Boxoffice-November.24.1951

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ne ru^ o^t/ie "T^h^icm T^i'cf^^tJie /ndtiAl^i^
THE NATIONAL FILM WEEKLY
Published in Nine Sectional Editions
BEN SHLYEN
Editor-in-Chief and Publisher
AMES M. JERAULD
Editor
lATHAN COHEN. ..Executive Editor
ESSE SHLYEN Managing Editor
VAN SPEAR Western Editor
L. THATCHER. ...Equipment Editor
OHN G. TINSLEY..Advertlsing Mgr.
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NOVEMBER 2 4, 1951
Vol. 60 No. 4
IMPROVEMENT FOR PROFIT
J N RKCENT weeks we have been informed
of a steadily increasing numl)er of theatre
iiioderiiizatioiis, many of which already are
under way. In several instances this activity has
iieen prompted hy competitive factors, not alone
television, but the direct competition from other
theatres; in others, the move was the result of
theatre owners' careful appraisals of their own
situations and the realization they must improve
the physical attractiveness of their theatre
plants
in order tt) stimulate the moviegoing habit in
their communities. An indirect contributing factor
was the continual modernization taking place
in business establishments of every description.
Whatever the reasons, it is a good sign. For
there can be little doubt that the much-needed
rehabilitation and renovation in many cases was
delayed because of some doubt, some question
as to the future of the industry.
One theatre owner proudly told us that he was
doing a complete remodeling and re-equipping
job, from front to back, the first in 30 years.
He had renewed paint jobs at fairly regular intervals,
but, except for the addition of sound
equipment, he had done very little else to improve
the physical attributes of his house. Business
had been down, but it had perked up of late
and, this theatre owner proclaimed, while he
expected the uptrend to continue, he realized
that he had to make his show shop more attractive,
more comfortable and more desirable in
every way.
From time to time the National Production
Authority has issued restrictive orders and interpretations
of orders that have been confusing.
This has deterred a great many exhibitors from
going ahead with property imjirovement plans. It
has even held them back from replacing wornout
and obsolete projectors and other vital equipment.
New building restrictions are, of course,
rather severe. Even so, permits for new structures
have been obtained where the essentiality
of such construction to the public needs and
has been proved.
Where there has been a will to make essential
interest
improvements and changes that did not violate
NPA regulations, progressive exhibitors have
found a way. By consulting architects they have
learned how to meet their needs and keep within
the limits imposed by NPA. Substitute materials
have, in part, provided the answer to some
structural problems. Ingenuity of design and
some comparatively simple operational maneuvers
have served to overcome other obstacles.
Local NPA boards, also, have been helpful in
pointing out what can instead of what cannot be
done.
There is nothing like practical, and successful,
experience by which to be guided. Accordingly
we have endeavored to provide as much
of such information as possible, regularly
through the Modern Theatre Section of BOX-
OFFICE. In the Buyers' Directory and Reference
.Section, which accompanies this issue of BOX-
OFTICE, there arc a number of noteworthy
examples of theatre improvement work. AddilionalK.
there are innumerable guidance features
and pointers covering virtually every pha.se of
the mechanical and maintenance side of theatre
operation, an increasingly important part of
which deals with refreshment service. There are
many "how-to" articles written by and about
people with the "know-how" that should prove
interesting and helpful to every exhibitor who
seeks to improve his operations profitably.
Vital
to Community Life
The importance of the motion picture theatre
to its community was forcefully brought home to
the people of Manhattan. Kas.. when they were
deprived of two of their leading theatres for a
number of weeks due to a devastating flood. Not
only was this loss felt bv the patrons, who merely
sought temporary respite from a day's work or
a morning's shopping, it was keenly felt—in the
pocketbook — bv merchants who thus became
"awakened" to what theatre traffic really meant
lo their business.
This subject was covered rather completely in
our issue of October 27. quoting merchants,
bankers and others who saw their trade drop
off when these theatres were closed and then
saw it climb back again when the theatres
reopened. The attraction value of these theatres
in bringing people in from the surrounding area
was freely and widely admitted. Especially significant
is this comment bv John S. Smith, managing
editor of the Manhattan Mercury-
Chronicle:
"I noticed how dead it was downtown on Saturday
nights when I was working late on the
Sunday morning paper. ^^Tiy. I practically had
the town to myself after dark. Now. with the
theatres open, foot traffic has increased—our
streets have come alive again. The Wareham
(theatre! is a great asset to our downtown district."
Another comment was as
follows:
"There was just nothing to bring people downtown
nights when the tlieatres were closed. The
reopenings not only helped my business—they
helped everyone in the business area. I know,
because my wife window shops with me after
the show, and she goes do^vn next day to buy
something she's seen."
Too many merchants—and people—take for
granted the service value of the theatre to their
community. It's high time they were made to
know that: "There's no business without show
inisiness!
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