of Albert J. Siner,
manager of the Strand theatre, was recently
married to Miss Mabel Aldrich of Scituate.

. . . The RKO Albee presented an All-Walt
Disney program comprising “The Sword
and the Rose,” “Prowlers of the Everglades”
and six Mickey Mouse Cartoons. The spe-
cial bill attracted considerable attention and
good patronage. . . . “The Bandwagon” held
for a second week at Loew’s tState. ... As an
added attraction, Rocky Point, an amusement
part, is offering free movies nightly on the
midway. . . . Local committees handling the
“Jimmy Fund” campaign are busily engaged
in setting up a program which they hope will
result in a record-breaking collection for the
study of cancer among children. . . . Heavy
rain and high winds which recently lashed
Rhode Island, as a hurricane veered off the
coast, failed to cause any damage worth
mentioning. However, would-be beach-
bound vacationers remembering the 1938
and 1942 hurricanes, contented themselves
wtih visits to their favorite in-town movie
houses. . . . “Shane” held for a second week
at the Rustic drive-in, a most unusual occur-
rence for almost any similar operation in
this vicinity.

SAN FRANCISCO

H. Neal East, Paramount branch man-
ager, has been named assistant western divi-
sion manager with headquarters in Los An-
geles. Jack Stevenson, sales manager, San
Francisco territory, will replace East as
head of the local exchange. No successor to
Stevenson has been appointed as yet. . . .
The Robert Clark Agency will now book
and buy for the Lucky drive-in, owned by
Clayton Grand, at Turlock. . . . Albert Feld-
man, manager Paramount theatre, resigned
to take over management of the Sea Vue,
Pacific Manor, replacing Hal Honore, re-
signed. Don Haley, previously assistant
Paramount, Kansas City and more recently
assistant at U-P’s St. Francis, here, will
take over the Paramount management. . . .
Dave Bolton, reopened, following renova-
tion, the Roxie at Santa Rosa. . . . Mervyn
“Buz” Davenport, returned to his Down-
town Paramount, Los Angeles, August 20,
after relieving district manager Earl Long
for two-week vacation. . . . Wheels are in
motion for the Seventh Annual Variety Club
golf tournament to be held at Lake Merced
Golf and Country Club, Oct. 1. Edward
Dixon of T & D Theatres is chairman. . . .
Sherrill Corwin, president, North Coast
Theatres, was here to relieve district man-
ager Graham Kislinghbury for his vacation.

. . . Roy Cheverton sold his Maribelle at
Weott.

TORONTO

Meetings of the eastern division of
Famous Players Canadian Corporation have
been changed. The gathering of executives,
officials, partners and managers will now
take place Oct. 3-6 at the King Edward Ho-
tel. . . . Gerry Chernoff is the new head of
the Montreal Film Board of Trade, suc-
ceeding Hillis Cass of MGM. Cass is now
MGM’s general sales manager. . . . The in-
dustry was saddened by the passing of
George W. Peters in Calgary after a long
illness. With Odeon since its inception, the
late Mr. Peters became vice-president in
1947. He resigned several years ago, and
at the time of his death was an oil company
executive. . . . Charges made by theatres to
defray the cost of 3-D glasses will not be
subject to the Ontario Hospitals Tax as the
theatre admission tax is known in this
province, it has been announced by Bruce
Bunt, director of the Hospitals Tax Branch.

. . . Fire destroyed the lately-built 300-seat
Gem, the only theatre in Wakaw, Sask.
Owners were S. Hryniuk and F. Shynkaruk.
No one was in the theatre. . . . Gordon Well,
formerly with Odeon’s booking department,
has been named service manager of Adfilms
Ltd. . . . Bobby Rankin, 14-year-old son of
Harland, Canadian theatre owner, saved the
life of a 34-year-old man while sailing re-
cently at Erieau.

WASHINGTON

Variety Club chief barker Victor J. Or-
singer appeared on the Freedom U.S.A. pro-
gram August 23. . . . Jack Hollischer, Co-
lumbia Pictures, has transferred to Colum-
bia’s Minneapolis office. . . . MGM’s Rudolph
Berger, southern sales division manager, and
Herbert Bennin, branch manager, will be
among those attending the “See For Your-
self” meeting in California. . . . The Film
Center screening room at 932 New Jersey
Ave. N.W. now has 3-D equipment . .
Hope Zee, whose father is manager of
Loew’s Capital theatre, was one of the pro-
fessional acts on Fred Allen’s program. . . .
The Variety Club rooms are now in the
process of being painted and redecorated.
The main club rooms were closed from
August 17 through the 21. . . . Announce-
ments have gone out to all Variety Club
members on the forthcoming Golf Tourna-
ment and Dinner Dance at the Woodmont
Country Club October 2.

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Telephone: Bridgeport 6813

MOTION PICTURE HERALD, AUGUST 29, 1953

Columbia

JACK McCALL, DESPERADO: George Montgom-
ery, Angela Stevens — Good small town picture for
midweek with good color and good outdoor action.
Priced right. Rural patronage. Played Wednesday,
August 5. — B. F. Sautter, Rex Theatre, Townsend,
Mont.

LAST OF THE COMANCHES: Broderick Craw-
ford, Barbara Hale — If your house goes for Indian
pictures, this one is it — good story, good color. Did
average business in this rural community. Played
Friday, Saturday, August 7, 8. — B. F. Sautter, Rex
Theatre, Townsend, Mont.

Metro-Gold wyn-Mayer

BATTLE CIRCUS: Humphrey Bogart, June Ally-
son — We had a poor print on this, and June Ally son’s
voice is so husky you can hardly understand her, but
regardless of all this, it is really a wonderful picture
and drew very well. We are only open Sunday
nights now — no matinee or Monday night picture — but
have found that if a picture has the merit, people
will come Sunday evening to see it, and if a picture
isn’t good, they . wouldn’t come in if we were open
24 hours a day — seven days a week! Played Sunday,
August 9. — Marcella Smith, Vinton Theatre, McAr-
thur, Ohio.

CONFIDENTIALLY CONNIE: Janet Leigh, Van
Johnson — If you can get them past the title, they’re
in for a pleasant surprise. Everybody liked it. Louis
Calhern steals the show. Wouldn’t be bad for a
Sunday or your best run. Played Thursday, Friday,
August 13, 14. — M. L. DuBose, Majestic Theatre,

Catulla, Texas.

NAKED SPUR, THE: James Stewart, Janet
Leigh — This one drew a little better than most I’ve
played recently, but still wasn’t what I expected.
The acting was superb and held everyone’s interest,
but I guess it is just too warm for business. Played
Sunday, August 2. — Marcella Smith, Vinton Theatre,
McArthur, Ohio.

NEVER LET ME GO: Clark Gable, Gene Tierney—
A pleasant surprise, good picture. The title didn’t
help it. Played Sunday, Monday, July 12, 13. — Elaine
S. George, Star Theatre, Heppner, Ore.

SMALL TOWN GIRL: Jane Powell, Farley Gran-
ger— This is a good picture any day in the week.
We used it Sunday-Monday. Every member of the
family will enjoy it. Played Sunday, Monday, August
9, 10. — M. L. D'uBose, Majestic Theatre, Cotulla,

Texas.

SMALL TOWN GIRL: J ane Powell, Farley Gran-
ger— Delightful film, but business a bit off. Played
Sunday, Monday, July 26, 27. — Elaine S. George,

Star Theatre, Heppner, Ore.

SMALL TOWN GIRL: Jane Powell, Farley Gran-
ger— Good musical for small towns, good color and
price right. Not big. Did average business in this
rural community. Played Sunday, Monday, August
2, 3. — B. F. Sauter, Rex Theatre, Townsend, Mont.

SMALL TOWN GIRL: Jane Powell, Farley Gran-
ger— Just average. We have had better nights and
lots worse ones. Should be good for any small town
due to the title. Played Sunday, July 26. — Marcella
Smith, Vinton Theatre, McArthur, Ohio.

SOMERERO: Ricardo Montalban, Cyd Charisse —
This went over big down here in the land of the
sombreros. But it’s a good show anywhere. Played
Sunday. Monday, August 2, 3. — M. L. DuBose, Ma-
jestic Theatre, Catulla, Texas.

Paramount

ANYTHING CAN HAPPEN: Jose Ferrer, Kim
Hunter — This will appeal to the foreign class, a good
picture in black and white with lots of light comedy.

Did average business in this small town. Played
Wednesday, Thursday, August 5, 6. — Francis Gill,
Paonia Theatre, Paonia, Colo.

COME BACK, LITTLE SHEBA: Burt Lancaster,
Shirley Booth — Very good, but I cannot sell my
patrons drama and business was below average.
Weather good. Rural patronage. Played Sunday,
Monday, August 9, 10. — B. F. Sautter, Rex Theatre,
Townsend, Mont.

RKO-Radio

BEHAVE YOURSELF: Shelley Winters, Farley
Granger — Good comedy for a double feature. Has
some laughs, gangsters and complications. The dog
is good too. Did average business in. this small
town. Played Wednesday, Thursday, August 12, 13.
—Francis Gill, Paonia Theatre, Paonia, Colo.

UNDER THE RED SEA: Documentary — They
didn’t sit still for it. Played Thursday, Friday, Sat-
urday, July 9, 10, 11. — Elaine S. George, Star Theatre,
Heppner, Ore.

Realart

ONE NIGHT IN THE TROPICS: Bud Abbott,
Lou Costello — The title was indeed appropriate as far
as the weather was concerned. If we just had a
tropical rain, everything would have been fine. Every-
body around here likes A & C, myself included. This
one drew despite the weather and the trailer. Played
Friday, Saturday, July 31, August 1. — Marcella Smith,
Vinton Theatre, McArthur, Ohio.

Republic

WOMAN THEY ALMOST LYNCHED: John
Lund, Audrey Totter — Good action picture for mid-
week with good color. Did average business in this
rural community. Played Wednesday, August 12. —
B. F. Sautter, Rex Theatre, Townsend, Mont.

Twentieth Century-Fox

LEAVE HER TO HEAVEN: Gene Tierney, Cornel
Wilde — Played this reissue one night and did fine
business. People will always go to see this quality
of picture. Many had seen it previously but wanted
to see it again. Played Tuesday, August 4.— George
Clanton, Daw Theatre. Tappahannock, Va.

MONKEY BUSINESS: Cary Grant, Marilyn Mon-
roe, Ginger Rogers — Good comedy in black and white,
with no dull moments. Plenty of laughs from start
to finish. Good acting, good support. Did average
business in this small town. Played Sunday, Monday,
Tuesday, August 9, 10, 11. — Francis Gill, Paonia The-
atre, Paonia, Colo.

SAILOR OF THE KING: Jeffrey Hunter, Michael
Rennie — Picture is satisfactory, but small town people
will be scared away by the fact that they think it too
British. In spite of heavy advertising campaign here,
picture did only mediocre business. Some who saw
it commented on it as fair, a few said it was good.
Played Thursday, Friday, August 6, 7. — George Clan-
ton, Daw Theatre, Tapphannock, Va.

SOMETHING FOR THE BIRDS: Victor Mature,
Patricia Neal — My apologies to the birds. They really
got a gypping, and so did my public. Even I, the
exhibitor, could not stay and see it through, and I
made my “escape” before the patrons started coming

out in droves, as I just couldn’t face them! They
should re-name this “Something for the Worms” and
let the worms have it! If you play it, you’ll never
chirp again! Played Wednesday, August 12.— Mar-
cella Smith, Vinton Theatre, McArthur, Ohio.

TITANIC: Clifton Webb, Barbara Stanwyck — Here
is a fine picture and good business for small towns.
Patrons’ comments after seeing the picture were won-
derful. A fine story and a fine production. Stirred up
much interest in my community. Played Sunday, Mon-
day, August 2, 3. — George Clanton, D'aw Theatre,
Tappahannock, Va.

Universal

LAWLESS BREED: Rock Hudson, Julia Adams-
One customer went so far as to say it was the best
western she’d ever seen — and she is an action fan.
Generally well received. Played Thursday, Friday,
Saturday, July 9, 10, 11. — Elaine S. George, Star
Theatre, Heppner, Ore.

Warner Bros.

CRIMSON PIRATE: Burt Lancaster, Eva Bar-
tok — This is a good action picture in color and will
appeal to adults and children. Better than the usual
run of sea pictures. Did average business in this
small town. Played Friday, Saturday, August 7, 8. —
Francis Gill, Paonia Theatre, Paonia, Colo.

Shorts

Metro-Goldwyn-Mayer

WILD AND WOOLFY : Gold Medal Reprint Car-
toon— A very good cartoon in color with excellent
animation. The title tells the story. — Francis Gill,
Paonia Theatre, Paonia, Colo.

RKO Radio

TEST PILOT DONALD: Walt Disney Cartoon — An
excellent cartoon which had our audiences laughing
their heads off. But I still cannot make out why
Disney does not make “Goofy with Elmer the Talking
Bird.” It’s a natural! — Dave S. Klein, Astra Theatre,
Kitwe/Nkana, Northern Rhodesia, Africa.

Republic

SINGAPORE: This World of Ours— All of this
series are good and this one especially good. — Sharon
Bodenstein, Telepix Theatre, Boston, Mass.

Twentieth Century-Fox

BIRTH OF VENUS: Art Films — This is a series in
Technicolor showing paintings by the masters. Ex-
cellently photographed and neatly tied up with an
introductory story. Quite interest-holding. — W. Robert
Shepherd, Regent Cinema, South Shields, England.

Universal

DEADLY DRUMS: Variety Views — Jam packed
with excitement and top-flight quality. — Sharon Bo-
denstein, Telepix Theatre, Boston, Mass.

MOTION PICTURE HERALD, AUGUST 29, 1953

Ranh Heavy
it drertiser
In Canada

by HARRY ALLEN, Jr.

TORONTO: Survey of the leading con-
sumer magazines shows the J. Arthur Rank
Organization Canada as the most consistent
advertiser of the major film distributors
since 1945. Also shown in the survey is that
the trend is away from the standard type
of magazines and toward the mass circula-
tion Sunday weeklies.

Rank Followed by RKO

The Rank Organization advertising
showed up in every one of the years except
1945, including this year. Only other major
which came close to the Rank consistency
was RKO which shows up in every year ex-
cept this year, 1948 and 1950. The consis-
tency of the Rank advertisements is credited
by a spokesman for the agency handling
their ads with putting over English films in
Canada. Rank was spending money each
year in the Canadian publications while the
American companies were neglecting the
medium in this market.

Spokesman for the Rank Agency said
that 12 types of ads were tested, and an
editorial type of ad illustrated with a photo-
graph evolved. The American companies de-
pended on their advertisements in the Amer-
ican magazines to sell the Canadian aud-
ience.

The swing to the mass circulation Sunday
weeklies, namely the “Star Weekly’’ and the
“Weekend Picture Magazine,” may be illus-
trated in comparing the figures for two groups
of publications. One group are the mass circula-
tion weeklies, while the other, are those 17
Canadian magazines represented by the Mag-
azine Advertising Bureau of Canada.

In the period under comparison from January,

1952, until June, 1953 (that being the only
period for which figures on the film companies
in the mass circulation weeklies are available),
just $16,331 was spent in the 17 magazines
while some $26,100 was spent in the big week-
lies.

For the period of July, 1951, until June,

1953, a total of $35,879 was spent in the mass
curculation papers, with the leading spender
MGM, accounting for $16,475, RKO spent
$8,392, while others in order were : Columbia,
$4,300 ; Rank, $3,058 ; Universal-International,
$3,000 and Fox, $654.

Going back to the magazines. These cover “La
Vue Moderne Le Samedi,” “La Vue Populaire,”
“Canadian Home Journal,” “Canadian Homes
and Gardens,” “Chatelaine,” “MacLean’s,”
“Mayfair,” “New Liberty,” “Reader’s Digest,”
“Saturday Night,” “Selection du Reader’s Di-
gest” French language, and “Time” (Canadian
Edition).

Spent $260,485 Since 1945

From 1945 until now, a total of $260,485 has
been expended by the film companies. In 1946,
the magazines had a bumper year with film
companies as $49,957 was spent, with 1947
a close second, when $45,962 was spent. The
third biggest year was 1949 when $44,886 was
spent. In order, were 1948, $35,070; 1950,
$30,509; 1945, $21,136; 1951, $16,634: 1952,
$9,656, while this year, in the first six months,
just $6,675 was spent.

Biggest spender was Rank with $145,802

worth of space taken. Another generous ad-
vertiser was RKO, taking $62,193 worth of
space. Others were : Famous Players Theatres,
who in 1949 and 1950, spent a total of $9,066.
However, Famous Players are probably the
largest entertainment advertisers in the coun-
try, confining their space to the daily papers.

Empire-Universal Films is down for $6,413
in 1945, but in addition, there are listings for
International Pictures in 1947 of $1,925 ; Uni-
versal International in 1947, $3,100 ; Universal
Pictures with $3,325 in 1946, and Universal
Studios in 1945 with $1,375.

In the magazine listing, MGM appears but
once, in 1945, when it spent $6,400. A company
known as Monterey Productions is shown for
1948 with $1,150, and Anglo-American Film
Corporation appeared in print to the tune of
$3,414 in 1947; Odeon Theatres (Canada) Ltd.
spent $1,684 in 1949.

United Artists shows up in two years, 1946
and 1947, spending $2,473 the first, and $2,000
the second. Twentieth Century-Fox apDeara
just in 1951 with $2,945.

Heard of I. \.
in Meeting

The annual meeting of the executive
board of IATSE got under way in New
York Monday with Richard F. Walsh, presi-
dent, presiding. Nine vice-presidents plus
Mr. Walsh and William P. Raoul, general
secretary-treasurer, comprise the executive
group.

In New York for the sessions were Har-
land Holmden, Cleveland; James J. Bren-
nan, Ramsey, N. J. ; Roger M. Kennedy,
Detroit; Felix D. Snow, Kansas City; Carl
G. Cooper, Los Angeles; Harry J. Abbott,
Philadelphia ; Orin M. Jacobson, Tacoma,
Wash.; Hugh J. Sedgwick, Hamilton, Ont.,
and Louise Wright, Dallas. The board ad-
journed Wednesday afternoon to permit the
executives to visit the Will Rogers Memorial
Hospital at Saranac Lake Thursday. IATSE
members throughout the country gave more
than $17,000 in the last Will Rogers Hos-
pital campaign.

Meanwhile in Hollywood this week differ-
ences of opinion on policy matters moved
IATSE international representative Roy M.
Brewer to tender his resignation. He said
he considers the Hollywood activities of
IATSE must be considered on a large scale
to keep abreast of operations throughout
the industry, and that it was a difference
of opinion on this point that motivated his
resignation. He said he had not yet re-
ceived a response to his letter offering his
resignation, but expects it will be accepted
by the executive group.

The Brewer resignation precedes by a
forthnight the reopening of negotiations be-
tween IATSE locals and the major pro-
ducers.

Wins Film Council Award

The Cleveland Film Council was pre-
sented the Film Council of America’s C. R.
Reagan Award, for the greatest contribution
to the advancement of effective use of films
in its community, at the recent Chicago con-
vention of the National Audio-Visual As-
sociation.

Cites Local
\ralues of
Film Theatre

“With community understanding, the
motion picture industry will revive and con-
tinue its function as a segment of neigh-
borhood life and as an important means of
cultural communication,” according to H.
P. Holmes, chairman of the Economic Com-
mittee of the National Association of Real
Estate Boards.

This optimistic view of the industry’s
future was contained in a report issued by
the association last week, dealing with the
findings of the Economic Committee in a
study of theatre closings across the coun-
try.

Mr. Holmes said that an answer to the
industry’s problems may be found in a short
time, and that 3-D films, reduced local prop-
erty assessments, or elimination of the Fed-
eral admission tax, alone or in combination,
may provide the relief. The seriousness of
the current situation, however, was not
underestimated by him.

He said that real estate boards in 264
communities reported the closing of almost

I, 000 theatres in all sized cities and in all
geographical locations. “When a theatre
closes,” he said, “ a frontage of from 40 to
75 feet is taken out of an otherwise active
business community. Instead of contribut-
ing its share as a component of the neigh-
borhood shopping area, it becomes a dete-
riorating influence on the economic whole.”

Live Nationwide Theatre
TV Set tor Title Bout

Theatre patrons throughout the nation
will be able to watch a live telecast of the
blow-by-blow of the heavyweight champion-
ship fight September 24 at the Polo Grounds,
New York, as the long-line trancontinental
facilities of the American Telephone and
Telegraph Company have been made avail-
able to a fight for the first time. The pre-
vious theatre telecast of the match between
Marciano and Walcott last September, was
kinescoped in order to complete coast-to-
coast coverage. There have been other
coast-to-coast theatre telecasts that have
been live, but this is the first to be used
for a fight.

Name Youngstein Head of
Joint Defense Dinner

Max E. Youngstein, vice-president of
United Artists, has been named dinner
chairman of the motion picture industry
drive in behalf of the 1953 Joint Defense
Appeal, it has been announced by William

J. German, president of William J. German.
Inc., and chairman of the over-all campaign.
The dinner will be held October 21 at the
Hotel Pierre, New York. The drive will
raise funds for the American Jewish Com-
mittee and the Anti-Defamation League of
the B’nai B’rith.

MOTION PICTURE HERALD, AUGUST 29, 1953

fin Cmergency Call tc £aHe “TexaA COtfiPO

Announcement from Dallas that

the industry’s famous “Texas COM-
L PO” is folding, will be a devastating
blow to motion picture business at a time
when this great force is so badly needed. All
of us will feel the loss, and all should ac-
knowledge the debt we owe to Texas for
their showmanship.

Kyle Rorex, executive director, has called
off the second annual conference, scheduled
in Dallas for September 28-30, and has
merely stated, without elaboration, that the
future activity of the organization will be
curtailed “as an economy measure.” There
are many of us who will immediately decide
this is no economy for motion picture busi-
ness, as a whole.

Texas is a great state, with many great
showmen — and business has been good down
there, because they’ve made it good, by
hustling. Last year’s “Movietime USA”
was a clarion call for showmen everywhere,
to take part in the reconstruction of film
business as we have known it. But there
have been many who are less interested, and
now we will all suffer.

Texas has proverbially offered showman-
ship as a solution to industry problems, and
they have been absolutely correct in this
premise. There are too many in our business
today who feel that the Government, or the
industry, owes them a living, and if they yell
loud enough, they’ll be taken care of, on
some sort of “relief” project, by decree.

Actually, we can only save our skins by
getting out and working at our trade. There
isn’t enough showmanship abroad in the
land, and there’s too much crying. We can
be licked before we know it, and there have
been too few to fly the banners of showman-
ship in the face of adversity.

Texas is the last of the single feature
territories. It has always held out against
industry weakness, and stood up for industry
progress. We’ve never met Karl Hoblitzelle,
but we credit him with being the master
mind behind this strategy, along with our
good friend Bob O’Donnell, who has long
been a leader in industry affairs. Nor have

PUBLIC RELATIONS

(A general letter to managers
with respect to tax repeal.)

If you have not already done so, speak
to in person, if possible, or write your
Congressman and Senator, a note of
appreciation for their help with the Mason
Bill to repeal the 20% Federal excise tax
on admissions.

Forget all the pessimistic conversation
and arguments in print that too many peo-
ple now remember, like theatre closings,
the effect of TV, etc., ete.

When the subject comes up, play up
the fact that taxes are tough on every-
body, that everybody needs relief, that
because you tried to get relief is to your
credit, and that you'll cooperate with any-
body in a program for tax relief.

Do not cuss politicians — in this case, they
definitely helped us. Have confidence in
the health of your business, and in the wis-
dom of your actions in trying to get relief.

Remember, you may have to repeat
everything you did when Congress re-
convenes in 1954. Do not irritate or antag-
onize people with griping to the point
where you can't ask for their cooperation
again, and get it.

Be a good salesman — take this rebuff
with a smile and be ready to start selling
again at the first opportunity. We have
lost a battle, but not the war. — EMIL

BERNSTECKER, District Manager, Wilby-
Kincey Theatres, Atlanta, Georgia.

we met Kyle Rorex, with the name and the
game of a showman, nor Frank Starz, an
active correspondent with this desk.

There are too many good showmen, con-
tenders for and winners of Quigley Awards,
to be lost to merely regional importance in
this business. We remind each and every one
of the top executives concerned, that we
need Texas showmen and the industry needs
“Texas COMPO” — as never before.

'This is Cinerama has now broken
all records for 48 years in its engage-
ment at the Music Hall theatre, in Detroit,
but it’s still not motion picture business. We
classify Cinerama as “legit” — and for good
reason. It is handled ancLsold as a “legit”
attraction, with typically “theatre” box office
scale, and personnel. Furthermore, it won’t
be offered or sold in the U. S. in more than
fifty theatres, comparable to a first-run top-
bracket outlet for an attraction that is not
available elsewhere, and subject to no com-
parison in treatment than can benefit mem-
bers of the Round Table. When, and if,
Cinerama reaches these towns, it will have
its own staff, from “legit.”

How many of you remember McCarthy &
Mitchell — those great showmen of another
era, who put the big D. W. Griffith shows
on the road, using all the methods of the
traveling theatre ? It was good training for
theatre managers, for they came into small
situations, bringing their own staff and their
own orchestra, with as many as fifty people
in the company, to show us how it was done.
And all they took was 80% of the gross, and
worth it. They also charged the legitimate
prices of the period, as much as $2 top at the
box office, when “movies” were a dime.

€The world premiere of Return to
Paradise at the State-Lake theatre in
Chicago had the benefit of special full pages
in color in the Chicago T ribune, and will set
an example for other users of color in news-
paper advertising for motion pictures. We
noted, recently, in an advertising trade
magazine, that the Milwaukee Journal leads
the country in “run of paper” color on the
press, which we credit largely to the energy
and effort of the Fox Wisconsin theatres in
promoting these color pages with the spon-
sorship of eight or ten cooperative adver-
tisers. Nobody has done such a good job,
anywhere in the U. S., and it’s especially
newsworthy to have it a record in four
colors. And you can get color now, in more
situations than ever before. — Walter Brooks

MANAGERS' ROUND TABLE SECTION, AUGUST 29, 1953

1 on Can 9t Get
A. way From
“MMoudini"

Magicians, including those who practice the art at
the box office, had a field-day with the first runs of
"Houdini" — as shown at right, where a local member
of the Society of Magicians in Denver, escapes from
the top of a 115-foot crane, as publicity for the Para-
mount theatre; Ed Miller, manager of the Paramount,
Buffalo, entertains the magicians in the lobby, and Bill
Brown, manager of the Palace, Los Angeles, has an
escape artist on display. Below, Oscar Nyberg, man-
ager of the Paramount, Seattle, ties up traffic with a
lobby escape, and Don Friedman, manager of the Des
Moines theatre, introduces a juvenile contender.

MOTION PICTURE HERALD, AUGUST 29, 1953

QUIGLEY AWARDS
CONTENDERS

L. H. ALLEN
Rivoli, Southend, Eng.

MARK ALLING
Golden Gate
San Francisco, Cal.

JERRY BAKER
Keith's

Washington, D. C.

JOHN BARRY
Odeon, Kettering, Eng.

A. B. BINNARD
Warner, Reading, Pa.

H. G. BOESEL
Palace, Milwaukee, Wis.

JOSEPH S. BOYLE
Poll, Norwich, Conn.

PAUL BROWN
Fresno, Fresno, Cal.

JOHN F. BURKE
Fox, Brooklyn, N. Y.

JIM CAMERON
Capitol

Ft. William, Can.

BOB CARNEY

Poli, Waterbury, Conn.

JIM CATTELL
Temple, Bellaire, O.

LOU COHEN
Poli, Hartford, Conn.

J. A. COURT
Princess
Hoyland, Eng.

BOB COX
Ben Ali
Lexington, Ky.

LAWRENCE EDGE
Alhambra
Shotten, Eng.

CARL J. FERRAZZA
Keith, Cincinnati, O.

KENNETH GASTON
Crawford
Wichita, Kan.

ARNOLD GATES
Stillman, Cleveland, O.

H. GENT
Hippodrome
Liverpool, Eng.

JOHN W. GODFROY
Pa ramount
Ashland, Ky.

F. H. GOMPERTZ
Odeon

Chichester, Eng.

J. MEL GOW
Capitol, Nanaimo, Can.

MERL F. HALLMAN
Martin Theatres
Columbus, Ga.

N. J. HARTLE
Capitol, Bolton, Eng.

ROBERT HARVEY
Capitol

North Bay, Can.

W. A. HILTON
Astra, Marham, Eng.

G. C. HOPKINS

Astra

Wellesbourne, Eng.

D. HUGHES
Regal

Cheltenham, Eng.

K. J. INGRAM
Astra, Binbrook, Eng.

DAVID J. KANE
U. S., Hoboken, N. J.

ABE H. KAUFMAN
Fountain

Terre Haute, Ind.

J. J. KIRCHHOFF
Rialto, Tulsa, Okla.

SIDNEY KLEPER
College

New Haven, Conn.

F. C. LEAVENS
Elmdale, Ottawa, Can.

ED LINDER
Ontario

Washington, D. C.

A. LOEWENTHAL
David Marcus
New York, N. Y.

J. L. LONGBOTTOM
Odeon

Middlesbrough, Eng.

RUSS. McKIBBIN
Imperial, Toronto, Can.

RANCE MASON
Kerredge
Hancock, Mich.

C. A. MATTHEWS
Wabash

Terre Haute, Ind.

KEITH MAUPIN
Richland
Richland, Wash.

ED MILLER
Paramount
Buffalo, N. Y.

L. MITCHELL
Princess, Barnsley, Eng.

TOSHIO MIYAMOTO
Shinkoiwa, Tokyo

F. MOORE
Odeon, Crewe, Eng.

VIC MORELLI
Empress

Danbury, Conn.

PETER MYOTT
Electric
Torquay, Eng.

J. K. NICKALSON
Center

Salisbury, N. C.

G. J. PAIN
Gaumont
Glasgow, Scot.

R. W. PARKER
Regal, Torquay, Eng.

ERNESTO PERALTA

Metro, Santiago, Chile

F. W. PIETERSON
Plaza, London, Eng.

LESTER POLLOCK
Loew's

Rochester, N. Y.

JOE REAL
Midwest

Oklahoma City, Okla.

ROBERT RETZER
Solano Drive-In
Fairfield, Cal.

MORRIS ROSENTHAL
Poli, New Haven, Conn.

W. S. SAMUELS
Lamar, Beaumont, Texas

IRVING SCHMETZ
Forest Hills
Forest Hills, N. Y.

N. SCOTT-
BUCCLEUCH
Regent, Norwich, Eng.

FRANK K. SHAFFER
Dixie, Staunton, Va.

HAROLD SHAMPAN
Gaumont
Islington, Eng.

E. L. SHELMERDINE
Ritz, Hastings, Eng.

S. C. SHINGLES
Odeon, Stafford, Eng.

CHARLES SMITH
Regent, Brighton, Eng.

J. L. SMITH
Palace, Arbroath, Eng.

TOMMY SMITH
Odeon

Motherwell, Eng.

F. BERNARD SOAPER
Odeon

Nottingham, Eng.

SOL SORKIN
Keith's

Syracuse, N. Y.

BOYD SPARROW
Warfield

San Francisco, Cal.

MURRAY SPECTOR
Teaneck, Teaneck, N. J.

P. C. STEVENSON
Regal, Leigh, Eng.

F. C. TARTE
Astra

Little Rissington, Eng.

J. W. TURNER
Savoy, Sale, Eng.

M. E. WARD
Regal, Staines, Eng.

G. C. WILLIAMS
Regent, Chatham, Eng.

H. F. WILSON
Capitol, Chatham, Can.

FRANK WITTS
Hippodrome
Gloucester, Eng.

Round Table

€ Keith Maupin, manager of Richland theatre, Richland,
Wash., says he was handicapped when he couldn’t get poster
cut-outs of Rita Hayworth as display for Salome so his artist
depended on his imagination, with what we would call great success.
Must be he had seen some Sunday School pictures of the Dance of
the Seven Veils! . . . Len Sampson and Bob Spodeck went to town
with the revival of Danny Kaye in two features at the Crown thea-
tre, New Haven. . . . Frank McQueieney, manager of the Pine
Drive-In, Waterbury, Conn., believes in spreading the word about
first-run product. . . . John R. Ratno, Jr., manager of the Empress
theatre, Norwalk, Conn., advertises a double feature program as
“the twin bill with the one-two sock.”. . . Si Seadler says the hold-
over ads prepared by C. A. Matthews, manager of the Wabash
theatre, Terre Haute, Ind., for the extended run of The Band
Wagon are the best examples he has ever seen. . . . Groceries and a
jalopy were giveaways promoted by Charles Gordon, manager of
Walter Reade’s 9-W Drive-In at Kingston, N. Y. as business stimu-
lants. ... A tremendous false-front, with 24-sheet cut-out figures,
was utilized by Bob Hynes, manager of the Walter Reade theatres
in Asbury Park, N. J., for the engagement of The Band Wagon
at the St. James. . . . George Cameron, manager of Schine’s Vernon
theatre, Mt. Vernon, Ohio, says there’s good news today ! with his
report of a tieup for Singer Sewing Machine Co., to promote a
Fashion Show.

T ▼ T

QJohn P. Brunette sends photos of an American News Com-
pany tieup for the benefit of Plymouth Adventure, at the
Studio theatre, San Jose, Calif., and says the news trucks are always
available for the exploitation of new pictures. . . . Seymour Morris
reports that Col. Bob Cox’s Kentucky territory is now 100% signed,
sealed and delivered for “Back to School” shows this year. . . .
Evan Thompson is now manager of the Skouras Fox theatre, in
Hackensack, since George Larrison was transferred to the home
office, and he reports the “Miss Bergen County” contest as free
promotion on his stage. . . . Boyd Sparrow again reporting his ex-
ploitation from Loew's Warfield, San Francisco (this time, it’s on
The Band Wagon) and Lester Pollock in the mail with photos
of his displays at Loew’s Rochester (this time, From Here to Eter-
nity, which gets the full treatment). . . . Jos. S. Boyle says his
“Teen Queen” contest at Loew’s Poli, Norwich, Conn., was on
station WICH and picked-up by UP. . . . Fox in New York sends
photos to show us the street bally and beauty contest successfully
launched at the Center theatre in Buffalo, for Gentlemen Prefer
Blondes. . . . Deane Brown, manager of the Lyric theatre, Indi-
anapolis, used a mechanical man as street ballyhoo for City That
Never Sleeps, so lifelike that the Indianapolis News gave him a
picture, asking if the creature was human. . . . Tom Ican, with a
proper name for a showman, is house manager at the Kentucky
theatre, Lexington, and turns in a proper campaign on Shane, with
appropriate gestures.

T ▼ ▼

C Loew’s New England managers certainly land good ones, when
it comes to page breaks for their Movie Jubilee. Lou Cohen
had a terrific spread, part publicity and part paid advertising in the
Hartford papers, both the Times and the Courant going for full
pages, on current attractions. Loew’s Poli opened with The Band
Wagon and had Dream Wife and Gentlemen Prefer Blondes
coming up. A display ad of future attractions gave patrons a birds-
eye view of a dozen pictures that are around the corner, in a genuine
Movie Jubilee. Allen Widem’s cooperation counted for plenty. . . .
Matt Saunders, manager of Loew’s Poli theatre, in Bridgeport,
Conn., and Morris Rosenthal, manager of Loew’s Poli in New
Haven, did the same thing, accounting for full page layouts in both
cities, a ten-strike for Loew’s greater movie season. . . . Bernif.
Menschell and John Calvoccressi, of the Manchester Drive-In,
Bolton Notch, had a half-page cooperative salute in Hartford papers
for the opening of “New England’s Most Beautiful Drive-In Thea-
tre.” . . . Bill Daugherty, manager of Lockwood and Gordon’s
Webb Playhouse, Wethersfield, Conn., plays up his short program in
newspaper ads — notably Nostradamus and Nature’s Half Acre. . . .
Hugh J. Campbell, manager of the Center theatre, West Hartford,
went along with a half-page co-op ad, promoted by neighborhood
business men and merchants, to combat the hot weather with a hard-
hitting campaign to encourage shopping in West Hartford Center.

MANAGERS' ROUND TABLE SECTION, AUGUST 29, 1953

MR. THEATRE MANAGER CAN
ALSO BE A GOOD SCOUT

The most ambitious television advertising
program ever set by a film company to pre-
sell a picture has been launched by 20th
Century-Fox for Mr. Scoutmaster, bow-
ing-in some 700 situatiows this month and
next. More than $250,000 will be spent to
promote the comedy starring Clifton Webb
at the point-of-sale in every TV market in
the country, with 100 stations participating.

Television Directed
By TV Specialists

Twenty-four television trailers and radio
spot announcements have been created for
the drive. Spots comprise eight 1 -minute
TV trailers, four 20-second TV trailers,
eight 1-minute radio spots and four 20-
second transcriptions, to be rotated around
the clock beginning 10 days in advance of
playdates and continuing through the first
week of key-city engagements. Trailers and
spots provide time to include playdate and
theatre credits in cities as far as fifty miles
from the broadcasting stations.

Charles Einfield, vice-president of 20th
Century-Fox, has engaged Terry Turner
and Don Thompson as specialists to direct
this advertising in conjunction with the ex-
ploitation campaign for the picture which is
handled by Rodney Bush, in the home office.
A list of 45 cities will get the kick-off cam-
paign this weekend, with the picture sched-
uled to open Friday, August 28th, at the
Roxy theatre, on Broadway. Many large and
small situations will be covered. The com-
plete free packet of the TV advertising is
available from the exploitation department
of the company, in New York.

Boy Scouts Are Big
Potential Audience

In every community across America there
are thousands of Boy Scouts of the past and
present. Many theatre managers are literally
“good scouts’’ — and some of our Round
Table members are Scout Masters them-
selves in their own communities. The na-
tional total of Boy Scouts is now over 20
million, and with their families and friends,
they constitute a vast potential audience for
this amusing picture, who are already pre-
sold, especially with the benefit of the An-
nual Jamboree in Hollywood, recently at-

This excellent 24-sheet in cartoon style not only provides cut-outs for lobby and
marquee display— the most art work, in the best style, at the smallest cost— but the
drawing of Clifton Webb, with the pack on his back, will remind theatre managers of
their own little problems.

tended by 50,000 scouts from all over the
world. Rarely has a film subject caught such
a popular appeal, nor one that can be secured
on a local basis with so much success by
theatre managers working with their loyal
audiences.

The pressbook describes many competent
exploitation stunts and local promotions that
can be handled cooperatively in any com-
munity. It’s good to take the pressbook in
your hand and go visit the Scout head-
quarters in person, so they can also visualize
the ideas that are waiting to be put in use.
All kinds of stunts grow better when they
are the cooperative effort of two interested
sources, and if we know our Scouts, they
will work like beavers to put this picture
over, for your benefit, and their own interest
and pleasure.

24-sheet and all posters have the amusing
caricatures shown on this page, and the
advertising theme is repeated in the news-
paper ad mats, which are numerous and well
planned for size. The big, economy campaign
mat, at National Screen, has been well
selected, and contains six advertising mats
and two publicity mats, all for 35c, sufficient
to supply any small theatre and give a most
generous assortment for all purposes. All the
accessories are good, and for this attraction,

we recommend the window card, which the
boys will see is well displayed by their favor-
ite stores. The herald keys the campaign,
and the Scouts will handle the distribution.

Your audience, Scouts and their families,
will enjoy this fine comedy, with Clifton
V ebb, Edmund Gwenn, and a new young
star, Scout George “Foghorn” Winslow.
You’ll be hearing more imitations of “Fog-
horn” than you did of “Tarzan.” Take ad-
vantage. of the typical grass roots popularity
of this picture, in your town.

Glamour Contest Will
Decide About Blondes

Robert T. Murphy, manager of the Cen-
tury theatre, in Buffalo, planted a Glamour
Contest in local papers to really decide what
gentlemen prefer— blondes, brunets or red-
heads and he has the new 20th Century-Fox
picture to influence public opinion in favor
of one or the other. The leading Polish (
language newspaper in Buffalo, one of the
largest in the world, will sponsor the new
contest, with all of western New York state
eligible as contenders. Current advertising,
using pressbook mats, points out the desir-
able features that voters, over the age of 18
years, will decide on.

MOTION PICTURE HERALD, AUGUST 29, 1953

Lets Patrons
Pay Cost of
Programs

A unique plan to defray the cost of mail-
ing program announcements to patrons has
been inaugurated by Fred Cory, manager of
the H. & E. Balaban Surf theatre, Chicago.
Patrons who wish to remain on the theatre
mailing list are charged 50 cents per year
for the privilege, but receive a bonus.

The idea started when Fred, faced with
rising costs of printing, adressing and mail-
ing to more than 10,000 names on his list,
and looking for a better way than selling
merchant advertising in his flyers, picked
up the monthly program of a local FM
station, which the station mails to paid sub-
scribers only. Fie then hit on the idea of
charging for mailing, but to make it attrac-
tive offered two passes to every person who
paid to be put on the list, explaining, “We
can’t print money, but we can print passes.”

Fred says that a complete mailing, which
he sends out roughly 15 times a year, cost
about $300 — and he has been amazed by the
results. More than 2,000 patrons already have
paid to be put on the list and 100 more are
joining every week. He is not only pay-
ing for the mailing with his new system,
but has a cash surplus on hand and should
wind up with a profit on the operation.

The quality of the program, from a stand-
point of typography and printing, is un-
usally high. He achieves his fine result with
grey ink on calendared paper, and drawings
based on pressbook ads. Perhaps the fine
approach accounts in no small measure for
the response by patrons willing to pay for
the program, on the self-financing plan. No-
body else has ever charged for a program
on this side of the Atlantic.

Jerry Baker, managing director of the
RKO Keith's theatre, Washington, conducted
a beauty contest in conjunction with station
WMAL to find a girl from Outer Space, and
here she is, with the biggest 3-D glasses in
the world, to see that Universal picture.

British Bound Table

MI R. W. G. Bennett, assistant manager of
J Corona theatre, Great Crosby, used that
well known but attention getting street ballyhoo
of a couple in wedding attire to exploit “The
Wedding of Lilli Marlene,” who toured the
streets in a car which was promoted for the
purpose. . . . C. F. Brodie, manager of the Regal,
Barrow, was able to obtain attractive music
store window display in a tieup for “Valley of
the Song.” . . . Lawrence Edge, manager of
the Alhambra Cinema, Shotton, had the assist-
ance of the local Sea Cadet Corps in decorating
his theatre for his showing of “The Cruel Sea”
and arranged with the local library for the dis-
tribution of a thousand over-printed bookmarks.
His exploitation for “The Bad and the Beauti-
ful” is also worthy of entry in the next Quig-
ley Awards competition, with a Beautiful Girl
contest just part of his extensive exploitation on
this picture. . . . For “Stop, You’re Killing Me,”
manager D. Francis of the New Bohemia The-
atre, Finchley, decided to let the staff devise
and execute the campaign. With very little
money at their disposal, they made up easel type
displays with cut-outs from press books and
placed the displays in front of nearby shops. . . .
IT. Gent, manager of the Hippodrome theatre,
Liverpool, created unusual interest in “Turn the
Key Softly” with a stunt which was advertised
by throw-aways. Two of his staff in police uni-
forms chased a “burglar” on the rooftop of the
the theatre which Mr. Gent says is a high build-
ing besides being located on a hill. ... A.
Heaton, manager of the Regal, Beverley,
started his campaign on “Metroscopix” five
weeks before playdate by giving the story to
the local press and continuing to keep it before
the public with letters to the editor. . . . L. F.
Holman, of the Ritz, Hereford, another wide-
awake manager who was able to arrange a tieup
with the local Sea Cadets for “The Cruel Sea,”
with a parade and stage display.

▼ T

QG. C. Hopkins manager of the Astra
Cinema, Wellesbourne, sends photo of
a castle display for “Ivanhoe” which must have
attracted attention. . . . With only a week’s
notice of his “Dream Wife” playdate, D.
Hughes, manager of the Regal, Cheltenham,
had to work fast to exploit it. With street
stunts prohibited, he used store window dis-
plays and had over-printed balloons released at
a dance attended by 800 people. . . . John E.
Lake, manager of the Savoy, Luton, says he
is out fighting for further Quigley honors and
sends good proof of his efforts. He recently
arranged for the free showing of “Young Wives’
Tale” at a local hospital. . . . Henry Large, re-
lief manager, who is presently at the Odeon,
Bedminster, sends information on his exploita-
tion of recent programs. For “Desert Legion”
he had ads in both French and English to en-
able the many French visitors to understand
them. . . . T. W. Lewis, manager of the
Odeon Theatre, Bilston, sends campaign on “A
Queen Is Crowned” and says the theatre was
a . hive of activity with special showings for
dignitaries, school children and old age pension-
ers. . . . Desmond McKay, manager of the
Playhouse, Galashiels, fortunate in finding the
editor of the local newspaper short of material
and glad to run his film quiz for “The Crimson
Pirate” without charge. He also sends us

proof of activities on other programs S. V.

Murdoch is another manager who tied in with
the local Sea Cadets for his showing of “The
Cruel Sea” at his Gaumont Cinema in Liver-
pool. In addition he arranged to display a 10x3
foot streamer across the main counter of the
public library which advertised the book and
the picture with name of theatre. . . . R. W.
Parker, manager of the Regal, Torquay, sends
us photos showing crowds which gathered to
watch his street stunt of girls in “Moulin
Rouge” costumes on lorry and can-can dancers
in his lobby.

F- W. Pieterson had a cut-out replica
™ °_f “Titanic” in its sinking position dis-
played in the lobby of the Plaza theatre in Cam-
den Town, London, in front of which was a row
of life-belts encircling letters to spell out the
name of the picture. . . . N. Scott Buccleuch,
manager of the Regent cinema, Norwich, credits
his receptionist, G. Braund, who is training to
be assistant manager, with designing campaign
on “Cosh Boy,” which was carried out by the
manager in cooperation with the local police
department. Photographs showed methods of
preventing burglaries. . . . Harold Shampan’s
many-sided exploitation for “Stalag 17” included
a spy hunt and actual replicas of prisoner of
war card throw-aways to arouse attention to
the showing of the picture at his Gaumont,
Islington theatre. . . . E. L. Shelmerdine, man-
ager of the Ritz, Hastings, promoted nautical
equipment for his “Plymouth Adventure” lobby
display, then had a guessing contest as to the
length of the rope and the weight of the anchor
displayed. . . . Charles Smith, manager of the
Regent theatre, Brighton, arranged to have little
Petei Pan stickers inserted in cigarette and
candy packages sold in his lobby and had dis-
plays in local coffee shops and restaurants.

J. L. Smith of the Palace cinema, Abroath ar-
ranged a swimming contest in the local pool for
his showing of “One Piece Bathing Suit,” with
entrants in old-fashioned bathing attire. Throw-
aways of Esther Williams’ swimming tips were
also used. . . . F. Bernard Soaper, assistant
manager at the Odeon theatre, Nottingham,
asks us to note change of address from the
Empire, Mansfield, and sends us a worthy entry
tor the Quigley Awards third quarterly compe-
tion on exploitation for recent prograrfjs.

M. E. Ward of the Regal cinema, Staines, con-
“vT’^i.^i6 principals of 51 local schools about
Elizabeth Is Queen,” resulting in the morning
attendance of more than 3,000 children

▼ T

Cl C- Williams, manager of the Regent
cinema, Chatham, used that old stand-by
the sandwich man, the weekend prior to playin'^
I he Story of I hree Loves,” with cut-out por^
traits of the stars. . . . Frank Witts, manager
or the Hippodrome, Gloucester, used teaser
throw-aways for “Niagara” labeled “For Men
Only and had a nearby chemist wrap his cus-
tomers purchases in overprinted paper. s.
C. Shingles, who assists the manager at the
Odeon in Stafford, asked ex-Desert Rat patrons
for souvenirs of the Lybian Desert for lobby
display and collected many suitable for exploit-
ing “The Desert Rats.” His “Man on a Tight-
rope ’ publicity included a six-foot cut-out man
and letters spelling out the name of the film on
a rope strung from the theatre to the library
directly across the street. . . F. Monroe put on
a well rounded campaign for “A Queen Is
Crowned” at the Odeon theatre, Crewe, and
we'll be entering his book in the next Quigley
Awards competition. . . . C. A. Purves of the
Astra Cinema, Hemswell, used a huge target
display for “Ivanhoe” with a sign underneath
which reads Make ‘Ivanhoe’ your target next
T hursday-Friday,” and we’ll save the photo for
an early overseas page. \y . x.

tCl AL TRAILERS

That Get You BEST
mf Send Us RESULTS and Always
I Jlr,iNexl Arrive ON TIME Is
V What You Get From

CHICAGO 1 327 S. Wabash
NEW YORK 630 Ninth Ave

FILMACK

MANAGERS’ ROUND TABLE SECTION, AUGUST 29. 1953

CLASSIFIED ADVERTISING

NEW EQUIPMENT

HELP WANTED

SERVICES

SAVE 70% ON MARQUEE LETTERS! TEM-
pered Masonite: 4" — 35c; 8“ — 50c; 10" — 60c; 12" — 85c;
14"— $1.25; 16"— $1.50 any color. Fits Wagner, Adler,
Bevelite signs. S. O. S. CINEMA SUPPLY CORP.,
604 W. 52nd St., New York 19.

POSITIONS WANTED

CITY MANAGER, 15 YEARS’ EXPERIENCE, IN-
eluding drive-ins. Small town or large city. Minimum
salary $125. BOX 2736, MOTION PICTURE HERALD.

WINDOW CARDS, PROGRAMS. HERALDS,
photo-offset printing. CATO SHOW PRINTING CO.,
Cato, N. Y.

GET WIDE SCREEN & 3D EQUIPMENT AT
S.O.S. Silver screens 90c sq. ft. (above 32' wide, $1.35).
Minimum delay on Short Focus Lenses — order now.

S. O. S. CINEMA SUPPLY CORP., 604 W. 52nd

BOOKS

St., New York 19.

USED EQUIPMENT

HOLMES EDUCATOR EQUIPMENTS— LOWEST
prices ever! Dual 35mm projection -sound complete,
excellent condition, $495. Buy on time! S. O. S.
CINEMA SUPPLY CORP.. 604 W. 52nd St., New
York 19.

MAGIC SHADOWS - THE STORY OF THE
Origin of Motion Pictures by Martin Quigley, Jr.
Adventurous exploration of all the screen’s history
told in 191 crisp pages and 28 rare illustrations. Excit
ing reading for now and authoritative reference for to-
morrow. A Georgetown University Press book. Price,
postpaid, $3.50. QUIGLEY BOOKSHOP, 1270 Sixth
Ave., New York 20, N. Y.

DRIVE-IN EQUIPMENT

GREATER VALUES THAN EVER IN OUR OWN
3-story building! E-7 mechanisms, 6 months’ guaran-
tee, $475 pair; 3 unit late Automaticket register,
excellent. $135; Super Simplex mechanisms, rebuilt,
$750 pair; Aluminum Reels, $1.25; Hertner 65-/130
generator, like new, $675 ; 3D equipment at lowest
prices. STAR CINEMA SUPPLY, 447 West 52nd St.,
New York 19.

SEATING

DEVRYS AGAIN AVAILABLE! COMPLETE
drive-in projection -sound outfits from $1,595. Time
deals arranged. Incar speakers w/4" cones $15.50 pair
w/junction box; underground cable $65M. S. O S.
CINEMA SUPPLY CORP., 604 W. 52nd St., New
York 19.

STUDIO EQUIPMENT

MOTION PICTURE AND TELEVISION ALMANAC
—the big book about your business— 1953-54 edition.
Contains over 12,000 biographies of important motion
picture personalities. Also all industry statistics. Com-
plete listing of feature pictures 1944 to date. Order your
copy today, $5.00, postage included. Send remittance to
QUIGLEY BOOKSHOP, 1270 Sixth Avenue, New
York 20. N. Y.

OUR BEST CHAIR BUY! 1,000 FULLY UPHOL-
stered back, spring seat, metal lined, good condition,
only $4.95. Many more — send for Chair Bulletin.

S. O. S. CINEMA SUPPLY CORP., 604 W. 52nd
St., New York 19.

TURN ADVERSITY INTO ADVANTAGE-SHOOT
local newsreels, TV commercials. Make advertising
tie-ups with local merchants. Film Production
Equipment Catalog free. S. O. S. CINEMA SUPPLY
CORP., 604 W. 52nd St., New York 19.

Legion Approves Seven
Of Eight Films Reviewed

The National Legion of Decency this
week reviewed eight films, placing six in
Class A, Section I, morally unobjectionable
for general patronage ; one in Class A, Sec-
tion II, morally unobjectionable for adults,
and one in Class B, morally objectionable in
part for all. In Section I were “Bandits of
the West,’’ “Conquest of Cochise,” “Down
Laredo Way,” “The Golden Blade,” “Half
a Hero” and “Terror on a Train.” In Sec-
tion II was “Devil’s Canyon.” “Strange
Deception” was placed in Class B because it
“tends to condone immoral actions.”

Decca Records Purchases
More Universal Shares

Decca Records gained a closer hold on
Universal Pictures in recent transactions by
purchasing 36,900 shares of the film com-
pany’s stock and exercising warrants for an
additional 37,500, according to the latest re-
ports of the New York Stock Exchange.
This brings Decca’s total holdings in the
film company to 544,575 shares, which is
more than half of the outstanding shares.

File Petitions for Kansas
"Moon Is Blue" Showing

KANSAS CITY : United Artists and Holm-
by Productions, Inc., distributors and pro-
ducers of “The Moon Is Blue,” have filed
a petition in the Wyandotte County, Kan-
sas, District Court, asking permission to
exhibit the film in Kansas. The board of

review of the state has disapproved the
picture but the petitioners claim that the
letter of rejection should be negated. The
brief claims that the board has not set up
statutory reasons for the rejection; the
picture does not contravane reasons for re-
jection set up in the state statute; and the
statute is unconstitutional as to the Kansas
and Federal constitutions. The Kansas stat-
ute provides for such recourse from the
decision of the board of review, but it has
rarely been used.

Lee Hats Sets Preview of
Color Theatre Television

A preview of commercial color television
on a theatre-sized screen will be held Sep-
tember 30 at the Hotel Plaza in New York
when the Frank H. Lee Company, Danbury,
Conn., shows its 1954 spring line of men’s
hats to some 500 dealers via a closed circuit
demonstration arranged by Theatre Net-
work Television. Nathan L. Halpern, presi-
dent of TNT, said the preview would
“launch the regular use of large screen color
television by TNT for business and com-
mercial organizations. Non-dealers may at-
tend the preview by purchasing a $50
ticket, proceeds from which will go to
charity.

Mason to Star in Musical

James Mason will co-star with Judy Gar-
land in the new musical “A Star Is Born,”
to be produced in WarnerColor by Miss
Garland’s husband, Sid Luft, for Warner
release.

Bing Crosby, Danny Kaye
To Star in "Christmas"

Paramount Pictures’ “White Christmas,”
prepared by Irving Berlin, will co-star Bing
Crosby and Danny Kaye, it has been an-
nounced. Kaye will replace Donald O’Con-
nor, who has been forced to withdraw from
the cast by a sudden illness. Rosemary Cloo-
ney and Vera-Ellen will remain as the fem-
inine stars of the musical which Michael
Curtiz will direct and Robert Emmet Dolan
will produce. Kaye made it clear that his
role in this picture will not change his plans
for future pictures for Dena Productions.

Wayne to Star in Film

John Wayne will star in the forthcoming
Wayne-Fellows picturization of Ernest
Gann’s novel, “The High and Mighty,” to
be released by Warner Brothers.

Leonard Dunn Dies

BOSTON : Leonard A. Dunn, 55, former
head of concessions for New England Thea-
tres, Inc., died suddenly of a heart attack
August 22. He is survived by his widow and
two brothers. Funeral services were held
August 25 in Lynnfield, Mass.

Edwin L. Harvey

Edwin L. Harvey, 69, makeup editor of
Fox Movietone News, died August 18 of a
heart ailment in New York. Mr. Harvey
opened the first newsreel theatre in New
York and London. He is survived by his
widow, Margaret.

MOTION PICTURE HERALD. AUGUST 29, 1953

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
reports cover 126 attractions, 5,7 08 playdates.

Titles run alphabetically. 'Numerals refer to the number of en-
gagements on each attraction reported. The tabulation is cumula-
tive. 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.

Abbott and Costello Go to Mars (Univ.)

All Ashore (Col.)

All I Desire (Univ.)

Anbush at Tomahawk Gap (Col.)

Arena (3-D) (MGM)

Battle Circus (MGM)

Beast from 20,000 Fathoms, The (WB)

Blue Gardenia, The (WB)

Bwana Devil (3-D) (UA)

By the Light of the Silvery Moon (WB)

Call Me Madan (20th-Fox)

Charge at Feather River, The (3-D) (WB)
t City of Bad Men (20th-Fox)

City Beneath the Sea (Univ.)

Code Two (MGM)

Column South (Univ.)

Come Back, Little Sheba (Para.)
Confidentially Connie (MGM)

Count the Hours (RKO)

Cow Country (AA)

Cry of the Hunted (MGM)

Dangerous When Wet (MGM)

Desert Legion (Univ.)

Desert Rats, The (20!h-Fox)

Desert Song, The (WB)

Destination Gobi ( 20th- Fox )

Down Among the Sheltering Palms (20th-Fox)
Dream Wife (MGM)

Fair Wind to Java (Rep.)

Farmer Takes a Wife (20th-Fox)

Fast Company (MGM)

Fort Ti (3-D) (Col.)

Fort Venqeance (AA)

Francis Covers the Big Town (Univ.)

(Gentlemen Prefer Blondes ( 20th- Fox )

Girl Next Door, The (20th-Fox)

Girl Who Had Everything (MGM).

*Girls in the Night (Univ.)

Girls of Pleasure Island (Para.)

Glass Wall, The (Col.)

Glory Brigade, The (20th-Fox)

Great Sioux Uprising, The (Univ.)

Gunsmoke (Univ.)

Hans Christian Andersen (RKO)

Hitch-Hiker, The (RKO)

Houdini ( Para.)

House of Wax (3-D) (WB)

*1 Confess (WB)

I Love Melvin (MGM)

Invaders from Mars (20th-Fox)

It Came from Outer Space (3-D) (Univ.)

It Happens Every Thursday (Univ.)

*lvanhoe ( MGM )

Jack McCall, Desperado (Col.)

Jalopy (AA)

Jamaica Run (Para.)

Jeopardy ( MGM )

1 1

*Kansas Pacific (AA)

Lady Wants Mink (Rep.)

*Last of the Comanches (Col.)

Law and Order (Univ.)

Let's Do It Again (Col.)
t Lili (MGM)

Lone Hand (Univ.)

Ma and Pa Kettle on Vacation (Univ.)
*Magnetic Monster. The (UA)

Main Street to Broadway (MGM)
fMan from the Alamo (Univ.)

Man in the Dark (3-D) (Col.)

Man on a Tightrope (20th-Fox)

{Maze, The (3-D) (AA)

Member of the Wedding (Col.)

Moulin Rouge (UA)

*Naked Sour. The (MGM)

Never Let Me Go (MGM)

Off Limits ( Para. )

Peter Pan (RKO)

Pickup on South Street ( 20th - Fox )

Pony Express (Para.)

Powder River ( 20th- Fox )

President’s Lady, The ( 20th- Fox )

Prince of Pirates (Col.) .

Queen Is Crowned, A (Univ.)

Raiders of the Seven Seas (UA)

Remains to Be Seen (MGM)

Ride Vaquero (MGM)

Roar of the Crowd (AA)

*Rogue's March (MGM)

Salome (Col.)

San Antone (Rep.)

Sangaree (3-D) (Para.)

Savage Mutiny (Col.)

Scandal at Scourie (MGM)

Scared Stiff (Para.)

{Second Chance (3-D) (RKO)

Seminole ( Univ.)

Serpent of the Nile (Col.)

Shane (Pa ra.)

She's Back on Broadway (WB)

Silver Whip (20th-Fox)

Siren of Bagdad (Col.)

{Slight Case of Larceny, A (MGM)

Small Town Girl (MGM)

Snows of Kilimanjaro (20th-Fox)

Sombrero (MGM)

South Sea Woman (WB)

Split Second (RKO)
fStalag 17 (Para.)

Star, The (20th-Fox)

Stars Are Singing, The (Para.)

Stooge, The (Para.)

Story of Three Loves, The (MGM)

Sun Shines Bright, The (Rep.)

Take Me to Town (Univ.)

Tall Texan, The (Lippert)

Tarzan and the She-Devil (RKO)

Taxi (20th-Fox)

{Thunder Bay (Univ.)

Titanic ( 20th- Fox )

Tonight We Sing (20th-Fox)

*Treasure of the Golden Condor ( 20th- Fox )
Trouble Along the Way (WB)

Vanquished, The (Para.)

White Witch Doctor (20th-Fox)

Woman They Almost Lynched (Rep.)

Young Bess (MGM)

1 1

.25

1 1

I 1

The Best Way to Sell l|oun

3-D ATTRACTIONS...

IN LOBBY, FOYER,
OUT FRONT

AND AWAY- FROM
THEATRE!

DISPLAY CARD
of your
COMING
ATTRACTION

ov**

1500

ulo»»* *

(Lt

HO*1

iishiimi

DISPLAY CABINET

Here’s the display that SELLS 3-D ... by SHOWING 3-D !
. . . Actual scenes from the picture ... in full color and
3 dimensional depth . . . permit the patron to sample the
motion pictures’ new, thrilling dimension.

Three VIEW-MASTERS on each cabinet, show
seven scenes from your 3-D Attractions! You buy the
display at the low outright sale price of $24.50 and use
it on all your 3-D hits! Reels — set of 3, $1.85 . . .
Display cards — 60c each. Buy several and sell
3-D . . . BIG !

V y PR/Zf B0BV i

SERVICE

Of THf WO US TRY

JS4

EQUIPMENT • FURNISHINGS • DESIGN . PHVSIEAL QPER/ITIUN • VENDING

SEPTEMBER ISSUE: Section 2 of Motion Picture Heraf-i of September S, 1953

"COKE” IS A REGISTERED TRADE-MARK.

Illustrated above: American Bodiform Chair

BETTER THEATRES SECTION

Ballantyne

THE

• AH the equipment you purchase for three-track magnetic
stereophonic sound is good when you go to four-track.
You need only to add one pre-amplifier, one amplifier and
one additional soundhead for your other projector.

NO OBSOLESCENCE

Just as the all-system package is suitable for all
reasonable methods of 3-D and wide screen, Ballantyne
engineers have overcome the problem of changing
nature of magnetic sound reproduction.

• The new “4-Runner” operates in a console as a three-
track magnetic reproducer. Loosen the two wing nuts:
lift out the soundhead. Plug in the fourth channel pre-
amplifier and . . .

• button it on above the projector for four-track magnetic
sound for Cinemascope production. And in the future,
when the soundhead returns to its normal position below
the projector . . .

• button it below and you are ready for the four or even five
track sound of the future.

Obviously the difference in cost between the converti-
ble “4-Runner” and any other system is several thou-
sand dollars.

The “4-Runner” is designed not only for use with
Ballantyne equipment but is easily adaptable for use
with any standard make projector.

The “4-Runner” soundhead mounts in this
simple console rack for three-track magnetic
sound. All precision, standard parts make repair
and operation easy.

Model 344

THE 331 OPERATORS WHO HAD THE CONFIDEHCE TO ORDER THE BALLANTYHE

THAH $6000, WILL RECEIVE THIS REVOLUTIOHARY HEW UHIT

Wide Screens wide Angle Lenses

wttk d Future!

THE ONLY MAGNETIC REPRODUCER THAT WILL NOT BECOME OBSOLETE

PATENTS

PENDING

For 4-Track Cinemascope sound, and Warner-
scope, the 4-Runner buttons on top of the pro-
jector. Adapter brackets make it possible for
use with any standard projector. It takes just
minutes to change.

When four-track magnetic sound of the future
returns to the normal soundhead position, you’ll
be ready with the “4-Runner”, designed NOW
to convert with a minimum of cost in the future.

•

ALL-SYSTEM PACKAGE FOR LESS

AT THE PRICE QUOTED WITH THEIR PACKAGE

Pre-Amplifiers

For list of authorized dealers see next page

"Where 7c Sutf M '

BALLANTYNE DEALERS

for the 4-Runner Soundhead adver-
tised on the preceding two pages:

ALABAMA

BIRMINGHAM: Queen Feature Service
ARKANSAS

LITTLE ROCK: Arkansas Theatre Supply Co.
CALIFORNIA

LOS ANGELES: B. F. Shearer Co.

SAN FRANCISCO: B. F. Shearer Co.

DISTRICT OF COLUMBIA

WASHINGTON: R & S Theatre Supply Co.

FLORIDA

MIAMI: United Theatre Supply Co.

TAMPA: United Theatre Supply Co.

GEORGIA

ALBANY: Dixie Theatre Service <£ Supply
SAVANNAH: Rhodes Sound and Projection Service
ILLINOIS

CHICAGO: Ed Mikkelsen
KENTUCKY

LOUISVILLE: Hadden Theatre Supply Co.
LOUISIANA

NEW ORLEANS: Johnson Theatre Service
MASSACHUSETTS

BOSTON: Independent Theatre Supply
MISSOURI

ST. LOUIS: McCarty Theatre Supply Co.

NEW YORK

ALBANY: Albany Theatre Supply Co.

BUFFALO: Perkins Electric Co.. Ltd.

NEW YORK: Joe Hornstein, Inc.

Norpat, Inc.

NORTH CAROLINA

CHARLOTTE: Charlotte Theatre Supply
OHIO

CLEVELAND: Ohio Theatre Equipment
COLUMBUS: American Theatre Equipment
TOLEDO: Theatre Equipment Co.

OREGON

PORTLAND: B. F. Shearer Co.

PENNSYLVANIA

PHILADELPHIA: Superior Theatre Equipment Co.
SOUTH DAKOTA

SIOUX FALLS: American Theatre Supply
TEXAS

DALLAS: Hardin Theatre Supply Co.

UTAH

SALT LAKE CITY: Service Theatre Supply Co.
WASHINGTON

SEATTLE: B. F. Shearer Co.

WEST VIRGINIA

ELKINS: Veterans Electrical Service
WISCONSIN

MILWAUKEE: Theatre Equipment <& Supply Co.

CANADA

MONTREAL: Perkins Electric Ltd.

TORONTO: Perkins Electric Ltd.

VANCOUVER: Theatre Equipment & Supply
WINNIPEG: J. M. Rice

EXCLUSIVE EXPORT

Streuber & LaChicotte. Inc., 1819 Broadway, New York 23, N. Y.

About People
o^ the ^Theatre

AND OF BUSINESSES SERVING THEM

T he promotion of four executives to im-
portant management positions with the
American Seating Company, Grand Rapids,
Mich., has been announced by H. M.
Taliaferro, company president. They in-
cluded the appointment of James M.
VerMeulen as executive vice-president;
George H. Roderick, vice-president for
operations; J. E. Heidgen, financial vice-
president; and James J. Thompson, gen-
eral sales manager. In his new capacity
Mr. VerMeulen, formerly vice-president
and general sales manager, will administer
all activities of the company, under the di-

J. E. Heidgen James J. Thompson

rection of the president, and co-ordinate
the work of the sales, operations, finance
and accounting, research and industrial
relations divisions of the company. He
joined the company in 1927 as inspector
and later moved to positions of research
engineer, foundry superintendent, product
development engineer, sales engineer and
eastern sales manager. In 1945 he was
made general sales manager of the company
and was elected a vice-president and di-
rector in 1947. Mr. Roderick, vice-presi-
dent of manufacturing, was assigned new
duties and promoted to the position of vice-
president for operations. His responsibilities
will include direction of the purchasing,

MOTION PICTURE HERALD. SEPTEMBER 5, 1953

HEAVY-DUTY
SELENIUM PLATE
RECTIFIERS

{<,/ j / TUBE-TYPE RECTIFIER

CONTINUOUS

op,*\#N'

CONTINUOUS-DUTY

75-85 AMPERE,
3-PHASE,

220-VOLT

All four feature automatic, fan air
cooling.

Transformer taps provide adjustment
to compensate for supply voltage
variations through a range of 10%
above or 10% below the rated A.C.
input voltage throughout the output
rating range.

Tor further details on the subject of arc
lighting as it applies to the projection
of three-dimensional pictures by any
system, address Department 3-D.

THE STRONG ELECTRIC CORP. *

1 CITY PARK AVE. TOLEDO 2, OHIO ★

Please send free literature on Strong Arc ^
Lamps and Rectifiers for 3-D projection. ^

Name

BETTER THEATRES SECTION

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edge sharpness on widest screens !

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Fastest projection lens made. Complete range of focal lengths.

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with this revolutionary new // 1.8 series — new world’s standard
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WRITE for complete information. Bausch
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exclusively for clearest,
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production engineering, manufacturing and
traffic operations of the company, and in
addition, he will direct the sale and pro-
duction of all company defense products.
He joined American in 1921 as an engineer
and later was promoted to works engineer.
During World War II he directed conver-
sion of the company’s manufacturing facili-
ties to war production and as manager of
the war products division handled war con-
tract business. In 1947 he was made re-
search and development manager and also
in that year was elected a vice-president
and director. Mr. Heidgen, currently sec-
retary-treasurer of the company, was pro-
moted to financial vice-president. As such
he will direct the accounting activities of
the company, handling of cash and securi-
ties and the credit, collection and insurance
programs. He will continue to handle the
corporate secretarial affairs of the company,
and in his capacity as treasurer will co-
ordinate its financial and control activities.
Mr. Heidgen joined American in 1947 as
secretary and treasurer, prior to which he
was an independent financial, accounting
and tax consultant. Before this he had
accounting and control experience with
Bucyrus-Erie Company, Firestone Tire and
Rubber Company and Basic Refractories,
Inc. Mr. Thompson, who had been field
sales manager, was promoted to general
sales manager to succeed Mr. VerMeulen.
In his new position Mr. Thompson will
direct all the selling activities of the com-
pany, except defense products. He joined
American in 1927 as a salesman, later being
advanced to assistant manager with sales
assignments at Chicago and Detroit, and
later branch manager at Syracuse, N. Y.
During the war he served at the plant in
Grand Rapids as assistant manager of the
war products division and after the war
was assigned the duties of developing an
expanded postwar sales program for the
eastern division of the company.

Henry M. Fisher has been promoted
to the position of executive vice-president
of DeVry Corporation, Chicago, and Ellis
Wellington D’Arcy has been appointed
vice-president, according to an announce-
ment by W. C. DeVry, president. Mr.
Fisher joined DeVry in 1928 as a sales and
service engineer and office manager of the
company’s New York branch — a post he
held until 1938. In 1948, after serving ten
years as sales manager of DeVry’s Eastern
Division, he was appointed vice-president
of the firm. Mr. D’Arcy, who joined
DeVry in 1940 as a development engineer,
was named chief engineer in 1945 and
served in that capacity until his present
promotion. He played a major role in de-
veloping the DeVry “JAN” 16mm sound
motion picture projector used by the Armed
Forces and his more recent assignments in-
| eluded development of 16mm magnetic

MOTION PICTURE HERALD, SEPTEMBER 5, 1953

FOR DEPENDABLE

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backed by 57 years' experience in the design and
manufacture of theatre equipment —

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For WHERE TO BUY IT" Information
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BETTER THEATRES SECTION

"Where ~fo Sulf Jft ”
MOTIOCRAPH DEALERS

CALIFORNIA

LOS ANGELES: B. F. Shearer Company

1964 S. Vermont Ave.
SAN FRANCISCO: B. F. Shearer Company

243 Golden Gate Ave.

COLORADO

DENVER: Service Theatre Supply Co.

2054 Broadway

GEORGIA

ATLANTA: Wil-Kin Theatre Supply, Inc.

150 Walton St., N. W.

ILLINOIS

CHICAGO: Gardner Theatre Service, Inc.

1235 S. Wabash Ave.

INDIANA

INDIANAPOLIS: Ger-Bar, Inc.

442 N. Illinois St.

IOWA

DES MOINES: Des Moines Theatre Supply

1121 High St.

KENTUCKY

LOUISVILLE: Falls City Theatre Equip.

427 S. Third St.

LOUISIANA

NEW ORLEANS: Hodges Theatre Supply Co.

1309 Cleveland Ave.

MARYLAND

BALTIMORE: J. F. Dusman Company

12 E. 25th St.

MASSACHUSETTS

BOSTON: Joe Cifre, Inc.

44 Winchester St.

MICHIGAN

GRAND RAPIDS: Ringold Theatre Equip.

106 Michigan St., N. W.

MINNESOTA

MINNEAPOLIS: Frosch Theatre Supply Co.

1111 Curie Ave.

Minneapolis Theatre Supply

75 Glenwood Ave.

DULUTH: National Equipment Company

7 E. Michigan St.

MISSOURI

ST. LOUIS: McCarty Theatre Supply Co.

3330 Olive St.

KANSAS CITY: Shreve Theatre Supply Co.

217 W. 18th St.

NEBRASKA

OMAHA: Western Theatre Supply Co.

214 N. 15th St.

NEW YORK

AUBURN: Auburn Theatre Supply Co.

5 Court St.

NEW YORK: Joe Hornstein, Inc.

630 Ninth Ave.

BUFFALO: Perkins Theatre Supply Co.

505 Pearl St.

NORTH CAROLINA
CHARLOTTE: Wil-Kin Theatre Supply

229 S. Church St.

OHIO

CLEVELAND: Ohio Theatre Supply

2108 Payne Ave.

OKLAHOMA

OKLAHOMA CITY: W. R. Howell

12 S. Walker Ave.

OREGON

PORTLAND: B. F. Shearer Company

1947 N.W. Kearney

PENNSYLVANIA

PITTSBURGH: Atlas Theatre Supply

402 Miltenberger St.
FORTY FORT: Vincent M. Tate

1620 Wyoming Ave.

TENNESSEE

MEMPHIS: Tri-State Theatre Supply

320 S. Second St.

TEXAS

DALLAS: Modern Theatre Equipment

1916 Jackson St.

UTAH

SALT LAKE CITY. Service Theatre Supply

256 E. First So. St.

WASHINGTON

SEATTLE: B. F. Shearer Company

2318 Second Ave.

WEST VIRGINIA

CHARLESTON: Charleston Theatre Supply

506 Lee St.

WISCONSIN

MILWAUKEE: The Ray Smith Company

710 W. State St.

CANADA

CALGARY, ALB.: Sharp’s Theatre Supplies
Film Exchange Bldg.
MONTREAL, QUE.: Dominion Sound Equip.

4040 St. Catherine St., W.
General Theatre Sup. Co.
288 St. Catherine St., W.
Perkins Electric Co.
1197 Phillips Place
ST. JOHN, N.B.: General Theatre Sup. Co.

86 Charlotte St.
TORONTO, ONT.: General Theatre Sup. Co.

861 Bay St.
Perkins Electric Co.

277 Victoria St.
Perkins Electric Co.
591 Yonge St.

VANCOUVER, B.C.: Dominion Thea. Equip.

847 Davie St.
General Theatre Sup. Co.

916 Davie St.

WINNIPEG, MAN.: General Theatre Sup. Co.

271 Edmonton St.

sound equipment and perfecting a foreign
language sound conversion unit for extend-
ing the uses of American films in other
countries.

Walter 1’rick has been appointed sales
and service engineer for the Strong Electric
Corporation, Toledo. In that capacity he
will travel the entire
country, contacting
Strong dealers who
handle their projec-
tion arc lamps, rec-
tifiers and spotlights
in the theatre field
as well as those
handling Grafarc
lamps for the
graphic arts indus-
try and arc slide
projectors for the
visual education market. Mr. Frick was
formerly connected with the Theatre Equip-
ment Company, Toledo, and was recently
in charge of the six U. S. Army post thea-
tres at Camp Gordon, Ga.

Robert Wilson has opened his new
drive-in, called the 64, at Whiteville,
Tenn.

1 he Welworth Theatres Company,
Minneapolis, has opened its new 435-car
Moonlight drive-in at Moorehead, Minn.

Bert Johnson and Dan Peterson
have opened a new 300-car drive-in, called
the Sioux, at Redfield, S. D.

The Mayfair theatre in Portland, Oreg.,
will be torn down and completely rebuilt.
Its name will be changed to the Fox theatre.

Several managerial changes have been
announced for Fox Intermountain Thea-
tres, Denver, bv Frank H. Ricketson
Jr., president. They include the naming of
Ray Davis as city manager in Denver in
addition to his present duties in northern
Colorado cities. Tom Brennan, city man-
ager at Cheyenne, Wvo., has been promoted
to manage the northern district comprising
Wyoming and Nebraska theatres in addi-
tion to Sterling, Colo. Russell Berry
has been promoted from Rock Springs,
Wyo., to Cheyenne as city manager; James
Auten, Longmont, moves to Rock Springs ;
and Al Bamossy, Rawlins, Wyo., moves
to North Platte, Nebr., to assume the city
managership, where he succeeds A. C.
Stalcup, who is retiring. Jim Sutton,
assistant city manager at Cheyenne, has
been moved to Rawlins, Wyo., as city man-
ager.

Bill Woollen has returned as manager
of the Esquire theatre, Indianapolis, suc-
ceeding Mrs. Mildred Allen, who resigned.

A SERVICE MAN'S DREAM

By BERT ENNIS

Twas the night before the bow in
of Warner's "House of Wax,"
the show all set to wow 'em
and bring those patrons back.

Ads that filled the papers
with ballyhoo and ling
hailed the stereophonic capers
this 3-D film would bring.

Our Altec man was tucked in bed
and truth to tell, what's more,

The sound waves coming from his head
were a third-dimensional snore.

Rest well earned, work well done,
for he had labored long
to make this stereophonic installation
one long sweet Altec song.

In booth and auditorium
he'd worked with might and main
to earn a lauditorium
for frequency and gain.

But now his slumbers ended
on a sound he knew full well,
to his high fidelity ears was wended
the ring of the telephone bell.

He rose with one brief sigh,

But with no sign of dismay,
like any Altec service guy
he was ready, night or day!

The Warner man was on the 'phone;
he listened to his wail —

The ohms, the ohms," he heard him groan
as he spilled his tearful tale.

Our Altec man arrived in haste
as he'd been trained to do —
he knew there was no time to waste
to see this rush job through.

The theatre man was smiling now,
and as his visitor departed
he shook his hand, said: "Take a bow
for getting our show started."

And as the folks for miles around
flocked in to see the show
they raved about stereophonic sound
and urged their friends to go.

And so the 3-D show deluxe
opened in a great big way;
the "take" was carted off in trucks —

Altec had saved the day!

[As may be surmised, Bert Ennis — for
many years a prominent figure in motion
picture publicity circles in New York— is
associated with the Altec Service Corpo-
ration.— Ed.]

The Fox West Coast Theatres’ Corpora-
tion, Los Angeles, has announced the fol-
lowing changes in managerial personnel :
Ray Duff was transferred to the Stadium,
Los Angeles, supplanting Dick Mason,
who is now at the La Reina, Sherman
Oaks. Mr. Duff has been replaced by
Frank Ramsey. In addition, Jack White
has been named manager of the Carmel.

MOTION PICTURE HERALD, SEPTEMBER 5, 1953

for SEPTEMBER 1953

Putting the
Big Picture
Into Theatres

GEORGE SCHUTZ, Editor

EDITORIAL INDEX:

Page

THEATRES AND THE NEW TECHNIQUES, by Ben Schlanger. First Article of a

Series 12

REMODELING OF THE FITCHBURG THEATRE, FITCHBURG. MASS 14

ON THE HOUSE department:

WIDE-SCREEN IN A 585-SEAT THEATRE PROVES A SUCCESS 18

OUTDOOR-INDOOR DRIVE-IN— YEP. AND RAMP AREA FANS 19

NEW TECHNIQUES KEY TESMA TRADE SHOW 20

THEATRE REFRESHMENT SALES department:

PROFITABLE PRACTICES DEVELOPED BY EXPERIMENT AND ADAPTATION.. 21

VENDER VANE: Market News 24

REMODELING THE SNACK BAR PAYS OFF 27

DRIVE-IN department:

PROMOTING SAFETY AT A DRIVE-IN, by Wilfred P. Smith. Seventeenth of a

Series on Getting Into the Drive-In Business 30

ABOUT PRODUCTS 33

THE NEEDLE’S EYE — Projection Department:

SETTING UP CONDITIONS FOR VARIABLE ASPECT RATIOS, by Gio Gagliardi 39

METHOD IN MANAGEMENT department:

ATTRACTION AND THEATRE PROMOTION, by Curtis Mees, Seventh of a

Series on Motion Picture Theatre Management 46

CHARLIE JONES SAYS: The Critic, Like Spinach, Is Good for Us 50

ON THE NEXT PAGE is started a compre-
hensive, detailed application of "wide-
screen" technique to the practical condi-
tions of motion picture exhibition. The
series of articles by Ben Schlanger there
begun is concerned with all of the develop-
ments which come under the heading of
the "new techniques." We here emphasize
"wide-screen" because it involves more
deeply and more broadly than stereoscopy
and stereophonic sound the physical condi-
tions of the auditorium, and they range in
a variety of dimensions and forms through
thousands of existing theatre properties.

The Big Picture of course is nothing new
in Mr. Schlanger's work in the field of mo-
tion picture presentation. Projection and
auditorium design scaled to produce a per-
fo mance that dominates the visual field
long have figured in the study he has made
of the motion picture art in relation to
theatre design through a quarter of a cen-
tury. He has developed and applied vari-
ous measures to give the screen image
greater apparent size and "presence." The
Schlanger-Hoffberg "Synchro-Screen" was
conceived as an instrument of that purpose.

His present group of articles is intended
to promote effective adoption of the Big
Picture as rapidly and as widely as possible.
It therefore applies the tools at hand to
theatres as we have them. It also considers
application in the light of ultimate objec-
tives and the impact on those tools.

•

ABOUT PEOPLE OF THE THEATRE

is published the first week of each month, with the regular
monthly issues, and an annua! edition, the Market & Operating Guide, which
appears in March, issued as Section Two of Motion Picture Herald.

OCCASIONALLY a Hollywood director
complains to the press that a wide screen
deprives cinematography of some of its
most effective devices of story telling. It is
true that some scenes and certain kinds of
narrative material are in natural opposition
to the elongation imposed by a wide image.

We are, however, only beginning to use
an expanded screen area; problems of pic-
tcrial representation and narration are to
be expected. But expected also are adap-
tations of "syntax" to the larger volume,
just as a screen language had to be de-
veloped in the first place.

As for framing a scene to fit its contents,
a device which may well suit the purpose is
"peripheral modulation." If a simple way of
applying it could be created, the art would
lose none of its unique flexibility, while
gaining superior impact. — G. S.

1 1

BETTER THEATRES SECTION

The first article of a series

By BEN SCHLANGER

THEATRES

on technical changes
made in the art and
effective application
Mr. Sclilanger is well

being

their

to the existing exhibition plant,
known for his work in this field.

E FIRST HALF of 1953
saw the initiation of a significant effort by
the motion picture industry to re-establish
film exhibition in theatres as a unique

medium of entertainment. It had become
sufficiently evident during the past few
years that home television could capture
an important portion of the time available

to the public for amusement. It wasn’t the
only cause of decreasing theatre attendance,
but it grew to be an important one.

While the screen entertainment offered
by theatres enjoys definite advantages over
that of television, the public has displayed
that, by and large, it is willing to com-
promise to a degree on quality when con-
venience is a substantial factor. At the
same time, it can be observed that people
are willing to go to some trouble and ex-
pense to procure entertainment that is ap-
preciably more stimulating and satisfying
than that which can be otherwise procured.
Thus even in saturated TV areas they
continue to go to motion picture theatres.
To strengthen this appeal of “the movies”
through means that more fully realize the
possibilities of the art, and that are avail-
able only under the conditions of a theatre,
is the apparent aim of the current technical
movement in the industry.

This movement already has brought to
theatres a number of stereoscopic feature
productions, a variable technique of picture
enlargement known as “wide-screen,” and
“stereophonic” sound. In general, these new
techniques are too new, with too many
critical aspects of them awaiting decision,
to be judged complete and final. Yet we
now have enough of a basic pattern to guide
us in a practical consideration of their im-
pact upon the theatre physically — and, in
turn, of the factors which existing theatres
impose upon them. That is what we have
set out to do in this series of articles, with
the assumption that the current technical
movement is intended to benefit motion pic-
ture exhibition generally.

IMPACT OF STEREOSCOPY

Early in 1953 stereoscopy descended
upon the industry with a rush and a roar
which seemed to indicate that the industry
without tampering with the aspect ratio,
or increasing the size of the picture relative
to the seating area, had elected to put all of
its prospects into this one basket. Stereo-

FIGURE I — The above diagram charts the ranges of various lenses used in cinematography
in comparison with a spectator's total field of view (including monocular side vision). A
panoramic view is really a "sweep view" in which the spectator's eyes and head move to
follow a moving point, or points, of interest, or an overall static range of interest spread
over a comparatively wide angle. Panoramic view in real life occupies only a very small
part of our visual experience time, and it is In the nature of an "optical binge" to stress
this effect beyond its original function; furthermore, the tonic value of panoramic experience
will be lost if its use is abused. Our real life visual experience can be roughly divided into
three groups: (I) With no, or very little, movement of the eyes or head; (2) with movement
of the eyes and/or the head (in which the subject does not feel conscious of the movement);
(3) with eye, head and sometimes body movement, consciously, to cover a wide range, which
may even be as much as a full circle coverage (a turn-around). The greatest part of visual
experience falls within the second group, with the next largest falling in the first group.
This indicates that a wide-angle lens of about 70 degrees would meet all the requirements
of cinematography, depending on the camera mobility for wider sweeps. The shaded area
in this diagram shows the average viewing angle in theatres on the basis of a 50% increase
in screen sizes over sizes ordinarily used in the past. This subtended angle shows that cinema-
tography must be interpretive; it cannot successfully attempt to supply a reproduction of
our environment, with the spectator moving about to see as he does in real life. The triple-
camera system is an attempt at the latter effect; actually, it limits its audience appreciably
because of the small area for seating within the wrap-around of the screen.

MOTION PICTURE HERALD, SEPTEMBER 5, 1953

and the NEW TECHNIQUES

STANDARD 1.23 Tol
ASPECT RATIO

2.6 to

ASPECT RATIO
anamorphic

LENS
COVERAGE

MONOCULAR

BINOCULAR

• 6to 1
ASPECT
RATIO

FIGURE 2 — The total field of view is charted above upon a circle, the field embracing 90
degrees on each side, or a total of 180 degrees (red area). There are two shaded portions
within this red total-vision area. Together these portions are an outline of the human field of
view. The circular grid upon which the field of view is plotted is given to show the viewing
angles of the human eye. Each ring in the grid equals 10 degrees (the total equals 180
degrees). The shape of the human field of view must be considered in determining an aspect
ratio for the motion picture screen. The binocular portion of the field of view (speckled area)
is the part where the vision of the right and left eyes overlap. This part is almost square in
shape. We are not conscious of this square shape in our visual experience because there is a
smooth blend from this area into the side monocular vision areas (shaded portion, seen only
with one eye) which extends our total visual field into a horizontal approximation of a
rectangle having an aspect ratio of 1.5 to I. At times we are conscious of a shape of visual
field that is different from this 1.5 to I ratio (see text). These different shapes may be of a
more extreme horizontal character or even be extremely vertical in shape. The direction and
speed of the movement of points of interest in the field, and the location of the highly con-
trasting masses of color and light, will influence this perception and should be a factor in
determining the optimum aspect ratio. The superimposed aspect ratio rectangles are here com-
pared with the shape and range of both normal binocular vision and its monocular extensions.

scopy was quickly superimposed on estab-
lished techniques of motion picture produc-
tion with results, in some cases, that were
surprisingly better than one would have
prophesied. In spite of exhibition of 3-D pic-
tures with less light than they required, of
polarizing spectacles, of putting and keeping
two films in adequate synchronization, and
of cinematographic complications and short-
comings, third-dimensional feature pictures
attracted millions of people to theatres and
effectively entertained a large percentage of
them.

The very technical involvements of
stereoscopic films, however, encouraged a
favorable reaction to simpler methods which
might restore public interest in the movies
to something like what it had been, so with
an eye on the box-office success of Cinerama,
the industry has turned to techniques
brought forward to present by a single
projector a picture on a curved screen of
comparable relative size and similarly of
different proportions than the standard
1.33-to-l aspect ratio.

THE BIG PICTURE PUZZLE

The new techniques offer a number of
problems of application, some of immediate
concern to exhibition in particular, and
some of longer range that involve interests
of the industry as a whole. The exhibitor,
generally speaking, is now confronted with
these situations :

1. A large number of productions are
available for exhibition which have been
made for projection in the standard 1.33-to-
1 aperture ratio without any consideration
of other proportions that would reduce the
relative height of the picture. Should these
films now be projected with an aperture
plate cut to give a picture of greater rela-
tive width (see Better Theatres for Jan-
uary 1953)?

2. If so, what should be the size and
shape of the screen to be installed for that
purpose?

3. What changes in projection equip-
ment, including lenses, are necessary for
such a picture?

4. How well is the screen end of the
auditorium adapted to such enlargement
and reshaping of the picture, or how is it
adaptable?

5. Should stereoscopic productions be

included in these considerations; and if so,
should the picture size for them be enlarged
as much as that of 2-D films?

To a Big Picture of increased relative
width — attainable by various methods
which seem to be collected in the term
“wide-screen” — the industry now most
certainly appears committed. Stereoscopy
may not be shelved altogether ; its technical
problems are declared by its proponents to

be quite solvable, and for certain types of
story material it has much to offer to pro-
duce a stirring experience of the theatre.
It is with “wide-screen” presentation, how-
ever, that the industry has become most
urgently concerned, and at least American
motion picture production is employing or
allowing for picture proportions of reduced
height, with wide-angle cinematography in
( Continued on page 28)

BETTER THEATRES SECTION

0 DAY

DMLIGHJVJ

inmYWOOM

MACRAE
OF\ SILVERY MOON

Facelifting—
With Enlarged
Snack Stand

The 24-year-old Fitchburg theatre, a 1750-
seat, first-run operation in Fitchburg, Mass.,
was recently acquired by Benjamin Sack of
Boston, who remodelled it as described here.

FRONT AND ENTRANCE AREA: The old-fashioned exterior of the
Fitchburg (above) has given way to the bright, modern front (top,
left) with changes including installation of a new marquee and soffit
and removal of the centrally located box-office with a new one of
glass with a white brick base erected on the left side. Side walls
of stone were replaced by redwood panels painted a dark brown
and a new coming attraction display case was installed (see left).
Rubber mats are used on the floor in this area up to the lobby doors.

MANAGEMENT: N ew owner of the Fitchburg is Benjamin Sack (above, third
from left), who also operates the Saxon, also in Fitchburg, and the Beacon Hill
in Boston. With him are (left to right) Joe Tuttle, Saxon manager; Frank Boyle,
Fitchburg city manager; and Louis Chiaramonte, of Merchandise Displays, Inc.,
Roxbury, Mass., the remodeling architect. At left is cashier Helen O'Connor,
who sold the first ticket to the Fitchburg back in 1929 and also the first one at
its reopening. She is known as "Nellie" to many of the Fitchburg’s patrons.

MOTION PICTURE HERALD, SEPTEMBER 5, 1953

THE LOBBY: New glass doors
were installed lea ding into the
lobby area (see photographs ot
front area on facing page). The
walls here, formerly stone (see be-
low), are now a continuation of the
redwood in the front area (see
right). A new coming attraction
display case was installed on the
left. The ceiling was painted yellow
and new pivot reflector spotlights
installed. The ticket box is now in
the lobby area instead of inside
the foyer as before. The floor in
the lobby is terrazzo. Walls lead-
ing into the foyer are Kawneer.

FOYER AND SNACK STAND: In the foyer area (right) the walls
and ceiling were re-plastered and painted magenta and green,
respectively. New pivot reflector spotlights were installed. The floor
here is rubber tile in green and red. In planning the remodeling of
the Fitchburg major consideration was given to a new refreshment
stand (see below). The stand front is composition wood; the top
counter, formica; and the back bar wall is perforated wallboard.

[The Fitchburg refreshment service is discussed on page 27]

BETTER THEATRES SECTION

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—

On the Mouse

★ editorial reports and cooimeot on events, trends, people and opinion

Wide-Screen in a
58 5 -Seat Theatre
Proves a Success

with a theatre seating
only 585, M. J. Chakiris, operator of the
Varsity in Athens, Ohio, is now giving his
patrons “wide-screen” presentation, and
the effect upon them has been such that he
urges other operators of small theatres to
do the same. “Don't feel that wide-screen
is just for the big houses,” he advises them
in writing about his installation. Here is
how he went about it:

“On August 3rd we got a crew of car-
penters busy building us a frame. That
same morning we called Midwest 1 heatre
Supply and ordered a screen and new
lenses. By Wednesday we had a temporary
pair of lenses, and on Friday the screen
arrived. The frame was then ready, too.

“We had our share of worries on the

job. First of all, the building is only 29}4
feet wide from wall to wall. It was neces-
sary to fasten a 2x8-inch board to the
wall to serve as the upright members of
the frame. This saved us a foot and a half
in width over a purchased frame — we
didn’t do this to get around dealing with
a frame manufacturer, but because this
installation imposed certain limitations.
The frame is fastened to the stage floor
with the floor serving as the bottom of
the frame. Hooks were secured directly
to the floor. We gained a foot and a half
here, too.

“When we finished we had room enough
to hang a screen 29 feet wide by 15 feet
high. To fill this area requires an aper-
ture plate with ratio of 1.9-to-l. At first
this may seem high, but when you see the
difference it makes you will be amazed.
We started with ‘Shane,’ and there is a
scene early in the feature where a deer is
actually on the stage- — honest!”

Seems the curvature of the screen has
something to do with such realism. But
about that Mr. Chakiris is reticient. “The
curvature is a secret,” he writes at this
point. “We used our own formula on that

I i

1 ;

Mike Chakiris, owner of the Varsity, (left) points
out details of the theatre's wide-screen installa-
tion to Charles Farrow, who is the projectionist.

and have a curve that gives depth and
panoramic vision to the picture, yet doesn’t
crowd the lenses as far as depth of focus
is concerned.”

He would have used a standard curve,
he says, but found so many different
recommendations as to radius that he and
his projectionist decided on a curve of
their own — then held their fingers crossed
. . . until, we presume, that deer walked
out on the stage !

“I will say this,” Mr. Chakiris divulges,
“for our throw of 120 feet, we have an
offset of more than 24 inches, but less than
36 inches.” But more he saveth not.

BEATINC THE OPPOSITION

“In installing our screen,” he proudly
concludes, “we became the first theatre in
southeastern Ohio to have one. We beat
our opposition, Schine’s Athean, to the
punch by two weeks.

“So get busy, you managers, and install
one at once. Don’t let the thing scare
you. Besides, it really helps business. We
show a Filmack trailer that informs pa-
trons that some reading may seem cut off,
but this is unimportant as the greater size
and splendor of the picture more than
make up for what small bit of reading
is lost.”

The screen in the 585-seat Varsity theatre is almost as wide as the auditorium; it is 29 feet wide
by 15 feet high. In installing the frame a 2x8-inch board was fastened to the wall to serve as
its upright members, saving I '/j feet; the stage floor itself serves as the bottom of the frame.

MOTION PICTURE HERALD, SEPTEMBER 5, 1953

Outdoor-Indoor
Drive-In— yep, and
Ramp Area Fans!

the drive-in theatre
reached the ripe old age of twenty just this
past summer, but it is still a held of innova-
tion. To cite two instances that came to
our notice only recently : A combination
outdoor-indoor theatre at Montpelier, Vt. ;
and a drive-in at Phoenix, Ariz., which
cools the ramp area with electric fans!

The combination idea was conceived by
Richard M. Cody, who operates two indoor
houses — the Strand in Montpelier, and the
Strong in Burlington — besides the Twin
City drive-in also at Montpelier. The com-

The main building of the indoor-outdoor combi-
nation theatre (above) houses the refreshment
stand and restrooms with the projection booth on
the second floor. The box-office for the drive-in
(below) services two entrance lanes and is con-
structed of natural-finished wood.

bination isn’t completed, but the outdoor
portion was placed in operation last July.

Working out the scheme with the help
of Capitol Theatre Supply in Boston, Mr.
Cody has a layout in which one projection
room serves both types of operation. The
main building, which houses the refresh-

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modernize with Marlite

When you remodel with Marlite prefinished wall and
ceiling panels, your first cost is your only cost.

The big panels, installed over old or new walls, cover
large areas fast. Periodic redecorating is eliminated.
Maintenance costs are drastically reduced. The baked
Marlite finish is permanent and soilproof . . . needs
only an occasional cleaning with a damp cloth.

Choose from a wide variety of colors and patterns,
including new woods and marbles, for modernizing
entrances, lobbies, lounges, rest rooms, offices, candy cases,
counters, doors, fixtures, and other service areas.

Look for the Marlite name on the back of every panel —
it’s your guarantee of satisfaction. See your building
materials dealer, or write Marsh Wall Products, Inc.,
Dept. 969, Dover, Ohio. Subsidiary of Masonite Corporation.

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• 23 and 24 inch 35mm reels with revolving hubs. 23 and 24 inch 35mm reels with
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BETTER THEATRES SECTION

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SILVER

3-D

SCREENS

Super-reflective screens for
all third-dimensional processes
and wide-screen systems; en-
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brilliant pictures with vivid
contrast in any theatre.

Only $1.50

per square foot

Write for free sample
and details today!

WILLIAMS

SCREEN COMPANY

1675 SUMMIT LAKE BOULEVARD
AKRON 7, OHIO

Projection Booth

TABLES & CABINETS

Made by GOLDBERG BROS., Denver, Cole.

Sold thru Theatre Supply Dealers Exclusively

ment stand and restrooms, contains a booth
on the second floor.

The indoor auditorium will be in a
structure built on to the service building,
through which patrons will enter the audi-
torium. The drive-in screen is opposite the
service building, and when outdoor opera-
tion is stopped for the winter, the projec-
tion equipment, we are told, will be turned
toward the auditorium side. The drive-in
has a capacity of 400 cars; the auditorium,
which is expected to be finished for opera-
tion this fall, will seat 800.

The main building is constructed of cin-
der blocks painted a light color, which will
also be used for the auditorium building.
In the lobby section there is a huge picture
window on the drive-in side (see photo-
graph). Inside walls are painted a light
green in harmony with tile floors.

Separate box-offices will be used for the
two operations. The one for the drive-in
(see photograph) services two entrance
lanes and is constructed of natural-finished
wood. The one for the indoor theatre will
be inside the lobby.

The drive-in has a picture 60x45 feet.
RCA projectors are installed, equipped
with the RCA “Wide-Arc” reflector lamps.
The sound system is also RCA. Electrical
connections provide for switching the po-
sition of the projectors.

RAMP VENTILATION

Phoenix is in dry country, but tempera-
tures can beat out even the cost of living
in exploring the higher altitudes. So early
last summer Ernie Silva, manager of the
Cinema Park drive-in, decided to put some
powerful ventilating fans around the rear
of the ramp area. They got installed in
July, and within a week Mr. Silva began
getting applause from his patrons. The

equipment consists in “Cool Air Circula-
tors” manufactured by ThermRetain, Inc.,
Pomona, Calif. The manufacturer prefers
that they not be called fans. Observing this
preference, Mr. Silva writes, “For our
weather these machines are the nuts.”

Each circulator has three steel blades of
a length giving a sweep 9 feet in diameter.

One of the ventilating fans placed at the rear of
the ramp area at the Cinema Park drive-in.

These are mounted on a 14-foot column of
8-inch piping, with the motor at the top.
Each set of blades can whip up 70,000 cubic
feet of air a minute to a velocity of 12
miles an hour. (Another model of vertical
type points the blade assembly to circulate
air upward, as against the ceiling of a re-
freshment stand to keep the air stirred.

We are advised that Mr. Silva intends to
add circulators along the sides of the ramp
area, having noted that patrons are wont
to park near the fans. There would be five
machines on each side, all blowing toward
the center of the ramps. Moving the air in
a V-pattern, the circulators are capable of
covering about 400 feet on still nights.

New Techniques Key Tesma Trade Show

/ * F ANY year can produce extra-special reasons for intense industry-wide
Jr interest in theatre equipment, this is it. And the 1953 Tesma Trade Show
in Chicago this fall will be bigger 'n‘ ever to satisfy the interest. As early
as August Roy Boomer, secretary of the Theatre Equipment and Supply Manu-
facturers Association, reported that more than 125 booths already had been
reserved.

In specific response to the new technical developments, Tesma has arranged
for an open forum on 3-D, "wide-screen," and stereophonic sound, with talks
by men prominently identified with the technologies involved, who will be
available to answer questions.

This year's Tesma Trade Show will run concurrently with the annual conven-
tion of the Theatre Owners Association as well as with that of the Theatre
Equipment Dealers Association and of Tesma.

The trade show will be staged at the Conrad Hilton Hotel, where the three
conventions will be held. The exhibits will get underway on Saturday, October
31st, and continue through November 5th.

MOTION PICTURE HERALD, SEPTEMBER 5. 1953

THEATRE

v/y

ft department
devoted to

... Y&r'-

refreshment service

Profitable Practices Developed

By Experiment and Adaptation

A thriving snack bar business has
been built in its theatres by the
Crescent Amusement Company
of Nashville, Tenn., largely
through careful experiment and
study of the successful ideas of
other operators in the field.

back of the successful
refreshment stand operations of the
Crescent Amusement Company of Nash-
ville, Tenn., owners of over 75 theatres
in Tennessee, Alabama and Kentucky, is
a continuing search — an endless quest to
find new ways of expediting service and
increasing profits. It is a search which
has led Kermit C. Stengle, executive vice-
president of Crescent, on travels from coast
to coast to seek out means of improving
this important phase of the circuit’s opera-
tions.

What was learned on those trips has
been put to good use in the Crescent thea-
tres under the guidance of John L. Link,
manager of the Concession Department and
associated with the circuit for 23 years.
While both men frankly admit that many
of their practices have “been adopted from

somebody else,” what they have achieved
in refreshment operation reflects consid-
erable ingenuity on their part and an ex-
ceptional ability to learn from their own
experience.

The most recent development in their
quest for improved service is an experi-
ment the circuit is now conducting with
equipment. In one of their theatres they
have installed for the first time an auto-
matic ice cream dispenser (made by the
Drincolator Corporation, Youngstown,
Ohio) and a study is being made to com-
pare its advantages with those of the
manual units used currently in all their
other theatres.

DRINK MACHINES TESTED

A similar test is now being made with
automatic beverage dispensers manufac-
tured by Cole Products Corporation, Chi-
cago. These machines have been installed
in seven of Crescent’s theatres, both large
and small suburban houses. Further use
of both types of equipment will be deter-
mined after thorough study.

This quality of patient and careful ex-
amination of the available possibilities for
refreshment service has dictated Crescent’s
policy in the past. And it has resulted in
their developing the sale of snack bar mer-
chandise into a thriving business.

In the all-important matter of locating
equipment at the stand Crescent has de-
veloped a scheme which has been found to
work in nearly all their theatres. It con-
sists of placing the popcorn and warming
cabinet first in relation to incoming traffic,
followed by candy, ice cream, drinks and
cigarettes, in that order. In some of their

Window displays in front of the ice cream unit like
that shown above have been found to have a spe-
cial appeal for the youngsters in Crescent theatres.

BETTER THEATRES SECTION

SHIP TO

DATE WANTED.

CANDY REQUISITION

. TOWN

VIA_

INVOICE NO..

DATE-

IMPORTANT — When ordering candy, please list all items for one certain price in one group. PLEASE LEAVE
ONE SPACE BETWEEN DIFFERENT PRICED ITEMS. i —

LEAVE BLANK

BOXES

COUNT
PER BX

TOTAL NUMBER OF PIECES .

NAME OF CONFECTION

NET

COST

TOTAL

Requisitioned by:
Approved by:

IMPORTANT — Vend pock should be ordered if available

Total Net Cost
Handling Charges
Total Cost

COPIES — Send white and pink copies to office, retain yellow for your file . . . pink copy will accompany shipment
. . . check merchandise on arrival and notify office immediately if damaged or short . . . okay pink copy and at-
tach to weekly concession report.

ALL CANDIES MUST BE REQUISITIONED THROUGH THIS OFFICE

Candy requisition form used weekly by Crescent theatres. White area dividing
the lines indicates part of actual form removed to save space in reproduction.

THEATRE WEEKLY CONCESSION REPORT

POPCORN— DRINKS— CANDY— ICE CREAM

THEATRE.

-TOWN .

.STATE .

PURCHASED

WEEK ENDING.

POPCORN

J9_

INVENTORY

DAILY SALES

MDSE.

QUANTITY

COST

POP

CORN

SEAS.

BG-BXS

10c

BG-BX

SALT

25c

BOX

DAY SALES

P Corn

Prev. Inv

SUN.

Seasoning

Purchased

MON.

5c Bq-Bxs

Total

TUES

10c Bg-Bx

Pres. Inv,

WED

Salt

Total Used

THURS.

25c Box

FRI

Other

SAT

Miscl.

TOTAL

Salary

TOTAL

COST

PURCHASED

CANDIES, GUMS AND MINTS

INVENTORY

MDSE.

QUANTITY

COST

Condy 5c

Candy 1 0c

Others

Solary

TOTAL

COST

DAILY SALES

CANDY

1 0c

CANDY

Prev Inv.
Purchased
Total
Pres. Inv.
Total Used

Units Sold @ 5c _
Units Sold @ 1 Oc .
Others

DAY

SALES

SUN.

MON.

TUES.

WED.

THURS.

FRI

TOTAL

PURCHASED

DRINKS AND ICE CREAM

DAILY SALES

MDSE.

QUANTITY

COST

BTLS.

CUPS

10c

CUPS

GALS.

SYRUP

ICE

CREAM

DAY SALES

Prev. Inv

SUN,

Purchased

MON.

Total

TUES.

Pres Inv

WED

Total Used

THURS

TOTAI

FRI,

COST

rinks Sold @

SAT.

Ice Cream Sold @ c

TOTAL

REMARKS _

-Machine. $.

.Machine $_

-Machine $_

(ALL INVOICES FOR PURCHASES MUST BE ATTACHED)

Certified Correct:

TOTAL ATTENDANCE

Monoger

Weekly refreshment operation report made by Crescent managers. It contains
an inventory of stock as well as a record of sales and purchases. (See text.)

larger theatres they have found it profitable
to install automatic drink dispensers in
various spots away from the stand — on bal-
cony levels, near stairways, etc. And at
the large Tennessee theatre in Nashville,
two stands are maintained — one on the
main door in the lobby and another on the
mezzanine level.

At the Knickerbocker in Nashville a
special problem was presented due to the
fact that the theatre runs lengthwise
through an entire block and it was not
deemed feasible to install twro separate
snack bars at each entrance. So a stand
was set up at one entrance and display
signs placed prominently along the thor-
oughfare of the other inviting patrons to
visit the “sweet shop.” This system works
out very well, Mr. Link reports.

EFFECTIVE DISPLAY MATTER

And speaking of display matter, Mr.
Link, along with a good many other theatre
operators, believes that some refreshment
manufacturers could do a better job for the
theatre field. They should keep in mind
that their products are being sold “in a
theatre and not in a grocery store,” he
points out. What he would like to have is
material that is aggressively eye-catching —
either through animation or ingenious light-
ing effects. As an example he mentions a
display of this type made by the Coca-Cola
Company.

Another kind of promotional display
that Mr. Link has found especially effec-
tive is one devised using cut-out figures
in a window showcase in front of the ice
cream unit. (See photograph.) These
have proved particularly attractive to the
youngsters, he said.

An important factor in building repeat
sales, as emphasized by Mr. Link, is the
use of fresh and quality merchandise. Pop-
corn is sold in most Crescent theatres from
a combined popper and warming cabinet
which has been found also to help in speed-
ing service. 'These combined units are
especially made for the theatres.

KEEPING CANDY FRESH

As for candy, the circuit insures that
stock is kept fresh by requiring stand at-
tendants to remove all of it from the case
once each week during inventory-taking
and dispose of any that is stale. Candy
supplies must be ordered from the central
Concession Department in Nashville
weekly, which means that very little sur-
plus is kept on hand in the theatres. 'I he
weekly inventory also provides an oppor-
tunity to change the arrangement of the
candy display frequently, a device that
operators say helps in increasing sales.

For ordering candy and making the
( Continued on page 26)

MOTION PICTURE HERALD, SEPTEMBER 5, 1953

It pays to give your patrons what they want

BETTER THEATRES SECTION

profit- maker in
the lobby!

High speed SPACARB cup
dispenser serves over 2200
drinks on single syrup filling !

America’s Oldest Manufacturer of Automatic Beverage Dispensers

General Sales Office:

270 Madison Ave„ N. Y. 16 • MUrray Hill 4-2422

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NAME

THEATER

ADDRESS

CITY & STATE

"n 1 r

MU-VANE

News and Comment about
Merchandise Sold in the Theatre

30 Refreshment Topics
Set For Popcorn Meeting

thirty different subjects
relating to theatre refreshment stand man-
agement, including popcorn, candy, ice
cream, beverages, and sales at drive-in
theatres, will be discussed at the forthcom-
ing Popcorn Industries’ Convention and
Exhibition set for October 11th through
14th at the Conrad Hilton hotel in Chi-
cago, according to Bert Nathan, head of
the Theatre Popcorn Vending Corporation,
Brooklyn, N. Y., and theatre program
chairman for the convention.

The convention is sponsored by the
National Association of Popcorn Manu-
facturers, Chicago. “Although it is pri-
marily a popcorn convention,” Mr. Nathan
said, “we are going to talk about candv,
ice cream, soft drinks and drive-in opera-
tions, too. Popcorn is very important to
theatres, but so are other food items, so
we want to accommodate everyone by
talking about all items sold at a concession
stand. I invite every concession manager
in the United States and Canada to
attend the show and these sessions.” There
will be six, 2j^-hour sessions, two each for
three days, devoted to theatre snack bar
management.

THE PROGRAM COMMITTEE

To assist in planning the programs Mr.
Nathan invited the following theatre ex-
ecutives to serve on his committee: Van
Myers, Wometco Theatres, Miami; Louise
Wesson, Video Independent Theatres,
Oklahoma City; Herb Hahn, United
Paramount, New York; Nat Buchman,
American T heatre Supply Company, Bos-
ton; Barry Allen, Premier Operating
Company, Toronto, Ont.; Spiro J. Papas,
Keno Family Drive-in theatre, Chicago;
Harry Botwick, Florida State Theatres,
Jacksonville; James Loeb, Walter Reade
Theatres, Asbury Park, N. J. ; Jack Farr,
Farr Amusement Company, Houston,
Tex.; John Flannigan and J. J. Fitzgib-

bons, Jr., Theatre Confections Ltd.,
Toronto, Ont.; Manny Frisch, Rand-
force Amusement Corporation, Brooklyn.

Also Sheldon Smerling, Confection Cabi-
net Corporation, Newark, N. J. ; Harold
Newman, Century Theatres, New York;
Abe Bloom, Balaban & Katz Theatres,
Chicago; Charles L. O’Reilly, ABC Vend-
ing Corporation, New York; Marie Frye,
Tri-States Theatre Corporation, Des
Moines; Lee Koken, RKO Theatres, New
York; Arthur Preston, Wesmas Candy
Corporation, Springfield, Mass. ; Thomas
Moran, Odeon Theatres, Toronto, Ont.;
James Hoover, Martin Theatres, Colum-
bus, Ga. ; and Morty Marks, Jefferson
Amusement Company, Beaumont, Tex.

'Hot and Cold' Switch
For Frankfurter Grill

A special new switch for
its frankfurter roller grill designed to keep
some of the rollers hot and in motion while

others run cold has been developed by J. J.
Connolly, Inc., New York.

The new switch was developed, the
company explains, to enable operators to
avoid waste due to too much heating dur-

MOTION PICTURE HERALD, SEPTEMBER 5, 1953

ing slack periods and at the same time
permit the constant motion of frankfurters
rolling back and forth which attracts cus-
tomer attention, as well as to keep a suffi-
cient quantity of product available for
immediate sale at the refreshment counter
at all times.

Surveys have proved that the rolling
movement of the unit helps immensely in
building up “impulse” sales, the company
points out.

Cash Awards Offered
In New Candy Contest

theatre employees will
be given an opportunity to win cash prizes
totaling $5,000 in a new contest sponsored
by the Williamson Candy Company, Chi-
cago, according to an announcement from
James A. Dickens, vice-president and sales
manager.

Awards will be given for the best state-
ments on “How I increase sales of Oh
Henry! candy.” The first prize will be
$1000; second, $500; and there will be 20
prizes of $50 each and in addition 100 of
$25 each.

“Everyone who works for an Oh Henry!
customer can send in contest entries,” Mr.
Dickens said. “That includes cashiers,
candy counter workers, ushers, managers,

operating personnel . . . everyone who has
good ideas for increasing sales of the
candy.” Entry blanks are being packed in
cases of the candy and also are distributed
by company salesmen.

Hires' Film Trailers
For Drive-In Theatres

a new series of animated
cartoon film trailers in color designed to
boost the sale of refreshment products at
drive-in theatres has been announced by the

Charles E. Hires Company, Philadelphia.

In addition to promoting Hires’ root
beer, the films include references to pop-

popcorn

seasoning

butterlike flavor
and color j

C. F. Simonin's Sons, Inc.

Philadelphia 34, Pa.

CELEBRATING THE "POPCORN CARNIVAL"

UGHT-CRUNCHY

GOOD! GOOD!

CRUNCHY0

tmetr/ u/xe/rr

tl/Ke rr/

■

Over 7,000 theatres throughout the United States and Canada participated in the "Popcorn Carnival,"
conducted this past summer by the Popcorn Institute, Chicago, one of which was the Chicago theatre,
Chicago, whose refreshment stand is shown decorated for the occasion above. Kits containing 14 different
display pieces were supplied theatre managers for use throughout the lobby and around the box-office
as well as at the snack bar. Many theatres chalked up substantial increases in popcorn sales during
the event, according to Clark Rhoden, Institute chairman, who also reports that the group will launch an
even larger popcorn promotional campaign this fall to run for three months beginning October 1st.

SELL AND SERVE SOFT DRINKS FASTER

Make Bigger “Break” Profits!

with the
Sensational

ItlaHleij

ICE-0-BAR

• Serves up to 1500 cold drinks
on continuous flow ... as fast as
two operators can draw them!

• Easy to install and maintain.

Write today for full details

Manley, Inc.

1920 Wyandotte St.. Kansas City 8. Ms.

Jree anef CaAif

Some advertisements offer literature on
the product advertised, and often a coupon
is included as a convenient means of pro-
curing it. Moreover, The Theatre Supply
Mart (insert at page 35) provides a post-
card for this purpose. . . . Or, if you do
not see what you want advertised in this
particular issue, you may write the BETTER
THEATRES SERVICE DEPARTMENT,
Rockefeller Center, New York 20.

BETTER THEATRES SECTION

corn, candy, sandwiches and ice cream. The
first trailer in the series, now available,
features Romeo and Juliet cartoon char-
acters and emphasizes the theme, “Our re-
freshment stand serves the best!” Running
time of the film is 45 seconds.

Requests for the trailers should be di-
rected to the company’s Philadelphia office
(206 South 24th Street).

NEW NESTLE APPOINTMENT

Albert L. Shirley has been appointed
southern sales representative, Bulk Divi-
sion of the Nestle Company, Inc., White
Plains, N. Y., ac-
cording to an an-
nouncement by
Thomas F. Corri-
gan, bulk sales man-
ager. Mr. Shirley
will be associated
with and assistant
to A. M. Mullens.
In his new assign-
ment Mr. Shirley
will be responsible
for all sales of
Nestle’s chocolate coatings, cocoas, liquors
and granules to the confectionery, icecream,
bakery and food processing industries in
the south, his territory extending from the
Virginia-Carolina border south to Florida

It's pure peanut oil!

gives com >
true j

butterlike »

and west to Texas. His headquarters will
be in Atlanta.

MILLS’ SALES ASSISTANT

Joseph Caldwell, Jr., has been appointed
assistant general sales manager of Mills
Industries, Inc, Chicago manufacturers of
automatic ice cream freezers, and soft
drink dispensers.

Celebrating 40 Years
Of Refreshment Vending

ARKING his 40th anniversary this
year in the refreshment vending
business is Jacob Beresin, president of the
ABC Vending
Company,

New York.

Today his
company sup-
plies vending
machines and
/or operates
snack stands
in 4,000 mo-
tion picture
theatres
throughout
the country.

Merchandi se
includes pop-
corn, candy, gum, and soft drinks.

It all began back in 1913 when Mr.
Beresin, who was then secretary to the
original Oscar Hammerstein at Philadel-
phia’s old Metropolitan Opera House,
received permission to make candy sales
during the intermission. He teamed up
with theatre manager Eddie Loeb to
form the Berio Vending Corporation (so
dubbed for the first part of both names).

That partnership prospered and soon
was selling to nine of the ten legitimate
theatres in Philadelphia. Moreover, as
motion pictures came into existence, the
venders moved into some of the larger
silent film houses. With the advent of
talking pictures, however, vending ma-
chines began to replace the "hawkers."
Then in 1947 Berio was merged with the
Sanitary Automatic Candy Corporation
of New York to form ABC, which today
has 14 wholly-owned subsidiaries plus
50% interest in two affiliates.

Although ABC services industrial
plants, drive-ins and other businesses, its
biggest sales by far come from theatres,
which account for 60% of the total.
"Despite the decline in attendance,"
says Mr. Beresin, "our theatre business
is doing better than ever before. With
developments like 3-D we believe the
future is great. We haven't reached the
peak yet."

The most profitable item is popcorn,
and ABC owns and operates 18 modern
popping plants and 147 corn-popping
machines. Soft drink sales have also been
good. At the end of 1952 ABC operated
over 2,100 automatic beverage machines,
an increase from 1,619 in 1951 and only
about 25 back in 1947. All items sold
are promoted under the trademark, "Mr.
Dee-Lish."

Profitable Snack
Standi Practices

( Continued from page 22)

weekly inventory report, the circuit sup-
plies special forms to the theatres, illus-
trations of which accompany this article.
The candy requisition must be filled out
in triplicate, two copies going to the main
office and one being retained by the theatre
manager. The main office returns one of
the copies with the candy shipment and it
must be checked, approved and attached
to the concession report before it is sub-
mitted to the Nashville office.

This latter form contains a record of all
purchases of popcorn, drinks, candy and ice
cream and daily and weekly sales. Man-
agers must attach all purchase invoices
to this leport before it is submitted to the
Nashville headquarters. Both candy and
popcorn are shipped to the theatres from
this main office but ice cream and beverages
may be purchased in the towns where the
theatres are located.

Since Crescent does not like the indi-
vidual theatres to keep any excessive sup-
plies on hand, they do not have a big stor-
age problem. Any surplus candy (and
there is not likely to be much) is usually
placed in the manager’s office. Popcorn
is stored back of the stage or screen in
steel bins.

EQUIPMENT MAINTENANCE

The maintenance of refreshment equip-
ment is also handled through the circuit’s
central office, where a crew is employed
solely for this purpose. Theatre managers
must make special equipment maintenance
reports weekly.

“This report enables us to anticipate
much of the trouble that may develop and
to keep equipment operation at a high
level,” Mr. Link declares. “We feel that
having this central, mobile crew is a better
plan than to depend on personnel at each
individual theatre.”

The maintenance men follow a special
scheme for the different kinds of equip-
ment. For the drink machines, syrup pans
are removed and cleaned weekly. Every
30 days the condensers are cleaned, the
water tanks flushed, and the units refilled
with fresh water, to which is added 150
pounds of ice before starting the machines
again.

Care of the ice cream cabinets includes
scraping frost from the displays each day,
using plastic scrapers only. Once a week
frost is scraped from the walls of the
storage compartment and removed. Every
30 days the condensers are cleaned and
complete defrosting is carried out of all
the ice cream units.

MOTION PICTURE HERALD, SEPTEMBER 5, 1953

Remodeling the Snack Bar Pays Off!

At the Miami Theatre

proof that the location
and appearance of the theatre refreshment
stand are vital factors in the volume of
sales achieved is offered by Van Myers, con-
cessions manager for Wometco Theatres,
Miami, Fla., who reports that the per
capita sales average jumped 40% at the
first-run Miami theatre when the stand
was relocated and redesigned.

Previously the snack bar had been placed
at the rear of the lobby in a bend made by
the theatre’s “free-form” design. It has
now been located in the front of the lobby
area where it is immediately visible to
patrons as they first enter the theatre. The
old counter Avas 17 feet long; the new one
is 30 feet. Lighting of the stand is by a
suspended cold cathode tubing fixture aug-
mented by several spotlights. (See photo-
graph below.)

LAYOUT OF EQUIPMENT

In selecting the equipment layout, the
popcorn machine was given the most promi-
nent position, it being placed in the fore-
ground directly facing the entrance doors.
Next to it is a butter dispenser, followed

by the Bon Bon ice cream unit. The candy
case is next in line; it is an open, self-
service display, arranged in a three-step
style. Adjoining this are two drink dis-
pensers, one for Coca Cola, the other for
fresh orange juice. Both are counter
models. The final piece of equipment is a
frankfurter rotisserie — the most recent ad-
dition to the theatre’s refreshment line.
It has proved a tremendous hit with
patrons of the theatre, according to Mr.
Myers.

STORING MERCHANDISE

To store its refreshment merchandise
the Miami has an air-conditioned room in
the basement about 12x9 feet and equipped
with sufficient wall shelves. A two weeks’
supply of candy is kept on hand here with
deliveries received once a week. The
fresh orange juice sold at the stand is de-
livered as often as twice daily, it being
a particularly popular item in this Florida
theatre.

Very little maintenance of the equipment
at the stand is required, according to Mr.
Myers. What is necessary is attended to by
the circuit’s special crew — except in the
case of the ice cream unit, which is ser-
viced by the manufacturer.

At the Fitchburg Theatre

•

in planning the remod-
eling of the Fitchburg theatre in Fitchburg,
Mass., (as described on Page 14) special
emphasis was placed on enlarging the re-
freshment stand. Previous operators of the
theatre had used a snack bar equipped for
selling candy only. I he new one was ex-
panded to permit handling of a larger
variety of merchandise including popcorn,
nuts, frankfurters and ice cream. In ad-
dition an automatic drink dispenser was
placed to one side of the stand. (See photo-
graph on page 15.)

That patrons of the snack bar are pleased
at being offered these additional foods is
evidenced in the excellent business the
stand has been doing. Results during the
first two weeks alone far exceeded the man-
agement’s expectations— and are continuing
to do so.

One of the most popular of the new items
is frankfurters. The machine used to pre-
pare them is an ABC rotisserie which cooks
them electrically on skewers.

Popcorn is also proving popular with
patrons of the Fitchburg. Both a popping
machine and a warming unit were in-
stalled, the former a Manley “Aristocrat,”
the latter an ABC. Buttered popcorn is
also sold, the equipment used being a Super-
display butter dispenser. The beverage
machine is an ABC, serving four flavors —
root beer, Coca Cola, orange and lemon-
lime. Ice cream is sold from an ABC
machine at the left end of the counter.

"Free" Coupons Boost
Buttered Corn Sales

To boost sales of buttered popcorn in
its theatres throughout Florida, the
Florida State Theatres circuit, with
headquarters in Jacksonville, recently
launched a week-lonq campaign using
special coupons "worth 5c" which were
distributed to patrons at the box-office
by the cashier as they purchased tick-
ets. When patrons presented the coupon
to the refreshment stand attendant,
they were given a 25c-box of buttered
corn for 20c or a 20c-box for 15c.

The stunt was originated and success-
fully employed by George Shepard of
the Minnesota Amusement Company,
Minneapolis, in whose theatres sales
tripled during the first week it was tried.

The newly located and redesigned snack bar at the Miami theatre has a counter almost twice as large
as the old one. The wall display behind the stand is in aqua and plum colors with chartreuse background.

BETTER THEATRES SECTION

Theatres and the New

some instances, to make full use of the
broadened field of action.

This being the case, and furthermore
since it is the application of “wide-screen”
technique which most immediately involves
the physical scheme and conditions of audi-
toriums, this discussion of the theatre in
relation to the new techniques is pre-
dominantly occupied with installations for
the expanded screen image. So that our
efforts to deal with the problems presented
especially by existing theatres may have as
practical application as possible generally,
it is necessary to deal first with the essential
nature of “wide-screen,” with the prin-
ciples which influence methods of its usage.

Wide camera angles, larger screens and
new picture shapes are all part of one de-
velopment as evidenced in the anamorphic,
triple-camera and single wide-angle lens
systems now being tried. Problems of light
and film grain and the suitability to the
various types of motion picture theatres
are inherent in the systems being put into
use.

PANORAMIC SYSTEMS

The triple-camera system does not pre-
sent problems of light and film grain be-
cause it uses three widths of 35mm film,
thereby limiting the degree of grain mag-
nification, and employs three lamps to
light the screen. This method incurs rela-
tively high production and exhibition costs.

(CONTINUED FROM PAGE 13)

The exhibition costs are mostly affected
by the need for three separate projection
rooms and three sets of projection equip-
ment, along with increased manpower, and
the elimination of a considerable portion
of the auditorium seating.

The space taken up by the projection
rooms, and the restrictions placed upon
viewing angles and seating depth, advises
a very high admission price for the remain-
ing useful seating. This implies some limi-
tation of story material to the more spec-
tacular variety, and exhibition of it under a
reserved seat policy. The difficulty of
matching the detail and lighting of the three
picture panels, and distortions found in the
extreme end curvatures of the screen, have
been acceptable because of the fast-moving
and spectacular scenes being used. A serious
objection could arise, however, with slower-
moving and more intimate cinematography
of average screen story telling.

The anamorphic lens systems also provide
a “panoramic” view. The anamorphic lens
so far has only been adapted to use of a
single width of 35mm film, and a single
light source. Under these conditions, a
picture greater than approximately 38 feet
begins to suffer from insufficient light and
too much grain magnification. Grain is
visible to a greater extent from the front
half of the auditorium, which contains an
important portion of the total seating.

Both the triple-camera and the ana-
morphic systems can include a camera angle

STANDARD
IZZ TO 1. APERTURE

SOURCE

SHADED AREA
LIGHT LOSS

MODIFIED
LIGHT SOURCE

FIGURE 3 — This diagram
describes the relationship
of the light source and the
open aperture in the pro-
jector. The light source is
essentially round. The
shaded areas show the
amount of the light source
that is wasted by the 1.33
standard ratio (in white
area) and by a 1.8-to-l
aperture. The greater the
relative width of the aper-
ture, the greater the light
loss. The dotted ellipsoidal
line shows the approximate
shape that might be em-
ployed in the design of a
light source optical system
for more efficient focusing
of light to "wide-screen"
apertures (see text). The
aperture dimensions pre-
scribed for the Cinema-
Scope print (anamorphic
system) approximates those
of the 1.33-to-l standard
and do not increase the
amount of wasted light.

Techniques

of better than 100 degrees. Heretofore the
widest camera angle used in motion pictures
has been 47 degrees (25mm lens). More
recently a lens (18.5 mm) giving a camera
angle of about 63 degrees has come into
use. (See Figure 1 charting various camera
angles of the past and. present in motion
picture production.) The dramatic increase
in screen sizes being accepted will increase
the use of the wider angle camera lenses.

Films that were produced prior to 1953
were made with the narrower camera angle
lenses, with many close-up shots. These
films are now being projected on some very
large screens, and in these screenings the
close-up is grossly exaggerated. Larger
screens and wider camera angles will prob-
ably have the effect of restoring the close-up
to its original proportions, with the added
screen area used for environmental coverage
(context) .

ANAMORPHIC METHODS

The anamorphic lens is a supplementary
lens placed in front of a regular camera
lens to increase the lateral angle — that is,
the amount of area horizontally taken in,
which is compressed — distorted — into a
relatively narrow film frame ; and in pro-
jection an expanding lens is similarly placed
in front of a regular objective lens.

As applied, at least in the CinemaScope
system, the anamorphic technique does not
produce geometric distortions at the ex-
treme sides of the picture because the screen
curvatures recommended are slight com-
pared to the curvature used with the triple-
projector system. T he prescribed curvature
is one calculated to equalize reflection
among the various sections of the audi-
torium, and to allow practically uniform
focus of the image. The formula makes the
projection distance to the center of the
screen equal to the throw at the sides of
the picture.

Such a slight curvature of course does
not even begin to give the “engulfing”
effect produced in some degree by the
deeper screen curvature of Cinerama’s
triple-projector system. Some persons of
the industry who have seen Cinerama take
audiences for rides — no pun intended —
have been inclined to think of “wide-
screen” generally as an “audience-participa-
tion” device. If that is what it primarily is,
then the screen should effectively engulf
the audience. Actually, Cinerama has not
yet achieved this as fully as it might ; for
it to do so would require a picture of at
least 120 feet in width. Much less places
the major portion of the audience com-
pletely outside and beyond the area ap-

MOTION PICTURE HERALD, SEPTEMBER 5, 1953

parently enclosed by the picture, and for
them the intended illusion diminishes as
viewing positions recede from the screen.

The aspect ratio, or picture proportions,
chosen for the CinemaScope anamorphic
system is approximately 2.55-to-l. It could
be less horizontal, of course, since the rate
of compression and expansion is controllable
in the lens design. To theatres where the
available screen height is limited while the
available width is not, more than a 2.55-
to-l ratio is suitable. On the other hand,
a limitation in available screen width,
which is more common, can impose severe
restrictions on the height of the picture.

SIGHT AND SCREEN ASPECTS

A survey is now being made by the
Society of Motion Picture and Television
Engineers to determine the limitations
vertically and horizontally for screen di-
mensions in theatres throughout the United
States. It will also be necessary to obtain
such information on motion picture theatres
throughout the world before the most prac-
ticable aspect ratio can be ascertained.

The question can also be examined,
however, from the point of view of normal,
habitual human vision. Figure 2 is a chart
describing the human field of vision, in
both the anchored range of two-eye vision,
and the extension which one eye can see
that the other cannot. This chart, based on
established findings of ocular science, gives
the total field of view of human vision an
aspect ratio of 1 .5-/o- 1 . Why, then, are we
talking about all these other aspect ratios
for the motion picture — 1.66, 1.75, 1.85,
2.00, 2.55, etc., etc.?

Larger aspect ratios than the range of
the anchored, or static, field of vision are
suggested by the pattern which the field
assumes in active sight. This factor takes
into account the occasions when the head
and eyes follow movement in the field.
Unless a person is concentrating on one
point, he feels as though he is seeing a field
greater than the anchored field described in
Figure 2. At times the total apparent field
will be more horizontal. But at other times
it will be more vertical! And sometimes it
will be more or less the shape of Figure 2,
but expanded in all directions. In each case
the field is dictated by the position of the
points of interest in the field of view.

The apparent field of view is expanded
in any, or all, directions for any given
instant only if the attention-attracting
points appear no more than about one
second apart. This observation is the clue
to the expression of time and space in cine-
matographic interpretation. It is fairly well
established that there are more reasons for
horizontal motion in the visual field than
there is occasion for vertical motion, but
there are no conclusive data that the writer

knows about which would fix the relative
amount of this motion. Since the instances
when the attention-attracting points of
interest are spaced more than one second
apart are a sizable percentage of our total
visual experiences, these instances should
have strong bearing on the question of
aspect ratio, of just how much wider than
high the projected picture ought to be in
order to accord best with natural visual
functions.

The aspect ratio selection should also
provide a shape which will not preclude
dynamic picture composition, a factor which
is apart from considerations of the natu-
ral visual field experience. Cinematog-
raphically, a square shape is very useful.
Is much emphasis being placed on a shape
which will have novelty value? In the long

run, the shape should provide enough screen
area in all directions to allow greatest flexi-
bility for cinematographic expression.

Actually, a screen that is wide to an
exaggerated degree comes close to imitating
the stifling pattern of the proscenium open-
ing of a stage theatre, with its drapery
closing off the upper reaches. There are
many old motion picture theatres where
large overhanging balconies seriously limit
vision vertically. Many of these are first-
run theatres; they are, however in a minor-
ity and therefore cannot determine stand-
ards for exhibition generally.

These practical considerations of appli-
cation are analyzed in Table 1, which gives
picture sizes for various aspect ratios with
widths from 25 to 47 feet. It is to be
( Continued on page 45)

BETTER THEATRES SECTION

Zhc ‘Drive-in . .

A regular department devoted
tu the design, eguipinent and operation of outdoor theatres.

Promoting Safety at a Drive-In

Seventeenth of a Series on GETTING INTO THE DRIVE-IN BUSINESS

By WILFRED P. SMITH

Former drive-in circuit executive, now oper-
ator of his own drive-in at Ledgewood, N. J.

the MATTER of pro-
moting safety at a
drive-in theatre is an
important factor and
one that many oper-
ators disregard. Ac-
tually safety should he
uppermost even in the
embryo stages — before
actual construction.
Because hundreds of drive-ins are so badly
conceived relative to this matter, is it any
wonder many states have placed restrictions
and regulations into effect for future con-
struction? It goes without saying that if
every drive-in theatre were properly
planned in the blueprint stages to handle
traffic off and onto the main highways, in
addition to efficiency inside the premises,
the defect would not be spotlighted by law
enforcement agencies and there would be
no necessity for them to inject themselves
into this phase of theatre operation.

H owever, there are always those who are
so commercially minded, they lose all sight
of the importance of safety even if it does
not interfere with their making a buck.
At Ledgewood we have what we consider
one of the most ideal safety layouts in the
country. This fact is brought to the at-
tention of our patrons periodically through
a special trailer announcement on the
screen. ( Friends , you are visiting one of
the safest drive-ins in the country. All one-
way traffic movement. No traffic snarls.

Observe directions for the safety of every-
one in this theatre. Drive carefully.)

You will notice from the sketch accom-
panying this article that every drive is
planned with this thought in mind. It is
not required that the motorist cross at right
angles — back up or make a left turn into
on-coming traffic from the right at the
exit drive.

To further complement this efficient
safety layout, we also have a police officer
stationed at the exit drive to slow down or
stop westbound traffic in order to permit
theatre motorists to enter into the highway
safely at the break of the show. Before the
break this same officer is directing traffic
on the inside, making sure there are no
“hot rod” drivers about and overseeing the
general conduct of the public.

PATRON APPRECIATION

Some operators may construe this as a
very strict policy of operation. On the
contrary, the vast majority of patrons is
quite conscious that the management is on
the ball and respects his business as such.
It works wonders when you are going all
out for 100%, complete family trade. It is
most important, however, to let the patron
know what the policy is and why certain
traffic and safety regulations are enforced.
This can be done either by means of micro-
phone announcements or special trailer copy
on the screen like the one described.

While in Ledgewood we have four
officers on the staff appointed by the Town-
ship Committee, I know of many drive-ins
who do not have as many as one officer in
evidence. T his, in my opinion, is really
asking for it ! Through careful analysis,

if one would take the trouble to survey
such situations, one would find an un-
desirable clientele that would discourage
further patronage by a person who came
to enjoy rather than to annoy.

In many drive-ins, further, the complete
lack of efficient traffic directions, especially
at the break of the show, is a disgrace, and
reflects poor management. I recently at-
tended a drive-in where at the break it
took 25 minutes for 400 cars to get out
of the theatre. At the end of the ramps
on the exit drive there was not one person
— not even the manager — directing cars
out of the theatre. This caused a jam-up
of cars in the drive, scratched fenders,
cussing patrons, and a few arguments be-
tween patrons who actually got out of
their cars to argue and further retard the
exiting of cars that were waiting for those
involved in the controversy to iron out their
difficulties. My most important observation
is that this theatre could park well over
700 cars; it was a beautiful night, and
there was a big picture showing. The ap-
parent lack of a fair system of exiting the
motorist from the theatre was the reason
I knew the theatre was not enjoying near-
capacity business.

In short, the importance of an efficient
system for directing cars both into and out
of the theatre — and parking them once they
are inside — cannot be overemphasized. For
a thorough discussion of the successtul
schemes we use at the Ledgewood theatre
refer to the twelfth installment of this
series (March 1953).

In addition, the system of handling high-
bodied trucks should be taken into con-
sideration. We reserve six speaker spaces
on the last ramp up until the last minute

MOTION PICTURE HERALD, SEPTEMBER 5, 1953

possible if we are enjoying capacity busi-
ness. If after the theatre is filled a patron
arrives in a truck, we offer the accommoda-
tion of suggesting he leave his truck in the
employees’ parking lot and occupy the seat-
ing facilities located in front of the main
building. As soon as a space is available
on the back ramp the driver is advised.

PLAYGROUND SUPERVISION

It can be found through observation that
many playgrounds installed in hundreds of
drive-ins during the past three years are
lacking seriously in proper supervision.
These expensive installations in some cases
are also deteriorating rapidly because of
lack of proper maintenance.

During the first wave of enthusiasm
that caused them to install playground
equipment to attract early patronage, many
owners lost sight of the fact that such in-
stallations to be successful require addi-
tional attendants to supervise and direct.

After it became obvious that the cost of
supervision or actual policing was an im-
portant expenditure, the owner in many in-
stances lost interest in his new baby. The
consequence was that the public en masse
took over the playground to the extent that
hard feelings developed between manage-
ment and patron. It all came about through
two factors.

First, due to the lack of proper super-
vision, the patron arriving early with his
children would attend the playground area
only to find his youngsters being pushed
aside by some other, more aggressive
youngsters. This brought about heated
argument between parents, thereby defeat-
ing the whole purpose of installing this
expensive equipment. The parent’s natural
impulse was that it was no longer advisable
to be an early arrival, even to satisfy his
children. To thousands of parents a non-
supervised playground area in a drive-in
theatre is a “Frankenstein.”

Secondly, because of their neglect of
hiring attendants to police the playground
area, many owners today are rapidly watch-
ing their investment go down the drain.
Wholesale destruction through breakage by
an undesirable element can only be expected
if the young patron sees no one in authority
to conduct his play activity. For this reason
a drive-in operator’s playground has be-
come in some cases a serious hazard. Fur-
ther delay in repairing the equipment will
not only cause the patron to lose interest
in the playground but, more seriously, to
lose interest in the drive-in itself.

An operator contemplating conducting a
playground inside his drive-in should be
aware of the following:

1. What is the liability?

2. It must be supervised by adults.

3. The person or persons supervising the
area should have a complete understanding

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of human psychology — understand the dif-
ference between tolerance and firmness.

4. The equipment must be inspected
daily for broken parts and repaired imme-
diately.

6. Equipment must be washed with de-
tergent where children put their sticky
hands.

7. Children and adults should not be
permitted to play on equipment after dark.

ONE DIRECTION ENTRANCE-EXIT TRAFFIC SYSTEM

Safe motoring be-
gins with the plan
itself. In this scheme
of the Garden Auto-
Torium at Ledge-
wood, N. J., drives
are so laid out that
all traffic is kept in
a one-way move-
ment for entering,
parking and exiting.
Motorists do not
have to cross at
right angles, back
up or make a left
turn into oncoming
traffic from the
right at the exit
drive.

5. The equipment should never be al-
lowed to appear in a run-down condition
for want of a paint job.

8. The same policy of good management
should prevail as that found at a well-
operated amusement park.

DRIVE-IN TIES UP TRAFFIC IN AFRICA

The novelty of drive-in film performances in South Africa caused traffic jams on the Pretoria road three
miles from Johannesburg after the opening of the new 640-car theatre there, pictured above. To relieve
the congestion and take care of overflow patrons and just plain sightseers, Max Jude, director of Drive-in
Theatres ( Pty. ) , Ltd., rented a large piece of land off the road and opposite the theatre, from which
persons unable to get inside are allowed to watch the show free of charge. Equipment for the new
theatre was installed by the South African branch of the Westrex Company, East, and includes Westrex
in-car speakers and sound equipment, Century projectors, and Ashcraft lamps, operating at 100 amperes.
The theatre's screen is 50 feet wide.

MOTION PICTURE HERALD, SEPTEMBER 5, 1953

about Products

ilr news and views of the market and its sources of supply

Ballantyne 4-Runner
Soundhead Explained

EDWARD J. NELSON and

Ilo M. Brown, engineers of the Ballantyne
Company, Omaha, co-developers of the
new convertible 4-runner soundhead, have
clarified some of the details concerning the
new stereophonic sound equipment. Mr.
Nelson explains that the new soundhead is
designed for the operation of three, four or
even five or more tracks and will mount in
three generally accepted positions for stereo-
phonic sound : ( 1 ) in a console as a three-
track magnetic reproducer; (2) as a
button-on unit mounted above the projector
for CinemaScope reproduction; or (3) in
the normal soundhead position mounted
below the projector.

“The only extra equipment an exhibitor
has to buy in converting from three-track
to four-track sound is one more soundhead
for his other projector, one pre-amplifier,
one power amplifier and four-track mag-
netic pickups,” he said. “These are rela-
tively small items, especially when you com-
pare the cost with any other method of
converting.

“I think another very favorable aspect
is the ease of this conversion. Our chief
engineer Mr. Brown has designed plug-in

Possible locations of the Ballantyne
4-runner soundhead are illustrated in this
drawing issued in conjunction with the
company's statement about the equip-
ment. (See text above.)

type amplifier and pre-amplifiers which
make the three-four track change just as
simple as plugging in a light socket. The
soundhead is attached to the rack by two

Close-up of the Ballantyne 4-runner soundhead
mechanism, which the company states can be
adapted to any standard make projector.

wing nuts and you just lift it out. The
button-on part is very similar.”

Standard parts have been used through-
out, the statement adds, “so that there is no
need to worry about off-size merchandise.”
Mr. Nelson said that if the producing com-
panies decide on five, six or seven tracks,
the 4-runner head will allow those con-
versions also.

The manufacturer points out that the
4-runner soundhead will be produced for
use with any standard make projector. Suit-
able brackets and adapters are being made
for that purpose. J. Robert Hoff, executive
vice-president, said that exhibitors who have
purchased the entire Ballantyne package
will receive 4-runners as part of their pack-
age at the price originally quoted.

NEW LITERATURE

Changeable Copy Displays: A new cata-
log on changeable copy displays has been
issued by Wagner Sign Service, Inc., Chi-

cago, manufacturers of attraction panels
and letters, and a free copy can be secured
by writing the company at 218 South
Hoyne Avenue.

Mew Wood Frame for
Wide-Screen Projection

A new screen frame de-
signed for use in wide-screen projection has
been announced by the Hollywood Curva-
scope Frame Company, Minneapolis. The
company was formed by S. M. Grengs, an
exhibitor in the Minneapolis area for 25
years.

Called “Curvascope,” the frame is con-
structed of No. 1 dimensional lumber and
laminated plywoods. All connections are
made with steel plates and bolts. Light in
weight, it is assembled in three sections, so
that erection can be easily handled by two
men. It can be erected in less than 2
hours in any theatre to fit any size screen,
the manufacturer asserts.

The frame can be built to any radius
and degree of tilt, but each frame is so
constructed that in a matter of minutes, at
no extra cost, the radius can be changed
from 80 feet to 120 feet, while the tilt can
be changed from perpendicular to 8°. This,
the manufacturer points out, enables an
exhibitor to make corrections simply, inex-
pensively and quickly if he should later
determine that the radius or tilt specified is
not the most desirable.

Strong "135" Lamp with
Aperture Heat Control

production of the
Strong-135 projection lamp has been
started by Strong Electric Corporation,
Toledo. The new lamp, introduced in
the Strong line to supply an increased vol-
ume of screen light as required by wide-
screen and 3-D projection, is designed for
use of the new 10mm “National-Hitex”
positive carbon, and is equipped for control
of heat at the aperture.

Heat control is by means of an “Infra-
Ban Beam-Cooler” which deflects light in

BETTER THEATRES SECTION

the infra-red area of the spectrum away
from the aperture and back into the lamp-
house, from which heat is withdrawn by
a mechanically induced air flow up
through the stack.

The design further provides for auto-
matic maintenance of the positive arc
crater at the proper focal point of the re-
flector. The means of accomplishing this
is the “Strong Lightronic” crater-position-
ing system. Each carbon is advanced by a
separate motor, the speed of which is gov-
erned by a “Bi-Metal Lightronic” tube.
The new lamp also includes provisions for
the direction of a stream of air above the
arc to stabilize its burning and to prevent
the deposit of soot on the reflector.

Construction is of unit type to permit
easy removal of component parts for ser-
vicing and also for adaptation of the lamp
to later developments in carbons and lamp
technique. Literature is available from
the manufacturer (1 City Park Avenue).

"Button-On" Soundhead
Announced by RCA

a new “button-on” type
soundhead for use in reproducing multiple
track magnetic sound from a single 35mm
film has been announced by RCA. The
new head was used in connection with a
special demonstration of the CinemaScope
sound track system on picture film held last
month at the RCA Exhibition Hall in New
York.

The soundhead is designed to be adopted
to any projector without interfering with
showings of standard film, the company
points out. It employs a “soft-loop” system
for high-fidelity reproduction accomplished
by compensating for such irregularities as
bad splices and other causes, it is explained.

Wide Angle Lens far
Ballantyne "Package"

a new lens of short focal
length for wide angle projection, manufac-
tured by the General Corporation of Chic-
ago, has been announced for its “all-system
package” of theatre equipment by the
Ballantyne Company, Omaha. The lens
will be made in focal lengths from 2 to 4
inches inclusive in '/4-inch steps, with a
speed of // 1.9.

In describing the new lens, J. Robert
Hoff, executive vice-president of Ballan-
tyne, points out that all air to glass sur-
faces have been coated with a hard and
durable magnesium flouride coating which
“greatly increases the amount of light pass-
ing through the lens, as well as enhancing
the contrast factor of the image.” He adds
that a new cement is used on all cemented
surfaces which will “withstand the high

temperature to which a projection lens is
subjected in modern high amperage pro-
jectors.”

All internal surfaces of the lens are
sealed with a high temperature compound
in order that oil and mixture can be per-
manently kept out of the inside of the
mount ; consequently, Mr. Hoff points out,
“it should never be necessary for any sur-
faces except those outside (front and
back) ever to require cleaning.” The
mounts, or lens barrels, are made of alu-
minum, anodized black so they will dis-
sipate heat as rapidly as possible away

from the glass elements. The inside of the
mounts, the edges and bevels of all the
lenses, are treated in order to keep internal
flare to an absolute minimum, which, it is
explained, increases resolution and con-
trast.

DESICN OF THE ADAPTER

Special attention has been paid to the
engineering and design of the adapters, Mr.
Hoff pointed out, adding that the lens is
for all standard projectors. “We made a
complete study of each projector now in
general use in order to see what the prob-
lems were of interference in the projector
heads for allowing the wide angle projec-
tion beam to get through to the screen with-
out vignetting. Also, to see how the adap-
ters would have to be made so they would
not vignet the light ; and at the same time
that they would fit into the confining
spaces of the machine.”

The result is an adapter, he added,
which “first, will not vignet either the light
or the picture; and second, one that is
scored and treated on the inside so that no
stray light can be projected onto the screen
and destroy the definition.”

In some theatre installations mechanical
changes must be made on the projector
heads and the front protruding shafts in
order to use the adapters, according to Mr.
Hoff. Requirements will be different de-
pending on the focal length of the lenses
being used. Prints will be supplied by the
company showing the mechanical altera-
tions required, once the focal length of the
lens to he used is ascertained.

Motiograph Stereophonic
Sound in 10 Systems

stereophonic sound sys-
tems designed to accommodate the require-
ments of theatres of all sizes have been
announced by Motiograph, Inc., Chicago.
The company furnishes three 20-, 35- or
70-watt power amplifiers and three Altec-
Lansing loud speaker systems ranging from
those having three high and three low fre-
quency units to those having as many as 12
high and 18 low frequency units. Systems
are available with one or two separate mag-
netic reproducers and one or two three-
channel preamplifiers as desired.

The Motiograph systems described above
will reproduce three magnetic sound tracks
from a separate sound film. In addition
the company can furnish a “button-on” or
“penthouse” reproducer for the four-track
recording of the CinemaScope method.
Such reproducers, it is pointed out, can also
be purchased as a substitute for the separate
magnetic reproducers.

Prices of the 10 Motiograph stereophonic
systems range upward from $4,925 for an
800-seat system with either one separate
magnetic reproducer or two “penthouse”
reproducers. Systems that will reproduce
both types of recordings range from $7,500.

By the end of September Motiograph
expects to have completed delivery of over
100 stereophonic sound systems with one or
two separate magnetic reproducers. These
installations and those made by the Altec
Service Corporation and other equipment
companies will bring the total to over 600
theatres so equipped.

New Lamp Rectifiers
For 12-Phase Operation

Selenium arc lamp rec-
tifiers designed for continuous, 12-phase
operation have been marketed by the Mc-
Colpin-Christie
Corporation, Los
Angeles. Units are
available for arcs
from 1 k.w. up to
and including con-
denser lamp trims.

Designated the
“C and C” type,
the units have “dual
output ranges” with
a switch provided
for changing from
operation at a low output to a high range
when d.c. requirements increase. A special
transformer is designed to provide lower
“striking current” to save wear on carbons
and mirrors.

When two lamps operate alternately,
( Continued on page 37)

MOTION PICTURE HERALD, SEPTEMBER 5, 1953

THE

MART

Index to products Advertised
& described in this issue, with

• Dealer directory

• Convenient inquiry postcard

Firms are numbered for easy identification in using postcard. Dealer indications refer to listing on following page.

ADVERTISERS

NOTE: See small 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 Letter Co 52

Changeable letter signs: Front lighted panels for
drive-ins (IA). back-lighted panels (IB), and
changeable letters (1C). All dealers.

2 — American Seating Co. 3

Auditorium seating. NTS and direct.

3 — Artkraft Strauss Sign Corp 47

Metal frames for large and curved projection screens.
Direct.

4 — Ashcraft Mfg. Co., C. S 16-17

Projection arc lamps. Unaffiliated dealers.

5 — Ballantyne Co., The 4-5

4-Runner soundhead. Dealers I, 3, 8. 10, 18, ID,

20. 34, 36, 42, 57, 67, 72, 74, 77, 88, 90, 101,

106, 109, 112, 119, 125. 129.

6 — Bausch & Lomb Optical Co 8

Projection lenses. Direct, branches and dealers in all
major cities.

7 — Carbons, Inc 39

Projection carbons. Franchise dealers.

8 — Coca-Cola Co., The 2nd Cover

Soft drinks (8A), beverage dispensers (8B). Branches
in principal cities.

9 — Drive-In Theatre Plan Service 31

Drive-in planning service.

10 — F & Y Building Service, The 47

Architectural design and building service.

11 — Goldberg Bros 20,32,50

Projection room tables and cabinets (IIA), film reels
(IIB), box office speaking tubes (1 1C). Unaffiliated
dealers and direct.

12 — GoldE Mfg. Co 47

Ticket boxes. All dealers

13 — Griggs Equipment Co 50

Auditorium seating. Direct.

14 — Hertner Electric Co., The 44

Motor-generators. NTS.

15 — Heyer-Shultz, Inc 40

Metal projection arc reflectors. Dealers marked * and

NTS.

16 — Heywood-Wakefield Co 3rd Cover

Auditorium seating. Dealers 8, 10, 23, 31, 54, 98,

101, 125 and branches.

17 — Hollywood Film Co 19

3-D film reels (I7A), film rewinders (I7B), film
cases (170. Direct.

18 — International Projector Corp 4th Cover

Stereophonic sound. NTS.

19 — Kollmorgen Optical Corp 51

Projection lenses. NTS and all dealers.

20 — LaVezzi Machine Works 51

Projector parts. All dealers.

21 — Manko Fabrics Co., Inc 47

Leatherete covers for auditorium chairs. Direct.

22 — Manley, Inc 25

Seda fountains. Offices in principal cities.

23 — Marsh Wall Products, Inc..

Decorative wall paneling. Direct.

24 — Motiograph, Inc 9

3-D interlocks (24A), stereophonic sound system
(24B), motor-generators (24C), 25-inch magazines
(24D). Dealers 8, 10, 12, 23, 26, 29, 31, 33, 35,

39, 41, 49, 52, 55, 57. 61. 62, 65, 67, 72, 82, 88,

97, 101, 105, III. 114, 119, 125, 126, 128.

25 — National Carbon Co., Inc 43

Projection carbons. All dealers.

26 — National Super Service Co., Inc 49

Vacuum cleaners. All dealers.

Reference Adv.

Number Page

27 — National Theatre Supply 37,41

Distributors.

28 — Payne Products Co 32

Carbon savers. Dealers II, 17, 22 , 37 . 41, 55, 56,

66. 79, 105, 110, 112, 115, 119, 126 and NTS

Albany, N. Y., Memphis and Denver.

29 — Poblocki & Sons 49

Portable debris cart (29A), portable snack bar (29B),
traffic control signs (290, box offices (29D), poster
cases (29E), attraction signs ((29F), marquees
(29G), theatre fronts (29H). NTS and direct.

30 — Projection Optics Co., Inc 31

Projection lenses. Distributor: Raytone Screen Corp.

31 — Raytone Screen Corp 40

Wide screen frames. Direct.

32 — RCA Service Co 52

Projection and sound equipment maintenance service.

33 — S.O.S. Cinema Supply Corp 52

Distributors.

34 — Simonin's Sons, Inc., C. F 25,26

Popcorn seasoning. Direct.

35 — Spacarb, Inc 24

Beverage dispensers. Direct.

36 — Strong Electric Corp 7

Rectifiers (36A), projection arc lamps (36B). Dealers
I, 2, 3, 4. 7, 8, 9, 10, 12, 13, 16, 17, 18, 19. 20.

21. 23, 24, 25. 27, 31, 34, 35, 36, 38, 39, 40, 41,

42T 43, 45, 46, 48, 49, 52, 53, 54, 55, 56, 57. 58,

60, 61, 62, 64, 65. 67, 69, 72, 73, 74, 75, 76, 77,

78, 80, 81, 88, 89, 90, 91, 94, 95, 96, 98, 100, 101.
102, 103, 104, 105, 107, 109, 110, III, 112, 113,
114, 115, 118, 119, 121, 126, 127, 128, 129.

37 — Theatre Seat Service Co 49

Theatre chair rehabilitation service. Direct.

38 — Wagner Sign Service, Inc 50

Changeable letter signs: Front lighted panels for
drive-ins (38A), back-lighted panels (38B) and
changeable letters (38C). Dealers I, 8, 10, 12, 13,

14, 15, 16, 20, 21. 22, 23, 24. 25, 27, 28. 29. 31,

33, 34, 35, 39, 40, 41. 42, 43, 49. 51. 52, 54, 55,

57, 58, 60, 62, 64, 65, 66. 67, 69. 70, 71, 72. 74.

76, 77. 81, 83, 85, 86, 88, 89, 95, 97, 98, 101, 103,
104, 105, 110, III, 114, 115, 116, 117, 119, 121,
125, 126. 127 and NTS Detroit.

39 — Wenzel Projector Co 44

25-inch magazines (39A), projector heads (39B),
projector bases (39C), projector bases (39D), sound-
heads (38E). Unaffiliated dealers.

40 — Westrex Corp 47

Foreign distributors.

41 — Williams Screen Co 20

Projection screens. Direct.

42 — Wrigley, Jr. Co., Wm 23

Chewing gum. Direct.

EDITORIALLY . . .

ROLLER GRILL SWITCH, page 24

New switch for J. J. Connolly, Inc., is frankfurter
roller grill to keep some rollers hot and in motion
while others run cold. Postcard reference number
E43.

REFRESHMENT TRAILERS, page 25

New series of cartoon film trailers to boost snack
bar sales at drive-ins from the Charles E. Hires
Company. Postcard reference number E44.

4-RUNNER SOUNDHEAD, page 33

New convertible 4-runner soundhead equipment
for stereophonic sound developed by Ballantyne
Company. Postcard reference number 5.

NEW WIDE-SCREEN FRAME, page 33

Wooden screen frame for use in wide-screen pro-
jection announced by Hollywood Curvascope
Frame Company. Postcard reference number E45.

NEW PROJECTION LAMP, page 33

Strong-135 lamp to supply increased volume of
screen light required by wide-screen and 3-D. Post-
card reference number 36B.

"BUTTON-ON" SOUNDHEAD, page 34

RCA button-on type soundhead for reproducing
multiple track magnetic sound on picture film. Post-
card reference number E46.

WIDE ANGLE LENS, page 34 ,

Lens of short focal length for wide angle pro-
jection announced by Ballantyne Company for its
equipment package. Postcard reference number
5A.

STEREOPHONIC SOUND, page 34

Motiograph stereophonic sound systems to meet
requirements of theatres of all sizes. Postcard ref-
erence number 24B.

LAMP RECTIFIERS, page 34

Selenium arc lamp rectifiers for 12-phase oper-
ation marketed by McColpin-Christie Corp. Post-
card reference number E47.

MOTOR-GENERATORS, page 37

New equipment for 3-D projection, including
motor-generators in three sizes and 25-inch maga-
zines from Cinematic Corp. Postcard reference
number E48.

TO BETTER THEATRES Service Department:

Piease have literature, prices, etc., sent to me according to the following
reference numbers in the September 1953 issue —

NAME

THEATRE or CIRCUIT

STREET ADDRESS

PITY

STATE.

Theatre Supply Dealers

Dealers in the United States listed alphabetically by states, numbered or other-
wise marked for cross-reference from Index of Advertisers on preceding page

ALABAMA

1 — Qumo Feature Service, IDIZ'/i Morris Are.. Birmingham.

ARIZONA

2 — Glrerd theatre Supply, 532 W. Van Boren SL, Phoenix.

ARKANSAS

S — Arkansas Theatre Supply, 1008 Mala St, Little Rock.

«— Theatre Supply Co., 1021 Grand Ave.. Fort Smith.

CALIFORNIA

Freioo:

5— Mldotate Theatre Supply. 1908 Thomao.

Los Angeles:

6 — John P. Filbert 2007 S. Vermont Are.*

National Theatre Supply, 1081 S. Vermont Ave.

7 — Pombrex Theatre Supply, I960 8. Vermont Ave.

8 — B. F. Shearer, 1984 S. Vermont Ave.

Sob Francisco:

National Theatre Supply, 255 Golden Gate Ave.

9 — Preddey Theatre Supplier 187 Golden Gate Ave.

10— a. F. Shearer, 243 Golden Gate Ave.

11 — Western Theatrical Equipment. 337 Golden Gate Ave.*

COLORADO

Denver:

National Theatre Supply, 2111 Champa SL

12 — Service Theatre Supply, 2084 Broadway.

IS— Western Service & Supply. 2120 Broadway.*

CONNECTICUT
New Haven:

National Theatre Supply, 122 Meadow SL

DISTRICT OF COLUMBIA (Washington)

14 — Briewt & Sous. 925 New Jersey Ave., N. W.*

18— Ben Lust, 1001 New Jersey Ave.. N. W.

FLORIDA

15— Joe H orostel n. 273 W. Flagler St., Miami.

17 — Southeaster o Equipment. 206 E. Bay SL. Jacksonville.*

18 — United Theatre Supply. 110 Franklin SL. Tampa.

10— United Theatre Supply. 329 W. Flagler SL, Miami.*

GEORGIA

Albany:

20 — Dixie Theatre Service & Supply, 1010 N. Slappey Dr.

Atlanta:

21— CapitaJ City Supply, 161 Walton SL, N. W.

National Theatre Supply, 187 Walton SL. N. W.

22 — Southeastern Theatre Equipment, 201-2 Luckle SL, N. W.*

23— WII-Kln Theatre Supply. 301 North Ave., N. E.

ILLINOIS

Chicago:

24 — Abbott Theatre Supply, 1311 S. Wabash Ave.*

25 — G. 0. Anders Co., 317 S. Sangamon SL

26— Gardner Theatre Service, 1238 S. Wabash Ave.

27 — Movie Supply, 1818 S. Wabash Ave.

National Theatre Supply, 1325 S. Wabash Ave.

INDIANA

Evansville:

ZB — Evansville Theatre Supply, 2900 E. Chandler Ave.

Indianapolis:

29 — Ger-Bar. Ins.. 442 N. Illinois SL

>0— Mid-West Theatre Supply Company, 448 N. Illinois SL*
National Theatre Supply. 438 N. Illinois SL

IOWA

Des Moines:

31 — Dee Moines Theatre Supply, 1121 High SL
National Theatre Supply, 1102 High SL

KANSAS

Wichita:

32 — Southwest Theatre Equipment P. 0. Box 2138.

KENTUCKY

Louisville:

33 — Falls City Theatre Equipment, 427 S. Third St.

34 — Hadden Theatre Supply, 209 S. 3rd SL

LOUISIANA
New Orleans:

35 — Hodges Theatre Supply, 1309 Cleveland Ave.

36 — Johoson Theatre Service, 223 S. Liberty SL
National Theatre Supply. 220 S. Liberty SL

37 — Southeastern Theatre Equipment, 214 S. Liberty St.*

Shreveport:

38 — Alon Boyd Theatre Equipment, P. 0. Box 362.

MARYLAND

Baltimore:

39— J. F. D usman Co.. 12 East 25th St.

National Theatre Supply, 417 SL Paul Place.

MASSACHUSETTS

Boston:

40 — Capital Theatre Supply, 28 Piedmont St.*

41 — Joe Cifre, 44 Winchester SL

42 — Independent Theatre Supply, 28 Winchester St.

43 — Massachusetts Theatre EquipmenL 20 Piedmont SL
National Theatre Supply. 37 Winchester SL

44 — Standard Theatre Supply, 78 Broadway.

45— Theatre Service & Supply, 30 Piedmont SL

MICHIGAN

Detroit:

46 — Amusement Supply. 208 W. Montcalm St.

47 — Ernie Ferbes Theatre Supply. 214 W. Montcalm St.

48 — McArthur Theatre EquipmenL 454 W. Columbia SL
National Theatre Supply, 2312-14 Cass Ave.

Grand Rapids:

49 — Rlngold Theatre Equipment, 106 Michigan St„ N. W.

MINNESOTA

Minneapolis:

50 — Elliott Theatre Equipment, 1110 Nicollet Ave.

51 — Frosch Theatre Supply. 1 1 II Currie Ave.*

52 — Minneapolis Theatre Supply, 75 Glenwoed Ave.

National Theatre Supply, 56 Glenwood Ave.

83 — Western Theatre EquipmenL 45 Glenwood Ave.

MISSOURI
Kansas City:

54— Missouri Theatre Supply. 115 W. 18th SL*

National Theatre Supply. 223 W. 18th St.

55 — Shrevo Theatre Supply, 217 W. 18th SL

56 — Stebbins Theatre Equipment, 1804 Wyandotte SL

St. Louis:

57 — McCarty Theatre Supply, 3330 Olive St.

National Theatre Supply, 3212 Olive SL

58 — SL Leuis Theatre Supply Co.. 3310 Olive SL*

MONTANA

59 — Montana Theatre Supply, Missoula.

NEBRASKA

Omaha:

60 — Ballantyne Co., 1712 Jackson SL
National Theatre Supply. 1610 Davenport St.

61 — Quality Theatre Supply, 1515 Davenport SL

62 — Western Theatre Supply, 214 N. 15th St.*

NEW MEXICO

63 — Eastern New Mexico Theatre Supply, Box 1009, Clovis.

NEW YORK
Albany:

64 — Albany Theatre Supply, 443 N. Pearl.

National Theatre Supply. 962 Broadway.

Auburn:

65 — Auburn Theatre EquipmenL 5 Court SL

Buffalo:

66 — Eastern Theatre Supply, 496 Pearl St.*

National Theatre Supply, 498 Pearl SL

67 — Perkin* Theatre Supply, 505 Pearl St.

63— United Projector & Film. 228 Franklin St.

BUSINESS REPLY CARD

No Postage Stamp Necessary if Mailed in the United States

Postage wilt be paid by —

QUIGLEY PUBLISHING COMPANY
ROCKEFELLER CENTER
1270 SIXTH AVENUE
NEW YORK 20, N. Y.

FIRST CLASS

( Sec. 34.9, P. L & R.)
PERMIT NO. 8894
NEW YORK. N. Y.

New York City:

69 — Amusement Supply. 341 W. 44th SL

70— Capitol Motion Picture Supply, 630 ninth Ave.*

71 — Crown Motion Picture Supplies, 354 W. 44th SL

72 — Joe Hornstein, 630 Ninth Ave.

National Theatre Supply, 356 W. 44th SL

73— S.O.S. Cinema Supply, 602 W. 52nd St.

74 — Star Cinema Supply, 447 W. 52nd St.

Syracuse:

75 — Central N. Y. Theatre Supply, 210 N. Salica SL

NORTH CAROLINA
Charlotte:

76 — Bryant Theatre Supply. 227 S. Church SL

77 — Charlotte Theatre Supply, 116 S. Poplar.

78 — Dixie Theatre Supply, 213 W. 3rd SL
National Theatre Supply, 304 S. Church St.

79 — Southeastern Theatre Equipment, 209 S. Poplar St.*

80 — Standard Theatre Supply, 219 S. Church St.

81 — Theatre Equipment Co., 220 S. Poplar St.

82 — Wil-Kun Theatre Supply, 229 S. Church St.

Greensboro:

83 — Standard Theatre Supply, 215 E. Washington St.

84 — Theatre Suppliers, 304 S. Davie St.

OHIO

Akron:

85 — Akron Theatre Supply, 120 E. Market SL

Cincinnati:

86 — Mid-West Theatre Supply, 1638 Central Parkway.*
National Theatre Supply. 1657 Central Parkway.

Cleveland:

National Theatre Supply, 2128 Payne Ave.

88 — Ohio Theatre Equipment. 2108 Payne Ave.

89 — Oliver Theatre Supply, E. 23rd and Payne Ave.*

Columbus:

90 — American Theatre EquipmenL 165 N. High SL

91 — Mid-West Theatre Supply. 962 W. Third Ave.

Dayton:

92 — Dayton Theatre Supply, III Volkenand SL

93 — Sheldon Theatre Supply, 627 Salem Ave.

Toledo:

94 — American Theatre Supply, 439 Dorr St.

95 — Theatre Equipment Co., 1266 Cherry St.

OKLAHOMA
Oklahoma City:

96 — Century Theatre Supply Co., 20 N. Lee SL

97 — Howell Theatre Supplies, 12 S. Walker Ave.

National Theatre Supply, 700 W. Grand Ave.

98 — Oklahoma Theatre Supply, 628 W. Grand Ave.*

OREGON

Portland:

99 — Modern Theatre Supply, 1935 N. W. Kearney St.*

100 — Portland Motion Picture Supply, 916 N. W. 19th St.

101 — B. F. Shearer, 1947 N. W. Kearney St.

102 — Inter-State Theatre Equipment, 1923 N. W. Kearney St.

PENNSYLVANIA

Philadelphia:

103— Blumberg Bros., 1305-07 Vine St.*

National Theatre Supply Co., 1225 Vine St.

Pittsburgh:

104 — Alexander Theatre Supply, 84 Van Bramm St.*

105 — Atlas Theatre Supply, 402 Mlltenberger SL
National Theatre Supply, 1721 Blvd. of Allies.

106 — Superior Motion Picture Supply, 84 Van Bramm St.

Wilkes Barre:

107 — Vincent M. Tate. 1620 Wyoming Ave., Forty-Fort.

RHODE ISLAND

108 — Rhode Island Supply, 357 Westminster St„ Providence.

SOUTH DAKOTA

109 — American Theatre Supply, 3IS S. Main St., Sioux City.

TENNESSEE

Memphis:

110 — Monarch Theatre Supply, 492 S. Second 8L*

National Theatre Supply, 412 S. Second SL

111 — Tri-State Theatre Supply, 318 S. Second SL

TEXAS

Dallas:

112— Hardin Theatre Supply. 714 South Hampten Rd.

113 — Herber Bros., 408 S. Harwood St.

114 — Modern Theatre Equipment, 1916 Jaekson SL
National Theatre Supply, 300 S. Harwood St.

115 — Southwestern Theatre Equipment. 2010 Jackson 8t.*

116 — Sterling Sales &. Service. 2019 Jackson St.

Houston:

116 — Southwestern Theatre Equipment 1622 Austin St*

San Antonio:

117 — Alamo Theatre Supply, 1363 Alamttea St

UTAH

Salt Lake City:

118 — Intermountain Theatre Supply, 264 E. First South 8t

119 — Service Theatre Supply, 256 E. First South St

120— Western Sound & Equipment, 264 E. First South SL*

VIRGINIA

121— Norfolk Theatre Supply. 2700 Colloy Ave., Norfolk.

WASHINGTON

Seattle:

122— American Theatre Supply, 2300 First Avn., at Bell SL

123 — Inter-State Theatre Equipment Co.. 2224 SeeoiMl Ave.

124 — Modern Theatre Supply, 2400 Third Ave.*

National Theatre Supply, 2319 Second SL

125 — B. F. Shearer, 2318 8eeond Ave.

WEST VIRGINIA

126 Charleston Theatre Supply, 508 Lee SL, Charleston.

WISCONSIN

127— Manhardt Co., 1705 W. Clybourn St.*

National Theatre Supply, 1027 N. Eighth SL

128— Ray Smith. 710 W. State SL

129— Theatre Equipment & Supply, 641 N. Sevaoth SL

( Continued from page 34)

the type “C” “C and C” transfer switch
box affords quick change from one power
supply to the other in case of emergency.
When two lamps operate simultaneously,
as with 3-D, the type “C-l” transfer switch
box permits instant switchover from either
of two d.c. power supplies to a standby
unit.

New Motor-Generators
And 25-Inch Magazines

NEW EQUIPMENT for 3-D
projection, including motor-generators in
three sizes, and 25-inch magazines, has been
marketed by the Cinematic Corporation,
Bloomfield, N. J. The motor-generators

The Cin ematic 25-inch magazine.

are designed to supply direct current to two
projection arc lamps simultaneously for 3-D
projection, and also to operate single arc
lamps intermittently without need of ad-

The Cinematic motor-generator.

justments, hence to supply current required
for wide-screen projection.

The three sizes available include Type
230, for up to 230 amperes continuous
duty; Type 250 for up to 250 amps; and
Type 300 for up to 300 amps. The d.c.
voltage output is 80 to 110 volts.

The Cinematic 25-inch magazine is a

Let’s Look Ahead — Together!

Exciting new projection techniques . . . better-
than-ever products . . . thrilling new sound effects
... all point ahead to better-than-ever boxoffice.

Every day, more and more people are turning to
motion pictures for fine entertainment.

Now, with the equipment picture taking a posi-
tive upward turn — why not look ahead with
National. National Theatre Supply has been car-
ing for the needs of exhibitors for over 27 years
. . . and whatever your need, when it’s available,
National ivill have it!

We may not have all the answers — but there’s one
thing we do know and that is theatre needs. So —
for real service, for the finest for your every
equipment and supply need, place your faith in
National — and face the future with confidence !

BETTER THEATRES SECTION

complete cast aluminum part designed to
replace the 18-inch magazine on universal
bases. Through substitution of the new
lower magazine, conversion for 3-D pro-
jection can be made without the need, the
manufacturer explains, to replace a maga-
zine at the rear of the base with film chutes,
as otherwise necessary in some small booths.

Upper magazines are also available for
all types of projectors. They are made of
steel with reinforcement bands designed
to prevent distortion and bending.

New High-Amperage
Model Excelite" Lamp

a new lamp designed to
burn the 10mm “National-Hitex” positive
carbon has been announced by National
Theatre Supply under the trade name
“Excelite 135.”

To allow for operation at high amper-
ages, the lamp is equipped with a “Reflect-
O-Heat” unit designed to pass a maximum

of useful light while reducing heat at the
aperture by diverting light of the greatest
heat-producing characteristics into the
lamphouse, from which the heat is removed
by forced ventilation.

The announcement points out that the
“Excelite 135” can burn the 10mm “Na-
tional-Hitex” at 120 amperes, or an 11mm
standard rotating carbon at 115 amperes.

New Clamp Type
Lighting Fixture

A NEW lighting fixture
with a plated spring clamp designed for at-
taching it in either outdoor or indoor loca-
tions has been announced by the Steber
Manufacturing Company, Broadview, 111.

Identified as “Catalog Number 13,” the
new unit will accommodate PAR-38 and
R-40 spot and flood lamps. The jaws of the
clamp are rubber-covered to prevent the
marring of fine surfaces. The porcelain
lamp socket is mounted in a drawn-steel
housing.

Projection Equipment
For 16mm 3-D Films

portable, 16mm arc pro-
jection equipment designed for the showing
of three-dimensional motion pictures for
use by business and industry has been an-
nounced by the Engineering Products De-
partment, RCA, Camden, N. J.

The new 3-D system consists of two
RCA 16mm projectors, interlocked by sel-
svn motors for synchronization of the two
images. The equipment reproduces stand-
ard 16mm sound tracks, both photographic
and magnetic, and can be adapted for the

reproduction of stereophonic sound, if de-
sired, the company points out.

The RCA 3-D equipment has its own
sound amplifiers, but it can also be con-
nected to almost any type of existing stage
or auditorium loudspeaker equipment, ac-
cording to the company.

Huff Carbon Cooler

By Hal I. Huff, Hai I. Huff Manufacturing Company, Los Angeles

The Huff Hydro carbon
cooler, which is made for
most types of carbon arc
lamps and all sizes of car-
bons, is designed to give
more light, a whiter light,
and more economical op-
eration since less carbons
will be required, and it is
unnecessary to use cop-
per-coated carbons.

The source of light in
a carbon arc is highly
heated carbon particles
commonly called soot.

These very minute particles of carbon are also ionized — that is, each particle has
an electrical charge. In an arc these particles do not remain completely in the
hottest part on the arc but fan upward and form the tail flame. The light from
this tail flame, not being at the focal point of the mirror or the condenser, throws
a diffused light on the screen causing fuzziness and tail flame flicker which,
needless to say, is very annoying to the audience.

The Huff cooler is equipped with a patented magnetic tail flame stabilizer
which pulls the tail flame down into the hottest part of the arc. This not only
eliminates fuzziness and flicker from the screen, but in pulling more carbon
particles down into the arc it makes the incandescent ball brighter and larger,
therefore causing the carbon to burn slower.

It is a known fact that the electrical conductivity of metals is best at low
temperatures and that resistance to electrical flow increases rapidly as the
temperature increases. It is obvious that more electrical power (amperage) can
pass from the metal brushes to the carbon if the brushes are cool. The Huff
Hydro carbon cooler cools all of the carbon and the working parts of the lamp.
It serves a dual purpose in that it is also the positive electrical connection to the
carbon. With water circulating through the holder, the electrical connections
are cooled as efficiently as the carbon.

Even with the greater amount of screen light, the tail film is not subjected
to excessive heat for, with the Huff tail flame stabilizer, a greater amount of
the ionized carbon particles are consumed, leaving less of the infra-red rays
which are the cause of the heat damage to film.

Also, the electrical connection to the positive carbon, through the Huff
cooler, is made closer to the arc, therefore using less voltage to push the current
through the arc. The less voltage used in overcoming resistance in the carbon,
the more amperage there is to feed into the arc.

In use of the Huff cooler, the following amperage and voltage are recom-
mended: with 7mm — 40-50 amperes, 25-28 volts; 8mm- — 62-68 amperes, 28-32
volts; 9mm — 70-85 amperes, 32-42 volts; I 0mm — 85-100 amperes, 42-50 volts.

MOTION PICTURE HERALD, SEPTEMBER 5, 1953

Zke Needle’s Bye

A Department on PROJECTION S. SOUND

if "No other art or industry in the world narrows down its success to quite such a NEEDLE S EYE as that
through which the motion picture has to pass — an optical aperture — in the continuous miracle of the screen
by a man and his machine, the projectionist and his projector.” — TERRY RAMSAYE.

Setting Up Conditions
For Variable Aspect Ratios

By GiO GAGUARDI

regardless of the pro-
portions, or aspect ratio, adopted by any
producer, or by any individual exhibitor,
there is very little
doubt that the day of
the small picture is
gone forever. At long
last the showman has
been convinced that a
new appeal to the pub-
lic may be produced by
reshaping and refur-
bishing the picture end
of the theatre. Old
aspects, old ratios be-
tween picture and proscenium sizes are
going by the board. The new pictures are
not to be treated as mere secondary in-
serts in old stages, but as the principal
exhibit, the dominating element of the
theatre.

Finally the motion picture screen is loos-
ing the bonds which shackled it to the old
stage floor and rear walls and is moving
forward into the spectators’ full view, un-
folding its scope for all to see.

All this progress has swept upon the
industry like a cloudburst. The hopes and
urgings of the last twenty years are being
forced to maturity in a few months and
because of this hasty pressure, many mis-
takes will be made in judgment and in
design. Nevertheless, the way is now open
to make the new pictures more beautiful,
more artistic and more appealing than ever
before.

At the present time there are many ways
of changing the old style picture shape.

Some of these methods may be a little am-
biguous and confusing. A comparison and
a brief discussion may help to clarify this
new business of wide-angled vision, aspect
ratios, and required screen illumination.

It has now become customary generally
to express the ratio of picture width to pic-
ture height as the aspect ratio. Although
this is a new fangled term for many people
in the business, it is now an important part
of our jargon because of its bearing on the
differently sized pictures being exhibited.
If we disregard keystone and masking, the
old pictures with which most of us are
familiar, had an aspect ratio of 1.33, which
means that the width compared with the
height approximately as 4 is to 3. This
comparison proves true since the present
standard picture frame on the film is .825
inches wide by .600 inches high.

WHAT ASPECT RATIO MEANS

Since the first showing of Cinerama, the
trend among distributors and exhibitors
has been not only to enlarge the standard
picture size, but also to increase the picture
width as compared to the picture height.
In other words to increase the aspect ratio.
Cinerama has a lineal width of approxi-
mately three to one compared to the
height. Those of the industry generally
are now 1.66, 1.75, 1.85, 2.0 and 2.55.
They may be obtained in several ways.
The simplest method, but the one with the
greatest limitations, is to project an en-
larged picture from standard film and to
mask off the top and bottom of this pic-
ture until the desired aspect ratio is ob-
tained. It is obvious that with standard
sound film, the width of the picture frame
cannot be increased over .825 inches, other-

SIO GAGLIARDI

CARBONS, Inc.

Boonton, N. J.

BETTER THEATRES SECTION

YOU’D NATURALLY EXPECT
THE FINEST FROM RAYTONE

The RAYTONE-THOMPSON ALL PURPOSE WIDE
SCREEN FRAME is the EASY-TO-INSTALL FRAME
that outperforms any other oh the market today!

QUICKLY INSTALLED. Easy assembly possible due to simple but ingenious

design. Diagrams and color markings included with instructions. Lacing hooks
instantly adjustable for alignment with grommets. Provides fine even tension
all around.

ADJUSTABLE. Aluminum screens are highly reflective and usually require
some tilting for better light distribution to balcony. Degree of tilt is dictated
by reflectance factor of screen surface. Our frame is immediately adjusted
after lacing and can be changed to meet any future requirements .

LIGHT BUT RIGID. Once assembled it maintains perfect shape. Moves on
casters or can be easily flown. 50' frame weighs less than 1,000 lbs. 35' frame
weighs 750 lbs. Can be furnished with attachment to raise or lower frame off
floor. Used by most Hollywood studios.

OPTICALLY TRUE . Radius of curvature set at factory. It never changes
due to warp when tilted, therefore distortion cannot be introduced, nor can lens
focus be adversely affected. The curve is true and the screen laces perfectly
without stress or wrinkling.

SCREEN CORPORATION

165 CLERMONT AVENUE • BROOKLYN 5 NEW YORK

AVAILABLE THROUGH YOUR LOCAL THEATRE SUPPLY DEALER

wise the sound track, or the sprocket holes,
would be visible.

The only alternative is to reduce the
height of the picture frame by any desired
amount compatible with the material
printed inside the picture frame. This can
be done either in the printing, or by reduc-
ing the size of the aperture plate in the
film gate of the projector head. The new
aspect ratio obtained in the film aperture
may then be blown up to the desired mag-
nification by using shorter focal length
lenses in the projector.

COMPARING THE LENSES

A standard projection lens of course
magnifies both the width and height of a
picture in exact proportions. It may be
interesting to compare the actual dimen-
sions of a picture projected with a lens of
given size for a definite throw. Let us
assume that a theatre has a projection
throw of 120 feet and uses a lens of 4-inch
focal length ; and that the old picture size
was 18 feet high by 24 feet wide, while it
is now desired to increase the picture width
to 36 feet. If the projector aperture is
not changed, a 2.75-inch focal length lens
will produce a picture 36 feet wide by 26
feet high. This lens has enlarged the pic-
ture, but it has not changed the aspect
ratio.

In order to obtain an aspect ratio of
1 .66, a new aperture plate must be installed
whose aperture dimensions should be .825
inches wide by .497 inches high. This
aperture plate, with the 2.75-inch lens for
a projection throw of 120 feet, will pro-
duce a picture 36 feet wide by 21 feet
high with a throw of 120 feet.

For an aspect ratio of 1.85, the aperture
should be .825 inches wide by .446 inches
high. Table 1 gives film gate aperture
sizes and picture sizes for various aspect
ratios for a 2.75-inch lens and a projection
throw of 120 feet. It will be noted that
as the aspect ratio is increased, the height
of the film frame must be decreased since
the film width cannot be enlarged.

This condition leads to a considerable
reduction of useable film area for picture
purposes. On features which have been
completed, this type of top and bottom
masking may produce incongruous effects
by cutting off hats and feet in many scenes.
Closeups and titles can be easily deformed.
However, in future productions, thesf
errors may be eliminated by proper loca
tion of the action in the frame.

It is fairly obvious, though, that with
this procedure an increase in aspect ratio
can be obtained only at a sacrifice of film
area, which means that greater magnifica-
tion must be used in order to project larger
pictures. The limits controlling this mag-
nification are the quality and fineness of
the film grain, the accuracy of the ex-

MOTION PICTURE HERALD, SEPTEMBER 5, 1953

^ aJ&

BETTER THEATRES SECTION

tremely short focal length projection lenses,
the amount of light available from present
light sources, and the amount of heat per-
missible on the film.

Where it is desired to adapt a picture
screen to the use of the different aspect
ratios which are derived only by aperture
and lens changes as described above, there
are two general methods of procedure.

You will note that by keeping the width
constant, only one set of short focal length
lenses may be used and the screen masking
at the sides may remain fixed. If the bot-
tom screen masking is made permanent,
the only variable masking is the top section,
which may be suspended from a movable
batten. With this system, only one set of
lenses is needed, and only the upper mask-

will be necessary to change the projection
lenses as well as the aperture plates for each
separate aspect ratio. With this system,
the bottom and top masking of the screen
may remain fixed, the side masking made
moveable, to accommodate different picture
widths.

Each of these systems has certain advan-
tages and disadvantages which may make

ASPECT

RATIO

FILM GATE
APERTURE

PICTURE

SIZE

LENS
FOCAL LENGTH

PROJECTION

THROW

WIDE x HIGH

1 .37

.825" x .600"

36' x 26 '

2.75"

12 O'

1 .66

.825 x .497

36 x 21/2

2.75

1 20

1 . 75

.825 x .472

36 x 20/2

2.75

120

1.85

.825 x .446

36 x 19’/2

2.75

120

2.00

.825 x .412

36 x 1 8

2.75

1 20

2.50

.825 x .330
(H y potheticc

36 * 14'/2

ll case ... not su

2.75
g g ested )

120

TABLE I (above) — Relative sizes of film apertures and pictures for different aspect ratios using constant
width and variable height.

TABLE 2 (below) — Relative sizes of film apertures and pictures for different aspect ratios using constant
height and variable width.

ASPECT

RATIO

FILM GATE
APERTURE

PICTURE

SIZE

LENS

FOCAL LENGTH

PROJECTION

THROW

WIDE x HIGH

1.37

,825"x .600"

26 V2 'x 2 0'

3.75"

1 20'

■1 . 66

.825 x .497

33 X 20

3.00

1 20

1.75

.825 x .472

35 x 20

2.75

1 20

1.85

.825 x .446

37 x 20

2.75

1 20

2.00

.825 x .412

40 x 20

2.50

120

2.50

.825 x .330
( H y potheticc

50 X 20
tl case ... not sug

2.0

gested.)

120

FIG. I (above) — Picture shapes
formed by variation of height
( see Table I ) .

FIG. 2 (above) — Picture shapes
formed by variation of width
(see Table 2).

The first is to select the desired picture
width and derive from this the necessary
lens size for this magnification. Having
fixed the picture width, the picture height
will vary only as the film aperture plates
in the projector are changed to provide for
any of the aspect ratios.

Figure 1 shows the relative shape and
sizes for the aspect ratios listed in Table 1.

ing need be moved to adapt for different
aspect ratios.

The second method for sizing the pic-
ture screen would be to select the desired
picture height and permit the picture width
to vary with the aspect ratio. Figure 2
shows the relative shape and sizes for the
aspect ratio indicated in Table 2. In order
to maintain a constant picture height, it

them suitable for certain conditions and
objectionable for others. The constant
width and variable height method uses
only one set of short focal length lenses,
and since these cost a considerable sum of
money (and are difficult to obtain at
present), this offers quite an advantage.

Moreover, a change in screen masking
can be effected quickly and pretty easily

MOTION PICTURE HERALD, SEPTEMBER 5, 1953

SOME STRAIGHT TALK

AND

PROJECTION

"How much more light do I need for my new movie system?” That’s the ques-
tion everyone’s asking today. Now is the time for specific, factual data on light
requirements for 3-D and expanded screen projection.

With this need in mind, research and development engineers of National
Carbon Company have collaborated on a treatise on screen light for the new
motion-picture systems.

HERE’S WHAT THIS FREE BOOKLET CONTAINS:

Range of screen sizes suitable to each of Q Answers, based on original research, to many of
the new "National” lighting carbons listed the projectionist’s problems, presented in a form

below for 3-D and wide-screen projection. he can easily apply to his own physical set-up.

^ Information anyone can use for a better understanding of the lighting
problems peculiar to exciting new stereoscopic and wide screen systems.

“NATIONAL” CARBONS FOR NEW PROJECTION SYSTEMS

TYPE OF LAMP

CARBON

AMPERES

Non-rotating, Reflector-

7, 8, & 9mm “Suprex”

42-75

Rotating, Reflector

9, 10, & 11mm H. 1.

75-115

10mm “Hitex”

115-135

Rotating, Condenser

13.6mm H. I.& “Hitex”

125-180

GET YOUR FREE COPIES OF THIS IMPORTANT ARTICLE

The terms "National" , "Suprex" , and
"Hitex” are trade-marks of
Union Carbide and Carbon Corporation

NATIONAL CARBON COMPANY

A Division of Union Carbide and Carbon Corporation
30 East 42nd Street, New York 17, N. Y.

District Sales Offices:

Atlanta, Chicago, Dallas, Kansas City,
New York, Pittsburgh, San Francisco

IN Canada: National Carbon Limited
Montreal, Toronto, Winnipeg

NATIONAL CARBON COMPANY
30 E. 42nd Street, New York 17, N. Y.

Gentlemen:

Please send me postpaid and without charge
copies of your new article on screen light for the new
motion picture systems. No obligation, of course.

(please print)

Name

Company _
Address _

(Signed)

BETTER THEATRES SECTION

A HERTNER

FILLS THE BILL IN MEETING ALL
POWER REQUIREMENTS FOR . . .

Exhibitors everywhere are finding out that they are faced
with new problems when 3-D equipment is installed. One
of the chief obstacles is getting increased amperage and
additional screen illumination to meet the basic needs of
3-D projection.

Loss of light through use of filters plus giant screen sizes
makes existing projection equipment inadequate to do
the job.

Manufacturers have increased carbon-arc amperage and
voltage requirements up to 50% for 3-D projection, hence
additional power is mandatory.

Fortunate are theatre operators, for Hertner has tried and
proven motor generator units that more than meet the
maximum power requirements of 3-D projection. One of
these is the "CP” TransVerter that has been widely accepted
for use in large theatres and drive-in theatres.

Distributed by: NATIONAL THEATRE SUPPLY
Canada. GENERAL THEATRE SUPPLY COMPANY

In addition to the "CP" Trans-
Verter Hertner manufactures five
other types of TransVerters for
theatres of all sizes.

THE TRANSVERTER LINE INCLUDES:

TYPE "LV" for Simplex HIGH
1 KW Arcs.

TYPE "HI" for Suprex Type Arcs.

TYPE "HIH" for Suprex and
Spot Arcs.

TYPE "HS" for 50-63 Volt High
Intensity and Spot Arcs (for
National Excelite 55,000 type
lamp).

TYPE "MA" for 50-70 Volt Low
and High Intensity Arcs.

TYPE "CP" for 60-75 Volt High
Intensity Arcs.

MOTORS

THE HERTNER ELECTRIC COMPANY

12690 ELMWOOD AVENUE . . , CLEVELAND 11, OHIO
A General Precision Equi pment Corporation Subsidiary

MOTOR GENERATORS

GENERATOR SETS

25”

MAGAZINES

with

New type Brakes, l/j"
shafts and double Ball
Bearings on both Up-
per and Lower Maga-
zines, Oilite Bearing
take-up.

Write for
Information

WENZEL

Time-Tested
Theatre Equipment

Manufacturers of: Projec-
tors, Sound Heads, Bases,
Magazines, Accessories,
Parts, etc.

Send for descriptive
literature

WENZEL

PROJECTOR CO.

2505-19 S. State Street
Chicago 1, Illinois

by raising or dropping the top masking
frame or valance to some pre-selected
position. When curved screens are used,
however, this top masking is more difficult
to make and to move.

Since the picture magnification is con-
stant, the light intensity on the screen will
always remain at the same level regardless
of picture size, thus it will be possible to
select the proper size of lamp and to set up
the projection system for one system of
operation. The light must be sufficient and
satisfactory, otherwise all pictures will
suffer regardless of the aspect ratio.

This method is not suitable to houses
with long balconies. In these cases the bal-
cony overhang generally limits the picture
height to a fairly low level, and going
higher than this amount would be likely
to cause further cutting of the picture top
for many of the rear main floor seats. Fur-
thermore if a picture is changed only in
height, the desired effect of a larger pic-
ture is not attained.

T he constant height and variable width
method, on the other hand, requires sev-
eral sets of short focal length lenses in
order to change the magnification for each
aspect ratio. Although this may seem a
little expensive, greater width is achieved.
This method permits the use of larger pic-
tures also in balcony houses because the
critical dimension — picture height — is
selected for its best value and then kept
constant.

With this method it may be possible to
extend the picture size and picture lighting
for the larger aspect ratios when showing
2D pictures, and operate the 3D pictures at
lower aspect ratios with narrower screens,
maintaining in both cases the proper
amount of picture brightness.

Theatre sizes and auditorium conditions
vary so much that every new screen instal-
lation requires special study and individual
attention. Theatre engineers and man-
agers should check all conditions thor-
oughly before making any definite selec-
tions.

•

FRONT-ILLUMINATED SIGN

A large, front-illuminated attraction panel, with a
double-faced board 25 feet long by 8 feet high,
was recently installed by the North Avenue Out-
door theatre, Chicago. The sign backgrounds are
Wagner Enduronamel panels, and Wagner 12- and
16-inch aluminum letters are used to form the copy.

MOTION PICTURE HERALD, SEPTEMBER 5, 1953

PICTURE
WIDTH ID
FEET

PICTURE HEIGHT IN FEET AND INCHES

FOR ASPECT RATIOS OF

ANAMORPHIC

ANAMORPHIC OR
N0N-ANAM0RPHIC

2 to 1

NON

-ANAMORPHIC LENS

2.6 to 1.0

1.9 to 1.0

1.66 to 1

1.55 to 1

9' -7"

12' -6"

13' -2"

15' -0"

16'-1"

10' -0"

13' -0"

13' -8"

15’ -7"

16' -10"

10’ -5"

13' -6"

14' -2"

16' -3”

17’ -5”

10 ’-9"

14' -0"

14’ -9"

16' -10"

18 ’-1”

11’ -2"

14’ -6"

15’ -3"

17' -6”

18 ’-9”

11' -7"

15' -0"

15 '-9"

18' -1"

19'-5"

11' -11"

15' -6"

16’ -4"

18 '-8”

20' -O’’

12’ -4"

16’ -o*

16’-10"

19'-3"

20*-8"

12' -8"

16' -6”

l?,-5"

19’ -ll”

21 ’-4"

34-

13'-0"

17’ -0”

17' -11"

20’-6"

22' -0"

13’ -5"

17' -6"

18' -6"

21 ’-1"

22’ -7"

13' -10"

18 ’-0"

19 '-0”

21' -8’’

23' -3"

14' -3"

3.8* -6"

19'-6"

22' -3”

23' -10"

14' -8"

19’ -0"

20' -O'*

22’ -11"

24' -6"

15' -0"

19 '“6"

20’ -6"

23' -6"

25' -2"

15' -5"

20' >0”

21’ -0”

24' -1"

25’ -10"

15 '“10"

20 '-6n

21’ -7"

24’ -8"

26' -5"

16 '-2''

21’ -0"

22' -1”

25' -4"

27' -0"

16’ -7”

21’ -6"

22’ -8"

lit

25' -11"

27 '-8"

17' -0"

22’ -0”

23' -2"

26’ -7"

28 ’-4"

17 -_4"

22 • -6°

23' -8"

27' -3"

29' -0"

17’ -8''

23’ -0"

24’ -3"

27’ -10"

29' -8"

18' -0"

23' -6"

24' -9"

28' -4"

30' -4"

TABLE I — The author's analysis of the relationship of aspect ratio, picture size and viewing con-
siderations are indicated in this table. The height dimensions occurring above the shaded area
are inadequate, and the height dimensions below the shaded area are excessive for average thea-
tre conditions (see text). The average theatre would be using a screen width of up to 38 feet.
An average position in the shaded area above the broken line would indicate that an aspect ratio
of about 1 .8 to- 1 would accomplish the following: (a) sufficiently horizontalize the frame to match
the shape of the active field of view (see text); (b) recognize the physical dimensional and

sightline clearance problems in the existing theatres; (c) recognize the needs of the average
theatre (note the greater number of useful heights above the broken line in the area where

the average theatre is found); (d) develop enough height to fill a sufficient amount of pa-
trons' field of view from most of the seating positions; (e) develop a shape of projector aper-

ture plate which does not waste light abnormally (see text); and (f) indicate the possible practi-
cability of achieving "wide-screen" expansion of the image with regular wide-angle lenses.

Theatres and
The New Techniques

( Continued from page 29)

noted that when width is as much as 2.6
times the height, the performance area can
be severely cropped in the vertical dimen-
sion. This deficiency is particularly object-
tionable in theatres having a rectangular
seating pattern (the most common type),
where vision from the rear half of the audi-
torium embraces a field in which the screen
height thus occupies a very small area.
Th is dwarfs the picture. It also emphasizes
the geometry of the elongated picture shape.

The best perception of the performance
is obtained when the spectator is able to
eliminate consciousness of physical limita-
tions and submerge himself in the psychic
experience afforded by the performance.

Physical conditions in most theatres will
not permit picture heights of much more
than 24 feet, with the average height avail-
able being closer to 19 feet. This would
indicate, in accordance with Table 1, that
insofar as existing theatre conditions are a
factor, a 2-to-l aspect ratio, or less, could
best be accommodated. Picture width is lim-
ited in a great many instances by exit doors
at either side of the screen area. The writer
recently has found, in designing screen in-
stallations in many theatres, that 38 feet
is about the average top width available.

LIGHTING EFFICIENCY

All of the “wide-screen” methods so
far proposed, with the exception of the
Todd-AO system still in development,
utilize the standard 35mm film, which
permits a frame size that cannot be pro-
jected to a width greater than 38 feet with-
out beginning to show the fuzziness of
film grain. There are picture widths of
50 feet and more at drive-in theatres; how-
ever, they do not present the same problem
of film grain because viewing distances are
sufficiently large to obscure the grain (as
in looking at a magazine halftone repro-
duction at arm’s length). Moreover, unique
values of drive-in operation have made
low levels of screen light acceptable.

Standards of picture definition, clarity
and beauty are much more exacting at this
stage of the art in a regular, enclosed mo-
tion picture theatre. The power and effi-
ciency of projection light sources, and limi-
tations upon them imposed by the factor of
aperture heat, are critical considerations in
the determination of “wide-screen” meth-
ods. A basic condition of interest here is
the relationship between the shape of the
light source and that of the aperture for
the various aspect ratios proposed. These re-
lationships are described in Figure 3.

Since an anamorphic lens does not make
it necessary to reduce aperture height (as

shown in Figure 3), that method does not
waste a serious amount of available light
(actually, even less than the standard ap-
erture). On the other hand, increasing the
relative picture width merely by means of
an aperture plate and regular objective
lenses of proper focal length does exag-
gerate light loss at the aperture, as also
shown in Figure 3.

Since the new techniques began to de-
mand more and yet more light, manufac-
turers of projection arc equipment have
made substantial progress in their efforts
to meet that demand at the aperture, in-
cluding development of heat reduction de-
vices to push the safe limit of light yet a
mite more upward. Further advance can be

expected in time, and in addition to re-
search aimed at removing still more of the
"hot light,” it might be worthwhile to in-
vestigate the possibility of reflecting the
arc image to the aperture in an elliptical
instead of a round beam (as can be done
with condenser lenses) so as to cover the
aperture more efficiently. We don’t know
whether that has ever been attempted ; if it
is impracticable, the aperture plate method
of achieving a more elongated picture in-
evitably involves a greater waste of light
than the art has exacted before.

Whatever other problems may be en-
countered by that system, the Todd-AO
scheme now under development would deal
( Continued on page 52)

BETTER THEATRES SECTION

method in
Management

★

staff supervision
institutional advertising
exploitation equipment
housekeeping & maintenance
and related activities

Attraction and Theatre Promotion

Seventh Article in Series, MOTION PICTURE THEATRE MANAGEMENT by CURTIS MEES

IN THE
early days of radio the
theatre manager fre-
quently made his own
special transcriptions
— with many weird
and unusual sound
effects — and wrote his
own copy for radio
announcements. Now-
adays, however, most of the producers
have given this as careful study as the
preparation of the newspaper ads, and elec-
trical transcriptions are frequently avail-
able with the stars of the picture making
the announcements in their own inimitable
voices. There are times, however, when it
may be wise, or expedient, to write copy
especially adapted to local use and to make
transcriptions which will give a more per-
sonal touch to the local announcements.

When the theatre is fortunate enough to
have a guest artist in town, the local radio
stations will usually give a generous amount
of station time to an appearance in their
studios for a brief interview. This should,
of course, be tied in with any advertising
currently being done over the air. When
time will not permit a personal visit to the
radio station, it is sometimes possible for
the station to send a staff announcer to the
theatre where a tape recording can be cut
of an interview with the visiting celebrity.

Disc jockeys should be cultivated by the
managers, as they are allowed more free-

dom of expression on the air than most any particularly true for those pictures featur-
other announcer, and frequently they can ing some musical numbers, as it gives the
get in a plug for your pictures. This is jockey an opportunity to tie in with timely

PUBLIC RELATIONS QUESTIONNAIRE

1. What type pictures do you prefer (check I, 2, 3 in order of preference):

Dramas ( ); Comedies ( ); Romances ( ); Musicals ( ); Westerns ( );

( )

2. About how many times have you attended our theatre in the past 90 days:
(circle choice) 24 — 12 — 6 — 3 — I — None

3. Do you have trouble parking near our theatre? Yes ( ); No ( )

4. Are our employees always polite and helpful? Yes ( ); No ( )

5. Do infants give you a problem of going to the movies? Yes ( ); No ( )

6. About how many times have you attended drive-in theatres in the past 90

days? (Circle choice) 24 — 12 — 6 — 3 — I — None

7. Do you prefer double-feature programs? Yes ( ); No ( )

8. Do you own a television set? Yes ( ); No ( )

9. If so, what are your favorite programs? (List I, 2, 3 in order of prefer-
ence): (I) (2)

(3) (4)

10. Do you go to the movies less frequently since getting your television set?

Yes ( ); No ( )

11. What advertising mediums are most important to you in selecting your
entertainment? (Check I, 2, 3 in order) Newspapers ( ); Radio ( );
Billboards ( ); Television ( ); Magazines ( ); Trailers ( )

12. If you were manager of our theatre, what would you consider the most
important change you would make in its operation?

MOTION PICTURE HERALD, SEPTEMBER 5, 1953

new music. Since the production of their
shows is left largely in their own hands,
the disc jockeys welcome outside help in
livening up their programs.

Another thought when considering the
advantages of radio is the development of
a program on the theatre stage which can
be broadcast at the same time.

Writing advertising copy for radio is an
art in itself and requires study of the
medium. It requires an “intimate” touch
to catch the favorable attention of the
listening audience. Fortunately, theatre
management has a wealth of material of
interest to the public to draw from, using
famous star names and building up the
“glamour” inherent in show business. Pic-
tures with action and spectacular scenes
have tremendous potential for sound effects
from the picture itself as well as sound
effects contrived in the local radio studio.

The radio stations are glad to assist in
preparing copy and in cutting special tran-
scriptions and spot announcements well in
advance so they may be edited and selected
according to requirements.

Radio studios have deadlines quite as
newspapers do, and to choose the better
spots throughout the day’s broadcasting
requires the purchase of radio time as far
in advance as possible. This is particularly
true when the theatre desires to purchase
time before or following a network pro-
gram featuring the current star of the
screen attraction.

USE OF LOCAL TELEVISION

Advertising on Television is relatively
expensive. These rates may be reduced in
time ; if so, greater advantage can be taken
of this medium. Even with high rates in
effect, there are instances when it pays.

Most of the major film distributors offer
special trailers for TV broadcast on the
more important pictures. The local user
can add a personal touch from time to
time when an opportunity arises to employ
on local “live” telecasts. The challenge
to improvise is apparent in TV, just as it
was some years ago in radio, when the ex-
hibitor found he could turn broadcasting
from a competitive disadvantage to a pro-
motional aid.

Being itself motion pictures, television
has loomed up as a more formidable com-
petitor than radio once appeared to be.
Most of the discussion of its ultimate effect
has been the merest theoretical speculation.
Time alone can bring the correct answer as
to whether a screen in a home is adequate
for what the public wants from motion pic-
ture entertainment.

OUTDOOR ADVERTISING

Billboards have long been an important
device of advertising in show business.
Changing circumstances have to some ex-

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FOR STUDIOS EVERYWHERE—

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Large stocks of leatherettes, upholstery fabrics and
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BETTER THEATRES SECTION

PREPARATION OF NEWSPAPER COPY

Newspapers have very strict requirements regarding certain phases of adver-
tising as it relates to the theatres, and these vary from paper to paper. Each
manager must become acquainted with the rules laid down by the papers he
uses and abide by them.

For instance, deadlines must be established in order that the paper can be
put to bed" at the allotted time. Getting ad copy into the composing room
well in advance of the deadline will generally result in better makeup, and
certainly allows more time for making necessary corrections in proofreading
at the theatre.

Minimum sizes according to the column width of ads are specified in many
cases, and the column width itself is not a standard over the country, though
generally close to 2 inches.

After ads have been set-up in the composing room, they will (normally) be
returned to the ad-writer for proofreading and corrections. Corrections should
always be made in the margin of the proof, never inside the ad. For ease in
reading markings on proof paper, always use a soft pencil. Below are some
recognized proofreaders’ marks which facilitate indication of corrections.

£ Lower Case

<S>

Bad Letter

Apostrophe

' Capital Letter

Black Letter

Left Out; Insert

Quotation

Capital Letters

W rong Font

C7) Turn Over

Paragraph

Em Quad Space

. Insert Space

No Paragraph

Let It Stand

Transpose

Comma

Push Down Space

CZZO Spell Out

Period

_Z_

One-ein Dash

Even Spacing

Hyphen

, Italics

— • Take Out (dele.)

Colon

B°man

Semicolon

SOME MARKS USED IN PROOF-READINC

What these marks indicate the printer should do is clearly stated in most cases in the notations
opposite them above. In the third column, however, there are a few that may need further
explanation. By "font" is meant a type face of certain style and size; if a letter is not of proper
style or size, it is "wrong font." By "em quad" is meant a space equal to the size of the type.
"Em" is also loosely used as a synonym for "pica," which is dimension of 12 points (about one-
sixth of an inch). By "roman" is meant upright type, in distinction from slanted, or italic. The
three lines specified in the first column to indicate a capital letter are placed under the letters
to be capitalized; and the ring for "spell out" is drawn around the characters (for example,
numerals or abbreviation) to be spelled out. (These proof marks are from a chart supplied by
the Atlanta Journal.)

tent curbed the usefulness of this type of
advertising, however, at least in some
localities.

What’s happened to outdoor advertising
to reduce its usefulness? For one thing,
the boom in building has eliminated many
of the choice locations, while at the same
time encouraging the location owners to
demand (and get) greatly increased rentals
for the advertising space which has re-
mained available. And the theatre finds
itself competing within a highly competi-
tive field of other billboard advertisers for
those choice locations.

Twenty-four-sheet locations are almost
prohibitive for the average theatre opera-
tion, except where co-operative advertising
with the distributor will help absorb some
of the cost. Three-sheets, however, are

within the means of many theatres still,
and the locations for these are generally
much easier to find.

A long-range program in outdoor adver-
tising may be advisable, as it would permit
retaining the same locations from week-to-
week, thereby gaining a steady audience
from potential patrons who would know
where they might look for the current at-
traction while riding to or from work.

In smaller towns window cards are
profitable, but large drawing areas may
require too many of them for adequate
coverage, plus a large number of passes to
get good locations. Moreover, distribution
costs can be high (with uncertainty as to
how many go into garbage cans). In each
situation these various media must be
judged on their individual merits.

Heralds fall pretty much in the same
category as window cards; however, for
some attractions they are very effective,
especially where they are concentrated in
the areas susceptible to sensational offerings
such as “horror” shows, etc. Distribution
remains a problem, as it is easy for boys
distributing them to dump whole arm-
loads of heralds into the nearest sewer.

The problems and methods of theatre
advertising form a vast subject. It would
take a book of exceptional length to do
full justice to it. Many textbooks on
advertising are available, but few deal with
problems immediately involved in “selling”
motion pictures and theatres as centers of
amusement. Each manager must therefore
develop his own techniques and become
familiar with his own locality to reap the
greatest benefits from his advertising, lean-
ing upon the aids provided by the dis-
tributors and the trade press, yet aiming
always for an original approach to the
specific needs of time and place.

PUBLIC RELATIONS

The terms publicity and public relations
are confused in many minds as meaning one
and the same thing. They definitely are
not. In the first place, public relations
involves impressing upon the general public,
your particular patrons and your employees
the policies of your operation in the most
favorable manner possible.

It has the further very important func-
tion of advising management of the atti-
tudes and opinions found in these three
groups of people; how policies might be
evolved to change negative opinion so it
will favor the theatre and its management;
and how positive opinions can be further
strengthened so there will be continuing
appreciation of the theatre’s operations.

Abraham Lincoln said; “With public
sentiment nothing can fail; without it,
nothing can succeed!” Bearing those fate-
ful words in mind, greater stress must
surely be placed upon working out an ap-
propriate program to create and maintain
the most effective public relations possible
in the community.

Executing such a program is not a job
for the manager alone ; it deserves the
wholehearted co-operation of all employees
of the organization, for they can be highly
influential in interpreting policies to the
other “publics” with whom they come in
contact. For this reason, they should be
kept informed of what is going on in the
operation that bears upon public opinion
about it.

PLANNING THE PR PROGRAM

Good Public Relations do not just hap-
pen— they must be planned!

The first requirement is an evaluation

MOTION PICTURE HERALD, SEPTEMBER 5, 1953

of the status the theatre occupies at the
moment in the public mind. The basis
for this may be a survey of the community.
This may be fairly simple, or as compli-
cated as the desires of management and the
prestige of the theatre advise. The queries
should be uniform for purposes of compari-
son, and they should cover representative
areas of the community, since it is not
practical to cover every household in your
town.

SURVEY QUESTIONNAIRE

Just what is it that you will need to
inquire about in such a survey? Each situa-
tion will differ in its requirements, but
the accompanying questionnaire might form
the “backbone” of your poll.

If it is desired that the survey be con-
ducted by mail, it is advisable that every-
thing be covered in a single sheet of paper,
otherwise those receiving the questionnaire
may consider it too long and throw it in
the wastebasket. Furthermore, to encour-
age completion of the form, it will be help-
ful if questions are arranged so that
answers can be simply checked yes or no so
far as possible.

Return envelopes should be enclosed,
with postage paid (ask your postmaster
how this is best handled). For the first
small batch or so returns, a pair of passes
might be sent back as a nice gesture of
appreciation for their co-operation, and
consideration might well be given to offer-
ing a savings bond as cash prize for the
best suggestion submitted. Any device is
worthwhile if it will have the net result of
getting full and complete answers back in
your hands.

We assume that you have included all
the questions which are pertinent to the
preparation of an extended Public Relations
program (such programs never end, by the
way, but are constantly subject to changing
times and conditions).

The returns should provide material for
many hours of study of things about which
you probably have not given the slightest
previous thought! If you don’t come up
with some “dillys,” something must be
amiss or yours is that “perfect” operation
we dream of but rarely encounter in actual
practice.

It is most important that careful study
be made of the distribution of these in-
quiries through the mail to get a repre-
sentative sampling of the different income
levels which make up your theatre’s patron-
age. These might well be defined as the
tipper income, middle income and lower
income brackets. Inquiries should be
mailed among people in each bracket about
in proportion to their interest in your type
of operation ; otherwise, the answers might
lead to false conclusions in some important
respects.

‘■c s o

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YOUR QUESTIONS ARE INVITED. If you have a
problem of design or maintenance, the editors of
BETTER THEATRES w'll 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.

The Critic , Like Spinach ,

Is Good tor Us

says

. . . owner-manager of the Dawn theatre in Elma, la.

Elma, Ia.

ONE OF THE things that
help drive the city exhibitor nuts, but that
we don’t have to contend with in a small
town, is The Critic. Not that there aren’t
critics in a small town. That’s the only
thing we breed in most of our little com-
munities. But he differs from his urban
brother by staying in the amateur ranks
of the “gripers” and confines his criticism
to the way somebody is digging a hole in
the ground or the way somebody else has
made more money than he has.

When we think of critics generally, we
think of the professional who has the un-
believable job of getting paid for being
nasty. There are times when this seems to
be the closest thing to “having it made” I
know of. What’s so hard about being
hateful ?

Being naturally two faced (and accused
of being two headed!), we like to form the
habit of looking at things in two ways,
pro and con. Let’s turn the tables on the
pro critics and see if we can’t find as many
things to say about them as they do about
the things they criticize.

On the face of the work he does, the
critic could possibly be pictured as a throw-
back to the guy who was dissatisfied with
the way the Garden of Eden was created,
who was a spoiled and pampered brat
brought up on a diet of sour grapes and
bitter herbs. It is more than somewhat
paradoxical that an individual of this type
should have access to pen and paper where
he can foist his opinions on normal people.

The typical critic is liable to description
as one who gets out of the wrong side of
the bed, puts his shoes on the wrong feet,
and comes down stairs with a stop watch
in his hand timing the lateness that his
wife serves his morning coffee. And un-
doubtedly it will either be too hot or too
cold, too weak or too strong. It’s dollars
to yesterday morning’s soggy doughnuts
that the day won’t start right for our hero.

And maybe the professional critic
shouldn’t get sore if folks conjure up that
kind of picture of him. He asked for it,
didn’t he, when he took the job?

We exhibitors, of course, know it is im-
possible for one person to tell another
whether or not he will like a picture. If
you know the critic and the critic knows
you, then you can probably talk the same
language ; but these critics are talking, in
some cases, to hundreds of thousands of
people. How can the critic tell the corn-
fed farmer in the corn-fed state of Ioway
the same story that he tells a graduate stu-
dent of Harvard? We all know that too
many times the sophisticated critic’s raves
over a particular picture falls as flat as a
pancake when we play it in our theatres in
the small towns. We know, and the critic
should learn, that he can speak sympatheti-
cally to a comparatively small audience —
an audience whose slants and attitudes co-
incide with his own. He is no more an
average person than the artist. I doubt,
however, that he is as entitled to be that
different.

•

The main thing that a critic must re-
member as far as motion pictures are con-
cerned is that the primary purpose of mak-
ing a picture is to make money. In this
way the producer is different from the
artist or creator of thoughts. He, of
course, wants to make a good picture, wants
it to please people and even hopes it may
please the critic, but his initial purpose is
to make money. He may have the for-
mula, the technical help and the stars to
make a whale of a picture. It may, on
release, please record numbers of a certain
type of people, yet the critic may say it’s a
“poor” picture!

How can this be? What is the yard-
stick that measures goodness? Who can
face the fellow who comes out of a theatre
after laughing sick at Ma & Pa Kettle, and
tell him it is not as good as “Ivanhoe” or
the like? It so happens this guy didn’t
like “Ivanhoe,” but he liked Ma & Pa.
Is he wrong? It looks like it just about
boils down to this: whatever pleases a per-
son is good to them.

Now to let my other head get a word in
edgewise. We need critics ! We need
them for a number of reasons. But before
going into reasons, let’s take it in the other

MOTION PICTURE HERALD. SEPTEMBER 5, 1953

arm and have a soberer look at the critic.
He is probably a zealous and conscientious
person trying his best to be of value to the
art or industry he serves, knowing that
maybe in a small way his efforts will help
to improve the art he loves. He does not
necessarily have to know all about how to
make pictures in order to criticize them.
(I do that, and I don’t know nothin’.)
He doesn’t have to be a former producer-
director-screenwriter in order to criticize a
movie any more than he has to be a vir-
tuoso to criticize a violinist.

His job is not particularly difficult, since
few things are perfect. However, perfec-
tion is what we shoot for, and criticism
helps to keep up our aim. The act of criti-
cizing is not so tough. The hard part is
to take it !

•

But why do we need critics? When the
first man built the first house, or painted
the first picture, or played the first note,
the critic was standing right over his
shoulder saying, “That’s not so bad, but
wouldn’t it have been better this way?”
They tried it that way and it was better.
We had progress. But after a certain
amount of accomplishment it is so easy to
rest on your laurels. Maybe if it wasn’t
human nature to criticize we would still
be going to the theatre on horseback to
hear folk tunes in a five-note scale played
on a lute.

•

W e, as exhibitors, are sometimes super-
sensitive about the critic’s slashes at our
product. We hate to have someone knock
it before we get it played. We are pleased
as punch, though, when some picture comes
along and gets praised to high heaven.
Then we show our review clippings to all
who will stop to read.

We don’t lose too many patrons because
some critic talks them out of going. We
probably gain a lot because the critic is in
there writing about the movies. He’s keep-
ing 'em picture conscious. He probably
stirs up more comment and interest in pic-
tures in one column than most exhibitors
do in a month of exploitation. And there
is another very good reason why we need
him.

'The critic, by and large, is one of our
best friends. Sometimes his dish may be
bitter to take, but without him we might
have to do more hustling. Neither man
nor an industry makes progress until he is
dissatisfied ; he isn’t dissatisfied until he sees
his faults ; and he seldom sees his faults
until somebody points them out.

Hey, what am I saying? My wife is
liable to read this!

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THEATRES AND
THE NEW TECHNIQUES

( Continued, from page 45)

with the light problem, as well as eliminate
disadvantages of excessive magnification, by
employing 65mm instead of 35mm film.
It is not contemplated, however, that this
system would soon be available for general
exhibition.

About ninety per cent of the motion pic-
ture theatres throughout the world could
increase their picture width by about 50%,
or more, of their present size and be within
a maximum screen width of 38 feet best
suited to a standard film width of 35mm.
Wide-angle camera lenses could be effec-
tively used. Heretofore the 25mm lens, hav-
ing a camera angle of 47 degrees, received
little use. This lens, and the 18.5mm lens
(62-degree camera angle) now available
will add a great number of long shots to
films which will give projected images a
scope consistent with their increased size.

There is no need for a camera angle
much greater than 62 degrees. The average
camera angle used until 1953 was about
30 degrees, and the average subtended view-
ing angle in motion picture theatres is
about 21 degrees (not considering “wide-
screen” installations). This subtended
viewing angle will be closer to 33 degrees
with the larger screens, and since it is
not advisable to have too great a disparity
between camera and viewing angles, we
already have camera lenses which are con-
sistent with the viewing conditions of the
majority of theatres, and with feasible en-
largement of the 35mm film structure.

To maintain a feeling of intimacy with
the scene when there is a difference between
the camera angle and the viewing subtended
angle it would be necessary to introduce
peripheral obscuration in amounts accord-
ing to the differences of these angles. This
tool, peripheral modulation , becomes then
a most potent instrument because it intro-
duces a feeling of being close to the image
without having to force the use of excessive
viewing angles (screens over 38 feet in
width) for this purpose. Here we have
an important clue to the relationship of the
auditorium physically to cinematography.

One of the distinct advantages of the
motion picture art is that it wTas always
capable of presenting the foreground, mid-
dleground and overhead areas at once,
which has been one of the factors making it
a story telling device infinitely superior to
the stage with its exclusively horizontal
aperture. It certainly cannot be advisable
to discontinue this flexibility, one of the
most potent forces of cinematographic art.

I In the second article of the series, to
appear in the October issue of Better
Theatres, Mr. Schlanger will discuss how to
determine the size and shape of the screen
for specific conditions of auditoriums.]

MOTION PICTURE HERALD, SEPTEMBER 5, 1953

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organization since its inception. Throughout our domestic and
international operation, length of service to M-G-M is a matter of
deep company pride.

Our success has been built upon two vital factors — consistently
good product and friendly relations with you, the exhibitor. It is
equally a matter of company pride that you, by your long span of
business dealings with M-G-M, have made it possible for us to
serve you over these many years.

We take this opportunity, when representatives from abroad have
joined us here, to express our gratitude to exhibitors everywhere
for the loyalty and confidence that have given to the trademark
of M-G-M its worldwide popularity and respect.

The promise of our "SEE FOR YOURSELF” conference is being
richly fulfilled. We, who are ever cognizant of the past glories of
M-G-M can truthfully tell you that we will bring to theatres in
consecutive release a wonderful group of BIG attractions, pro-
duced in the M-G-M manner and similarly to be exploited. You
must "SEE FOR YOURSELF” at the nationwide trade-shows!

One after another they come:—

Oct. 9 — "MOGAMBO” (Tech.) Clark Gable, Ava Gardner

Oct. 23 — "TORCH SONG” (Tech.) Joan Crawford, Michael Wilding

Oct. 30— "TAKE THE HIGH GROUND!” (Ansco) Richard Widmark, Karl Malden, Elaine Stewart

Nov. 13— "ALL THE BROTHERS WERE VALIANT” (Tech.)

Robert Taylor, Stewart Granger, Ann Blyth

Nov. 26— "KISS ME KATE” (Tech.) Kathryn Grayson, Howard Keel

Dec. 4 — "ESCAPE FROM FORT BRAVO” (Ansco) William Holden, Eleanor Parker, John Forsythe
Dec. 25 — "EASY TO LOVE” (Tech.) Esther Williams, Van Johnson, Tony Martin

From California we salute you, gentlemen of the theatres! We
have the pictures for you. We have the showmanship to back
them up. May we all go forward together with renewed vigor,
with ever courageous optimism and the fine, cooperative relation-
ship upon which mutual success is based.

THE FRIENDLY COMPANY

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From the blood-racing adventure best-seller by Ernest K. Gann, author of 'The High and The Mighty’

THIS PICTURE ALSO CAN BE EXHIBITED ON WIDE OR GIANT SCREENS

MR. SCOUTMASTER- MOPPING UP EVERYWHERE!

THERE’S NO BUSINESS LIKE 20th CENTURY- FOX BUSINESS!

MOTION PICTURE HERALD

MARTIN QUIGLEY, Editor-in-Chief and Publisher

Vol. 192, No. 10

MARTIN QUIGLEY, JR., Editor

September 5, 1953

A Challenge to Pessimists

SURPRISED perhaps at the current vitality and
enthusiasm within the industry, certain of the
perennial pessimists again are asserting their
“down beat” viewpoint. A few years ago these pessimists
were “the prophets of doom” who were predicting the
extinction of the business. Now these same pessimists
are trying to spread defeatism about the new techniques
of the screen.

Efforts to belittle or deride the new screen processes
will fail eventually but in the meanwhile such activity
is mischievous. Those within the industry who can speak
well of the new tools to increase the dramatic power —
and hence the entertainment quality of motion pictures
— should either make a significant contribution them-
selves or shut up.

Especially vicious and manifestly unfair are adverse
criticisms of some of the new wide screen techniques
which have yet to be unfolded to the public.

This week one of The HERALD’s editorial corre-
spondents in an Eastern exchange city, which shall be
nameless, has reported a swelling tide of pessimism with
respect to 3-D and wide screen. Similar reports come
from other places. It is asserted that the new techniques
have been “oversold by the trade press”. The accusation
will be taken as directed against this publication because
The HERALD has been in the forefront of reporting
and encouraging development and perfection of all the
new methods and processes.

By way of reply to the pessimists, attention is directed
to the record :

1 Cinerama, which sparked the screen revo-
• lution, has not completed its first year on
Broadway, yet it has been seen by approximately
1,200,000 persons, has opened with excellent re-
sults in three other cities, and has won the
financial backing of such experienced showmen
as Si Fabian and Sam Rosen for increased ex-
hibition outlets and a regular flow of product.

2 3-D pictures have for the past half-year

• occupied an important place on the monthly
list of Box Office Champions compiled by The
HERALD. In fact, seven different 3-D features
have attained such distinction. That is approxi-
mately fifty per cent of the 3-D films in release
in the period. (For comparison less than ten per
cent of the standard pictures became Box Office
Champions and the budgets of the standard Box
Office Champion pictures greatly exceed the
average 3-D champion budget.)

The several pictures recommended for ex-
• hibition on wide screens of 1.66 to 1 or 1.85
to 1, and those with stereophonic sound, have as
a whole done substantially above normal busi-
ness.

4 CinemaScope’s premiere film, “The Robe,”

• will not have its first engagement until
September 16 at the Roxy in New York but al-
ready thousands have been thrilled by scenes
from the picture. Its success is certain.

That is the record of what the new techniques have
done in a short time. It is a story of joyful optimism.
Let the pessimists take cover.

At no time has it been suggested by any responsible
individual that techniques can take the place of plots or
substitute for skilled and popular players. The tremen-
dous press attention to the new techniques — the most
extensive, sustained attention the screen has ever en-
joyed— reflects the public’s interest in what the industry
is doing to make fine film entertainment even better. In
this year of 1953 the motion picture needed a great new
stimulus. It is being provided by the new techniques
which require new thinking on the part of every branch
of production, distribution and exhibition. Without 3-D
and wide screen — including CinemaScope — how would
the future look?

Let the pessimists recall the words of President Roose-
velt’s intransigent first inaugural address, “The only
thing we have to fear is fear itself.”

■ ■ ■

€J Now that Labor Day has come and with it reopen-
ing of schools, exhibitors throughout the country are
thinking of going to “school” a few days themselves.
The national conventions of Allied in Boston October
5 to 7 and of TOA (in conjunction with the TESMA
equipment show) in Chicago November 1 to 5 properly
may be regarded as providing ideal opportunities for
showmen to educate themselves in the latest of the new
techniques as well as being briefed in current trade prac-
tice problems. Every exhibitor who has a chance should
attend one of the national exhibitor organization conven-
tions. Theatre owners who are not affiliated are wel-
comed at the meetings.

■ ■ ■

Q “From Here to Eternity”, Columbia’s extremely
successful filming of a problem novel, continues to do
marvelously well at the box office. Exhibitors — and pro-
ducers— who thought (and said) repeatedly during the
past few years that major productions simply had to be
in color must be doing some head scratching.

— Martin Quigley, Jr.

MOTION PICTURE HERALD

Tax Reprisal

To the Editor:

I suggest every exhibitor forced to close
a theatre before repeal of the excise tax send
a suitably inscribed wreath to President
Eisenhower. Two of my three may well be
among them and the inscription from one
will read, “The Silvertown Theatre, Thorn-
aston, Georgia, born August 5, 1931 in times
of great stress, died — 1953, during the
greatest prosperity ever known, of mortal
wounds suffered by a Federal excise tax.”

Some time ago I suggested all drive-in
operators contact their local dealers with
regard to having all future automobiles
equipped with electric wipers. All local
dealers promised to write the manufacturers.
I believe a threat from all drive-ins to run a
trailer calling their patrons’ attention to this
might get results. Something like this,
“When you trade cars, be sure the new one
has an electric windshield wiper. Then, rain
or shine, you’ll enjoy the show. The follow-
ing cars are equipped with electric wipers at
the factory : Chrysler, Dodge, Plymouth,
etc.”

Two weeks ago, with a hard rain, I did
$18.75, against $119 the same night the week
before and $140 the same night the week
after. With electric wipers on all cars I
believe I would have done close to normal.
Besides the box office loss it killed the con-
cession which took in about half as much as
salaries there. — C. E. BEACH, Ilan Theatre,
Fernandina Beach, Florida.

Vital Question

To the Editor:

President Eisenhower’s veto of the movie
tax relief law was not entirely unexpected,
although we had been led to believe we had
more than a fighting chance. The barrage
of wires the last few days may have done
some good but it is doubtful, as is the truth
in most similar cases.

The narrow margin shows must now
make a decision as to what is best to be

done. Doubtless there will be hundreds of
the smaller shows closing their doors, now
that there is no chance of tax relief in the
near future. Six weeks ago the Booth thea-
tre, in an attempt to increase its business
and fight off drive-in competition, went back
to thirty-five cents from its former price of
forty-five cents. The difference in the num-
ber of patrons at the reduced prices was
negligible so if we can keep our show open,
the old prices will be used September 1.

For the past year we have operated as
a Friday to Monday show. Cutting out
Tuesday, Wednesday and Thursday has hurt
the weekend shows but has at least allowed
us to keep strict control over most operat-
ing expenses. The film companies as a
whole have been cooperative but we still are
slipped an occasional stinker if we do not
constantly watch them.

The question before us is how to keep
the show in operation until we may get new
technique of operation or whether the whole
thing is a hopeless case. Taking the show
out of operation will hurt our other business
interests and that is also a factor. Then too
who on earth will head all the drives — Polio,
Heart, Cancer, Red Cross, Korean Orphans,
etc., etc. ? Milton Eisenhower’s statement
says the movies will collect over $2,000,000
for Korean Relief.

May we enter for a candidate for the next
drive to help the broken down movie houses
who have carried the ball so many times
over the years from World War I to date?
You will pardon a slight understatement —
It’s discouraging. — SHIRLEY BOOTH,
Booth Theatre, Rich Hill, Missouri.

A Good Answer

To Terry Ramsaye:

I was interested and edified by your
column in the current issue of The
HERALD (About Experting in the Lay
Press, August 15). A very good answer. —
ERNEST EMERLING, Director of Adver-
tising and Publicity, Loew’s Theatres, New
York.

"NEW SCREEN TECHNIQUES"

In next week's issue of The HERALD Terry Ramsaye will review "New Screen
Techniques" which is being published by Quigley Publishing Company Septem-
ber 10. The illustrated 208-page volume edited by Martin Quigley Jr. contains
26 articles on 3-D and wide screen films in production and exhibition. The preface
is by Dr. Alfred N. Goldsmith and the contributors include authorities in 3-D,
Cinerama, CinemaScope, stereophonic sound and other processes.

September 5, 1953

MPAA attorney in vigorous attack on
Maryland censorship Page 12

TOA and TESMA prepare plans for joint
national convention Page 12

20TH-FOX reports 26-week net profit of
$158,309 Page 12

U-l plans to use CinemaScope on several
top budget pictures Page 13

SMPTE receives sparse response to ques-
tionnaire on new methods Page 13

SKOURAS completes plans for release of
"The Robe" in Europe Page 13

TERRY RAMSAYE Says — A column of com-
ment on matters cinematic Page 14

STANLEY Warner zone meeting is given a
keynote of optimism Page 21

TAX revenue for fiscal year is reported at
$310,223,953 Page 21

STATE taxes in 32 states show year yield of
$12,831,000 Page 21

METRO holds coast showings, to empha-
size fewer, bigger films Page 24

OVERSEAS film program cut down to an
appropriation of $3,000,000 Page 24

U-l has a formula which seems to spell suc-
cess at box office Page 26

UA at convention, indicates it is moving
into "third phase" Page 28

SIMPP concludes plans for forming export
company Page 28

BRITISH CEA adviser defends need to
study new techniques Page 30

BOX OFFICE Champions for the month of
August Page 31

NATIONAL SPOTLIGHT — Notes on indus-
try personnel across country Page 34

SERVICE DEPARTMENTS

Film Buyers' Rating
Hollywood Scene
Managers' Round Table
People in the News

3rd Cover
Page 32
Page 39
Page 38

IN PRODUCT DIGEST SECTION

Showmen's Reviews
Advance Synopses
Short Subjects
The Release Chart

Page 1981
Page 1982
Page 1982
Page 1984

MOTION PICTURE HERALD, SEPTEMBER 5, 1953

THE thirteenth annual poll of
motion picture exhibitors to
determine the Stars of Tomor-
row has been completed and will be
announced in The HERALD next
week. Growing in acceptance and
in stature each year since its incep-
tion, the Stars of Tomorrow Poll is
now the authoritative index to
which of the younger favorites of
the moment will go on to perm-
anent fame in Hollywood. To-
gether with The HERALD-Fame
poll of the Ten Best Money-Making
Stars, conducted in November each
year, it provides the only complete-
ly accurate gauge of the status and
marquee value of the names the in-
dustry is merchandising.

► At a special meeting Wednesday,
the executive board of Texas
COMPO unanimously decided that
that organization would continue
operations but with a more compre-
hensive and accelerated program.
The board authorized reinstatement
of the press department, effective
immediately. All major circuit con-
tributors endorsed the extensive re-
organization plan and pledged their
financial support, declaring that
Texas COMPO was an indis-
pensible service to them.

The Navy has banned the show-
ing at Navy and Marine Corps instal-
lations of “From Here to Eternity.”
The reason given was that the Navy
considers the film “derogatory to a
sister service,” the Army. The Navy
finding was made by a group of ad-
mirals despite the fact that the
Army- Air Force Motion Picture
Service has booked the film for
showings at Army and Air Force
posts in the U. S. and overseas.
“Eternity” was the second major
Hollywood film to receive some
military ban recently. All branches
of the armed services have declined
to book “The Moon Is Blue.”

► There is more money around for
independent producers, New York
industry observers are agreeing ; and
this is a good sign, they also point
out, showing confidence by financial
circles in the ability of films to make
profits. One banker commented the
furor over 3-D and wide screen has
subsided to the extent that produc-

stroyed by fire, announced last week-
end that the plant will not be re-
built. Assets of the processing cor-
poration will be merged with the
Aressar Ranch, Inc., at Burlington
Junction which owns 4,500 acres de-
voted to the raising of Hereford cat-
tle. Owners of Aressar Ranch, Inc.,
are Mr. Rhoden, president of Fox
Midwest Theatres ; Charles P.
Skouras, president of National The-
atres, Inc., and Frank H. Ricketson,
Jr., head of Fox Intermountain
Theatres.

► Arthur R. Sharby, owner of the
Inwood theatre, Forest Hills, L. I.,
closed the house Sunday night. A
sign outside the shuttered theatre
reads: “Thank you, Mr. Eisenhower,
your 20 per cent tax closed this
theatre.”

► A note on the traveling habits of
the species comedian: On Tuesday,
Bud Abbott and Lou Costello re-
turned to New York from a Euro-
pean trip. Bud sailed the seas on the
liner “United States” while his part-
ner made the trip on the “Queen
Elizabeth.”

In BETTER THEATRES

In "Theatres and the New Techniques," Ben Schlanger, architect and consultant
well known to readers of Better Theatres as a specialist in motion picture
theatre design, begins a series of articles on the changes being made in the
art, with detailed, illustrated discussion of the problems presented, especially
by wide screen, in applying them to existing theatres.

* * *

Application of wide-screen technique receives further attention from Gio
Gagliardi in "Setting Up Conditions for Variable Aspect Ratios."

* * *

Continuing his series, "Motion Picture Theatre Management," Curtis Mees
adds other methods of advertising to those he discussed last month in the
seventh installment, "Attraction and Theatre Promotion."

ers realize they continue to have a
market, however their films are
made. The Chemical Bank and Trust
Company in the past three weeks
alone has arranged for eight produc-
tion loans. Bankers Trust Company,
more active in television film financ-
ing, also reports many inquiries.
One common denominator is re-
ported in the new financing: sharp
scrutiny of story, casting, directors,
and releasing arrangements.

► “From Here to Eternity” is go-
ing to be just that. On the heels of
astounding grosses in east coast
playdates ($625,000 in four weeks
at the New York Capitol for in-
stance) it opened in several mid-
western cities to just as remarkable
a public acceptance. At the Midland
in Kansas City the Columbia pro-
duction grossed $13,000 in two days
and it hit about the same figure for
the first two days at Loew’s in
Indianapolis.

► Elmer C. Rhoden, president of
Aressar Processing Corporation,
whose popcorn plant at Burlington
Junction, Missouri, was recently de-

MOTION PICTURE HERALD, 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, President; Martin Quigley, Jr., Vice-President; Theo. J. Sullivan, Vice-President and Treasurer; Raymond Levy, Vice-President; Leo J. Brady,
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MOTION PICTURE HERALD, SEPTEMBER 5, 1953

SAMUEL GOLDWYN came back to this
country last week and at a New York press
interview provided copy as usual. He
opines European producers are making too
many films; and that technical evolution in
Hollywood will bring better pictures, but
the story still counts. See page 33.

THEY OPENED the new Universal-International exchange at
Dallas. At the reception which attended ceremonies there, the
men above are, in order: Milton R. Rackmil, president of
Universal; Robert J. O'Donnell, vice-president of Interstate
Theatres; Ed Rowley, president of Rowley United Theatres;
Alfred E. Daff, executive vice-president of Universal; Rip Payne,
Rip Payne Theatre Enterprises; Raymond Willie, Interstate
Theatres; Charles J. Feldman, Universal general sales manager;
and R. W. Wilkinson, branch manager.

VISIT to the Will Rogers Memorial Hospital, Saranac Lake,
New York. Patient Joseph Wiener, IATSE Newark local 244,
greets Thomas Green, IATSE New Jersey district secretary,
and Richard Walsh, president of the IATSE and a vice-
president of the hospital. Watching is Charles E. Lewis, right,
hospital executive vice-president.

SPEAKER, at the Italian
Films Export exhibitor-trade
luncheon in New York last
week — Bernard Jacon, vice-
president in charge of sales.
With him are Seymour
Schussel, left, eastern divi-
sion manager, and Bernard
Lewis, exploitation manager.

ALEX HALPERIN, right, has
been appointed zone man-
ager of Stanley Warner mid-
west theatres. He had been
film buyer for that zone. He
succeeds Al Kvool, resigned.

MOTION PICTURE HERALD, SEPTEMBER 5, 1953

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AT THE OPENING of the remodeled Fitchburg
Theatre, Fitchburg, Mass. In array are Joe Tuttle,
manager; Frank Boyle, city manager; Benjamin Sack,
to whom the house was leased; and Louis Chiar-
monte, of Merchandising Displays, Inc., designers
and remodelers.

A COLLEGIATE "OSCAR" is awarded to University of Southern Cali-
fornia student Herbert Skoble, center, by Screen Producers Guild
president Carey Wilson, right, and film producer Jesse Lasky. The
award, a gold medal, is for the best student film produced on a campus.
It is a result of the Guild's first Intercollegiate Awards. Mr. Skoble was
presented the medal before an industry audience at the Academy
Awards Theatre, Hollywood. His subject, "Let Me See" is a color
commentary about a nursery school for blind children.

AT DISCUSSION in Hollywood, on Dmitri Tiomkin's title
song from the score of "Blowing Wild," a United States
Picture for Warner release. In the group at the left are,
Mr. Tiomkin; Frankie Laine, who sings background music
for the film; Milton Sperling, producer; Ray Heindorf, and
Paul Francis Webster, who composed the lyrics.

ON THE SET of Paramount's
"Casanova's Big Night," left: J. R.
Maynard, Francais Theatre, Ot-
tawa; his daughter, Marilyn; Joan
Fontaine, who extended studio
greetings; and Mrs. Maynard.

AT THE PREMIERE, left, of the
Universal release, "The Cruel
Sea," in Boston's Exeter Street
Theatre. In order are E. Myer Felt-
man, branch manager; Norman
Hallett, British consul; Violet
Berlin, theatre operator; Rear Ad-
miral Charles Monsen; and Jeff
Livingston, Universal eastern ad-
vertising manager.

APPOINTMENT. Harry Feinstein,- left, zone
manager for Stanley Warner New England
houses, is congratulated by baseball player Ted
Willi ams on his appointment as trustee of the
Children's Cancer Research Foundation, Boston.
The Jimmy Fund, of the Variety Club, is the
Foundation's chief support.

MOTION PICTURE HERALD, SEPTEMBER 5, 1953

MPAA ATTORNEY IN ATTACK
ON MARYLAND CENSORSHIP

BALTIMORE: Philip J. O'Brien, Jr., of
the legal staff of the Motion Picture Asso-
ciation of America, last week delivered a
hard-hitting attack against pre-censorship
in Maryland, the sole state in the country
which still maintains a censorship board for
newsreels.

In a speech prepared for delivery over
Radio Station WITH, Mr. O’Brien de-
clared: “I think you’ll agree that the time is
long overdue to return to the people of
Maryland the right — yes, the responsibility
— to make the choice of what they may see
or hear on their theatre screens.”

Mr. O’Brien pointed out that 41 states
have no state censorship. He added, ‘‘It’s
about time to bring Maryland law in line
with the ruling by the Supreme Court of the
United States last year which said that the
motion picture — like the press — is included
within the free speech guarantee of the first

Fox 26" II eek
Net $158,309

Consolidated net earnings of $158,309 for
the first 26 weeks of the year ended June
27, 1953, have been reported by the Twen-
tieth Century-Fox Film Corporation and its
subsidiaries. This is comparable to a similar
period last year which showed net earnings
of $154,404, exclusive of domestic theatres.
The net earnings amounted to six cents per
share on the 2,769,486 shares of outstanding
common stock for both years.

The net earnings for the initial quarter of
1953 were $1,023,965 but the second quar-
ter showed a net loss of $865,656. The sec-
ond quarter’s earnings were adversely af-
fected by the company’s transition to
CinemaScope productions. Officials of the
company have announced a dividend of 25
cents per share of common stock payable
September 26 holders of record September
10, 1953.

Vistarama Can Supply
Producers with Lenses

Carl Dudley, Vistarama president, de-
clared that the company is now in a position
to supply producers with its anamorphic
lenses, in a press interview in New York
Tuesday. He indicated, however, that Vis-
tarama is not in a position to supply ex-
hibitors with anamorphic lenses, pointing
out the retooling necessary for mass produc-
tion of anamorphic projection lenses and the
huge investment required. He added that
other sources of supply exist for exhibitors.
He was in New York for a demonstration
Wednesday of “Aloha Nui,” a short in the

and fourteenth amendments of the U. S.
Constitution.”

The MPAA attorney also pointed out that
the abolition of the motion picture censor-
ship statute will not constitute a complete
surrender of state control over the medium,
explaining that the same laws which prevent
any newspaper or magazine from publishing
salacious material operate against the show-
ing of indecent pictures. But the important
difference, he added, is that “no one can
tell the press in advance what it can print.”

Mr. O’Brien also took note of the produc-
tion Code which he said “is an assurance
to the people everywhere of basic standards
of morality and decency in motion pictures.
Regarding the international implications of
government censorship of pictures, Mr.
O’Brien said that official censorship at home
does “irreparable damage” to America’s
fight for full freedom and democracy abroad.

Vistarama process with a screen aspect ratio
of 2.5-to-l. Deals for the process, he said,
have been made for Germany, Austria and
Switzerland. A deal for Latin America has
been made with Milton Gunzburg’s Mexican
company. He expects to conclude deals for
Italy and Spain shortly.

CinemaScope Screening
Held at Venice Festival

A special preview demonstration of 20th
Century-Fox’s CinemaScope was held Fri-
day at the Palace theatre, Venice, as a cli-
max of the Venice Film Festival. The foot-
age used included scenes from “The Robe”
and “How to Marry a Millionaire,” and
other clips shown in previous demonstra-
tions. Production executives from some 16
participating nations attended the screening
which followed the prize award ceremonies
of the film fair.

Nord System Acquires
Dan Elman As Backer

The Nord System, for three dimensional
images by use of one film, was bought into
last week by Dan Elman, production execu-
tive, on the coast. Mr. Elman was expected
to demonstrate the system next weekend at
the Pickfair theatre for Los Angeles exhibi-
tors. Mr. Elman said some studios, which
he didn’t name, have been transferring color
3-D images to the single strip to aid the
demonstration.

The Name is WarnerScope

HOLLYWOOD : WarnerScope is the new
official name for Warner Bros.’ wide screen
process previously identified as Warner-
SuperScope, the studio officially announced
Tuesday.

TESMA and
TOA to Talk
New Systems

The new systems will be available for
demonstration and extended discussion,
along with new theatre equipment, at the
annual conventions November 4 in Chicago
of the Theatre Owners of America and the
Theatre Equipment and Supply Manufac-
turers Association.

The equipment and systems will be sub-
jects for round table forums at the conven-
tions, which will run four days at the Con-
rad Hilton Hotel.

The forums are expected to begin imme-
diately after convention luncheons. On the
panels will be representatives of every phase
of exhibition and equipment. Showmen will
be able to ask at length the many questions
which have confronted them. Although the
conventions will have their share of the
usual sessions on trade problems and busi-
ness practices the forums on the new sys-
tems are expected to be convention keynotes.
A spokesman for the TOA and TESMA
committees which conferred this week in
New York, said, “It is anticipated that be-
tween 15 and 20 experts will be seated on
the question and answer panel so that no
phase of the new processes may go unan-
swered or left hanging in mid-air.”

Paramount's Popeye Makes
Debut in 3-D Cartoon

3-D cartoons were launched by Para-
mount this week with the showing of “Pop-
eye, the Ace of Space.” At a press showing
of the subject in New York, Oscar Morgan,
Paramount’s short subjects manager, said
that Famous Studios, producers of Popeye,
had developed “an unusual camera technique
for the production of 3-D cartoons which
cuts months off what would be the normal
production schedule.” The process has been
named “stereotoon.” Three subjects were
shown Wednesday: a Betty Boop cartoon,
released in 1933, which introduced Popeye;
the first Popeye cartoon; the 3-D short.

COMPO Special Meeting
To Be Held September 21

At a meeting of the COMPO leadership
Wednesday in New York, it was decided to
call a special meeting of the COMPO exec-
utive committee, board of directors and all
elements of the national tax campaign com-
mittee in New York September 21-22. It is
expected that about 70 people will attend
the meeting. The full report on the tax
campaign will be made and the board of
directors will be asked to decide on future
plans for COMPO, for the tax campaign
and whatever other policies or projects may
be decided upon. Present were Trueman
Rembusch, Sam Pinanski, Herman Robbins,
William C. Gehring, Robert W. Coyne and
Harold Saxe.

MOTION PICTURE HERALD, SEPTEMBER 5, 1953

U-I USING CINEMASCOPE

ON TOP

All Product to Be Made for
All Aspect Ratios; Plan
No Cut in Total Output

Universal-International this week dis-
closed plans for the production during the
coining season of some of its top-budget
features in CinemaScope, the wide screen,
anamorphic lens process pioneered and
championed by 20th Century-Fox.

The company thus becomes the sixth
major Hollywood company to schedule
CinemaScope production. Besides 20th-
Fox, the other companies are Allied Art-
ists, Columbia, MGM and United Artists.
Warner Brothers, of course, will produce in
its own anamorphic process, Warner Super-
Scope.

Plans Also to Continue
Its 3-D Production

The Universal announcement was made in
New York Monday by Milton R. Rackmil,
president, who also disclosed that all of the
company’s pictures are now being filmed so
that they can be projected in aspect ratios
ranging from the standard 1.33 to 1, up to
2 to 1. Universal also plans to continue
3-D production, he said.

Mr. Rackmil emphasized that the policy
of gearing the company’s product to the
needs of all exhibitors, both in this country
and abroad, and for theatres of all sizes
and types will be maintained. There will
be no reduction in the total number of pic-
tures which it has been offering for release
in recent years.

The studio is now engaged, he said, in
tests of its own employing the Cinema-
Scope lenses, and is considering various of
its top properties for a picture in the new
medium. A version for standard projection
also will be made available of whatever
product is filmed in CinemaScope.

New Methods Devised
To Extend Aspect Ratio

Mr. Rackmil pointed out that Universal
was one of the first companies to produce
films in three dimensions and was the first
to introduce the wide screen aspect ratio
of 1.85' to 1. New methods have been de-
vised to extend the ratio to a maximum of
two to one where facilities and theatre
screens permit, he added.

These decisions, he said, were reached at
executive conferences at the coast studio.
In addition to Mr. Rackmil, others partici-
pating in the policy sessions were N. J.
Blumberg, chairman of the board of direc-
tors ; Alfred E. Daff, executive vice-presi-
dent; Edward Muhl, vice-president in charge
of production; David A. Lipton, vice-presi-
dent; Charles J. Feldman, general sales man-
ager ; James Pratt, executive manager, and
M. R. Davis, business manager at the studio.

BUDGET

$2,000,000 SPENT
ON LOEW CONVERSION

The conversion of nearly the entire
Loew's circuit for the playing of pictures
in the new media is almost completed, it
was reported in New York Monday. The
estimated cost of equipping approximately
110 out of 130 Loew's theatres with new
all-purpose screens and stereophonic sound
devices was put at $2,000,000. A Loew's
spokesman, explaining the total conversion
estimate, said it cost from $15,000 to
$20,000 to convert a large house. He said
the all-purpose screens are currently being
used for pictures which lend themselves to
large screen presentations, such as West-
erns and spectacles. He said that such
presentation had aided the box office value
of "Shane" and "White Witch Doctor,"
among others.

Set Europe
“Robe" Rate

Spyros Skouras, president of 20th Cen-
tury-Fox, returned to New York from Eu-
rope Tuesday and, stepping off the plane at
Idlewild Airport, pronounced the recent
CinemaScope demonstrations in Germany
“tremendously successful.’’

Mr. Skouras said the stereophonic sound
equipment used at the German showings
had been of local manufacture and was every
bit as good as the American equipment. In
fact, he added, with the exception of the
first London showing of “The Robe,” all
European engagements of the first Cinema-
Scope feature will utilize European-made
equipment.

“The Robe” is scheduled to open in either
late October or November in England, Ger-
many, France, Italy and Spain, he said, and
deals are pending for the manufacture of
CinemaScope equipment in England.

The film also will have nine key city pre-
mieres in the United States following its
world premiere at the Roxy theatre in New
York September 16. It will open September
23 in Atlanta, Chicago and Philadelphia ;
September 24 in Los Angeles, Dallas and
Fort Worth, and September 30 in San Fran-
cisco, Seattle and San Antonio. One of the
principal figures at the various premieres
will be Professor Henri Chretien, French
inventor of the anamorphic process.

Helping to promote the film is the new
edition of the Lloyd C. Douglas novel, on
which it is based, issued by Houghton-
Mifflin this week. Playing a prominent part
in the book displays and ads will be stills
from the film. It also was announced this

FILMS

week that five circuits, RKO, Skouras,
Randforee, Harry Brandt and Walter Reade
Theatres, representing some 200 theatres in
New York and New Jersey, are running
trailers on the film’s New York premiere.

Feii? Replies
To Inquiry
Ry SMRTE

Out of more than 4,000 questionnaires
sent out to exhibitors by the Society of
Motion Picture Engineers, in a survey on
the adaptability of the nation’s theatres to
various new techniques, only 275 replies
have been received, Boyce Nemec, executive
secretary, said in New York Monday.

Mr. Nemec’s statement was contained in
an open letter addressed to all exhibitors,
urging that the questionnaires be filled out
and returned promptly. The 275 returns,
said Mr. Nemec, came from such a limited
segment of the industry that “the implied
picture size, capabilities or limitations of
those theatres represented do not appear to
line up with actual conditions . . .”

Another 500 to 1,000 returns, he said, will
be needed “before the resulting analysis can
become a valid basis for the future engineer-
ing of wide screen processes.”

Mr. Nemec noted that the original an-
nouncement of the projected survey had been
greeted with enthusiasm by exhibitors every-
where, but that by August 1, nine weeks
after the first mailing, only 250 completed
forms had been returned. Only two circuits
sent in complete reports on all of their the-
atres and they accounted for one-third of the
replies up to that time. Most of the others
were from individual houses. Since then,
an additional 3,000 forms have gone out.

The SMPTE official also reminded the ex-
hibitors that anyone who has “measurement
difficulties because of particular structural
problems, there are generous offers of quali-
fied technical help from the Altec and RCA
service companies, from all members of The-
atre Equipment Dealers’ Association and
from all branches of National Theatre Sup-
ply Company.”

The questionnaire, a four-page form, asks,
among other things, whether the exhibitor
has or intends to convert to 3-D ; whether
he intends to install a large screen during
the year; focal length of projection lens;
projection angle in degrees, and any special
conditions in the theatre which might limit
adaptability of various new projection tech-
niques.

Questionnaires can be obtained from
Henry Kogel, SMPTE, 40 West 40th Street,
New York 18.

MOTION PICTURE HERALD. SEPTEMBER 5, 1953

I orry Ramtayc Sar«

CASE NOTE ON POLICY

AMID THE clippings on this desk is the
amusements page of the "New Canaan
Advertiser," a much honored country
weekly of Yankeeland. It is dominated by
display copy for the Palace theatre of
South Norwalk, proclaiming: "We are
Proud to Present to this Community the
Vitally Important Motion Picture 'Because
of Eve.' ... If you have ever felt in your
life the desire to know more — to solve
the problems of life — this is your golden
opportunity to satisfy that desire . . ."
The boldface type then proclaims:

Shocking Beyond Description
BECAUSE OF EVE

You’ll gasp — You’ll Wince — You’ll Shudder
See the actual Miracle of Birth

The copy says for "adults only," but
continues "Women only and High School
girls 2:00 and 7 P.M. Men Only and High
School boys 9 P.M.

There is a lecturer, labelled "famed hy-
giene commentator."

This most obviously is another of those
offerings variously known as "road shows"
and as "exploitation pictures."

That of course represents an interesting
social contribution of the theatre screen,
now and then, to the repute of the medium
in its so earnest pursuit of culture, uplift
and a high moral attitude. When discussion
arises exhibition has only to point to such
ambitious achievements as "Because of
Eve."

One is to be impressed by such eager,
voluntary endeavors to supplement the re-
sponsibilities of parents, education and
religion.

Curiously, maybe, it is not to be recalled
that in this category we have ever seen
one entitled "Because of Adam." Mean-
while the Palace advertises: "We are
proud to present. . . . You'll gasp — You'll
wince — You'll shudder."

THAT STAR SYSTEM— Out in Hollywood
Ronald Reagan, actor, has been inter-
viewed at length by the Associated Press,
to "warn that the death of the star system
may mean the death of the movie indus-
try."

He is unduly alarmed. The star system
isn't dead, it's merely that a lot of them
are out of work while the industry is hav-
ing a fit, in several dimensions.

The agile Mr. Reagan, who says he
"loves free-lancing, but it can murder our

industry," does not seem to know who runs
the industry. It's the customers, even
though it does take them rather a while
to register their decisions.

The customers, not the industry, origi-
nated the star as an institution of the
screen and star policies in film purveyance.
Stars are made at the box office and while
some have been nourished by manage-
ment, none has been deliberately created.

Just now the producers do not know
what their policies and their requirements
will be as they adventure through the di-
mensions in their readjustment to a
changed market. So while the factory is
running a lessened output they've laid off
some of the expensive hired hands. There
will always be enough stars to populate
the product. Fame on the screen makes
stars continuously.

When the dust settles product will con-
sist of story told by talent.

THEATRE MANNERS— The Theatre Own-
ers of America is coming out in the autumn
with training films for theatre employees.
The first film, we are told, will be entitled
"Courtesy is Contagious," and that it will
cover "the importance and necessity of
courtesy to patrons by cashiers, doormen,
ushers, candy stand attendants, porters and
matrons."

This represents, undoubtedly, a construc-
tive effort. But after all it is a shame and
indictment of management that there is a
need for canned commonsense and the
common decency of merchandising contact.
What kind of exhibition management has
been had all these years which now calls for
manuals on conduct and qualifications
which should always have been the concern
of employers? It ever has been, among the
ablest managements.

"The film," says the release, "will mark
the first time that theatre owners will use
the screen for the training of their own
staffs." In 1914, Samuel L. Rothafel did it,
and put a drill picture on the audience
screen.

This MOTION PICTURE HERALD, week
by week, presents in its Managers' Round
Table section, and monthly in its "Better
Theatres" a continuous attention to just
such considerations of showmanship.

l*TA.-

NOTE TO SECRETARY— Call the MPAA
and register the title "From Here to
Maternity."

Some local
Tax Bardens
A re Eased

Reverberations of the tax battle are not
all unpleasant, as the news drifts in from all
sectors. Local situations may ease and in
some measure counterbalance the effect of
the defeat of the admission tax repeal
measure.

For instance, the new Pennsylvania sales
tax, effective Tuesday, exempts ‘‘the rent-
ing or leasing of film by an exhibitor," al-
though it does apply to other phases of
theatre operation.

In Cleveland, exhibitor circles report
council members in suburban communities
favorable to an appeal from Ernest
Schwartz, president of the Cleveland Motion
Picture Exhibitors Association, for repeal of
the three per cent admissions tax. Lakewood
and Painesville already have repealed it.
Some other communities that have done like-
wise are Cleveland Heights and Shaker
Heights.

Meanwhile, Texas COMPO has asked ex-
hibitors, in view of “unfair reporting” to
“establish proper press relations.” It re-
quests showmen to state on a questionnaire
whether the local newspaper is friendly, un-
friendy or indifferent.

Lester Neely, Jr., general manager of
Neely and Neely, operating houses in Ala-
bama, has sent to state newspapers and leg-
islators his point-by-point analysis and
refutation of the President’s veto of the
Federal tax repeal.

Trudell District Manager
In Famous Players Shift

TORONTO : William K. Trudell has been
appointed district manager of Famous Play-
ers Canadian Corporation’s newly created
district in Western Ontario, it has been
announced by Morris Stein, eastern district
manager. Mr. Trudell’s former position as
manager of the Capitol theatre, London,
Ontario, will be filled by Murray Summer-
ville, former assistant manager of the thea-
tre. Under Mr. Trudell’s direction will be
the circuit’s houses in London, Brantford,
Woodstock, St. Thomas, Chatham and
Sarnia.

Believe Minnesota Trust
Case Settlement Near

MINNEAPOLIS : Negotiation currently
under way here may lead to an out-of-court
settlement of the $145,000 judgment awarded
to Martin Lebedoff, local theatre owner, in
his anti-trust action against the major film
companies. Attorneys for Paramount and
Maco and the remaining defendants ac-
knowledged the negotiations but refused to
disclose the terms involved. The exhibitor
received the judgment more than two years
ago but an appeal is pending in the U. S.
Circuit Court of Appeals.

MOTION PICTURE HERALD, SEPTEMBER 5, 1953

Yes . . . this Fall... just as every season
every year 1 M continues to deliver top
product to meet the entertainment needs
of all theatres of all sizes everywhere

t., and... Ml sa/Ya6/e /q^ ft//pc. scpPPtf

Hear in, year out . . .

the most consistent profit pictures

come from Universal -International

, . .Onc& HERE THEY ARE

FOR THOSE BIG MONTHS OF
SEPTEMBER . . .OCTOBER . . . NOVEMBER /

She was Blonde,
Beautiful, Bold as Sin
ind Born to be Murdered!

STARRING

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STARRING

STEPHEN McNALLY
JULIA ADAMS *
HUGH MARLOWE «

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f.»jp V^/ M'jL-K bI

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...and coming -for that BfG CHRISTMAS HOI/PAY tV&tCf

STARRING

How you'll thrill. --when Donald 9°®*

i„,ohUdoncL.wi.Moyou,Jous.mh,iarm,

nnw K/nnimr .>m nrrAD nnniMV.

LITHO IN U.S.A

OPTIMISIM KEYNOTES MEET
OF STANLEY WARNER ZONE

SI io w them with showmanship was the motto emphasized at the Stanley Warner Pittsburgh
zone meeting last week. They are, above, Harry Goldberg, national advertising director;
Harry M. Kalmine, vice-president and general manager; Sam Rosen, vice-president; M. A.
Silver, Pittsburgh zone chief; Nat Fellman, national him chief, and Carl Siegel, in charge of

concessions.

Year Ticket
Tax Berenue

$310,223*933

WASHINGTON : General admission tax
collections in the 1953 fiscal year, ending
last June 30, totaled $310,223,953, almost
six per cent below the $328,861,013 collected
in the 1952 fiscal year, the Bureau of In-
ternal Revenue reported last week.

At the same time, the Bureau said that
collections for the month of June, reflecting
May business, were up sharply from collec-
tions for June, 1952. It reported June, 1953,
collections at $26,269,741, more than $3,000,-
000 better than in June, 1952.

Collections for the first six months of the
current calendar year, January through June,
totaled $138,484,051, not too badly under the
$140,656,958 collected in the like 1952 period.

General admission taxes include taxes on
admissions to sports events, legitimate thea-
tre, concerts and all amusements.

Total admission tax collections in June,
including roof garden and cabaret taxes and
various overcharges and miscellaneous taxes
as well as general admissions taxes, totaled
$29,479,041.

The June figures might be the last or the
next to the last monthly figures to be re-
ported by the bureau. Starting July 1, ex-
cise collections are being reported to the
Bureau by theatre owners only quarterly,
rather than monthly.

"•">1

Warner Brothers Begins
17-Week Sales Drive

Warner Brothers started Sunday a 17-
week sales drive labeled the “Branch Man-
agers’ Drive.” The sales drive, which runs
from August 30 to December 28, offers
$35,000 in cash prizes to winners in various
phases of the competition. The competition
is open to district managers, branch man-
agers, salesmen, bookers and office managers
and covers short subjects in addition to fea-
tures. Pictures to be released by the com-
pany during the drive are “Plunder of the
Sun,” “Island in the Sky,” “The Diamond
Queen,” “The Moonlighter,” “A Lion Is in
the Streets,” “Blowing Wild,” “The Eddie
Cantor Story,” “Hondo,” “Calamity Jane”
and “Thunder Over the Plains.”

Republic Votes Dividend

The board of directors of Republic Pic-
tures Corporation have voted a dividend of
25 cents per share for preferred stockhold-
ers of record September 14. The dividend
is payable October 1, 1953.

Texas Theatre Reopens

After being closed for nearly four months,
the Superba theatre, Denison, Tex., reopened
August 23 with wide screen and three di-
mensional equipment installed.

“Opportunity for success in the motion
picture industry is greater than it ever has
been.” These words, by Sam Rosen, Stanley
Warner vice-president, reflected the mes-
sage emphasized during the one-day meet-
ing last week in Pittsburgh of the Stanley
Warner personnel there and executives from
the New York home office. The meeting
sparked a 13-week “Show Them With
Showmanship” campaign, for which $3,000
in prizes is being awarded, and in which
some 100 managers will participate.

Mr. Rosen added he and his associates are
approaching the coming season with the
greatest optimism they’ve had in the past
five years. He mentioned the new tech-
niques and the quality of some of the coming
product and remarked that the opportunities
“really bewilder the imagination.”

Other speakers were from major com-
panies and the circuit’s various departments,
including: Jerry Pickman, Paramount vice-
president in charge of advertising and pub-
licity; William Pine, of the Pine-Thomas
producing firm; Dan Terrell, MGM eastern
advertising, publicity and exploitation chief ;

$ 12,834,000
By 32 States

WASHINGTON : Thirty-two states col-
lected $12,834,000 in state amusement taxes
in the year ending June 30, the United
States Census Bureau has reported.

In the 1952 fiscal year, the 32 states col-
lected $13,940,000 in amusement taxes, an
indication of the drop in amusement busi-
ness. Census officials said they knew of
no rate changes to account for the drop.

While the taxes are levied on many types

Earl Wingart, of the 20th-Fox merchan-
dising staff; Harry Goldberg, Stanley War-
ner national advertising director; Harry M.
Kalmine, its vice-president and general man-
ager, and M. A. Silver, zone manager.

Mr. Silver, host at the meeting, stressed
the same optimism and announced the prize
contest. Mr. Kalmine urged the men to
keep in the front as the country’s leading
team of showman-managers. Introduced as
leaders of their districts were managers
Richard Wright, Ohio; Frank Harpster,
West Virginia; Byron Moore, Main Line;
Sid Jacobs, Pittsburgh, and Robert Bow-
man, Erie. They disclosed that thousands
of giveaway items have been assembled for
the drive period, and that their houses have
been remodeled or generally improved.

Each manager received a 30-page bro-
chure on selling, product, service, stunts,
children’s shows ; and they also were given
lighters, money clips and other items. Mr.
Goldberg announced the manager most out-
standing in the drive will be given a trip
to New York, with his wife, as guest of the
company.

of amusements in addition to motion picture
theatres, film admissions count for the great
bulk of the collections, Census Bureau
spokesman stated.

The high-water mark in state amusement
tax collections came in the 1948 fiscal year,
when 33 states took in $17.1 59,000 from this
source.

Largest collections for the 1952 fiscal year
were reported by Washington, which took
in $3,652,000; Nevada, which took in $2,-
004,000; New York, which reported $1,-
918,000, and Kentucky, which reported
$1,601,000. Other large collections were
reported by Illinois, Maryland, Mississippi,
South Carolina, Tennessee and Texas.

MOTION PICTURE HERALD, SEPTEMBER 5, 1953

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FEWER, BETTER
MGM INTENT

Dore Schary Tells Visitors
Quality of Story Is Still
Most Vital Sales Element

HOLLYWOOD : In an address of welcome
to the 125 sales executives gathered at
MGM for the International “See For Your-
self’’ convention, Dore Schary, studio head,
declared, “While the number of pictures to
be produced will not be as great as in the
past, every one will be planned big and
geared high to provide the public with the
highest quality entertainment.”

Says Quality Is Primary

Welcoming the assembled guests from all
parts of the world, headed by Charles M.
Reagan, general sales manager ; Arthur M.
Loew, president of Loew’s International,
and Howard Dietz, advertising and publicity
vice-president, Mr. Schary emphasised the
fact that regardless of new mechanical de-
vices, the future of the industry depends on
the quality of the stories that are told.

“It is not my intent to discuss our prod-
uct, because the name of this convention is
‘See for Yourself,’ ” Mr. Schary said.

“Regardless of what anyone says, bjut with
full respect for anyone else’s opinion, I
should like to say that I do not believe that
the future of the motion picture industry is
dependent upon the success or failure of any
one him or of any one mechanical devise.

“We at MGM — all of us — believe that
the future of the motion picture indus-
try will depend, on the quality of the stor-
ies that are told and the use of a variety
of presentations best suited to the individ-
ual story.

“We believe that our own wide screen
proportions, at ratios varying from 1.66
to 1.85, will be particularly suited to many
stories on our program.

“We further believe that CinemaScope
is a valuable asset and a profitable one
in the telling of certain other films.

“We believe that stereophonic sound is
a must in connection with films pre-
sented on any size screen ratio.

“We believe there will very likely be
a continuing market for a few films in
3-D that will be ideally suited to such
mediums.”

Mr. Reagan introduced the representatives
of the MGM organization abroad including
Arthur M. Loew, president; Morton A.
Spring, vice-president; Samuel N. Burger,
sales manager; Charles Pati, assistant to
Mr. Spring; Morris Frantz, publicity; Lee
Karnern, Italy; Edward F. O’Connor,
Japan ; Maurice Silverstein, regional direc-
tor of Latin America; David Lewis, re-

gional director of Europe ; and Charles
Goldsmith, assistant managing director of
England. Mr. Loew reported that 1953 in-
ternational business was running ahead of
1952, a record year.

“These are changing times,” Mr. Reagan
said, “and there is little of the past that we
can turn to. New words are in our mouths,
new innovations in our thinking, and the
need to be flexible in our approach, to land
on our feet is apparent. Fortunately we are
not committed to any one new system.

Ingredients of a Good Picture

“We are convinced we are on solid
ground when we make and advertise and
distribute good motion pictures, for that’s
what the public will buy, and if better sound,
changed projection and improved illusion
will help, and we know ■ it will, that’s
fine, but all of these things must, we feel, be
built on good stories, good stars, good sup-
porting casts, good director® and good pro-
ducers, which finally means ;good pictures.”

The second day of the five-day sales con-
ference marked the screening of three new
productions, “Escape from Ft. Bravo,” star-
ring William Holden and Eleanor Parker;
special footage on “Knights of the Round
Table,” with Robert Taylor and Ava Gard-
ner ; “Kiss Me Kate,” Kathryn Grayson,
Howard Keel; and “The Long;"Long^Trail-
er,” Lucille Ball and Desi Arnaz.

Discuss Campaign Plans

Following the screenings Mr. Dietz, Si
Seadler, advertising director, and Emery
Austin, exploitation manager, discussed cam-
paign plans for each production.

The third day of the convention included
a schedule of two screened pictures and a
discussion of promotional plans for each. In
the morning “Take the High Ground,” with
Richard Widmark and Elaine Stewart was
shown, while in the afternoon “All the
Brothers Were Valiant,” with Robert Tay-
lor and Stewart Granger was shown.

Thursday morning and; afternoon sessions
were to be confinedUargely to meetings at
the Ambassador Hotel, with Mr. Reagan
presiding. In the eveniftg there was to be
a preview of “Mogambo,” with Clark Gable
and Ava Gardner.

Friday morning was to be devoted to a
general meeting and individual meetings by
the six sales managers with their branch
managers were scheduled for the afternoon.

S.O.S. Issues Catalog

The S.O.S. Cinema Supply Corporation,
New York, is issuing this month, free of
charge, a catalog of the company’s line of
products for motion picture production,
lighting, recording, previewing, editing,
printing and processing.

U.S. Oversea
Films to Get
SIS. 000.000

Only $3,000,000 has been allotted for the
Government’s overseas film program for its
operation in the current year, it has been
announced by Theodore C. Streibert, direc-
tor of the United States Information
Agency. This figure, a cut from last year’s
$7,121,300 allottment, makes the film group
the recipient of the largest budget slash of
the four major information media of the
Government.

This amounts to a cut of 60 per cent for
the film group while the press branch was
reduced 45 per cent, the radio branch slightly
over 25 per cent, and the information cen-
ters not quite 25 per cent. Mr. Streibert
declared that the cuts were made necessary
by Congressional appropriations reductions.
About 70 employees in the motion picture
service in New York will be discharged,
in additions to discharges in Washington
and overseas.

According to Mr. Streibert the new film
unit budget “permits contracting for only
a few new productions in the U. S.” Field
posts will meet needs with films currently
on hand or in production. “It is planned,”
Mr. Streibert said, “to complete the films
now in progress at the most important over-
seas locations.

“By concentrating efforts in fewer coun-
tries more effective programs can be main-
tained for the groups considered most im-
portant for the U. S. to reach.” In the fu-
ture the information programs will be car-
ried out on the basis of a priority list of
countries.

Army Backs Premieres of
"High Ground" in Texas

The U. S. Army will cooperate with
MGM in publicizing the Texas premieres of
“Take the High Ground!” set to open later
this month. Brigadier General Frank Dorn,
deputy chief of information of the U. S.
Army, has informed Dore Schary that he
has given instructions to public information
officers at El Paso, San Antonio, Houston,
Dallas and and Fort Worth, as well as all
other Army posts near where the film will
be exhibited, to offer “full assistance.” In
his letter to Mr. Schary, the general stated
that the picture “pays a high tribute to the
U. S. Army soldier and the rugged realistic
training which the Army provides for him.”

20th-Fox Bookings Total
73,665 in Lichtman Drive

As 20th Century-Fox’s A1 Lichtman testi-
monial drive gets under way, the company
finds upon examination of its books that it
has 73,665 feature bookings, an average of
14,733 per week, for the five weeks through
October 3. As of Wednesday, 15,017 thea-
tres had booked product.

MOTION PICTURE HERALD, SEPTEMBER 5, 1953

SPECIAL BULLETIN!

ORDER POLAROID* 3-D GLASSES

FROM YOUR

RCA THEATRE SUPPLY DEALER

POLAROID CORPORATION, CAMBRIDGE 39, MASS.

Polaroid Corporation announces the
appointment of RCA Victor Division
of The Radio Corporation of Amer-
ica as the national distributors of
Polaroid 3-D Glasses.

Now you can get the best in 3-D
glasses . . . and the best in prompt,
efficient service ... to help you show

your 3-D pictures as they should be
shown.

For your next 3-D picture, don’t
take chances, take the best . . . genu-
ine Polaroid Glasses. Just pick up
your phone and call your regular
RCA Theatre Supply Dealer. Your
order will be shipped promptly.

Hi « Mil I II I I II I II lift II I I I I I I I II 1 1 I H M I I I I I I I I I I I I I I I I I » II I I I I » I II I II I I I I I I I I I I I I I I I H'H » I I I

U-l HAS A FORMULA WHICH
SEEMS TO SPELL SUCCESS

IT IS SAID, with good reason, that there is
no positive recipe for success, and the mo-
tion picture producer who can come up
with one, with any degree of consistency,
has yet to emerge. But Universal-Interna-
tional seems to have arrived at a happy
formula which has all the earmarks of
success.

It's downright Entertainment, and ap-
parently meets with the approval of the
film-going body politic by and large across
the length and breadth of the land.

For the remaining four months of the
calendar year 1953 U-l has scheduled 10
features, of which eight will be in color by
Technicolor. Theme-wise, says the com-
pany, the product planned is diversified,
yet adheres to a marked degree to the
proved formula of box office success as
shown by other pictures at other times.

A quick glance at the program shows
the wide variety of pictures to be released
in the September-December period. The
pictures include a south-sea adventure
romance, a big-scale musical, an Alaskan
adventure story, two films with Far East
locales, a suspense mystery drama, a mod-
ern day romance against a college back-
ground, and three outdoor adventures.

Two of the pictures are in 3-D. This, plus
the announcement that all 10 films are
available for wide-screen and that those
most suitable are available for stereo-
phonic sound demonstrates emphatically
that the company is keeping step with all
the technical developments that have
proved themselves at the box office.

Plans call for the backing of each of the
releases with intensive national selling and
promotional campaigns. The grass roots
techniques which the company has em-
ployed successfully during the past years
will be further expanded through the use of
television as an advertising as well as a
promotional medium wherever such use of
television has proved effective in the past.

Personal appearance tours of stars, fea-
ture players, studio technicians and special
personalities will be extended to cover not
only key cities but sub-key situations as
well. National magazines, radio and na-
tional newspaper advertising will continue
to be the backbone of all selling effort.

Heading the September releases is U-I's
second film in 3-D, "Wings of the Hawk,"
in color by Technicolor, with Van Heflin
and Julia Adams. Next is "The Golden
Blade," Technicolor, with Rock Hudson,
Piper Laurie. Last for the month is "The
Stand at Apache River," Technicolor, Ste-
phen McNally, Julia Adams.

October will see "The All-American,"
Tony Curtis, Lori Nelson; "East of Su-

"WALKING MY BABY BACK HOME." It's
Donald O'Connor and Janet Leigh up there in
a typical terpsichore.

"THE GLENN MILLER STORY." James
Stewart, at the right, with June All yson,
plays the late band leader, Glenn Miller.
Miss Allyson is cast as Mrs. Miller.

matra," Technicolor, Jeff Chandler, Marilyn
Maxwell.

In November are "The Glass Web," 3-D,
Kathleen Hughes, Edward G. Robinson;
"Back to God's Country," Technicolor,
Rock Hudson, Marcia Henderson; "The
Veils of Bagdad," Technicolor, Victor Ma-
ture, Mari Blanchard.

December: "Tumbleweed," Technicolor,
Audie Murphy, Lori Nelson. "Walking My
Baby Back Home," Technicolor, Donald
O'Connor and Janet Leigh.

To start off the new year properly, "The
Glenn Miller Story," with James Stewart
and June Allyson will be released.

I I M it I I I I I I I I I I I I I i I I I I H I I I I I 1 lit! HH I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I I * I I * I I I I I I 1 1 1 1 1 1 1 11

MOTION PICTURE HERALD, SEPTEMBER 5, 1953

*111 I I III I I I I III I 1 1 i H-H-H H I H I I II I I I I I I I I I I I I

" ALL AMERICAN," as one would guess, is about football: and
above, Tony Curtis, at right, receives instruction from the famed
coach, Herman Hickman.

"STAND AT APACHE RIVER." A highlight scene shows the wounds
of Apache leader Edgar Barrier being attended by Hugh Marlowe,
Stephen McNally and Julia Adams.

"BACK TO GOD'S COUNTRY." The company fashioned this action
melodrama in color by Technicolor from a James Oliver Curwood
classic. It stars Rock Hudson, Marcia Henderson, Steve Cochran.

"THE GLASS WEB." This melodrama in 3-D stars Edward G.
Robinson, shown above; John Forsythe, Miss Henderson and
Kathleen Hughes. It's Robinson's first appearance in 3-D.

"VEILS OF BAGDAD." Two of those who give glamor and ex-
citement to this romantic adventure of the Orient are shown
above: Victor Mature and Mari Blanchard.

"THE GOLDEN BLADE." A duel in the streets of Bagdad. Rock
Hudson fights the Arab enemies with his magic sword, about
which this tale revolves. His co-star is Piper Laurie.

"TUMBLEWEED." Wagon train guard Audie Murphy draws atten-
tion from Madge Meredith and Lori Nelson, in this scene from the
Western featuring these performers and Chill Wills.

"EAST OF SUMATRA." This tale of adventure and skullduggery
in the jungles of Asia finds mining engineer Jeff Chandler, left,
and assistant Jay C. Flippen on an important mission.

1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 mi 1 1 1 1 1 1 1 1 1 1 1 n 1 1 1 1 1 1 1 n m n 1 1 h 1 1 1 n i u M i Ml t hhhh

MOTION PICTURE HERALD, SEPTEMBER 5, 1953

UA MOVES INTO
ITS “PHASE 3”

Krim T ells His Sales Heads
Company Has Cream of
Independent Product

United Artists this week launched its
“Phase Three” program at a three-day na-
tional sales meeting in New York. The pur-
pose of the Wednesday-Friday conferences
was to gear the entire company to handle
a record line-up of top product, comprising
all of the various new photographing and
projection techniques.

The program takes its name from presi-
dent Arthur Krim’s keynote that the com-
pany has entered into the third phase of
the present management’s operations, “signi-
fying United Artists’ emergence as the re-
leasing organization for the film industry’s
leading artists in the independent field.”

First Session in Five Years

The sessions, held at the home office,
brought together top UA executives and
sales chiefs of every district to map detailed
plans for carrying through the company’s
vastly expanded operations. The first such
conference to be held in the home office
in almost five years, the meeting was the
largest national sales conference since May,
1951, when a national convention was held
in Chicago following the installation of the
present UA management headed by Mr.
Krim and Robert S. Benjamin, board chair-
man.

Mr. Krim and Mr. Benjamin led the
roster of participants at this week’s confer-
ence. Others included William J. Heineman,
vice-president in charge of distribution ; Max
E. Youngstein, vice-president; B. G.
Kranze, general sales manager; Francis M.
Winikus, national director of advertising,
publicity and exploitation; Milton E. Cohen,
eastern division manager; James Velde,
western division manager, and Charles S.
Chaplin, Canadian division manager. Also
attending were all district managers.

Cites Producers and Stars

Keynoting the conference, Mr. Krim de-
clared on Wednesday: “For two and a half
years, we have been working together to dis-
charge an obligation. That obligation has
been to restore United Artists to the great
tradition of its founders by creating an or-
ganization that would attract the leading
artists in our industry, working in the inde-
pendent field. We pledged to ourselves and
to the industry, as a whole, that United
Artists would become the releasing agency
in which all independents could have con-
fidence.

“Now, look at a few of the names on our
list: Mankiewicz, Huston, Kazan, Litvak,
Rossen, Bogart, Peck, Cooper, Lancaster,
Flynn, Kirk Douglas, Jennifer Jones. ' It is

a list which compares with the greatest
United Artists names of the past.

“That is the proof that we have now
moved into the third phase of our opera-
tions: we have received a vote of confidence
from the independents. In turn, we can
offer to independents, among other things,
a new program of assistance in obtaining
financing for their films, as well as our
active participation and help in arranging
production packages. On the other hand,
we can assure every exhibitor that United
Artists can be counted on to supply, uninter-
ruptedly, films that are the handiwork of the
outstanding artists in the independent pro-
duction field.”

Mr. Youngstein told the conference: “To
bring the company’s record program of top
releases to the public, we have put together
the strongest pre-selling set-up United
Artists ever has had. In the first place, we
have expanded our advertising-publicity
staff to three times its 1951 size. We are
able to give every picture the selling cam-
paign each deserves.

New Publicity Offices

“We are now moving out beyond that.
We are setting up an office in Hollywood,
which will put a top United Artists pub-
licity executive into the production scene
there and, simultaneously, we have dis-
patched one of the industry’s foremost ad-
vertising-publicity experts to the European
production front. This will enable us, for
the first time, to launch our promotion ef-
fors months and months ahead of the re-
lease dates, beginning in the pre-production
period and carrying the campaign for a
picture consistently through its release.”

Winding up the three-day meeting on
Friday, the UA sales chiefs agreed to carry
through the “Phase Three” program with
utmost speed, to bring the forthcoming
record line-up of releases to exhibitors and
the public within the shortest time and to
put the entire personnel into “Phase Three”
activity.

Florida Exhibitors Will
Meet at Jacksonville

The Motion Picture Exhibitors of Florida
will meet at the Roosevelt Hotel, Jackson-
ville, Fla., November 15-17, its president,
William P. Cumbaa, announced this week.
Arrangements are being made by Horace
Denning, Duval County, and Robert Ander-
son, Jacksonville. Mr. Denning is a first
vice-president. Mr. Cumbaa this week had
a comment about the tax situation. He de-
clared his organization will begin again in
January fighting for complete tax repeal.
One important phase now, he said, is to flood
friendly Congressmen with letters and even
visit them. •

Independent
Group Forms
Export Unit

ATLANTA: The Independent Motion Pic-
ture Export Association, Inc., the new ex-
port organization of the Society of Independ-
ent Motion Picture Producers, has been in-
corporated in Delaware as a Webb-Pom-
erene Act export trade association, Ellis
Arnall, SIMPP president, announced here
Monday.

Under by-laws of the new association, offi-
cers will be elected at the first meeting of
the board of directors, which will be held at
an early date in California.

Charles Mayer, formerly of the Motion
Picture Export Association, will go to the
coast in the near future to catalogue avail-
able independent product for the foreign
market, Mr. Arnall announced. However,
so far as could be learned, no formal ac-
tion has been taken on the earlier reported
possibility of Mr. Mayer’s being placed in
charge of the new independent export or-
ganization.

The first board of directors of the
IMPEA, Mr. Arnall said, comprises the offi-
cers and executive committee of SIMPP.
It was also announced that Mr. Arnall and
other officers of the two independent organi-
zations will participate in the September 22
negotiations in Washington on a new film
agreement with Great Britain. James A.
Mulvey, president of Samuel Goldwyn Pro-
ductions, and head of the distribution com-
mittee of the SIMPP, probably will be
among the other independent participants,
as he was in former years.

The principal office of the IMPEA is at
Dover, Delaware, but provision is made for
other offices to be located at such other
places as the board may determine.

The nature of the business to be trans-
acted, promoted and carried on by the
IMPEA is to export from the United States
to any and all foreign countries, as principal
or agent, motion pictures of every kind and
nature as well as related items and merchan-
dise, and to deal in and with motion pictures
and related items for exportation from the
United States to foreign markets, and to do
a general foreign exporting business, Mr
Arnall said.

Six-Month Divestiture
Extension Given AB-PT

WASHINGTON : American Broadcasting-
Paramount Theatres has been granted a six-
month divestiture extension, until March 3,
1954, by the Justice Department to complete
the sale of its major theatre interests or-
dered by a previous decree. Officials of the
Government agency said the corporation still
has about 55 to 58 properties to dispose of
before the deadline. Since the consent decree
was made effective March 3, 1949, AB-PT
has dissolved or sold its interest in about
700 theatres.

MOTION PICTURE HERALD, SEPTEMBER 5, 1953

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A QUIGLEY
PUBLICATION

The 1953-54
Motion Picture
and Television

ALMANAC

The ALMANAC is the ONLY
thumb-indexed reference book
in this industry. It is referred
to more often and by more
people than any other ref-
erence book in the motion
picture and television fields
because :

THE ALMANAC requires
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It is thumb-indexed in 15
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THE ALMANAC contains
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QUIGLEY PUBLISHING CO.

Rockefeller Center, 1270 Sixth Ave.

New York 20, N. Y.

Please reserve a copy of the 1953-54

Motion Picture and Television ALMANAC

Enclosed please find check for $5.00 in full payment,
including shipping charges.

Mail to —

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DEFENDS NEED
FOR 3-D STUDY

British CEA Adviser Says
Efforts to Halt Inquiry
Would Be Poor Policy

by PETER BURNUP
LONDON : Leslie Knopp, technical adviser
of the Cinematograph Exhibitors Association
and chairman of the British Kinematograph
Society’s committee set up to investigate
standards in new screen techniques, issued
a prompt, acid retort to producers who wish
the Knopp advisory committee would stay
their hands.

To those among them who refused to en-
dorse the society request for a £5,500 re-
search grant from the Eady Fund, scientist
Knopp said : “If each section of the industry
engages in experiment and development,
each in his own watertight compartment,
there must necessarily be considerable du-
plication of work and effort.”

Cites U. S. Procedure

Dr. Knopp pointed out that for many
years past the industry in the United States
has maintained its own research council
which has amply justified its existence.
There is no reason for the British indus-
try always to trail behind, he commented.
He pointed out that his investigations did
not aim necessarily at the enforcement of
rigid and detailed standards. But some
sort of standardization is essential, he
claimed.

“Whatever you are selling, whether it’s
silk or calico, the yard still must be 36
inches,” was one of the comments made by
Dr. Knopp.

Mr. Knopp derides the present absence
of an agreed or easy method of determining
the characteristics of recorded and repro-
duced sound.

One thing his committee wants to do is
to prepare test films for recording and re-
production, especially in the field of magnetic
recording, which would act as guides par-
ticularly to technicians working on stereo-
phonic sound.

Would Provide Tools

“They would provide tools and gauges in
the hands of the sound recordist, sound en-
gineer and equipment manufacturer. No
such test films exist in this country at the
present time,” says Dr. Knopp.

His counter blast to reluctant producers
concludes as follows: “Technicians have set
an example. They are willing to devote their
time and service without fee or charge.
They have asked the industry only to pay for
the materials which they require in order to
carry out their research work. When com-
pared with the value of developments to the
industry, the amount asked for is insignifi-
cant.”

Twentieth Century-Fox made formal an-
nouncement here last week — although the
fact had been common knowledge for a num-
ber of weeks — of its decision to suspend pro-
duction in Britain until the CinemaScope
situation is clarified.

A company spokesman said: “We are sus-
pending production in Britain as we are
making no more full-length flat feature films.
All films in future will be in CinemaScope
and we have no one with the know-how.
Freddie Fox, managing director of produc-
tion in Britain, is going to Hollywood to
learn the technique.”

See 12-Month Suspension

Twentieth-Fox has been making pictures
here for more than 20 years. The period
of suspension now is likely to be for at least
12 months.

The spokesman pointed out that the policy
of the company had been to rent studio space
in Britain and employ technicians already
there. The suspending decision, he claimed,
meant accordingly that only about a dozen
people were directly affected. The alterna-
tive would be to have American technicians
sent over here, but, he said, the Treasury
and the trade unions would object to that.
All the necessary equipment moreover, in-
cluding lenses, would be made in Britain.

Making the claim also that “CinemaScope
in its way is as revolutionary as sound” —
although it is fair to report that the claim is
not conceded by the general run of theatre
men here — the 20th-Fox official advanced the
theory that new screen techniques will in-
evitably lead to a revolution in booking
practices. New type films will not be pro-
duced as frequently as the ordinary films
had been and his company would be driven
to insist that CinemaScope features would
not be shown for one week only “but for as
long as public demand continued,” he said.

Further Plans Abandoned

The last British production by 20th-Fox
was C. S. Forester’s “Single-Handed” which
went into release two weeks ago. Plans for
another flat film have been abandoned.

The company for a number of years has
owned a small studio in the London suburb
of Wembley with one floor of 8,800 square
feet and equipped with Visatone sound. It
has been used lately in newsreel and “short”
production with the cutting-room facilities
leased to the makers of secret air-training
films for the Admiralty. It will remain in
production. The company spokesman hinted
it may be possible to go ahead with plans
for its extension, which have been in abey-
ance for several years. That, however, is
unlikely in the extreme, in the view of re-
sponsible observers, owing to the Govern-
ment’s rigorous restrictions on non-priority
building.

Held up by the recent minor epidemic of
strikes-without-warning among studio ex-
tras, negotiations between the Producers’
Association and the Film Artistes’ Associa-
tion have resulted in a new working agree-
ment for film extras. Extra people get lOs.Od.
per day on their present basic rate of £2
2s. Od.

Concessions Are Granted

Concessions are granted them also for
“special circumstances.” For what is called
“ultra smart” clothes, for example, crowd
people will draw an extra £1. For “excep-
tional dress” — meaning top-hats, Ascot
clothes and the like — they are entitled to
lOs.Od. If clothing provided out of the
studio wardrobe demands “special carriage
and deportment” the extra will be paid an
additional lOs.Od.; although who will be
called upon to define the special deportment
is not disclosed.

During the strike agitation, extras de-
manded an all-round increase of 30s.0d. a
day. As stated, they have now settled for
an extra lOs.Od.

Associated British-Pathe announces a new
long term deal with Monogram for the dis-
tribution here of the latter’s product. Period
of the agreement is not disclosed, but it is
understood to be scheduled to run for a mini-
mum of eight years.

A.B. — Pathe has held the Monogram Brit-
ish franchise for 16 years. Announcing the
new deal, W. A. Fielder, the company’s
general manager, commented that it had
been the happiest possible arrangement, en-
suring as it did continuity of product for
the British company. It was the more sat-
isfying, Mr. Fielder added, in view of the
fact that A.B.-Pathe’s sales force had had
a record year for Monogram product in
1952-53.

Schedule “ Everest ” Film

The Queen and the Duke of Edinburgh, it
is announced, will attend the first perfor-
mance of “The Conquest of Everest” at the
Warner theatre, Leicester Square, Octo-
ber 21. This is the film shot in colour by
Tom Stobart who reached the height of
26,000 feet with the expedition.

The picture was wholly financed by the
National Film Finance Corporation and will
be distributed here by British Lion. Apart
from the fashion in which the achievement
touched the heart of Britons in their aston-
ishing Coronation year, the picture is likely
to have a build-up of another kind.

Sir Edmund Hillary, who reached the
mountain summit and his leader, Sir John
Hunt, are setting out on a lecture tour. By
the time they have finished the tour they
will have told the story in at least 10 coun-
tries. London is down for 13 lectures, one
of which the Queen will attend. Then comes
the turn of the provinces, following which
the two knights go off to France, Belgium
and Switzerland. They take the account of
their conquest to Canada and the U. S. early
next year. Negotiations are now in progress
for lecturing visits to Japan, Australia,
South America and South Africa.

MOTION PICTURE HERALD, SEPTEMBER 5, 1953

Box Offi ee € Jhatnpions

Fat' August, 1953

The Box Office Champions are selected on the basis of the gross revenue at key city
theatres throughout the country.

THE BAND WAGON

( Metro-Goldwyn-Mayer )

Produced by Arthur Freed. Directed
by Vincente Minnelli. Written by Betty
Comden and Adolph Green. Technicolor.
Cast: Fred Astaire, Cyd Charisse, Oscar
Levant, Nanette Fabray, Jack Bachanan.

THE CHARGE AT
FEATHER RIVER
(Warner Bros.) (3-D)

Produced by David Weisbart. Directed
by Gordon Douglas. Written by James R.
Webb. WarnerColor. Cast: Guy Madi-
son, Frank Lovejoy, Helen Westcott, Vera
Miles, Dick Wesson. ( Champion for sec-
ond month.)

GENTLEMEN PREFER BLONDES

(Twentieth Century-Fox)

Produced by Sol S. Siegel. Directed by
Howard Hawks. Written by Charles
Lederer. Technicolor. Cast: Jane Russell,
Marilyn Monroe, Charles Coburn.

SECOND CHANCE

(RKO) (3-D)

Executive producer: Edmund Grainger.
Produced by Samuel Wiesenthal. Directed
by Rudy Mate. Written by Oscar Millard
and Sydney Boehm. Technicolor. Cast:
Robert Mitchum, Linda Darnell, Jack Pal-
ance. ( Champion for second month.)

SHANE

( Paramount)

Produced and directed by George Stev-
ens. Written by A. B. Guthrie, Jr. Techni-
color. Cast: Alan Ladd, Jean Arthur, Van
Heflin, Brandon de Wilde, Jack Palance.
[Champion for third month.)

STALAG 17

( Paramount )

Produced and directed by Billy Wilder.
Written by Billy Wilder and Edwin Blum.
Cast: William Holden, Don Taylor, Otto
Preminger, Robert Strauss.

Iti Theatres
To Telecast
Boxing Bout

Sixteen theatres of large circuits were
tentatively lined up at the beginning of the
week for the theatre telecast of the Mar-
ciano-LaStarza heavyweight championship
bout September 24.

Seven of the 16 include TV-equipped
houses of Stanley Warner, while five are
affiliated with American Broadcasting-Para-
mount Theatres, one is a Loew’s situation
and another a Walter Reade house.

The lineup includes the following: Stan-
ley, Pittsburgh; Stanley, Baltimore; War-
ner, Erie; Warner, Milwaukee; Huntington
Park, Huntington Park, Cal. ; Allen, Cleve-
land; Stanley, Philadelphia; Stanley, Cam-
den ; Stanley, Chester ; Paramount, San
Francisco; Paramount, Los Angeles;
Loew’s, St. Louis ; Uptown, Marbro and
Tivoli, Chicago ; St. James, Asbury Park,
New Jersey.

Negotiations are still under way for AB-
PT affiliate theatres in Detroit, Minne-
polis and Omaha. As of early this week,
there was no indication of the sentiment of
RKO Theatres on booking the event. Al-
though the Stanley Warner lineup has been
set, the contract with Theatre Network Tele-
vision had yet to be signed.

Last week the first application by an out-
door arena for the booking of a theatre
television event was received by Theatre
Network Television in connection with the
fight.

The application came from the Stadium
Television Network, headed by Ed Dorf-
man, for Cincinnati’s Crosley Field, it was
stated. TNT by midweek had not reached
any decision on the bid, it was understood.

The plan, as outlined by Mr. Dorfman,
calls for the temporary installation of a
number of large screen television sets, orig-
inally destined for drive-in theatres under the
leasing arrangement worked out among
TNT, Radio Corporation of America and
General Precision Laboratories.

Name Majors, Circuits
In $1,000,000 Suit

BOSTON : Beacon Hill Theatres, Inc.,
operated by Benjamin Sack, has filed an
anti-trust action in United States District
Court here against RKO Theatres, Inc.,
Keith Massachusetts Theatres, New Eng-
land Theatres, Inc., American Theatres
Corp., Pilgrim Theatre Corp., the eight ma-
jors, Columbia, Republic and Monogram.
The complaint charges that since March,
1949, when Mr. Sack signed a long term
lease, the defendants have been engaged in
a conspiracy to restrain and monopolize in-
terstate trade by a system of runs, clearances
and admission prices, as a result of which,
the plaintiff was denied the right to bid for
and secure first run films. Damages of
$1,000,000 is being sought. Attorney for
plaintiff is George S. Ryan of Boston.

Allied Board
AMeets Prior
To Conclave

BOSTON : In view of the increasing volume
of topics for discussion the board of di-
rectors of National Allied will meet for three
days prior to the opening of the annual con-
vention at the Sheraton-Plaza Hotel here
October 5. It had been planned for the board
to confer on Saturday and Sunday before the
opening on Monday of the convention, but
directors are now expected to open meetings
Friday.

Two of the important items on the board’s
agenda are reported to be arbitration and
some distributors’ alleged demand for extra
playing time on top pictures.

A program for the three-day convention
has been released by Norman Glassman, gen-
eral chairman, which he emphasizes is sub-
ject to change.

Registration will begin the morning of
October 5, to be followed by the opening
session in the afternoon and an official wel-
come by Wilbur Snaper, National Allied
president. A 3-D demonstration will follow
as well as the opening of the trade show.

On October 6 there will be film clinics
as well as meetings of the large circuits,
circuit buyers, drive-ins, etc. These will be
followed by a tour of New England’s historic

places. In the afternoon there will be forums
and discussions followed by a reception.

October 7 will see more committee meet-
ings, discussions and forums, culminated by
the banquet in the evening. During the day
there will be a screening of 20th Century-
Fox’s “The Robe,” for the ladies.

Releasing what some industry members
believe to be a broad hint of what may be
required to put Allied States Association’s
stamp of approval on new arbitration nego-
tions, Abram F. Myers, Allied board chair-
man and general counsel, in a current bulle-
tin, calls upon distributors to modify their
present “selling policies and practices” in ad-
vance of the board meeting.

“That,” says Mr. Myers, “would reduce
the fever of the participants in that meeting
and pave the way for the kind of whole-
hearted, two-way cooperation that should be
the goal of every right-minded person in the
motion picture industry.”

Hold Cast Conferences
For "Oklahoma" Film

Arthur Hornblow, Jr., producer, and Fred
Zinnemann, director, are holding casting
and production conferences in' New York for
their production of “Oklahoma.” While in
New York, they will screen several reels
of films of stars photographed in the Todd-
AO process for Richard Rodgers and Oscar
Hammerstein. The producer and the direc-
tor will also audition players lined up John
Fearnley of the Rodgers and Hammerstein
office.

MOTION PICTURE HERALD, SEPTEMBER 5, 195-3

by WILLIAM R. WEAVER
Hollywood Editor

MILTON SPERLING says this industry is
in for more changes than you can shake a
stick at and they’ll be taking place before
you can say Jack Robinson. All of the
changes will turn out in the long run to
have been for the best, he says, but some of
them will bring hardship, even disaster, to
some sections of the industry and to some of
the industry personnel. The business will
survive, and thrive as never before, he says,
but some of its people will not — can not !

His Career Started
As a Shipping Clerk

Mr. Sperling, president, organizer of
United States Pictures in 1945, is a studious
and aggressive young man whose experience
in the business of which he speaks with in-
sight as well as certainty embraces most
phases of it. Now 41, he has behind him a
career that he started as a shipping-clerk for
Paramount News, pursued through a mes-
senger boy’s tenure at the Paramount studio
on Long Island, a script clerk’s berth at the
United Artists studio, and production posts
of various kinds with Darryl F. Zanuck,
Hal B. Wallis, Winfield Sheehan and Ed-
ward Small, then as a writer, a soldier in
World War II, and finally as a producer.

His upcoming “Blowing Wild,” a Gary
Cooper vehicle which Warner Brothers will
distribute, is being talked about around here
just now as the greatest Sperling contribu-
tion to the entertainment screen to date.

He does not attribute any of the great
changes the industry is about to undergo to
the extra-dimensional upheaval. On the con-
trary, and of course this could be classified
as a change, too, he expects extra-dimen-
tionalism to have a brief day and drop away.
One of the most prized of his presently held
properties is a gangster story, the definitive
one, he believes, that will be filmed, when
the right people become available, in the
standard dimensions for exhibition on stand-
ard screens via standard projectors.

Says Television Cause
Of Need for “Bigness”

It will be, nevertheless, a big picture in
the true and exact sense of the term “big,”
which is to say big in subject, in impact,
in business potential and, for that matter,
in namepower of its cast.

It is the Sperling contention that tele-
vision, rather than any of the newsier forces
now loose on the entertainment scene, has
brought about the need for the swing toward
“bigness — of concept, of effort, of all and
every sort — that the industry must make if it
is to progress in step with its public. He
says it’s totally clear now that no pictures

but the top ones have a future, and that it’s
up to him, as it is to all other producers,
to make none but the good ones.

He points out that this means the ex-
penditure of large sums of money, great
creative pains, long waits for the avail-
ability of the right players, writers, direc-
tors, cinematographers, and he told that
the independent producer, if well enough
financed, is better equipped to meet this ex-
acting need than anybody else is.

The over-all number of pictures will be
smaller, he thinks, but they will be bigger
and better pictures, and they will run longer,
probably at higher prices.

FIVE PICTURES were started during the
week, and two others were completed, bring-
ing the shooting total to 29.

More interesting statistics than these
would be the unobtainable figures showing
how many producers are delaying the start
of how many pictures per each until the
public has had a chance to render a pay-as-
you-go verdict on CinemaScope.

The finding out of the facts about the
public’s evaluation of CinemaScope figures
to be followed by a production splurge in
Hollywood, irrespective of the nature of
that finding.

Everybody in the business of making pic-
tures realizes that the market was never
brighter, maybe never so bright, for a
genuinely wanted picture, as it is today. If,
therefore, the public plumps unanimously
for CinemaScope on sight, the rush to get
aboard the anamorphic band wagon is sure
to be pell-mell. Ditto, of course, vice versa.
In any event, the statistics of production ap-
pear to be in for improvement in the reason-
ably near future, and the nearer — anybody
in Hollywood can tell you — the better.

The outstanding undertaking among the
five new ones is the John Houseman pro-
duction of “Executive Suite” for MGM,
which is going, like all MGM product, in the
standard and the wide-screen proportion
(this studio likes 1.75:1, but allows for its
being stretched) and in the standard and
the stereophonic sound. Robert Wise is
directing the more than moderately collossal
cast that includes, up to press time and with
leave to expand, such marquee personalities
as William Holden, June Allyson, Barbara
Stanwyck, Fredric March, Walter Pidgeon,
Shelley Winters, Paul Douglas, Louis Cal-
hern, Dean Jagger and Nina Foch.

Universal-International launched “Fort
Laramie” in Technicolor, with Ted Rich-
mond producing. John Payne, Mari Blanch-
ard, Dan Duryea, Joyce MacKenzie and Lee
Van Cleef are in the cast directed by Jesse
Hibbs.

iiiiiiiiiiiiimiimmiimimmiiiiiiiiiiiiiiimiiim

THIS WEEK IN
PRODUCTION:

STARTED (5)

independent

River Beat

(Abtcon Piets., Inc.,
London)

Duel in the Jungle
( Moulin-Assoc. Brit.
Corp., Technicolor,
W.S., Johannesburg,
S.A.)

COMPLETED (2)

COLUMBIA

The Caine Mutiny
(Kramer Co.,
Technicolor)

SHOOTING (24)

ALLIED ARTISTS

House in the Sea
(3-D, W.S.)

Riot in Cell Block I I

Dragonfly Squadron
(3-D)

COLUMBIA

Battle of Rogue River
(Esskay Pic. Co.,
Technicolor)

INDEPENDENT

Man in the Attic
(Panoramic Prod.,

Fox release)

Three Young Texans
(Panoramic Prod.,

Fox release, Tech-
nicolor)

Americano

(Moulin Prod., U.A.
release, Brazil)

MGM

Miss Baker’s Dozen
(Ansco Color)

Rose Marie

(Eastman Color,
CinemaScope)

Knights of the Round
Table (Technicolor,
CinemaScope,

London )

PARAMOUNT

Casanova's Big Night
(Technicolor, Wide
Screen )

MGM

Executive Suite
(Wide Screen,
Stereophonic
Sound)

REPUBLIC

Red River Shore
UNIV.-INT'L

Fort Laramie
(Technicolor)

PARAMOUNT

Knock on Wood
(Technicolor, Wide
Screen)

REPUBLIC

Jubilee Trail (Trucolor)

Hell's Half Acre
(Honolulu )

RKO RADIO

Rangers of the North
(3-D, Technicolor)

20TH CENTURY-FOX

Night People (Cinema-
Scope, Technicolor,
Munich)

We Believe in Love
(Technicolor,
CinemaScope, Rome)

River of No Return
(CinemaScope, Tech-
nicolor, Canada)

King of the Khyber
Rifles (CinemaScope,
Technicolor)

Prince Valiant (Techni-
color, CinemaScope)

UNIV.-INT'L

The Far Country (Tech-
nicolor, W. S.,
Canada)

Yankee Pasha (Techni-
color)

Saskatchewan (Techni-
color, Canada)

WARNER BROS.

Dial M for Murder
(3-D, All-Media,
WarnerColor)

Rear Guard (3-D,
WarnerColor, All-
Media)

iiiiiiiiiiimmiiiiiiiiiiiiiiiimiiiiiiiiiiiiiiiiiiiiiiii

“Duel in the Jungle,” with color by Tech-
nicolor, was started by Moulin-Associated
British Corporation in Johannesburg, South
Africa, with a cast headed by Dana An-
drews, Jeanne Crain and David Farrar, and
directed by the distinguished George Mar-
shall. Marcel Heilman and Tony Owen are
co-producers.

Republic producer Rudy Ralston went to
work on “Red River Shore,” a Rex Allen
Western, directed by Harry Keller.

Work started in London on “River Beat,”
with Phyllis Kirk and Donald Houston, of
which Herman Cohen is producer and Guy
Green director.

MOTION PICTURE HERALD, SEPTEMBER 5, 1953

End Strike
Of Mexican
II r or hers

by LUIS BECERRA CELXS

MEXICO CITY : The strike of the manual
and technical workers’ locals of the picture
production workers Union (STPC) against
19 Mexican producers ended last week in
circumstances that were tumultuous, to say
the least.

Representatives of the strikers and pro-
ducers agreed to end the conflict at a meet-
ing of the producers’ Association which be-
came so heated that Association president,
Cesar Santos Galindo, tendered his resig-
nation because, he shouted, he was disgusted
with labor conditions in the trade. His
resignation was refused and he was pur-
suaded to serve out his year term.

The producers agreed to allow the strikers
shorter working time — the reduction to be
decided later, a 20 per cent wage increase
and a paid holiday after each four weeks of
steady work. The strikers also had de-
manded originally a 40-hour week and a
four per cent donation to their savings fund.
The strike was to end formally when a peace
pact was signed, expected this week.

Many local producers say that the work

stoppage, which, began July 1 and held up
completion of 44 pictures, may very well re-
sult in the loss of Cuba and Venezuela as
markets for Mexican pictures. Unable to
obtain Mexican pictures, the Cuban and
Venezuelan exhibitors were said to have
turned to more American, Argentine and
Spanish product for the next six months,
and this, the Mexicans fear, may be the be-
ginning of the loss of those two markets to
local producers.

"Cruel Sea" Wins Award
At Scotland Festival

“The Cruel Sea,” the J. Arthur Rank
film released in the United States by Uni-
versal-International, has been chosen as the
winner of the David O. Selznick Golden
Laurel Award for 1933 as the best cinematic
contribution to mutual understanding and
good will among the peoples of the free
world. The Hon. Winthrop W. Aldrich,
American Ambassador to the Court of St.
Jame's, made the presentation of the award
Sunday at the International Film Festival,
Edinburgh, Scotland.

UA Gets Documentary

“Song of the Land,” a feature-length color
documentary produced by naturalists Ed
Harrison and Frances Roberst, will be dis-
tributed by United Artists, it has been an-
nounced by William J. Heineman, vice-
president in charge of distribution for the
company.

f ilm Glut in
Europe Seen
By Goidtryn

Samuel Goldwyn, arriving here last week
from a four-month stay in Europe, declared
that the European industry is making too
many pictures and will suffer the same “fate”
as Hollywood did if it continues.

The producer indicated that he feared the
flooding of the market with inferior product.
Expressing increased faith in the industry,
he said there was an “evolution” going on
in Hollywood, meaning that the studios were
evolving new technical improvements to at-
tract the public.

The experimentation that is going on, Mr.
Goldwyn continued, will result in better
dimensional equality, but in the long run, it’s
the story that counts. Mr. Goldwyn said
that President Eisenhower did the only thing
he could in vetoing the Mason Bill which
would have eliminated the 20 per cent Fed-
eral admission tax. The President could
not have singled out one industry for relief
and ignore the others, he said.

Mr. Goldwyn visited every capital in
Europe during his overseas trip. He was
given a “royal” welcome in Copenhagen be-
cause of the popularity of his "Hans Chris-
tian Andersen.”

COLUMBIA PICTURES ANNOUNCES THAT PRINTS OF THE FOLLOWING
PICTURES ARE NOW AVAILABLE IN OUR EXCHANGES FOR SCREENING

GLENN FORD * GLORIA GRAHAME
JOCELYN BRANDO

"THE BIG HEAT

with

Alexander Scourby • Lee Maryin • Jeanette Nolan

Screen Play by SYDNEY BOEHM

i Based upon the SATURDAY EVENING POST serial by William P. McGivern

i Produced by ROBERT ARTHUR • Directed by FRITZ LANG

General Release: October

GUN FURY H7J

TECHNICOLOR (HU

starring

ROCK HUDSON • DONNA REED
PHIL CAREY* ROBERTA HAYNES

Screen Play by IRVING WALLACE and ROY HUGGINS

Based upon the novel, “Ten Against Caesar” by K. R. G. Granger

Produced by LEWIS J. RACHMIL • Directed by RAOUL WALSH

General Release: October

SLAVES OF BABYLON

co«or by TECHNICOLOR

starring

RICHARD CONTE - LINDA CHRISTIAN

mi, MAURICE SCHWARTZ

! Story and Screen Play by DeVALLON SCOTT

Produced by SAM KATZMAN • Directed by WILLIAM CASTLE

General Release: October

COMBAT SQUAD

starring

JOHN IRELAND • LON McCALLISTER

mii HAL MARCH- GEORGE E. STONE

Story and Screen Play by WYOTT ORDUNG

Produced by JERRY THOMAS • Directed by CY ROTH

General Release: October

MOTION PICTURE HERALD, SEPTEMBER 5, 1953

ALBANY

The downbeat note on 3-D and wide-
screen distinctly heard in certain area ex-
hibitor circles surprises many observers.
Claims that the former is “a gimmick” with
strong but passing customer appeal and al-
legations that the latter has “only limited
application” are made more frequently than
would be expected. By spring, the critical
within the business hereabouts say, the situa-
tion will revert to its previous status with
the quality of a picture as the sole test. . . .
George Lourinia, Mohawk drive-in man-
ager, has a potential theatreman in the
family — a son born to his wife in Brady
Hospital, Aug. 2. They have two other
children. . . . Ed Fabian, roving zone man-
ager, and Bernie Brooks, chief buyer-booker
for the circuit, helped to handle the record
throngs drawn by Martin & Lewis stage
show for a day in the 3,650-seat Palace.
Comedians, who plugged “The Caddy” open-
ing at the theatre a week later, entertained
almost four capacity audiences, including
3,000 children. . . . The Ray Smith Ail
Media Drive is being conducted by Warner
exchange, with exhibitor cooperation, to
honor its manager. . . . Leo Greenfield,
Universal-International manager, has a new
car.

ATLANTA

Doug Johnson, booker Republic Pictures,
has resigned to go with the Lockheed Air-
craft Corp. in Marietta, Ga. . . . Joe Dumas,
office manager, same company, is back at his
desk after a fishing trip to Florida. . . .
James F. Jerrell, theatre owner in Com-
merce, Gas., has leased a 55-acre site there
for the construction of a 500-car drive-in
with an opening set for next spring. . . . J.
N. Sullivan has leased the Bay View theatre
in Biloxi, Miss., for a ten-year period with
option to buy. . . . Frank Callaway, owner of
the York Clover drive-in, near Gastonia,
N. C., has been dismissed from the hospital
there after an auto accident. . . . T. Rogers,
former owner of the Rogers theatre, Mont-
gomery, Ala., has returned to this theatre.

BALTIMORE

Mrs. Howard Wagonheim, wife of vice-
president of the Schwaber Circuit, presented
her husband with a second son recently. . . .
Gilbert Kanour, Evening Sun drama critic,
is on vacation. . . . Bill Brizendine, Schwa-
ber circuit on vacation in Florida. . . . Ed
Ritter is new at Loew’s Century. . . . Stanley
Stern, Town theatre manager, back from
vacation. . . Dorothy Roberts, Hippodrome,
spending a few days in Atlantic City. . . .
Bernie Seamon, Beacon manager, has re-
turned from a year’s honeymoon on the con-
tinent. . . . The Cameo theatre operated by
Herman Gimbel has closed. . . . The Monroe
theatre also has closed its doors. . . . Irwin
Cohen, now booking and buying for the
Victory, Patapsco, Hollywood and Brook-

lyn, replacing Syd Marcus, resigned. . . . Jim
Gladfelter. Linden manager, was on vaca-
tion. . . . Barry Goldman has reopened the
former Diane theatre, now the Carver Play-
house, as an art film theatre for colored
patronage. . . . Joe Liberto, Stanley assistant
manager, has returned from vacation. . . .
Dr. Huntington Williams, Health Commis-
sioner for the City of Baltimore, has issued
the statement that it’s unsafe and unhygienic
for theatres to re-issue 3-D glasses that
have been used.

BOSTON

With the announcement of the promotion
of branch manager John Moore of Para-
mount to the newly created post of assistant
division manager, comes the announcements
of promotions within the Boston branch.
Jack Brown, for 25 years with the com-
pany has been upped to branch manager
from salesman and Jack Gubbins has been
elevated to sales manager. John Kane is
handling the circuit and city accounts. . . .
Three theatres have changed hands within
the past week. The Wilmington, Wilming-
ton has been taken over by Morris Mintz
who will start a new policy of five days
a week, closing Mondays and Tuesdays;
Edward Sokolowski and his brother-in-law
Henry Gasks have signed a new lease on
the Royal, Lowell which they will reopen
for Labor Day and Lloyd Patriquin of
Whitman has taken a long term lease on the
Warren theatre, Whitman, which he will
operate on a show-and-a-half basis starting
at 6:30 P.M.

BUFFALO

Ed DeBerry, who is captain of the east-
ern and southern divisions for the Adolph
Zukor Golden Jubilee and Paramount Pic-

WHEN AND WHERE

October 3-4: Fall board meeting, Allied
States Association, Sheraton-Plaza Hotel,
Boston.

October 5-7: Annual convention, Allied
States Association, Sheraton-Plaza Hotel,
Boston.

October 31-November 5: TESMA conven-
tion and trade show, Conrad Hilton
Hotel, Chicago.

November 1-5: Theatre Owners of Amer-
ica, annual convention, Conrad Hilton
Hotel, Chicago.

November 12: Annual dinner, Motion Pic-
ture Pioneers, Hotel Astor, New York
City.

tures drive, will preside at a number of pep
meetings in September and October. . . .
Gary L. Cohen, vice-president of Buffalo’s
new UHF station, WBUF-TV, formerly
managed the Allendale theatre, a Buffalo
community house and the Sheridan and Van
Buren drive-in, the latter near Dunkirk. . . .
The Transit drive-in, Transit Road near
Lockport, celebrated its first anniversary the
other evening with a big fireworks display
and a special birthday film program, topped
by two Technicolor features. . . . Charlie
Baron, veteran exploiteer, is back with his
first love, UA, working out of th: local
office. Baron has been assisting Bill Brere-
ton, Basil circuit ad-pub chief, in promo-
tion on “I, the Jury.”. . . Vincent R. Mc-
Faul, Shea circuit general manager, is back
from a week’s vacation at Skytop in the
Poconos. . . . William P. Rosenow, Skyway
Drive-In Theatres, Inc., visited the Cana-
dian National Exhibition in Toronto this
week with his family. . . . Menno Dykstra
has re-opened hs Glen theatre in Williams-
ville and raised his children’s price. . . .
Robert Davis, former city manager for Dip-
son Theatres in Kittananny, Pa., has been
appointed manager of the Plaza in Erie, Pa.
He succeeds Charles Bick, who is entering
new fields.

CHICAGO

Ed Trinz was in town from California on
business. . . . The Argmore theatre building
has been sold and the theatre will be con-
verted to a supermarket. . . . Sylvan Gold-
finger of the Telenews circuit has scheduled
a trip to Colorado and Arizona. . . . Manny
Gottlieb, Universal Pictures division man-
ager in this territory, will enter the hospital
October 1 for surgery. . . . Sam Kaplan of
Dezel Roadshows spent his vacation in Cali-
fornia. . . . Warren Slee, whose retirement
from MGM as local studio representative
here becomes effective Sept. 19, will arrive
in Hawaii early in October with his family
to set up a public relations office there.
. . .A special sign being designed for the
run of “The Robe” at the State Lake will
cost over $5,000. . . . Chicago is due for a
strong line-up of pictures during September,
with “The Robe,” “From Here To Eter-
nity,” “Bandwagon,” “Martin Luther,”
“Second Chance” and “Roman Holiday”
scheduled to join “This Is Cinerama” in the
downtown area. . . . Phil Klein is returning
to the McVickers from the Telenews in Mil-
waukee.

CINCINNATI

For the first time locally, as far as is
known, a first run picture is playing day
and date at a downtown house and drive-in
theatre. The picture, 20th Century-Fox “Mr.
Scoutmaster,” is being shown at Rube Shor’s
Keith’s, downtown, and his Twin drive-in.
. . . Ben Bien, of National Screen Service,
who recently was a surgical patient at a

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MOTION PICTURE HERALD, SEPTEMBER 5, 1953

( Continued from opposite page )

local hospital, has been discharged, and is
recuperating at his home. . . . William C.
Dodd, manager of the Northio Paramount,
in nearby Hamilton, Ohio is back at his desk
following a vacation. . . . The Plaza theatre,
in Glasgow, Ky., is celebrating its 19th an-
niversary. It was opened by Bruce Apsley,
who is still operating the house. . . . Be-
cause of objection lodged by the residents
in the vicinity of a proposed new drive-in
theatre, near Middlesboro, Ky., the project
has been abandoned. . . . George W. Lidsay
has opened his new Sky-Line drive-in, near
Leitchfield, Ky. . . . John Hewitt, who oper-
ates a theatre, at Bethel, Ohio, has pur-
chased the Happy Hour theatre, in Cin-
cinnati, from the former owner, Jerome
Jackson, Jr. . . . The Jur circuit has dis-
posed of its Boone theatre, in Whitesville,
W. Va., the new owners being Stasia Hal-
kais, who also operates the Liberty theatre,
in Whitesville.

CLEVELAND

Indoor theatres in this area are reporting
an increasing lack of public interest in 3-D
pictures while outdoor theatres report pic-
tures in this medium are doing exceptional
business. Latest outdoor theatre to install
3-D equipment is the Park Auto theatre,
Alliance, owned by Sam and Maurice Barck,
Complete installation was made by the
Akron Theatre Supply Co. Wide screen
apparently appeals more strongly to indoor
theatre patrons. . . . David Rosenthal, United
Artist branch manager who underwent sur-
gery last week is now convalescing at home
and expects to be back at his desk next week.

. . . Milton E. Cohen, U.A. eastern division
sales manager came here from New York to
join with Harry Goldman, who came from
Chicago, to meet the local branch personnel
in his new capacity as district manager. . . .
Among theatres re-opening on Labor Day
after summer closings are the Dixie, Toledo;
Grove, Columbus Grove, Kansman, Kins-
man, and the Shreve, Shreve. . . . James
Kalafat, circuit owner, welcomed his fifth
child and second son this past week.

COLUMBUS

The Livingston, operated by Fred Row-
lands, and the Lane, of the Academy circuit,
are the latest neighborhoods to install 3-D
equipment. . . . Mayor Robert T. Oest-
reicher proclaimed “Scoutmaster Week” co-
incident with the showing of Clifton Webb’s
“Mr. Scoutmaster” at RKO Palace. A
group of Boy Scouts camped overnight on
the City Hall lawn and then went to see the
Palace feature. . . . Winners in the Ohio
State Journal Typical Family Contest were
guests of Harry Schreiber to see “Mr.
Scoutmaster” at the Palace. . . . Thomas C.
McAllister, 71, noted for his portrayal of
Simon Legree in Uncle Tom tent shows,
died at University Hospital. He was born
at Williamsport, Ohio. . . . “Martin Luther”
went into a second week at $1.19 top at
RKO Grand. . . . Riverside and CCC Auto
drive-ins have been playing triple features.

DENVER

Sam Cramer, formerly a Columbia sales-
man, and C. E. Stern, have taken on the
franchise for “Movie Sweepstakes” for the
western portion of the U. S. The game is
an attendance booster, tied in with mer-
chants who pay the cost. . . . Henry Friedel,

COUNTER TO OFFICE
FOR MARY BOWEN

BUFFALO : From candy counter girl to
assistant manager of a big downtown first
run theatre. That is the jump made over a
period of years by
Mary A. Bowen,
who recently was
named assistant
manager of the Par-
amount theatre in
Buffalo, succeeding
William D. Edler,
resigned. Mary
started in the theatre
business at the old
Great Lakes, now
the Paramount, un-
der the George Ma-
son management re-
gime and the Shea
operation. She started as a refreshment
booth girl. When United Paramount took
over the Great Lakes and renamed it the
Paramount, Miss Bowen was appointed a
cashier. Later shee was named secretary in
the office and later, treasurer. She has held
the latter position for a year under the Ed-
ward Miller management. Mary is a grad-
uate of St. Nicholas Academy in Buffalo.
Leonard Marchal, a former assistant man-
ager at the Century theatre, Buffalo, has
been appointed treasurer at the Paramount,
succeeding Miss Bowen.

Mary A. Bowen

Metro branch manager, went to Los Angeles
to attend the world-wide sales meeting. . . .
Mrs. Louise Ferguson, National Theatre
Supply office manager, vacationing and en-
tertaining two grandchildren and their
parents. . . . J. C. West will this month open
his new 300-car drive-in at Grants, N. M.,
with Simplex equipment. . . . “The Robe”
will open at the Denver and Esquire around
Oct. 7. . . . B. J. McCarthy, branch manager
for Realart, was hospitalized while on a
visit to Salt Lake City. He was in for a
week. . . . Fall activities have resumed at
Variety Tent 37, with Monday luncheons,
ladies’ luncheons once a month, and regu-
lar Thursday screenings in the little theatre,
as well as at any other time that is arranged
for. . . . Tom Bailey, Lippert Pictures fran-
chise owner, to Salt Lake City to install
Arthur Proctor as booker, succeeding Louise
Imai, who went to United Artists as secre-
tary. . . . C. J. Duer, Allied Artists branch
manager, attended the sales meeting in Chi-
cago.

DETROIT

The Coronet, featuring art and foreign
pictures has been closed during the summer.
Re-opening September 10, it will start new
routine for this part of the country. Doors
will open at 7 :30 and coffee will be served
in the lobby. Chimes at 8 :30 announce the
beginning of the feature. . . . Called “Curtain
at 8 :30” the new policy will offer only one
complete show each evening. . . . Manager
Albert Dezel isn’t sure if this plant will
limit the program to one feataure. . . . Mich-
igan theatre’s search for decendents of
Ananias McMillan, last Detroiter scalped by
Indians, turned up Mrs. Archibald McMil-

lan, wife of the victim’s great-grandson.
Now living in Bay City, Mrs. McMillan
proffered her information for exploitation of
“The Charge at Feather River.” . . . M. F.
Gowthorpe, president of W. S. Butterfield
Theatres just returned from a New York
trip optimistic about prospects for the win-
ter picture crop. . . . Detroiter Pfc. Harold
Witowski pulling Army duty in Mainz, Ger-
many, is playing a bit in “No Way Back,”
now shooting there. . . . E. Clyde Adler was
re-elected business rep. of the Stagehands
Local 38 and Studio Mechanics Local 812.

HARTFORD

Morris Keppner, Burnside Theatre Corp.,
and Louis Lipman, Hartford auto dealer,
have started construction of a 700-car drive-
in theatre at Mansfield, Conn., 26 miles east
of Hartford. The project will open in the
Spring of 1954. . . . New panoramic screens
have been installed at Loew’s Poli theatres
in Hartford and Norwich. . . . Ted Harris,
managing director, State theatre, Hartford,
and Mrs. Harris have returned from a vaca-
tion visit to Louisville. . . . Peter LeRoy of
the Blue Hills Drive-In Theatre Corp.,
Bloomfield, Conn., and Mrs. LeRoy are not-
in gtheir 33rd wedding anniversary. . . .
John R. Patno, Jr., manager of the Empress
theatre, South Norwalk, Conn., has returned
from a Westerly R. I. vacation trip. . . .
Mrs. Herman Miller, daughter of Peter
Perakos, Sr., head of Perakos Theatres, New
Britain, Conn., is leaving with her Navy
Commander husband in October for a two-
year stay in Formosa. . . . John McGrail,
U-I exploitation man in the New England
territory, is back from a Caribbean vacation
trip.

JACKSONVILLE

Henry Goldberg, Paramount home office
auditor from New York, was at the local
branch for several days. . . . Tommy Harper,
Metro exploiteer, was back from an Atlanta
district meeting. . . . Henry Harrell, as-
sistant to Paul Wilson, Fox division man-
ager, Atlanta, was conferring with T. P.
Tidwell, Fox branch manager, who had just
returned from New York. . . . Carroll Og-
burn, Warner branch manager* was in
Miami when Warner employees opened an
All Media Drive, which runs to December
26 and is named in Mr. Ogburn’s honor. . . .
Harry Botwick, general manager, Florida
State Theatres confection sales department,
returned from the national vending machine
convention (NAMA) in Chicago. . . . The
Florida premiere of “From Here to Eter-
nity” was held at the Tampa theatre, Tampa.

. . . R. J. Ingram, Columbia district man-
ager, Atlanta, won a trip to Europe in the
company’s recent sales drive. . . . Mrs. Phil
Eckert, Columbia secretary, left on a fall
vacation. . . . Some North Florida outdoor
theatre operators have reported that the
record-breaking, almost nightly rains of the
past few weeks have partially dried up their
business. But indoor theatres have had in-
creased patronage. . . . Tames Taylor, Fox
office, resigned to become an Army enlistee.

KANSAS CITY

“Martin Luther” is being held over at
Fox Midwest’s downtown Esquire. “Stalag
17” is being held over at the Paramount. . . .
“Devil’s Canyon” is being held over at the
RKO Missouri; where “Night Without

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MOTION PICTURE HERALD, SEPTEMBER 5, 1953

( Continued from preceding page )

Stars” is the second feature. . . . Kansas
City’s baseball team is coining from behind
to make a bid for the pennant ; and crowds
up to 9,000 are attending games. . . . The
Kansas City Star gave “Lili” an amusement
section front page notice at the start of its
15th week at the Kimo. The picture is now
in its sixteenth week. . . . The Vogue is con-
cluding the run of ‘‘The Importance of Being
Earnest” with its fifth week ; to be followed
by “The Cruel Sea..” . . . Leonard Wood,
formerly at the RKO Iowa, Cedar Rapids,
Iowa, is at the RKO Missouri during the
vacation of Lawrence Lehman, manager,
working with Charles Van Horn, assistant
manager of the theatre. He may stay on for
awhile after Mr. Lehman’s return. . . . Har-
vey Weiss, division manager, RKO Thea-
tres, was in Kansas City to supervise in-
stallation of the new wide screen at the
RKO Missouri.

LOS ANGELES

The long darkened Larchmont theatre,
formerly operated by the Fox West Coast
circuit, is being prepared for an early re-
opening by Dave Rector, well known local
exhibitor. . . . The Plaza, Hawthorne, has
been shuttered by owner Ned Calvi. . . .
Mr. and Mrs. Judy Poynter returned from
a vacation in Pebble Beach and Monterey.
. . . Sol Hiller, nephew of A1 Galston, who
operates the Hawaii, Hollywood, with part-
ner Jay Sutton, opened an orange juice stand
in the Gore Building on Film Row. . . .
Murray Gerson, UI salesman from San
Francisco, and formerly with the Los An-
geles office, was in town to visit his mother,
who resides here. . . . Issy Berman, Berman
Theatres, is back from vacationing in Can-
ada. . . . Jules Needleman, who was recently
discharged as an air-force lieutenant after
seeing action in Korea, is back at his sales-
man’s desk at Columbia. . . . Berger Electric
has completed the wiring job of the new
wide-screen and 3-D equipment for the U.A.
Washington theatre in Pasadena. . . . Back
from a business trek to Arizona was Bill
Wasserman, United Artists salesman. . . .
Jack Jacobs, National Screen Service, has
undergone a second eye operation in the
Midway Hospital. . . . Bob Bernhard, son
of Joseph Bernhard, independent producer,
has been named successor to Harold Gold-
stein, booker, who passed away recently.

MEMPHIS

“The Moon Is Blue,” banned in Memphis
by the Board of Censors two weeks ago, is
now showing at Holly Springs, Miss., in the
Holly theatre, owned by Leon Roundtree.
Holly Springs is less than an hour’s drive
from Memphis and many Memphians are
seeing the banned film there. . . . Two new
drive-ins have opened in the Memphis ter-
ritory. Zebra drive-in, Pine Bluff, Ark.,
owned by United Theatres Corp., and War-
ren drive-in, Warren, Ark., owned by R. G.
Varner, got off to the late summer start
with good business. . . . R. C. Settoon,
branch manager, Universal is on vacation.
J. V. Frew, Dallas, district manager, is in
charge of the Memphis exchange during
Settoon’s absence. . . . Whyte Bedford,
Marion, Hamilton, Ala. ; W. F. Ruffin, Ruf-
fin Amusements Co., Covington, Tenn. ;
Orris Collins, Capitol, Paragould, Ark., and
J. M. Mounger, Mart, Calhoun City, Miss.,
were in Memphis on business. . . . Ed Wil-
liamson, district manager, Warner Bros.,

was a visitor to the Memphis exchange
where he was formerly branch manager. . . .
Mrs. Gertrude Thomas this week completed
23 years with Universal at Memphis where
she is head inspectress.

MIAMI

Don Tilzer, head publicist of Claughtpn’s
circuit, reports enthusiastic reception for the
new wide screen at the Royal where the
SRO sign is out for the showing of “Shane.”
. . . Florida State Theatres has stilled
wide screens at their Paramount, Beach and
the Florida in Fort Lauderdale according to
A1 Weiss, divisional supervisor. . . . The
son of Mark Chartrand, Wometco’s public
relations man, was hospitalized recently. . . .
Wayne Rogers, manager of the Normandy,
returned after a holiday spent at home. . . .
George Baldwin, manager of the Florida in
West Palm Beach, was in Chattanooga,
Tenn., for a late summer vacation. . . . Be-
ginning September 7, all Claughton theatres
will admit servicemen in uniform at reduced
prices. . . . Bill Dock, of the Miami publicity
staff of Florida State Theatres, was in
New York on a brief business trip. . . .
Paul Mize, formerly manager of the Delray,
has resigned to become manager of the Del-
ray drive-in, Delray, Florida. . . . After
having had his appendix out recently, Tom
McConnell is back at the old stand as man-
ager of the Warner in Fort Lauderdale, Fla.

MILWAUKEE

The newly formed Showman’s Guild, Inc.,
here has steadily been receiving members
and signers of the Showman’s Guild Pledge.
To be eligible members must be a theatre
manager, salesman, owner of a theatre, or
affiliated with allied theatre businesses desig-
nated in the Milwaukee exchange area. Any
employee whose employer has signed the
Showman’s Guild pledge automatically be-
comes a member — subject to the rules and
by-laws of the Showman’s Guild. ... A baby
girl has been born to the wife of Truman
Schroeder, booker for the S & M Theatres.
. . . Ben Marcus, S & M Theatres, national
director for Wisconsin Allied, and treasurer
for National Allied, moved into new home
here just completed. . . . Frank Ebert sold
his See-More theatre at Seymour, Wis., to
Otto Settele. Mr. Settele took over Sep-
tember 1. Frank Ebert plans on taking a
well earned rest for awhile.

MINNEAPOLIS

The date for the regional North Central
Allied meeting in Duluth, originally set for
Sept. 14, has been changed to Sept. 23 at
the Hotel Duluth. Regional NCA meetings
held in Fargo and Minot, N. D., and Mar-
shall, Minn., have been termed “highly suc-
cessful” by Stanley D. Kane, NCA execu-
tive counsel, and Ben Berger, NCA presi-
dent. . . . Minnesota Amusement will inaug-
urate its “Super Cinema Season” in Septem-
ber throughout the territory. There will be
an extra drive on big product, according to
Don Alexander, assistant advertising man-
ager of MACO. . . . Variety Club of the
Northwest is planning a reopening party in
September to celebrate the remodelling and
renovation of its clubrooms in the Nicollet
hotel, according to Lowell Kaplan, buyer-
booker for Berger Amusement Co. . . . Grant
Hatling, who operated theatres at Belgrade
and New London, Minn., until he sold them
recently, plans to move to the west coast to

make his home there. . . . Arden Davidson
has opened the new Twilite drive-in near
Montrose, S. D. . . . Clem Jaunich, former
exhibitor in southern Minnesota, and George
Turner, MGM salesman, are on a motor trip
through the Canadian Rockies and down the
west coast to the studios. . . . Bill Mussman,
Paramount sales manager, is still hospital-
ized with a heart condition.

NEW ORLEANS

A 7 lb. 11 ounce “bundle from heaven”
arrived at the Wm. Hirstius home August
19. The little one will answer to the name
of Patti Lynn. Pops is Warner Bros, head
shipper. . . . C. J. “Jimmy” Briant, M.G.M.
exchange manager attended the company’s
“See For Yourself” trade showings in Hol-
lywood. . . . Cy Bridges, MGM sales repre-
sentative, is eagerly looking forward to that
early date when he will become a great-
grand papa. . . . R. E. Allmand, Sabine, Mer-
ryville, La., was in shopping around for
new equipment. . . . Mr. & Mrs. Cy Bridges
are reading for their vacation in Poncha-
toula, La., starting Sept. 7. . . . Milton Gui-
dry, southwest Louisiana theatre owner, is
keeping close to home in Lafayette, La.,
anticipating the arrival of a newcomer. It
will be Betty and Milton’s third. . . . Among
the exhibitors seen around who rarely visit
were Bill Tucker, Wisner, La.; Carey Fair-
banks, Island, Sicily Island, La.; Wilbur
Jolet, Smyles, Weeks Island; Alex Gour-
nares, Mobile, Ala. ; George Conrad, Dixie,
Thibodaux, La., and R. A. Conrad, Bruce,
Jennings, La.

OKLAHOMA CITY

“Gentlemen Prefer Blondes” now in its
third week here, has been moved to the
Tower theatre. . . . During the showing of
“The Moon Is Blue” at the Center theatre,
starting Friday, August 28, Blue Moon
Hosiery will be given to the first 15 ladies
at the Center box office e<jch matinee. ... A
preview was held at the Skyline drive-in
theatre at Tulsa, August 28 and 29. . . . The
Majestic theatre, Oklahoma City, had a big
free “Back-to-School” show August 26 and
27, when children under 12 years were ad-
mitted free by presenting a coupon found in
last week’s Advertiser.

OMAHA

Ruby Quinn, a slim brunette, was the win-
ner in the Golden Spike beauty contest which
drew 15 entrants at the Golden Spike drive-
in. Manager Ted Rice said the patron
response was gratifying. Second was Ber-
neta Nelson, who won the state title in the
Miss Universe competition. . . . R. D. Gold-
berg, head of Goldberg Theatres, is visiting
in Denver. . . . Alfred Stern, managing
director of the Centennial Exposition sche-
duled in Omaha next summer, is arranging
for an art director to come here from a
Hollywood movie studio to spend full time
on a series of productions that will be given
five nights a week. They will be presented
on the Theme Center stage to be built in
Turner Park. There also will be a staff of
script writers, choreographers and technical
workers. Columbia may hold the premiere
for “The Nebraskan” as a centennial feature.

. . . A pre-centennial program was given
by the Altrusa Club at the Country Club,
with 20th-Fox office manager Regina Mol-
seed and FEPCO’s Esther M. Green taking

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MOTION PICTURE HERALD, SEPTEMBER 5, 1953

( Continued from opposite page )

an active part. . . . Lynn Pitts, salesman
named president of the Paramount Pep Club,
is cooking- up big plans for the annual picnic
at Peony Park September 14.

PHILADELPHIA

“Mickey” Greenwald, formerly of the
Stanley Warner shorts department, is the
new booker at Republic. . . . John Bergin,
United Artists salesman, has recovered suf-
ficiently from an illness to resume coverage
of his upstate Pennsylvania territory. . . .
Jack Greenberg closed his Star, Camden,
N. J., indefinitely. . . . J. Lester Stallman,
manager of the Astor, Reading, Pa., an-
nounced the installation of a new wide
screen. Also, the discontinuance of Satur-
day morning children’s shows. . . . Benny
Harris, who heads the independent Ameri-
can Films exchange, claims to have run up
a record of 157 bookings in one day on the
new Jam Handy cartoon, “Gentle 1 ouch,’
which he is handling for John Golder. . . .
The Cameo, neighborhood house, is now a
weekend operation. . . . Dr. Harry J. Schad,
who is vice-president of the Reading Fair,
will have the fair’s annual beauty contest
conducted and staged at his Astor and
Strand in Reading, Pa. . . . Max Kayser
purchased the Karlton, Quakertown, Pa.,
from the Allen K. Smith estate with present
operations continued by the Quakertown
Amusement Company. . . . Comerford cir-
cuit purchased the Little Art, Scranton, Pa.,
which it had been operating on a lease since
1950 from Dr. Frank Colizzo as a foreign
film house.

PITTSBURGH

The annual fall Showmanship Meeting of
the Stanley Warner Corporation convened
in Pittsburgh this week. Nearly 200 motion
picture exhibitors, distributors and pro-
ducers, representing more than 20 companies
were in attendance. M. A. Silver, Stanley
Warner zone head was the host and special
guests included Harry M. Kalmine, Stanley
Warner vice president and general manager ;
Earl Wingert, of 20th Century-Fox; Dan
Terrell of Loew’s, and Stanley Warner na-
tional advertising director Harry Goldberg.
. . . “Gentlemen Prefer Blondes” is giving
the Fulton theatre its best August in the
history of the theatre. . . . The screen rights
to the life story of Connie Mack have been
acquired by Bert M. Stearn, long time film
executive and the head of Cooperative Book-
ings here. He is planning an early trip to
Hollywood to complete plans for the project
and get it set for a major studio release. . . .
One thousand area ministers as well as
an equal number of laymen sneak-previewed
“Martin Luther” at the Warner. . . . Dick
Cvetic is leaving the Strand theatre to man-
age a theater in Sioux Falls, S. D. and will
be succeeded by Jack Keiffer.

PORTLAND

Business is booming at all first run thea-
tres proving good pictures will draw. Most
are single billed or at raised prices. . . .
“Lili” drawing big day and date at four
neighborhood houses. . . . Evergreen’s Ore-
gon district manager, Russ Brown, off to
Seattle on business. . . . Mrs. J. J. Parker
is working on the opening of her United
Artists theatre. . . . Dick Edge, Astoria city
manager for the Parker circuit, here for a
couple of days. . . . Tom Walsh off to Pen-

dleton for a couple of days to look over the
Parker houses there. . . . Frank Price, as-
sistant to president of the ABC Candy Co.,
was conferring with Mrs. Parker for a new
bar for the Broadway. . . . Bob Warner
replaced A1 Utigard as NW division man-
ager for NW Automatic Candy Co. ... 108
golfers competed in the 10th annual film
men’s golf tourney at Tualitan this week. . . .
Pat Patterson won the A1 Forman low gross
trophy and Jerry Owens won the Charles
Skouras Cup. Mrs. Dick Lange is the new
women’s champ.

PROVIDENCE

Local theatermen were shocked to hear of
the death of Sgt. Russell E. Woodward, Jr.,
who was reportedly a prisoner in a North
Korean prison camp. According to a letter
received by his father, Russ died in April
or May, 1951 in a Red camp near Pyoktong,
North Korea. He worked as student man-
ager at the Majestic theatre and later was
appointed assistant manager at the Avon
Cinema. Fie left the latter post in 1949 to
enlist in the Army. . . . Manager Dave Levin
of the RKO Albee thrilled the first 100
women purchasing tickets on opening day
of “The Sword and the Rose” by presenting
them with gorgeous Tudor roses, supplied
by the R. I. Florists Association. . . .
“Shane” has apparently taken this section
by storm.

SAN FRANCISCO

General Theatrical has taken over the
Vista, Rio Vista, from H. E. Brown. . . .
Robert Clark Agency is handling the Pop-
kin Package, formerly distributed by United
Artists. . . . Teddy Gelber, former manager,
Studio drive-in, San Mateo, is now with the
Petri Wine people. . . . Jerry Zigmond,
western division manager, United-Para-
mount Theatres, was here from Los An-
geles for three-day conference with district
manager Earl Long and the local staff. . . .
Frank Harris, manager, United Artists ex-
change, was in Los Angeles meeting with
Western Division Manager James Velde. . . .
Barbara Taylor, former secretary to MGM
office manager Lila Goodin, now working at
MGM studios in Hollywood, will be hostess
to the local branch telephone operator Flor-
ence Myers, over Labor Day holidays. . . .
The Film Colony Club Girls, headed by pres-
ident Helene Shearer (assistant to office
manager Sally Martin of Blumenfeld Thea-
tres), is planning a fashion show and pre-
view party to benefit Variety Club’s Blind
Babies Fund. The show will be held at
Gerald Hardy’s Presidio theatre, Sept. 26.

TORONTO

National Film Board’s interests were de-
scribed in a speech before the fifth annual
institute on films and community affairs by
W. A. Trueman in his first talk since he
became National Film Commissioner. . . .
Stan Helleur takes over the new post of
chief of information and promotion of the
National Film Board in Ottawa. Helleur
has been director of advertising and publicity
for WB in Canada. He is being succeeded
in this post by Irving Herman, who formerly
held that post with United Artists in Can-
ada. ... A Variety Night is being staged by
the Exhibition Stock Car Racing Club Sept.
22. Proceeds will be used for Variety Vil-
lage. . . . Children 16 years old and under
were banned from attending theatres and
swimming pools in Alberta due to a polio

outbreak, by order of the deputy minister of
health. . . . Theatres in the city suffered
considerably when hot weather struck the
area. Also affecting business is the opening
of the Canadian National Exhibition. . . .
Jean Paul Pageau, 35, has been appointed
Quebec sales manager for Warner Bros.’
new 16 mm. division. Pageau will work
from Warners’ branch in Montreal, his na-
tive city. . . . Arch Jolley, in charge of
arrangements for the meetings of the Mo-
tion Picture Theaters Association of On-
tario, the Motion Picture Industry Council
of Canada, is urging early reservations.

WASHINGTON

Announcements have gone to the members
of the Variety Club, on the forthcoming
Golf Tournament and Dinner Dance at the
Woodmont Country Club on October 2. . . .
Irene Summers, known to many people on
film row, died on August 26. Her husband,
Stanley, was for many years head shipper
at 20th Century Fox. . . . Harry Cohen,
former MGM salesman, and now retired,
has moved to Freeport, New York. . . .
Edward Talbert, Talbert Ticket Agency,
is getting around after breaking his ankle.
. . . Friends of Danny Rosenthal, former
20th Century Fox salesman, and now United
Artists branch manager in Cleveland, were
sorry to learn that he was hospitalized re-
cently, at Glenville Hospital, Euclid, Ohio.
. . . Sidney Lust opened his 11th theatre,
with the grand opening of the Hillside drive-
in at 6200 Marlboro Pike, a mile from the
District line. . . . The Loew’s Capitol theatre
disccontinues its stage-show policy October 1.
. . . Flarry Coonin, Variety Club associate
member, was given a 50th birthday party at
the Willard Hotel.

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theatrical, studio and motion picture
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For Foil Information On Rental Equipment Write:

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MOTION PICTURE HERALD, SEPTEMBER 5, 1953

People in VL f/

e in ^yne i lewd

iiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiii

Harry Cohn, president of Columbia Pic-
tures, was in New York this week to at-
tend a meeting of the board of directors.

Samuel Pinanski, president of American
Theatres Corporation and chairman of the
board of Lowell Technological Institute,
was honored this week by the school for
his service in advancing the institution’s
development. Martin J. Lydon, presi-
dent of the institute, presented Mr. Pi-
nanski with a gavel inscribed with his
name and a summary of his work for the
college.

Paul Jones, producer, and Norman
Taurog, director, have flown back to
Hollywood after attending conferences in
New York on the film version of “Hazel
Flagg.”

Manny Reiner, foreign sales manager of
Samuel Goldwyn Productions, has re-
turned to New York after an intensive
three-month tour of the continent in con-
nection with the launching of “Hans
Christian Andersen.” Mr. Reiner visited
every capital city in Europe while on his
tour.

John F. Glubbins has been promoted from
Paramount salesman in Boston to sales
manager of the city, it has been announced
by Hugh Owen, eastern-southern division
manager.

Edward Dooley, of Zirkle and B reden,
accountants, has joined the Jamestown
Amusement Company, buying and booking
office for M. A. Shea Theatrical Enter-
prises.

Nat Rudich, program manager of radio
station WLIB, New York, has joined the

3 Btltvest Hit
By I amlalisn

Teen-age vandalism in the midwest area
has reached such heights that city and
county law officials met in Chicago late last
week to discuss ways of curbing it, even to
the extent of prosecuting parents.

Local papers have been giving publicity to
the problem. One, the “Chicago American,”
interviewed Mrs. Isaac Brotman, of the Ava-
lone theatre, eliciting the claim her theatre
was forced to close because of youthful dep-
redations. Mrs. Brotman cited gangs which
brought noise, drunkenness and then vio-
lence, such as screen slashing.

Another episode of headline attention was
the explosion at the 1,400-seat Oakley, which
killed a shoe store owner next door, blew
pff the roof, badly damaged eight cars, and

publicity department of United Artists to
handle radio and television, it has been
announced by Francis M. Winikus, na-
tional director of advertising, publicity
and exploitation.

E. O. Wilschke, operating manager of
Altec Service Corporation, was honored
with a party given by the firm’s New
Orleans branch, in celebration of his 25
years of service with the company.

Maurice A. Bergman, Universal Pictures
Company executive, will be national di-
rector of publicity for the Motion Picture
Pioneers and the Foundation of the Mo-
tion Picture Pioneers, it was announced
Tuesday by Jack Cohn, president. David
A. Bader who has been handling publicity
for both organizations, will function under
Mr. Bergman as associate.

Harold J. Salemson has been appointed as
assistant to E. R. Zorgniotti, executive
vice-president of Italian Films Export.
The company also appointed Ben Korn-
zweig as publicity manager replacing
Fred Goldberg, who has resigned to join
the public relations firm of Norton and
Condon as vice-president in charge of
operations.

Lawrence Weingarten, MGM producer,
is in London to do a special survey for
“The True and the Brave.”

Murray Silverstone, president of 20th
Century-Fox International Corporation,
returned Tuesday from a trip to Europe.

James F. McCarthy, manager of the
Strand theatre, Hartford, has been named
Stanley Warner district manager in Con-
necticut.

was followed by a serious fire. The blast
was unexplained. The Vogue theatre made
news as the scene of a teen-age brawl which
police found difficult to subdue.

Action by Drive-in
Asks No Damages

James M. and Rocco Castrignano, owners
of the Midway Drive-in, near Wilkes Barre,
last week filed in Philadelphia Federal Court
a suit against Comerford Theatres and six
major distributors, alleging conspiracy to
deprive their outlet of opportunity to license
product on a reasonable run. No financial
damages are sought at this time, Norman
Shigon, their attorney, said. The Midway
does ask that it be licensed on fixed avail-
ability, no later than 21 days after Wilkes
Barre, and that it be given opportunity to
bid against the Parsons Theatre, Parsons,
Pa., three miles from it. Loew’s and Colum-
bia are not named in the complaint.

#. l Pletlyes
Saranac 3 ill

lo Hospital

Following a visit this past week by 150
members of the International Alliance of
Theatrical Stage Employees to the Will
Rogers Memorial Hospital, Saranac Lake,
N. Y., Richard F. Walsh, president of the
union, promised increased promotion of the
charity by I.A.T.S.E. locals. Mr. Walsh,
also a vice-president of the institution, pre-
sided at a luncheon meeting at the hospital,
at which financing problems were discussed.

Charles E. Lewis, executive vice-presi-
dent, reported that 35 members of the union
have been taken in and cured, at no cost
to themselves, during the past four years.
Over an extended period, he reported, the
average cost to the hospital was $60 per
week.

According to Mr. Lewis, one-fifth of the
current patients at the hospital are from the
union, making it the largest single group
benefiting from its services. Abe Montague,
president of the hospital, cited Mr. Walsh as
“one of the incentives of the group that has
done most of the work” in increasing the
efficiency of the institution. The head of the
hospital emphasized that there are no en-
dowments, and the institution is operating
“on a hand-to-mouth basis every year” in
requesting that the union members join
the sales force.

Following the luncheon, the room in
which Thomas J. Shea, assistant president
of the union, died last January was dedicated
to his memory. A replica of the plate on the
door was presented to Mr. Walsh by Fred
Schwartz, chairman of the hospital’s finance
committee.

Japanese Government
Officials Visit Studios

HOLLYWOOD : The Association of Mo-
tion Picture Producers’ International Com-
mittee played host Tuesday to mayors of 10
principal cities of Japan and 25 Japanese
Government and industry officials. The offi-
cials were given a luncheon and taken on a
tour of six major film studios. Divided
into six groups the officials were the guests
of Disney, MGM, Republic, 20th Century-
Fox, Universal and Warner Brothers. The
Japanese visitors, here for a convention of
mayors held in Seattle, will visit New York
and Washington before returning to Japan.

Edward J. Weber Dies

Edward J. Weber, 62, assistant manager
and engineer at the Zenith theatre, Mil-
waukee, for the past 25 years, died August
27 of a heart attack at his home. Mr. Weber
also was secretary-treasurer of the North-
west Amusement Corporation and a member
of the Hopkins Street Businessmen’s Asso-
ciation, Milwaukee. Surviving are his wife,
three daughters, four brothers and three
sisters.

MOTION PICTURE HERALD, SEPTEMBER 5. 1953

pelting Approach CalU 'Jor special Ahg/eJ

OLD showmen often use the expression,
“What’s the pitch ?”■ — and that’s pure
show-talk, from outdoors and the
carnival. Good showmen know that each
and every attraction requires a different
“pitch” — -and thus we are slow in realizing
that it applies to the “little art theatres” and
our Hollywood film product. The impres-
sion has gained ground that the “art” films
were imports and that the “art” audiences
demanded something foreign to our tastes.

The Herald, last week, had a byline story
by Mandel Herbstman under the title
“Majors Turn to Art House for Specials”
— which we urge Round Table members to
read carefully. If you missed it, turn back
to it now, and learn of the degree of success
with which the majors have used our own
“specials” in “art” houses, because they
needed a special selling approach.

It’s unreasonable, on the face of it, to
suppose that all films can survive the same
treatment on the same premises, year in and
year out. Perhaps part of our doldrums are
the result of trying to make every picture
conform to a pattern that has always been
a distributor’s dream. Naturally, he wants
to sell his picture to as many customers as
possible, but they’re learning it’s more profit-
able to be specific.

Metro’s “Lili” is a sample, now in its 26th
week at the 540-seat Trans-Lux theatre at
52nd and Lexington Avenue. It has
grossed over a quarter of a million dollars
here, and that’s substantial business in any
language. Howard Dietz is quoted as say-
ing, “It’s just a question of whether it is
most desirable to give a picture a long run
in a small house or a short run in a theatre
of large capacity.”

Jeff Livingston, eastern advertising man-
ager for Universal-International, was re-
cently quoted with reference to the opening
of “The Cruel Sea” at the 468-seat Fine Arts
theatre in New York, where it broke all
records with $16,200 in the opening week.
From now on, all U-I films of this kind and
quality will get two treatments, one for “art”
theatres and one for regular runs.

"LET THEM EAT CAKE"

A famous queen said if, and she lost her
head. Perhaps, we indicate the same theory
by suggesting that the public will pay more
for movies — "the world's best entertain-
ment" in the lowest price bracket. Do we
suggest that if they can't afford bread,
then let them eat cake?

The League of New York Theatres, op-
posing the reduction in excise taxes for
movie theatres, implied that they would re-
duce their prices from $7.20 to a flat six
dollars per ticket. But do they mean that?
Have they suggested that Gay White Way
prices would go down, as much as a dime,
if they won tax reduction? We hardly think
they have that intention.

Maybe it is strategy to boost our prices
by 20 percent, to prove that we need an
increase in gross income, to stay in business.
It may work, in varying degree. Charlie
Jones writes from the Dawn theatre, Elma,
Iowa, that he is going to raise prices for
adults from 45c to 50c — which speaks
volumes. It has always been hard to get
half a dollar.

We predict that the visible effect of
raising prices will be about fifty-fifty be-
tween success and failure. Success will mean
a little increase in "take home money" for
theatre managers; failure will clinch the
apparent into an obvious loss of patronage.

Another exhibitor leader says he will raise
children's prices from 10c to a quarter. It
will come harder, with this group who are
already seeing their favorite cowboy stars
and other thrillers, at home — without fee
and without tax.

Jeff says there’s another angle : Our U. S.
newspapers and magazines are a great help
in putting over imports “since practically all
of the critics are more or less openly on
our side" — meaning, in favor of “art” films
and imports. Disarm this favoritism by put-
ting films of special quality in small theatres.

Two women in Richmond, Virginia,
saw the stirring United Artists’ film,
"Cry, My Beloved Country” in Canada and
wished to have it shown in Richmond. They
approached the local theatre manager, only
to be told that such films (religious, with
racial issues) had never proved successful.
They got together twenty-five people who
underwrote the showing for two days at cost
of $600, with all profits after expenses to
go to World Missions. The theatre was
swamped, and showed a two-day profit of
$750. So, the same people underwrote a
continuance for three more days, and reaped
an additional profit of $1,204.34. Then the
theatre itself continued the showing for sev-
eral more days. All together more than
14,000 citizens of Richmond saw the great
Alan Paton film. ( From the Saturday Re-
view of Literature.)

Salute to Oscar Morgan, general sales
manager in charge of short subjects
for Paramount Pictures. This week we wit-
nessed a screening of the first three-dimen-
sional “Popeye, Ace of Space” — and, in con-
trast, the very first Popeye cartoon, “I Yam
What I Yam” — release exactly twenty years
ago. And then we had cocktails with Oscar
and friends, to celebrate the anniversary.

Actually, it was more than twenty years
ago that we first knew Oscar Morgan. He
was Paramount’s field man in the Philadel-
phia office when we called on him for ex-
ploitation help, back in 1916. And he is still
the same Oscar — the best in the business
that calls “quality” by that name. He has
the same genial personality, the same ser-
vice with a smile — in fact, the same smile.
A little mellower, a little grayer, maybe a
little rounder, but the same grand guy.

Paramount has designated October 25-31
as “Oscar Morgan Week” in honor of the
company’s veteran short subject and news-
reel sales manager. That’s not enough — we
would prefer an “Oscar Morgan Year” or a
decade, if he doesn’t mind. — Walter Brooks

MANAGERS’ ROUND TABLE SECTION, SEPTEMBER 5, 1953

Stop* Look
And Listen

Catholic Community Little Theatre Play-
ers recast "Stalag 17" to create a special
lobby display for the Paramount picture,
at the Circle theatre, Indianapolis.

Tall showmanship for Wineland theatres,
in Washington, D. C., where this cowboy
on stilts roamed the range as ballyhoo
for "Shane" — arousing a lot of interest.

Leon Kelmer, managing director of
Keith's Albee theatre in Brooklyn, admires
an all-out display for "The Maze" which
stopped 'em and sold tickets.

"Speed" Kroman, manager of the Mayfair theatre, on Broadway, in cooperation with
Paramount, arranged this crowd-stopping exploitation stunt for "War of the Worlds"
— with space girls, safely sealed in cellophone containers, against attack.

Just to show you that personal appearances on tour, these days, result on animated
trailers for upcoming pictures on home television screens- — above, in Springfield, Mo.
where Julie Dorsey was guest artist for the local run of "The Band Wagon."

Deane Brown, manager of the Lyric theatre, Indianapolis, created this excitement
with a "mechanical man" display for Republic's "City That Never Sleeps" and had
folks guessing if he was mechanical or human, or what, to get attention.

MOTION PICTURE HERALD, SEPTEMBER 5, 1953

An Assistant SHOWMEN IN ACTION

Brings In
The Wagon

George Peters, manager of Loew’s thea-
tre, Richmond, Va., submits a fine campaign
on “The Band Wagon’’ in the name of his
assistant, Bob Westerman, and we salute
the occasion, in honor of other assistant
managers who have been carrying on during
the summer, while their managers were on
vacation. It is sometimes difficult to estab-
lish these temporary replacements in a week
or so, which would upset the permanent
reisdence value of managers who are well
known to Round Table readers. By the time
we could report such occurances, the status
would be changed again.

So, we thank George Peters, and praise
Bob Westerman in this review of a great
campaign on a great picture, well done, and
as thorough and complete as any that ever
reach this desk. We know that someday,
resident manger in another situation, and
those members attending this weekly meeting
will recall where he had his training as a
showman. In the next quarter, for the
Quigley Awards, he is a contender, on the
basis of this splendid exhibit of good show-
manship.

Bob had a personal appearance in Rich-
mond of Peggy Gordon, to start the ball
rolling. She had a full day and evening of
interviews with the press, a luncheon, six
radio programs, a dinner, television and ap-
pearance on stage at the theatre. A radio
“Band Wagon” contest had a long line of
winners of sponsored prizes. Newspaper
advertising was augumented by cooperative
ads from local merchants. Music and
restaurants tieups were hot, with lots of ad-
vertising display materials in use. Special
tack cards, made locally, and good use of
window and other displays is evident.
Samples of presbook materials used in lobby
display are included. We’ve seldom seen a
better flash for a big picture.

Action in Showmen

Those Schine managers who have sold
their “Back to School” shows so success-
fully in advance, are now at work selling
sponsored Thanksgiving Shows for chil-
dren’s matinees !

Adam G. Goelz, writing from the Para-
mount theatre, Steubenville, Ohio, encloses
terrific newspaper breaks for the installa-
tion of their 52-foot Panoramic Screen, with
“Shane” as the first attraction to have this
benefit.

▼

Alfred Lowenthal, manager of Skouras’
David Marcus theatre in the Bronx, had
a continuous tieup with the Army and Air-
force Recruiting Service for “It Came From
Outer Space” — in advance and during the
run of the picture.

J. Boyle and M. Pysyk, that indefatigable
combination at Loew’s Poli theatre, Nor-
wich, Conn., did their double darndest with
“The Band Wagon”— and we’d like to see
them, in action, some day. Must come call-
ing in New England.

Sal Adorno, Jr., assistant general mana-
ger for M. & D. Theatres, Middletown,
Conn., had two authentic veterans of “Stalag
17” on stage at the Paramount theatre, for
the opening night performance.

▼

AB-UP’s Paramount theatre, San Fran-
cisco, enjoyed a three-way tieup with Hale
Brothers’ stores for the promotion of "Hou-
dini” — covering the Bay area and all phases
of the picture.

Lou Cohen documents his campaign on
“Gentlemen Prefer Blondes” at Loew’s Poli,
Hartford, with photos to show street bally-
hoo (blonde, brunette and redhead) and a
long list of newspaper breaks and tear-
sheets.

▼

Charles B. Moss, executive director of the
Criterion theatre on Broadway, had an ex-
citing twin contest as promotion for United
Artists’ 3-D thriller, “I, the Jury,” with re-
sulting newspictures.

. T

Riverside theatre in Milwaukee obtained a
full-page cooperative ad for those two little
girls from Little Rock as approval from 12
advertisers in the Milwaukee Journal for
the holdover of “Gentlemen Prefer Blondes.”

Len Bishop, manager of Shea’s theatre,
Toronto, working on the theory that dia-
monds are a girl’s best friend, landed a
$15,000 co-op contest with Morse Credit
Jewelers for “Gentlemen Prefer Blondes.”

Charles M. Pincus, district manager for
Blumenfeld Theatres at Stockton, Calif.,
writes, “Now that I have a camera, I’ll be
sending you photos of our exploitation

▼

Bob Carney built himself a little band
wagon as a trailer to run around Water-
bury streets, as babyhood for “The Band
Wagon” at Loew’s Poli theatre, following
pressbook ideas.

Vic Morelli, manager of the Empress the-
atre, Danbury, Conn., had a great good-
will booster in his tieup with newspaper de-
livery boys, who paraded to the theatre to
enjoy “Hans Christian Andersen.”

▼

Charles Gordon, manager of the Olympic
theatre, Utica, N. Y., made a tieup with the
Quaker Oats Company for the promotion of
“The Stranger Wore a Gun” and more than
10,000 sample packages of cereal were dis-
tributed with the theatre’s advertising.

▼

Sol Sorkin, manager of RKO Keith’s
theatre, Syracuse, had to deny that a radio
quiz program was giving out passes to see
“The Maze” because it just wasn’t so — but
he turned the headache into good publicity.
f

Bob Cox sends tear sheets to show what
a deal he got with local IGA stores in co-
operative advertising for “All I Desire” at
the Ben Ali theatre, Lexington, Ky., and all
for a few passes !

▼

Merl F. Hallford, city manager for Martin
theatres in Thompson, Ga., says he wishes
he had a photographer to show us the 36-
foot banner he put up for “Pickup on South
Street” — which could be seen from one end
of Main Street to the other !

Two guys we like. Tom Baldridge, at left, MGM field man, and Jack Foxe, right,
of Loew's Theatres in Washington, at the National Airport to meet Elaine Stewart, on
the steps, who is MGM's bold answer to Marilyn Monroe, and a strong contender in the
contest as to what gentlemen prefer, arriving with her escort for the opening of her new
picture, "Take the High Ground."

MANAGERS' ROUND TABLE SECTION, SEPTEMBER 5, 1953

Harrison "v
Great Show

“ITe W Been Using Our
Biant Miracle Screen

Uor 23 Years." — Says Monty Salmon

When the all-Disney program was adver-
tised in the New York papers, as you see
in the copy reproduced below, we felt it was
about time to call attention to the fact that
Montague Salmon, managing director of the
Rivoli, had been using a “Giant Miracle
Screen” all through his eleven years tenure
in this Broadway house, and he says, the
screen has been installed and in use at the
Rivoli for a quarter of a century.

Monty, with his usual modesty, takes no
credit for the fact that the big screen is
there, and in use today, right at the time
when the big screen makes news. He says
that when the Rivoli was built, with its
2,100 seats, it was a new, fine theatre, sur-
rounded by bigger theatres, and the new
Music Hall was merely the last of a long line
of “competition” that had twice as many
seats, and twice as much bigness to offer.

First in a Long
Line of Firsts

So, the Rivoli provided a larger screen,
and thus established one of a long line of
“firsts” for this first-run, top-bracket theatre.
Monty has had it available at all times — but
he has used it with discretion. Big pro-
ducers in film industry have dropped in to
beg him to put scenes from their new pic-
tures on the Giant Miracle screen — for in-
stance, David O. Selznick experimented here
on this enlarged surface.

And this produced another “first” for the
Rivoli — -“sound placement” as Monty calls
it, or “stereophonic sound” as we know it,
today. In “Portrait of Jenny” the sound
and fury of the storm surrounded the audi-
ence, just as it does today in the multipli-
cation of speakers and sound tracks. This
was another memorable presentation that
made motion picture history.

Producers Try Out
New Dimensions

Many big pictures have enjoyed this bene-
fit, which an astute managing director has
used judiciously to augment just the right
things. Most recently, just prior to the cur-
rent Disney program, the giant screen pro-
vided the climactic scenes in the long-run
sensation, “Salome”- — when Rita stepped
up, front and center, to do her dance of the
seven veils. The effect of this expansive
treatment really hit the audience !

Monty can use the Giant Screen as and
when he likes, turning it on and off, chang-
ing to it as a climax, all on short notice.
That’s why Hollywood producers, in town
with their test prints, persuade Monty to
screen their big scenes privately in the early
morning, so they can see the new scope, and
conjure the results applied to standard pho-
tography at the studio.

Talk about aspect ratio! Here's Monty
Salmon, in proper perspective, standing
alongside his "Giant Miracle Screen" on the
Rivoli Theatre stage.

It’s not strange that Monty Salmon is
known as a showman’s showman. He has
always been so far out in front that it comes
natural for him to lead in progress forward.
That he has been eleven years in a theatre
so well placed as the Rivoli on Broadway is
a fortunate thing — a theatre that is neither
too large or too small, that is independent,
but with strong affiliations, open to every
producer for test runs, and for the estab-
lishment of long runs for special pictures,
away from the “little art theatre” class and
yet not removed from Broadway. — W . B.

J. P. Harrison, the grand old showman
from Denton, Texas, really put on "The
Greatest Show On Earth” in his college
town of 12,000 population. His campaign
book on it, as an entry in the Quigley
Awards, is proof that he used his usual com-
munity pressure, along merchandising, per-
sonalizing lines. Attached is a note from
“I.M.A. Nut” which only introduces the
theme, and a bag of peanuts, similar to those
distributed at a Kiwanis club luncheon,
which provided circus atmosphere. J. P.
is chairman of Kiwanis program committee,
and he certainly put on a show.

For outside display, lie had a remarkable
realistic dummy, complete with everything,
but so far up on the high wire that folks
couldn’t quite believe she wasn’t real.
Youngsters were encouraged to wear circus
costumes and win prizes at the first matinee.
The concession counter went all out to be
just as much part of the circus atmosphere.
Newspaper ad in circus style and the policy
of “mechanizing, humanizing and mer-
chandising” the picture resulted in the sec-
ond largest gross ever accorded a picture
in Denton, with the attraction holding over
ten days, another record breaking example
of Texas showmanship.

Paramount has a deal with Archer Plas-
tic Toys, Inc., to populate whole neighbor-
hoods with miniature Martians, fighting
The War of the Worlds — with a 37-set
of toy soldiers.

diupcT An All- Walt Disney Show

*■/ 1 111 I- _ . ■ mm - « mm ■ ■ Vjk / ~ . m • a | " a I jp* • f j** n r r m i

”- .TIME!

ON THE GIANT MIRACLE SCREEN!

A new kind of Disney entertainment !

An all-five-action adventure-romance . .
The most exciting love story ever told !

Walt Disney’s

The

SWORD

and tke

Rose

starring a ytw romantic team

RICHARD TODD
and GLYN1S JOHNS

b, PERCE PEARCE
o.M'Vtn KENNETH ANNARIN
Scm.,u,v, LAWRENCE E.WATK1N

0>tinbui«d by RKO *•<*» Pl«tvr«i. I«k. OW«l*D*«wy

STARTS WEDNESDAY 9:3o a.m.

EXPERTS AIR-CDNDlTiOMED

B’WAV xT 49th ST. • Cl 7-1633

And you will note that this is a "first" in newspaper advertising, also — showing that
there are always new uses for old devices, and new twists to showmanship,

MOTION PICTURE HERALD, SEPTEMBER 5. 1953

Goitfroy Has
All It Takes

John W. Godfroy, manager of the Para-
mount theatre, Ashland, Ky., is rapidly
qualifying across this desk as a manager
who has what it takes to get results. His
campaign on “Charge At Feather River”
included all the newspaper breaks you could
possibly add up in a town of 30,000 popu-
lation, with good use of publicity mats,
which usually get free space when brought to
the proper attention of editors by managers
who are live-wires. His town is so close
to the corner of three states, Kentucky, Ohio,
and West Virginia, that he has tear sheets
from across the borders, both daily and
Sunday newspapers represented.

Also at hand from Ashland is an exhibit
of material on “Arena” with the same fine
showing of free space in daily and Sunday
newspapers. A coloring contest on this pic-
ture had further additional coverage, with
accent on 3-D, now that color comics are
all the rage in three dimensions. He plasters
the papers with space-getting promotions,
and apparently, from looking over these
pages, it’s not at the expense of increased
paid space. Radio, too, lines up with still
more free advertising.

Sid Kleper starting late with the first
New Haven showing of “Story of Three
Loves” at Loew’s College theatre, but
nevertheless getting the full spread of a
first-run campaign — with Farley Granger
playing in a summer theatre nearby.

John G. Corbett, city manager for Schine
theatres at the Glove theatre, Gloversville,
reminding us that it’s the coal and not the
stove that gives the heat (in this hot weath-
er, he uses such illustrations ! ) and advertis-
ing is the coal in the theatre’s stove.

41 Greene, manager of the Avenue U thea-
tre, Brooklyn, is the man who confused and
confounded the N. Y. Traffic Commission by
offering new subway tokens at the theatre,
days before they went on sale. However he
did it, it made news on the front pages!

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Selling Approach

GENTLEMEN PREFER BLONDES — 20th
Century-Fox. In Color by Technicolor. With
Marilyn Monroe and Jane Russell. The
greatest gals — the greatest musical-comedy
feature of them all. What more can you
say, after you've seen these two, in action?
The M-M marvels of the age! They don't
make 'em any better. What this country
needs are more ''message'' pictures — like
this one! 24-sheet and all posters have
those two in proper costume to catch the
eye— and sell tickets at the box office. Use
the giant cut-outs in every possible way.
The herald keys the campaign, and this
picture deserves additional accessories.
Newspaper ad mats are big and beautiful,
with many views of the deciding factors,
whether gentlemen do or don't. A set of
teasers will serve in any situation, and the
complete campaign mat, at 35c is the
biggest bargain in town for small theatres,
with six ad mats and three publicity mats.
Editors will go for publicity mats on this
one, to settle an academic question. Keep
your lobby merry with music from the pic-
ture— the trade-marked songs will be rec-
ognized and there are many tieups possible
with record and music shops-. Lots of
albums on sale, and disc jockeys, have a
special ''teaser" record to conform to
your playdates. There's powerin the Tech-
nicolor trailer, and pep in the pictorial ad-
vertising style. Picture has been extrava-
gantly pre-sold. Use the billboards, news-
papers, television, everything you've got
to sell these tall, top-hatted terrific gals.

•

LILI — MGM. In color by Technicolor.
What happens to "Lili" is the happiest
thing that ever happened on the screen!
Leslie Caron, the girl "An American In
Paris" fell for, captivates anew, in a musical
of youth, love and enchantment! You'll
fall in love with "Lili"— you'll fall in love
with love! 24-sheet and other posters fea-
ture Lili herself in color art, to make cut-
outs for lobby and marquee display. No
herald in the pressbook, and few acces-
sories that show Leslie Caron as she ap-
peared in the Tran-Lux advertising in New
York. (See the Round Table of August
22nd) Leslie Caron has a distinctive, per-
tinent personality which these special ads
caught, but she doesn't look like herself in
some of the ads and materials shown in
the pressbook. And she needs this special
handling! There are several novelty acces-
sories, with good showmanship style, but
they only approximate the "Lili" of the
Trans-Lux ads. Newspaper ad mats gener-
ally suffer from this treatment, but we like
No. 306 or 206 best for style. The big
economy mat, which originated with MGM,
has all of the ad mats and slugs necessary
for small theatres, nine for the price of
one, with two publicity mats and some lino-
type border thrown in for good measure.

You never had it so good as you have it in
the 35c bargain campaign mats. If you try
for that portrait of "Lili" — you can copy
and use that cartoon — drawing easier and
to better advantage than you can build
or buy "Lili" figures that have less re-
semblance to the character. Put a girl in
"Lili" make up on the street, with her
little suitcase lettered for playdates. Let
the teen-age set try to look like "Lili" and
we mean the gamin of the ads.

TH E BAND WAGON — MGM's great
Technicolor musical. Breaking all records,
from coast to coast, in the early runs. Fred
Astaire and a fine cast, with songs to dance
to, songs to make love by, songs to laugh
with, and songs to thrill you. This is enter-
tainment! Get aboard "The Band Wagon."
24-sheet and other posters, too crowded
with credits to offer best opportunities for
picturial display, but each has possible
"band wagon" cut-outs for your lobby and
marquee. The 6-sheet has most everything,
with less space devoted to multiple credits.
You can't print a book on a poster, and
have any poster-quality left. Lawyers have
libraries and others can buy the book. The
herald keys the campaign, and there are
two typical MGM novelties — "teaser"
posters in two sizes, and a 2-color "teaser"
one-sheet, extra for display. A new MGM
service supplies nine color stills to sell color
with color as a special lobby display. A
set of two-sided paper pennants at $2 will
give you inside lobby flash as low cost.
Cut-out hangers at 25c each will add to
this display. These are I 3x42 inches, double-
sided, in four colors, direct from MGM. A
giant cut-out display, 8-feet high, in 5
colors, sells for $11.50 but you might be
able to assemble it with 24-sheet poster
cut-outs. Pages of exploitation and bally-
hoo suggestions in the pressbook, which
every showman must inspect for himself to
see if he can make these ideas work locally.
Radio, television and music tieups are auto-
matic, and you can always do well to con-
tact your local Fred Astaire dance studio
for cooperation. Showmen with time and
a little loose cash on their hands are buy-
ing Fred Astaire local franchises for many
valuable tieups that are beneficial to all
concerned.

MANAGERS' ROUND TABLE SECTION, SEPTEMBER 5, 1953

CLASSIFIED ADVERTISING

NEW EQUIPMENT

SAVE 70% ON MARQUEE LETTERS ! TEM-
pered Masonite: 4"- — 35c; 8" — 50c; 10" — 60c; 12" — 85c;
14" — $1.25; 16" — $1.50 any color. Fits Wagner, Adler,
Bevelite signs. S- O- S. CINEMA SUPPLY CORP.,
604 W. 52nd St., New York 19.

USED EQUIPMENT

HOLMES EDUCATOR EQUIPMENTS-LOW EST
prices everl Dual 35mm projection-sound complete,
excellent condition, $495. Buy on time! S. O'. S.
CINEMA SUPPLY CORP.. 604 W. 52nd St., New
York 19.

GREATER VALUES THAN EVER IN OUR OWN
3-story building! E-7 mechanisms, 6 months’ guaran-
tee, $475 pair; 3 unit late Automaticket register,
excellent. $135; Super Simplex mechanisms, rebuilt,
$750 pair; Aluminum Reels, $1.25; Hertner 65-/130
generator, like new, $675 ; 3D equipment at lowest
prices. STAR CINEMA SUPPLY, 447 West 52nd St.,
New York 19.

FOR SALE: SIMPLEX SOUND COMPLETE,
like new, used very little. Two Simplex projectors
recently overhauled. Lamps, rectifiers, and booth
equipment. Two Holmes portables, baby Strong lamps,
rectifiers, mazda lamps. Make an offer. J. L.
Thayer. Epping, N. H.

SEATING

THEATRES

FOR SALE: NORWAY THEATRE, 5*4 YEARS
old, 423 seats, very fine equipment. Located in
DeForest, Wisconsin. Asking $55,000, $30,000 will

handle. A. A. STROMER, BROKER, 513 South Or-
chard St., Madison, Wis.

FOR SALE: OUTSTANDING DRIVE-IN THE-
atre located in Southern Illinois rich industrial city.
High class. Profitable. One-third down, baiance
monthly. Investigation invited. BOX 2737. MOTION
PICTURE HERALD.

HELP WANTED

POSITIONS WANTED

CITY MANAGER, 15 YEARS’ EXPERIENCE, IN-
cluding drive-ins. Small town or large city. Minimum
salary $125. BOX 2736, MOTION PICTURE HERALD.

DRIVE-IN EQUIPMENT

STUDIO EQUIPMENT

SERVICES

WINDOW CARDS, PROGRAMS. HERALDS,
photo-offset printing. CATO SHOW PRINTING CO.,
Cato, N. Y.

BOOKS

MAGIC SHADOWS — THE STORY OF THE
Origin of Motion Pictures by Martin Quigley, Jr.
Adventurous exploration of all the screen’s history
told in 191 crisp pages and 28 rare illustrations. Excit-
ing reading for now and authoritative reference for to-
morrow. A Georgetown University Press book. Price,
postpaid, $3.50. QUIGLEY BOOKSHOP. 1270 Sixth
Ave., New York 20, N. Y.

MOTION PICTURE AND TELEVISION ALMANAC
—the big book about your business — 1953-54 edition.
Contains over 12,000 biographies of important motion
picture personalities. Also all industry statistics. Com-
plete listing of feature pictures 1944 to date. Order your
copy today, $5.00, postage included. Send remittance to
QUIGLEY BOOKSHOP, 1270 Sixth Avenue, New
York 20, N. Y.

Legion Approves Seven
New Films Reviewed

The National Legion of Decency this
week reviewed seven films, placing four in
Class A, Section I, morally unobjectionable
for general patronage; and three in Class
A, Section II, morally unobjectionable for
adults. In Section I are “The All American,”
“Mister Scoutmaster” “Northern Patrol”
and “Trail of the Arrow.” In Section II
are “The Actress,” “Clipped Wings” and
“Plunder of the Sun.”

Club Tourney Drawing
To Aid Epilepsy Fund

The Variety Club of New York, Tent 35,
plans its annual golf tournament at the
Westchester Country Club, Rye, N. Y.,
Thursday, October 1. In connection with
the tournament a drawing will be held for
two Cadillac “62” Sedans, for which tickets
are $10 each. It is planned to offer only
2,500 of these tickets for sale, the proceeds to
be devoted to the Foundation to Combat
Epilepsy, Inc., which is the New York club’s
Heart Project.

William J. German, Foundation president,
and Edward Lachman, chief barker, have
announced that the tickets may be purchased
at Variety Club Foundation headquarters,
140 West 58th Street, or at club head-

quarters, the Penthouse, Hotel Piccadilly,
227 West 45th Street.

It was explained to members by Mr.
Lachman that the clinic soon will lose the
support it has received from the Association
for the Aid of Crippled Children and that
$15,000 is needed by October 15.

Frank Rosenberg Forms
Production Company

A new production company appeared c-n
the scene last week. It is Colony Pictures,
Inc., and its principal is Frank Rosenberg.
Mr. Rosenberg currently is completing
“King of the Khyber Rifles” in Cinema-
Scope for 20th-Fox. He said he believed
that “the future of our business lies in the
careful production of custom-made quality
pictures” and added he would make no more
than three per year, that all would have top
stars and contain stories with a “definite
point of view.”

The first is to be Robert Buckner’s orig-
inal story “Royal Flush,” which will have
as backgrounds Texas and New Orleans,
and for which he has been seeking Gary
Cooper as a star. It will have color and
be made for wide screen. Mr. Rosenberg
also is seeking a feminine star for this pic-
ture. Stars, writers, directors and perform-
ers will share in profits, Mr. Rosenberg
announced.

Westrex Announces New
"Button-On" Sound Head

Westrex Corporation, New York, has
announced the availability of a “pent-house”
or “button-on” type magnetic reproducer.

Called the “R9 Stereophonic Reproducer,”
it was developed in the Westrex Hollywood
laboratories. It employs two impedance
drums, resulting in a tight loop ; the well-
known Davis drive and flutter suppressor ;
an idler which can be adjusted to the length
of the film path of different makes of pro-
jectors; and a large 32-tooth sprocket which
controls the film on both sides of the mag-
netic head and which is locked when either
of the associated rollers is in the open posi-
tion to facilitate speedy and accurate thread-
ing.

The announcement states that the flutter
content is below .10 per cent as compared
with the Academy standard of .15 per cent.

Set "Boy Lost" Premiere

The entire proceeds of the premiere of
Paramount’s “Little Boy Lost,” set for Sep-
tember 21 at the Rivoli theatre, New York,
will go to the Memorial Press Center Fund
of the Overseas Press Club of America.
The club is using the fund to honor the
memory of the heroes of the press who died
in World War II and in Korea.

MOTION PICTURE HERALD, SEPTEMBER 5, 1953

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
reports cover 12 5 attractions, 5,3 0 5 playdates.

EX means Excellent; AA — Above Average; AV — Average;

BA — Below Average; PR — Poor.

Abbott & Costello Go to Mars (Univ.)

All Ashore (Col.)

All 1 Desire ( Univ.)

1 1

Ambush at Tomahawk Gap (Col.)

Arena (3-D) (MGM)

(Band Wagon, The (MGM)

Battle Circus (MGM)

1 1

Beast from 20,000 Fathoms, The (WB)

Blue Gardenia, The (WB)

Bwana Devil (3-D) (UA)

By the Light of the Silvery Moon (WB)

Call Me Madam ( 20th - Fox )

Charge at Feather River (3-D) (WB)

City of Bad Men (20th-Fox)

City Beneath the Sea (Univ.)

Code Two (MGM)

Column South (Univ.)

1 1

*Come Back, Little Sheba (Para.)

Confidentially Connie (MGM)

Count the Hours (RKO)

Cow Country (AA)

■(Cruisin' Down the River (Col.)

Cry of the Hunted (MGM)

Dangerous When Wet (MGM)

Desert Legion (Univ.)

Desert Rats, The (20th-Fox)

Desert Song, The (WB)

Destination Gobi ( 20th- Fox )

Down Among the Sheltering Palms ( 20th- Fox )

Dream Wife (MGM)

Fair Wino' to Java (Rep.)

Farmer Takes a Wife (20th-Fox)

Fast Company (MGM)

Fort Ti (3-D) (Col.)

Fort Vengeance (AA)

(49th Man, The (Col.)

Francis Covers the Big Town (Univ.)

Gentlemen Prefer Blondes (20th-Fox)

Girl Next Door, The ( 20th- Fox )

Girl Who Had Everything (MGM)

Girls of Pleasure Island (Para.)

1 1

Glass Wall, The (Col.)

Glory Brigade, The (20th-Fox)

Great Sioux Uprising, The (Univ.)

Gunsmoke (Univ.)

Hans Christian Andersen (RKO)

Hitch-Hiker, The (RKO)

Houdini ( Para.) ......

House of Wax (3-D) (WB)

1 Love Melvin (MGM)

Invaders from Mars ( 20th- Fox )

It Came from Outer Space (3-D) (Univ.)

It Happens Every Thursday (Univ.)

Jack McCall, Desperado (Col.)

*Jalopy (AA)

Jamaica Run (Para.)

1 1

*Jeopardy (MGM)

fJuggler, The (Col.)

f Kid from Left Field, The ( 20th - Fox )

Lady Wants Mink (Rep.)

Law and Order (Univ.)

Let's Do It Again (Col.)

Lili (MGM)

Lone Hand (Univ.)

Ma and Pa Kettle on Vacation (U niv. )
Main Street to Broadway (MGM)
Man from the Alamo (Univ.)

Man in the Dark (3-D) (Col.)

Man on a Tightrope (20th-Fox)

Maze, The (3-D) (AA)

Member of the Wedding (Col.)
fMoon Is Blue, The (UA)

Moulin Rouge (UA)

Never Let Me Go (MGM)

Off Limits (Para.)

Peter Pan ( RKO)

Pickup on South Street ( 20th- Fox )
Plunder of the Sun (WB)

Pony Express ( Para.)

Powder River ( 20th- Fox )

President's Lady, The ( 20th- Fox )

Prince of Pirates (Col.)

Queen Is Crowned, A (Univ.)

Raiders of the Seven Seas (UA)
Remains to Be Seen (MGM)

Ride Vaquero (MGM)

Roar of the Crowd (AA)

Salome (Col.)

*San Antone ( Rep.)

Sangaree (3-D) (Para.)

Savage Mutiny (Col.)

Scandal at Scourie (MGM)

Scared Stiff (Pa ra.)

Second Chance (3-D) (RKO)

Seminole (U niv.)

Serpent of the Nile (Col.)

Shane ( Para.)

She's Back on Broadway (WB)

*Silver Whip (20th-Fox)

Siren of Bagdad (Col.)

Slight Case of Larceny, A (MGM)
Small Town Girl (MGM)

Snows of Kilimaniaro ( 20th- Fox )
Sombrero (MGM)

(Son of Belle Starr (AA)

South Sea Woman (WB)

Split Second (RKO)

Stalag 17 (Para.)

Star, The ( 20th- Fox )

Stars Are Sinqing, The (Para.)
*Stooge, The (Para.)

Sun Shines Bright, The (Rep.)

Story of Three Loves, The (MGM)
(Sword and the Rose, The (RKO)

Take Me to Town (Univ.)

*Tall Texan, The (Lippert)

Tarzan and the She-Devil (RKO)

Taxi (20th-Fox)

Thunder Bay (Univ.)

Titanic ( 20th- Fox )

Tonight We Sing (20th-Fox)

Trouble Along the Way (WB)

Vanquished, The (Para.)

White Witch Doctor (20th-Fox)
Woman They Almost Lynched (Rep.)

Young Bess (MGM)

1 1

3 5

- 8 5 4 3

-13 11

'■■f -W-

DR. LEO’s REPORT ON
THE AMERICAN
FEMALE !

"Do you dream
of movie
stars?"

"Just
M-G-M
stars,

Doctor.’

* American females from 9 to 90 will love those
great M-G-M attractions that were screened at
M-G-M’s "SEE FOR YOURSELF” Conference in
California last week. SEE FOR YOURSELF at the
nationwide Trade Shows and TELL THE WOMEN!

* And females all over the world.

WOMEN DECIDE WHAT MOVIES MEN GO TO !

"MOGAMBO’ ' — Girls from 9 to 90 get Technicolor goose-pimples at the battle of the sexes, as well
as at the battle of the gorillas. Better than “King Solomon’s Mines.” Clark Gable, Ava Gardner are
sensational. Filmed on safari in Africa, greatest of them all!

"KISS ME KATE’ ’ — Those famed love songs by Cole Porter that make the ladies swoon are even
more romantic in M-G-M’s BIG Technicolor production of the famed stage hit of two continents. Kathryn
Grayson, Howard Keel {those “Show Boat" sweeties) ecstatically reunited. Sure-fire feminine!

"ALL THE BROTHERS WERE VALIANT” — Oh! how the ladies will love this swashbuckling

Technicolor adventure spectacle. Brother against brother for a beautiful bride. Whale hunts, South Sea
romance, pearl fortunes — its got everything! Star power: Robert Taylor, Stewart Granger, Ann Blyth.

"TAKE THE HIGH GROUND!’ ’ — High, wide and handsome Ansco color entertainment starring
Richard Widmark, Karl Malden and beautiful new favorite Elaine Stewart. Mothers, sisters, sweethearts
will watch this stirring, funny story of their lads in the training camps with fascinated enjoyment.

'ESCAPE FROM FORT BRAVO” — Feminine hearts will flutter when a Southern belle secretly
helps the escape of prisoners and yields to romance. Ansco color wilderness backgrounds. Savage Apache
sequence. William Holden, gorgeous Eleanor Parker, John Forsythe and cast of hundreds.

"TORCH SONG’ ’ — The star beloved by all women Joan Crawford co-starring with Michael Wilding
follows her “Sudden Fear” triumph with a powerful romance in which the man you’d least expect her
to fall in love with gets under her skin. Joan for the first time in Technicolor is marvelous!

"EASY TO LOVE”-a holiday treat that every guy will have to take his gal to see. It’s Esther William’s
top Technicolor attraction, musically joyous, brilliant in spectacular wonders. Filmed in Cyprus Gardens,
Florida in the magnificent M-G-M manner. Van Johnson and Tony Martin both in love with Esther!

"RHAPSODY’ ’—No woman could resist this powerful love story of the musical world, with its Con-
tinental backgrounds, filmed in Technicolor. Elizabeth Taylor as the wealthy girl who must dominate
her men. New star Vittorio Gassman and stage star John Ericson as the men desperately in love.

PLUS MORE M-G-M BIG ONES! AND THE MEN WILL BE EQUALLY SOLDI

rink the Mexican beer

Live on a time-bomb beyond tl

Get mad-get wild

TRADE

SHOW

SEPT.

m ilnnunnn a ki Music Composed and

PHILIP YORDAN * Conducted by Dimitri Tiomkin

PRODUCED BY

MILTON SPERLING • I

ALL ITS THRILLS MORE THRILLING WITH

WarnerPh

ALBANY

Warner Screening Room
110 N. Pearl St. -12:30P.M.
ATLANTA

20th Century-Fox Screening Room

197 Wolton St. N.W. • 2:00 P.M.

BOSTON

RKO Screening Room

122 Arlington St. • 2:30 P.M.

BUFFALO

20th Century-Fox Screening Room
290 Franklin St. • 8>OOP.M
CHARLOTTE

20th Century-Fox Screening Room

308 S. Church St. • 2:00 P.M.

CHICAGO

Warner Screening Room

1307 So. Wabash Ave. • 1 30 P.M.

CINCINNATI

RKO Palace Th. Screening Room

Palace Th. Bldg. E. 6th • 8 00 PM.

CLEVELAND

Warner Screening Room

2300 Payne Ave. • 8 30 P.M.

DALLAS

20th Century-Fox Screening Room
1803 Wood St. • 2 00 P.M.
DENVER

Paramount Screening Room
2100 Stout St. • 2 00 P.M.

DES MOINES
Paramount Screening Room
1 125 High St. • 12:45 P.M.
DETROIT

Film Exchange Building

2310 Cass Ave. • 2 00 P.M.

INDIANAPOLIS

20th Century-Fox Screening Room

326 No. Illinois St. • 1 00 P M.

JACKSONVILLE

Florida Theatre Bldg. Sc. Rm

1 28 E. Forsyth St. • 2:00 P.M.

KANSAS CITY

20th Century-Fox Screening Room

1720 Wyandotte St. • 1 30 P.M.

LOS ANGELES

Warner Screening Room

2025 S. Vermont Ave. • 2 00 P.M

MEMPHIS

20th Century-Fox Scceening Room

151 Vance Ave. • 12:15 P.M.

MILWAUKEE

Warner Theatre Screening Room

212 W. Wisconsin Ave. • 2:00 P.M

MINNEAPOLIS

Warner Screening Room

1000 Currie Ave. • 2 00 P.M.

NEW HAVEN

Warner Theatre Projection Room

70 College St. • 2:00 P.M.

NEW ORLEANS
20th Century-Fox Screening Room
200 S. Liberty St. • 8:00 P.M.
NEW YORK
Home Office

321 W. 44th St. • 215 P.M.
OKLAHOMA

20th Century-Fox Screening Room
10 North Lee St. • 1:30 P.M.
OMAHA

20th Century-Fox Screening Room

1 502 Davenport St. • 1.30 P.M.

PHILADELPHIA

Warner Screening Room

230 No. 13th St. • 2:00 P.M.

PITTSBURGH

20th Century-Fox Screening Room
1715 Blvd. of Allies • 1 30 P.M.
PORTLAND
Star Sc. Rm.

925 N. W. 19th Ave. • 2:00 P.M.
SALT LAKE

20th Century-Fox Screening Room

316 East 1st South • 1:00 P.M.

SAN FRANCISCO

Republic Screening Room

221 Golden Gate Ave. • 1 30 P.M.

SEATTLE

Modern Theatre

2400 Third Ave. • 10:30 A.M.

ST. LOUIS
S'renco Screening Room
3143 Olive St. • 1:00 P.M.
WASHINGTON
Warner Theatre Building
1 3th 8 E. Sts. N.W. * 1:30 P.M.

wipe the blood off your chin.

5 brawls, the bandits, the heat.

woman!

ir Gary! Winner of this
Actor’ Academy Award!

rw i ii j tt vmmi vi ■■■■.

m wo

FRANKIE LAINE sings ‘BLOWING WILD’ the ballad
featured in the sensational musical background by Academy
Award composer Dimitri Tiomkin

ar’s Academy Award for ‘Best Supporting Actor’ !

iugoTregonese • A UNITED STATES PICTURES

PRODUCTION

• DISTRIBUTED BY WARNER BROS.

ONIC

UND

THIS PICTURE ALSO CAN BE EXHIBITED ON

.Wide Screens

Of the United States
and Canada

Dear Friends: , 0f the

, indeed to have the members
1 am honor distribution department set

20th Century-Fox drstrr 3rd

aside the period of August 30th

for an A1 Uchtman Testimonial.

And 1 want to thank all ^ Testimonial.

S0 "
I deeply apprecido

Sincerely

MOTION PICTURE HERALD

MARTIN QUIGLEY, Editor-in-Chief and Publisher

Vol. 192, No. II

MARTIN QUIGLEY, JR., Editor

September 12, 1953

Stars of Tomorrow

ONCE again the exhibitors of the United States
and Canada have voted on their choices of the
Stars of Tomorrow. For thirteen years The
HERALD has been conducting this annual balloting
which is as eagerly watched in Hollywood as in ex-
hibition. In no one of the many complex problems facing
production is guidance more sought than in the matter
of personalities. The cry is always for new faces but only
a few of the new faces ever can become stars of the
first magnitude. Exhibitors being at the point of contact
with the theatregoers are in the best position to judge
which men and women are most likely to develop into
the fullness of stardom.

The accuracy of the exhibitors’ judgment in this re-
gard is attested by the fine prophesying they have done
up to now. In the past dozen years the exhibitors have
voted to the top rank of “Stars of Tomorrow” a signifi-
cant number of screen personalities — Rita Hayworth in
1941 to Marilyn Monroe in 1952.

Congratulations are due to this year’s “Stars of To-
morrow,” led by the number-one choice of exhibitors,
Janet Leigh. Thanks are also in order to the thousands
of exhibitors who have cooperated in this worthwhile
project.

■ ■ ■

Lo the Western!

THAT all has not been well in the field of the
Western motion picture has been clear for several
years. In a sense the reference to the low-budget
Western in the production policy statement last week
of Herbert J. Yates, president of Republic Pictures, may
be taken as a kind of obituary of that type of feature.

Mr. Yates said, “The market for B pictures and small
Westerns is finished. Formerly in this group we sold
to around 8,000 theatres. Five thousand of these are
now closed, and the remaining houses are in a precarious
position.”

The continuing vitality of the American West in its
pioneer days as a story source of feature films of course
is not impaired. However, the “series” Western, made
on a modest budget and featuring a cowboy idol is hav-
ing a difficult time. While Mr. Yates’ statement draws
attention to one facet of the situation — the closing of
theatres where such films were especially popular —
there are others.

Too many Westerns were built around the same plot
elements. Even avid fans have difficulty in distinguish-
ing one picture from another. The advent years ago of
the singing cowboy stars — Gene Autry and Roy Rogers

— prolonged the life and popularity of the series Western
but for a long time the type has needed other innovations.
Tradition and the conservatism of exhibitors work
against successful improvements in production values.
Series Westerns in color often were passed over for
reissues in black and white because the color films obvi-
ously had to command a higher rental due to increased
production costs. However, the most important factor
of all is that theatres which play series Westerns en-
counter direct competition from the many available old
Westerns of the same general character — free — day after
day on television.

■ ■ ■

Work for COMPO

IRTUALLY all the resources of COMPO in terms
of money, time and manpower have been devoted
to the campaign for the repeal of the admission
tax. That fight will and must go on. In the period be-
tween now and early in 1954 there will be a certain
respite from major activity in this regard. Congress
proved when it passed almost unanimously the Mason
Bill that it understands the industry’s case. Steps need
to be taken to insure that, in the midst of other appeals
for tax repeal, Congress does not forget relief for motion
picture theatres.

As important as relief from discriminatory taxation is,
it is not the only purpose for which COMPO was estab-
lished. With the experience and maturity gained in
working together in the tax campaign COMPO mem-
bers now have the opportunity to tackle other matters
as well. The need for action continues on a number of
fronts.

Mark Twain used to remark — “Everybody talks about
the weather but no one does anything about it.” And so
it has been with public relations in the film industry —
lots of talk but little or no action. There is one important
field for COMPO. Another that should be mentioned
now is the coordination of efforts and exchange of view-
points with respect to the new processes of the screen
including stereophonic sound. In no other organization
are producers, distributors, exhibitors and equipment
makers represented. A COMPO-sponsored round table
on the new techniques would be constructive.

How COMPO could help improve public relations and
serve as a forum for airing all-industry viewpoints on
the new techniques and their applications to theatres
are two topics that might be considered at the general
meeting of COMPO scheduled to be held at the Hotel
Astor, New York, September 21 and 22.

— Martin Quigley , Jr.

MOTION PICTURE HERALD

Tax Fight Not Over

To the Editor :

It seems that COMPO did the best job
possible for the repeal of the Movie Admis-
sion Tax but failed.

As I see it, the entire industry should pull
100 per cent together before the next session
of Congress and close all theatres for at
least one week December 18-24, inclusive.
This would let all members of Congress
realize our plight with Dark Main Streets
from coast to coast.

Where an exhibitor has losing theatres, he
should close until repeal of the tax is ac-
complished before giving a theatre another
try. This should give COMPO the addi-
tional ammunition to accomplish our mission.

Let COMPO get pledges from all thea-
tres that haven't closed already besides a fee
from each for the next bout of the repeal
fight. — C. V. MARTINA, Martina Theatre
Corporation, Albion, New York.

Repeal Is Vital

To the Editor:

I can see only one thing that can save our
sick industry. It is not any type of novelty
such as 3-D, or is it better movies. It is a
complete repeal of the 20 per cent killer of
a tax. This tax must be exterminated if our
hard hit industry is to survive. We cannot
and we must not settle for any kind of so-
called tax relief that simply cuts the tax.
The only kind of tax for our industry is a
repealed one.

Walter Brooks had a good idea that he let
the public know about in the August 15
Managers’ Round Table section of The
HERALD. In my opinion, this would be
the most likely type of tax repeal to pass the
Congress and get the approval of our Presi-
dent. If all amusements charging 55 cents or
less were to be free of tax it would benefit
nearly all the theatres. This type of change
in the Internal Revenue Code would be the
only type of change that would be agreeable
outside of complete tax repeal.

If we are to get this tax relief we must
keep all of our friends in Congress. We can-
not afford to lose one. If we are to keep our
friends we must write to all Congressional
leaders and to our own Senators and our
Representatives. We must write letters of
thanks to Senator Eugene Millikin, Senator
William Knowland, Rep. Joseph Martin,
Rep. Charles Halleck, Rep. Daniel Reed and
a special message of thanks to Rep. Noah M.
Mason, author of H. R. 157, the bill to re-
peal the tax.

We cannot forget our own Congressmen
either ; they must be thanked. If we can keep

all our friends in Congress, we cannot lose.
I have already sent letters to the leaders of
Congress. I have only received a letter from
Mr. Mason as yet. He has assured me that
he does “expect to continue my support of
this measure.”

I cannot see where any form of 3-D will
save our industry. I am a manager of a
small town theatre, and by the time I could
install 3-D at the present price I’d be out of
business. People don’t want to see a new
dimension. All the public wants is good
movies at a low price. If we are forced to
raise our prices because of the tax, people
will stay at home and watch TV. I know
that if I were in their place, I’d stay home.
We are giving them the best movies ever
without any new screen techniques. All we
need is lower prices. If we are to have lower
prices, or if prices are to stay the same, we
must have the unfair ticket tax repealed. —
VICTOR PROFUGHI, Dixon Theatre,
Dixonmlle, Pa.

Star Appeal

To the Editor:

Recently, I have heard much comment on
a certain type of publicity that young female
stars are getting in fan magazines. This
publicity is attained by posing with their
small babies and entire families. Our indus-
try is built on a certain amount of “Sex
Appeal”, and when these young ladies pose
with their children, it kills most of that ap-
peal. I don’t think they realize what damage
this is doing them, but it is time they under-
stand this can do much damage at the box
office. To mention two that I personally
know have been hurt are Jane Powell and
June Allyson. You can pick up most any
magazine and find this type of publicity.

Would it be a good idea to run an editorial
on the effect this is having? These young
stars seem to think that by advertising how
serene their home life seems to be is good
publicity, but in doing so they kill the sex
appeal that is more precious than any other
draw at the box office. The case of Marilyn
Monroe shows how much we need sex ap-
peal at the box office. — Independent Exhibi-
tor, Shelby, N. C.

Family Films First

To the Editor:

Family pictures still are the best for
small towns. They can be comedy, western,
musical or drama, just so they suit adults
and young alike. Country people like to
bring the family for entertainment. — Inde-
pendent exhibitor, White River, South
Dakota.

September 12, 1953

SHOWMEN of the United States select
the Stars of Tomorrow in annual Motion
Picture Herald-Fame poll; listings of first
ten and following fifteen winners Page 1 2

ALLIED unit of West Virginia elects Matz
president for year Page 20

MARTIN QUIGLEY in Toronto heads
judges' panel in contest Page 20

TERRY RAMSAYE Says — A column of com-
ment on matters cinematic Page 22

20TH-FOX arranges dates in Canada for
showings of "The Robe" Page 22

RODGERS at Metro meet cites fact that
good pictures gross well Page 24

REAGAN sees theatre as occupying im-
portant place in community Page 24

"NEW Screen Techniques," a review of the
book, by Terry Ramsaye Page 25

ODEON, chief Rank company, reports in-
crease in profit for year Page 26

U.A. offers a flow of product, scheduling
48 in 15 months Page 27

YATES urges marriage with TV to gain an
"era of prosperity" Page 29

DRIVE-IN operation has improved, Ezell,
association head, says Page 29

MEXICAN exhibition fighting regulation
cutting ticket price Page 30

NATIONAL SPOTLIGHT— Notes on indus-
try personnel across country Page 31

SILVER named head of Christmas drive to
aid Rogers hospital Page 35

CENSUS Bureau to seek to make dollar
volume check of industry Page 36

SEATON, producer, insists story most vital
element of production Page 36

SERVICE DEPARTMENTS

Film Buyers' Rating 3rd Cover

Hollywood Scene Page 28

Managers' Round Table Page 37

People in the News Page 35

What the Picture Did for Me Page 41

IN PRODUCT DIGEST SECTION

Showmen's Reviews Page 1989

Short Subjects Chart Page 1990

The Release Chart Page 1992

■ eng

MOTION PICTURE HERALD, SEPTEMBER 12, 1953

THE operation of television in
Canada by the Government-
owned Canadian Broadcasting
Corporation has been unsuccessful
financially, according to a CBC
statement. A deficit of $2,563,118 in
seven months of operation was
recorded. The three stations now
in operation earned revenues of
$518,380 and capital outlay, largely
Government loans, totalled $1,-
875,934. Operating expenditures
totalled $3,148,615. There are 574,-
811 receiving sets in operation in the
Dominion.

► Chicago judges are invoking an
anti-riot act against youthful theatre
vandals. Last week five youths in-
volved in a disturbance at the Vogue
theatre were given jail sentences
ranging from 30 days to six months.

Theatre exploitation methods will
help the Walter Reade television
station WTRV in Eatontown, N. J.,
get established as a commercial
force in its area. Next week Walter
Reade, Jr., president of the Reade
circuit and of the television station,
will be host at a dinner and cocktail
party for 300 TV set distributors,
dealers and servicemen. Featured
will be a preview of the new sta-
tion’s programming and plans to
assist dealers in the sale of sets.

► Installations of 3-D projection
equipment in 31 U.S. exchange areas
and four Canadian territories now
total 3,815, according to distributors.
New York leads with 450 installa-
tions, Los Angeles has 380, Dallas
241, and Washington 227.

► Budget troubles have prevented
the Federal Civil Defense Adminis-
tration from making any further
plans for additional use of theatre
television training programs. But
officials say they still hope some-
thing can be worked out within their
present money allowance.

► The British Board of Trade
Journal, published Wednesday in
London, reports a five per cent de-
crease in motion picture theatre at-
tendance in Britain during the first
quarter of this year, compared with
the first 1952 quarter. Admissions
for the quarter ended March 28,

1953, totaled 328,471,000, against
345,596,000 for the like quarter last
year. The figure for the 1953
quarter is 7.8 per cent ahead of the
previous quarter, the final quarter
of 1952, when the total of 304,819,000
admissions were reported.

► Business at New York City’s big
Broadway houses was bigger and
better than ever during the Labor
Day weekend. The pace setters
were three holdovers: Columbia’s
“From Here to Eternity,” Para-
mount’s “Roman Holiday,” and
Warners’ “Plunder of the Sun,”
which was coupled with a Dean
Martin-Jerry Lewis stage show. At
the Capitol, “Eternity” did $83,000
worth of business over the weekend
and headed for $150,000 for seven
days in its fifth week. At the Radio
City Music Hall, “Roman” was ex-
pected to hit a fine $165,000 for the
second week, while “Sun” and
Martin & Lewis racked up an excel-
lent $142,000 in their second and
final week at the Paramount.

► The Commack drive-in theatre,
Commack, L. I., has become the first
drive-in publicly to join Theatre
Network Television. It was an-
nounced Tuesday that the open-air
operation has booked the telecast of
the Marciano-LaStarza heavyweight
title bout set for September 24. The
picture will be projected on a screen
five stories high, measuring 58 by
42 feet. At $3.60 per person or $14.40
per car, 500 tickets already had been
sold by midweek.

► Newspaper columnists and easily
influenced industry people in exhibi-
tion, distribution and production
who are presently writing off 3-D as
a novelty or a fad which will quickly
pass, might find it enlightening to
thumb back through yesteryear’s
pages and note how long and posi-
tively the same kind of people wrote
off motion picture color.

► Legality of the Federal 20 per cent
admissions tax as applied to thea-
tres operating under a “donation”
policy will be tested in federal court
at Columbus, Ohio. Charles Sugar-
man, co-owner. Little theatre at
Columbus, will file a “friendly” suit
to recover the tax he said he was
forced to pay on donations at the
321-seat house since the policy went
into effect last November. The Lit-
tle was billed for the tax by the
Bureau of Internal Revenue, Mr.
Sugarman said.

► A rich treat of remembrances and
reflections will be coming up in two
years for students and lovers of the
motion picture art. Cecil B. DeMille
who celebrated his 72nd birthday a
little over three weeks ago, has
signed a contract to write his auto-
biography. The film pioneer expects
to have it ready for publication in
1955.

► The Senate Small Business Sub-
committee hearings on motion pic-
ture trade practices are now avail-
able in printed form — a mammoth
952-page volume. The book includes
transcripts of the hearings in Los
Angeles in March and April, the
hearings in Washington in April,
May and July, and supplemental
information filed by distributors and
exhibitors.

► Look for a big drive next session
to get Congress to boost the appro-
priations for the government’s over-
seas information program. The
argument will be that a “new team”
has been put in charge of the pro-
gram and needs the money to do
its job right.

► The Bureau of Internal Revenue
has started to crack down on too-
liberal “entertainment” deductions
claimed by large business and indi-
vidual taxpayers.

MOTION PICTURE HERALD, 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, President; Martin Quigley, Jr., Vice-President; Theo. J. Sullivan, Vice-President and Treasurer; Raymond Levy, Vice-President; Leo J. Brady,
Secretary; Martin Quigley, Jr., Editor; Terry Ramsaye, Consulting Editor; James D. Ivers, News Editor; Charles S. Aaronson, Production Editor; Floyd E. Stone, Photo Editor;
Ray Gallagher, Advertising Manager; Gus H. Fausel, Production Manager. Bureaus: Hollywood, William R. Weaver, editor, Yucca-Vine Building, Telephone HOIlywood 7-2145;
Chicago, 120 So. LaSalle St., Urben Farley, advertising representative, Telephone, Financial 6-3074; Washington, J. A. Otten, National Press Club; London, Hope Willjams
Burnup, manager, Peter Burnup, editor, 4 Golden Square. Correspondents in the principal capitals of the world. Member Audit Bureau of Circulations. Other Quigley
Publications:^ Better Theatres, published thirteen times a year as Section II of Motion Picture Herald; Motion Picture Daily, Motion Picture and Television Almanac and Fame.

MOTION PICTURE HERALD, SEPTEMBER 12, 1953

IBMHMif

Welcome

IT WAS "SEE FOR YOURSELF" WEEK in Hollywood these
recent days, as MGM's top executives from all over the nation
descended upon the studio to hear and see the latest in prod-
uct, technical developments, and policies. Above, an MGM
technical achievement, a variable focus projection lens, is
inspected by Howard Dietz, vice-president for advertising,
publicity, and promotion; Charles Reagan, general sales man-
ager; Dore Schary, studio head; and Arthur M. Loew, president
of Loew's International. See page 24.

THIS IS THE BOARD OF DIRECTORS for 1953, for the Screen Writers
Guild, in Hollywood. In left to right array, seated, are D. M. Marshman,
Jr.; Valentine Davies, first vice-president; Adele Buffington; Richard Breen,
president; Dorothy Hughes; Robert Pirosh, Everett Freeman. Standing,
Barry Shipman, Beirne Lay, Jr., Warren Duff, James Webb, Richard
Tregaskis; Frances Inglis, executive secretary; Morgan Cox, Ronald Mac-
Dougall; David Dortot, secretary; Harold Greene, Walter Reisch, and John
Monks, Jr. Others on the board are Leonard Spiegelgass, treasurer;
Charles Hoffman, Curtis Kenyon, Erna Lazarus, Harry Tugend; and Allen
Rivkin, public relations director.

by the Herald

ANNOUNCING A DEAL, whereby Vitapix Corpo-
ration, owned by television stations, will distribute
to its field 54-minute and full length versions of
26 pictures produced by Princess Pictures, which
also will make its product available to theatres. The
men are Frank E. Mullen, left, Vitapix president;
and Burt Balaban, Princess president, at the New
York announcement reception last week.

MOTION PICTURE HERALD, SEPTEMBER 12, 1953

LETTING THE PUBLIC KNOW what's been hap-
pening to improve its entertainment. The scene is
at the Wilder circuit's Commodore Theatre, at
Portsmouth, Va. The display tells about stereo-
phonic sound, and shows typical Voice of the Thea-
tre speakers. Mel Diggs, manager, arranged the
display.

WORLD PREMIERE of Warners' "Island in the Sky" at the
Hollywood Paramount Theatre. Above, some of the celebrities
who helped pay tribute to a picture which commemorates and
dignifies aviation and its heroes. They are James H. McDivitt,
regional vice-president of the Air Force Association; Robert
Fellows, co-producer; William Wellman, director; John Wayne,
star, and Larry Finley, master of ceremonies.

TELLING ABOUT the de-
cision to have the Council
of Motion Picture Organiza-
tions executive committee
and board meet in New
York later this month to con-
sider anew the campaign to
repeal the admissions tax,
and other matters. At the
right, Robert Coyne, special
counsel; William C. Gehring,
representing Al Lichtman;
Trueman Rembusch, and Her-
man Robbins.

by the Herald

INSPECTING the sheet music for
"Legion Ball," marching song theme of
Columbia's "Legion at Bat": Solita
Palmer, composer; Ford Frick, Baseball
Commissioner; and Paul Lavalle, Band
of America conductor. The picture is
about American Legion junior baseball
sponsorship.

LOUIS ELLIMAN, left, in charge
of Rank interests in Ireland, and
that country's leading exhibitor, is
in New York and Hollywood, learn-
ing about the new techniques.

J LEGION SAUi

by the Herald

MOTION PICTURE HERALD, SEPTEMBER 12, 1953

SHOWMEN SELECT
TEN BEST STARS
OF TOMORROW

by WILLIAM R. WEAVER

Hollywood Editor

LONDE, brown-eyed Janet Leigh ranks
first among the top Ten leaders in The
HERALD'S thirteenth annual Stars of
Tomorrow poll of America's motion picture
theatre owners.

Gloria Grahame, Tony Curtis, Terry
Moore, Rosemary Clooney, Julia Adams,
Robert Wagner, Scott Brady, Pier Angeli
and Jack Palance follow in that order.

The Stars of Tomorrow poll is The HER-
ALD'S mid-season companion-survey to its
22-year-old Money-Making Stars poll, the
industry's standard measure of talent val-
ues. Both polls are conducted by ihe
sealed-ballot direct-mail system and pre-
sent the aggregate findings of the nation's
theatre operators, independent and circuit,
in their close and constant contact with
the cash customers.

The veracity of this straight-line pulse-
taking procedure is validated by the record
books. Notwithstanding the conspicuous
circumstance that the hazards of profes-
sional life are more numerous and deadly
in show business than in any other peace-
time pursuit, more than 50 per cent of the
120 players voted Top Ten eminence in the
12 previous pollings have gone on to over-
title billing.

This year's Number One Star of Tomor-
row is no overnight success. She's been in
pictures since 1946 — in 21 of them, if the
count is accurate — and her name has meant
money on most marquees so long that her
designation as a Star of Tomorrow will
come as something of a surprise to a good
many people who have been regarding her
as a star of today. But this is the motion
picture exhibitor's own poll, reflecting his
first-hand interpretation of the opinion of
his public, and there's no dissenting from
his verdict. He says Miss Leigh is a Star of
Tomorrow — The Star of Tomorrow — and
that is final. Since this distinction invariably
has been followed by elevation of its re-
cipient, no matter how well up the ladder
of Fame they may have stood when it came
to them, not even Miss Leigh can consider
the surprise other than pleasant.

Miss Leigh was discovered in 1946, quite
accidentally, by Norma Shearer, who met
her at a mountain sports resort operated
by her parents and brought her to the at-
tention of MGM studio executives, whose
respect for Miss Shearer's perspicacity is
legendary.

JANET LEIGH, Number One

Her name was Jeanette Morrison at the
time, but it was as Janet Leigh that the
studio introduced her to the screen in "The
Romance of Rosy Ridge" opposite Van
Johnson. Among the outstanding produc-
tions on her list of credits following that

quiet beginning are the sprightly musical,
"Words and Music," the artistically hailed
Angels in the Outfield," the colorful re-
make, "Scaramouche," and of course the
current "Houdini" in which she is co-starred
with Tony Curtis, who is her husband and
who trails her by two positions in the pres-
ent poll. (It is an item of especial interest,
quite apart from poll reference, that her
list of credits includes, under date of 1950,
a performance in "Jet Pilot," the John
Wayne vehicle produced by Howard
Hughes for RKO and still on that com-
pany's schedule of releases to come.)

Gloria Grahame's career tends to con-
firm the baseless legend that all pretty girls
who go to Hollywood High School wind up
movie stars, because that's what she did.
Not directly, though. No. She was spotted,
while a student there, by the stage pro-
ducer, Howard Lang, and he whisked her
off to San Francisco for a part in his pro-
duction of "Good Night Ladies," which
went on to a year's run in Chicago. She
went on from Chicago to New York, worked
there in the stage productions of "The
Skin of Our Teeth." "The World's Full of
Girls," "Highland Fling" and other plays,
and got seen there by an MGM studio ex-
ecutive who — to make good that other
baseless legend, that Hollywood talent has
to go east to get discovered by Hollywood
executives who think they have to go east

( Continued on page 16)

The Ten Winners

Combined Vote of Exhibitors

Circuit Exhibitors

Independent Exhibitors

1. JANET LEIGH

1. Gloria Grahame

1. Janet Leigh

2. GLORIA GRAHAME

2. Janet Leigh

2. Tony Curtis

3. TONY CURTIS

3. Tony Curtis

3. Gloria Grahame

4. TERRY MOORE

4. Terry Moore

5. ROSEMARY CLOONEY

5. Robert Wagner

5. Rosemary Clooney

6. JULIA ADAMS

6. Rosemary Clooney

6. Julia Adams

7. ROBERT WAGNER

7. Julia Adams

7. Robert Wagner

8. SCOTT BRADY

8. Scott Brady

9. PIER ANGELI

9. Jack Palance

9. Pier Angeli

10. JACK PALANCE

1 0. Pier Angeli

1 0. Leslie Caron

MOTION PICTURE HERALD, SEPTEMBER 12, 1953

h ■ ■ m

II. GLORIA GRAHAME

VIII. SCOTT BRADY 7

IX. PIER ANGELI X. JACK BALANCE

usaiaa&B a ■ ■ ■ ■ s b ■ ■ ■ ■ ■ ■ ■■ ■ ■ e • k i i

V. ROSEMARY CLOONEY

III. TONY CURTIS

IV. TERRY MOORE

VI. JULIA ADAMS

VII. ROBERT WAGNER

MOTION PICTURE HERALD, SEPTEMBER 12, 1953

2f)tb Cenlmy-Fox proudly presents

THE FIRST MOTION PICTURE IN

THE MODERN MIRACLE YOU SEE WITHOUT GLASSES

( Continued from page 12)

to find talent — signed her up to a contract
and brought her back to go to work in
"Blonde Fever."

Miss Grahame, a green-eyed blonde, was
born in Los Angeles, November 28, 1925,
and never had any other ambition but to
be an actress. She was earnest enough
about that one to have a nomination for
an' Academy of Motion Picture Arts and
Sciences Award by the time she'd been
three years on the screen (that was for
"Crossfire)" which she made for RKO in
1947) and she proved that earnestness be-
yond dispute last March when she walked
off with an Oscar for giving the best per-
formance by an actress in a supporting
role in 1952, that one being in "The Bad
and the Beautiful." Add her performances
in "The Glass Wall," "Man on a Tight
Rope," "Sudden Fear" and, for whopping
measure, "The Greatest Show on Earth," to
get a firm idea of how come Miss Grahame
achieved runner-up rank in the 1953 Stars
of Tomorrow poll.

Product of New York

Tony Curtis was born June 3, 1925, in
the Hell's Kitchen section of New York
City, and was christened Bernard Schwartz.
Son of Mono Schwartz, a successful Hun-
garian actor who had left Budapest to seek
recognition on the Broadway stage, the
boy who was to become Tony Curtis fought
his way up through the kid-gang vicissi-
tudes of his neighborhood to the point
where a truant officer with whom he had
come into intimate contact convinced him
that Boy Scouts had their merits, also, and
planted his feet in those ways. He was
liking high school, even, with graduation
only six months ahead of him, when Pearl
Harbor struck and he joined the Navy as
signalman on a submarine. Injuries brought
hospitalization, and the G. I. Bill brought a
chance to complete his education, which
led directly to what is known in stage cir-
cles as the Borscht Circuit.

Robert Goldstein caught a Curtis por-
trayal of "Golden Boy" in Greenwich Vil-
lage and tapped him for Universal-Inter-
national, but not very hard. That is to say,
he brought him west and gave him a conr
tract, but it was minimum in every impor-
tant respect, and his first pay check added
up, after deductions, to $ I 7.08.

Fan Mail Spurted 5

The young man from Hell's Kitchen took
the studio's training routine — physical, oral,
the works — and hung on until the public
got a look at him in a brief dance sequence
with Yvonne De Carlo in "Criss Cross."
That started a trickle of fan mail that
spurted again when he played a young
hoodlum in "City Across the River" and
became a gusher when his bosses turned
him loose in "The Prince Who Was a
Thief." He's made a£>out 15 pictures to
date, including the* currently successful

a a ■■■!■■■■■■■ ■■

THE WINNERS
IN CANADA

That the elements of box office
value that obtain in the U.S. carry
relatively the same weight in the
Dominion of Canada, is indicated by
the fact that Canadian exhibitors also
chose Janet Leigh as the Number
One Star of Tomorrow. The balance
of the two -lists are parallel with some
shifts in position, and with the eleva-
tion of Fernando Lam'as,: Leslie Caron
and John Derek to the )Top Ten in
eighth, fifth and seventh positions,
respectively. They were eleventh,
twelfth and thirteenth in the U.S. list.
The Canadians voted Gloria Grahame
second, Rosemary Clooney third,
Tony Curtis fourth, Scott Brady sixth,
Terry Moore ninth and Pier Angeli
tenth.

■ ■■■■■■■■■■■■ai

"Houdini," the impending "All-American"
and "Beachhead."

Terry Moore, like Gloria Grahame, was
born in Los Angeles, which is traditionally
the surest way to keep from becoming a
movie star, but she crossed up the Holly-
wood High School legend by graduating
from Glendale High (a good seven miles up
the road) instead. Her name was Helen
Koford, which of course had to be changed,
and she wanted to be an actress, so a neigh-
bor sent her picture to a magazine and it
got printed and she got an interview which
led to a part in the 20th Century-Fox pro-
duction of "Maryland." That was in 1940,
and nothing much came of it, directly, but
she had the good fortune to get cast in
"Gaslight," that made so much money in
1944, and there were no more gaps be-
tween pictures after that.

Big Role in “Sheba”

"Sweet and Lowdown," "Son of Lassie,"
"Shadowed," "Devil on Wheels;"' "Return
of October," "Mighty Joe Young," "Two
of a Kind," and so it ran, with half a dozen
more appearances before the big one came
along in "Come Back Little Sheba," which
undoubtedly bears very directly and re-
sponsibly on her rating in this year’s poll.
She's out now in "Man on a Tightrope" and
she's coming up in a CinemaScope produc-
tion of "Beneath the 12-Mile Reef." She's
described as dark blonde, blue-eyed, 100-
pounds in weight, five-foot-two' in height.
She's a Mormon, neither drinks nor smokes,
and she learned about acting in pictures
from acting in pictures.

Rosemary Clooney appears to have con-
verted a vast popularity as a recording ar-
tist into a pretty sturdy popularity as a
motion picture personality in a span of
time that may be a record. Because here
she is, finishing fifth in this poll of exhibi-

■ ■■■■■■■

tors naming the Stars of Tomorrow, with
only one released picture to her credit.

If she can make that much progress with
one picture, "The Stars Are Singing," how
far may she be expected to go with the
two she's appeared in since? Especially
since the first of those is "Here Come the
Girls," the Bob Hope super-musical com-
edy, and the second is the bespangled
"Red Garters," which stars, of all people,
Rosemary Clooney!

Liked by Disc Jockeys

The Clooney career in the recording field
is one of the wax industry's fondest stories.
From the beginning, when she was a band
singer with Tony Pastor, she was pals with
the disc jockeys. She had them in her cor-
ner when, over-riding what she considered
her own best judgment, she recorded
"Come On-a My House," and they played
the platter down to the hub. She already
had some Columbia records selling pretty
profitably, but this was a record-breaking
record. It isn't quite accurate to say that
the Clooney career started from there, but
it's close.

Miss Cloonev, a blue-eyed blonde five
feet, four inches tall and weighing 104
mike-side, was born May 23, 1928, at
Maysville, Ky., and lived there 13 years.
Her grandfather was sort of perpetually
the mayor of Maysville, and Rosemary used
to sing campaign songs in his behalf at
election campaigning time, which could
have been a considerable factor in his po-
litical success, if her poll performance to-
day is regarded as indicative. Her sister
Bettie used to sit alongside and join in on
these occasions, and she is constructing her
own theatrical career today in the Rose-
mary pattern, so it figures she'll be along
in another poll another year.

Julia Adams, whose legal name is Betty
May Adams, was born in Waterloo, la.,
October 17. 1926, and moved at a tender
age with her family to Little Rock, Ark.,
where she graduated from Junior College
in 1946 as determined as she'd always been
to become an actress. To pay for her edu-
cation, :the acting as well as the scholastic
kind, she had learned to be a secretary at
the Arkansas state capital, so when she ar-
rived in Hollywood she took a half-time
secretarial job to pay for the dramatic les-
sens she felt she needed.

Support in Screen Test

It was a long, hard first year for Miss
Adams, but one day they let her work in a
screen test they were giving Leon Hart,
the Notre Dame football hero, at Universal-
International, and that did it. Well, not
right then, it didn't, because Hart flopped,
and the test was shelved, but it got
dragged out later, when the studio was
looking for a second feminine lead for
"Bright Victory," and she was it.

Miss Adams, who has brown hair, hazel

(Continued on page 18)

MOTION PICTURE HERALD, SEPTEMBER 12, 1953

H WHERE SAVAGE KISSES FEED THE FLAME OF MAH’S DESIRE!

The story of
“Duke” Mullane who led
his iron men against
warring native and
jungle fury... to plunder the
wealth of the last forgotten
corner of the earth!

marilyn Maxwell

anthonyQUINN

suzanBALL

-witK JOHN SUTTON
JAY C. FLIPPEN
SCAT MAN CROTHERS

cot-os®"'' . _

Techmco

Directed by BUDD BOETTICHER • Screenplay by FRANK GILL, JR.
Produced by ALBERT J. COHEN • A Universal-International Picture

DeliVers the Product with the BUIlt-IN Profit J

WOW SHOWMEN VOTED

( Continued from page 16)

eyes, stands five feet, six inches and weighs
120 pounds, has been in one picture after
another since then — "Hollywood Story,"
'Finders Keepers," "Treasure of Lost Can-
yon," "Bend of the River," "Mississippi
Gambler," several others and right now
the 3-D, "Wings of the Hawk" — for that is
the way Universal-International builds its
stars, just as did, in their great days, D. W.
Griffith, Thomas H, Ince and Irving Thal-
bero

Robert Wagner has moved up pretty
rapidly during the three years and 10 pic-
tures of his professional career to the title
role in the $3,000,000 20th Century-Fox
production of "Prince Valiant" in Cinema-
Scope. His first, made in 1950, was "The
Halls of Montezuma," and there was the
widely relished "With a Song in My Heart"
in 1951, "What Price Glory" in 1952, nam-
ing only the standouts, before "Titanic"
and the unreleased "Beneath the 12-Mile
Reef," an unreleased CinemaScope film.

That is pretty rapid progress for a young
man of means to be making in these days
of diminished production and employment,
and he'd be the last to say that the means
his father is a steel industrialist and would
nave preferred the boy to follow in his
ootsteps) didn't help. Living in Bel-Air
rom the age of 9, and attending selected
private schools, the boy, born February 10,
1930, grew up with the offspring of the
screen greats and did his best to learn all
he could about the performer side of show
business as early as he could. After fluffing
a Warner Brothers reading when he was
17, he thought for a while his father might
be right about him, but held out for a year
of freedom before binding himself to the
steel business, and during the year his father
persuaded an old friend, William Well-
man, to give the boy a break in a picture.
Steel's got to get along without Robert
Wagner, Jr.

A Parallel Career

Scott Brady's story runs a close parallel
to the Tony Curtis career outlined above.
Brady was born in Brooklyn, instead of
Hell's Kitchen, September 13, 1924, a year
earlier than Tony, and when the war came
along he joined the Navy, as did Curtis.
And after returning to civil life he used his
G. I. Bill prerogatives to study acting, as
Curtis was doing, presumably, at the sartie
time. Also like Curtis, he chose a name
other than his own for billing purposes, but
not for the same reason. Brady's real name
is Jerry Tierney, and he did not want to
seem to be riding into a picture career on
his successful brother's coat-tails.

Among the Brady screen credits are
"Yankee Buccaneer," "The Untamed," "The

The Next Fifteen

Combined Vote of Exhibitors

Circuit Exhibitors

Independent Exhibit

1 1 . Fernando Lamas

II. Jane Greer

1 2. Leslie Caron

12. Richard Burton

12. Jack Palance

1 3. John Derek

13. Leslie Caron

1 3. Jeffrey Hunter

14. Jane Greer

14. John Derek

14. Fernando Lamas

15. Ralph Meeker

1 5. Ralph Meeker

15. John Derek

16. Richard Burton

16. Guy Madison

16. Ralph Meeker

17. Jeffrey Hunter

1 7. Jeffrey Hunter

17. Jan Sterling

1 8. Jan Sterling

1 8. Jane Greer

1 8. Aldo Ray

1 9. Aldo Ray

19. Richard Burton

20. Guy Madison

20. Jan Sterling

20. Elaine Stewart

21. Patrice Wymore

2 1 . Patrice Wymore

22. Elaine Stewart

22. Bobby Van

23. Zsa Zsa Gabor

23. Arthur Hunnicutt

23. Guy Madison

24. Arthur Hunnicutt

24. Eddie Mayehoff

24. Phyllis Thaxter

25. Eddie Mayehoff

25. Dick Wesson

25. Zsa Zsa Gabor

Model and the Marriage Broker," "Under-
cover Girl," "Montana Belle," "He Walked
by Night" and "Canon City," to name a
convenient handfull.

'Teen-aged Pier Angeli's small life story
has had many a telling, and will have many
another if poll precedent persists. Born in
Sardinia, and moved with her parents to
Rome in 1935, her family name is Anna
Maria Pierangeli. She was studying art,
with no thought at all of the cinema, when
the French director, Leonide Moguy,
drafted her to play opposite Vittorio de
Sica in the French-language production of
"Tomorrow Is Too Late." It was the rushes
of this film, observed by Silvio Damico, a
famous teacher of dramatic art, which were
indirectly responsible for Miss Angeli's se-
lection by MGM producer Arthur Loew
and director Fred Zinnemann to play the
role in "Teresa" which was her start.

Pictures since then which have had the
benefit of Miss Angeli's presence include
"The Light Touch," "The Devil Makes
Three," "The Story of Three Loves," "Som-
brero" and "Flame and the Flesh."

Easily the most remarkable of this year's
Stars of Tomorrow placements is Jack Pa-
lance, the first outright "heavy" to wind up
in the Top Ten listing of the poll since it
started. Once upon a time there was an
actor who looked a little like Jack Palance
looks now, and he did all right, too, but he
wasn't a heavy. He was William S. Hart.
There is in the Palance record a number
of things to suggest that this tall, unsmiling
recruit from the speaking stage can go as
far as Hart did, although that's a good deal

to expect of any actor. For time was, as
any oldster can tell you, when exhibitors
had only to hang up the Hart name on
their marquee or billboard, without other
information, to pack their theatres.

The Palance story is long and hard. He
was one of six children of a Pennsylvania
coal miner and spent his school vacations
digging alongside his father to help pay
the family bills. Probably the muscles he
built with pick and shovel gave him the
gridiron ability that won him a scholarship
at the University of North Carolina, where
he played fullback and led the boxing
squad with his 200 pounds and six feet, four
inches. He went on from college into pro-
fessional boxing, but quit that in favor of
the Air Corps when World War II broke
out, piloting a B-24 until injured in a crash.

After discharge he took advantage of his
G. I. Bill privileges to attend Stanford Uni-
versity, sudying radio acting and short
story writing, and a college production of
"My Indian Family" gave him the incentive
he needed to undertake crashing Broad-
way. He had great breaks and bad ones in
that medium, but he's yet to run up a fail-
ure in the filmic medium.

Jack Palance's pictures so far are "Panic
in the Streets," "Halls of Montezuma,"
"Shane," "Sudden Fear," "Arrowhead,"
"Flight from Tangiers" and — first in which
his name was billed over title — "Second
Chance." He's working now in "The Man
in the Attic," a Leonard Goldstein produc-
tion for 20th Century-Fox release, and in
that one his name is solo-billed above the
title. That's stardom in the strictest sense.

e n m

SPSS

MOTION PICTURE HERALD, SEPTEMBER 12. 1953

TO MENTION...

"Smashing all existing boxoffice records
in its American Premiere engagement at
the Fine Arts Theatre, New York; out-
grossing by a wide margin such out-
standingly successful films as "The
Lavender Hill Mob" and "The Pro-
moter."

►

He went away for the weekend with
GENEVIEVE — and his wife came, too!
The raciest, fun-packed comedy of the
year with the screen's most unusual lead-
ing lady.

ALEC GUINNESS JACK HAWKINS
ANTHONY STEEL

MALTA STORY

Britain's three top box-office stars —
Alec Guinness — Jack Hawkins — Anthony
Steel — -and a tremendous story of cour-
age and spectacle in one mighty pro-
duction.

DINAH

SHERIDAN

FROM THE J. ARTHUR RANK ORGANISATION OF GREAT BRITAIN

Mats Elected
President of
JL Hied Group

BLUEFIELD , IV. 'VA.: Max Matz of Blue-
field has been reelected president of the
West Virginia Allied Theatres Association
on the concluding day of the two-day con-
vention held at the Matz Hotel here last
week.

The convention heard Abram F. Myers,
Allied chairman, detail the tax fight and
possibilities and plans for renewing it. A
resolution was passed expressing apprecia-
tion for the efforts of H. J. Gilbert, Sr., as
state COMPO chairman. Another resolution
commended the courage and skill of Rube
Shor in presenting to the Senate Small
Business Committee the objection of ex-
hibitors to fixing of admission prices by dis-
tributors.

A resolution expressed the appreciation
of the membership to West Virginia Sena-
tors and the Congressional delegation for
their efforts in behalf of the Mason Bill and
expressed hope that they will continue to
support repeal at the next session of Con-
gress. The convention also expressed sor-
row over the illness of Lester Rosenfield of
St. Albans and Tony Cassinelli of Mullens,
well known members.

Other officers elected were Don Schultz,
Fairmont, first vice-president; Donald Kees-
ling, Bramwell, second vice-president; H. J.
Gilbert, Jr., Princeton, secretary-treasurer;
Rube Shor, Cincinnati, national director; H.
J. Gilbert, Sr., Princeton, alternate. Direc-
tors elected were Shor, chairman; E. R.
Custer, Charleston; C. D. Crawford, Jr.,
Beckley; Ross Filson, Point Pleasant; Jo-
seph Buffa, Mount Hope; Woodrow
Thomas, Oak Hill; Roy Letsinger, Amherst-
dale; G. B. Lively, Huntington; Joseph
Raad, Salem; L. E. Rogers, Jr., Welch;
Lester Rosenfield, St. Albans, and Louis
Shore, Williams.

TOA-TESMA Conventions
To See Cinerama

Guests and delegates attending the con-
ventions in Chicago November 1-5 of the
Theatre Owners of America and the Thea-
tre Equipment and Supply Manufacturers
Association will have the opportunity of
seeing Cinerama and its equipment at a
special showing November 2 at the Palace
theatre. TO A convention chairman David
Wallerstein announced the showing and paid
tribute to the wide screen process as the one
which preceded all the others and started
the public interest.

Moves Branch Office

The Victor Animatograph Corporation,
Davenport, la., has moved its New York
branch office to 551 Fifth Avenue. The
branch is under the supervision of Horace
O. Jones, who is vice-president of the equip-
ment company.

Quigley in Toronto for
Showmanship Judging

Martin Quigley, publisher and editor of
The HERALD and “Motion Picture Daily,”
was in Toronto from New York Tuesday
where he presided as chairman of the panel
of judges which chose the top Canadian
entries in the international showmanship
competition sponsored by the J. Arthur
Rank Organization for the best campaign
for “A Queen Is Crowned.”

Other judges in the contest were: Ray
Lewis, publisher and editor, “Canadian
Moving Picture Digest”; Hye Bossin, man-
aging editor, “Canadian Film Weekly”; H.
T. Venning, president of the Association of
Canadian Advertisers, and Athol Mac-
Quarrie, managing director of the A. C. A.

Winning Canadian entries will be for-
warded to England where they will be
judged by an international panel. Cash
prizes will be awarded national winners
and three top international winners will
receive additional cash and a two-week all-
expense vacation in London.

Winners were announced as follows : first,
Elliot Brown, Odeon theatre, Victoria, B. C. ;
second, Tom Pacey, Odeon, Winnipeg; third,
J. P. Legris, Champlain, Montreal; fourth,
G. Shepherd, Odeon, Peterborough; fifth,
R. Connor, Odeon, Ladysmith; sixth, M.
Des Jardines, Rex, St. Jerome.

Zones prizes were awarded as follows :
Saint John, G. R. Jones, Capitol-Empress,
Moncton; Montreal, Mr. Legris; Toronto,
Mr. Shepherd; Winnipeg, Mr. Pacey; Cal-
gary, J. Lieberman, Rialto, Edmonton; Van-
couver, Mr. Brown.

Washington to Have
Cinerama Showing

WASHINGTON : Washington will be the
sixth city in the country to show Cinerama,
it was announced by George A. Crouch,
Stanley Warner Theatres zone manager. He
said the Warner Theatre here would close
on September 26 to undergo extensive
renovation in preparation for showing Cine-
rama. The theatre is expected to have its
Cinerama opening on or about November
1. The new process will be presented on a
reserved seat policy with a matinee and
evening performance on weekdays.

CBS Urges Adoption of
Committee TV Color System

WASHINGTON : The Columbia Broad-
casting System Tuesday of this week urged
the prompt adoption of the National Tele-
vision System Committee color standards by
the Federal Communications Commission
here, despite the view that at the present
time the proposed method for color tele-
vision broadcasting meets only five of the
seven criteria set recently by the FCC for
such telecasting.

Loew Dividend 20 Cents

Directors of Loew’s, Inc. Tuesday de-
clared a dividend of 20 cents per share on
the common stock, payable September 30,
1953, on stock of record September 15.

"Where To Sutf Jft“

MOTIOGRAPH DEALERS

CALIFORNIA

LOS ANGELES: B. F. Shearer Company
3964 S. Vermont Ave.
SAN FRANCISCO: B. F. Shearer Company

243 Golden Gate Ave.

COLORADO

DENVER: Service Theatre Supply Co.

2054 Broadway

GEORGIA

ATLANTA: Wil-Kin Theatre Supply, Inc.

150 Walton St., N. W.

ILLINOIS

CHICAGO: Gardner Theatre Service, Inc.

1235 S. Wabash Ave.

INDIANA

INDIANAPOLIS: Ger-Bar, Inc.

442 N. Illinois St.

IOWA

DES MOINES: Des Moines Theatre Supply

1121 High St.

KENTUCKY

LOUISVILLE: Falls City Theatre Equip.

427 S. Third St.

LOUISIANA

NEW ORLEANS: Hodges Theatre Supply Co.

1309 Cleveland Ave.

MARYLAND

BALTIMORE: J. F. Dusman Company

12 E. 25th St.

MASSACHUSETTS

BOSTON: Joe Cifre, Inc.

44 Winchester St.

MICHIGAN

GRAND RAPIDS: Ringofd Theatre Equip.

106 Michigan St., N. W.

MINNESOTA

MINNEAPOLIS: Frosch Theatre Supply Co.

1111 Curie Ave.
Minneapolis Theatre Supply

75 Glenwood Ave.

DULUTH: National Equipment Company

7 E. Michigan St.

MISSOURI

ST. LOUIS: McCarty Theatre Supply Co.

3330 Olive St.

KANSAS CITY: Shreve Theatre Supply Co.

217 W. 18th St.

NEBRASKA

OMAHA: Western Theatre Supply Co.

214 N. 15th St.

NEW YORK

AUBURN: Auburn Theatre Supply Co.

5 Court St.

NEW YORK: Joe Hornstein, Inc.

630 Ninth Ave.

BUFFALO: Perkins Theatre Supply Co.

505 Pearl St.

NORTH CAROLINA

CHARLOTTE: Wil-Kin Theatre Supply

229 S. Church St.

OHIO

CLEVELAND: Ohio Theatre Supply

2108 Payne Ave.

OKLAHOMA

OKLAHOMA CITY. W. R. Howell

12 S. Walker Ave.

OREGON

PORTLAND: B. F. Shearer Company

1947 N.W. Kearney

PENNSYLVANIA

PITTSBURGH: Atlas Theatre Supply

402 Miltenberger St.
FORTY FORT: Vincent M. Tate

1620 Wyoming Ave.

TENNESSEE

MEMPHIS: Tri-State Theatre Supply

320 S. Second St.

TEXAS

DALLAS: Modern Theatre Equipment

1916 Jackson St.

UTAH

SALT LAKE CITY: Service Theatre Supply
256 E. First So. St.

WASHINGTON

SEATTLE: B. F. Shearer Company

2318 Second Ave.

WEST VIRGINIA

CHARLESTON: Charleston Theatre Supply

506 Lee St.

WISCONSIN

MILWAUKEE: The Ray Smith Company

710 W. State St.

CANADA

CALGARY, ALB.: Sharp’s Theatre Supplies
Film Exchange Bldg.
MONTREAL, QUE.: Dominion Sound Equip.

4040 St. Catherine St., W.
General Theatre Sup. Co.
288 St. Catherine St., W.
Perkins Electric Co.
1197 Phillips Place
ST. JOHN, N.B.: General Theatre Sup. Co.

86 Charlotte St.
TORONTO, ONT.: General Theatre Sup. Co.

861 Bay St.
Perkins Electric Co.

277 Victoria St.
Perkins Electric Co.
591 Yonge St.

VANCOUVER, B.C.: Dominion Thea. Equip.

847 Davie St.
General Theatre Sup. Co.

916 Davie St.

WINNIPEG, MAN.: General Theatre Sup. Co.

271 Edmonton St.

MOTION PICTURE HERALD, SEPTEMBER 12, 1953

cMen&i Pbo&l

WIDE SCREEN AND
STEREOPHONIC SODND IS
HERE TO STAY!

MOTIOGRAPH

NOW OFFERS THE MOST FLEXIBLE LIRE
OF STEREOPHONIC SOUND SYSTEMS

Motiograph Series A Systems reproduce 3-track sound
recorded on a separate sound film — the recording method
used by most studios.

Motiograph Series B Systems reproduce 4-track sound on Motiograph Series C Systems reproduce sound recorded
the picture film — The Fox method. on both picture film and separate sound film.

Systems are available for 800, 1000, 1300, 2000 and up to 5000 seat theatres.

MORE THAN 71 GREAT PICTURES FROM SUCH STUUIOS AS COLUMBIA, PARAMOUNT,
UNIVERSAL ANU WARNER BROTHERS WILL REQUIRE SERIES A SYSTEMS WITH A
SEPARATE MAGNETIC SOUNB REPROOUCER

These pictures include Warner Brothers:

‘‘A Star is Born” starring Judy Garland
‘‘Blowing Wild”

‘‘Mr. Roberts”

‘‘Lucky Me” starring Doris Day
‘‘Island In The Sky”

“East of Eden”

“Rear Guard” starring Guy Madison
“Helen of Troy”

“Calamity Jane”

Of 12 forthcoming Paramount stereophonic

sound productions are included:

“The Caddy” with Martin and Lewis
“The War of the Worlds”

“Cease Fire”

“Those Redheads From Seattle”

“Flight to Tangier”

A number of Universal’s forthcoming re-
leases will include stereophonic sound re-
cording. Among the major productions are:
“Thunder Bay”

“The Man From the Alamo”

★ ★★★★★★

“Abbott and Costello Meet Dr. Jekyll and
Mr. Hyde”

“Wings of The Hawk”

“The Stand at Apache River”

“The Golden Blade”

"The All American”

“East of Sumatra”

“The Glass Web”

“Back to God’s Country”

“The Veils of Badgad”

“T umbleweed”

“Walking My Baby Back Home”

Such great Fox productions as “The Robe", generally
publicized as potentially the greatest boxoffice hit of all
time, will require Series B Systems for sound reproduction.
Theatre owners wishing to profit from the 71 pictures to
be released with stereophonic sound on a separate sound
film will purchase Series A Systems now.

Those who buy now will not be buying potentially obso-

lete equipment as Series A Systems can be quickly and
economically converted to reproduce stereophonic re-
cordings on the picture film should this method became
the standard of the industry.

Motiograph Stereophonic Sound Systems, which include
Altec-Lansing celebrated “Voice of The Theatre” loud-
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T err? Raimaje

YOUNG HELLIONS — A surge of hot in-
dignation arises at the account in "Motion
Picture Daily" the other day of how teen
age vandalism had brought to ruin and
closing in Chicago the eminently respect-
able little neighborhood theatre, the Ava-
loe. The story is told by Mrs. Isaac Brotman,
owner, who has sought all due remedy and
police relief without ultimate avail.

In sequel it is said law enforcement offi-
cers are conferring on a program that
would include prosecutions of parents as
well as offenders. That should take a very
short conference. The way to do it is to do
it. And Chicago, what with its crime rec-
ords of the last four decades, might well be
the place to start something signally con-
structive.

We have been familiar with waves of
highly destructive vandalism in the theatres
for many years, elsewhere in the nation.
Just coincidentally, only a few days past
J. Edgar Hoover of the F.B.I. was being
extensively quoted on the radio in his dis-
may at rising crime among the youth of the
land. He sees an alarming, developing con-
dition, without precedent. This of course
is not so much mass contagion as it is,
family by family, a collection of failures of
parenthood.

Parenthood arrived at by accident and
administered with nonchalance and neglect
is cruel indictment of the civilization of the
parents. Amid all our costly overseas en-
deavors to make the world a millennial
park we seem to have many evidences that
more important, and practical, matters of
gravest importance are at home.

A small but important contribution can
be made by injured motion picture exhibi-
tors who will dare, against politics, sob-
sisters reporting juvenile courts, etc., to
prosecute to the limit of existing law, in-
cluding brats and their breeders.

No pious preaching, just action of the
kind that barbarians can understand.

If the TV set has to be re-possessed and
Mom's muskrat coat has to be hocked to
pay for slashed seats, so much the better.
That would be educational.

STRATEGY IN HONOURS— Attention is
arrested by the tidings from the Edinburgh
Film Festival that the David O. Selznick
Golden Laurel for 1953 has been awarded
to "The Cruel Sea," an admirable British
production.

The particular aspect of interest is that
it is Mr. Selznick's "Golden Laurel" that is
awarded and that it is cable-worthy news
around the world. It is to be made an-

nually, we are told, "to the European film-
maker whose work through the years has
made important contribution to inter-
national goodwill." That's laudable.

Meanwhile, it is clearly to be remem-
bered that Film Festivals were founded by
the Axis and began, in the Mussollini days,
at Venice, for the purpose of doing the
American motion picture no good. It is
fairly clear that they continue highly
nationalistic and acutely, Europeanly, long
hair and hostile to the American film. Even
careful Eric Johnston has expressed his
concern.

Mr. Selznick is very American, with
plenty of overseas business. He has reason
to know abundantly, out of his Hollywood
experience, how vulnerable the workers of
all movieland are to any approach through
any order of vanity recognition, from
Oscars to blue ribbons. So he underwrites
dignified honors overseas and attains there-
by automatically a special kind of attention
to the American motion picture.

That is effective, canny public relations
on the world scene.

ADVANCED RESEARCH— S ince the pa-
tronage of the motion picture is in so
many respects involved with the whims,
moods and traits of women, there's educa-
tional value in an opus just now in the
bookshops entitled Neiman-Marcus. It ap-
pears to be, as advertised, a study by
Frank X. Tolbert, giving "a portrait of a
specialty store that is a state of mind, the
'savvy' in savoir faire, the epitome of
glamour to a world of women."

Of course you'll be knowing that Nie-
man-Marcus, a Dallas department store
down in that madly rich Texas, has become
an internationally famed center of high
fashion. Plainly, fashion is for dollars.

Taking that in sequel to the distinguished
report on women from Dr. Alfred C. Kinsey
of Indiana, it will be found to have supple-
mentary values, if you happen to be inter-
ested in women.

HEARST EMPIRE — Now it comes into the
news that the Mexican Government is buy-
ing, with bonds, the vast Hearst ownership
of a rich Spanish land grant domain 117
miles long and 70 miles in width. It was
stocked with highbred Herfords. It started
in 1900 with the purchase of 500,000 acres
by Mrs. Phoebe Hearst, and her son,
William Randolph, built it up. The Hearst
ownership weathered several Mexican revo-

Canada Key
Kates Set
On “Robe"

The ever-growing number of premiere en-
gagements for 20th Century-Fox’s first fea-
ture in CinemaScope, “The Robe,” was aug-
mented this week with the announcement
that the film will open in every key city in
Canada during the months of October and
November, beginning approximately four
weeks after the September 16 world pre-
miere in New York.

The Canadian deal was negotiated by J.
J. Fitzgibbons, president of Famous Players
Canadian Corporation, at whose theatres the
film will play, and by Arthur Silverstone,
20th-Fox’s eastern and Canadian sales man-
ager.

The Canadian engagements will be
launched October 23 with openings at the
Imperial, Toronto, and Palace, Montreal.
Other October openings at Famous Players
houses will be in Winnipeg and Vancouver.
November engagements include those at Cal-
gary, Edmonton, Fort William, London,
Ottawa, Victoria, Sudbury, Halifax, St.
John, Windsor, Hamilton, Regina, St. John,
Sashatoon, Quebec and Port Arthur.

Immediately following its New York
opening, the picture is scheduled to open
within two weeks in Atlanta, Chicago,
Philadelphia, Los Angeles, Dallas, Fort
Worth, San Antonio, San Francisco and
Seattle.

Fox and Morros Introduce
Single Strip, 3-D Film

Moropticon, a new single film process for
3-D motion pictures, was demonstrated for
the press and industry Wednesday morning
at the RKO 86th Street theatre in New
York. The process utilizes only a single
camera in photographing and a single pro-
jector for screening. World patent rights
are owned by All Dimensions, Inc., of which
Borros Morros is chairman and Matthew
Fox president and chief executive officer.
Scheduled to be shown at Wednesday’s 30-
minute demonstration were excerpts from a
specially photographed 3-D film, as well as
excerpts from a new Hollywood film spe-
cially processed for Moropticon. The proc-
ess was said to have been developed by Mr.
Morros, a Hollywood producer, while he
was working in Vienna.

lutions and changes of government policy.
It has its villages, highway and airstrips
served by Hearst airlines. Now it is to be
cut up for distribution to small farmers and
ranchers. Probably no one knows whether
Mr. Hearst made money with the undertak-
ing or not. But the thought arises that his
casual and really dilletant excursions into
movieland, involving millions, were rela-
tively trivial. Even his great publication
enterprises belong in the same category —
entertainment for the Baron.

MOTION PICTURE HERALD, SEPTEMBER 12, 1953

ALL HO I ItS Lead u, BOSTON, MASS.

and the

GREATEST EXHIBITOR CONVENTION

TRADE SHOW IN THE HISTORY
THE MOTION PICTURE INDUSTRY

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