Boxoffice-Febuary.1998

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tie lEis IPicture don't necessarily believe Wein omens, but it struck us as more than just an interesting coincidence that, at roughly the same time as our own recent management transition took place, a substantial piece of our own editorial history landed right in our laps. In the wake of the passing this past Shlyen, who was summer of Jesse BOXOFTICE magazine's managing editor from the '30s to the late '70s, we received a series of packages in our Hollywood office from Jesse's son, Steve. Steve had been in discussion with our recently departed editorin-chief Ray Greene since 1995 about his father's "papers"—random documents spanning the various periods of Jesse's involvement with BOXOF- FICE dating all the way back to the 1920s. For the last 10 years of Jesse's hfe, Steve had been selflessly caring for Jesse, who was in declining health after a series of minor strokes. After Jesse's death, Steve moved ftom the home they had shared and took a personal inventory of Jesse's possessions, some of which he felt would be better served as part of the magazine's permanent archives. Jesse's BOXOFFICE effects arrived, unannounced, in nondescript boxes sent by regular mail. In our Hollywood offices, opening those containers felt like Christmas in October Because much of the Hollywood office's collection of its historic materials had been donated to the American Fihn Institute a number of years ago, our staff has had only occasional opf)ortunities to see anything other than reproductions of BOXOFFICE's early output. The first volume we opened was therefore a revelation: a bound set of perfectly preserved back issues dating all the way back to 1924, when the magazine was called The Reel Journal and the movies had yet to learn how to talk. The second volume was, if anything, even more precious. Its lead item: A mint condition issue dated May 4, 1933—our first national edition. The picture on the cover was familiar to us; we had reproduced it on the back of our 75th anniversary issue in 1995 by having a photostatic negative sent out to Hollywood courtesy of the BOXOFFICE archives at our Chicago home office. But holding that very i.s,sue in our hands and seeing in "the fu^t person" the beginning of the long and ongoing journalistic journey that has been passed to as was something else again: A truly moving experience is the sentimental but accurate and therefore only way it can be described. So many other objects of interest were packed into that handfiil of cartons. There were letters to our founder, Ben Shlyen, from famous movie and exhibition personalities, signed in their own hands. There were Barometer annuals spanning the '30s, the '40s, the '50s, the '6()s and the '70s. The whole history of exhibition and moviegoing has passed through these pages—a fact we're proud of, and of which we're intellectually, if not always emotionally, aware. UNCLE BEN: This never-before-published photo of our founder, Ben Shlyen, is Just part of the rich collection of BOXOFFICE materials recently bequeathed to us by longtime managing editor Jesse Shlyen via the kindness of his son Steve. In those boxes, so kindly sent to us by the son ofone ofour founders, that history lay sleeping, ready to Uve again. Ws re live in a world that is forever in transition. Permanence, to paraphrase Larry Gelbart, at times seems like something that holds up just twice in a row. Excitingly, our own fiiture is now a work in progress: For the first time in half a decade, BOXOFFICE finds itself in a period of reinvention, with new editorial blood on the masthead and old hands graduating to new responsibilities they are more than ready to assume. How strange, then, that— precisely as that transformation begins to take place—a vital connection with the journalistic traditions in which this publication is grounded arrived at our door. Call it karma, fate, dumb luck or what you will. We call it a rich reminder that, whatever we achieve here, we are standing on the shoulders of giants. And, as we move through the changes that the next thousand tomorrows may bring, the history in those boxes as well as the history you and we are making right now le;ids us to offer you this pledge: Now and for keeps, we'll do our very best to continue to live up to the view. — Elliot Forbes 66 BoxomcE
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Page 19 and 20: February, 1998 19 66. FAST, CHEAP &
Page 21 and 22: February, 1998 21 Sneak Preview ^^^
Page 23 and 24: ' Fphmarv 1 00« '>'« talked about
Page 25 and 26: 5 The SioFe of Sound R E n T E C Ci
Page 27 and 28: . February. 1998 27 I FORWARD PLANN
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Page 37 and 38: I I I I I INTL. CINEMA EQUIPMENT (s
Page 39 and 40: : must I \ available I I soundtrack
Page 41 and 42: February, 1998 41 POV: PERSPECTIVES
Page 43 and 44: February, 1998 43 Frazier has added
Page 45 and 46: R P. — In Memory Of — 'TETE^^ G
Page 47 and 48: INTERNATIONAL NEWS BRIEFS NORTHERN
Page 49 and 50: 1 INTERNATIONAL NEWS BRIEFS PACIFIC
Page 51 and 52: — — — — February. 1998 (11-
Page 53 and 54: — — — — REVIEWS OSCAR AND L
Page 55 and 56: — — REVIEWS TOMORROW NEVER DIES
Page 57 and 58: — — s — — REVIEWS FLUBBER i
Page 59 and 60: STUDIO FEATURE CHART — FEBRUARY 1
Page 61 and 62: 7 7 BOXOFFICE Independent Feature C
Page 63 and 64: HOME RELEASE CHART My'jf^'i
Page 65: . I , Pinkston I TX j j ! plain. !
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Boxoffice-Febuary.1998

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