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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