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Boxoffice-Febuary.18.1956

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NO CIRCUIT RUSH FOR PERMITS<br />

TO PRODUCE SEEN ON HORIZON<br />

Chill on Allied-TOA Talks<br />

With D of J Leaves Big<br />

Circuit Heads Silent<br />

NEW YORK—Present indications are<br />

that there will be no rush of divorced theatre<br />

circuits to go into production in spite<br />

of the Allied-TOA plea to the Department<br />

of Justice that it clear the way for this<br />

activity by approving amendments to the<br />

consent decrees.<br />

STILL HOPE FOR EFFG<br />

Sam Pinanski, principal backer of the Exhibitors<br />

Film Financial Group, Inc., is still<br />

strong for the plan, but is having difficulty<br />

raising the $10,000,000 capital authorized by<br />

the Securities Exchange Commission late in<br />

1954. At that time, the EFFG proposed to<br />

supply backing for independent producers.<br />

E. D. Martin, then president of TOA, sought<br />

Justice Department approval of the project,<br />

and there have been conferences since then,<br />

but exhibitor support has been something less<br />

than enthusiastic.<br />

When Leonard H. Goldenson, president of<br />

American Broadcasting-Paramount Theatres,<br />

told the TOA in Chicago in November 1953<br />

that exhibitors would be forced into production<br />

unless more pictures were made available,<br />

many counted him as one of the sponsors<br />

of EFFG, but recently he has indicated<br />

his company has no production plans.<br />

The situation with this outfit is somewhat<br />

similar to the Allied-backed Makelim plan.<br />

The money has not been laid on the line<br />

sufficient quantities.<br />

The one outstanding success in backing independent<br />

pictures and having control over<br />

their distribution has been United Artists.<br />

This widely known situation, plus the increasing<br />

number of independent producers who can<br />

get distribution through major companies,<br />

have affected the attitudes of circuit operators,<br />

according to observers who have been<br />

asked for their views on the outlook for financing<br />

more pictures.<br />

The two exceptions among the big circuits<br />

are Stanley Warner with Cinerama and National<br />

Theatres, headed by Elmer Rhoden,<br />

with Cinemiracle. Rhoden has talked with<br />

the Department of Justice several times on<br />

his plans and has received outlines of what<br />

restrictions the department would place on<br />

his producing activities. A time limit may be<br />

imposed, it has been reported.<br />

NO ADVANCE RULINGS<br />

Maurice Silverman, head of the antitrust<br />

division, told the Allied-TOA committeemen<br />

that no advance rulings would be handed<br />

down and that each circuit application for<br />

permission to produce would be treated on its<br />

merits.<br />

This would not prevent the big divorced<br />

circuits from getting together with the EFFG<br />

and going down to Washington in a group,<br />

but the few circuit representatives who have<br />

talked off the record on this plan have shown<br />

no enthusiasm. Their attitude seems to be<br />

they have enough problems for the present.<br />

in<br />

Tushinskys Demonstrate<br />

New Superscope-235<br />

HOLLYWOOD—Marking a further step<br />

toward standardization of anamorphic release<br />

prints, Joseph and Irving Tushinsky, developers<br />

of Superscope, on Friday (10) demonstrated<br />

their new Superscope-235, which has<br />

the exact dimensional characteristics of<br />

Cinemascope's optical-sound prints, with a<br />

screen aspect ratio of 2.35 to 1. The new<br />

Superscope eliminates the necessity for<br />

changing projection apertures when films<br />

printed in it and in Cinemascope opticalsound<br />

are double-billed.<br />

The development, the Tushinskys said, was<br />

perfected because of exhibitor requests for<br />

some form of standardization. Heretofore<br />

Superscope anamorphic prints were projected<br />

at a 2 to 1 ratio.<br />

Cinemascope is photographed for a 2.55 to 1<br />

ratio, but is reduced to 2.35 to 1 when the<br />

optical sound track is added.<br />

Superscope-235 will, the Tushinskys predicted,<br />

"bring about a tremendous increase in<br />

the number of anamorphic widescreen productions"<br />

and will "stop the 1.85 to 1 movement<br />

that has gained momentum during the<br />

past five or six months."<br />

Usage of the "anemic" 1.85 to 1 ratio has<br />

"already taken its toll at the boxoffice," they<br />

Coyne Presents Statistics<br />

To Treasury Department<br />

WASHINGTON — Additional statistics<br />

on<br />

ticket tax payments were presented to the<br />

Treasury Department Tuesday (14) by Robert<br />

W. Coyne, Council of Motion Pictures Organizations<br />

executive. The move was in fulfillment<br />

of a promise made to Secretary of the<br />

Treasury George Humphrey by a COMPO<br />

committee which visited him February 1.<br />

Don Thorp Smith, assistant to the secretary,<br />

received the material. Coyne promised<br />

to supply more later.<br />

Pat McGee Is Mentioned<br />

For TOA Executive Job<br />

NEW YORK—Latest name to be added<br />

to the list of those who are supposed to<br />

be under consideration by the board of<br />

Theatre Owners of America for the post<br />

of general manager is Pat McGee. The<br />

board will meet at New Orleans March<br />

4. 5.<br />

McGee was the TOA leader in the<br />

ticket tax campaign which brought about<br />

a reduction. Until recently he was general<br />

manager of Cooper Foundation Theatres.<br />

asserted, and the dual-billing of a 2.35 print<br />

with a 1.85 print "shows up the latter as a<br />

non-competitor." This reflects, in their opinion,<br />

"a dangerous regression that defeats the<br />

forward movement that the widescreen stimulated<br />

as a counter to television."<br />

The new Superscope-235 is photographed<br />

with standard cameras, lenses and films, and<br />

the anamorphic prints are produced in the<br />

laboratory stage. It is available for both color<br />

and black-and-white (through Technicolor in<br />

the former category), and will cost the same,<br />

in either case, as normal flat prints. The<br />

only additional charge incurred by producers<br />

over 1.85 to 1 processing is a license and service<br />

fee of $1.00 a foot, based on the cut<br />

negative footage, amounting on an average<br />

to $8,000 to $9,000 per picture.<br />

Through the use of Superscope, it was<br />

pointed out, the filmmaker has the benefit<br />

of both anamorphic and flat prints because<br />

it is unnecessary to utilize an "unsqueezing"<br />

process to obtain flat prints.<br />

More than 30 pictures in Superscope were<br />

released during the first year of its availability,<br />

the Tushinskys reported, and licenses<br />

for Superscope-235 are being granted "immediately."<br />

Talks on Production Code<br />

Will Start Next April<br />

WASHINGTON—Discussions on changes in<br />

the Production Code and appeals machinery<br />

will not get under way until April, says Kenneth<br />

Clark, vice-president of the Motion Picture<br />

Ass'n of America, who will act as secretary<br />

to the committee made up of Barney<br />

Balaban, Daniel O'Shea and Abe Schneider.<br />

Eric Johnston will leave Monday (20) for an<br />

extended tour that will combine association<br />

and governmental business. He will hold new<br />

consultations with the Arab states and Israel<br />

on use of the Jordan River waters. Premier<br />

Ben Gurion of Israel has decided to delay<br />

further work on an irrigation canal until<br />

after further talks.<br />

Johnston will be accompanied by Irving<br />

Maas, MPEA vice-president in charge of the<br />

Far East division.<br />

TOA Members Get Booklet<br />

On Widescreen Films<br />

NEW YORK—Theatre Owners of America<br />

has distributed to its full membership the<br />

booklet, "Widescreen Motion Pictures," prepared<br />

by the Society of Motion Picture and<br />

Television Engineers. It has been reprinted<br />

and distributed several times. The latest<br />

edition includes the projector aperture dimensions<br />

for Todd-AO.<br />

B BOXOFFICE<br />

:<br />

: February<br />

18, 1956

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