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jsiness magazine of the motion picture industry December 1992, $3.95<br />

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The business magazine of the motion picture industry<br />

DECEMBER, 1992 VOL. 128 NO. 12<br />

t:„eiy man alone is sincm. At the entrance of a second person, hyfiomsy hef^ns.<br />

-Ralph Waldo Emerson<br />

N THE COVER<br />

)bert Downey, Jr., stars as the man who<br />

ide 'The Little Tramp" an American myth<br />

Sir Richard Attenborough's "Chaplin," a<br />

iristmas day release from TriStar. (See<br />

ver story, page 12)<br />

FEATURES<br />

12<br />

t<br />

EVIEWS-Followingpage37


SENIOR EDITOF<br />

Ray Greens<br />

EDITOR AND ASSOCIATE PUBLISHEF<br />

Harley W. Lone<br />

Lightning is about to strike thrice as at least<br />

four "Frankenstein" projects are on the verge<br />

of being re-animated by those crazed creative<br />

geniuses known as studio development executives.<br />

At Columbia/TriStar, where the response<br />

to director Francis Coppola's take on<br />

"Bram Stoker's Dracula" can only be called<br />

ecstatic, Coppola's American Zoetrope Productions<br />

is<br />

readying a project under the title<br />

of (what else?) "Mary Shelly's Frankenstein."<br />

The script, written by Steph Lady, is from a<br />

story co-written by Lady and Jim V. Hart<br />

("Bram Stoker's Dracula" and "Hook"), a<br />

writer who has made a specialty of retooling<br />

the classics. Zoetrope is shopping for a director,<br />

which indicates that Coppola's involvement<br />

will likely be as a part of the producing<br />

team only. Also at Columbia/TriStar, former<br />

studio honcho |on Peters' Peters Entertainment<br />

has a "Frankenstein" in development,<br />

though with the Coppola project already on<br />

the production fast-track, it's difficult to say<br />

where the Peters project stands. Lastly,<br />

Warner Bros, is developing a "Frankenstein"<br />

project by English writer johnathan Gems;<br />

though reports have circulated that Warner<br />

would like to package "Batman Returns" director<br />

Tim Burton and "Terminator" star Arnold<br />

Schwarzenneger (presumably to portray<br />

Adam—which was the monster's name in the<br />

book), neither Burton nor Schwarzenneger<br />

has committed to the project yet.<br />

Universal Pictures, which gave the world<br />

the most enduring "Frankenstein" of all with<br />

the Boris Karloff/Colin Clive feature directed<br />

by lames Whale in 1931, has gothic novelist<br />

Anne Rice ("Interview With The Vampire")<br />

hard at work on a screenplay based on the<br />

studio's 1935 classic "The Bride of Frankenstein."<br />

Since the events depicted in "Bride"<br />

were based on portions of Mary Shel ly's novel<br />

which went unused in the 1931 "Frankenstein,"<br />

the Rice screenplay is technically a<br />

fourth adaptation of the same material as the<br />

other three projects currently in development.<br />

No word yet from Mel Brooks about<br />

whether or not he intends to remake or sequelize<br />

his famous 1 974 horror spoof, but with the<br />

studio development process itself degenerating<br />

into self-parody in the proliferation of<br />

these imitative project announcements, the<br />

moment seems ripe with satiric possibilities.<br />

"Mary Shelly's Young Frankenstein," anyone?<br />

After the free-for-all that erupted around<br />

issues of creative control on his Warner Bros,<br />

movie version of "Malcolm X," writer/director<br />

Spike Lee signed a multi-year production deal<br />

with Universal Pictures, the studio where he<br />

made the films "Do the Right Thing," "Jungle<br />

Fever" and "Mo' Better Blues." The agreement,<br />

which covers Lee's services as a writer,<br />

producer, director and actor, gives Universal<br />

first refusal on all projects developed by Lee's<br />

40 Acres and A Mule Filmworks, and provides<br />

Lee with the opportunity to acquire and produce<br />

projects by others. Lee's Universal deal<br />

gives him complete creative control over his<br />

future films, in marked contrast to what Lee<br />

termed the "meddling" of Warner Bros.,<br />

which briefly assumed control over "Malcolm<br />

X" through a completion bond company during<br />

the film's editing. Lee's Warner Bros, arrangement<br />

was apparently a temporary marriage<br />

of convenience, since Warner held the<br />

film rights to the slain activist's life-story, a<br />

project Lee desperately wanted to adapt for<br />

the screen. With "X" completed, Lee was<br />

more than happy to return to the friendlier<br />

environs of Universal, where he has enjoyed<br />

a working relationship with the chairman of<br />

MCA Motion Picture Croup, Tom Pollock.<br />

MPAA president Jack Valenti has moved<br />

from lobbying the Washington powers that be<br />

to writing about them in fictional form. "Protect<br />

and Defend," Valenti's first novel, has<br />

been published by Doubleday, just in time to<br />

capitalize on the heightened interest in<br />

matters<br />

political that accompanies any election<br />

year. Blending an espionage thriller with electoral<br />

drama, "Protect and Defend" is the story<br />

of an incumbent vice president who decides<br />

to run against the president he serves under.<br />

Though Valenti, who was a special assistant<br />

to Lyndon Johnson from 1963 to 1966, has<br />

more than enough first-hand experience to<br />

write about life in the executive branch, Doubleday<br />

insured the veracity of his manuscript<br />

by assigning it to one of the publisher's more<br />

renowned editors—a woman named Jacqueline<br />

Onassis, widow of President Joh n F itzgerald<br />

Kennedy. Valenti's moonlighting career as<br />

a novelist opens up some interesting possibilities<br />

where his day job is concerned. What on<br />

earth will he do if the movie version (Buena<br />

Vista is rumored to be already interested in<br />

purchasing the rights) gels an uncommercial<br />

ratingof NC-17?<br />

beginning to look more and more as if<br />

It's<br />

pay cable and home video giant Turner Entertainment<br />

is poised to become a major provider<br />

of theatrical product. After acquiring the<br />

Hanna-Barbera animation studios. Turner<br />

commissioned its first-ever theatrical feature,<br />

"Tom and Jerry: the Movie," a modestly budgeted<br />

$10 million production featuring the<br />

durable animated characters popularized by<br />

William Hanna and Joseph Barbera in the<br />

1 940s. To give an idea of Turner's reach, the<br />

rightstoTomand Jerry weren't part of the H-B<br />

deal; those rights came with Turner's purchase<br />

of the MCM library a few years back.<br />

Now comes the announcement that Turner<br />

has signed pint-sized powerhouse Macauley<br />

Culkin to star in "Pagemaster," an ambitious<br />

$35 million fantasy about a boy who is<br />

knocked unconscious in a library during a<br />

severe thunderstorm and awakens inside the<br />

pages of a children's novel. "Pagemaster,"<br />

which will feature live action blended with<br />

the H-B unit's animation, will be directed by<br />

Joe Johnson ("F^oney I Shrunk the Kids") with<br />

Christopher Lloyd ("Who Framed Roger Rabbit")<br />

appearing as the title character. The<br />

"Pagemaster" project, will be released by<br />

"FHome Alone 2" distributor 20th Century<br />

Fox, furthering that studio's relationship with<br />

Culkin; production start on "Pagemaster" will<br />

have to wait in line behind another Fox project,<br />

a psychological thriller entitled "The<br />

Good Son" in which Culkin portrays his firstever<br />

screen villain.<br />

ASSOCIATE EDITOF<br />

Marilyn Mos;<br />

EDITORIAL ASSISTAN!<br />

Cathy J. Lope;<br />

CONTRIBUTING EDITOR: VIDEC<br />

George T. Chronii<br />

CONTRIBUTING WRITER!<br />

John Allei<br />

Bruce Austii<br />

Marl Florena<br />

Alan Kaq<br />

Karen Krep;<br />

Shiomo Schwartzben<br />

Fern Siege<br />

Mort Wax (International News<br />

CORRESPONDENT)<br />

BALTIMORE Kate Savage. 301-367-4964; BOSTON<br />

Guy Livint<br />

ston, 617-782-3266: CHARLOHE Charles Leonard, 704-333<br />

0444; CINCINNATI Tony Rutherford, 304-525-3837. CLEVEUNt<br />

Elaine Fried, 216-991 -3797, DALLAS Mary Crump. 214-821-981<br />

DULUTH/TWIN CITIES Roy Wirtzleld, 218-722-7503: FLORID/<br />

Lois Baumel, 407-588-6786, Rhonda P Hunsinger, 407-29!<br />

6359, HOUSTON Ted Roggen, 713-789-6216, MILWAUKEE: Wa<br />

ter L Meyer, 414-692-2753, NEW ENGLAND Allen M WUer,<br />

203-232-3101, NEW ORLEANS Wendeslaus Schuiz, 504-28;<br />

0127: NEW YORK Fern Siegel, 212-228-7497, NORTH DAKOT/<br />

David Forth, 701-943-2476. OREGON Bob Rusk, 503-861-3181<br />

PHILADELPHIA Maurie Orodenker, 215-567-4748, RALEIGI<br />

Raymond Lowery, 901-787-0928, SAN ANTONIO William I<br />

Burns, 512-223-8913. x704. TOLEDO Anna Kline, 419-531-77a,<br />

CANADA MaxmeMcBean, 463-249-6039, DUBLIN<br />

Doug Payn<br />

Dublin, Ireland 1+353] 402-35543, AUSTRALIA/PACIFIC: MarV,<br />

Barbeliuk,011-61-2-502-4158<br />

FOUNDEI<br />

Ben Shyle<br />

PUBLISHEi<br />

Bob Dietmeler (312) 338-70.<br />

NATIONAL ADVERTISING DIRECTO<br />

Robert M, Vale (213)465-Ul<br />

ADVERTISING CONSULTAN<br />

Morris Schlozman (816)942-58',<br />

EAST COAST ADVERTISING REI<br />

MitchellJ, HalU2T2;S77-66f<br />

BUSINESS MANAGE<br />

Dan Johnson (312)338-70(<br />

CIRCULATION DIRECTO<br />

Chuck Taylor (312) 922-93\<br />

OFFICE<br />

Editorial and Publishing Headquarters:<br />

6640 Sunset Blvd., Suite 100, Hollywood, C<br />

90028-7159 (213) 465-1186, FAX: (213) 46<br />

5049<br />

Corporate: Mailing Address: P.O. Box 2548<br />

Chicago, IL 60625 (312) 338-7007<br />

-e<br />

Circulation Inquiries:<br />

BOXOFFICE Data Center<br />

1020 S.Wabash Ave..<br />

Chicago, IL 60605<br />

(312)922-9326<br />

FAX: (312) 922-7209<br />

tea<br />

4 BOXOFFICE


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Niro as the colorful but strict stepfather who<br />

changes a young boy's life. Ellen Barkin costars.<br />

(Warner, 1 2/25)<br />

Peter's Friends<br />

Actor/director Kevin Branagh ("Henry V")<br />

follows up his hit thriller "Dead Again" with<br />

this "Big ChilT'-type ensemble comedy about<br />

A Few Good Men<br />

Actor-tuned-director Rob Reiner ("This<br />

Spinal Tap") stakes his claim on the holiday<br />

season with this eagerly anticipated movie<br />

adaptation of Aaron Sorkin's hit Broadway<br />

play. After his critical and commercial disap<br />

pointment as an Irish immigrant in Ron<br />

Howard's "Far and Away," Tom Cruise re<br />

verts to type as a cocky, amoral Navy lawyei<br />

whose only priority is to advance his career<br />

A red hot murder case involving two marines<br />

is thrown his way by the brass with the expec<br />

tation that he'll bury it before embarrassing<br />

information can be revealed, but Cruise' con<br />

science is awakened by his feisty defense<br />

partner (Demi Moore). In<br />

is<br />

the ensuing legal<br />

battle. Cruise risks his career to see if justice<br />

can be done within the framework of military<br />

law. jack Nicholson (the upcoming "Hoffa")<br />

and Kiefer Sutherland ("The Lost Boys") costar<br />

as a gung-ho naval base commander and<br />

his fascistic lieutenant. Sorkin wrote the<br />

script, based on his own stageplay. The advance<br />

word on this one is very good indeed.<br />

(Columbia, Dec. 11)<br />

six university friends who hold a tenth-anniversary<br />

reunion on New Year's Eve. As in his<br />

previous two films, Branagh himself co-stars<br />

with his wife, actress Emma Thompson<br />

("Howard's End") and comedienne Rita Rudner;<br />

the script is by Rudner and Martin Bergman.<br />

The next project on deck for the<br />

Branaghs will be their first Shakespearean<br />

comedy, an all-star adaptation of the Bard's<br />

"Much Ado About Nothing." (Coldv<br />

Christmas)<br />

Indochine<br />

The French colonial legacy in Indochina is<br />

examined in this political drama, set in French<br />

Indochina in 1 930. Catherine Deneuve ("The<br />

Hunger") is a plantation owner caught in a<br />

three-way love affair, with her own daughter<br />

(Linh Dan Pham) as her rival fortheaffectioi<br />

of a French naval officer, played by Jea<br />

BaptisteLeCuen. RegisWargnierdirectsfro<br />

a script he co-authored. (Sony Classics, Dec<br />

Damage<br />

Josephine Hart's debut novel "Damagi<br />

was considered such a hot property when<br />

was released last year that her publishers toe<br />

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i<br />

nheard of step of including a letter with<br />

it<br />

review copy asking opinion-makers to<br />

extra consideration. A saga of sexual<br />

sslon, "Damage" concerns an illicit affair<br />

een an aging politician (Oscar-winner<br />

iy Irons) and his son's young girlfriend.<br />

te Binoche ("The Unbearable Lightness<br />

ing"), Miranda Richardson ("Dance With<br />

anger") and Rupert Graves ("A Room<br />

a View") fill out the cast; playwright<br />

d Hare wrote it, French director Louis<br />

s ("Atlantic City" "Au Revoir Les En-<br />

") directed it. Dan Quayle take note:<br />

s is the real life husband of Murphy<br />

'n actress Candice Bergen, so "Damage"<br />

or may not reflect conventional family<br />

;s. (New Line, Late Dec.)<br />

Maunder, "Talons of the Eagle" was produced<br />

by lalal Merhi. (Shapiro Glickenhaus, Dec.)<br />

Forever Young<br />

by Jeff Abrams ("Regarding Henry.") (Warner,<br />

Dec. 18)<br />

The Bodyguard<br />

In one of the more intriguing holiday pairings,<br />

Kevin Costner ("JFK") and pop vocalist<br />

Whitney Huston team in this romantic thriller<br />

about a bodyguard (Costner) hired to protect<br />

a glamorous actressAint:i r 1 1 1< iusi( in i who has<br />

ons of the Eagle<br />

been a good year for fans of the martial<br />

iction film; from "3 Ninjas" for the kids<br />

?apid Fire" for teenage action junkies,<br />

of the last few months has seen at least<br />

lew entry in the choppy-socky genre, and<br />

5 without including high-profile releases<br />

ckboxer lean-Claude Van Damme ("Uni-<br />

Soldier")and karate master Steven<br />

all ("Under Seige") which, while not mararts<br />

films, exploited their lead's fighting<br />

bilities. From the low budget end of the<br />

trum comes "Talons of the Eagle," a<br />

dy cop actioner starring |alal Merhi<br />

:ick Pearls") and Billy Blanks ("The Last<br />

Scout") as two vice cops dedicated to<br />

ging down the underworld empire of the<br />

[rious Mr. Li (James Hong). Directed by<br />

Inael Kennedy and written by Stephen<br />

Two-fisted superstar Mel Gibson ("Lethal<br />

Weapon 3") tries a change of pace in this<br />

romantic fantasy with comedic overtones.<br />

Gibson is a brokenhearted test pilot in the<br />

1940s who signs on for a top secret government<br />

experiment in order to escape from his<br />

memories of the woman he loves.<br />

Reawakened after 53 years in suspended animation,<br />

Gibson finds himself both still romantically<br />

afflicted and ill-equipped to deal<br />

with contemporary life. "Forever Young" costars<br />

Jamie Lee Curtis ("Blue Steel") and Elijah<br />

Wood ("Avalon"). Steve Miner directs a script<br />

been receiving threatening letters from an<br />

obsessed fan. Mick Jackson ("L.A. Story") directs<br />

a script by Lawrence Kasdan ("Grand<br />

Canyon"), with Kasdan, Costner, and<br />

Costner's friend and long-time associate |im<br />

Wilson producing. "The Bodyguard" is Whitney<br />

Huston's first feature film. (Warner, Dec.<br />

11)<br />

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I<br />

i<br />

i<br />

Lorenzo's Oil<br />

probably the last thing the "Mad Max"<br />

It's<br />

audience would expect of him, but writer/director<br />

George Miller (who made all three<br />

"Max" films) was a medical doctor before he<br />

becamea filmmaker. Miller's latest film draws<br />

on that experience by casting Nick Nolle and<br />

Susan Sarandon as a couple who challenge<br />

the accepted wisdom of the medical community<br />

in a desperate attempt to save the life of<br />

their ailing son. "Lorenzo's Oil" is based on<br />

fact; the screenplay is by Miller and Nick<br />

Enright, with Miller directing. (Universal.,<br />

Dec. 18 tentative)<br />

Leap of Faith<br />

Steve Martin ("Housesitter") takes a<br />

leap<br />

into potentially controversial waters in this<br />

"Elmer Cantry"-ish comedy-drama about an<br />

evangelist and con artist named Reverend<br />

Jonas Nightengale, who makes his living<br />

source with this anthology of the old babyboom<br />

favorite from the 1 960s, which was one<br />

of the first animated series produced in Japan<br />

to find favor with American audiences. Given<br />

the kitschy nostalgia so currently in vogue,<br />

"The Speed Racer Show" will almost surely<br />

find an audience with the midnight movie<br />

crowd. (Streamline, Dec.)<br />

Trespass<br />

Universal's hot potato action film will<br />

finally<br />

make it<br />

to theatres this month, perhaps<br />

in the hope that Spike Lee's "Malcolm X" will<br />

have already exhausted the media's capacity<br />

for controversy by the time Dec. 23 rolls<br />

ind. Originally titled "Looters" and slated<br />

Hoffa<br />

1 992 is shaping up as the year of the bio-ll<br />

pic. Joining Spike Lee's "Malcolm X" and Sir.<br />

Richard Attenborough's "Chaplin" in the^<br />

Academy Award sweepstakes, Danny DeVitc<br />

("Batman Returns") directs his "One Flew<br />

Over the Cuckoo's Nest" co-star (and close<br />

personal friend) Jack Nicholson in this biog-j<br />

raphy of controversial Teamster labor leader.<br />

Jimmy FHoffa, whose contributions to the'<br />

union movement have often been overshadowed<br />

by his links to organized crime and hi;<br />

lengthy feud with Robert F. Kennedy. Playwright<br />

David Mamet ("GlenCarry Gler<br />

Ross") wrote the script.<br />

"Hoffa", which costars<br />

DeVito in a supporting role, offers a<br />

marked departure from DeVito's previous,<br />

more comedic directorial efforts ("Throw<br />

Mamma From the Train" and "The War of the<br />

Roses"). Though Nicholson is reportedly<br />

proud of both projects, he was unnerved tc<br />

discover that "Hoffa" is being released in<br />

direct competition with Rob Reiner's "A Few<br />

Good Men," in which Nicholson also stars<br />

(Fox, Dec.U)<br />

fireman who get into trouble with a ring (<br />

crooks while on the trail of some stolen good<br />

Director Walter Hill ("48 Hours") works fror<br />

an early but unproduced script by Bo'<br />

Zemeckis and Robert Gale (the "Back to th<br />

Future" boys). (Universal, Dec. 23)<br />

Used People<br />

With Jane Fonda's recently announced ni<br />

tirement, Shirley MacLaine ("Postcards Froi<br />

the Edge") continues to be the only actress (<br />

her generation to make a graceful I transitio<br />

from "A"-list Ifad .u tress u, more maturi<br />

fleecing his flock by puling off phony miracles.<br />

The plot thickens when Nightengale develops<br />

a hesitant relationship with a small<br />

town waitress, while the local sherrif gets<br />

suspicious. Debra Winger ("The Sheltering<br />

Sky") co-stars with Lolita Davidovich ("Raising<br />

Cain"). "Leap of Faith" is directed by<br />

Richard Pearce from a screenplay by janus<br />

Cercone. (Paramount, Christmas)<br />

The Speed Racer Show<br />

Streamline Pictures, which has made a specialty<br />

out of releasing the latest in featurelength<br />

Japanese animation, returns to the<br />

for a summer '92 release but renamed and<br />

rescheduled in the aftermath of the Los Angeles<br />

riots, "Trespass" had barely begun to inch<br />

its way toward a late fall opening when the<br />

controversy at Time-Warner over star Ice-T's<br />

"Body Count" record "Cop Killer" boiled<br />

over, creating nervousness in Universal's corporate<br />

ranks. After being briefly removed from<br />

Universal's schedule, "Trespass" is back, with<br />

rap and film stars Ice Cube ("Boyz 'N the<br />

Hood" ) and Ice T ("New Jack City" ") armed<br />

to the teeth and ready for action as two rural<br />

character-based roles. In "Used People<br />

MacLaine plays a widow whose gentlem;<br />

admirer of nearly a quarter century begii<br />

courting her on the day of her husband<br />

funeral. Italian superstar Marcell<br />

Mastroianni makes a rare appearance in J<br />

American film as the suitor, with Oscar-wii<br />

ning actresses Jessica Tandy and Kathy Bate<br />

who seem to be making a habit of co-starrir<br />

together lately, continuing here the traditic<br />

established in "Fried Green Tomatoes<br />

Beeban Kidron directs; the screenplay, t<br />

writer Todd Graff, was reportedly based c<br />

events in his own mother's life. (Fox, Dec. 2,<br />

10 BOXOFFICE


1 which<br />

HOLLYWOOD REPORT<br />

Wesley Snipes<br />

A/esley Snipes is<br />

rapidly be-<br />

Tiing one of the most sought<br />

?r actors in Hollywood. In<br />

ceezer," Snipes reunites with<br />

ew lack City" screenwriter<br />

rry Michael Cooper for a<br />

igland melodrama about two<br />

ithers who become successdruglords<br />

on the streets of<br />

w York city but then end up<br />

opposite sides of the issue<br />

en Snipes' character has a<br />

iis of conscience and decides<br />

go straight. Director Leon<br />

laso ("Crossover Dreams")<br />

Tipares "Skeezer" to a cross<br />

ween the "Godfather" films<br />

d Sergio Leone's "Once<br />

on a Time in America;" the<br />

h was set to film for 60 days<br />

Manhattan this fall,<br />

pnipes then jumps right<br />

into<br />

emolition Man," a buddy acfilm<br />

co-starring, Sylvester<br />

Hone (the upcoming "Cliffiger")<br />

and produced by |oel<br />

/er (the "Lethal Weapon" and<br />

e Hard" series). Though<br />

inally scheduled to roll in<br />

fall of '92, Silver and Stale<br />

pushed back production<br />

'Demolition Man" to Februof<br />

'93 in order to accommoe<br />

Snipes' schedule, with<br />

/er also increasing Snipes'<br />

ary from a reported $2.5 mil-<br />

1 for "Skeezer" to a reported<br />

million for "Demolition<br />

1." When powerhouses like<br />

Hone and Silver are willing to<br />

dI their heels for close to four<br />

•mths for an actor, its a cer-<br />

;ity the actor in question has,<br />

,a word, arrived. ("Skeezer"<br />

x; "Demolition Man"<br />

arner)<br />

["The Man Without a Face"<br />

berstar Mel Gibson makes his<br />

'acting debut with this drama,<br />

he'll also co-star,<br />

lice" details the relationship<br />

^veen I<br />

2 year old Nick Stahl<br />

a child coming to terms with<br />

the death of his father, and Gibson,<br />

who portrays an equally<br />

scarred recluse. "Face" was<br />

scripted by Malcolm MacRury<br />

from the novel by Isabelle Holland;<br />

Bruce Davey (executive<br />

producer of the Gibson "Hamlet")<br />

is producing the film for<br />

Gibson's Icon Productions, with<br />

Warner Bros, set to distribute.<br />

(Warner)<br />

"The Crush" Television<br />

writer Alan Shapiro makes the<br />

leap to feature film writer/director<br />

with Morgan Creek<br />

Productions' "The Crush," a<br />

psychological thriller starring<br />

Carry Elwes ("The Princess<br />

Bride"), Jennifer Rubin ("The<br />

Doors") and newcomer Alicia<br />

Silverstone. Elwes is a journalist<br />

in love with a photographer<br />

played by Rubin who becomes<br />

the obsessive object of<br />

Silverstone's pathological affections.<br />

"The Crush" will be shot<br />

entirely on location in Vancouver,<br />

British Columbia for spring<br />

1993 release. (Warner)<br />

"Gilbert Grape" lohnny<br />

Depp seems to be making a<br />

habit of playing offbeat characters<br />

with wacky names. First<br />

came his delightful performance<br />

as the man-made Edward<br />

Scissorhands in Tim<br />

Burton's satiric fantasy of the<br />

same name. Now Depp is slated<br />

to play the title character in<br />

"Gilbert Grape," a big-screen<br />

version of the novel "What's<br />

Eating Gilbert Grape?" to be directed<br />

by Sweden's Lasse<br />

Hallstrom ("My Life as a Dog")<br />

from a script by Peter hedges,<br />

who wrote the original book.<br />

Set in Iowa, "Crape" is the bittersweet<br />

story of a maladjusted<br />

boy's relationship to his chronically<br />

overweight mom. Given<br />

his penchant for misfits with<br />

mysterious monikers, its a wonder<br />

Depp let Brad Pitt walk off<br />

with the title role in "lohnny<br />

Suede". ..(Paramount)<br />

"Shakespeare in Love" The<br />

year-long hiatus of Hollywood's<br />

top female star may at last be<br />

ending. According to industry<br />

reports, actress Julia Roberts<br />

was preparing to join Daniel<br />

Day-Lewis ("The Last of the Mohicans")<br />

in the cast of director<br />

Edward Zwick's "Shakespeare<br />

in Love," a romantic comedy set<br />

in Elizabethan England. The<br />

sticking pomt in negotiations<br />

between Roberts and Universal<br />

Pictures is apparently Roberts'<br />

salary requirements, which the<br />

studio feels might overburden<br />

the budget on what is essentially<br />

an "art-house" type movie, with<br />

specialized audience appeal.<br />

But Roberts, who is<br />

in the position<br />

to have her pick of Hollywood<br />

projects, is reportedly<br />

enamored of "Shakespeare in<br />

Love," and Universal was prepared<br />

to seek outside financing<br />

partners in order both to secure<br />

Roberts' services and to insulate<br />

the studios investment. With or<br />

without Roberts in<br />

the cast, director<br />

Zwick ("Glory") is preparing<br />

to start production on<br />

"Shakespeare" sometime in late<br />

fall. The script for "Shakespeare<br />

in Love" was written by Marc<br />

Norman. (Universal)<br />

As if<br />

the current Hollywood<br />

fad of putting three or four versions<br />

of the same classic literary<br />

property into development simultaneously<br />

(see Updates)<br />

isn't bad enough, virtually every<br />

major studio is now participating<br />

in the equally derivative,<br />

"Addams Family"-inspired<br />

trend of adapting TV series from<br />

the 60s, 70s, and even the 80s<br />

to the screen.<br />

At Warner Bros., Harrison<br />

Ford is in negotiation to portray<br />

"The Fugitive," based on the<br />

role David Janssen made famous<br />

in the downbeat vintage<br />

teledrama, which ran from<br />

1963-67. "The Fugitive" is the<br />

story of Dr. Richard Kimball, a<br />

man unjustly sentenced to die<br />

for the murder of his own wife,<br />

but who escapes when the train<br />

carrying him to the death house<br />

derails en route. Kimball must<br />

find the mysterious "one armed<br />

man" he saw fleeing from the<br />

scene of the crime before the<br />

police catch up to him. Ironically,<br />

the bigscreen "Fugitive"<br />

was originally to be portrayed<br />

by Alex Baldwin, whom Ford<br />

replaced as CIA analyst jack<br />

Ryan in "Patriot Games," the<br />

sequel to Baldwin's "The Hunt<br />

for Red October."<br />

Meanwhile at Fox, "Wayne's<br />

World" director Penelope<br />

Spheeris brings her expertise in<br />

thinking big about small-screen<br />

characters to a new "Beverly<br />

hiillbillies" feature from a<br />

screenplay by Larry Konner and<br />

Mark Rosenthal. No word at<br />

press time as to just who the<br />

lucky actors are who'll recreate<br />

the roles of )ed and all<br />

his kin,<br />

but a decision is certainly imminent;<br />

"The Beverly Hillbillies"<br />

is scheduled to start<br />

Julia Roberts<br />

production sometime in January<br />

of 1993.<br />

At Paramount, in addition to<br />

studio chair (and former NBC<br />

exec) Brandon Tartikoff's rumored<br />

interest in developing a<br />

"Hill Street Blues" project, producer<br />

Sherwood Schwartz is negotiating<br />

to transplant his<br />

quintessential early '70s family<br />

comedy to the big screen under<br />

the highly imaginative title of<br />

"The Brady Bunch Movie."<br />

"The Brady Bunch," which ran<br />

from 1969 to 1974, is undergoing<br />

an inexplicable revival of<br />

popularity, thanks in part to the<br />

best-selling memoir "Growing<br />

Up Brady" by Barry Williams<br />

("Greg" in the original series)<br />

and the record-breaking success<br />

of "The Real Live Brady<br />

Bunch" stage show, which recreates<br />

actual "Brady Bunch" TV<br />

scripts in a "Rocky Horror Picture<br />

Show"-like atmosphere of<br />

audience participation. Since<br />

"The Brady Bunch" was itself an<br />

imitation of the 1968 feature<br />

film "Yours, Mine and Ours,"<br />

which starred Lucille Ball and<br />

Henry Fonda as the single parents<br />

who marry and combine<br />

their families, "The Brady<br />

Bunch Movie" can be said to be<br />

a derivation of a derivation, and<br />

as such a fitting symbol of the<br />

conceptual impoverishment<br />

within the current generation of<br />

studio managers.<br />

Also in the works from<br />

Schwartz: a "Gilligan's Island"<br />

feature (yes, he made "Gilligan"<br />

too), in which Schwartz claims<br />

he'd like to cast Martin Short (as<br />

Gilligan), John Goodman (as<br />

Skipper) and Leslie Neilson (as<br />

millionaire Thurston Howell the<br />

III), among others. For those unfamiliar<br />

with the premise of<br />

"Gilligan's Island," consider<br />

yourself blessed. ("Fugitive,"<br />

Warner; "Brady," Paramount,<br />

"Hillbillies," Fox)<br />

December, 1992 11


COVER STORY<br />

TO SIR, WITH LOVE<br />

The Maker of "Gandhi "Brings<br />

Sir Charles Spencer Chaplin 's Life to the Screen<br />

By Ray Greene<br />

Senior Editor<br />

I've just seen one of them<br />

bom this morning!" Sir Richard<br />

Attenborough says gleefully<br />

from his trailer on the set<br />

of Steven Spielberg's "Jurassic<br />

Park." "I have just lefl the set<br />

after having watched a little dinosaur<br />

burst out of an egg. It's<br />

the most brilliant special effects<br />

work I've ever seen in my life!"<br />

Attenborough, who began his<br />

career as an actor (he was the<br />

British commander in "The<br />

Great Escape") before becoming<br />

one of the most celebrated<br />

movie directors the United<br />

Kingdom has ever produced, is<br />

acting for the first time since he<br />

performed in Satyajit Riiy's<br />

"The Chess Players" in the late<br />

1970s— an interval of approximately<br />

a decade and a half The<br />

return to performing is "very<br />

nerve-racking,"<br />

Attenborough<br />

says, mock ruefully. "I hasten to<br />

say that Steven is an angel. He<br />

treats me with courtesy, and<br />

has a great deal of kindness for<br />

this old man."<br />

While "Jurassic Park" is undeniably<br />

an at>'pical break from<br />

the directorial concerns that<br />

have become the primary focus<br />

of Attenborough's professional<br />

life, his acting holiday is very<br />

much a working vacation. Even<br />

as he steps before the cameras for Spielberg, Attenborough is<br />

readying his own, very different sort of film for release.<br />

Attenborough, whose name has become almost synonymous vvdth<br />

a type of film that might be called the "epic of conscience," who<br />

gave the world "Gandhi" (and won an Oscar for doing it), whose<br />

"Cry Freedom" was the first mainstream Hollywood feature to<br />

attack South African apartheid, has found anodier topic worthy of<br />

the epic sensibilities of which he (since the passing of Sir David<br />

Lean) is perhaps the last acknowledged master But this time,<br />

Attenborough found his epic subject not in India, or South Africa,<br />

but much closer to home. For his new film, Attenborough chose the<br />

world of film itself, as epitomized in the life of the greatest star of<br />

them all— a man whose name, like Gandhi's, is all the title a movie<br />

of his life requires: "Chaplin."<br />

On paper at least, there are some rough parallels between the life<br />

of Sir Charles Spencer Chaplin and that of Sir Richard<br />

Attenborough. Bothare British; bothbegan as theatrical performers.<br />

"/ really do believe that there is a yearning<br />

among the public for people to whose ideas<br />

they might aspire, and that there's a case to<br />

be made for reflecting that in films. "<br />

then moved into movie acting<br />

both later began directing theij<br />

own films. And both have beer<br />

knighted by the British crowr<br />

for their contribution to the<br />

filmmaker's art.<br />

Presented with the statistica<br />

comparison, Attenborougl<br />

laughs. "Well, there's a veri,<br />

rough element of comparabUitj<br />

within the background, but,<br />

mean, one man's a genius th«<br />

other man is a workhorse!" hf<br />

says wryly. "Tti the extent that<br />

am in love with the movies, am<br />

want my own final cut, and mj<br />

own right to say what I wish tt<br />

express, then, yes, I supposf<br />

there is a parallel. But only ii<br />

circumstance, rather than ii<br />

skill and capability. When the}<br />

presented him with the Oscai<br />

the citation said 'He turned ai<br />

industry into an art.' And I thinl<br />

that's true, I<br />

really do."<br />

Despite Chaplin's contribu<br />

tion to cinema, the process o<br />

bringing his life to the screei<br />

was surprisingly arduous, espe,<br />

cially given the enduring appea<br />

of his "Little Tt^amp" persona<br />

"Once 'Gandhi' got going am<br />

was definite," say<br />

Attenborough, "it was tough, bu<br />

it was well organized, all withi]<br />

control. The actual green light in<br />

'Charlie' [Attenborough still calls 'Chaplin' by its working tide] wai<br />

very difficult— madi harder to come by, in its way."<br />

If anything, Attenborough understates the degree of difficultl<br />

"Chaplin" encountered. Originally slated to be produced at Univer<br />

sal (the studio where, ironically, Attenborough is currendy appeal!<br />

ing in "Jurassic Park"), the "Chaplin" project stalled out aftei<br />

Attenborough had devoted years to developing it. "Itjust didn't wor.<br />

out," he says diplomatically. "In truth, I don't know the actuii<br />

reason. My supposition is that it had to do with casting. And I finall <<br />

had to say |to Universal] 'unless you commit, I wish the picture t1<br />

go into turnaround; which they were good enough to allow. Ani<br />

then I took it to Carolco."<br />

The casting disagreement he alludes to went straight to the heai|<br />

of Attenborough's interpretation ofthe material. Inhisbiographia<br />

films, Attenborough has shown something of a flair for makin<br />

unconventional casting choices that work beautifully on screen. H<br />

put the unknown Ben Kingsley in the title role of "Gandhi," an<br />

12 BOXOFFICE


• "I<br />

I<br />

"<br />

ade him a star in the process. When he needed someone to<br />

)rtray South African civil rights leader Steve Biko in "Cry Free-<br />

)m", Attenborough cast an American TV actor named Denzel<br />

ashington (known at the time for his role on "St. Elsewhere"), and<br />

felped Washington make the transition from small screen to large<br />

the proverbial one fell swoop.<br />

For the sought-after role of Charles Chaplin, Attenborough made<br />

ihat was perhaps his most daring choice yet. Though he has given<br />

number of excellent performances (usually in less than distinlished<br />

films), Robert Downey Jr. is still largely associated with his<br />

iolescent leads in teen films like "The<br />

ck-up Artist" and "Less Than Zero"—<br />

)out as far from a prestige epic like<br />

;haplin" as an actor can get. There<br />

ere those in<br />

the development pro-<br />

:ss who found it hard to set aside their<br />

reconceptions about Downey's<br />

y^e" in favor of Attenborough's un-<br />

Bvering faith that tlie 27 year old<br />

erformer was right for the role.<br />

was howled down for choosing<br />

im," Attenborough says. "You know,<br />

i-hat are you doing? He's not a mime,<br />

Dt British! Why aren't you choosing<br />

lie of the great serious actors?' The<br />

bople who derided the choice hadn't<br />

lought of the problems. Charlie was<br />

[millionaire, running his own cominy<br />

before he was thirty! Youth was<br />

\sentml to the role. At the same time,<br />

r.C.<br />

Fields said he was probably the<br />

eatest ballet dancer who was never<br />

ballet dancer Laurence Olivier said<br />

lustache on, pick up a cane and stick his toes out, and play the<br />

ramp," Attenborough adds. "But genius is very difficult to convey,<br />

didn't cast Robert 'cause he could stick his toes out. I cast him<br />

Ecause he has that rare capability ofconveying greatness or genius<br />

1 the screen. You really l3elieve that Robert is capable of innovate<br />

invention, which is what Charlie had."<br />

r -w-<br />

\\/<br />

-T-hUe its safe to assume that many moviegoers will have a<br />

preconceived notion of Chaplin's work and life,<br />

jT y Attenborough believes his film will come as something of<br />

jrevelation even to devotees. "I think people will be surprised by<br />

>e depth of despair and deprivation of his origins," Attenborough<br />

ij's. "The fact that when he was 5, he saw his mother collapse<br />

ristage and he went on in her place and performed. The fact that<br />

p had to go and collect food off the banks of the River Thames to<br />

;;ep the family going. The fact that at the age of 11 ,<br />

he, by himself,<br />

Bd to take his mother and have her committed to a lunaric asylum,<br />

iud then I think the film will be revelatory to a certain extent of<br />

is absolute Mesmeric concentration and devotion to his work,<br />

ihich meant that anything and everybody, even to a selfish degree,<br />

iiok second place. Charlie was obsessive— that was a major part of<br />

s brilliance. But a major part of his shortcomings also."<br />

lb Attenborough, Chaplin's adult life was no less dramatic then<br />

is impoverished childhood. Though he became through his movs<br />

one of the wealthiest men of his time, Chaplin never lost his<br />

'mpathy for the poor and dispossessed, and he used his position<br />

the prototypal actor/ director to attack and satirize anything he<br />

w as a dehumanizing force arrayed against the common man.<br />

By die 30s and 40s— the era when Chaplin took aim at the<br />

lachine age in "Modem Times" (1936), at fascism in "The Great<br />

ictator" (1940) and at the predatory impulses of modem business<br />

radices in his neglected masterpiece "Monsieur Verdoux"<br />

947)— Chaplin's work was becoming more overtly polidcized, at<br />

precisely the time when the U.S. government was beginning its<br />

descent into McCarthyist suppression of the arts. Chaplin became<br />

a favorite target of the FBI's tyrannical founder J. Edgar Hoover,<br />

who amassed close to 2000 pages of invesrigative documents on his<br />

movements, and who finally managed to have Chaplin's visa<br />

revoked when the comedian attempted to retum to the U.S. after<br />

the European premiere of "Limelight" in 1952.<br />

"It's absolute bullshit to say that he was a member of the Communist<br />

Party," Attenborough says of the FBI-inspired rumors that<br />

dog Chaplin's reputation to this day. "As he himself said, he was a<br />

humanist. He was left of center, he<br />

challenged authority, he challenged<br />

the cruelty of the advance of industry<br />

and so on, but he was never a member<br />

of the Communist Party. When somebody<br />

from the FBI asked Doug Fairbanks<br />

if in fact Charlie was a member<br />

of the Communist Party, Doug said<br />

'No of course he's not!' And the guy<br />

said, 'Why on earth isn't he? We all<br />

thought he was!' And Doug said, 'He's<br />

too mean to pay the dues!'"<br />

Attenborough laughs. "And that was a<br />

relevant dismissal!"<br />

On the subject of J. Edgar Hoover,<br />

Attenborough is almost generous. "I<br />

think Hoover was a very, very, very<br />

bright man," he says, as if giving the<br />

devil his due. "An absolute shit, probably<br />

one of the most dreadfijl men<br />

that's ever breatlied, but a very bright<br />

man. And he was conscious of the<br />

fact, as was nobody else at that time,<br />

1<br />

was probably the greatest actor of<br />

that if somebody came up and presented<br />

3<br />

That rare capability of conveying greatness or genius on the<br />

1 time. Doug Fairbanks said he was<br />

screen... Robert Downey as "Chaplin"<br />

something truthftil in a movie,<br />

le most amusing and attractive man<br />

"<br />

my God! Millions of people were<br />

5 ever met. And Robert has that, Robert has that brilliance.<br />

touched! Hoover realized the potenrial of the movies, and Charlie<br />

"Any actor, if he's worth his salt, can put a silly little black was the guy who was pursuing that potential, in temis of attacking<br />

injustice, or taking on the establishment. And so Hoover decided,<br />

come hell or high water, he had to destroy Charlie — which of course,<br />

in his way, he did."<br />

Even before he went into exile, Chaplin was under siege for his<br />

complex personal life and from the disinformation about him<br />

spread by Hoover's joumalisric contacts. Chaplin lived out a familiar<br />

trajectory; both Woody Allen's recent fall from grace and last<br />

summer's Pee-wee Herman scandal could be interpreted as recent<br />

examples of the vindictiveness certain sections of the American<br />

public can show toward fallen champions.<br />

"In the UK, we do exactly the same thing," Attenborough says. "We<br />

take great joy in destroying what are ostensibly idols. Sections of<br />

the media love to find the clay feet, whether they're there or not,<br />

and if they're not, they are not shy of inventing them. I don't know<br />

quite why they do it, I suppose there's a degree ofjealousy or envy.<br />

Attenborough admits tliathis own affinity for dramatizing on film<br />

the lives of great historic figures is in part an attempt to counteract<br />

this destructive iconoclasm, which he views almost as a societal<br />

danger. "I think the movies have a phenomenal opportunity to<br />

present us with true heroism, and that we are increasingly without<br />

heroes," he says. "The devils, the despots, the crooks and so on, you<br />

can find by the thousand. Who sets what is accepted as a decent<br />

way of behaving and philosophy, other than heroes in some form<br />

or another? How do we judge, what do we choose as an example<br />

for how we might aspire to certain things, if we aren't aware of<br />

them? Now immediately, there will be a thousand people who will<br />

say, 'Oh that boring old idiot, with his hagiography and his<br />

sycophancy' and so on. But I'm very happy to put my shield up and<br />

draw my sword and defend that position. I really do believe that<br />

there is a yearning among the public for people to whose ideas they<br />

miglit aspire, and that there's a case to be made for reflecting that<br />

in films. I hope so anyway. I suppose we'll soon see about that, won't<br />

L<br />

December, 1992 13


"<br />

INSIDE EXHIBITION<br />

Roberts Theatres:<br />

A Silver Screen Success for a Small<br />

New Jersey Chain<br />

When<br />

By Fern Siegel<br />

the award-winning film "Bob<br />

Roberts," actor/director Tim<br />

Robbins' tour-de-force, debuted in<br />

New Jersey, it played first at The Lost Picture<br />

Show, the state's premier art cinema.<br />

Lo( ated in Union, N J and drawing a tri-<br />

,<br />

to take the time to build an audience. I<br />

tried<br />

screening art pictures in my general release<br />

theatres and it just didn't succeed. Art<br />

houses have their own following and you<br />

have to promote these films and cater to this<br />

sophisticated audience accordingly."<br />

He does. The Lost Picture Show was built<br />

In the 1960s in Union, a quiet suburban<br />

Roberts contends that the future of the.<br />

tre ownership lies in marketing speciall<br />

movies in select theatres. A former fill<br />

producer and the first manager of a cab)<br />

station in New York, Roberts fell into th<br />

ownership end of the business by chano'<br />

"A fiiend ft'om MGM hooked me up with ih<br />

troubled management of the Oaklan(<br />

state audience, The Lost Picture Show is<br />

beloved by patrons of the silver screen, lb<br />

prove it, over 200 people threw a thank-you<br />

party in March of this year for Robert Roberts,<br />

the theatre's surprised owner<br />

"This isn't just a business, this theatre is a<br />

labor of love," reports Roberts. The party<br />

was an impromptu outpouring ofgratitude,<br />

he says with his blue eyes twinkling. "It was<br />

a press agent's dream come true." So unique<br />

is Roberts' art theatre, that the Newark Star-<br />

Ledger sent a reporter to cover the event,<br />

and New Jersey Governor Jim Florio dispatched<br />

a letter of congratulations noting,<br />

"The Lost Picture Show is truly a unique<br />

theatre dedicated to showing avant garde<br />

films and the best of foreign films that are<br />

not always readily available for New Jersey<br />

theatre audiences. Your theatre fills a real<br />

need for movie aficionados seeking quality,<br />

thoughtful films."<br />

His words are music to a cinema entrepreneur.<br />

"There is a genuine desire for this<br />

kind of theatre," insists businessman Roberts.<br />

"In order to make it work, it's important<br />

Outside the Wellmont and The Lost Picture Show<br />

town on the outskirts of Manhattan. A single<br />

screen enterprise, it still retains a channing,<br />

unassuming atmosphere, a reminder of<br />

simpler days. Yet the theatre boasts a mail-<br />

Lobby of the Wellmont<br />

ing list with thous.inds ot names and enjoys<br />

the distinction of promoting independent<br />

films-tumed-hits such as "One False Move"<br />

and "sex, lies & videotape."<br />

(New Jersey) TVin in 1971. A deal wj<br />

struck. They got much needed capital an<br />

I got," he grins slyly, "a bargain."<br />

Producer-tumed-entrepreneur, Rober<br />

soon parlayed the ailing theatre into a n<br />

spectable money-spinner, recently sellir<br />

the property when business in town bi<br />

came too competitive. Yet, during thos<br />

halcyon years, he purchased seven add<br />

tional New Jersey theatres, four ofwhich li<br />

still owns. The Center Theatre in Bloon<br />

field and the Wellmont in Montclair sho'<br />

action/adventure films such as "Boyz N' th<br />

Hood" and "The Tterminator," which attra(<br />

a younger, predominantly male audieno<br />

The Chatham Cinema in Chatham, feature<br />

family pictures such as "Sister Act," whil<br />

The Lost Picture Show boasts a staggerir<br />

array of foreign and independent film<br />

And, unlike New York theatres which di<br />

mand a pricey S7.,50 admission fee, all (<br />

Roberts' theatre tickets are $6.00. Rober<br />

also operates all his own concession stand<br />

As he explains with a smile, "the real profi<br />

ft-om movies are in popcorn and soda."<br />

14 BoxoFncE


amazing, in an age when multies<br />

reign supreme, the Roberts' theatre<br />

n champions single screen theatres,<br />

one exception, the tliree screen Welhnoffers<br />

Dolby sound while mono sound<br />

;ard in his other properties. The Chat-<br />

Cinema was built in tlie 1970s, but the<br />

ter and Wellmont theatres, which were<br />

structed in the heyday of the 1920s, still<br />

in their striking decor<br />

rhe Well mont's original artwork is beaund<br />

irreplaceable," beams Roberts.<br />

r Italian chandelier and interior design<br />

wonderful that we even get architec-<br />

.1 historians visiting the dieatre. My goal<br />

keep these movie theatres small and<br />

mate, though demand is such," he sighs,<br />

may transform the Center into a<br />

lex."<br />

lis decision reflects, in part, the draw of<br />

5udget films and the hugh initial monies<br />

/ generate. Though Roberts does not<br />

e a contract with any one studio, he<br />

to play Tbuchstone/Disney fdms at<br />

Chatham, Fox/Warner/ Paramount protions<br />

at the Wellmont, and Columbia<br />

ures at the Center.<br />

oberts and his film buyer, Craig Zeltner,<br />

wnally oversee all film selections. "You<br />

have to know your audience and know what<br />

picture will sell. The choice is critical. My<br />

theatres are open 365 days a year,<br />

seven<br />

days a week. 'Howards End' is pl.iving to<br />

often bombs and what is sometimes assumed<br />

to be a loser hits it big. Paramount<br />

expected 'Saturday Night Fever' to die at the<br />

boxoffice but it turned out to be a hit! Or<br />

consider 'The Exorcist' which was a cash<br />

cow, but 'The Exorcist IT did nothing. It<br />

didn't have legs. It's always been my policy<br />

to play a film as long as it holds out."<br />

The Roberts theatre chain is something<br />

of an anomaly in the competitive, multiplex<br />

world of film exhibition. Robert Roberts<br />

does admit that tenplex screens in crowded<br />

.shopping malls are the wave of the future.<br />

Bucking a popular trend, he prides himself<br />

on sole proprietorship of four thriving cinemas.<br />

"I have been approached by others to go<br />

into partnership and expand my company.<br />

The truth is," he smiles quietly, "I love the<br />

film business. I think it's a very personal<br />

business. By keeping a low overhead and<br />

having my theatres specialize in genre<br />

films, I can make money in single screen<br />

Poster decorated lobby of The Lost Picture Show<br />

houses. And I really prefer to do things my<br />

sold out crowds, for example, and we do way."<br />

^H<br />

spectacular business on weekends.<br />

"The movie business is like shooting Few Siegel is a New York-based journalist<br />

dice," he grins. "Until the film opens, it's and a frequent contribuor to <strong>Boxoffice</strong>.<br />

hard to predict success. Big pictures are<br />

Who offers the largest<br />

and most complete<br />

line of cinema sound<br />

equipment in the world?<br />

Stereo Processors<br />

Booth Monitors<br />

Exciter Supplies<br />

Stereo Packages<br />

Power Amplifiers<br />

Sub-Woofer Systems<br />

Stage Speakers<br />

Hearing Impaired<br />

Factory Wired Systems<br />

Digital Annoimcers<br />

Surround Speakers<br />

Mono Sound Systems<br />

5945 Peachtree Comers East<br />

Norcross, Georgia 30071 - U.S.A.<br />

(404) 449-6698 FAX: (404) 449-6728<br />

/TSooj<br />

Response No 35<br />

December, 1992 15


I<br />

t<br />

Lloyd<br />

[ David<br />

I Tom<br />

JPER SAVER CINEMA<br />

iStartime Cinema, Inc.<br />

109 N.Oregon, #1000<br />

El Paso, TX 79901<br />

(915)532-1943<br />

1(915) 542-2945 (fax)<br />

^cutive Roster:<br />

F. Curley - President and CEO<br />

Jim McKenna - Sr. VP, Operating Director and PR/Advertising<br />

Hoover - Asst. VP, Operating Director<br />

Moviz Alibhai - Controller<br />

Lois Hufnagle - Theatre Operations/Concessions/Personnel<br />

)ohn Shaw Head Booker/Buyer<br />

-<br />

Olson - Key Equipment Buyer<br />

Irrent number of screens/sites: 181/23<br />

CROWN CINEMA CORPORATION<br />

406 West 34th Street<br />

Kansas City, MO 641 11<br />

(816)753-2355<br />

(816)931 6021 (fax)<br />

Executive Roster:<br />

Richard M. Durwood - President<br />

Harold D. Sawtelle- Head of Concessions/Key Equipment Buyer<br />

Hal McClure Head - Booker/Buyer<br />

Current number of screens/sites: 1 51/44<br />

Projected totals by end of 1 993: 1 59/45<br />

State(s) located in: Mo., Kan., Ohio<br />

ijected totals by end of 1 993: 21 4/30<br />

te(s) located in: Calif., Ariz., Colo., Ok., Neb., Ohio, N.Y., Fla.<br />

story:<br />

Founded in 1987, Super Saver is devoted to discount theater<br />

Deration, exclusively building from the ground up or completely<br />

furbishing choice locations. We hope to expand our audience<br />

ationwide by offering deluxe operation in a discount admission<br />

ena.<br />

gship theatre: Forest Fair in Cincinnati<br />

lat do you think a circuit such as yours offers the public that<br />

)erhaps overlooked by the "majors" ?<br />

The value of continual first class product in a first class facility at<br />

scount prices.<br />

lat causes you concern? What do you perceive to be the<br />

;gest challenge facing an exhibitor such as yourself?<br />

Steadily obtaining quality product.<br />

iat do you think the next 10 years hold? Are you optimistic?<br />

Steady growth.<br />

History:<br />

Crown Cinema Corporation was started in September 1 976 with<br />

three indoor sites (12 screens) and four drive-in locations. We are<br />

continuously striving to provide our customers with the best quality<br />

movie-going experience for their entertainment dollar. This philosophy<br />

is promoted by the emphasis on teamwork within our company.<br />

We feel very positive about the future of the industry and look<br />

forward to a great 1 993.<br />

Respondent: Richard M. Durwood, President<br />

December, 1992 17


GIANTS OF EXHIBITION V<br />

CINEMA ENTERTAINMENT<br />

CORP.<br />

P.O. Box 1126<br />

St. Cloud, MN 56301<br />

(612)251-9131<br />

(612) 251-1003 (fax)<br />

Executive Roster:<br />

Robert Ross - President<br />

Tony Tillemans - Vice President<br />

David Ross - Secretary<br />

George Becker - Treasurer<br />

Ed Villalta Head - of Concessions<br />

Stan McCullocfi Head - Booker/Buyer<br />

Subsidiaries: Premiere Video (1 6 stores)<br />

Current number of screens/sites: 74/1 2<br />

Projected totals by end of 1 993: 87/1 4<br />

State(s) located in: Minn., Wis., N.D., Iowa<br />

Please describe your flagship, or the theatre you feel best represents<br />

your circuit.<br />

All of our facilities are fairly new, having been built since 1 983.<br />

Even our locations in smaller cities have ample facilities, each with<br />

s Larger cities have facilities with six to 1 screen<br />

What do you think the next 10 years hold? Are you optimistic<br />

We anticipate continued steady growth for ourselves as well a-<br />

the industry.<br />

Respondent: David Ross, Secretary<br />

Same unbeatable optics as<br />

the Xenex II<br />

35.5" of std. rack space<br />

Large access doors and<br />

panels<br />

Clean and uncluttered<br />

interbr for<br />

easy maintenence<br />

THE NEW KNEISLEY CONSOLE<br />

Whatever your choice, Console or Xenex II, you<br />

WILL obtain the HIGHEST PICTURE QUALITY AVAILABLE.<br />

Write or call for descriptive literature.<br />

lyfVl<br />

r KNEIt<br />

. ELECTf<br />

^ COMPA<br />

KNEISLEY<br />

ELECTRIC<br />

COMPANY P O Box 4692<br />

Toledo, Ohio 43610<br />

Just a Little Bit<br />

BETTER!<br />

We specialize in providing equipment<br />

for the technical part of<br />

your theatre: Seats, Sound, Projection.<br />

(No, we don't sell popcorn!)<br />

See why more and more,<br />

Hadden has become the industry<br />

standard for high performance!<br />

HADDEN r-t<br />

THEATRE SUPPLY COMPANY<br />

10201 Bunsen Way<br />

Louisville, KY 40299<br />

(502) 499-0050<br />

(502) 499-0052 FAX<br />

Louis Bornwasser, Owner<br />

(419) 241-1219 FAX (419) 241-9920<br />

Design-Consultation-Sales<br />

Response No 40<br />

18 BOXOFFICE


'<br />

:<br />

MPIRE THEATRES LIMITED<br />

115 King Street<br />

Stellarton, Nova Scotia<br />

Canada<br />

(902) 755-4440<br />

(902) 755-6477 (tax)<br />

-^ *R^^^^^^^BHItfMlinMMMMi*.«i«<br />

icutive Roster:<br />

Stuart C. Fraser - President<br />

Dean Leiand - Operations/PR & Advertising<br />

Kevin MacLeod - Operations/Concessions/Key<br />

luipment Buyer<br />

Greg Mc Neil Head - Booker/Buyer<br />

lean Runole - Controller<br />

3sidiaries:Mariplex Confections, MariplexEquipnt<br />

Supply<br />

rrent number of indoor screens/sites: 62/23<br />

rrent number of drive-in screens/sites: 1/1<br />

ite(s) located in: Nova Scotia, New Brunswick,<br />

^'wfoundland, Prince Edward Island<br />

spondent: Stuart C. Fraser, President<br />

INEMA NORTH<br />

ORPORATION<br />

P.O. Box 549<br />

1 65 Woodstock Avenue<br />

Rutland, VT 05702<br />

(802)775-4915<br />

(802) 775-6943 (fax)<br />

ecutive Roster:<br />

Gerald L. Couture - President<br />

Kevin j. Mullin - Vice President<br />

Martin Goldman Head - Booker/Buyer<br />

Edward Horvath - Key Equipment Buyer<br />

irrent number of screens/sites: 59/1<br />

ojected totals by end of 1993: 71/12<br />

ate(s) located in: N.Y., Mass., Vt.<br />

story:<br />

Cinema North turned 10-years-old in 1992. Having started with<br />

ve screens and an arcade, the circuit has shown much growth in<br />

ie last 1 years. Cinema North hopes to continue to expand in the<br />

Northeast in the smaller, less competitive markets.<br />

ease describe your flagship, or the theatre that best represents<br />

>ur circuit.<br />

Movietime Cinema 1 0, a 10 screen cinema located on beautiful<br />

ake Canandaigua in the Finger Lakes region of New York. While<br />

mall in size, Movietime is big in quality, offering the best in picture,<br />

ound, and seating with a large concession stand to satisfy the<br />

latrons' appetites. It is a complete entertainment experience under<br />

ine roof.


GIANTS OF EXHIBITION V<br />

Please describe your flagship theatre, or the theatre you feel bes<br />

represents your circuit.<br />

South Dennis Cinema, a 10-screen multiplex, is complete witi<br />

luxury amenities: brass, mirrors, oak, marble, handicapped acces<br />

to all auditoriums, special sound systems for the hearing impairec<br />

computerized ticket reservations, 70mm projection equipment,<br />

custom designed seats, water pools with fountains, column<br />

wrapped in neon make it the house of which we are most proud, l!<br />

reflects class, and part of the fun is<br />

the decor.<br />

What do you think a circuit such as yours offers the public tha<br />

is perhaps overlooked by the "majors"?<br />

We feel that we are soon to become one of the majors. Entertair<br />

meni Cinemas offers terrific, innovative theatres to its patrons fc<br />

their "movie-going" experiences. In the past few years, we have bui<br />

and opened more theatres than any other circuit in the state c<br />

Massachusetts.<br />

What causes you concern? What do you perceive to<br />

be tl<br />

biggest challenge facing an exhibitor such as yourself?<br />

One of the biggest challenges is keeping your theatres up to date<br />

not only in appearance, but also with the latest in cinema technoi<br />

ogy. Also, keeping your ticket prices as low as possible. If prices fc<br />

tickets get too high, the patrons will stay home and rent videos.<br />

ENTERTAINMENT CINEMAS<br />

Entertainment Management Corp.<br />

807 Washington Street<br />

Stoughton, MA 02072<br />

(617)341-2800<br />

(617)344-5812<br />

(617) 341 -41 70 (fax)<br />

What do you think the next 10 years hold? Are you optimistic<br />

1 feel that we at Entertainment Cinemas are optimistic, as long£<br />

we can continue to build great theatres and run them at gre;<br />

reasonable prices.<br />

Respondent: Jo-Ann Overstreet, Administrative Assistant<br />

Executive Roster:<br />

William ). Hanney - President<br />

Keith C. Ash - VP, Director of Operations/Personnel<br />

Michael L. Harmon - Dir. of Field Operations/Key Equipment<br />

Buyer<br />

)o-Ann Overstreet - Administrative Assistant and PR/Ad.<br />

Martin Zides - Head Booker/Buyer<br />

Concessions: Boston Concessions Group<br />

Booking: Martin Zides, Cinema Film Consultants<br />

Current number of screens/sites: 51/9<br />

Projected totals by end of 1 993: 80/1 2<br />

ALLEN THEATRES INC.<br />

Box 1500<br />

Farmington, NM 87499<br />

(505)325-9313<br />

Executive Roster:<br />

Lane Allen Owner<br />

-<br />

Larry Allen Owner - and Film Buyer<br />

Current number of screens/sites: 57/22<br />

State(s) located in: Mass., R.I.<br />

Associated Companies:<br />

Cinema Designs Croup<br />

Cinevalue Theatres<br />

Hollywood Restaurants<br />

The Hollywood Back Lot Stores<br />

Cinema Pubs Ltd.<br />

History:<br />

Entertainment Cinemas is the movie theatre arm of Entertainment<br />

Management Corporation. Both were founded and continue to be<br />

operated by William J. Hanney. Entertainment Cinemas has been<br />

in business for over 1 2 years. During that time, it has opened and<br />

operated nine theatre locations with 51<br />

screens. Over the years.<br />

Bill's philosophy is that going to one of his theatres should be a true<br />

"night out" experience, making sure his customers are as comfortable<br />

and aesthetically pleased as possible.<br />

ROTH COMPANIES<br />

91 2 Thayer Avenue, #300<br />

Silver Spring, MD 20910<br />

(301)587-8450<br />

(301) 587-8454 (fax)<br />

Executive Roster:<br />

Paul A. Roth - President<br />

Michael E. Rowan - Executive Vice-President<br />

loan B. Roth - Vice-President<br />

Marc Madison - Film Buyer<br />

Current number of screens/sites: 54/1 6<br />

20 BOXOFFICE


1<br />

IS PLEASED TO OFFER<br />

SPECIAL REPORTS<br />

SEVEN SPECIAL REPORTS FOR THE MOTION<br />

PICTURE INDUSTRY INCLUDING:<br />

TOP 100 FILMS FOR THE PAST YEAR<br />

ALL-TIME BOX OFFICE CHAMPS<br />

INDEPENDENT BOX OFFICE RANKING<br />

STUDIO MARKET SHARES<br />

5-YEAR HISTORICAL BOX OFFICE REFERENCE BY TITLE<br />

TOP 100 OPENINGS FOR THE PAST YEAR<br />

ROLLING 52-WEEK MARKET ANALYSIS<br />

PROPRIETORY REPORTS AND MARKET STUDIES<br />

U.S. AND U.K. REPORTS AVAILABLE<br />

EXCLUSIVE FROM ENTERTAINMENT DATA, INC.<br />

8350 Wiishire Blvd., Suite 210, Beverly HiUs, CA 9021<br />

(213) 658-8300 FAX: (213) 658-6650


SILVER SCREEN AMUSEMENTS INC.<br />

GIANTS OF EXHIBITION V<br />

Current number of indoor screens/sites: 49/8<br />

3 180 Crow Canyon Place, #210<br />

Current number of drive-in screens/sites: 2/1<br />

San Ramon, CA 94583<br />

(510)867-3456<br />

State(s) located in: Ca.<br />

(510) 867-0590 (fax)<br />

Respondent: James H. Edwards, President/CEO<br />

Executive Roster:<br />

Howard L. Taormino - President and Film Buyer<br />

Jeffrey Conley - Vice-President<br />

Mark Padron - Administrative Assistant<br />

WALLACE THEATRE CORPORATION<br />

3375 Koapeka Street, #345<br />

Current number of screens/sites: 51/23<br />

Honolulu, HI<br />

(808) 523-5888<br />

Projected totals by end of T 993: 91/33<br />

(808) 637-3002 (fax)<br />

Respondent: Howard L. Taormino, President and Film Buyer Executive Roster:<br />

Scott C. Wallace - President and CEO<br />

Brett Havlik - General Manager/Concessions/Personnel<br />

Craig Hyerdall - Area Manager, Mainland/Key Equipment Buye<br />

STOREY THEATRES INC.<br />

David Passarella Area Manager, Hawaii<br />

-<br />

572 Morosgo Drive, N.E.<br />

Richard Jenks<br />

Atlanta, CA - Dir. of Accounting<br />

30324<br />

Dick Gambogi - Film Buyer/Booker<br />

(404) 266-2800<br />

(404) 261 -9604 (fax)<br />

Current number of screens/sites: 42/1 4<br />

Executive Roster:<br />

Projected totals by end of 1 993: 98/24<br />

Fredrick C. Storey Chairman -<br />

of the Board<br />

James H. Edwards - President/CEO<br />

State(s) located in: Hawaii, Calif., Nev.<br />

Rick Adams VP/COO/Key Equipment Buyer<br />

-<br />

Robert P. Sedlak - VP/Film Buyer<br />

Frank B. Coulon Head - of Concessions/Personnel/PR Respondent: Scott C. Wallace, CEO<br />

DRINK<br />

THING<br />

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BEVERAGE<br />

HOLDER<br />

HOLDS CUPS, CANS, & BOTTLES<br />

P. O. Box 324 Valley City. OH 44280<br />

DROPS DOWN AUTOMATICALLY<br />

& OUT OF WAY WHEN NOT IN USE<br />

• ATTACHES EASILY IN FRONT OF PATRON TO<br />

THE BACK OF ANY SEAT<br />

• HOLDS ANY SIZE CUP FROM 8oz.-32o2.<br />

• MADE OF DURABLE, VIRTUALLY<br />

INDESTRUCTABLE, LEXAN PLASTIC<br />

• AVAILABLE IN STANDARD COLORS<br />

• VERY LOW COST PER UNIT<br />

AAAA<br />

THE INDUSTRY LEADER<br />

Fast, Dependable Service:<br />

Wall-Drape Fabric<br />

Pleating Brackets<br />

Masking Fabric<br />

Surround Mounts<br />

Wall Panels<br />

Front End Parts<br />

Sewn Curtains<br />

FREE SAMPLES A VAILABLE<br />

PATENT PENDING<br />

(216) 328-2096<br />

Soundfold International<br />

THE INDUSTRY LEADER<br />

P.O. 60x292125, Dayton, OH 45429<br />

1-800-782-8018<br />

Response No 45<br />

22 BOXOFFICE


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Call 310/657-7724 or Fax 310/657-4758 for Information


"Batman Returns" with<br />

Promotional Gusto<br />

The Century Park T2 Theatre, Tucson,<br />

Ariz, (owned and operated by Century Theatres-Syuty<br />

Enterprises of San Francisco)<br />

created and displayed a "Bat Signal" for the<br />

entire run of "Batman Returns." The Batman<br />

symbol, which measured 12-feet tall<br />

and 20-feet from wing tip to wing tip, was<br />

hung from the ceiling in front of the snack<br />

bar. The Century Park 1 2 general manager<br />

is Dennis M. Garrett and the house manager<br />

is Brett Miller. The Batman symbol<br />

was made by floor supervisor I rv in Stafford,<br />

an art student at the University of Arizona.<br />

"Batman Returns" was one of the better<br />

grossing films of the summer for the theatre.<br />

The crew at the Plymouth Theatre, in<br />

Plymouth, N.H., mounted an exciting campaign<br />

for their run of "Batman Returns." In<br />

addition<br />

to turning the concession stand<br />

into a "Batcave" (with "Batman" food specials),<br />

Todd Paine dressed up as Batman<br />

and periodically climbed down the side of<br />

the theatre building to the sidewalk to fight<br />

The Penguin (Jamie Sharps). After the second<br />

day of the opening weekend, the<br />

crowds got so big that traffic had to be<br />

SHOWMANDISER<br />

Maltais). Record breaking crowds made<br />

"Batman Returns" a smashing success for<br />

the Plymouth.<br />

The James Island Cinema, in Charleston,<br />

S.C., went all out for their screenings of<br />

"Batman Returns." For the opening weekend,<br />

cinema personnel dressed up as characters<br />

from the film: after shaking hands<br />

with the "Caped Crusader," customers purchased<br />

popcorn and candy from young<br />

women dressed in "purrfectly crazy"<br />

catwoman attire. At night, a state-of-the-art<br />

"sky tracker" lighting system, resembling<br />

the "Bat Signal," summoned audiences to<br />

the theatre. Free T-shirts were given to the<br />

crowd awaiting admission to a special midnight<br />

screening. According to theatre manager<br />

Andy Lancaster, the weekend<br />

screenings were sellouts.<br />

The Harkins Theatres circuit in Phoenix,<br />

Ariz, greeted "Batman Returns" in its theatres<br />

with a barrage of multi-faceted and<br />

multimedia promotions. The chemistry of<br />

Warner Bros.' summer blockbuster hit and<br />

Harkins Theatres' promotional efforts<br />

earned the Harkins Cine Capri and Fashion<br />

Square theatres the number one and number<br />

two grosses in the Phoenix 1 7-run<br />

break of the film<br />

A showmanship team assembled under<br />

the leadership of theatre managers Roy<br />

Dunkelbarger and Bill Bounds launched<br />

their promotion three months in advance<br />

of opening date. The result was an event<br />

that made going to the movies an exciting<br />

and memorable experience for Phoenix<br />

moviegoers as the Harkins Theatres earned<br />

media exposure valued at close to<br />

$20,000.<br />

Working with local set designers,<br />

Dunkelbarger and Bounds elaborately decorated<br />

the Cine Capri and Fashion Square<br />

stopped. The Plymouth Theatre's manager<br />

is Patrick McCart, Melissa Whiting is the with movie theme props and graphics. The<br />

assistant manager (far left and left of "Batman"<br />

Paine, respectively, in the photo. elaborate cityscape scene featuring a life<br />

centerpiece in the Cine Capri lobby was an<br />

Standing to the right of The Penguin is Dan sized Batman model poised for rooftop<br />

action. Patrons entering the Fashion Squan!<br />

lobby were soon emersed in a realistic ba'<br />

cave with a special edition black Corvetb<br />

decorated as a replica of the Batmobili,<br />

parked near the auditorium entrance. /;<br />

15-foot painted replica of the Batman''<br />

upper body was mounted to the front build'<br />

ing face of the Cine Capri in mid-May. /<br />

Cine Capri marquee also featured custonj<br />

Batman graphics.<br />

Opening night moviegoers were treate'<br />

to a major event. With some rehearsal an.<br />

bravado. Bounds delighted movie patron<br />

and TV camera crews by rappelling off th<br />

roof of the Cine Capri Theatre in costum<br />

like the real Batman.<br />

"Batman's" engagement at the Cin<br />

Capri was launched with a 30-hour mara<br />

thon beginning at 9:30 p.m. on the eve Ci<br />

"Batman's" nationwide opening. The firs'<br />

movie buff in line was Arizona State Gov]<br />

ernor Fife Symington who was greeted b,<br />

theatre owner Dan Harkins and crew<br />

Shortly thereafter, TV crews teleca;<br />

Bounds' Batman stunt, interviewed th<br />

Governor and Harkins, and showed filr<br />

footage. One station ran an unusually Ion<br />

four minute segment. The opening nigf<br />

prime news and following morning covei<br />

age by three Phoenix network affiliate stc<br />

tions, KPNX-TV 12 (NBC), KTVK-TV<br />

(ABC), AND KTSP-TV 10 (CBS) gav<br />

Harkins' promotional team a gigantic boo;<br />

of air time valued at $ 1 2,000. Local newi<br />

papers also photographed the event. Ba'<br />

man, later joined by his nemesis, Th<br />

Penguin, gave away prizes to moviegoeii<br />

waiting in line. The combination<br />

state governor. Batman, The Penguin, T<br />

news coverage, lobby decor, the Batmol<br />

ile, and prizes gave moviegoers an unprec<br />

edented pre-movie show.<br />

The Cine Capri finished the marathon b<br />

achieving the highest opening day gross (<br />

any motion picture in Arizona's histor<br />

beating the previous record held by th<br />

original "Batman" in 1989.<br />

Radio stations KUPD-FM and KKFR-F/<br />

promoted the Harkins movie event, wit<br />

KUPD morning disc jockey Sue Cook<br />

24 BOXOFKICE


I<br />

I<br />

SHOWMANDISER<br />

sting a remote broadcast from the Cine<br />

pri Theatre during the "Batman" maran.<br />

Also, radio station KOY-95 mounted<br />

jtwo-day promotion for Harl


SHOWMANDISER<br />

our prices?" After discussing the situation<br />

with, and getting ideas from company president<br />

Daniel Crown and general manager<br />

Thomas Becker, Zazzaro formulated the<br />

"Amazing Movie Bucks Coupon Book"<br />

This project was presented in conjunction<br />

with several local retailers and the Connecticut<br />

Post newspaper.<br />

The "Amazing Movie Bucks Coupon<br />

Book" offered moviegoers discounts on admissions<br />

and refreshments at the Crown<br />

Trumbull Cinemas in Trumbull, Conn. In<br />

an effort to make the promotion even more<br />

attractive, Zazzaro went to area merchants<br />

for their support. As a result, Crown Trumbull<br />

Cinemas patrons could dine, rent videocassettes,<br />

subscribe to the Connecticut<br />

Post, have their homes cleaned, and even<br />

shop for fine clothing with the "Movie<br />

Bucks" coupons. If a moviegoer took advantage<br />

of all of the offers in the booklet,<br />

he/she would have saved an incredible<br />

$500.00!<br />

The coupon book was free with each<br />

paid admission, Monday through Thursday,<br />

to the Crown Trumbull Cinemas, located<br />

in the Trumbull Shopping Park. It was<br />

that easy.<br />

A full scale advertising campaign was<br />

launched to promote this offer. As co-sponsor,<br />

the Connecticut Post provided 1 5,000<br />

coupon books, ran pre-opening flyers in<br />

their daily paper, and ran ads announcing<br />

facts and information about the program<br />

throughout the campaign. Area merchants<br />

prominently displayed signs and table tents<br />

in their businesses. Crown Trumbull Cinemas<br />

made special announcement tapes to<br />

be played on their answering machines,<br />

giving all<br />

the details concerning the promotion.<br />

The theatre also had several signs<br />

in the lobby displaying all of the "Movie<br />

Bucks" information. In addition, several<br />

one-inch by three-inch special "Movie<br />

Bucks" ads were run in the Connecticut<br />

Post during the campaign. Most impressively.<br />

Crown Theatres employed Pike<br />

Productions to create a special 30-second<br />

"Movie Bucks" trailer featuring all of the<br />

necessary information on the promotion<br />

and highlighting the participating merchants.<br />

The promotion began in April and ran<br />

until the end of July, 1992. As a result,<br />

hundreds of "Movie Bucks" coupons were<br />

used and participating merchants reported<br />

a very positive response. Zazzaro says that<br />

the response to this project has been so<br />

positive and overwhelming that he is already<br />

working on a bigger and better circuit-wide<br />

"Movie Bucks 93" program.<br />

Fox Theatres' "Honeymoon<br />

in Vegas" Elvis<br />

Lool


! exact<br />

VIDEO: Merchandising<br />

In-Store Promotional Campaigns:<br />

Sidestepping Studio P-O-P<br />

By George T. Chronis<br />

I casual look through video trade<br />

\ magazines will always reveal nu-<br />

"Xmerous studio advertisements<br />

jting new releases and the promonal<br />

campaigns supporting them. The<br />

ligatory P-O-P kits made up of theatriposters,<br />

standees, counter-cards,<br />

'ilf-talkers and hanging mobiles have<br />

:ome standard— and in another word,<br />

ring.<br />

Discounting the secondary irritation of<br />

p-P kits that never arrive, or arrive too<br />

^ to be used effectively as customer<br />

sers, how helpful is it really to be using<br />

same materials as every other<br />

leo store in the U.S.? Even if a chain is<br />

ge enough to be looked on with extra<br />

or by their distributor reps and are<br />

tunate enough to receive extra promonal<br />

materials from which its more aric<br />

employees can create eye-catching<br />

plays,<br />

the basic ad materials are still<br />

; same.<br />

>mart and savvy dealers know that the<br />

leo retail business is in a state of conidation,<br />

and the stores that stay in<br />

siness will be the ones that do the job<br />

ter, and with greater flair, than their<br />

mpetitors. The smartest of all also<br />

ow that these goals can be accomshed<br />

without putting out a lot of<br />

mey.<br />

rhe studios are quick to point out how<br />

jch money was spent on advertising a<br />

jtion picture in its theatrical release. As<br />

iwell known, studio promotion camigns<br />

are enormous. What may often be<br />

gotten, however, is the multitude of<br />

iducts that are licensed around characs<br />

and props from high profile movies,<br />

fore too many bad memories of "Dick<br />

icy" toys and curios that couldn't be<br />

d causes a panic, the object of this<br />



COMPUTERS: ONE BYTE AT A TIME<br />

Buying Printers: Wending Your Way<br />

Througii a IVIaze of Choices<br />

By Russell Wintner<br />

President<br />

WinterTek, Inc.<br />

Selecting<br />

a printer can be a bit of an<br />

unsettling process. When you're<br />

faced with all the varied choices,<br />

when you're faced with multiple brand<br />

selections and hear all the sales hype,<br />

you may begin to wonder if it isn't easier<br />

to stick with paper and pencil.<br />

It isn't. Like other purchasing decisions,<br />

you simply have to understand the<br />

alternatives and be prepared for some<br />

simple compromises so that when you<br />

choose a printer it can become a genuine<br />

friend.<br />

Printers for your PC are available each<br />

of which use three different technologies.<br />

Each of type of printer offers specific<br />

advantages: dot matnx, ink jet, and<br />

laser. Dot matrix printers are by far the<br />

least expensive and, in many ways, the<br />

most durable and flexible. Inkjet printers<br />

offer many of the features of a laser<br />

printer at a much reduced price. And<br />

laser printers offer unequaled letter and<br />

graphics quality. The primary differences<br />

in the technologies are simple to<br />

understand and we shall review them<br />

here.<br />

Let's start with the oldest and most<br />

common printer— the dot matrix. A dot<br />

matrix printer uses a print head constructed<br />

from individual wires that pop<br />

out under programmed control, each hitting<br />

a ribbon against paper forming little<br />

dots. The dots, when taken together,<br />

form a block in which a character is<br />

formed (hence the term matrix) or a line<br />

of dots which, added together line after<br />

line, create a picture. Because dot matrix<br />

printers are impact printers, they are the<br />

only printers capable of using multiple<br />

part forms. If your need to print invoices<br />

in three parts, your decision on which<br />

technology to use is decided for you.<br />

Likewise, for printing ledgers, journals,<br />

and management reports for which multiple<br />

copies are required for circulation<br />

quality, however. While dot matrix printers<br />

are commonly rated this high, they<br />

do not produce output as eye-catching as<br />

a 300 by 300 dpi laser. Large characters<br />

and rounded graphics do not have the<br />

smooth edges characteristic of lasers and<br />

impact printers are prone to banding.<br />

Banding isn't a problem in text applica-<br />

throughout an office, dot matrix printers tions, but in graphics this phenomem<br />

and multiple part forms are far more cost results in alternating bands of dark a;<br />

effective and efficient than photocopying light ink density running in the directii<br />

and collating single sheets. In addition to of the print head's movement.<br />

being the least expensive variety of If you've decided that a dot mati<br />

printer, dot matrix printers are also the<br />

least expensive to operate. A typical fabric<br />

ribbon will last for 2,500 pages in a<br />

normal office environment and cost between<br />

$3 and $15 each.<br />

difference between various dot<br />

Thematrix printers, and that which<br />

makes some more expensive than<br />

others, is speed, print quality, print options,<br />

fitness for task, and durability. Dot<br />

matrix printers have become very fast<br />

compared to the printers of just a few<br />

years ago and for a small sacrifice in<br />

quality (using fewer of the print wires to<br />

form each character) they can be quite<br />

fast indeed. Speeds of 120 to 220 characters<br />

per second (cps) are common among<br />

the least expensive machines for draft<br />

printing mode as are 40 to 75 cps speeds<br />

for Near Letter Quality (NLQ) mode.<br />

As you'd expect, the more print wires<br />

in the printing head, the more the cost<br />

goes up. But so too does quality. Having<br />

more pins allows the printer to form each<br />

character a little more carefully so that it<br />

is appealing to the eye without a major<br />

loss of speed. In fact, some 24-pin printers<br />

can print in NLQ. mode as fast as less<br />

expensive 9-pin printers can print draft<br />

quality. As for graphics, the quality of a<br />

24-pin printer is again superior to a 9-pin,<br />

with 24-pin printers usually capable of<br />

yielding 360 by 360 dpi (dot per inch)<br />

graphics. [The more dots per inch, the<br />

finer the graphical resolution] Don't be<br />

fooled by any claim that this is near laser<br />

printer is the way to go, one major co<br />

sideration you should have in an offi<br />

environment is fitness-for-task. Ap;<br />

from quality and simple printing spee<br />

is the print head big enough not to ovi<br />

heat during long print jobs? Is the it<br />

chine rugged enough for the shared u<br />

it might get in your office? And have yi<br />

considered all of the options you mis<br />

need to make the printer work efficieni<br />

in the workplace?<br />

Options for dot matrix printers a<br />

many, more of which are becoming st£<br />

dard all of the time, and due to compe<br />

tion with laser printers, which a<br />

coming down in price every year, t<br />

prices for dot matrix printers and th.<br />

options are coming down too. Sinj<br />

sheet and envelope feeders, internal a<br />

downloadable font capabilities, pap<br />

handling features (like holding contir<br />

ous paper at bay while you insert sinj<br />

sheet letterhead so that you're not C(<br />

stantly loading and unloading form<br />

paper parking and tear-off featui<br />

(which help to reduce paper waste), a'<br />

color capability for text and graphics ;<br />

all possibilities you might want to c(<br />

sider. With more and more software h,<br />

ing graphics capabilities with built<br />

typesetting font libraries, reside<br />

printer fonts may be less important<br />

you than good graphics capability,<br />

with everything else, consider your sc<br />

ware carefully and your actual printi<br />

needs before making your decision.<br />

jet technology bridges the gap 1<br />

Ink tween dot matrix prices and las'<br />

printer quality. Ink jet printers usi<br />

new and highly sophisticated technok<br />

which blends the techniques of the otl<br />

two. Inkjet printers actually shoot lit<br />

microscopic drops of ink at the pap<br />

forming dots that create characters a<br />

30 BOXOFFICE


phics. These printers are extremely<br />

et and quite fast. They generally pro-<br />

;e output a page at a time and, because<br />

re is no hammer device, only single<br />

t forms are possible. Many ink jet<br />

nds feature totally replaceable heads<br />

)art of the ink cartridge. So, when the<br />

runs out and you have to replace the<br />

tridge, you get a brand new electronic<br />

It head as well. The remaining parts<br />

he printer are fairly simple and duramaking<br />

disposable heads an importbenefit<br />

in terms of reliability and<br />

gevity.<br />

resently,<br />

ink jet printers have fixed<br />

alutions of 300 by 300 dpi. Ink jet<br />

phics, while definitely more pleasing<br />

n those produced by impact printers<br />

n at 360 by 360 dpi, are still prone to<br />

ttle banding which may vary from<br />

nd to brand. Ink cartridges cost about<br />

i each and last according to the<br />

cunt of ink you use per page, more for<br />

phics and less for text. And, if you<br />

ct to go color, the "real" costs can<br />

rocket. [Explanation: Each of four colhas<br />

it's own non-refillable reservoir,<br />

en one of the colors runs dry, the<br />

ole cartridge becomes useless unless<br />

ivilling to do without that color or<br />

' other color derived from a combina-<br />

1 which includes the empty color.]<br />

here aren't too many options one<br />

;ds to consider with ink jet<br />

printers,<br />

nt quality, durability, the benefit of<br />

disposable print head, and some<br />

nds that feature tractors for continuforms<br />

are the basic considerations.<br />

i your dealer for explanations and<br />

nple output and pick from what you<br />

1 t the top of the line are laser print-<br />

A ers. These printers are ultra-quiet,<br />

^produce extremely high quality<br />

fput, and are fairly expensive (but<br />

ces do keep coming down). Laser<br />

nters use a printing technique identito<br />

small office and personal copy<br />

ichines. But instead of the glass table<br />

i scanner of the copy machine, laser<br />

nters receive their input from your<br />

Tiputer and translate the printing inuctions<br />

into a page of copy drawn on<br />

: print drum by a laser beam.<br />

Jnlike the other printers mentioned,<br />

er printers are strictly page printers,<br />

is means that they must receive the<br />

1 page of text and/or graphics before<br />

nting begins. (Ink jet printers might<br />

o wait for a full page of information<br />

rbre they start to print, but then the<br />

?e is drawn character by character and<br />

e by line.) Because of this "page<br />

printer" design, laser printers require a<br />

lot of memory of their own. About 51 2K<br />

of memory produces a standard text<br />

page, a simple graphics page, or a half<br />

page (or less) of complex graphics. A<br />

minimum of I Megabyte of memory<br />

probably makes more sense for most<br />

common graphics applications. In comparison,<br />

a dot matrix printer requires<br />

virtually no memory since it prints each<br />

character (or row of dots) as soon as it is<br />

received from the computer. Any extra<br />

memory in a dot matrix printer is used<br />

for<br />

storing downloadable fonts or as a<br />

print buffer.<br />

Laser printers are popular because of<br />

their capability for high quality printing.<br />

But there are a lot of differences between<br />

models and manufacturers and you must<br />

be careful to ask a lot of questions before<br />

you jump in and buy. For instance, there<br />

are several versions of the popular PCL<br />

(Printer Control Language) and each offers<br />

a greater degree of sophistication.<br />

Make sure that the printer you buy handles<br />

the same level of sophistication as<br />

the software you plan to use.<br />

Postscript is another popular graphics<br />

language for printers which is not supported<br />

on every machine nor is it always<br />

supported the same way. Some machines<br />

use a Postscript cartridge, some<br />

use an emulator to approximate the Postscript<br />

language, and some have special<br />

hardware to accelerate the Postscript<br />

commands. If Postscript is important to<br />

you (check your software!), then be sure<br />

that the printer you buy implements the<br />

Postscript capability in a manner that is<br />

efficient for your needs.<br />

Also, some printers that bill themselves<br />

as laser printers are really LED<br />

printers, like Okidata's 400 and 800 series<br />

printers. These, unlike lasers, use a fixed<br />

array of LED's which, according to the<br />

manufacturer, add to reliability. The<br />

trade-off is<br />

that they also offer a fixed<br />

resolution of 300 by 300 dpi. True laser<br />

printers are labeled 300 by 300 dpi, but<br />

manufacturers have developed techniques,<br />

so-called image enhancement<br />

technologies, for modulating the laser<br />

beam to yield results appreciably greater<br />

than 300 by 300 dpi.<br />

Laser<br />

printers are exclusively single<br />

page printers (no continuous<br />

forms) and, for our purposes, monochrome,<br />

too. You may be able to install<br />

different color toners, but technicolor<br />

images are not going to be produced.<br />

Laser printers excel at graphics, but the<br />

reality here is that complex graphics take<br />

a long time to print, up to several minutes<br />

a page. If you're ambition is to use<br />

the laser to design and produce ads, flyers<br />

and brochures, you may well want to<br />

consider a printer accelerator such as the<br />

LaserMaster. Devices such as this one<br />

speed up the time it takes to calculate<br />

and draw the image and can also boost<br />

quality up to 800 dpi.<br />

As cited earlier, your choice of technology<br />

may rest in a simple decision<br />

such as the need for multiple part forms.<br />

Personally, if I could have but one<br />

printer (which is all 1 can have right<br />

now!), it would be {and is) a dot matrix<br />

simply because of its affordability and<br />

flexibility. With my dot matrix I have a<br />

choice of either continuous form paper<br />

or single sheets each in single or multiple<br />

parts. Mine is a 24-pin printer with excellent<br />

letter quality and 360 by 360 dpi<br />

graphics. It serves me well because I run<br />

many trial copies of reports and frequent<br />

long program listings when I'm writing<br />

programs. For graphics and presentation<br />

quality spreadsheets, someday I hope to<br />

have a laser printer. But for now, with a<br />

Pacer Style Tickets<br />

little compromise, I've got the best of all<br />

worlds for mv situation.<br />

warn


I<br />

I<br />

I<br />

NEW PRODUCTS<br />

Odell's of Reno, Nev., recently announced<br />

their new canola oil packaging<br />

and delivery system, the Odell's<br />

Bag»ln»The»Box, which uses the first automatic<br />

portion control pump for use specifically<br />

with pre-packaged canola oil. The<br />

box weighs only 35 pounds and measures<br />

Lavi Industries of Valencia, Calif. 's<br />

Beltrac Public Guidance System is a complete,<br />

integrated line of crowd control<br />

equipment featuring posts designed to<br />

allow the belt mechanism to be concealed<br />

within the post itself. Engineered and made<br />

in America, the posts (portable, removable<br />

and permanent) are multi-directional, accommodating<br />

interchangeable belt mechanisms<br />

while accepting as many as three<br />

belts from other units. They also come in<br />

colorful Lido-Tone, chrome, champagne,<br />

bronze and gold finishes; barrier belts are<br />

also available in a variety of standard colors<br />

and can be ordered with custom logos,<br />

colors and graphics. A complete line of<br />

accessories for the system is also available.<br />

Response Number 301<br />

Lotus 1-2-3 spreadsheet template provided<br />

by the company. Flomatic has been an innovator<br />

in<br />

post-mix dispensing technolo<br />

for more that 40 years.<br />

Response Number 302<br />

Lawrence Metal Products Inc. of Mi<br />

ville, N.Y., has announced the develo<br />

ment of a heavy duty, self-closing gate tf<br />

is designed for constant use and also mei<br />

handicap requirements. The model SAL<br />

designed for left swing, right swing or do<br />

ble acting applications, and features<br />

15.5-inches long by 11.5-inches wide by<br />

8-inches high, which means ease of handling,<br />

more convenience and safety, and,<br />

most importantly, no more spills and less<br />

waste.<br />

Response Number 300<br />

Flomatic Manufacturing, Inc. of Portland,<br />

Ore., has introduced a programmable<br />

portion control for beverage dispensing that<br />

counts the exact number and type of fountain<br />

drinks poured from a post-mix valve.<br />

According to the company, this provides for<br />

greater accuracy in tracking profitability by<br />

letting a manager keep abreast of the<br />

fountain's performance in ways that were<br />

not possible before. Drink history is tracked<br />

at the valve where the product is dispensed,<br />

and consumption history is easily retrieved<br />

through Flomatic's Consumption Logging<br />

Device for analysis on any PC running a<br />

"feather" mechanism that prompts a gem<br />

return. The gate system measures 3.5-fe<br />

wide, center to center of posts, by 3-f(<br />

high. The all-welded construction gal<br />

which is supplied with a stop post ai<br />

hinged post, is offered in three finish(<br />

brass, polished stainless steel and sal<br />

stainless steel.<br />

Response Number 303<br />

SOME PEOPLE<br />

IN THE INDUSTRY<br />

BELIEVE<br />

THE INDEPENDENT EXHIBITOR<br />

IS DEAD.<br />

We disagree. In fact we specialize in filling the<br />

equipment and supply needs of the<br />

independent exhibitor and small circuit.<br />

As one of the few-full line dealers-we<br />

can satisify all your theatre needs.<br />

We offer guaranteed same-day order processing.<br />

A 24 fiour emergency HOTLINE (716-855-2163) and a<br />

large in-house inventory of parts and supplies.<br />

PROJECTION BOOTH EQUIPMENT<br />

SOUND SYSTEMS<br />

MARQUEES/SIGNS<br />

LIGHTING SYSTEMS<br />

CONCESSION EQUIPMENT<br />

THEATRE SCREENS/FRAMES<br />

I XENON LAMPS<br />

SEATING<br />

SUPPLIES/PARTS<br />

I AUTOMATION EQUIPMENT<br />

712 MAIN STREET . BUFFALO, NEW YORK 14202<br />

/A/NY- 716/855-2162 . OUTS/DENY 800/448-1656


'<br />

—<br />

INDUSTRY<br />

BRIEFINGS<br />

Moving Image Preservation<br />

Still Cause for Concern<br />

Fully 50 percent of all movies produced In<br />

the U.S. prior to 1950 no longer exist. Cone<br />

forever is half of this century's preeminent<br />

and most widely enjoyed art form. Likewise,<br />

much of television's "Golden Age" programming<br />

has also literally turned to dust.<br />

Moreover, the deterioration and irretrievable<br />

loss of motion picture and video productions<br />

is not limited to the U.S., nor has the<br />

destruction meaningfully abated. The problem<br />

is equally urgent both for present and<br />

future productions.<br />

Exploring preservation issues of moving<br />

images—from motion pictures to television<br />

is the goal of the third international conference<br />

entitled "Fast Rewind III: The<br />

Archaeology of Moving Images." Fast Rewind<br />

III<br />

will be held from July 22 to 25, 1 993 at the<br />

Rochester Stouffer Plaza, Rochester, N.Y.<br />

Organized and sponsored by Bruce A. Austin,<br />

the William Kern Professor in Communications<br />

at Rochester Institute of Technology,<br />

the 1993 Conference is the sequel to those<br />

held in 1989 and 1991.<br />

Past conferences have each "attracted<br />

more than 125 participants from more than<br />

35 states and a dozen nations," Austin says.<br />

Among those attending were archivists, curators,<br />

filmmakers, academics including historians<br />

and social scientists, and museum<br />

administrators.<br />

"This time around," Austin reports, "we're<br />

expecting even greater attendance and an<br />

even broader range of topics to be discussed,<br />

especially given the increased attention being<br />

paid to this vital issue by the Hollywood and<br />

legislative communities."<br />

Billed as a "Four day dig into the past, with<br />

an eye toward the future," Fast Rewind III will<br />

engage experts in a dialogue on such critical<br />

issues as financing preservation efforts; ethical<br />

and legal questions of industry practice,<br />

such as the colorization of black and white<br />

films; methods of preserving moving images;<br />

and the accessibility of moving image documents<br />

to researchers, scholars, artists, and the<br />

public.<br />

"Moving images represent an important, if<br />

not essential, touchstone of our culture," says<br />

Austin. "They should be treasured as crucial<br />

artifacts of our past. But, because of inattention<br />

or oversight, our link to the past is weakening.<br />

These documents are literally turning<br />

to dust—an action which borders on the criminal."<br />

"That we should permit moving images to<br />

disappear is not only sad, it is something we'll<br />

live to regret," Austin asserts.<br />

For more information contact Austin at<br />

(716) 475-2879, or write him at: Rochester<br />

Institute of Technology, College of Liberal<br />

Arts, Rochester, NY 14623-0887.<br />

EASTERN NEWS<br />

BANTAM, CT<br />

The single-screen Bantam cinema, owned<br />

by Lisa Abelow Hedley and her mother,<br />

Adrian Munuchin, hosted a rare screening of<br />

"Queen of the Stardust Ballroom," followed<br />

by an interview with leading lady Maureen<br />

Stapleton, who talked with Broadway producer<br />

David Black about her long acting<br />

career. Tickets were $20, with proceeds<br />

going to the Northwestern Connecticut AIDS<br />

Project. The Bantam is one of the few remaining<br />

one-screeners in the region.<br />

BURLINGTON, VT<br />

In<br />

an unusual move to assure patrons of<br />

quality entertainment, Merrill Theatre Corp.<br />

president Merrill C. larvis carried the typeline,<br />

"Guaranteed— like it, or get a pass" with<br />

circuit advertisements for the recent showdate<br />

of MGM's "Diggstown" at Merrill's Showcase,<br />

a five-screen plex here. Jarvis noted a<br />

"positive response" to the offer.<br />

HAZLET, NJ<br />

Dedham, Mass. -based National Amusements<br />

opened its fourth New jersey plex, the<br />

Hazlet Multiplex Cinemas, on the site of the<br />

Route 35 Drive-In, the state's last remaining<br />

drive-in theatre. To introduce the 12-<br />

screener, the circuit offered a "Celebration<br />

Day" with a 50 cent charge in place for all<br />

films, popcorn, candy and soft drinks.<br />

JERSEY CITY, NJ<br />

The long-shuttered Loews Jersey Theatre,<br />

the last remaining film venue in Jersey Square,<br />

is the focus of a multi-million dollar fund-raising<br />

effort by the newly-formed Jersey City<br />

Center for the Performing Arts to develop a<br />

first run motion picture theatre/performing<br />

arts center in 1994. Jersey Square's Stanley<br />

Theatre is now owned by a religious group,<br />

and the State Theatre was gutted and modernized<br />

several years ago.<br />

CAMBRIDGE, MA<br />

The Brattle Theatre garnered considerable<br />

media attention with a near-month-long series,<br />

"One More for the Road," screening<br />

product focusing on Hollywood's treatment<br />

of alcohol. The series, which ran on Wednesdays<br />

during September and October, featured<br />

films such as 1 945's "The Lost Weekend" and<br />

1987's"BarfJy."<br />

BOSTON, MA<br />

The 600-seat Paris Cinema, in-town<br />

Boston's last single screen theatre, is being<br />

replaced by a Walgreen's pharmacy. The<br />

Boylston St. site faces the Prudential Center.<br />

The former Exeter Theatre building in the<br />

Bay (the longest running movie house in the<br />

city, which went dark in 1 985) has been sold<br />

to British investors for $11 million. Se<br />

Jonathan Davis bought the property in 1!<br />

for $2.8 million. Non-theatrical use had b<br />

made of the property in the intervening ye<br />

KING OF PRUSSIA, PA<br />

Lewis I. Gantman, executive vice presic<br />

of Kravco Corp., disclosed that the comp<br />

will add a 1 0-screen United Artists plex to<br />

Oxford Valley Mall in Middletown, Pa.<br />

TREVOSE, PA<br />

More than 1 ,000 Three Stooges fans assi<br />

bled at the Ramada Inn here for the ni<br />

annual Three Stooges Convention—the I,<br />

est ever of Stooges enthusiasts. Fans c;<br />

from all over the country to see showing<br />

the trio's films and to mingle among do2<br />

of tables and exhibits of Stooges memorab<br />

Among those present was Robin Lassir<br />

grandniece of Larry Fine, one of the Stooj<br />

PHILADELPHIA, PA<br />

A Candidates Comedy Night, with<br />

leading state political candidates particii<br />

ing, recently took place at the Comedy W(<br />

comedy club for the benefit of the Philai<br />

phia Variety Club to help handicapped c<br />

dren. Each candidate took to the stage wi<br />

stand-up comedy routine.<br />

To encourage the use of facilities in<br />

Greater Philadelphia region as a site for m<br />

motion pictures and allied film projects.<br />

Greater Philadelphia Film Board has b<br />

organized by the former Philadelphia F<br />

Office. Under city sponsorship, some 22<br />

dividuals have been named to the Bo<br />

each associated with the motion picture,<br />

or video industry here. Joseph H. Ball, f<br />

lisher of Advertising/Communications Tir<br />

a monthly publication here, and presider<br />

American Advertising Services, Inc.,<br />

named executive director of the new bo<br />

It is reported that a new Greater Philadel|<br />

Production Guide will be published and<br />

tributed after February, 1993 and that<br />

voluntary efforts of the new board mem<br />

will mean tens of thousands of dollar<br />

income for labor and businesses here ar<br />

ally.<br />

A major celebrity tennis tournament<br />

drew stars to the city and brought<br />

money on behalf of disabled children ma.<br />

a one-day Family Teen Fun Fest. The e<br />

was presented by Kal Rudman, publish<<br />

Friday Morning Quarter-back, a radio in<br />

try trade publication, under the sponsor<br />

of the Philadelphia Variety Club. Almc<br />

dozen TV celebrities popular with teena<br />

appeared at the tournament, which<br />

staged at the Cherry Hill Racquet Clu<br />

nearby Cherry Hill, N.J. In addition to pla<br />

tennis, the stars signed autographs to be<br />

Variety Club. Admission to the event<br />

SlOdonation.<br />

34 BOXOFFICE


, thousand-square<br />

added incentive was provided by UA<br />

res here for the fund-raising member-<br />

Irive of public service TV station WHYY.<br />

lers enrolling as station members at $35<br />

e year also received a free pass good at<br />

JA house in the city.<br />

NCHESTER, CT<br />

lited Artists Theatres East in this city is<br />

id run triplex with a first run atmosphere.<br />

Shelsky, manager of the theatre, says,<br />

want to give our patrons the best of<br />

'thing: a crisp, clear picture, outstanding<br />

imer service and extreme cleanliness. All<br />

ik is that they wait a little bit before seeing<br />

ew film releases."<br />

SOUTHERN<br />

NEWS<br />

ILANDO, FL<br />

isney announced plans to double the size<br />

s Florida animation studio to meet the<br />

land for its animated feature films,<br />

juty and the Beast" established the fact<br />

there is<br />

a huge audience for quality anied<br />

features. The animation facility at Dis-<br />

MCM Studios opened in 1 989 and has 73<br />

,ts. Projections see the facility producing<br />

length films in Florida every other year,<br />

expansion began in July, with an addilal<br />

20 thousand-square foot modular<br />

iding now being built next to the current<br />

foot studio.<br />

bRT LAUDERDALE, FL<br />

i;ripping movie thrills will be available<br />

n the Blockbuster IMAX Theatre opens in<br />

/ntown Fort Lauderdale in November. The<br />

•en at this Blockbuster IMAX Theatre is 65<br />

high and 80 feet wide, approximately 1<br />

s larger than those used in most commertheatres.<br />

It will accommodate 300 peo-<br />

)f the 77 permanent IMAX and OM-<br />

-lAX theatres in the world—the high-tech<br />

:ion picture system developed in Can-<br />

—39 are in the United States. The Fort<br />

derdale IMAX theatre will be the only one<br />

lorida offering a large variety of films.<br />

EST PALM BEACH, FL<br />

/\onty Hall, international chairman of Vay<br />

Club, paid a one-day visit to Variety Club<br />

ie Palm Beaches earlier in the season and<br />

ted the Neonatal Intensive Care Unit at St.<br />

•y's Hospital, in the company of Irving<br />

piro, president of the local Variety Club<br />

pter, and Howard Minsky, movie pro-<br />

:er and chairman of the club. Variety Club<br />

a $250,000.00 pledge to the Neonatal<br />

'nsiveCare Unit.<br />

iW ORLEANS, LA<br />

lans are underway to renovate the Downn<br />

State theatre (formerly the Loews State)<br />

a<br />

American Seatings Cinema Series<br />

chairs are designed to encourage return<br />

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December, 1992 35


ack into condition to be restored to a 2,000-<br />

seat, one-screen configuration of its glory<br />

years. In recent years the theatre was divided<br />

into a triplex. A revival of "Singin' in the<br />

Rain," with a new remastered 40th anniversary<br />

print, will be the premiere attraction.<br />

Hurricane Andrew played havoc with local<br />

moviegoing for three days in August. Theatres<br />

closed early on Monday, August 24 and remained<br />

closed all day on the 25th as the storm<br />

approached the city. Fortunately, the hurricane<br />

steered west, missing New Orleans entirely,<br />

and local houses reopened August 26.<br />

High winds caused some power outages, but<br />

no major damage was reported. With most<br />

schools closed, business was brisk.<br />

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There is now a major addition to the choice<br />

of films being offered in Dublin: the opening<br />

in September of the Irish Film Centre. Among<br />

other things, the Centre houses two new<br />

screens. The opening was marked with a gala<br />

screening of "Waterland," starring Jeremy<br />

Irons and Sinead Cusak and produced by<br />

Dubliner Katy McGuinness. The cinemas are<br />

to be programmed by Mick Hannigan, who<br />

has previously programmed the Cork Film<br />

Festival. The autumn fare strikes a balance<br />

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The recent British Budget held no joy i<br />

what is left of the British film industry—totti<br />

ing under the near collapse of indigene<br />

production and the dominance of the big U<br />

studios, which make and distribute 90 p<br />

cent of the films screened in the United Kir*<br />

dom. The government reiterated that filmsc<br />

not require special tax assistance. Fewer th<br />

20 films are currently being made in Brita^<br />

compared with about 200 1 years ago. V\<br />

Stevenson of the British Film Institute t(<br />

reporters at a recent seminar, "There is son<br />

thing fundamentally wrong with a coun<br />

which has its most popular cultural fo<br />

Ifilmsl dominated to such an extent that li<br />

than 10 percent of the audience share goes<br />

indigenous films." David Putnam, who is<br />

tempting to set up a European film school<br />

the site<br />

of the BBC's Ealing Studios, says<br />

has received "zero support" from the gove<br />

ment. In contrast, he said, he had recen<br />

received a telephone call from jacqi<br />

Chirac, the Mayor of Paris, offering to und<br />

write the project if it were to be located<br />

Paris.<br />

Meanwhile, Sydney Samuelson and a s^<br />

of four have moved into offices on Ba!<br />

Street to operate the British Film Commissii<br />

Samuelson, the first Commissioner, ha;<br />

budget of £3.5 million to attract filmmakf<br />

Director Michael Winner ("Death Wish")5.<br />

the industry is in its worst state since<br />

entered it in 1 955. "Then there were 60 offii<br />

you could go to seek full finance for a fi<br />

Now there are none." Winner dismisses<br />

Commission as "at best quaint and at wi<br />

useless."<br />

British film<br />

investment has dropped fc<br />

fold since capital allowance on film inv(<br />

ment was phased out by Nigel Lawson, tl<br />

Chancellor of the Exchequer, inthemid-'f<br />

He also abolished the so-called Eady Le<br />

which gave one twelfth of boxoffice rece<br />

of films with a significant British involvem<br />

back to the successful producers. As a res<br />

British investors have increasingly had to t<br />

to American backers. The result is that Bri<br />

films are being "Americanized": David I<br />

nam made "Memphis Belle" only by chanj<br />

the British aircrew of the original script i<br />

an American one. "A Fish Called Wanda,<br />

another example, had to hire two Ameri<br />

stars (albeit good ones), lamie Lee Curtis<br />

Kevin Kline. As many as 20 top British Ci<br />

matographers are in virtual exile, worl<br />

only in Hollywood and the great British<br />

dios—Pinewood, Elstree and Shepperto<br />

are virtually at a standstill. Cyril Howard,<br />

managingdirector at Pinewood, saysthati<br />

are making television commercials at the<br />

ment. Commissioner Samuelson has aire<br />

had one minor success, bringing three<br />

sodes of the American soap "Married \<br />

Children" to Britain for filming.<br />

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Despite all<br />

the critical brickbats throw<br />

the Tom Cruise-Nicole Kidman film "Far<br />

Away," directed by Ron Howard, the fill<br />

least appears to be heading for boxoffice<br />

36 <strong>Boxoffice</strong>


in Ireland. It<br />

.<br />

received scornful reviews in<br />

rish press, but by September it had been<br />

by a respectable 750,000 people in the<br />

h and South, since it opened on July 31<br />

puts it, says Eilish McPhillips of UIP<br />

j'ibutors, "neck and neck with [Martin<br />

sese's] 'Cape Fear.' It<br />

has been very pop-<br />

Briin's Defa film complex, the former<br />

lilywood of Europe" to the German induss<br />

to be sold to a French property devel-<br />

Compagnie Immobiliere de Phenix.<br />

I, which bought the property through<br />

Treuhand privatization agency, says it<br />

ids to build homes, hotels and offices on<br />

l6-hectare site, as well as modernize the<br />

France, the Centre National de la<br />

matographie (CNC) has announced that<br />

ucers who do not shoot their films in<br />

ch will<br />

lose the grants they currently re-<br />

! from the ministry of culture. Over the<br />

few years there has been a wave of<br />

nsive large-scale French productions<br />

in English (Miles Forman's "Valmont"<br />

Ridley Scott's "1492: The Conquest of<br />

dise" being foreign directed, while Luc<br />

on's "The Big Blue" and lean-Jacques<br />

jud's upcoming "The Lover" |to be re-<br />

;d in the U.S. by Metro Goldwyn Mayer]<br />

g home-grown product). France has a<br />

Tous film policy and co-production<br />

ements with more than 30 countries. The<br />

rnment injected 200 million francs into<br />

cts in 1989 alone to help the industry<br />

pete both internationally and at home.<br />

, however, the country's institutions to<br />

ct the French language are fighting back,<br />

ng that the cash injections have since<br />

! nothing for the French industry or the<br />

ch language. Both "The Big Blue" and<br />

Bear," although popular in Europe, did<br />

ly at the U.S. boxoffice, while Alex<br />

's "The King's Whore" sank into obliv-<br />

post of vice president, creative affairs for the<br />

SotoCompany....LouiseSpencer to vice president<br />

of special projects, publicity at Buena<br />

Vista Pictures Marketing. ...Barry Ferrell to<br />

product manager at Audio Products. ...John J.<br />

Walker to senior vice president, finance at<br />

Loews Theatres. ...Paul F. Gibbons to vice<br />

president and treasurer of General Cinema<br />

Corp. ...and Robert Rehmeto president of the<br />

Academy of Motion Picture Arts and Sciences.<br />

OBITUARIES<br />

Richard F. Walsh, 92, former president of<br />

complete line of . . .<br />

the International Alliance of Theatrical Stage<br />

Employees and Moving Picture Machine Operators,<br />

died in August in New York. Walsh<br />

was also a past president of the Inter-American<br />

Federation of Entertainment Workers.<br />

Morris Yuter, 66, theatrical publicist for<br />

both motion pictures and legitimate theatrical<br />

shows, died in September. Yuter was the longtime<br />

press agent in Philadelphia for the<br />

Shubert Theatrical Organization. After the<br />

closing of the Shubert-operated theatres in<br />

that city, he worked on movie publicity in the<br />

region for Orion, United Artists and Columbia<br />

Pictures.<br />

John W. (Jack) Servies, 85, died this past<br />

August in Florida. Servies was a 40-year veteran<br />

of the motion picture equipment industry.<br />

He was president of National Theatre<br />

Supply Company, having joined that company<br />

in 1928 soon after it was formed and<br />

when its headquarters were in Chicago. Servies<br />

spent his entire business life with them. He<br />

was central district manager for 25 years,<br />

before being elected president in 1966.<br />

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Response No, 96<br />

)nically, the French language-inspired<br />

kdown comes at a time when the French<br />

los are pushing a new found internation-<br />

T which saw them invest in such films as<br />

minator 2," "jFK" and David Lynch's<br />

n Peaks." A further irony: "The Lover"<br />

been mainly responsible this year for a<br />

t-term but substantial rise in the French<br />

industry's share of the domestic box ofand<br />

half the cinemas in Paris are showhe<br />

film in an English language version.<br />

ON THE MOVE<br />

n the move recently: Bill Gerber to execvice<br />

president, production at Warner<br />

Pictures and Joe Hyams to executive<br />

ce president, special products for Warner<br />

Karen Schafer to the newly created<br />

December, 1992 37


,<br />

THE LAST OF THE MOHICANS<br />

Stamng Darnel Day-Lenns and Madeleine Stowe.<br />

Directed by Michael Mann. Screenplay by Michael Mann and<br />

Christopher Crowe, from the novel by James Fenimore Cooper<br />

and the 1936 screenplay by Philip Dunne. Produced by Michael<br />

Mann and Hunt Lowry.<br />

A Twentieth Century Fox release. Action-adventure, rated R.<br />

Running time. 120 min. Sound: Dolby A. Projection: Scope,<br />

70mm. Screening date: 9/16/92.<br />

"The Last of the Mohicans" is the kind of matinee-ready,<br />

epic action movie Hollywood all but forgot how to make in<br />

the aftermath of the "Indiana Jones" trilogj'. "Mohicans" is a<br />

throwback in the one way the otherwise bijou-derived "Raiders<br />

of the Lost Ark" never intended to be: in its lack of<br />

self-consciousness, its dogged determination to stay true to<br />

the logic of its storyline, without the knowing asides and<br />

parenthetical movie-movie references Lucas and Spielberg<br />

traded on. Paradoxically, "Mohicans" reminds us of the great<br />

action-adventure films of the '30s and '40s because it speaks<br />

in the present tense; its characters are too preoccupied with<br />

the desperate business of their predicament (they are caught<br />

in the bloody events of the French and Indian War) to indulge<br />

in the "lookMa, no hands" indulgences through which most<br />

contemporary action films demonstrate their awareness of<br />

the fact that the audience is watching them.<br />

The achievement is all the more remarkable considering<br />

the source. With nary a rain-slicked boulevard or pastel-colored<br />

sports car in sight, "Miami Vice" creator Michael Mann<br />

confidently takes the events of James Fenimore Cooper's<br />

classic novel and works them to his own mostly action-oriented<br />

purposes. The irony of American colonists fighting<br />

Means as Chingachcook; for those in the know, the fi<br />

combat between Magua and the Last Mohican warrior<br />

comes a contest between opposing visions of Native Ami<br />

can history.<br />

Despite Mann's accomplishment, it would be easy to ov<br />

praise "The Last of the Mohicans" and even easier to pra<br />

it<br />

for the wrong reasons. Mann has mastered at least one<br />

Spielberg's aesthetic diversionary tactics— that of cast<br />

British master thespians in roles that require about th<br />

percent of their acting resources in order to confer arti;<br />

legitimacy on a piece of popcorn moviemaking. No c<br />

would want to deny a pair of actors like Daniel Day-Lc<br />

and Madeleine Stowe the commercial breakthrough a f<br />

like "Mohicans" represents, but it would be simply frauduL<br />

to pretend, as some reviewers have, that "The" Last of<br />

Mohicans" is a showcase for great acting, or that it in anxT"<br />

tests the artistic limits of its uniformly excellent cast. Ma<br />

is no more willing to detour from his purpose (to make a gr<br />

adventure film) for an extraneous great acting moment tl<br />

he is to turn his film into a political diatribe. Toward his o<br />

goals, Mann's aim remains straight and true throughc<br />

Even if the result isn't a lasting work of art, surely tha<br />

achievement enough.<br />

Rated R for violence and sexual situations.— Kai/ Green<br />

A RIVER RUNS THROUGH IT<br />

Stamng Craig Shcffer. Brad Pitt. ToniSkerntt, BrendaBletl<br />

and Emily Lloyd.<br />

Directed by Robert Redford. Screenplay by Richi<br />

Fnedenberg, based on the stoi-y by Norman McLean. Prvdu<br />

by Robert Redford and Patrick Markey.<br />

A Columbia Pictures release. Drama, rated PC. Running di<br />

123 ymn. Sound: Dolby SR Projection: Flat. Screening dt<br />

10/2/92.<br />

Director Robert Redford has overcome some tough odd:<br />

bringing Norman McLean's autobiographical story "A Ri<br />

Runs Through It" to the screen as successfully as he has<br />

narrative of McLean's mysterious and often unspoken n<br />

tionship to those closest to him would not seem the t<br />

material for a film, given that the medium of the cine<br />

relies heavily on what can be immediately seen, extern;<br />

grasped. McLean's story is that of a life lived in emotio<br />

silence; to be able to translate such a life to the screen mi<br />

seem a filmic task not easily attainable. Yet Redford<br />

pulled off an enormous feat, and he has done so with amaz<br />

Review Index<br />

circa 1760 to preserve British rule doesn't elude Mann, but it<br />

doesn't preoccupy him either; his British commanders unfailingly<br />

demonstrate the contempt for democratic principles<br />

which ignited the American Revolution roughly 20 years<br />

after the action depicted onscreen, but Mann studiously<br />

avoids hamfisted ironies, instead trusting his audience to<br />

make the connections for themselves.<br />

Given the source material (which, after all, is about the<br />

extinction of an entire Native American tribe), Mann's refusal<br />

to use his film as a pulpit is rather remarkable— particularly<br />

in the aftermath of "Dances With Wolves"— and it pays<br />

dividends by allowing several of his Native American characters<br />

to become rounded creations, instead of the ideological<br />

mouthpieces they might have become. In the vindictive<br />

Huron-turned-Mohawk warrior Magna, Mann and actor Wes<br />

Studi have created a truly memorable screen villain whose<br />

monomaniacal desire for revenge against the British for<br />

wiping out his family achieves an almost Shakespearean<br />

resonance precisely because Mann allows the character to<br />

own his rage rather than transforming it into a symbol born<br />

of some abstract modern moralism. Either to deflect potential<br />

criticism or to weave his own politics into the film's<br />

margins, Mann slyly cast Native American activist Russell<br />

Breaking the Rules<br />

R-9;<br />

Captain Ron<br />

R-9(<br />

Crossing the Bridge R-9<br />

Day In October, A<br />

R-9:<br />

Few Good Men, A<br />

R-8(<br />

Hero<br />

R-8(<br />

Last of the Mohicans, The<br />

R-8!<br />

Mighty Ducks, The<br />

R-9:<br />

Mr. Baseball<br />

R-8i<br />

Mr. Saturday Night R-8<br />

Of Mice and Men R-8<br />

Reservoir Dogs<br />

R-8!<br />

River Runs Through It, A R-S:<br />

Saraflna!<br />

R-8:<br />

School Ties<br />

R-9'<br />

Simple Men R-9<br />

Singles R-9<br />

Under Siege R-8<br />

Wisecracks<br />

R-9 i<br />

Zebrahead<br />

R-9!<br />

R-85 BOXOFFICE


,1 their<br />

i<br />

ice and finesse.<br />

\lieady a lyrical painter of American scenes on the<br />

een— the repressive atmosphere of suburban Chicago in<br />

rdinary People"; the colorful expressions of the southwest<br />

'The Milagro Beanfield War" — with "A River Runs Through<br />

Redford has fine-tuned his talent for telling American tales<br />

d rendering them with the sensibility of a skilled portrait<br />

ist. It helps to no less a degree that he also has the rare<br />

derstanding of how film and literature come together to<br />

d a shared language. "A River Runs Through It" is a<br />

isterful cinematic expression of literature's deepest secret:<br />

exploration of human mysteries that ordinarily lie hidn<br />

from view.<br />

t is easy to see how deeply Redford identifies with Norman<br />

Lean, using his own voice to narrate this story ofMcLean's<br />

ire played by actor Craig Sheffer) relationship to his famand<br />

riiost of all to his younger brother Paul (played by<br />

id Pitt). Redford also seems to adore the setting of their<br />

es: Missoula, Montana during the first half of this century.<br />

this beautiful (and as yet unspoiled) land, the story of<br />

Lean's young manhood unfolds.<br />

Reared by the oft-times repressive hand of their minister<br />

her(TomSkerritt), Norman and his youngerbrother, Paul,<br />

im their father's love of fly fishing in the rivers close to<br />

ir home. It is during these outings, first with their father<br />

silence oftheir own brotherhood,<br />

iU their liM'stiKst Like .shape. Yet eventually the differences<br />

psyche begin to take hold. Norman learns early his<br />

/e of literature, a gift he's received from his father. On the<br />

ner hand, Paul becomes increasingly reckless, drawn to<br />

nger and more and more motivated by his own sense of<br />

ienchantment with life. Eventually, Norman goes off to<br />

liege and Paul takes a job as a journalist. When Norman<br />

turns home he comes to see the difference between his<br />

other and himself. Ultimately he chooses a structured life,<br />

at of a professor of literature, and goes off to teach at the<br />

liversity of Chicago (where the offscreen Norman McLean<br />

tually taught for many years). Paul, quite to the contrary,<br />

ems destined for a tragic end.<br />

The beauty of this story is not so much the action that<br />

ifolds within its borders— for there is hardly any action to<br />

eak of Instead it is Redford's ability to lyricize the life of<br />

o brothers who, in fact, never verbalize themselves to each<br />

her at all. It is only at the conclusion of "A River Runs<br />

trough It" that this silence comes to take on its greatest<br />

eaning. As an old man, Norman McLean realizes that he<br />

s never really understood those who were closest to him —<br />

s father, his mother, his wife, and most of all his brother<br />

lul. He finally comes to accept the mysteriousness of his<br />

lations to others and the silence he has always lived with.<br />

is Redford's great coup in this film that such a silence, such<br />

mysteriousness, becomes a tightly directed and delicately<br />

Id American tale.<br />

Rated PG-13 for metaphorical fly ilshing.— Marilyn Moss<br />

FEW GOOD MEN<br />

Starring Jack Nicholson, Tom Cruise and Demi Moore.<br />

Directed by Rob Reiner Screenplay by Aaron Sorkin. Proiced<br />

by Jeffery Scott and Steve Nicolaides.<br />

A Columbia Pictures release. Drama, rated R. Running time:<br />

135 min. Sound: Dolby SR. Projection: Scope. Screening date<br />

9/30/92.<br />

With "A Few Good Men," director Rob Reiner has crafted<br />

a classic military courtroom drama starring Jack Nicholson<br />

as a tough-as-nails Marine commander on Guantanamo Bay,<br />

Cuba and aided by Tom Cruise and Demi Moore. Aaron<br />

Sorkin adapted his own Broadway play for the screen, which<br />

was an excellent place for Reiner to start. The script leaves<br />

open many possible plot turns and, even when the viewer<br />

has determined guilt, the moment at which the truth is<br />

extracted is sudden and unpredictable. Flashbacks are used<br />

sparingly and with great effect and the moral issues of<br />

individual responsibility versus military orders are explored,<br />

but never begged.<br />

Although the plot revolves around two Marines accused<br />

of killing a member of their platoon in an unsanctioned<br />

disciplinary action, the progression of the drama lies in the<br />

development of Navy lavi^yer Daniel Kaffee (Tom Cruise)<br />

from a glib master of the plea bargain to a driven defender<br />

of the truth. He is partially coaxed and partially shamed out<br />

of the passive posture he has assumed to avoid comparisons<br />

with his highly successful father, also a military lawyer, by<br />

Joanne Galloway (Demi Moore), who wanted to take the<br />

case herself As Kaffee's interest in the case develops so does<br />

the motive of Colonel Nathan Jessup (Jack Nicholson) to<br />

cover up the truth.<br />

The film's only weakness lies in Kaffee's sudden and<br />

unbelievable metamorphosis from lightweight lawyer to<br />

skilled prosecutor. Although Kaffee graduated from Harvard<br />

Law School, his professional experience has been limited to<br />

negotiating a quick plea bargain. If, as claimed, he has never<br />

seen the inside of a courtroom, where does he suddenly get<br />

the skill necessary to uncover the hidden facts in the case<br />

much less extract a confession out of a vastly more experienced<br />

officer? He receives his motivation from Galloway,<br />

but he can hardly have acquired his skill from her, because,<br />

as her superiors point out, she has no courtroom experience<br />

either. Some of that slack is taken up by Cruise's straight<br />

man, Sam Weinberg (Kevin Pollak), who is assigned to help<br />

Cruise with the finer points of military protocol.<br />

The exceptional cast is rounded out by Kevin Bacon as the<br />

government defense attorney, James Marshal ("Twin<br />

Peaks") and J.T. Walsh as the accused Marines, and Kiefer<br />

Sutherland as Lt. Kendrick, who is instrumental in the<br />

cover-up. The film's tension grows as the conflict shifts from<br />

Kaffee and Galloway to Kaffee and Jessup and the scenes<br />

where Nicholson faces off with Cruise are powerful stuff<br />

indeed, making this film well worth the price of admission.<br />

Rated R for violence and language.— Marianne Cotter<br />

HERO<br />

Starring Dustin Hoffnian, Andy Garcia, and Geena Davis<br />

Directed by Stephen Frears. Screenplay by David Webb Peoples.<br />

Produced by Laura Ziskin.<br />

A Columbia Pictures release. Comedy, rated R. Running<br />

Tune: 112 min. Sound: Dolby SR Projection: Flat. Screening<br />

date: 9/25/92.<br />

"Hero" starts from a promising if somewhat derivative<br />

idea, a sort of fun-house distortion of Capra's 1941 social<br />

comedy "Meet John Doe." In that uneven but fitfully powerful<br />

film, Gary Cooper was a homeless bum hired by Jean<br />

Arthur's wisecracking newspaper reporter to masquerade as<br />

a fictional "voice of the people," invented in her column as<br />

a publicity stunt. Cooper started out amoral and then<br />

blossomed into his role as a cornpone Everyman, but the<br />

film's populist optimism was counterbalanced by genuine<br />

despair; after his fall from public grace (he's revealed as a<br />

fraud just as he begins to believe his own message). Cooper<br />

could redeem himself only by attempting suicide as a protest<br />

against modern callousness, according to the terms of the<br />

persona Arthur concocted for him.<br />

In "Hero," Cooper's unscrupulous but ultimately heroic<br />

John Doe persona has been split into two characters, the<br />

obnoxious and misanthropic Bernie LaPlante (Dustin Hoffman,<br />

in a parody of Ratso Rizzo from "Midnight Cowboy")<br />

and the seemingly more sensitive John Bubber (Andy Gar-<br />

December, 1992 R-86<br />

.


cia). In the film's main (and almost solitary) plot twist,<br />

LaPlante acts heroically after witnessing a plane crash, but<br />

no one (not even the passengers he's saved, which include<br />

the ever-plucky Geena Davis as a Jean Arthurish newscaster)<br />

can believe such an unsavory character would have done<br />

what LaPlante did. When the more conventionally heroic<br />

Bubber materializes to claim a $1 million reward offered for<br />

LaPlante's actions by a local TV station, Bubber is immediately<br />

crowned by the media and public alike against any<br />

claims to legitimacy LaPlante might make.<br />

Poised for a satire of American hero worship, director<br />

Stephen Frears ("Dangerous Liaisons" and "The Grifters")<br />

and writer David Webb Peoples ("Unforgiven") settle for<br />

shooting fish in a barrel by reserving most of their comedic<br />

energy for broad barbs aimed at TV newscasting practices.<br />

Frears knows how to paraphrase some of the more egregious<br />

visual excesses of TV, but it's irritating to see so much<br />

attention lavished on a subject that is already self-caricaturing<br />

while more interesting possibilities— such as the darker<br />

motivations of Bubber's character— are dismissed via redemptive<br />

bromides, seemingly out of an unwillingness to<br />

cast any of "Hero's" three celebrity performers in anything<br />

other than the mushiest, most flattering kind of motivational<br />

light.<br />

An overcooked mainstream entertainment served up with<br />

a dollop of thematic seriousness, "Hero" is exacfiy the type<br />

of confection a heavyweight actor (hke Hoffman) or arthouse<br />

director (like Frears) cooks up when he is simultaneously<br />

seeking mainstream boxoffice sustenance while<br />

trying to assuage artistic guilt over such a crassly commercial<br />

undertaking. Like director Barbet Schroeder's "Single White<br />

Female," "Hero" is an artist's idea of commercial entertainment;<br />

both Schroedci and Fri-ars seem to equate accessibility<br />

with shallowness. The pervasive sense that the filmmaker<br />

feels he's slumming makes "Hero" far less rewarding than it<br />

might have been in the hands of a less talented director, who<br />

might at least have approached the material sincerely.<br />

There's nothing inherently amusing about condescension,<br />

after all.<br />

Rated R for semi-adult situations.— Kai/ Greene.<br />

MR. SATURDAY NIGHT<br />

Stamng Billy Crystal, David Paymer, Julie Warner, Helen<br />

Hunt, Mary Mara and Ron Silver.<br />

Directed by Billy Crystal. Screenplay by Billy Crystal and<br />

Lowell Ganz & Babaloo Mandel. Produced by Billy Crystal and<br />

Peter Schlindler.<br />

A Columbia Pictures release. Comedy, rated R. Running time:<br />

119 min. Sound: Dolby SR. Projection: Flat. Screening date:<br />

9/18/92.<br />

During the opening credits of "Mr. Saturday Night," the<br />

camera strolls lovingly over a feast of rich Jewish food:<br />

chicken filled with stuffing, fatty brisket, potatoes swimming<br />

in gravy and stuffed kishke. It all adds up to schmaltz, a<br />

perfect metaphor for this film by first-time director Crystal.<br />

Swimming in schmaltz more than in the stuff of believable<br />

characters, "Mr. Saturday Night" is a loving tribute to<br />

Borshtbelt Jewish comedians of decades past. Yet more tribute<br />

than anything else. Crystal's attempt to hone a central<br />

character (Crystal himself as fair to middlin comedian Buddy<br />

Young) upon which to hook his story doesn't really add<br />

Whether or not people have been listening, Billy Cr<br />

has been telling us for years that in his heart he's a come<br />

of the '50s Borshtbelt circuit. In "Mr. Saturday Night" he<br />

the opportunity to do what we just know he's been waj<br />

years to do— put himself in the shoes of comedians the "<br />

of Henny Youngman, Alan King and Shelley Berman. W<br />

he does this, the film takes off on a flurry of shticky one li<br />

that are truly hilarious (compliments of writers Cry<br />

Mandel and Ganz). Yet when he gets serious he also<br />

maudlin— and there's nothing funny, or satisfying, aboi.<br />

The character Buddy Young has been evolving before<br />

eyes for years in all of Crystal's skits on stage and televif<br />

He's the young comedian who began making his family 1<br />

with laughter in his Brooklyn living room and who dec<br />

to strike" out on his own and make it in the big time.<br />

Crystal also wants us to feel sympathy for this not-soguy<br />

who is, at his core, a self-consumed little monster<br />

abuses his family by taking them for granted and who ti<br />

his loyal and sweet-natured brother-manager (playet<br />

David'Paymer, who literally steals this film) by continuo<br />

putting him in his place. When it finally comes time<br />

Buddy to pay his emotional dues after years of such beha-<br />

Crystal expects the audience to sympathize with the tui<br />

events and find simpatico with him. Yet all along, Budd\<br />

been such a mish-mash of one-liners that he has faile<br />

become a full-blooded dramatic character. We can laugh<br />

we can't as easily care about what happens to him.<br />

Despite its failure as a dramatic piece (as much as Cr;<br />

wants it to be one), "Mr. Saturday Night" is at no los;<br />

providing constant— and often ingenious— laughs. Th<br />

Billy Crystal at his best and at his should-a-been-better.<br />

Rated R for off-color language.— Man7i/n Moss<br />

OF MICE AND MEN<br />

Stamng John Malkoinch, Gail/ Sinise, Ray Walston, She<br />

Fenn and Casey Siemaszko.<br />

Directed by Gary Sinise Screenplay by Horton Foote.<br />

duced by Gary Sinise and Russ Smith.<br />

A Metro Goldwyn Mayer release. Drama, rated PG-13.<br />

ning time: 110 min. Sound: Dolby A. Projection: Flat. Scree<br />

date: 9/23/92.<br />

As difficult as it is for a writer to produce a sin<br />

unpretentious masterpiece, it is even more difficult for<br />

masterpiece to make it onto the screen with its inte;<br />

intact. Yet director, co-producer, and star Gary Sinise<br />

delivered John Steinbeck's short novel, "Of Mice and IV<br />

to the screen fully clothed in all its quiet strength<br />

humanity. From the central California harvest scenes ti<br />

bunkhouse banter at the Tyler Ranch, Sinise balances<br />

progressive cycles of nature against the desperation of<br />

pie dreams in hard times.<br />

Lennie (John Malkovich) and George (Gary Sinise) ^<br />

as migrant laborers during the Depression, trying to<br />

together enough money to buy a small farm of their (<br />

Lennie is physically powerful but mentally feeble, an(<br />

innocent desire to fondle soft things has gotten them<br />

trouble in the past and will get them into trouble ai<br />

George is Lennie's protector, having promised Lennie's<br />

he would take care of Lennie after she died. When Cur<br />

R-87 <strong>Boxoffice</strong>


Drton Foote's ("To Kill a Mockingbird" and " I'he Trip to<br />

itiful") screenplay captures perfectly the tone and pacf<br />

Steinbeck's careful foreshadowing. The desire to tend<br />

own animals 'and crops is as precious to Lennie and<br />

rge as the pets that Lennie kills by caressing too hard,<br />

viewer is lead to the knowledge of what will inevitably<br />

George and Lennie's dream to dust and yet the suspense<br />

Is past the obvious and holds tight to the very end.<br />

ctor Sinise, wisely, finds no need to revise Steinbeck's<br />

on the American dream. The cracks that Steinbeck saw<br />

)le falling through in the 1930s are fundamentally the<br />

3 cracks that people are struggling against today,<br />

ited PG-13 for adult situations.— Mananne Cotter<br />

IDER SIEGE<br />

filing Steven Seagal,<br />

Tommy Lee Jones and Gary Busey.<br />

rected by Andrew Davis. Screenplay by ].F Lawton. P)Vd<br />

by Arnon Milchan, Steven Seagal and Steven Reuther.<br />

Wamer Bros, release. Action, rated R Running time: 102<br />

Sound Dolbij SR*D. Projection: Flat Screening date:<br />

/92<br />

An early scene in which Ryback is imprisoned in a meat<br />

locker by the menacing Commander Krill (Gary Busey)<br />

clues the audience in to the fact that all is not right on the<br />

good ship Missouri; soon after this, the fireworks begin in<br />

earnest.<br />

Using the ship captain's ('Patrick O'Neal) birthday as a<br />

ruse, Krill arranges for a strike force headed by a maniacal<br />

ex-CIA operative (Tommy Lee Jones) to board the Missouri—and<br />

in nearly no time at all, the ship is under siege.<br />

With most of his shipmates locked up in the hold, Ryback,<br />

who is only partially aware of what has happened, manages<br />

to escape from the meat locker with a flourish. Trading in<br />

his chefs hat for some ingeniously concocted weapons, he<br />

then wastes little time cooking up enough clever maneuvers<br />

to put his unsuspecting adversaries in more than a little hot<br />

water. Before long, Ryback is joined in these escapades by<br />

Jordan Tate (Erika Ele'niak), a former Playboy playmate who<br />

was lured aboard the ship under the pretense of performing<br />

for the captain but who passed out before the actual hijacking<br />

occurred.<br />

Of course, if most of this doesn't seem to make much<br />

sense, rest assured that plausible plot mechanics are the<br />

furthest thing from the filmmakers' (and most audience<br />

members') minds. Besides, they would only get in the way<br />

of Ryback's single-handed heroics. So, suffice it to say that<br />

the saboteurs are out to steal the Missouri's nuclear warheads<br />

and that Ryback is the only one who can stop them.<br />

One guess as to who will win.<br />

The film moves along at a suitably rapid clip and Seagal's<br />

action stunts are consistently top drawer. Factor in two<br />

appropriately over-the-top performances by Busey and<br />

Jones as the heavies, a healthy dose of humor and Seagal's<br />

deliriously deadpan delivery and you've got a sure-fire recipe<br />

for success.<br />

Rated R for exaggerated violence, language and brief nu<br />

dity.— Alan Karp<br />

SARAFINA!<br />

Starring Whoopi Goldberg, Leleti Khumalo and Miriam<br />

Makeba.<br />

Directed by Darrell James Roodt. Screenplay by William<br />

Nicholson and Mbongeni Ngema, from the play 'Sarafina!" by<br />

Mbongeni Ngema. Produced by Anant Singh.<br />

A Hollywood Pictures/Miramax release. Musical drama,<br />

rated PG-13. Running Time: 110 min. Sound: Dolby A. Projec<br />

tion: Flat. Screening date: 9/17/92<br />

"Sarafina!" is a movie that earns its exclamation point<br />

Adapted from Mbongeni Ngema's stage musical about the<br />

children's uprising in Soweto, South Africa in 1979, the film<br />

version has recast itself in the deadlier days of martial law<br />

)r those with a taste for slam-bang action in the "Die<br />

i" mold, "Under Siege" delivers, in spades. Tightly paced<br />

loaded to the gills with the kind of high-tech heroics<br />

red by fans of the genre, this big budget sledgehammer<br />

movie could prove to be Steven Seagal's biggest grossing<br />

ire to date.<br />

agal stars as Casey Ryback, a highly decorated navy<br />

A.L. who has been demoted to ship's cook aboard the USS<br />

louri for punching out his former commanding officer.<br />

and government crackdown which occurred seven years<br />

later, at a time when Soweto's optimistic schoolchildren of<br />

'79 have become seasoned revolutionaries on whom South<br />

Africa's white supremist government wages merciless war.<br />

The journey from classroom to class action is depicted in<br />

bitter, harrowing and traumatic terms, fraught with a moral<br />

ambiguity that raises "Sarafina!" beyond the pedantry of its<br />

agitprop "underpinnings. This is the first film about South<br />

Africa to depict the black struggle there as something other<br />

December, 1992<br />

R-:


than a writhing human backdrop against which well-heeled<br />

white liberals have their crisis of conscience; despite the<br />

clarity of their sympathies for the oppressed, the white South<br />

African director James Darrell Roodt and scripters William<br />

Nicholson and Ngema address the implications of political<br />

violence in an unflinching style the earlier South African<br />

dramas never approached.<br />

"Sarafina!" hasn't much in the way of a conventional<br />

story—just the barest outline of a coming of age saga, coupled<br />

with the inherent drama of an oppressive social structure.<br />

The luminous Leleti Kliumalo repeats her stage role as<br />

Sarafina, a schoolgirl in the process of political awakening,<br />

with Whoopi Goldberg doing her bit for the cause as<br />

Sarafina's inspirational schoolteacher, Mary Masembuko.<br />

After Goldberg is arrested and several of her students are<br />

shot down by the venomous South African security forces,<br />

all hell breaks loose. In a protracted and viscerally wrenching<br />

sequence, the students rampage through the streets of<br />

Soweto, matching violence for violence. The narrative takes<br />

on the logic of hallucination— we move through a delirium<br />

of rebellion and police brutality that is almost as difficult to<br />

watch as it is impossible to turn away from.<br />

While clearly on the side of the insurgent students, Roodt<br />

and Ngema don't glamorize their actions, but rather point to<br />

the cost to their humanity of the repressive system they live<br />

under and react against. After watching her schoolmates<br />

burn a police informer to death, the light seems to go out in<br />

the effervescent Khumalo's eyes; even when she regains<br />

something of her sparkle for the film's musical finale, we<br />

don't quite believe it. As the film's radiant icon of a better<br />

future, Khumalo's psychological defilement becomes, at the<br />

level of symbol, "Sarafina!"'s central tragedy. Her childhood<br />

is another casualty of Apartheid, and the film grieves for her;<br />

those young eyes have simply witnessed too much to ever<br />

see with innocence again.<br />

Rated PG-13 for violence and mild language.—Kaiy Greene.<br />

Overall, "Mr. Baseball" is a likable, funny and well-ci<br />

film —one that can appeal to general audiences, giv<<br />

production merits and Selleck's pleasing screen per<br />

Baseball fans will find even more to like about<br />

Baseball's" manifestly accurate handling of the sport ai<br />

players.<br />

Rated PG-13 for language. — George T. Chronis<br />

RESERVOIR DOGS<br />

Starring Harvey Keitel, Michael Madsen, Chris Penn.<br />

Written and directed by Quentin Tarantino. Produce<br />

Lawrence Bender; co-produced by Harvey Keitel<br />

A Miramax Films release. Crime melodrama, rated R.<br />

ning Time: 99 min. Screening date: 7/23/92.<br />

The year 1992 has turned out to be great for a los<br />

form— the B-movie, film noir crime drama. First there<br />

Bill Duke's savvy, streetwise "Deep Cover," with I<br />

Fishburne as an updated version of the kind of gravel-vo:<br />

seen-it-all cop that used to populate four out of five c<br />

movies in the '50s, but which disappeared in favor of<br />

detta-crazed supermen in almost every Hollywood cop<br />

since "Dirty Harry." Now comes Quentin Tarantino's "R«<br />

voir Dogs," an exhilarating if somewhat derivative caper<br />

in the pessimistic tradition of Stanley Kubrick's "The Kil<br />

and John Huston's "The Asphalt Jungle."<br />

Terse, excessively violent and blackly comedic, "Resei<br />

Dogs" achieves the sort of ironic demystification of small<br />

gangsterism Martin Scorsese couldn't pull off on abot<br />

times the budget in his overpraised "Goodfellas." The s<br />

behind the story is almost as dramatic as the film itsel<br />

actor frustrated by his inability to land a decent role,<br />

antino wrote "Reservoir Dogs" so he'd have somethin<br />

perform in (he has a cameo in the finished film as one o<br />

robbers).<br />

MR. BASEBALL<br />

Starring Tom Selleck, Ken Takakura, Aya Takanashi, Denms<br />

Haysbert and Toshi Shioya.<br />

Directed by Fred Schepisi. Screenplay by Gary Ross, Kevin<br />

Wade and Monte Merrick. Produced by Fred Schepisi, Doug<br />

Clayboume and Robert Newmyer.<br />

A Universal Pictures release. Comedy. Rated PG-13. Running<br />

time: llOmin. Sound: Dolby A. Projection: Scope. Screening date:<br />

9/24/92.<br />

Although his motion picture career has had more than a<br />

fair share of critical and boxoffice disappointments, Tom<br />

Selleck has maintained that his films have made money for<br />

his producers. Even so, waiting for the curtain to go up on a<br />

new Selleck movie is a by now an unnerving experience as<br />

we wait to see whether what follows will be worth the price<br />

of admission. Luckily for all, "Mr. Baseball" joins "Three Men<br />

and a Baby" and "Quigley Down Under" as a solid vehicle for<br />

this likable and attractive actor.<br />

Selleck is Jack Ell iot, an aging major-league baseball player<br />

whose game is off due more to lack of interest than a lack of<br />

skills and who is forced to realize that his career as a player<br />

in North America is over. Although he doesn't like the idea.<br />

Jack's only option is an offer to play with a league team in<br />

Japan, The Dragons. As expected, everything— including<br />

baseball — is played differently in Japan, and Jack is cast<br />

along upon his own personal odyssey of humbling redemption.<br />

Everywhere he goes, everything he does, doesn't fit in<br />

or sit well with his host country. With the help of a female<br />

ad executive (Aya Takanashi), a fellow American on the<br />

team (Dennis Haysbert) and his hard-line coach (Ken<br />

Takakura), this perennial misfit begins to turn around.<br />

Selleck's role as the often surly and uncouth jock suits his<br />

physical qualities perfectly, and the character is equally well<br />

suited to his on-screen persona. Underneath it all. Jack is a<br />

likable rogue, and that's exacdy the way audiences like to<br />

respond to Selleck the actor. Takakura and the rest of the<br />

mainly Japanese supporting cast, while not portraying characters<br />

in a stereotypical fashion, do fall completely in line<br />

with the way American audiences expect the Japanese to<br />

act-stoic, honorable, gracious and intense.<br />

The result is staggering for a first time writer-director,<br />

only is "Reservoir Dogs" one of only a handful of truly g<br />

American releases so far this year, it's also quite possibly<br />

most auspicious American filmmaking deljut since Ste<br />

Soderburgh's "sex, lies, and videotape" in 1989.<br />

Except for a brief and hilarious pre-tide sequence, the :<br />

is set in the aftermath of a robbery gone wrong. As the bro<br />

and battered survivors of a police shootout arrive in t<br />

post-heist hideaway, the true nature of their situation da'<br />

on them: The cops were waiting; somebody snitched. The<br />

a betrayer in their midst.<br />

It would be unfair to spoil Tarantino's plot-twists by<br />

cussing them, since each is delivered for maximum dram<br />

effect. The violence in the film is excessive but never gr<br />

itous; a scene in which a chillingly downbeat Micl<br />

Madsen (last seen as Susan Sarandon's beau in "Thelma<br />

Louise") tortures a kidnapped police officer is almost<br />

watchably sadistic, but the sadism is the character's, not<br />

director's.<br />

Violent as "Reservoir Dogs" often is, the real drama of<br />

story isn't in the spilling of blood but in Tarantino's assu<br />

telling ofhis tale. The film's unconventional structure, wl<br />

flashes back and forth between the crime and it's pun<br />

ment, is a classic example of turning economic limitation<br />

advantage — it both neatly allows Tarantino to avoid el;<br />

R-89 BOXOKFICE


; one<br />

'<br />

;ed R for language and violence. — Ray Greene<br />

IGLES<br />

rring Matt Dillon, Bridget Fonda, Campbell Scott,<br />

itten and directed by Cameron Crowe. Produced by Richard<br />

imoto.<br />

Warner Bros, release. Comedy-drama, rated PG-13. Runtime<br />

120 min Sound: Dolby A. Projection: Flat. Screening<br />

9/15/92.<br />

meron Crowe is a very clever fellow, and his heart is in<br />

ight place. There's a winning gentleness about his movnd<br />

he has a way with precise comedic details— both in<br />

rst film, "Say Anything," and in his current one, "Sinthat<br />

gives his wittily observed but essentially two-disional<br />

characters the appearance of three<br />

nsionality.<br />

Hollywood movies nowadays, there's rarely anything<br />

nbling a random detail— everything is either a set up or<br />

-off, so that when the obviously off-kilter Jennifer Jason<br />

buys a puppy in "Single White Female," the audience<br />

aces, knowing the creature's cuteness amounts to a<br />

al death sentence sometime in the next 40 minutes of<br />

n time. Crowe is certainly a state-of-the-art practitioner<br />

5 modern screen story— he can plant and pay off with<br />

est of them, and he's not above throwing two seemingly<br />

oncilable ex-lovers into each other's arms merely beof<br />

them recognizes the other's character tag (she<br />

a man to say "God bless you" when she sneezes). But<br />

's something so acutely observed about the mundane<br />

ts Crowe invests with emotional resonance (as when<br />

Sedgewick's garage door opener becomes the symbol of<br />

ears about "opening up"), that it makes the lives he's<br />

ing us onscreen seem lived-in as a consequence.<br />

e accumulation of shaggy and amiable marginalia<br />

s the viewer unprepared for the moment when Crowe<br />

Dack on melodramatic plot twists which show us that his<br />

icters really are just movie constructs, albeit lovingly<br />

rved ones. Crowe starts trading in hoary, soap-opera<br />

es at just the point where another burst of imagination<br />

t have transformed his Film into something even rarer<br />

nore precious than just a well-above-average entertainted<br />

PG-13 for language and sexual situations.— Rai/<br />

HOOL TIES<br />

rring Brendan Fraser, Cody Conklin and Matt Dillon,<br />

ected by Roben Mandel. Screenplay by Dick Wolf and<br />

yl Ponicsan. Produced by Stanley Jaffe and Sherry Lansing<br />

Paramount Pictures release. Drama, rated PG-13. Running<br />

105 mm. Sound: Dolby A. Projection: Flat. Screening date:<br />

/92.<br />

though it might not at first glance seem obvious, "School<br />

is of a kind with this year's "1492" and "Christopher<br />

mbus." Amidst all the hub-bub about the European cont<br />

of the Americas and the subsequent enslavement and<br />

cide of the native peoples, one could easily forget that<br />

is in that landmark year that another paradise of sorts<br />

destroyed by European racism and prejudice. 1492 was<br />

/ear that the advanced culture of Moorish Spain was<br />

,y conquered; the Moslems and Jews were subsequently<br />

lied from Spain. It is fitting, then, that this 500-year<br />

versary also be the occasion for the release of "School<br />

story about anti-Jewish prejudice.<br />

;hool Ties" is, like the Columbus stories, a work of<br />

>rical fiction. This film, however, takes place in 1958,<br />

I here in the United States. It details the encounters a<br />

tear-old working-class Jewish boy has with his Christian<br />

lemporaries. "School Ties" begins with David Green's<br />

indan Fraser) last day in his home town of Scranton, Pa.<br />

lias been recruited as a football star to play for the St.<br />

Shews School of Cabot, Mass. (deftly portrayed here by<br />

Concord, Mass.' Middlesex School). St. Matthew's has a very<br />

anxious group of blue blood alumni willing to countenance<br />

the admission (for senior year only) of this proletarian Jew,<br />

if it will help them to finally defeat their arch rival. The<br />

condition, of course, is that all is kept discrete— no one is to<br />

know "the truth" about the new quarterbnrk.<br />

We follow David in his bewildering initiation into this<br />

rarefied world of St. Matthews-the strangeness (andbruta'<br />

ity) of the traditions of the wealthy. The genius of "School<br />

Ties"— the factor that makes it more than an exposition of<br />

American parochialism— is that the inevitable revelation o'<br />

David's religion/race is paralleled by the gradual narrowing<br />

of the class and cultural differences between him and the<br />

otherboys. As the film progresses. Green becomes more and<br />

more driven. His desire for the same comfortable status of<br />

his peers— the kinds of opportunity not normally available<br />

to the son of a steel worker— leads him into conflict as his<br />

"difference" is revealed.<br />

"School Ties" almost entirely escapes the considerable<br />

dangers inherent in portraying contemporary bigotry. Most<br />

importantly, it avoids painting its protagonist as victim<br />

Green's rapid transformation from outsider (lay class) to<br />

insider (through his sharing of the school's hegemonic ideology)<br />

to outsider again (by religion) reveals the wrongs of<br />

this upper class enclave without turning its characters into<br />

cardboard cut-outs.<br />

Although a world apart from 1492,"School Ties" is a fitting<br />

mark of how far American society has come— and how far<br />

its has yet to go.<br />

Rated PR-13 for serious themes.— /e)>i Axelrod.<br />

CAPTAIN RON<br />

Starring Kurt Russell, Martin Short, Mary Kay Place, Benja<br />

min Salisbury and Meadow Sisto.<br />

Directed by Thom Eberhardt. Screenplay by John Divyer and<br />

Thorn Eberhardt. Produced by David Permut and Paige Simpson<br />

Ȧ Buena Vista release. Comedy, rated PG-13. Running time.<br />

95 min. Sound: Dolby A. Projection: Flat. Screening date<br />

9/14/92.<br />

Maybe it's coincidence , or maybe it's karma, but comedies<br />

set and shot on location in the Caribbean seem to suffer from<br />

sloppiness in execution-"Water" and "Club Paradise" are but<br />

two examples of films with some wonderful moments separated<br />

by longer stretches of semi-comic tedium. "Captain<br />

Ron" is no exception to this phenomenon.<br />

The plot centers around a well-to-do suburban family-the<br />

Harveys— that inherits an elderly yacht, supposedly once<br />

owned" by Clark Gable, and drops everything to go to some<br />

obscure Caribbean island and take possession of this new<br />

prize. Although Martin and Katherine (Martin Short and<br />

Mary Kay Place) disagree about putting their careers on<br />

hold, both recognize they are losing control of their children<br />

(Benjamin Salisbury and Meadow Sisto) and decide that a<br />

three-week family adventure on the ocean may be the perfect<br />

way to keep the family unit together.<br />

Enter Kurt Russell as Captain Ron, the random element<br />

that threatens both to bring the Harvey family together and<br />

tear it apart. Possessing dubious nautical skills, Captain Ron<br />

December, 1992 R-90


is the prototypical expatriate American screw-up who gets<br />

by on his good looks, brazen non-conformity —and lady luck.<br />

With his not-so-steady hand on the helm, he charts the<br />

Har\'ey family's dilapidated vessel and their adventure begins.<br />

Despite Ron's uncanny ability to pull success out of failure,<br />

Martin becomes more and more obsessed with his captain's<br />

penchant for getting lost, attracting catastrophe and corrupting<br />

the wife and kids. Martin becomes especially jealous of<br />

Ron's overly familiar attitude toward Katherine. Although he<br />

dearly wishes to get rid of Ron, circumstances always keep<br />

the captain around.<br />

While the actors provide enjoyable performances, they are<br />

betrayed by a screenplay that fails to serve up engaging<br />

situations after the film traverses its first half In the second<br />

half the comic set-ups come off as stale, and in many cases<br />

they appear forced. The climatic excursion to Cuba, along<br />

with Ron's contrived rescue, are especially unbelievable.<br />

"Captain Ron" remains just a little too conventional and<br />

makes far too little use of its Caribbean inspiration to hold<br />

on to an audience's attention.<br />

Rated PG-13 for language. -George T Chronis<br />

CROSSING THE BRIDGE<br />

Staning Josh Charles, Jason Gednck, Stephen Baldwin and<br />

Cheryl Pollack.<br />

Written and directed by Mike Binder Pi-oduced by Jeffrey Silver<br />

and Rob Newmyer.<br />

A Buena Vista release. Drama, rated R Running time 105<br />

min. Sound: Dolby A. Projection: Flat. Screening date: 9/17/92.<br />

In a peculiar way, writer-director Mike Binder's "Crossing<br />

The Bridge" is reminiscent of Neil Simon's "Biloxi Blues" and<br />

"Brighton Beach Memoirs." That this is so is odd because<br />

Simon's semi-autobiographical chronicles of his youth are so<br />

rinsi,,l-H i!l\' redolent of the past — the "real" past. World War<br />

II, ilic Jitterbug, FDR. Simon's films evoke the charm— and<br />

peril — of a time gone by; the evocation is softened by a<br />

knowledge that everything did in fact work out: we won the<br />

war, and the tumultuous age of the 1940s can be safely recast<br />

as the last era of innocence and honesty. The same certainly<br />

cannot be said for Binder's time of adolescence, the<br />

1970s. Indeed, "Crossing The Bridge" calls us back to a t<br />

not at all distant from our own, one intimately connee<br />

with our own contemporary economic, cultural and spiri'<br />

problems. In an important way, we have not crossed<br />

bridge; we have not passed into a radically different psy(<br />

era from that of 15 years ago in the same way as we h<br />

with the 1940s.<br />

Yet "Crossing The Bridge" has much in common v<br />

Simon's coming-of-age stories. It substitutes depress<br />

weary 1975 Detroit for Brooklyn or Bilo.xi. Its protagor<br />

Mort (Josh Charles), and his two best friends, Tim (Ja<br />

Gedrick) and Danny (Stephen Baldwin), do not have<br />

wartime draft to force that difficult transition from cb<br />

hood, family and home to adult life. Instead, they<br />

about petty jobs in Detroit, desperately trying to hang oi<br />

mythic legacies of high school and continuing the ss,<br />

routine of subtle transgressions that have become so m<br />

less thrilling now that they are legal. They drink beei<br />

empty fields, play pick-up games of muddy football<br />

,|<br />

cruise "over the bridge" to strip joints in Canada.<br />

The film revolves around the Ambassador Bridge (Cj<br />

necting Detroit with Ontario) and the beat-up Buick Elet,<br />

225 that the three friends use to cross it. The car serves ,<br />

sort of tangible link with high school and wild youth, serv<br />

as well to give solid form to the camaraderie of the yo^<br />

men. Appropriately, Binder's tale locates the bridge asi<br />

physical manifestation of the journey into adulthood. '<br />

film culminates in the ultimate crossing of the bridge:<br />

three men are offered the opportunity to make $9,000<br />

smuggling some drugs back to Detroit from Canada. 1<br />

marks the end of the innocence; as in Simon's story, ,<br />

amber-perfection of childhood is challenged, and ultimadissolved,<br />

by the coming of adult problems.<br />

In "Crossing The Bridge," Binder has produced a nosta<br />

picture that nevertheless maintains a strong attachment v<br />

the characters and with their futures. It is a fine outing ft<br />

this young director, portending even better things to cor<br />

Rated R for serious themes and some violence.—/em<br />

elrod<br />

SIMPLE MEN<br />

Stalling Robcn Burke, William Sage, Karen Sillas and E<br />

Lowensohn.<br />

Written and directed by Hal Hartley. Produced by Ted h<br />

and Hal Hartley.<br />

A Fine Line Features release. Drama, rated R. Running fi<br />

205 mm. Screening date: 8/18/92.<br />

At its best, "Simple Men" is a refreshingly off-beat odi<br />

whose quirky stylings may enable it to curry favor am<br />

the art house set. On the other hand, it's all too easy to disr<br />

writer-director Hal Hartley's irreverent iconoclasm i<br />

rather pointless outpouring of style over substance. Will<br />

real simple men please stand up? What makes it particul,<br />

difficult to categorize this film is Hartley's self-consci<br />

attempt to infuse his work with some kind of contras<br />

dichotomy at every structural level.<br />

For starters, the two main characters, Dennis (Will<br />

Sage) and his brother Bill (Robert Burke), are total opposi<br />

When the action begins. Bill finds himself being dou<br />

crossed by his girlfriend during a robbery that is so a<br />

wardly staged that the viewer is immediately forcec<br />

question his or her perception of what is actually going<br />

Before long, Bill hooks up with his younger brother, Den<br />

a shy young college student who is determined to track d(<br />

their long lost dad.<br />

In keeping with Hartley's dichotomous structure, it ti<br />

out that dad, a former shortstop for the Brooklyn Dodger<br />

a radical fugitive from justice who may or may not h<br />

caused the death of some innocent bystanders durir<br />

bombing of the Pentagon in the 1960s. In any event, Dei<br />

convinces Bill (who is now also on the lam) to join in<br />

search, which leads them to a little Long Island inn rui<br />

Kate (Karen Sillas), whose psychotic ex-husband is abot<br />

be released from prison. This sets the stage for Hartl<br />

pivotal examination of appearance and reality, as we are<br />

unclear as to whether the romantic relationship which<br />

R-91 BOXOFFICE


; successful<br />

^ between Karen and Bill is genuine or not.<br />

confuse matters further, Hartley fills the fringes of<br />

ly of his ingeniously composed shots with surreal bits of<br />

an. Summing it all up, "Simple Men's" elliptical eclecti-<br />

1 combines art school chic with half-baked Godard<br />

inds like nouvelle cuisine), and the result is only inter-<br />

;ently palatable. Nevertheless, those willing to put up<br />

Hartley's self-indulgent style just might find themselves<br />

)ying this sporadically engaging picture,<br />

ated R for language.— A/an Kary<br />

IE MIGHTY DUCKS<br />

aniitg Emiho Estevez, Joss Ackland and Lane Smith<br />

irected by Steven Herek Screenplay by Steven Brill Produced<br />

ordan Kenier and Jon Avnet.<br />

Buena Vista release Comedy, rated PC. Running time: 100<br />

Sound: Dolby SR, SR»D. Projection: Flat. Screening date:<br />

7/92-<br />

s one prospective audience member quipped before the<br />

ts went down, "I don't know if I want to see 'The Bad News<br />

rs Hit the Ice.'" Bearing more than a few similarities to<br />

1970s franchise, "The Mighty Ducks" travels<br />

y familiar territory.<br />

milio Estevez plays a win-at-any-cost Minneapolis lawyer<br />

morously named Gordon Bombay) who winds up getting<br />

Ight joy riding in his Corvette while intoxicated. No friend<br />

he court or the district attorney's office, he's forced into<br />

ing on hours of community service, and a revocation of<br />

driver's licenSe. Long ago Bomba\ was a star pee wee<br />

key player who missed the winning goal in a championp<br />

game and was psychologically scarred by his win-at-anyt<br />

coach. In a fitting twist of fate, Bombay's community<br />

vice now forces him to coach a pee wee hockey team.<br />

Jaturally, the kids he has to work with are a lovable bunch<br />

ittle misfits just bad enough at hockey to be funny but not<br />

|ity enough to be unsympathetic. There is the expected<br />

mber of scenes where Bombay must learn to respect the<br />

|S, and they must learn to trust him. Soon, the Ducks are<br />

and skating like pro players on the ice, defeating all the<br />

jms that previously ravaged them. They even make it to<br />

state championship game, where they meet the peren-<br />

:1 champs, the Hawks, Bombay's old team that is still led<br />

his old coach. Not unexpectedly, by the film's conclusion,<br />

-nbay learns that there's more "to life than winning.<br />

Overall, "The Mighty Ducks" is a competently made com-<br />

/ that, while it never rises above its formulaic origins, is<br />

/er really disappointing,<br />

lated PG for kids and adults.— George T Chronis<br />

REAKING THE RULES<br />

)tamng Jason Bateman, C. Thomas Howell, Jonathan Silvern<br />

and Annie Potts.<br />

directed by Neal Israel Screenplay by Paul W. Shapiro.<br />

)duced by Jonathan D Krane and Kent Bateman.<br />

K Miramax Films release Comedy-drama, rated PG-13. Run-<br />

\gtimc 100 mm Screenmg date: 10/8/92.<br />

.ook quickly for "Breaking the Rules," because it will<br />

doubtedly pass by in a flash- which is not to say that it<br />

3sn't have its moments to make the hanging around worthwhile.<br />

An annoyingly predictable story cloaked in some fine<br />

performances, this film leaves a slight but slightly sweet<br />

memory before it moves on to its conclusion.<br />

Yet another variation on the roadie movie, this time we're<br />

on the road with three twentysomething-age buddies who've<br />

been best friends since they were in grade school in Cleveland,<br />

Ohio, where they would spin themselves in the dr\'er<br />

at the corner laundromat to help pass the time. Now having<br />

been separated for a period (it's not quite clear how they've<br />

kept in touch), they reunite when one of them, Phil (Jason<br />

Bateman), discovers he has terminal cancer and wants to<br />

take a cross-country trip to Hollywood— to see the sunset and<br />

hopefully audition to become a contestant on "Jeopardy"<br />

(the latter wish being a metaphorical hook that, expectedly,<br />

never comes to pass).<br />

Phil and his two buddies take their determinedly spontaneous<br />

trip and ultimately hook up with thirtysomething-age<br />

waitress named Mary (Annie Potts), a figure who brings out<br />

in the trio their deep-seated sexual and familial longings, not<br />

to mention a little misogyny that pops to the surface. By the<br />

time they make it California, events work themselves out<br />

pretty much as expected. Mary turns out to be the catalyst<br />

who brings the three friends together, this despite her potential<br />

for tearing their friendship apart. "Breaking the Rules"<br />

feeds itselfon its own contrivance and melodrama, given the<br />

fact that the entire story spins around on the last wishes of<br />

a dying character. Yet despite such familiarity, it also manages<br />

occasionally to break out of its generic restraints and<br />

cook up four characters who remain fresh and worth remembering<br />

when the journey comes to an end.<br />

Rated PG-13 for language and a scene of love-making.—<br />

Manlyn Moss<br />

WISECRACKS<br />

Starring Whoopi Goldberg, Phyllis Diller, Joy Behar, Ellen<br />

DeGeneres, Sandra Shamus and others.<br />

Directed by Gail Singer. Produced by Gail Smger and Signc<br />

Johansson.<br />

An Alliance Communications release. Documentary, not<br />

rated. Running time: 93 min Screening date: 8/11/92.<br />

For the most part, this interesting blend of performance<br />

film and feminist documentary does a creditable job of<br />

informing its audience as it entertains. The topic is female<br />

stand-up comics, 24 of whom are glimpsed both on and<br />

off-stage in Gail Singer's frequently funny exploration of the<br />

performers and their work. Cutting between their comic<br />

routines and (in most cases) more serious backstage observations,<br />

Singer displays a wonderful knack for letting her<br />

material speak for itself, thereby avoiding the kind of ponderous<br />

narration that typifies most television documentaries.<br />

Accordingly, even those who wouldn't be caught dead<br />

in a comedy club may find themselves drawn in by the<br />

movie's concerns with female comics and the ways in which<br />

they function in what is usually considered to be a maledominated<br />

field. Still, it is the performances themselves, as<br />

opposed to the film's more overt attempts at social commentary,<br />

that prove to be most appealing.<br />

Singer has done an excellent job of filling her movie with<br />

a strikingly diverse group of comics. Ranging from the<br />

traditional (Phyllis Diller), to the trendy (Whoopi Goldberg),<br />

to the off-beat (Sandra Shamus), what is particularly impressive<br />

is that these women don't necessarily share anything<br />

more in common than the desire to be funny. Of course,<br />

some are funnier than others. Among the most humorous of<br />

the lot are the Clichettes, a threesome who dress as men and<br />

lip-sync Paul Anka hits. Also particularly worthy of mention<br />

is the caustically hilarious Joy Behar and Ellen DeGeneres,<br />

whose comic observations have nothing at all to do with<br />

gender. In other words, they're just plain funny. On the<br />

downside, some of the interviews tend to go on a bit too long<br />

and the inclusion of a string of old clips highlighting the<br />

largely self-deprecating humor of the likes of Mae West and<br />

Lucille Ball seems to miss the mark. Which is not to say that<br />

these sections of Singer's heartfelt homage are without<br />

merit, but rather that they pale in comparison to the wealth<br />

of contemporary comedic performances that "Wisecracks"<br />

showcases.<br />

Unrated; look for strong language.— A/an Karfy<br />

December, 1992 R-92


A DAY IN OCTOBER<br />

Staning D.B. Sweeney, Kelly Wolf and Tovah Feldshuh.<br />

Directed by Kenneth Madsen. Screenplay by Damian F. Slattery.<br />

Produced by Just Betzer and Philippe Rivier.<br />

A Castle Hill release. Drama, not yet rated. Running time: 103<br />

min Screening date: 8/6/92.<br />

The dramatic rescue that occured in 1943 when the Danes<br />

helped their entire Jewish population escape the Nazis is a<br />

riveting story that, surprising, has been mainly overlooked<br />

by the media until now. "A Day in October" recounts these<br />

events in a heart-pounding tale of romance, courage and<br />

moral responsibility made even more poignant by the recent<br />

hesitancy of NATO nations to respond to reports of human<br />

rights violations in Eastern Europe.<br />

The production is stunningly realized by the same team<br />

that five years ago won an Oscar for "Babette's Feast." Producer<br />

Just Betzer shot the English-language film entirely on<br />

location in Denmark, with authentic production design by<br />

Sven Wichmann (including a scene in a 1 50-year-old synagogue)<br />

and flawless cinematography by Henning Kristiansen.<br />

Director Kenneth Madsen focuses on the story of one<br />

Jewish family whose lives are profoundly affected when they<br />

reluctantly "harbor a radical young resistance fighter<br />

(D.B.Sweeney) after he's wounded by German gunfire. He<br />

inspires them to shed their passivity and face up to the<br />

horrors that await them under Nazi rule. We come to care<br />

deeply about the whole family: the strong-willed, daring<br />

dauther (Kelly Wolf), her fearful father (Daniel Benzali) and<br />

her courageous mother (Tovah Feldshuh, star of the TV<br />

series "Holocaust"). They are ordinary people in extraordinary<br />

times.<br />

"A Day in October" is hampered only by a few moments of<br />

romance that border on melodrama and a stylish production<br />

that occasionally looks too picture-perfect.<br />

Not vet rated; look for some violence.— Karen Kreps<br />

ZEBRAHEAD<br />

Starring Michael Rapaport,<br />

Wright.<br />

DeShonne Castle and N'Bushe<br />

Written and directed by Anthony Drazen. Produced by Jeff<br />

Doivd, Charles Mitchell and William Willett.<br />

A Triumph release. Drama, rated R. Running time: 105 min<br />

Screening date: 7/28/92.<br />

Spike Lee might have written and directed "Zebrahead,"<br />

but it is, in fact, the work of Anthony Drazen, a new talent<br />

discovered by Oliver Stone's production company, Ixtlan.<br />

Drazan delves into the complex layers of relationships in a<br />

racially diverse high school and wrestles with the hypocrisy<br />

expressed in the proverbial bigotry, "Well, they can live next<br />

door, but I wouldn't want my kid going out with one of 'em."<br />

Drazen works with a group of unknown young actors and<br />

pieces together a gritty example of urban realism. With the<br />

language and the look of today's interracial street culture, it<br />

almost has the feel of a documentary. The Aryan-looking<br />

Michael Rapaport plays Zack, a Jewish white rapper who<br />

tries to cross racial lines. Trouble is inevitable when he falls<br />

for Nikki (N'Bushe Wright), the pretty cousin of his best<br />

friend (DeShonne Castle), who has just moved to Detroit<br />

from East New York. Their families and community have<br />

very mixed reactions to their interracial romance. And Nikki<br />

fits in better with Zack's white friends than he does with hers.<br />

But she gets enraged when she overhears Zack make an<br />

adolescent remark that is as sexist as it is racist. Tensions<br />

mount and the film takes a tragic turn when one of the home<br />

boys goes off the deep end.<br />

Drazen bravely takes his film beyond the explosions of<br />

violence where Spike Lee might have stopped and gives the<br />

film a more interracial perspective. The kids, many in front<br />

of a camera for the first time, offer performances that are<br />

uniformly natural and raw. The drama develops slowly, yet<br />

there is much going on in this movie, with many characters<br />

briefly, but strikingly sketched. "Zebrahead" raises hot, controversial<br />

issues but offers no solutions other than a prayer<br />

for mutual respect.<br />

Rated R for language,<br />

Karen Kreps<br />

violence and sexual situations.—<br />

REVIEW DIGEST<br />

Story type key: (Ac) Action; (Ad) Adventure; (An) Animated; i<br />

Comedy; (D) Drama; (DM) Drama with Music: (Doc) Document<br />

(F) Fantasy; (Hor) Horror; (M) Musical; (My) Mystery; (I<br />

Science Fiction; (Sus) Suspense; (Th) Thriller; (W) Western.<br />

li


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1<br />

OXOFFICE Independent Feature Chart DECEMBER 1992<br />

OVEMBER<br />

A.I.P. Studios<br />

310-559-8805<br />

)\e Threat, Hor, R, 100<br />

Sally Kirkland, Andrew<br />

;ns. Dir: David Prior. Fall<br />

Aries<br />

212-246-0528<br />

ha and I, D, NR, 107 min.<br />

anneSaagebrecht.<br />

Cannon<br />

213-966-5640<br />

l-Fifty, Ac, R, 101 min.<br />

I'Weller. Dir: Charles Mar-<br />

Imilh.<br />

I'lacetoHide, D,'R,95min.<br />

i»v Barrymore, Kris<br />

lofferson.<br />

ueMe, Ac,PC-13,99min.<br />

hen Dorff.<br />

Castle Hill<br />

212-888-0080<br />

)ming Collette, Bio, 97<br />

Maria Brandauer,<br />

jhilda May. Dir: Danny<br />

ston.<br />

Fine Line<br />

310-659-4141<br />

eriand, D, R, 95 min. Jer-<br />

Irons, Ethan Hawke.<br />

First Run<br />

212-243—060<br />

D, NR, 1 10 min. Armand<br />

ller-Slahl.<br />

Hemdale<br />

213-966-3768<br />

ikfast of Aliens, C, R. Vic<br />

lop. Dir: David Lee Miller.<br />

end of Wolf Mountain,<br />

I, PC, 94 min. Mickey<br />

ney. Bo Hopkins.<br />

I.R.S<br />

818-505-0555<br />

MewGun, D,99 min. Diane<br />

3, lames Le Cros.<br />

Myself and I, C, , 100 min.<br />

'th Williams, George Segal.<br />

Kino<br />

212-629-6880<br />

Match Factory Girl, (Fin-<br />

I), D, NR, 70 mm. . Dir:Aki<br />

rismaki.<br />

Kit Parker Films<br />

408-393-0303<br />

)oge, (Re-issue/1 970), Mus,<br />

09 min. Albert Finney, Alec<br />

nness. 11/20<br />

Nutcracker Prince, (Ree/1990),<br />

Anim, C, 75 min.<br />

er Sutherland, Megan Fols.<br />

11/20<br />

Miramax<br />

212-941-4033<br />

Close to Eden, (formerly<br />

"Urga") (Russian), D, 1 8 min.<br />

The Crying Game, Sus, 108<br />

min. Dir: Neil lordan.<br />

October Films<br />

818-783-3200<br />

Tous Les Matins Du Monde,<br />

NR, 114 min. Gerard<br />

Depardieu, Anne Brochet. Dir:<br />

Alain Corneau. 1 1/13<br />

Shapiro Glickenhaus<br />

818-766-8500<br />

Red Room, A. Maryanna Morgan.<br />

Dir: Tony Zarindast. Fall<br />

Sony Classics<br />

212-702-6695<br />

Van Gogh, Bio, 185 min.<br />

lacques Dutone, Alexandria<br />

London. Dir: Maurice Pialat.<br />

Streamline<br />

310-657-8559<br />

Neo-Tokyo/Silent Mobius,<br />

Anim, NR, 100 min.<br />

Tara Releasing<br />

415-454-5838<br />

Bethune, D, 1 1 5 min. Donald<br />

Sutherland, Helen Mirren. Dir:<br />

Phillip Borsos.<br />

Trimark<br />

310-314-3024<br />

Solar Crisis, Ac, R. 11/25<br />

Troma<br />

(212) 757-4555<br />

Nerds of a Feather, C. Pat Mc-<br />

Cormick, Kathleen Kichta. Dir:<br />

Lloyd Kaufman.<br />

DECEMBER<br />

Aries<br />

Bad Lieutenant, D, NC-17, 96<br />

min. Dir: Abel Ferrara.<br />

Shapiro Glickenhous<br />

Talons of the Eagle, A, R, 90<br />

min. Billy Banks, lames Hong.<br />

Dir: Michael Kennedy.<br />

Sony Classics<br />

Indochine, D, 1 60 min. Catherine<br />

Deneuve, Vincent Perez.<br />

Dir: Regis Wargniers.<br />

msiM<br />

Aries<br />

Docteur Petiot, D, NR, 102<br />

min. Michel Serrault. Dir: C. De<br />

Chalonge.<br />

American Ninja 5, Ac, PC-13,<br />

90 min. David Bradley. Dir:<br />

Bobby Gene Leonard.<br />

Fine Line<br />

Volere, Volare, Anim. Dir:<br />

Maurizio Nichetti.<br />

First Run<br />

short and Funny, Doc, NR, 85<br />

min. 1/16<br />

Greycat<br />

702-737-5258<br />

Dingo, {Australian}, D, NR, 108<br />

min. Colin Fields, Miles Davis.<br />

Monika, Monika, the Girl Who<br />

Lived Twice, D, NR, 105 min.<br />

The Shanghai Gesture, (reissue/1941<br />

}, NR, 98 min. Dir: |.<br />

Von Sternberg.<br />

To Cross the Rubicon, D, NR,<br />

107 min. Patricia Royce, Lorraine<br />

Devon. Dir: Barry Caillier.<br />

Kit Parker Films<br />

Figures in a Landscape, (Reissue/I<br />

970), D, 1 09 min. Robert<br />

Shaw, Malcolm McDowell.<br />

Dir: loseph Losey.<br />

MK2<br />

212-265-0453<br />

Betty, D, NR, 99 min. Stephanie<br />

Audrane. Dir: Claude<br />

Chabrol.<br />

Streamline<br />

The Speed Racer Show, (compilation),<br />

Anim.<br />

Wicked City Anim, NR, 90<br />

min. Dir: Yoshiaki Kawijiri.<br />

Trimark<br />

Leprechaun, Hor, R, 92 min.<br />

Dir: Mark lones.<br />

Triumph<br />

212-702-6165<br />

Jersey Girl, R.Com, PG-13, 95<br />

min. lamie Gertz, Dillon Mc-<br />

Dermolt. Dir: David Burton<br />

Morris.<br />

Troma<br />

The Good, The Bad, and The<br />

Subhumanoid, C, R, 100 min.<br />

Brick Bronsky. Dir: Eric Louzil.<br />

FEBRUARY<br />

Cannon<br />

To the Death, D, 90 min. lohn<br />

Barrett. Dir: Darrell |. Roodt.<br />

Fine Line<br />

Riff Raff, D. Dir: Ken Loach.<br />

Greycat<br />

High Strung, C, NR, 9 3 min.<br />

Dir: Roger Nygard.<br />

No Tellmg, Hor, NR, 95 min.<br />

Dir: Larry Tessenden.<br />

Hemdale<br />

lust Wrangler, (AKA "Outback"),<br />

Jeff<br />

D. Fahey, Tushka<br />

Bergin. Dir: Ian Barry. Winter<br />

'93<br />

Interstar<br />

913-338-3880<br />

Night Moves, D, PG-13, 105<br />

min. Christopher Lambert, Tom<br />

Skerrit. Dir: Carl Schenkel.<br />

Kit Parker Films<br />

Lisztomania, (Re-issue/I 977),<br />

Bio., R, 1 06 min. Roger Daltrey,<br />

Sara Kestelman. Dir: Ken Russell.<br />

The Puppetoon Movie, (compilation),<br />

Anim., G, 79 min. E)ir:<br />

George Pal.<br />

Miramax<br />

Children of the Corn H, Hor, R,<br />

92 min. Terence Knox, Paul<br />

Scherrer. Dir: David Price.<br />

1993<br />

Roxie Releasing<br />

415-431-3611<br />

Women's Erotic Film Festival,<br />

(compilation). Doc, NR, 85<br />

min.<br />

Sony Classics<br />

Olivier, Olivier, D, 110 min.<br />

BrigitteRouan, FrancoisCluzet.<br />

Triton<br />

310-275-7779<br />

Hyenas, D, NR. Mansour<br />

Diouf, Ami Diakhate.<br />

Troma<br />

Vegas in Space, Ac, 85 min.<br />

Miss X, Doris Fish.<br />

mj;m<br />

Hemdale<br />

Seven Minutes, Sus. Brian<br />

Dennehy. Dir: Klaus Maria<br />

Brandauer. 1 st quarter '93<br />

Kit Parker Films<br />

Laurel and Hardy Festival, (5<br />

features), C.<br />

Miramax<br />

Ethan Frome, D, 109 min. Liam<br />

Neeson, Patricia Arquette. Dir:<br />

lohn Madden. 1993<br />

Sony Classics<br />

Gacquot, D. Dir: Agnes Varda.<br />

December, 1992 49


FEATURE CHART—December 1992<br />

lEMBER JANUARY FEBRUARY MARCH<br />

Buena Vista<br />

(818)567-5030<br />

Columbia<br />

(310) 280-8000<br />

(212)751-4400<br />

New Line<br />

(212)239-8880<br />

(310)854-5811<br />

Paramount<br />

(213)956-5000<br />

(212)333-4600<br />

Universal<br />

(818)777-1000<br />

(212)759-7500<br />

Warner Bros.<br />

(818)954-6000


Miami.<br />

Suite<br />

Lynnwood.<br />

Oxford,<br />

San<br />

attn<br />

Call<br />

Clearing House<br />

RATES: 9Cc per word, minimum $25, $7 50 extra<br />

for box number assignment Send copy w/ check<br />

to BOXOFFICE, P O Box 25485, Chicago, ILL<br />

60625 at least 60 days prior to publication,<br />

BOX NO. ADS: Reply to ads with box numbers<br />

by writing to BOXOFFICE, P Box 25485, Chicago.<br />

ILL 60625; put ad box » on letter and<br />

in lower left comer of your envelope. Please use<br />

# 10 envelopes or smaller for your replies.<br />

HELP WANTED<br />

HARKINS THEATRES, based in Phoenix. Anzona. is<br />

rapidly expanding and accepting resumes from multiplex<br />

managers experienced m high grossing major<br />

market complexes tvlust be experienced in all aspects<br />

of theatre operation. Salary, commission and benefits.<br />

Replies held in strict confidence Harkins Theatres.<br />

Inc. 8350 McDonald Dr . 2. Scottsdale, AZ<br />

85250,<br />

NORTHWEST CIRCUIT for south California experienced<br />

multiplex manager-operator, also assistant manager<br />

with proiectionist expenence for Seattle, WA,<br />

Send resume, salary, history, and references, Nick<br />

Paluzzi. 3815 196th St S W WA 98036,<br />

.<br />

MANAGER OPERATOR-Experience required Triplex<br />

showing specialty quality films in San Francisco<br />

Bay area location. Small but growing company. Send<br />

resume and salary history to <strong>Boxoffice</strong> Response Numt>er<br />

4706,<br />

LET THE GOVERNMENT FINANCE your<br />

new or<br />

existing small business Grants /loans to $500,000,<br />

Free recorded message (707) 448-0201 (RN7)<br />

NATIONAL CINEMA SERVICE is accepting resumes<br />

from experienced Field Service Technicians, Full benefit<br />

package offered tvlail to National Cinema Service,<br />

1305 Distributors Row, Suite I, Harahan, LA 70123,<br />

POSITIONS WANTED<br />

MANAGER POSITION WANTED: Know all phases of<br />

theatre operations, over 25 years experience Can<br />

operate and repair most booth equipment, concession<br />

equipment Salary negotiable Respond to <strong>Boxoffice</strong><br />

Response Number 4703<br />

EQUIPMENT FOR SALE<br />

EXPORT SPECIALTIES: Kinoton FP20's. DP75S.<br />

Cinemeccanica V4's. V5's. V8's, VIO's. V12's. Bauer<br />

U4's, Deliveries & installations worldwide. Fax us for<br />

our super quotes USA Government guaranteed financing<br />

to qualified buyers Catalog International Cinema<br />

Equipment, 100 NE 39th Street, Miami, FL 33137 Ph<br />

(305) 573-7339. Fax (305) 573-8101<br />

WESTAR XENON BULBS. Full warranty 1000W<br />

$362. 1600W $375. 2000W $450. 2500W $475.<br />

3000W $547. 4000W $985 Volume discounts. Exports<br />

welcome International Cinema Equipment, 100<br />

NE 39th Street. Miami. FL 33137 Ph (305) 573-<br />

7339. Fax (305) 573-8101,<br />

QUALITY REPLACEMENT parts, affordable prices,<br />

for Century. Westar, Westrex, Catalog We still stock<br />

factory original spares for Kalee. Prevost. Veronese.<br />

Cinemeccanica. Kinoton. Bauer. Hortson. Eiki. B&H,<br />

Many hard to find items Sync motor kits 1 or 3 phase,<br />

slow start kits. 50/60 cycle for all US & UK soundheads<br />

Intermittent repairs & exchange (new or<br />

rebuilt)<br />

International Cinema Eq. 100 NE 39th Street.<br />

Miami. FL 33137. PH (305) 573-7339, Fax (305)<br />

573-8101,<br />

DI/AN computerized ticketing systems up to 8-plex,<br />

reconditioned. Includes boxoffice issuer, movie master<br />

drive, managers station, monitor, keyboard & printer,<br />

concession caster master. $6700 Trade or sell us<br />

your old ticket machines<br />

International Cinema Equipment.<br />

100 NE 39th St FL 33137 Ph<br />

, (305)<br />

573-7339. Fax (305) 573-8101<br />

MISC GOODIES: Kodak Carousel slide projectors,<br />

$150 Strong Trouper Xenon spotlights. $3500, Carbon,<br />

$1200, Sony VO-7600 34-inch VCR like new.<br />

$995, Projector carbons 50 percent off list ADC curtain<br />

controls w/motor, $400, 16mm professional projectors,<br />

EIKI EX-6000 rebuilt $4000, EX-4000P<br />

$3000. EX-2000A $1500 Many more Free lists. International<br />

Cinema Equipment. 100 NE 39th St,. Miami.<br />

FL 33137, Ph (305) 573-7339. Fax (305) 573-<br />

8101.<br />

SIMPLEX XL'S REBUILT $2850, w new Auto-Turret<br />

$4850, Century SA, H, & C rebuilt $2800, w/new<br />

Auto-Turrets $4750 We can convert your Century.<br />

Simplex XL. Ballantyne or Kinoton to Auto-Turret, Consoles,<br />

lamphouses, rectifiers, automations, lenses,<br />

platters & more Westar 4-channel stereo processor<br />

w/sub-woofer new $2525 Eprad Star Power-4 amp<br />

$395, Dolby CP-55 $4300, CP-50 $3000, CP-100<br />

$3500, MPU-1 $995 Speakers, exciters, slit lens.<br />

stereo cells Catalog, trades welcome International<br />

Cinema Equipment. 100 NE 39th Street. Miami. FL<br />

33137 Ph (305) 573-7339. Fax (305) 573-8101,<br />

TWO CHRISTIE CONSOLES, model CH10-CC9,<br />

1000 watt with Strong Super Lumex reflector conversions,<br />

bulbs. $1800 each. Two Cinemeccanica V-4<br />

projectors, #44418, #44419, 5 mil slits, stereo cells,<br />

$1500 each. One Ultra-Stereo processor JS5-95 with<br />

auto-format card, $1500, Two Kelmar AS7200 sound<br />

systems, $700 each One Xetron Maxi 8X, cue dector,<br />

remote start. $500 Two Xetron Maxi lOX. cue dector,<br />

remote start, $550 each. Two Xetron Maxi 1 1X-DC's,<br />

cue dector, remote start, $600 each, Ampex 35mm<br />

interlock system— 2 units,<br />

1-6 channel heads, test loop<br />

reels, complete. $750 One Dolby MPU. 3 CAT 92's. 1<br />

CAT 96A. $1400 One Potts 35 /70mm platter conversion.<br />

$250 Two Eastman Kodak 25C protectors.<br />

16mm: one with Christie H-10 Xenon 1000 watt, rectifier<br />

CC10U 3 phase, bulb, $2200, one without lamphouse<br />

or rectifier, $1200 One Chnstie platter Autowind<br />

3, 35/70, $6000 One Century JJ35/70, MAG<br />

Penthouse, Optical soundhead, $7000. One Brenkert<br />

BX80 protector, very good condition, $150 One<br />

Setron N3 X75DM rectifier. 3 phase. $1000 One<br />

Christie lamphouse H-10, 1000 watts. $500, One<br />

Christie rectifier, FXM 1600-025, 3 phase, 45-75<br />

amps, 2400 watts, $900 Two Christie rectifiers,<br />

CCIOU, 3 phase. 32-45 amps. 1000 watts, $500<br />

each. Two Christie lamphouses, vertical, BFD16FB.<br />

1600 watts. $250 each. One Xetron rectifier.<br />

MHXM 1600-25. 3 phase. 30-75 amps. $700 Two<br />

Cinemeccanica amplifiers, C40TP, wall mount. $50<br />

each. Hundreds Wagner lO" black plastic slotted Marquee<br />

letters, $2 each Hundreds histonc aluminum<br />

Marquee letters, Wagner and Adier 8-inch, 10-inch, 12-<br />

inch, some larger—send sample, what needed. $3 to<br />

$6 each. Misc, 17-inch Wagner red plastic slotted Marquee<br />

letters, $4 each All prices COD. plus packing<br />

and shipping from Downers Grove. II Phone (708)<br />

968-1600. ask for Willis or Lee<br />

COMPLETE THE^ATRE EQUIPMENT: (New. Used or<br />

Rebuilt) Century SA. R#. RCA9030. 1040. 1050 Platters:<br />

3 and 5 Tier. Xenon Systems 1000-4000 Watt.<br />

Sound Systems mono and stereo, automations, ticket<br />

machines, curtain motors, electnc rewinds, lenses,<br />

parts and many more items in stock, COMMERCIAL<br />

large screen video projectors. Plenty of used chairs,<br />

PROFESSIONAL SERVICE AND INSTALLATION<br />

AVAILABLE, DOLBY CERTIFIED Call Bill Younger,<br />

Cinema Equipment, Inc , 1375 N W 97th Ave, Suite<br />

14. Miami, FL 33172, Phone (305) 594-0570 Fax<br />

(305) 592-6970 1-800-848-8886<br />

BURLAP WALL COVERING DRAPES: $2 05 per<br />

yard, flame retardant Quantity discounts Nurse & Co<br />

,<br />

Millbury Rd MA 01540 (508) 832-4295<br />

,<br />

NOW MICRO-FM'" stereo radio sound systems FOR<br />

THE HEARING IMPAIRED, Meets FCC part 15 Call or<br />

write Audio Visual Systems 320 St, Louis Ave Woonsocket,<br />

Rl 02895 Phone (401) 767-2080,<br />

.<br />

Fax<br />

(401) 767-2081<br />

NEW LENS-Super Sankor—Satisfaction guaranteed<br />

Call us for a cost-plus quote MELCHER ENTER-<br />

PRISES 1-800-423-5020, in Wisconsin (414) 442-<br />

5020<br />

TELEPHONE ANSWERING EQUIPMENT. All major<br />

brands of reliable, heavy-duty tape announcers and<br />

digital announcers are available at discounted prices<br />

Please call Jim at Answering Machine Specialty,<br />

(800) 222-7773<br />

FACTORY FRESH fully warranted bulb sale Proudly<br />

made in US ORC XM 2000 H/VC, $525 00 XM<br />

3000 H/VC, $650 00 We ship anywhere in the world.<br />

Other sizes available at special prices Write, wire or<br />

call Cinema Equipment Inc, 1375 NW 97th Ave,<br />

Suite 14, Miami, FL 33172, USA Phone (305) 594-<br />

0570, Telefax (305) 592-6970 1-800-848-8886<br />

NEW 5000 HOUR 130V 1 1S14 bulbs with industrial<br />

seven support filament Clear and standard colors, plus<br />

pink, purple, fuschia Quantity OEM, and distributor<br />

price levels 40 AMP chase controllers, 2x2 chase<br />

channel cans, sockets, belt lighting, neo-neon, dimmers,<br />

chase lighting relays. Catalog 800-248-0076,<br />

CUPHOLDER ARMREST "state of the art" Cy<br />

cupholder Call 1-800-729-2610 for FREE SAW<br />

PATRON TRAY. Fits into cupholder a<br />

Young, Inc, Phone 1-800-729-2610, Call for fre<br />

QUIK SHIP REPLACEMENT drapes, valances<br />

wall drapes & masking yardage. Small or large<br />

$1,86 sq, ft, Cy Young Industries. Inc<br />

2610.<br />

EQUIPMENT WANTED<br />

WANTED: Projection equipment. Simplex XL c<br />

Cinemeccanicas; Soundheads and other booth<br />

ment. Good condition seats. Call Beth or Tor<br />

800-833-0093,<br />

OLD TUBE-TYPE equipment such as amps, sp<br />

drivers, horns, etc, from Western Electric. Vk<br />

Langevin. Jensen, Altec. JBL. Tannoy. Mclnto:<br />

rantz, etc. Call Audio City at (818) 701-5633,<br />

to Audio City, P,0, Box 802, Northndge, CA<br />

0802<br />

WANTED DEAD OR ALIVE: We will purchase C<br />

projectors or soundheads, new or old, comp<br />

incomplete, for cash. Also interested in XL ai<br />

1000. Call (502) 499-0050. Fax (502) 499<br />

Hadden Theatre Supply Co Louis<br />

.<br />

THEATRES WANTED<br />

WANTED: THEATRES AVAILABLE TO BE Lt<br />

in NC, SC. TN, VA Aggressive independent<br />

oriented, highly promotional company seeks<br />

available for leasing or assumables Old. dow<br />

uptown, or new theatres, closed or open, Drive-I<br />

comed Send synopsis, phone numbers, and pic<br />

available. All conversations and correspondenci<br />

ly confidential. Reply to <strong>Boxoffice</strong> Response t<br />

4705<br />

THEATRES WANTED-Northern California, C<br />

Washington. Phone Eric Wexelman at (510<br />

6849. or send information to 1065 Quartermast<br />

yon Rd Ramon. CA 94583<br />

.<br />

THEATRES BOUGHT AND SOLD by growingi<br />

operators/consultants. Prefer East. Mid-West,<br />

Write: Cinema Associates, 3678 Marbella<br />

Springfield. Ohio 45502. Or call (513) 325-321<br />

THEATRE SEATING<br />

USED SEATING: Irwin Citations from $30. Ar<br />

Stellars & Massey Polaris from $20. Bodiforn<br />

$15, Wakefield and Massey rockers from $<br />

buy, sell & export International Cinema Equ<br />

100 NE 39th Street, Miami, FL 33137, Ph (30!<br />

7339, Fax (305) 573-8101,<br />

THEATRE SEATS FOR SALE: Approx 60<br />

wood Wakefield seats. Self risers Extra clear<br />

backs with extra seat covers $25 00 each. Call<br />

842-0122 or (405) 948-7467<br />

SEAT BACK /COVERS: Most fabrics in sto<br />

Young, Inc, Call 1-800-729-2610 to match fabr<br />

ON-SITE RE-UPHOLSTERY, "While T<br />

Sleeps." Top fabrics, molded cushions and "S<br />

'<br />

Art Cy Young Cup Holder Armrest Cy<br />

Industries. Inc 1-800-729-2610<br />

"ALL AMERICAN SEATING" by the EXPERTS<br />

seats of quality Various makes American Be<br />

and Stellars from $12 50 to $32 50 Irwin;<br />

$12 50 to $30 00 Heywood & Massey rockei<br />

$25 00 Full rebuilding available New Hussey<br />

from $70 00 All types theatre projection and<br />

equipment New and used We ship and ins<br />

makes Try us' We sell no Junk! TANKEI<br />

ENTERPRISES BOX 36009 DENVER. CO.<br />

Phone: 303-980-8265<br />

INTERNATIONAL RENOVATION SERVICE<br />

Used chairs from $15 00. covers from $4 95. d<br />

er armrests, installations and on and off site 1<br />

tions 1-800-531-2767


Red -Blue/G<br />

Anaglyph Glasses<br />

-LOW PRICES,<br />

FAST SERVICE<br />

-24 HR HOTLINE<br />

DEEP VISION 3-D<br />

213-465-5819<br />

FOR TWINNING THEATRES call or write Fnddel Construction.<br />

Inc 402<br />

. Green River Drive. Ivlontgomery. TX<br />

77358 (409) 588-2667<br />

WE CAN MULTIPLEX your theatre, make it look fantastic,<br />

and your profits will soar No one does it (or less.<br />

Multiplex Construction Corp Call (708) 293-1401<br />

DRIVE-IN CONSTRUCTION<br />

SCREEN TOWERS INTERNATIONAL New, Used,<br />

Transplanted, Complete Tower SErvice Box 399—<br />

Rogers, TX 76569. 1-800-642-3591<br />

DRIVE-IN SCREEN TOWERS Since 1945 Selby Products.<br />

Inc., P.O. Box 267, Richfield. Ohio 44286 (216)<br />

800-647-6224<br />

MARQUEES, SIGNS<br />

MARQUEE: Repossessed eight by twenty feet Will<br />

insert customized theatre over marquee frames Interior<br />

high output lighting<br />

Sale or lease, very reasonable<br />

Also. 5 X 336' extruded bronze aluminum interior<br />

lighted sign for theatre name Bux-lvlont Electrical<br />

Advertising Leasing Phone (215) 675-1040. Fax<br />

(215) 675-4443<br />

LEASE OR PURCHASE PLANS: Replacement IVIarquee<br />

letters shipped immediately BUX-lvlONT Electncal<br />

Advertising Systems. Horsham, PA, 19044 Call<br />

(215) 675-1040<br />

Ad Index<br />

Alpro Acoustics 37<br />

American Seating 35<br />

Automaticket 36<br />

Bevelite-Adler 35<br />

Cfiristie 02<br />

Cinema Supply Company, Inc 37<br />

Deep Vision 3-D 53<br />

Drink Tfiing 22<br />

Entertainment Equipment Corp 32<br />

Entertainment Data Inc 21<br />

Hadden Ttneatre Supply 18<br />

Hersfiey Foods Corp 5<br />

Hurley Screens 36<br />

Hussey Seating Company 7<br />

International Cinema Equipment .... 53<br />

JBL Professional<br />

C4<br />

Kneisley Products 18<br />

National Ticket Co 31<br />

New England Ttieatre Service Inc. ... 36<br />

Optical Radiation Corporation 03<br />

Smart Tfieatre Systems 15<br />

Soundfold International 22<br />

Strong International 8-9<br />

Weldon, Williams & Lick 53<br />

THEATRE BACKGROUND MUSIC. Various artists on<br />

high quality cassette tapes Contemporary. Oldies and<br />

Easy Listening formats available with quarterly updates.<br />

Call PROFESSIONAL AUDIO SERVICES,<br />

(912) 233-1402<br />

MOTION PICTURE THEATRE CONSULTANT SER-<br />

VICES All aspects from construction to equipment<br />

installation to operation Anywhere in the USA or overseas,<br />

LUNAfvlAR THEATRE IVIANAGEIVIENT. INC.<br />

P.O Box 1344, Winter Park, FL 32790 Phone (407)<br />

678-6049, FAX (407) 678-8621<br />

lOJECTORS^<br />

J ,<br />

_<br />

)ven reliability<br />

over 40 years (~<br />

lUineWESTAR<br />

,ectors, soundheads<br />

'<br />

parts are available!<br />

:ck these features:<br />

'<br />

j^,<br />

"'<br />

ew Turret & Auto Controller<br />

ew Single Piece Trap & Gate<br />

ew Aperture Plate Changer<br />

ew Vernier Focus Control<br />

emovable Main Drive<br />

emovable Upper & Lower Sprocket Assembly<br />

ew Gears Provide 30% More Contact Area<br />

may convert your old WESTAR 2001 ,<br />

Century,<br />

ecita or Monee projector into a modern turret<br />

Jel<br />

Or, purchase a new genuine WESTAR prolor.<br />

Take advantage of our liberal trade-in<br />

wances for your old equipment,<br />

can supply all<br />

lipment and installations.<br />

your requirements for cinema<br />

idING SOON! Auto Turret Kits for Kinoton FP-20<br />

IP 75, Simplex XL and Ballantyne Pro 35.<br />

isult with your theatre equipment supplier or<br />

itact us directly for more information and free<br />

rature.<br />

I incernacionai Cinema<br />

y eQuipmenc company inc<br />

I N.E 39th Street. Miami, FL 33137 3632<br />

(305) 573 7339, Fax: (305) 573-8101<br />

SERVICES<br />

FINANCING AVAILABLE for theatre acquisition, multiplexing<br />

or remodeling<br />

TCI works with buyers, sellers<br />

and operators of theatres to create sound financial<br />

plans THEATRE CONFECTIONS, INC, (800) 688-<br />

PREVIOUSLY OWNED equipment available; National<br />

Cinema Supply can provide your equipment needs We<br />

will also liquidate your surplus theatre and concession<br />

equipment. We have clean Automaticket model<br />

IVIGEIVI-3 in stocki Contact Gene Krull. (913) 492-<br />

0966. National Cinema Supply. 8229 Nieman Road.<br />

Lenexa. KS66214<br />

BACKGROUND MUSIC: WHY PAY (VIULTIPLE<br />

LICENSING FEES? Theatre background music from<br />

PROFESSIONAL AUDIO SERVICES requires only one<br />

fee High quality tapes, various artists. Contemporary<br />

and Easy Listening formats. Call (912) 233-1402.<br />

MISCELLANEOUS<br />

WANT TO BUY MOVIE POSTERS, lobbies Bruce<br />

Webster, 426 N W 20th, Oklahoma City, OK 73103.<br />

Phone (405) 524-6251<br />

WANTED: MOVIE POSTERS, lobbies, stills, etc. Will<br />

buy any sized collection The Paper Chase, 4073 La<br />

Vista Road, Tucker, GA 30084 Phone 1-800-433-<br />

0025.<br />

BUSINESS OPPORTUNITIES<br />

FOR SALE: Ivlidwest Theatre Equipment Dealership<br />

Established nationwide customer list Two million dollars<br />

possible sales this year<br />

Submit inquines to <strong>Boxoffice</strong><br />

Response Number 4700,<br />

TICKETS AND<br />

COMPUTER SYSTEM STOCK<br />

SHIPPED WHEN PROMISED<br />

PRINTED AS SPECIFIED<br />

CONTACT DAVE KOTAREK<br />

Weldon, Williams & Lick<br />

P.O. Box 168<br />

Ft. Smith, Ark. 72902<br />

501/783-4113 FAX 501/783-7050<br />

1-800-242-4995<br />

Response No 79<br />

December, 1992 53


—<br />

The ICia Picture<br />

The French poeticb.ed him by naming him "Chariot" hi the<br />

English speaking world, he was less elegandy but no less affectionately<br />

"the Tramp." To his creator,<br />

for whom he became increasingly a<br />

symbol of the human condition, he was "the Litde Fellow"—an Everyman,<br />

whose courage in the face of catastrophe epitomized the resilience<br />

and humor Sir Charles Spencer Chaplin always foimd when<br />

contemplating affairs of the human heart<br />

Chaplin recalled the creaUon of his Litde Fellow's as something of<br />

a happy accident. He was standing on the set of only his second<br />

Keystone comedy when Mack Sennett turned to him, saying "We need<br />

some g^s here. Put on a comedy make-up. Anything will do."<br />

Chaplin slapped together available pieces of Keystone wardrobe<br />

by some accounts, the baggy pants were Fatty Arbuckle's—and something<br />

magical happened. 'The moment I was dressed, the clothes and<br />

make-up made me feel the person he was.. .By the time I walked on the<br />

stage he was fully born."<br />

Millions ofwords have been written about the humanity that smiled<br />

out on the world from beneath Chaplin's clown white make-up and<br />

painted must;iche—a hiimanit)' so real to audiences that at the h<<br />

of Chaplin's popularity, exhibitors showing a Chaplin short su<br />

could fill a theatre without reference to the film's tide or prei<br />

simply by displaying a pain ted Chaplin caricature and the words "<br />

Here Today" Chaplin's own definition of the character, being an<br />

the simplest, is perhaps the most true:<br />

"You know this fellow is<br />

many-sided," Chaplin wrote in his au<br />

ography. "A tramp, a gendeman, a poet a dreamer, a lonely fi<br />

always hopjeful of romance and adventure. He would have you b«<br />

he is a scientist, a musician, a duke, a polo player. However, he i<br />

above picking up cigarette butts or robbing a baby of its candy,<br />

ofcourse, if the occasion warrants it he will kick a lady in the rearonly<br />

in extreme anger!"<br />

"This month. Sir Richard Attenborough brings Chaplin's life ar<br />

to the screen one last time in his epic bio-pic "Chaplin." (<br />

Chaplin's importance to the art of moxiemaking, it's a uibute I<br />

both deser\ed and long overdue.<br />

Merry Christmas.<br />

54 BOXOFFICE


^^^gff; ^ , ^<br />

,<br />

As the industry's innovation<br />

ui image oiqiialityL<br />

use the show must<br />

more than just go on.<br />

leader, ORC specializes in providing<br />

the ultimate in projection.<br />

The only single-source manufacturer<br />

with a comprehensive<br />

product line, we offer first-rate<br />

quality and the high level of<br />

service you'd expect from an<br />

industry leader. And we are<br />

committed to continuing innovative<br />

development.<br />

So contact us today We want<br />

to help you enhance your image.<br />

Century Projectors.<br />

After more than a half century<br />

of excellence. Century projection<br />

systems have become the standard<br />

in cinema presentation.<br />

Rugged turret and aperture<br />

changer design offers perfect<br />

image registration. Plus, Century<br />

systems are the easiest to operate<br />

and maintain. And long-term<br />

design stability makes Century<br />

the choice in cinema projection.<br />

OPTIMAX- Consoles.<br />

Our OPTIMAX consoles feature<br />

vertical bulb design for longer<br />

lamp life. They offer superior<br />

optical alignment with a<br />

pre-aligned collector, lowest ripple<br />

for enhanced bulb life and infrared<br />

heat niters to protect print quality<br />

Platters.<br />

Now with two models, ORC's<br />

platters are the industry's most<br />

advanced and cost-effective filmhandling<br />

systems. No need for<br />

on-site adjustments, just quick,<br />

easy installation. Three disc<br />

sizes are available to fit<br />

any<br />

need. Film thread-up with moveable<br />

take-up roller automatically<br />

programs the unit. And the<br />

platter's modular construction<br />

allows easy servicing.<br />

Automations.<br />

Look to ORC for the highest<br />

performance automations with<br />

solid-state construction, an<br />

easy-to-use front panel and<br />

factory programming to meet<br />

your specifications. With the<br />

versatility to allow you discreet<br />

adjustment of cinema ambiance,<br />

such as curtains, masking,<br />

dimming and sound.<br />

Xenomax Bulbs.<br />

As the largest U.S. Xenon<br />

bulb manufacturer, ORC features<br />

bulbs with proprietary electrodes<br />

^<br />

ISCO©[FirD€'<br />

Optical Radiation Corporation<br />

for enhanced stability longer life,<br />

low nicker and higher brightness.<br />

Our Xenon bulbs also offer<br />

ribbon seals for greater durability<br />

and are available for immediate<br />

deliver)- for any application.<br />

Cinema Products Division<br />

1300 Optical Drive, Azusa, California 91702<br />

(818) 969-3344 (800) 423-8564 FAX (818) 969-3681<br />

•<br />

.Ml Optical Radiation Corporation prodiiLts a<br />

Cotporation. Otlier brand and prodiici<br />

respective companies.<br />

nam<br />

r ^<br />

; trademarks or registered trademarla of Optical Radiatic<br />

5 are trademarks or registered t<br />

Isco UltraStar' Lenses.<br />

With three Academy Awards"<br />

for technical excellence and an<br />

unchallenged reputation as the<br />

world leader in advanced projection<br />

optics, Isco sets the pace<br />

for excellence in lenses. Multicoated<br />

optics maximize light<br />

output while uncemented elements<br />

increase lens life.<br />

available is<br />

Also<br />

the industry's only<br />

integrated anamorphic for<br />

turret systems.<br />

1991 Optical Radiation Corporation. .Ml rights reser\'ed-<br />

Response No. 99


This Season's Hottest Sequel.<br />

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Behind The Sen<br />

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Plus, to help you save time and money, we've significantly<br />

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Behind the Scene.<br />

As good as any cinema loudspeaker might be, you can 't stai<br />

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Like you, we know that 'cinema sound magic" is really the<br />

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JBL Cinema Sound Systems the number one sequel of the s<br />

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H A Harman International Company

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