Toronta Christmas, 1963 Ganada
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GIVEAWAY = {
“The Wheeler Dealer Sweepstakes” on ABC-TV network ~ every week for five weeks! National attention via an oil-well giveaway on the top-rated “Price Is Right”! Weekly audience estimated at 20 million, insuring more than 100 million impressions!
SCREENING PROGRAM
A unique program of screenings for brokerage firms, security analysts, financial page editors, across the country. Keyed to the Wall Street hijinx in the film, this program should be a great grapevine and garner off-amusement page space!
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ON RADIO
A daringly-DIFFERENT radio campaign with unique angles. Featuring that incomparable press agent Buddy Zack. Will comple- ment the other radio spots and TV exposure with hilarious 60 and 30- second spots. Try and catch... for kicks!
TV SPOTS
Off-beat campaign with specially- produced commercials starring James Garner and Lee Remick in provocative scenes and personal pitches! Acclaimed by exhibitors as the funniest motion picture trailers ever! A tremendous plus for your pre-sell!
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DEALER PROMOTIONS
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PAPERBACK =a PROMOTION
3ig push to the count-
ess readers of popular- yriced books via Ban- = am’s 11,000 outlets in the nation lus special tie-in promotion via treamers, cards, etc!
ADVERTISING CONTEST
n key cities, special ads will be un on ‘“‘What’s A Wheeler Dealer?” XYontest with winners awarded cash
yrizes and title-value obviously videly promoted!
SNEAK PREVIEWS
\ special series of sneak previews jlanned during the run of “THE VIP’s” will give the picture a tre- nendous captive audience and the nevitable word-of-mouth!
HLA CHILLS
dM designed by NORMAN NORELL ee GEURGE d W
| COSMETIC
TV APPEARANCES
James Garner on the Bob Hope spectacular! Lee Remick on Andy
Williams show! James Garner on “‘T’ve Got A Secret’’! All with credits
for film spotted str ategically!
FASHION AND ‘i
PROMOTIONS— ‘: ‘THE MIDAS TOUCH’
Vast promotion inspired by the glamorous wardrobe created for Lee Remick by Norman Norell, with special kits for women’s pages, fash- ion shows and window displays. And complementing the clothes of mas- ter designer Norell, Helena Rubin- stein has created a look she calls “The Midas Touch,” with a dazzl-
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ing array of cosmetics and coiffures.
Truly a magical combination with
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RECORDS ! ~.
Randy Sparksand the ., = New Christy Minstrels sing Sv the potential-hit title-song. Big disc-jockey push and Columbia Records drive keyed to openings.
MAGAZINE PUBLICITY
Major Life layout scheduled for film, also rave reviews in McCall’s, Redbook, Cosmopolitan and others! Seventeen’s Picture Of The Month — for November!
NEWSPAPER ADS
See the press-book for pre-tested consumer ads with zest and zing! Specially posed shots of stars illustrate the titillating copy-lines! Every ad a business-getter!
AS PIIURL.
Seasons Greetings
Let JERRY and DEAN... Mamd the Store Gor the Holidays
JERRY LEWIS
GUARANTEEING EVERY CASH CUSTOMER THE GREATEST CHARGE OF HIS LIFE!
"Waos MINDING © THE STORE?"
Zé aan PAR AMOUNTS Seven Days In May - Becket
AC pvanenulys All the Way Home
ital KEY To ALL Love With the Proper Stranger “ll THE BEST Fall of the Roman Empire
IN 1964 AND OTHER BLOCKBUSTERS SOON TO BE ANNOUNCED
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NO QUESTION WHO'LL BE DOING THE HOT HOLIDAY BUSINESS— IT’S THE SHOWMAN WHO BOOKS...
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Meet “Jackie renowned tor— of all things—
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VOICE of ie CANADIAN MOTION PICTURE
INDUSTRY
TORONTO, December 25, 1963
‘A NEW ERA LOOMS BEFORE INDUSTRY’
"OUR BUSINESS IS VERGING ON A REVOLUTION'—LAZARUS
Paul N. Lazarus, Jr., executive vice-president of Samuel Bronston Productions, which is making The Rise and Fall of the Roman Em- pire at a cost of $16,000,000, told the Allied States Convention, held a while ago in the Americana Hotel, New York, that “A new era
Offtrack Wagering Wagering No Easy Operation
Smashing 3-1 victory for those favoring offtrack betting in the recent New York plebiscite and Walter Reade-Sterling’s bid to enter the field through the es- tablishment of National Off- Track Viewing, Inc. has aroused much interest and _ discussion.
(Continued on Page 10)
Package Insurance Policies Suggested
Fire insurance rates, with the possible exception of those of British Columbia, now reflect the use of safety film in theatres, Fred Morley of Famous Players, head of the insurance committee of the Motion Picture Industry Council of Canada, told that or-
(Continued on Page 10)
Thoughts At the New Dear
I shall-pass through this world but once. If, therefore, there be any kindness | can show, or any good thing I can do, let me do it now; let me not defer it or neglect it, for | shall not pass this way again.
—Attributed to Stephen Grellet
You cannot do a kindness too soon Because you never know how soon
It will be late.
—Emerson
Home Is Where The Kids Get Started
Highly regarded authorities do not correlate juvenile misbe- havior with the communications media and it is most difficult to establish reasonable criteria on which to base any statutory classifi- cation of films, Margaret G. Twyman, Community Relations director
for the Motion Picture Associa- tion of America, told the Marano Committee of the New York Leg- islature, which is studying the dissemination of offensive and obscene materials. This is inter- esting to Canadians, since in this country classification is common to most of the provincial cen- sor boards.
Most young people aren’t in- terested in the film adults think are suitable for them and are attracted to those labelled “Adult,” she said. What the chil- dren see should be up to the parents and would be if they were interested enough. She re-
(Continued on Bogs 10)
Andrew & Virginia Stone To Make Two For MGM
Andrew and Virginia Stone are preparing two features for MGM, the first to be filmed in England and the second is scheduled to be made in the USA.
The Secret of My Success, which will go before the came- ras shortly, is a romantic come- dy Stone will direct from his own screenplay.
The Winning of the Sky will be shot next summer in Pana- vision and MetroColor. It deals with the development of com- mera aviation.
looms before the motion picture industry.” Of the film, to be roadshown next spring, he said, “Motion pictures of this magni- tude require mew concepts of selling and distribution.” Para- mount will release another Bronston feature in work, the John Wayne-Claudia Cardinale starrer, Circus World.
Lazarus’ nutshell analysis of the motion picture industry is worth quoting verbatim:
“Our business is verging on a revolution. Thirty years ago we were in the Major Company Era, the age of the Hollywood Titan, the Star List and the Stu- dio-Made Program. Twenty years ago, in the early war _ years,
(Continued on Page 10)
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Season’s Greetings
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DOLA FILMS
Limited Ww
New Address:
36 Prince Arthur Ave. Toronto
New Phone: 927-2821
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Canadas Gift To Hollywood: Execs
Much has been written about Canada’s contribution of man- power and womanpower to the artistic side of Hollywood, par- ticularly in the field of acting. Some of the Canadians became business people as well as ac- tors, notably Mary Pickford of
(Continued on Page 22)
Slezak In AB-P Picture
Walter Slezak has been signed by Associated British-Pathe for a leading role in the Cliff Rich- ards-starrer, Wonderful Life, now before the cameras in the Canary Islands. The film, which AB-P will distribute, is being directed by Sidney Furie, a for- mer Canadian now working in
England. $5 PSIGPEHENEIRIICICICICIRIEICICICICCICIRICIEYA ra 4 ra z ra] y The Management and 4 og ad 5 Staff of a ra a Pictorial fe ictorial =<;
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SEASON’S GREETINGS
RANK FILM DISTRIBUTORS OF CANADA LTD.
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and to bring you greetings from all of us at —
THE ODEON THEATRES (CANADA) LIMITED
Incorporating the Canadian Moving Picture Digest (Founded 1915)
Vol. 28, No. 50 December 25, 1963 HYE BOSSIN, Editor
Assistant Editor, Ben Halter Office Manager, Esther Silver CANADIAN FILM WEEKLY 175 Bloor St, East, Toronto 5, Ontario Authorized as Second Class Mail by the Post Office Department, Ottawa, and for payment of postage in cash. Published by Film Publications of Canada, Limited, 175 Bloor St. East, Toronto 5, Ontario, Canada - Phone 924-1757 Price $5.00 per year
A WERRY ChRISTINAD
HOME IS WHERE—
(Continued from Page 7) iterated that what is needed is an “adequate program of parent education.”
Mrs. Twyman cited a recent
article by Karl F. Bernhardt, editor of the Bulletin of the In- stitute of Child Study of the University of Toronto. Bernhardt States: “Many parents are con- cerned about ‘bad companions’ and the influence of the peer group on their children. The child’s contacts with other chil- dren provide him with oppor- tunities to try out what he has absorbed in the home. The basic trends in his behavior resulting from the treatment he has re- ceived in the home may be strengthened or reinforced by his outside experiences, but not changed radically.
“The same may be said of other influences such as movies, TV, comic books, and the like. These will be interpreted in the light of the values, attitudes and motives the child has developed in his relations with parents. The community agencies for charac- ter education such as the church, scouts and camps are no guar- antee of good character. If the home has been adequate, then these agencies will support and reinforce, but if the home has been deficient then it is unlikely that they will help very much.”
‘Robinson Crusoe On Mars’ Paul Mantee and Vic Lundin will star in Paramount’s Robin- son Crusoe on Mars. ‘Erasmus With Freckles’ Twentieth Century-Fox will join James Stewart, producer- director Henry Koster, and screenwriter Nunnally Johnson for another film project, Eras- mus With Freckles.
SaiPUsctieneerernaies
Christmas Number
CANADIAN FILM WEEKLY
‘A New Era
(Continued from Page 7)
came the Birth of the Indepen- dent. This was the period when independent production tried its wings, when it faltered, fell and rose to fly again.
“Ten years ago we entered the Decade of the Independent, the coming of age of the untram- meled and talented producer and the acceptance by the major companies of the independent as the primary source of product.
“We are now entering thenext evolutionary stage, the Age of the Independent Producer-Dis- tributor. More and more, we
find, that the truly independent is no longer satisfied with a ditional, yes, even antiquated, distribution techniques. Just as he has pioneered the develop- ment of a mature and progres- sive production process, the Hi dependent will probe and searc! for new methods of bringing his films to the marketplace. Our own Bronston Distributions Com- pany is an example of this. So is Joseph Levine’s Embassy Pic- tures. So are the announced plans of Dino De Laurentiis and many other major independents.
Offtrack Wagering
(Continued from Page 7)
Most knowledgeable people con- sider it logical for theatres to be the ideal setup for this type of operation in view of their facili- ties, staff, location, etc. and their opinion seems borne out by the New York theatre circuit’s pro- posal to get into it. There is no doubt that the Reade-Sterling company made a thorough study of all the factors involved be- fore announcing its plan.
In brief this plan is to install closed-circuit TV, tote boards and mutuel machines in a num- ber of its strategically-located houses in New York. Bettors in the theatre could see odds fluc- tuations, the running of the races and the payoffs simulta- neously with those at the track and make and collect their wag- ers just as easily.
Apparently, the Reade-Sterling group will not participate in the wagering but will rely on reve- nue from admissions to the the- atres and from snack bars for its profits.
Many who think that off-track betting would be a success in a hole-in-the-wall type of office or store have their doubts about an elaborate setup, such as a the- atre, where an entrance charge would be made. They argue that the great majority of horse players are office or factory workers who would be reluctant to pay the admission because they would not have the time to sit and view the races,
They also seem to think that the cost of such an operation in a theatre might be too high for it to be a success, They point to the $50,000 cost of each Eido- phor closed-circuit large screen TV projector and its installation and relay line charges; the addi- tionai staff required, such as sellers, cashiers, moneyhandlers, guards etc—about 15 inall; extra cleaning staff etc.
Another point they stress is that many gamblers will Stay with their “bookies” because they can make their bets on credit, possibly over the phone,
because they can wager on any major track and because they can make proposition bets, such as “parlays,” “round robins,” etc.
Those who favor off-track bet- ting in theatres say that it is a natural for houses where an Eidophor installation could be used for hockey games, football games, fight and other sports, such as the nine belonging to Famous Players and Twinex in and around Toronto showing Maple Leaf hockey games; that in Ontario all costs other than those of operating a theatre may be shouldered by the racetrack from its nine per cent cut of the wagers, by the Ontario Govern- ment out of its six per cent and the Federal Government from its one-half per cent; and that even if it brought in only a small profit it would be better than having the house stay dark during the afternoon or operat- ing matinees at a loss.
Opposition to the whole idea of off-track betting was voiced in an editorial in the Toronto Daily Star titled “A poor bet” on the grounds that it would not have the claimed effect of elimi- nating bookmakers without. in- creasing gambling. It went on to say that “Government facilities might also make betting avail- able in communities where book- makers have not previously Operated; the illegal ‘industry’ tends to concentrate in the larg- er towns.” It said that bookmak- ers do a business estimated an- nually at $95,000,000 in Ontario and often form part of “quite elaborate law-breaking organiza- tions,” which the advocates of the scheme claim would be put out of business and the profits diverted to the provincial treas- ury. This the editorial doubts.
In a very short time the New York experiment will prove Which of the two theories is right and whether it is practical for theatres. Until that time and until it is approved in Ontario, theatre Owners here can put off making a decision about it.
INSURANCE
(Continued from Page 7)
ganization at the recent annual meeting in Toronto. No signi. ficant changes in rates have taken place in the last year, his report said, “Fire insurance rates are still a matter for negotiation by your agents or broker with the insurance companies,”
In the last year numerous small fires in theatres have been attributed to cigarettes left on theatre seats and upholstered furniture, stuffed into air-condi- tioning and heating ducts or thrown into areas where clean- ing supplies and combustible waste materials are stored. Faul- ty electrical equipment and wir- ing is responsible for most large fires everywhere.
“For years we have become accustomed to having separate insurance policies for fire, public liability, boiler, business inter- ruption and money coverages,” Morley said. “Today all these coverages can be obtained under one policy called ‘Composite Mercantile Insurance.’ If your present insurance is not written under this form I suggest you contact your insurance agent and have him explain the ad- vantages and savings that could be effected under this type of policy.”
Morley noted that the Work- men’s Compensation rate went up in Saskatchewan — from 35c to 40c per $100 of salary — and Ontario’s rate, which went from 50c to 55c., is the highest in Canada. Also July in Ontario’s salary schedule will go up by $1,000 to $6,000, making an addi- tional $8 payable. On the con- trary, the rate in British Colum- bia, due to the excellent ex- perience of the last four years, went down 10c this year — from 50c in 1960 to 20c in 1963. Quebec reduced its rate from 25c to 20c. Accident prevention, through closer supervision of work ha- bits and good housekeeping, can bring Ontario’s rates down.
Union contracts should be examined to see that there is no duplication of employer contri- bution to union pensions in the event of compulsory govern: mental pension plans coming into effect.
Morley suggested that non- owned automobile insurance, while not expensive, should be investigated by all those whose employees are using their cars for company business.
MGM's ‘The Outrage’
The Outrage has been selected by MGM as the final title for the projected film formerly called The Rape. Paul Newman has been set to star in the out- door action drama, scheduled to go before the cameras in early December with Martin Ritt di- recting and A. Ronald Lubin producing.
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starring Richard Harrison, starring Gordon Mitchell, Bella Cortez, starring Anthony Newley, Isabel Corey, Leo Anchoriz, Roldano Lupi, Liani Orfei, Julia Foster, and Robert Stevens. Joseph Marco, and Liveo Lorenzon. Furio Meniconi, and Omero Gargano.
WE JOINED THE NAVY | ISVE&2ERENCHWOMAN
starring Kenneth More, Lloyd Nolan, and Joan O'Brien. starring Martine Carrol~and Dany Robin.
tom SEVEN ARTS
11 Adelaide St. West J gZ 4) | SEVEN ARTS x ‘ Toronto 1, Ontario ft. i PRODUCTIONS ? EMpire 4-7193 | (hae LIMITED
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A es * The Chief Barker and His Crew, The Poker ‘A y Knights, My Successor, all members of the 4& » Variety Club of Ontario and other friends in § ¥ the entertainment industry ‘ ry, a s < . fa : My Sincerest Wishes a w ° . Py ¥ that you and yours will enjoy the a y ° ° ps : Merriest of Christmases f w and the : _ Happiest of Chanukahs! = uy May you all be blessed with continued good a Y ; i ? Health, Happiness and ; y ° ° ii » Prosperity in the New Year & bg ii w a iy ° a : Mike Peckan : Y FA ¥ P.S.—And most sincerely I thank you 5 y very much for ten wonderful years. a iy RR y a
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CANADIAN FILM WEEKLY
Page 13
Charlie Duhig
OTION picture censorship
in Ontario came into ex- istence because of patriotism and not morality, just as in Que- bec children under 16 were bar- red from cinemas from 1927 to 1962 for the sake of safety and not censorship. There is a gene- ral impression that an adverse effect on public morality and juvenile behaviour by films led to censorship in Canada’s two largest provinces.
I learned about Ontario from that remarkable old-timer, Charles St. Clair Duhig of To- ronto, now 74 and looking about 15 years younger than that. At the same time I learned a little more about The Theatorium, To- ronto’s first cinema, which was opened by John Griffin at 183 Yonge St., immediately south of where Loew’s Yonge St. stands now.
It was in The Theatorium in 1911 that a two-reeler showed Americans defeating the British, hauling down the Union Jack and running up the Star-Span- gled Banner in its place. Every audience booed and protested. The newspapers began to edi- torialize about this affront by an imported film and_ provincial censorship was established. Up to that time censorship was local, with a police officer being sent over from the station to the neighborhood theatre to see if there was anything on the screen that he thought shouldn’t be there.
By that time The Theatorium had become known as The Red Mill. Griffin had sold it in 1910 to L. J. (Jess) Applegath, the hatter, along with the Crystal Palace, later His Majesty’s The- atre, which was further south on the same side of Yonge St., next to the Arcade across from Tem- perance. Applegath operated the Crystal Palace Film Exchange, the second one in Toronto, at 141 Yonge, which was above the theatre. Charlie recalls that the screen at His Majesty’s was of plate glass backed with a gauze- like material.
Charlie went to work for Ap- plegath at The Red Mill in 1910 as a doorman, became a projec- tionist there from 1911 to 1919 with the exception of one year. That year he managed the Bijou, an old theatre on the south side
of Richmond near Yonge which
had been converted from live en- tertainment. This theatre was owned in partnership by Sam McBride and Beamish the Bar- ber. McBride later became the colorful mayor of Toronto and old-timers recall the shop of Beamish on Bay and his sign: “14 Barbers—No Waiting.” About The Red Mill: In 1912 Charlton Howarth, a singer of illustrated songs from Hamilton, leased it from Applegath. He was
an uncle of Art and Stan Mil- ligan, both gone now but for years prominent in projectionist circles, who entered the trade through The Red Mill. The The- atorium-Red Mill played a part in the lives of many projection-
Two Od
ists, some of whom have de- parted. Bill Covert, Toronto union chief, worked there, as did Roy Buckley, who became chief inspector of theatres for Ont- ario. Bill Redpath, retired now, and Gus Demery, still active, passed through it.
Duhig recalls when Loew’s was opened in 1913 and The Red Mill stood between it and Diana Sweets, which later took over its site to enlarge the store which is still there. “People said they’d kill us but they didn’t,” he said. The Red Mill was open into the 20’s.
About Charlie Duhig: He was born in England and attended Dulwich College, then London Polytechnic and after that Zurich Polytechnic. In the last place his teacher was Albert Einstein, with whom he maintained an acquaintanceship in later years. Charlie arrived in New York in Jan., 1908 as an immigrant. He had become interested in movies after seeing an article in a 1907 edition of Popular Mechanics. He came to Toronto and went to work at old Scarborough Beach, in the East End, running a shooting gallery for a man named Dorsey, whose restaurant concession had as its managing
steward a lad who had come re- cently from Minneapolis — N. L. Nathanson, later to develop and head Famous Players.
In 1919 Charlie went to Chica- go and he still has his operator’s licence from that city. It bears the
-Timer's
stamped signature of Wm. Hale Thompson, the noisy mayor who threatened publicly to punch King George V on the nose if he ever showed up in The Win- dy City. Thompson was the win- diest man in The Windy City. Charlie, a tenor soloist at con- certs, joined the DeMille Quar- tette headed by Hartwell De- Mille, cousin of Cecil B. After touring with the DeMille Quar- tette Charlie came back into the business in Toronto and he was for 27 years a boothman at the Century.
These days Charlie travels, plays the piano and goes to places where he can exercise his faultless Italian. Or thinks back on his 54 years in the business and the friends he has made. He enjoyed every day of it, he says.
PS: About Ontario censorship: When it was established a _ the- atre owned by Wilson the Barber at Broadview and Danforth — ‘it was all mud then—” was used to screen and censor films. In 1912 a theatre inspection branch was added and Bob New- man, a member of the backstage staff of Shea’s Victoria, open until two years ago, was appoin- ted chief inspector.
A. W. Shackleford
N giving a three-column story,
topped by a photo of Leth- bridge Pioneer A. W. Shackleford and Calgary Pioneers Ken Leach and Pete Egan looking at a 1903 projector, to The Diamond Jubi- lee of the Silver Screen in Can- ada, The Lethbridge Herald printed some interesting infor-
A. W. SHACKLEFORD
mation about the first cinemas in that city. The story, mainly about the career of Shackleford, a former mayor and operator of the Paramount as a Famous Players partner, starts:
“High honor was paid last week to a citizen of Lethbridge, A. W. Shackleford, 42 years a theatre manager and owner in the city, when he was selected by the showmen of Southern Alberta to be in charge of the
(Continued on Page 22)
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the delegates to the annual meeting of the National Com- mittee of Motion Picture Exibit- ors Association of Canada would “have more to do with saving money than bringing more money past the boxoffice,” F. Gordon Spencer of St. John, NB, chairman, said in his address at the opening of the 14th annual convention in Toronto not long ago. “We still have a good thing by the tail known as the mov- ing picture. Too often we just get swung around by the tail. The film companies take too much money out of us; they, too often, are running our the- atres — and too often, if they didn’t who would?”
He recalled hearing about a movie house in a small town which had a sign: “Open.” Even the owner knew the public had to be told that or it would just pass by. “I have never seen such a sign but I have seen many theatres that needed it ... I suggest that our theatres today must behave themselves in such a manner that they'll never need the ‘Open’ sign; there should be no doubt in anybody’s mind.”
Live TV is dead, so that there is a dullness about the whole thing and commercials often out- shine the program, he noted. That doesn’t mean that people have stopped looking at TV—far from it—but it does mean that they often talk about something else. “One of the things is movies. Remember that every time anybody says TV is bad, he is apt to say movies are bet- ter. This is happening.”
GPENCER pointed to the phono-
graph business as an exam- ple of progress in a time of television competition. “This was accomplished by technical improvements backed by high artistic and technical standards plus the ability to give everyone something they wanted.” One vital statistic had emerged from the record industry: “Six months, ir- respective of season, after any given area was reasonably satu- rated with television sets, record sales would hit an all-time high.
This applied to all types of records.” Observed Spencer: “At that
time, in each area, you would find the local exhibitor bemoan- ing his lot, cursing television, talking about his lousy business and the lousy pictures he was getting. Apparently, six months with television sets was his time after his town was saturated to try to get people out of the house and into his theatre. Had the entire industry done some- thing about this, the individual would have fared better. It is difficult for one theatre or a small group to buck a trend.”
The rest of Spencer’s remarks,
CANADIAN FILM WEEKLY
Go to the PHONOGRAPH INDUSTRY
Thou Slugoard!
Consider Its Ways and Be Wise,
Says GORDON SPENCER
just as choice, are given verba- tim:
“Before World War II, we used to do everything except empty the local jail to get busi- ness. Through the war and for a time afterward, we sat back and watched them come in and hoped they wouldn’t damage the carpet or break the seats. Then all our creative advertising talent and too much of our managers’ time went into. selling candy and/or popcorn. I know all figures on candy counters. I know how, on paper, they have kept theatres alive. But I still wonder what would have hap- pened if all that effort had gone into selling our theatre and our pictures to our public. After all, the more customers we get the more candy we can sell. If we stop making managers worry about candy shortages, candy
=| HE BOOK! THEY CUT *~ OUT ALL THE MURDERS
campaigns, and assorted miscel- laneous multitudinous bookkeep- ing problems and, instead, make them sell theatres and pictures, wouldn’t we be more construc- tive?
“T can only offer this now. There is a trend. We must build on it, make it snowball. We have a chance to do this by selling ourselves and what we have to offer. There is absolutely nothing new in this thought but I do think the time is more oppor- tune than it has been for a long period.
“First: Do what you can every day and every hour to sell mo- tion pictures — not a movie, but the whole idea of getting out and seeing what wonderful things are taking place in mov- ing pictures theatres—and often. Sure there are some bad ones— it happens in every business —
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Page 17
F. GORDON SPENCER
but be proud of the rest and re- alize that millions of people have seen and sat through much worse on television than you'll ever be able to offer.
“While you are hoping that our industry will pick up some of television's good things (four pictures a year starring The Beverly Hillbillies would rescue a lot of small town theatres and maybe some bigger ones), rea- lize that you are offering the world’s most expensive enter- tainment at very low prices. Re- alize it and pass the thought on to friends, foes and customers.
“Second: Sell your theatre —
not to somebody but to every- (Continued on Page 22)
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A TYPICAL SCENE AT THE MONTHLY LUNCHEONS OF THE VARIETY CLUB OF ONTARIO
At the microphone Barker Fred Davis, well-known television personality acting as King for a Day, or toastmaster, brings laughter with his introduction of one of the head table guests. Seated are Margaret O’Brien, one-time child star of the movies and the co-star of A Thousand Clowns with Dane Clark, who is present but not in the photo. Next to her on the right are the Hon. James Auld, Ontario Minister of
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Pioneers Mark The Diamond Jubilee
On the right are scenes related to The Diamond Jubilee of the Silver Screen in Canada, which was celebrated by the motion picture industry earlier this year. It was sponsored by the Canadian Pic- ture Pioneers.
The top photo shows the luncheon in Vancouver, at which Attorney-General the Hon. Robert Bonner, QC, was the guest speaker. President Harry Howard is shown at the microphone.
The second photo shows Montreal Pioneers with Walter Pidgeon, Saint John native who is a Hollywood star. Pidgeon narrated the National Film Board short about the Canadian motion picture in- dustry, Anniversary, without fee. Left to right: I. (Dutch) Levit, Quebec CPP branch president Harold Giles, Nat Gordon, Ar- thur P. Bahen, Pidgeon, Bill Lester, Mort Prevost and Harry Cohen.
The third photo shows the luncheon in Toronto, at which the national president, Dan Krendel, presided.
The bottom photo is of the committee for the Winnineg Iuncheon. Front row— Harry Gray, Harry Hurwitz, Hy Swartz and R. D. (Bob) Hurwitz. Back row— Dave Carr, Dave Wolk, Paul Morton, David Rothstein, branch president and toastmaster of the luncheon, and Jack Taylor, branch secretary-treasurer.
Travel and Publicity; Tessie O’Shea, a principal in The Girl Who Came to Supper; the producer of that show, Herman Levin; Chief Barker George Altman; Davis; Walter Susskind, conductor of the Toronto Symphony Orchestra; and Irene Browne, a princi- pal in The Girl Who Came to Supper. That show was at the O’Keefe Centre and A Thousand Clowns at the Royal Alexandra. —Photo by Len Bishop
Remember y he T rust Fund
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Page 22
SHACKLEFORD
(Continued from Page 13) 60th Anniversary celebrations in
Calgary.” The story then relates how “Shack” — as he is spoken of —
was a draughtsman when he got a job at the Calgary Film Ex change. After that he became manager of the King’s Theatre, Lethbridge, earlier the Starland and after that the Phoenix, which stood between the Colonial, now the Capitol, and the Empress, later the Roxy, now gone. Next he and his partner, James B. DeGuerre, a tailor, took over the Majestic. By 1938 he controlled the three top theatres in Leth- bridge. A competitive theatre was the Monarch; renamed the Lealta, which closed some months ago after 51 years.
In 1950, on Thanksgiving Day, which was Oct. 9, Shackleford opened the Paramount in part- nership with Famous Players. In the 1950’s the Roxy closed. The paper said:
“For the record the first mo- tion picture theatre in Leth- bridge was the Eureka, built in 1909 on what is now the site of Perlux Cleaners. Later the same year the Lyceum (later the Em- press and the Roxy and now the site of Capitol Furniture), came into being.
“The Majestic, mainly a live theatre but for a brief spell be- fore its change to Purity Dairy, opened in 1910.
“In 1912 came the Morris The- atre at 416 5th St. S. but apart from the fact that its owner was a Mr. Morris who used to stand out front with a bowler hat and umbrella, little is known about it. Only a small theatre, it just vanished.
“In 1912 also came the Bijou (later the Fleming-Kennedy Gar- age which was burned down), also the Monarch—later Lealta — in North Lethbridge, and the Sherman, still in use as the Capitol, and named at various times the Orpheum, Colonial and Palace.”
This paragraph is interesting:
“For the future? Who knows, but it is not too far away from the day ‘when telecasts of events all over the world will be shown on the Lethbridge theatre screens live, just when they are happen- ing. Showbusiness, and_ the Shacklefords in Lethbridge, will undoubtedly go on to many new things before the next 60 years of motion picture celebrations come around.”
Two of Shackleford’s three sons — Doug, who manages the "Paramount, and Bob, manager of the Capitol — are with him in the business.
WB To Film ‘Poor Richard’ Poor Richard, a new Stage comedy by Jean Kerr, has been acquired by Warner Bros. in a Pre-production agreement,
CANADIAN FILM WEEKLY
Canada’s Gift: knees
(Continued from Page 7)
Toronto, who was a partner in United Artists at its organiza- tion. Mack Sennett, who pro- duced his own films, came from Quebec and Charles and Al Chris- tie, performers and producers of the famous Christie Comedies, were London, Ont. lads.
There were, however, quite a number of Canadians who held leading executive positions in the early and later days of the motion picture industry. Jack Warner, the president of War- ner Bros., was born in London, Ont. and, incidentally, the cur- rent president of Warner Bros. International, Wolfe Cohen, is a Canadian who was moved from the top post in this country.
Louis B. Mayer, the head of MGM for many years, grew up in Saint John, NB, where many members of his family still re- side. Henry McRae of Stayner, Ont., a producer-director known as “The Serial King,” was the general manager of Universal City when Carl Laemmle opened it in 1915.
Ed Auger, one of the top RCA executives, started with L. Er- nest Ouimet as manager of his second theatre, the Bijou Dream, in Saint John in 1907. Ouimet had opened Montreal's first per- manent cinema the _ previous year. Pat Powers, one of the top executives of the Fox West Coast circuit for years, started in To- ronto as an employee of its first cinema operator, John Griffin. W. J. German, the head of the company which bears his name
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George L. Bagnall, for years president of United Artists, had Calgary as his home town and Edward N. Beck, president of Triangle Productions and other independent companies, hailed from Toronto. Bagnall had been with Fox, became treasurer and general manager of Paramount before going with Alexander Korda as the president and gen- eral manager of his company.
Nat Levy, starting in Toronto with Universal in 1924, was east- ern sales manager for RKO when that company dropped out of distribution some years ago. His brother Jules, after a career in distribution, became a producer of important films. Edgar and Archie Selwyn moved from the stage, where the former was an actor and the latter a producer, into films. Edgar, who began as usher soon after his family moved to Rochester from _ To- ronto, was vice-president in 1917 of the Goldwyn Pictures Corp., one of the companies that made up MGM in a merger. Archie was a film producer and agent.
David Coplan was promoted from the top job of United Art- ists in Canada to become head of UA in the United Kingdom during the war and he was a director of the Odeon Theatres of Britain, of which UA owned 25 per cent at that time. He later entered independent dis- tribution and production and his
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current interest is Canadian Film Industries, a studio-lab complex now owned by Teleme- dia Ltd., of which he is manag- ing director.
Ralph Foster, now public re- lations chief for the CTV Net- work, has been chief of film for the United Nations and the Aus- tralian National Film Commis- sioner.
Probably the present outstand- ing example of a Canadian oper- ating in the international field is Louis Chesler, organizer and board chairman of Seven Arts Productions. Chesler, born in Peterborough, Ont., began his business career in Toronto.
SPENCER
(Continued from Page 17)
body. Make everyone in town realize that your theatre is there. Make them realize that it is open, ready, willing and anxious. On television, radio, the press and the street, keep your the- atre alive. If you have the abil- ity, you can do it for very little money. Don’t just get that sign that says ‘Open!’
“Third: Sell today’s movie or the coming one in and around your theatre. Don’t just tell peo- ple, sell people. We all spend much too much money on rout- ine advertising done in a routine way from routine material. Some of this should be done as a ser- vice, the ‘what’s on today’ type of thing. But don’t do too much and get a little integrity and a little less corn even into this. Play a double bill once in a while, not always ‘two big hits.’ Do everything you can to get out of the rut. Do different things, say them in different ways. Try for more integrity, particularly perhaps in small towns. I used to do my own radio spots when I was a theatre manager — just because I was a different voice. I finally got things to the point when I could tell the public that
such and such a picture was very good — I was sure they would like it — and they would respond.
“I can’t go into detail. I hope I’ve given food for thought. I don’t set myself up as an expert on these matters but I do know that, by and large, from top to bottom, this industry is very weak in the field of good promo- tion. Even without the support which should come from the top, those theatres today that are do- ing a good promotion job them- selves are making money. I don't know how much we can do about all this at this meeting but I repeat there is a trend in our favor. Grab it. Sell yourself, sell the movie idea, above all sell your theatre to your public, then sell your current and com- ing attractions. Nothing new, but do it ... and you'll be sur- prised at how good the candy business can become!”
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Show People
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The Theatre and Its People
When the first World Theatre Day was being celebrated two years ago this message from the late President Kennedy was featured: “The theatre throughout history has been the means by which men expressed their joys, their aspirations, their ways of coming to terms with fate. Through illusion it has expressed truth, through gaiety and delight it has touched = on the big issues of life.” “ie
Everyone who has spent time in theatres has little impressions that the years haven’t worn away. Who hasn’t seen and remembered a time {™ when the curtain didn’t reach the stage floor and the feet of the players hurrying to take their places for the next scene added something to the | evening?
The ladies in the audience are an interesting =— show in themselves to a male patron. At matinees, where they are predominant, they provide many latecomers. They aren’t afraid to ask the taller lady in front if she would mind sliding down a bit, whereas a man would never ask that of another man.
At matinees the babble that rises suddenly during a brief curtain drop is like a swarm of bees that appears from nowhere —and the babble ends as sharply when the players resume. Then there is that fascinating deftness that gets the glasses off, the eyes dabbed and the makeup repaired during the bows of the actors after a teary play.
It seems to me though that what one tells about the thea- tre most are the anecdotes read and heard. That’s what I’ll do
here mainly.
Ben-Ami and the Actor's Way
Jacob Ben-Ami, when here at the Royal Alexandra in The Tenth Man, delivered an Edgar Stone Lecture on the theatre at the University of Toronto’s Hart House and told amusingly how he came by his stage name. He was a promising young actor in Odessa, Russia and was given a good role in a play. The man- agement suggested that his long Russian name wasn’t suitable and that he change it. :
The young actor objected but the playwright, a friend of his, helped prepare the playbill and changed the former’s name on it to his present one. The actor was furious and gave every- one a bad time about it. The next morning the reviews came out and they said some very praiseful things about a new young player named Jacob Ben-Ami, urging the public and the profes- sion to keep their eyes on him.
To return to his old name would nullify the future value of the praise. “I had either to give up my name or give up the reviews,” Ben-Ami told the Hart House audience. “So, being an actor, I gave up my name.” avd ;
Another interesting Ben-Ami tale was about his family’s emi- gration to London while he, progressing in his career, remained in Russia. His mother kept writing him pleading letters to Join her and his brothers and sisters in London. He didn’t.
One day an offer came to join the company of the great actor, Rudolph Schildkraut, in London, for an excellent role. It was too good to refuse.
“To the day she died,” he said, “my mother never knew that I had come to London to join Schildkraut and not her.”
That’s an actor for you.
A Few Anecdotes
In the Autobiography of Thomas Dibdin there is a story about a London actor of Garrick’s day, one Newton, who sfop- ped his performance to address the mother of an infant whose crying made it difficult to hear the play. Said he to the astonish- ed mother: “Madam, I assure you, upon the veracity of a gentleman, that unless you instantly adopt some method of keeping the play quiet, it will be morally impossible for the child to proceed.”
The audience roared, the baby was frightened into screams and the mother took the hint and left with it.
Macbeth has given the English-speaking peoples much in-
Nut iif WE OOSSIN
A STORY of unusual interest which appeared in In and Out of Focus of Dec. 31, 1921 was about a dinner tendered to “J. P. Bickell, founder of the firm,” in celebration of “the fifth anniversary of the organizing of the Famous Players Canadian Corp., Ltd.” — as N. L. Nathanson, managing director, pointed out. George Weeks, general manager of Famous Lasky Film Service, Lt., was toastmaster of the dinner, which was held in the King Edward Hotel and attended by over 200 persons. Bickell being a mining man, a mine entrance had been constructed at one end of the hall and after Arthur Cohen, head of Regal Films, made the presentation Bickell mounted the mine mouth and made a speech of thanks. During the evening an orchestra of 50 musicians conducted by Jack Arthur, FPCC’s direc- tor of music, entertained. “Right in the midst of these selections the drummer went wild, or to sleep, causing Mr. Arthur to scold him. Right away quick another musician made a pass at the direc- tor and the orchestra fled in confusion.” The Roaring 20’s, indeed!
YOU CAN DO ANYTHING to an actor and he might forgive you — except for one thing. Don’t knock his act. An actor was re- calling the time a man-and-wife team approached Al Jolson for a loan. “I'll tell you what I'll do,” said Jolson. “You have a lousy act and it will never be any better than it is now. So, if you promise to quit vaudeville, I'll give you $5,000 to buy a grocery store.”
Later someone mentioned Jolson to the man in the act.
“Jolson!” said the man. “Don’t talk about the S.O.B. in front of me. He knocked our act.”
PEOPLE HAVE BEEN so busy talking about the Cleopatra of Elizabeth Taylor that they have forgotten the Cleopatras of the film past. The first was likely that of Helen Gardner, made by Vitagraph in 1911. Miss Gardner, who formed the Helen Gardner Picture Corp. in 1912 as the first star to establish her own company, was a heart- breaker, judging from the titles of some of her films — Becky Sharp in Vanity Fair, A Princess of Bagdad and A Sister to Carmen. Theda Bara, whose stage name was an anagram for “Arab Death” and who was an Iowa girl named Theodosia Goodman, played Cleopatra to Thurston Hall’s Mare Antony in the 1917 version, also nade by Fox. And in 1934 Claudette Colbert played the Egyptian femme fatale for Cecil B. DeMille’s Paramount version, with Henry Wilcox- on and Warren Williams supporting her. The above information grew out of a reference by Al Easson to the Helen Gardner version.
teresting and useful language and it is even responsible for one widely-used expression that isn’t part of the play. I learned of that in Webb B. Garrison’s Why You Say It (Abingdon Press,
NY).
An obscure English dramatist, John Dennis, invented a ma- chine that imitated thunder for use in a play of his. The play was taken off to make way for Macbeth. Dennis dropped in to see the Shakespearean drama and found that his thunder ma- chine was in use.
“They will not let my play run,” he complained, “and yet they steal my thunder.”
A highly-appreciated actor of the 19th Century was C. W. Couldock, who was connected with Toronto’s far-famed but now-gone Grand Opera House at its opening in 1874 and while there trained Henry Miller, after whom a present-day Broad- way theatre is named.
Couldock was playing a rustic character named Luke Field- ing in The Willow Copse, appearing with the company as a guest star and special attraction. On the stage Luke was asked to sign his name and he made a mark instead.
“Can’t you read?” the actor sharing the scene asked.
“T can’t read, I can’t write and’ — here Couldock looked sideways at the half-empty house and continued talking — “T can’t draw either.”
Enough for now. But I have just one more thought. Some day I'd like to be in a theatre where, at the end of the perform- ance, the players line up on the stage after their bows, break into applause and cry “Angel! Angel!” until some quiet, unsung hero rises and acknowledges the salute. Too often that’s about
all the backer would get out ef the play. (Copyright by the author}
i Toren oF GOOD WISHES FI
tien a
ature 22 fe oboe as
eee On
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Meee ot CT eee re SSS ‘ 4 We
eoaeral Sound eS)
AND THEATRE EQUIPMENT LIMITED
Branches Across Canada
TO WISH YOU JOY AT CHRISTMAS
AND PEACE THROUGH
THE NEW YEAR
«i
United Amusements
CORPORATION LTD.
WILLIAM LESTER President
Consolidated Theatres
LIMITED
LESTER ADILMAN President
BRARRERAARaARARAAARARARAAA
SHRIEIRLE LR ICIRIGIRISIEIR IE NAIR IRIE IIR IZ IZ ICICI IR IIR IIE IR IZ IRIE IRI IR IIE ICI Ie Yt
Bia
Season's Greetings
from the
Saskatchewan Motion Picture
Exhibitors Association
President H. GUNN Regina Vice-President Secretary-Treasurer J. MAHON J. M. HEAPS Prince Albert Regina Directors J. LUNDHOLM CG. R. MILLER R. PLUMB R. R. SOUTHAM A. BARTELUK W. JOHNSTON HARRY DURHAM N. WARNER J. MARSHALL G. M. MILLER kK. E. NELSON F. BEATTY W. RUSSELL » HERNER
J W. WELYKHOLOWA
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Christmas Number
WO of the most interesting
reports at the recent annual meeting in Toronto of the Mo- tion Picture Industry Council of Canada were those of the Pub- lic Relation Committee, read by Reg Wilson for C. S. Chaplin, chairman, in the latter’s absence, and the Film Advertising Circle, given by its chairman, Frank Lawson. Chaplin is Canadian general manager of Seven Arts Productions and Wilson his sales manager, and Lawson is adver- tising and publicity chief for Rank Film Distributors of Can- ada Ltd.
Both reported on the opera- tion of publicity-public relations projects of a character and scope not to be found anywhere in the motion picture world, in- cluding the United States. Chap- lin dealt with the Academy Award Sweepstakes, originated in Canada some years ago, which annually brings a great harvest of interest in motion pictures by the public, which is reached through the gratis co-operation of every form of public commu- nication. Lawson related the triumphs of the Diamond Jubilee celebration originated by the FAC, sponsored by the Canadian Picture Pioneers and carried out jointly.
N the case of the Academy
Award Sweepstakes, which bring prizes to the persons who come closest to guessing the re- sults, the Toronto Daily Star printed over 7,000,000 copies that carried the ballot, 69 theatres participated and ran trailers in and around Toronto, 14 TV sta- tions in major cities with 9- 000,000 potential viewers offered panels of film experts and clips
eS PRRIREIR IRIN NAIR IIR IRIE IE IRIR IER a
Compliments
of the Season from
SOVEREIGN
FILM DISTRIBUTORS = Ltd. :
ADD AAD DID DAD DASA NA
Offices across Canada Fa
PRMGPERENERE IEA UENCE ME NELEIZ IRIE EIRENE IZ Ieee eI Ie IIe)
&
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CANADIAN FILM WEEKLY
aaa L LL LLL SLES SEES SC EOCTTELEUT ES ETTT ET)
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and stills from nominated pic- tures. The Toronto experience was duplicated in many of these cities. The benefits were felt at the boxoffice, were nominated films were brought back and did good business — and, in one or two cases, better business than during the original release. “We are living in an_ ever- changing world and we cannot exist unless we adapt ourselves and take advantage of the chang- es,” Chaplin’s report said. “All too many exhibitors are still using the old methods of exhi- bition without exploitation and wondering why they aren’t doing business. Now is the time to assess your operation and to be merciless in your self-examina- tion. Then when — not ‘if’ — you find where you and your staff have been delinquent, you can institute the kind of operation that is so necessary and vital to
[ They'll Do It Every Time +1 By Jimmy Hatlo | \Z
ee THE TRAIN FROMTHE city Y IS LATE AGAIN AND MY FEATURE PICTURE FOR TONIGHT IS ON THE TRAIN BUT WERE EXPECTIN HER IN GY ANY MINUTE NOW, IF YOU'LL JUST SIT TIGHT, [TLL SHOW YOU MY IF THE FEATURE
ISN'T IN BY THEN, YOU GET YOUR MONEY BACK HOWS THAT?
Cort |
SHORTS
S
SOO SAAN
SSS
~
Alises
THE LIFEBLOOD of the Motion Picture Imdustwy
Publicity
ame
Promotion
HAAN AA HHA AL LEE OL OC LE I
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JOR CY OK
*
continued operation of theatres.”
[LAWSON told the Council that
the Diamond Jubilee had achieved some 48,000 lines of press coverage in about 50 news- papers and magazines, that 180 radio stations had received a special radio disc recorded by David Niven and that the Walt Disney studios sent out 52 30- second TV clips to Canadian sta- tions. The Disney greeting to the Canadian motion picture indus- try was prepared from a script worked out by the FAC. The luncheons of the Pioneers’ bran- ches which marked the Anniver- sary were covered thoroughly be- fore and after by the press in the various cities, as well as by TV and motion picture news- reels.
“What basically has been achieved by this Anniversary promotion?” asked Lawson. “We
WU Lda Vip are WELL
Y
7
INA MEAT SLICER THIS MORNING, wi,
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Wty YY YY YY
STAY HERE NO PLACE 7,| ELSE TO GO. THE ORGANY, Y/\ PLAYER AT THE TAVERN /7 NIPPED HIS FINGERS
Page 27
have conveyed to the general public the progressive image of the Canadian Motion Picture In- dustry and our faith in the future. It is not often that we take time out from our busy schedule to blow our own trum- pet and this certainly gave us a good reason to do it. We have rekindled old friendships with our associates within the indus- try and strengthened our attack to meet the problems of the future.”
World recognition was given to the Canadian industry through the trade press for the Diamond Jubilee “and this public expres- sion of encouraging enthusiasm from within our industry is the first striking blow to remove the sickening downbeat publicity which other media have.directed towards the production and ex- hibition of motion pictures,” Lawson said. He told the council that “the actual responsibility of co-ordinating the program” had fallen to Barry Carnon, ad- vertising and publicity director
of Empire-Universal Films, the
FAC chairman at the time. OTH reports, that of the MPICC’s Public Relations
Committee and the one for the Film Advertising Council, were given big hands by the delegates. After the FAC report various delegates got on their feet to describe the luncheons in their branches, all attended by not- ables, and praised the work of the FAC in creating and helping to carry out so rewarding a pro- ject.
ANYTHING LIKE THE LAST PICTURE ITS OKAY BY ME IF THE BLAMED TRAIN WENT OFF THE
Y
4,
HERE IS FREQUENTLY MORE HUMOR OFF THE SCREEN THAN AT THE VILLAGE MOVIE —
“Fhanx 0 RicHaro P Hess, CARMEL-BY-THE-SEA, CALIF.
With all good wishes for your
happiness at Christmas and in the New Year
YZ FAS IRAE FILMS LIMITED
JERRY SOLWAY MARTIN BOCKNER @ PAUL HANNER e BILL ELMAN @ BILL TOD ABE FEINSTEIN @ SYD SNIDERMAN @ MORLEY MOGUL e ERNIE WHELPLEY
Christmas Number
HARLES E. McCarthy, execu-
tive vice-president of the Council of Motion Picture Or- ganizations (COMPO), which has its Canadian equivalent in the Motion Picture Industry Council of Canada, read a brief section of the COMPO by-laws to the annual convention of the Allied States Association of Motion Picture Exhibitors in New York City recently.
Its objects are ‘“(a) to increase the prestige of the motion pic- ture industry; (b) to foster the common interests of all its bran- ches and branch organizations, and (c) to enlist all members of the industry in improving pub- lic relations—
“1. By collecting and dissemi- nating information about the in- dustry, its problems, its product, its patrons, and its employees;
“2. By cultivating new patrons for theatrical motion pictures;
“3. By developing the general usefulness of the motion picture and publicizing its service to the local community, the Nation and the United Nations;
“4. By furthering those mat- ters in the public relations field which pertain more particularly to the relationship of the 238,000 people in the industry with one another; and
“5. By resisting all encroach- ments upon the freedom of the screen and all unjust or unlaw- ful discriminations or exactions upon the industry.
“Nothing in the foregoing shall be considered to authorize the Council to represent the mem- bers in matters pertaining to the licensing of motion picture film or to trade practices.
“What has COMPO done in the 14 years to carry out these aims? I think you will agree that in these 14 years COMPO has suc- ceeded to an extent that many in our business believed impos- sible at the time of its forma- tion. Today COMPO stands as the one continuing organization in which all elements of our business can unite for the pur- pose of solving problems that confront the entire industry. As an agency representing all phas- es of the industry it has a unique position and has performed ser- vices which only such an organ- ization could accomplish.”
LISTING the accomplishments
of COMPO in that time, McCarthy gave reduction of the amusement tax in the USA; ex- emption of motion picture the- atre employees from the federal minimum wage law, which helped preserve the life of many theatres; and the organ- izations’ merchandising plan. To- day COMPO is still fighting the amusement tax, seeking its eli- mination, and its current cam- paign, aimed at film censorship, is to enhance the Bill of Rights in the public mind.
CANADIAN FILM WEEKLY
COMPO, McCarthy said, “is not a physical thing.” What is it? “It is a concept of industry unity, an instrument always in being, always ready to carry out industry efforts that call for United action. As such, it is one of the most precious assets in this business, and should be kept strong and vigorous.”
retary of the Motion Picture In- dustry Council of Hollywood, an all-embracing organization, so Bossin borrowed the name for his section. That section, having no budget, had to abandon its plans for a wide-scale public re- lations campaign.
In October the Canadian equivalent to COMPO, which
COMPO ¢ The MPICC
What McCarthy said about COMPO is just as true of the Motion Picture Industry Council of Canada. In fact, the MPICC is the same age as COMPO and has had just as many annual conventions. And why not? John J. Fitzgibbons, CBE, then presi- dent of Famous Players Can- adian Corp., saw COMPO being organized in the USA and attend- ed its first meeting as an obser- ver. He returned to Canada and proposed before the Motion Pic- ture Section of the Toronto Board of Trade — the closest in the industry to an all-embracing organization — that an equival- ent body be formed in Canada.
N May, 1949 the Board of
Trade group had voted to es- tablish a public relations section with Hye Bossin, editor of the Canadian Film Weekly, as chair- man. Bossin’s brother, Art Arthur, was at that time executive sec-
SORRY SIR, BUT
WERE GOOD FOR LAST WEDNESDAYS
had, at Bossin’s suggestion, adop- ted his committee’s name, the Motion Picture Industry Council of Canada, held an organization meeting in Ottawa. There John J. Fitzgibbons was elected its first chairman and served for four terms. The chairmen after that were A. J. Mason, Spring- hill, NS (1953 & '54); R. W. Bol-
stad, Toronto (1955, ’56, ’57 & 58); C. S. Chaplin, Toronto (1959 & 1960); and Frank H.
Fisher, Toronto (1961, 62 & ’63). The 1964 chairman is Peter S. Myers.
The Motion Picture Section of the Toronto Board of Trade, having been dormant for years because the MPICC made it un- necessary, ended its existence last year.
THE accomplishments of the
Motion Picture Industry Council of Canada, aside from the very important one of indus-
IS THAT S02 AFTER LETTING — THIS5’LL BE YOU PUT POSTERS IN MY STORE E THESE PASSES \ WINDOW WEEK AFTER WEEK, “Gi AND NEVER USING ANY PASSES, YOU'RE TRYING TO KEEP ME AND MY GUESTS OUT OF THE ONE SHOW WE WANT TO SEE GET THE ~—7 MANAGER F =
GOOD ¢ BE-
IN TOWN, OLD ———
TO MAN THE CRUPLEYS GOT / GUNS ALONE! &
Page 29
try unity, are on par with COMPO — if not greater, Can- ada still faced problems settled in the USA much earlier, along with the usual ones — the am- usement tax, indiscriminate taxa- tion and so on.
Sunday movies were no prob- lem in the USA when COMPO was established but Canada had them in Quebec only. It was the work of the MPICC which led to the progress in Ontario, where 90 plebiscites favored them, and in British Columbia and Manito- ba, where the largest cities have declared in favor, the campaign goes on. Film censorship was outlawed in the USA but Can- ada is the most overcensored film country in the world, al- though liberalization through classification is growing. In Can- ada, where the amusement tax is provincial and municipal, tre- mendous progress has been made in reductions and eliminations with the guidance of the MPICC to regional and provincial organ: izations. The USA has film pro- duction and the MPICC is sym- pathetic about encouraging pro- duction in Canada.
The MPICC’s boxoffice com- mittee originated the outstand- ing annual campaign of its kind, the Academy Award Sweep- stakes, and one of its affiliated bodies, the Film Advertising Cir- cle, originated and directed the greatest public relations cam- paign in Canadian motion pic- ture history, that of the Dia- mond Jubilee celebration.
™PHE MPICC, like COMPO, has
made a matchless contribu- tion to the progress of the in- dustry and its fight for preserva-
tion. It will continue to serve equally as well in the years ahead.
CRUOLEY REALLY HATES MOVIES, BUT NOT AS MUCH AS HE HATES LISTENING TO HIS WIFE AND HER FRIENDS GAB
AN? WAIT‘LL THEY TELL HIM =\ TO BUY TICKETS / —~ NE CALL OUT THE
MARINES 7
—_ OB sarurmy Nicht MOVIE — BILLED AS A COMEDY, —BUT MOST OF THE FUN TAKES PLACE IN THE FOYER /
ed Te
Jeg Miter, 254+ SW 27 6%) MAM 1, FLA.
Page 30
Dont BELIEVE for a moment that you are a spokesman
for the public. The only person
you speak for is yourself.” (Nathan Cohen, writing Rules for
Budding Critics, in The Toronto Star.)
Whenever HE‘REVIEWS A MOVIE FLOP, CRITIC MENASTY PULLS OUT EVERY STOP -
CANADIAN FILM WEEKLY
E CAN GENERALLY influ- AM NOW sitting in the small- ence people to stay away est room in my house. I have from what he considers a bad your review in front of me. In
”
play — but he has practically a moment it will be behind me.
no power to make them attend teEY Renerakay cornnosel) a good play.
(Sydney Harris, syndicated col- letter to Rudolph Louls, a Munich umnist and former drama critic.) critic.)
in a
Dip HE SAY THIS FLICKER WAS REALLY BAD? WELL, YOU'D NEVER KNOW IT FROM THEIR. AD!
Cleopatra’ isa fantastic collection 7
of unbelievable tripe. The amount of garbage in this film is breath-
A Dell-McClurs Syndicate Feature
FOR EVERY hundred men who
have succeeded in writing good drama you will be at pains to discover a single one who has succeeded in writing good dra- matic criticism and the ratio be- comes all the more impressive when one considers that where one man tries to write drama a hundred men try to write cri- ticism.”
(George Jean Nathan in The
Popular Theatre, published by AIl- fred A. Knopf, NY, in 1918.)
WHEN YOU HARK to the voice of the knocker And you hear his hammer fall; Remember the fact that the knocking act Requires no brains at all.”
(Ivor Brown, quoting an anony- mous author, in on Observer ar- ticle deploring ‘the carpers in the English press’ who do drama criticism.)
F AN IDEA or an interpreta-
tion cannot survive a critic, any critic, it is no good. If the idea is sound, then the criticism advertises and spreads it. Wil- liam E. Dodd told us once never to reply to a critic, and I have never voluntarily done so. The critic is entitled to his view and the author will waste his time trying to change it. The idea has its own destiny, and once lJaunch- ed it is independent of both au- thor and critic.”
(William Prescott Scott of the University of Texos in the 1958 presidential address to the Ameri- can Historical Association in Wash- ington, DC.)
j Vj fon
=
ja te al th (@ a Ne FANTASTIC!
UNBELIEVABLE!” > BREATH-TAKING.”
\ a | \
THEODORE STOIL Fuh AUSTIN, TEXAS 10-26-63-
rs PRUGIGIE IGEN ICING HC NEIGIENE HEHE IERIE UE IE PRRERE ZICH ICICI EUR IC ICICI ICICI
Compliments of the Season
TRANS- WORLD
ML
LABORATORIES
240 Bates Road Montreal 26, Que. Phone: REgent 3-7181
“A RECOGNIZED AUTHORITY IN CANADIAN FILM PROCESSING”
PERE NE REIS ERE ERLE LE NE REE RE LEIS UE ICI IIS HERE PE MERE REESE CUE HEIR HEUER RR PICU US UR RENEE RENEE IZ LEEPER RIZE
te Lael Bea Dee sed Pe De sed Be tle Des Do Ps De DeBoor BeBe Pare De Pet Pas Be PLP > Pere De p> per P= pac b=r be barber bev be barbs berber
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Christmas Number
HE FILM CRITIC seems at
his worst when he is aware of literary or theatre compar- isons of style, when he is mak- ing his own (superior) cultural position clear, when he is apos- trophising the illiteracy that went into the making of a film. To date he seems to be at his best when he is telling himself what he likes about a movie. This is, I expect, an early stage in the critical history of the arts, but it is an honest and exhilar- ating one.”
* *
“In the present state of British and American film criticism there are a score of film critics who are thoughtful, clever, in- genious. But it is hardest of all to be apt. It may be we are already too sophisticated, too literary to criticize with a clean and alert intelligence a game with the folk simplicity and strength of the movies. For time and again in English criticism one reads a clever remark and feels what a good remark it would be if only it was true.”
(The Critic in Film History, one
of the chapters in a series of
articles by different writers which
makes up Footnotes to the Film, edited by Charles Davy and first
published by Lovat Dickson Ltd., London, in 1937.)
GHOW ME an actress who says
she does not read criticism and I will show you a liar; or, if not, a fool.”
(Julia Marlowe to Hector Charles- worth.)
WHEN I MADE Muscle Beach
I had no view-finder — just a group of paper clips that I'd arranged. I didn’t know how to frame the image. I think it was Sight and Sound said: ‘At last someone has the courage to frame off-centre.’ So much for film criticism.”
(Joseph Strick, producer of The
Balcony, to David Bates of The Observer, London.)
OR fifty years serious film
criticism in England and America has been plagued by the assertion that film can be an art. I say ‘plagued,’ because almost all the assumptions about the nature and possible forms of cinema have been made on the basis of this assertion: and, in my opinion, it is no more than an assertion.
“The trouble with the belief that film can be art is that the critic tends to elevate the films he admires by referring to them as ‘art’ and to deprecate those he does not by referring to them as ‘products,’ ”’
(Paul Mayersberg, in a despatch from London for The Montreal Star. The following week Jacob Siskind, The Star's film critic, took issue with Mayersberg's opinions because "'they were so_captious,
capricious and, | think, so arrantly nonsensical,'')
To The Canadian Motion Picture Industry
SEASON’S GREETINGS
From
THE NATIONAL FILM BOARD OF CANADA
- Pra yed od od ed ed ted ed Need fed Yead ocd Sed etc ad Feed Pc ded Jed Pad ocd Yacd Jed J 74
PMSA RIAL AL ALARA AIA Sol AGUA AAI AL ALLA RLALAL ALA ALG GSC AULA AAS mee fh
£8
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Season's Greetings
and
Best Wishes
“The Seatous Geet
y= By RA aa < “N "4 SAN
17 ON
Il tl THE To All the 7 JOE POSTER Members of the Motion AGENCY
Picture Industry
THEATRICAL
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CONNIE STEVENS
Christmas Number
CANADIAN FILM WEEKLY
Page 35
Saltzman-Broccoli Film,
‘Pass Beyond Kashmir’
Harry Saltzman and Albert R. Broccoli will produce The Pass Beyond Kashmir for Columbia release. Based on Berkely Math- er's gripping best-seller, it will star Sean Connery, brilliant young star of the internationally- successful Saltzman - Broccoli James Bond series.
An action drama set in the Himalayan ranges, The Pass Be- yond Kashmir will go into pro- duction late in 1964 in Britain and on extensive locations in the East. Berkely Mather is also writing the screenplay. The pro- duction company will be Eon Productions, Limited.
Stars Cast In Universal Film
Cary Grant and Leslie Caron will star in an untitled comedy- drama at Universal.
Hans Conreid Added To ‘Robin & The 7 Hoods’
Hans Conried has been set for a top comedy role in Robin and the 7 Hoods, the Warner Bros. motion picture comedy starring Frank Sinatra, Dean Martin, Sammy Davis, Jr., Bing Crosby, Peter Falk, Victor Buono and Barbara Rush.
Gordon Douglas is the Technicolor comedy with music, with Sinatra producing and Howard W. Koch as execu- tive producer.
directing
SRIRIIRIR ICI IRIRIRIRIRIRIRIRICIRIZIZIIEIRICN
Mr. R. W. Trowern and Staff of
Canadian Imperial Bank of Commerce Dundas and Victoria
Streets Branch, Toronto extend to all their friends the
Season’s Greetings
PADD DAS SN a MNM iol S ot M ae ol o oa a aM al at aN
and best wishes
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REVIEW
CLEOPATRA
with Elizabeth Taylor, Richard Burton, Rex Harrison. icrlGn nea (Todd-AO—DeLuxe Color) 221 Mins. ACHIEVEMENT.
AND SPECTACULAR SWEEP. SHOULD BRING IN CONQUERING HOXGFFICE RETURNS. Proceeded by the pomp and fanfare that befits cinematic royalty,
Cleopatra has made its stately bow. That this, the most expensive
picture ever made, is one of thundering spectacle, goes without say-
ing. As the life of Cleopatra unfolds, there moves across the screen
a pageant of history and a personal story of love, glory and passion. Producer Walter Wanger and director Joseph L. Mankiewicz have
fused into the picture sure-fire boxoffice values. Opulence hangs like
a halo over the production. Sets, costumes and images are conceived
In Imagination and photographed in beauty.
Elizabeth Taylor puts a dazzling, popular appeal and magnetism
into the title role, making it understandable that Rex Harrison as
Julius Caesar and Richard Burton as Mark Antony can be manipu- lated at her will.
The picture was filmed in Italy, England, Spain and Egypt in color by De Luxe and eye-regaling Todd-AO, from the screenplay by Mankiewicz, Ranald MacDougall and Sidney Buchman.
_Miss Taylor conveys all the physical allure of a queenly siren while Harrison and Burton set words afire with their acting skill. Director Mankiewicz has also elicited brilliant performances from the supporting cast.
Among them are Hume Cronyn as the scholar and devoted friend of Cleopatra; Roddy McDowall as Octavian, who presses re- lentlessly on against the tragedy-torn Antony and Cleopatra; Pamela Brown, the high priestess; Cesare Danova, court adviser to Cleopa- tra; George Cole, Caesar’s barber; Kenneth Haigh as Brutus; Robert Stephens as Germanicus, a leading figure of Caesar’s Rome; Isabelle Cooley, handmaiden to the queen; and Martin Landau as Rufio, friend of Antony.
The writing often crackles with brilliant dialogue and shows sensitivity and insight. Brevity however is not its strongest virtue.
The music composed and conducted by Alex North gives depth and accent to the proceedings. And the photography directed by Leon Shamroy catches some masterful moments.
Cleopatra is a film experience one cannot forget.
CAST: Elizabeth Taylor, Richard Burton, Rex Harrison, Pamela Brown, George Cole, Hume Cronyn, Cesare Danova, Kenneth Haigh, Andrew Keir, Martin Landau, Roddy Mc- Dowall, Robert Stephens, Isabelle Cooley.
CREDITS: Produced by Walter Wanger; Directed by Joseph L. Mankiewicz; Screen- play by Mankiewicz, Ranald MccDougall and Sidney Buchman, based upon histories by Plutarch, Suetonius, Appian, other ancient sources; Director of photography, Leon Shamroy.
DIRECTION: Excellent, PHOTOGRAPHY: Brilliant.
20th Century-Fox
(From The Film Daily, NY)
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Susan Hayward, Bette Davis and George Macready will star in Paramount-Embassy’s Where Love Has Gone.
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TORONTO
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Season's Greetings From
TWENTIETH CENTURY THEATRES