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—<br />
THE NATIONAL FILM WEEKLY<br />
PUBLISHID IN NINE SECTIONAL EDITIONS<br />
BEN SHLYEN<br />
Editor-in-Chief and Publisher<br />
JAMES M. IERAULD...._ _ Editor<br />
NATHAN COHEN Jlssociale Editor<br />
JESSE SHLYEN Managing Editor<br />
IVAN SPEAR Western Editor<br />
J. HARRY TOLER Equipment Editor<br />
RAYMOND LEVY General Manager<br />
Published Every Saturday by<br />
ASSOCIATED PUBLICATIONS<br />
Editorial Oilices: 9 Rockefeller Plaza, New York 20,<br />
N. Y. Raymond Levy, General Manager; lames M.<br />
Jerauld, Editor; Chester Friedman, Editor Showmandiser<br />
Section; A. J. Stocker, Eastern Representative.<br />
Telephone Columbus 5-6370, 5-B371, 5-6372. Cable<br />
address: "BOXOFriCE, Nevir York."<br />
Central Offices: 332 South Michigan Blvd., Chicago<br />
4, 111. J. Harry Toler, Editor Modern Theatre Section.<br />
Telephone WABash 4575.<br />
Western Offices; 6404 Hollywood Blvd., Hollywood<br />
22, Calif. Ivan Spear, Manager. Telephone GLadstone<br />
1186.<br />
Washington Offices: 302-303 International Bldg., 1319<br />
r St., N. W. Lee L. Garling, Manager. Telephone<br />
NAtional 3482. Filmrow: 932 New Jersey, N. W. Sara<br />
Young.<br />
London Offices: 136 Wardour St., John Sullivan, Manager.<br />
Telephone Gerrard 3934-5-6.<br />
Publication Offices: 825 Van Brunt Blvd., Kansas City<br />
1, Mo. Nathan Cohen, Associate Editor; Jesse Shlyen,<br />
Managing Editor; Morris Schlozman, Business Manager.<br />
Telephone CHestnut 7777--78.<br />
Other Publications: BOXOFFICE BAROMETER,<br />
published in November as a section ol BOXOFFICE;<br />
THE MODERN THEATRE, published monthly as a<br />
section of BOXOFFICE.<br />
ALBANY—21-23 Walter Ave., M. Berrigan.<br />
ATLANTA— 163 Walton, N. W., P. H. Savin.<br />
BIRMINGHAM—The News, Eddie Badger.<br />
BOSTON—Frances W. Harding, Lib. 9814.<br />
BUFFALO— 157 Audubon Drive, Snyder, Jim Schroder.<br />
CHARLOTTE—218 W. 4th, Pauline Gnllith.<br />
CHICAGO—332 S. Michigan, Jonas Perlberg,<br />
WAB-4575.<br />
CINCINNATI— 1634 Centtal Parkway, UUion Seltzer.<br />
CLEVELAND— Elsie Loeb, Fairmount 0046<br />
DALLAS—4525 Holland, V. W. Crisp, J8-9780<br />
DENVER— 1645 Lafayette, Jack Rose, TA 8517.<br />
DES MOINES—Register & Tribune Bldg., Russ Schoch.<br />
DETROIT— 1009 Fox Theatre Bldg., H. F. Reves<br />
Telephones: RA 1100; Night, UN-4-a219.<br />
HARTFORD— 109 Westborne, Allen Widem<br />
HARRISBURG, PA.—Mechanicsburg, Lois Fegan<br />
INDIANAPOLIS—Rt. 8, Box 770, Howard M. Rudeaux.<br />
MIAMI— 66 S. Hibiscus Island, Mrs. Manton E. Harwood.<br />
2952 Merrick Rd., Elizabeth Sudlow<br />
MEMPHIS—707 Spring St., Null Adams, Tel. 48-5462<br />
MILWAUKEE—529 N. I3th, J. R. Gahagan, MA-0297<br />
MINNEAPOLIS— 29 Washington Ave. So., Les Rees<br />
NEW HAVEN—42 Church St., Gertrude Lander<br />
NEWARK, N. J.—207 Sumner, Sara Carieton<br />
NEW ORLEANS—Mrs. Jock Ausfet, MA-5812.<br />
OKLAHOMA CITY—216 Terminal Bldg., Polly Trindle<br />
OMAHA—Omaha World-Herald Bldg., Lou Gerdes<br />
PHILADELPHIA-4901 Spruce St., J. M Makler<br />
PITTSBURGH-86 Van Broom St., R. F. Klingensmith<br />
PORTLAND, ORE.-David C. Kahn, BR, 1181, ext 156<br />
RICHMOND—Grand Theatre, Sam Pulliam<br />
ST. LOUIS—5149 Rosa, David Barrett, FL-3727<br />
SALT LAKE CITY—Deseret News, Howard Pearson<br />
SAN ANTONIO— 333 Blum St., L. J. B Ketner<br />
SAN FRANCISCO— 25 Taylor St., Gail Lipman<br />
ORdway 3-4S12.<br />
SEATTLE—928 N. 84th St., WiUard Elsey<br />
TOLEDO— 1330 Willys Pkwy., Anna Kline.<br />
IN CANADA<br />
CALGARY—The Alberton, Wm. Campbell.<br />
MONTREAL-4330 Wilson Ave., N. D. G., Roy Carmichael.<br />
Walnut 5519.<br />
ST. JOHN— 116 Prince Edward St., Wm. J. McNufty.<br />
TORONTO— 242 Milwood, Milton Galbraith.<br />
VANCOUVER—411 Lyric Theatre Bldg., lack Droy.<br />
VICTORIA— 938 Island Highway, Alec Merriman.<br />
WINNIPEG—The Tribune, Ben Lepkin.<br />
Member Audit Bureau of Circulations<br />
Entered as Second Class matter at Post Office. Kansas City. Mo.<br />
I<br />
OXOFFICE<br />
LOOKING UP!<br />
^^^ J. tTER so long at looking down, it is cheerinc<br />
to see the change in hue and the change in view that is settinc<br />
this industry once more on the path of salesmanship and showmanship.<br />
We are pleased to call attention to the MGM advertisement<br />
in this issue that starts off phrase "Everything<br />
with the<br />
Looks Rosy!" And, of course, to the oft-quoted truism coined<br />
by Nicholas M. Schenck, "There is nothing wrong with this<br />
industry that good pictures can't cure."<br />
[<br />
The good pictures were sadly among the missing for o<br />
considerable period. But their dearth was not alone the caussi<br />
for some of the blues singing that rendered too many an industry<br />
sour note. Now the turn in the road has been reached<br />
—mainly because product quality is definitely up, perhapsbeyond<br />
the fondest hopes that obtained just a few months ago'<br />
Perhaps the so-called top level has come to realize that on«<br />
of this industry's greatest assets is enthusiasm. That seems to<br />
be coming back, with the return of good pictures in goodly<br />
quantity. And, happily, this change is not confined to any one<br />
company. It appears to be quite general, if one may judge<br />
from the reviews in recent \veeks of product now current<br />
and doing great business—and of other films soon to be released.<br />
This brings to mind a recent letter from Ned Depinet<br />
executive vice-president of RKO, in which he said, "I am starting<br />
on a vacation after several weeks at the studio, where 1<br />
saw many fine RKO pictures. Don't sell the industry short!'<br />
That's a modest way of putting it, but its meaning is clear that<br />
the bars should be taken down and the gates opened once<br />
more to going full steam ahead.<br />
Another sign that the industry's well-known enthusiasir,<br />
has been missed was brought into evidence by the bulletined<br />
statement issued by Sidney E. Samuelson, general managei<br />
of AlHed of Eastern Pennsylvania. Naturally, we like Mr,<br />
Samuelson's statement, "The advertising that producer-distributors<br />
do in the trade journals is vital to arouse the interest<br />
of the exhibitors." And also his further constructive words<br />
"Advertising—directed to the public—is a necessary part oi<br />
the industry's appeal for support of its product. Most impor-.<br />
tant, the advertising that the exhibitor does frequently means<br />
the difference between the success and failure of a lot of pictures."<br />
And, further, "American business builds on the principle<br />
that confidence in a product is usually measured in advertising<br />
support of this product." Truer words were nevei<br />
spoken.<br />
Now, with good—in fact, extra-good—product to sell, everv<br />
branch of this industry can enter upon its projected program<br />
of collective public relations activity with unimpeachable confidence.<br />
It puts heart into the job of telling and selling, when<br />
the goods backs up the claims. If producer^distributors, who<br />
first ran down the curtain, keep it up and keep the "show"<br />
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Sectional Edition, $2.00 per year; National Edition, $7.50<br />
Vol. 52 No. 24<br />
APRIL 17, 1948
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