EVIDENCE ENDS IN PLAZA APPEAL

Press, Volume CIII, Issue 30390, 14 March 1964, Page 14

EVIDENCE ENDS IN PLAZA APPEAL

Doubts That Petitioners Would Support Theatre (From Our Own Reporter) WELLINGTON, March 13. The view that if those who signed the petition for a Continental-type cinema in Christchurch were prepared to support it, the venture would be a very profitable one was expressed by a film executive, Donald Russell Rankin, during evidence before the Cinematograph Films Licensing Appeal Authority (Judge W. F. Stilwell) today. Mr Rankin qualified his remark by adding: “My experience is that intellectuals talk a lot, but do not do much to support their words. They do not go to films, but read reviews in ‘Time’ magazine. If they really intended to support the Plaza, it would be a very profitable enterprise—but they do not.” Mr R. G. Savage (assisting the authority): Can you say they do not go to the pictures? Mr Rankin: All I know is that we have had these films before, and they have not paid. It is no good going once or twice yearly. That would not be enough to support a theatre.

The taking of evidence in the appeal by Mr H. L. Masters against a decision of the licensing committee not to allow him a licence for the Plaza Theatre was completed today. Mr P. T. Mahon appeared for Mr Masters, Mr E. W. Thomas for Kerridge-Odeon, and Mr E. S. Tuckwell for Mr Rankin. Before the authority rose, Mr Mahon handed in several telegrams which, he said, constituted evidence that his client could obtain a supply of the films he required. Mr Thomas objected, whereupon Mr Mahon handed him the telegrams for inspection. Mr Thomas: I withdraw my objection. These are not worth the paper they are written on. Mr Rankin, who is in charge of sales for New Zealand Film Services, Ltd., said his firm was in no way a subsidiary of Amalgamated Theatres. His company was the largest importer of Continental films and had contracts with both Amalgamated Theatres and Ker-ridge-Odeon. The importation of Continental films, he said, had been unprofitable until recently, but it had improved during the last two or three years. He hoped this would continue, but he could not guarantee it. His firm was in touch with independent producers all over the world. Biggest Buyer Amalgamated Theatres was the firm’s biggest buyer. If a film was not sold to Amalgamated Theatres, it would be offered to KerridgeOdeon. The firm did a lot of business with KerridgeOdeon, particularly with Continental films. If these two firms were not interested in a film, it would not be economic to hold it in New Zealand. Independent theatres, such as the one proposed by Mr Masters, represented 5 per cent of his firm’s business. M- Rankin said. Mr Masters had approached him some months ago for a supply of Continental films, and had been told that this could not be guaranteed. "In my opinion, on the basis he proposes, that is. with 300 seats only, and because of lack of product and lack of public support, and also because of competition, there could be no hope of success.” Mr Rankin said. "It would be uneconomic to hold films in the country for the benefit of one theatre of 300 seats. I would sooner get rid of the print. “The so-called intellectuals who have given evidence so far have not got their facts straight," Mr Rankin said. “There have been more Continental films screened in Christchurch over the last few years than ever before. No-one has been able to state accurately which Continental films have not been screened. “On the other hand, we cannot have training college lecturers dictating to us as to when we shall screen these films.” Critic of City Concerning the advertising of films in Christchurch. Mr Rankin said: "This is something that the intelligentsia criticise, because it is not in their line anyway. We assume they know the films they want to see. Our advertising is directed at the general public.” Asked whether the 2500 persons who signed the petition. put in as evidence earlier in support of the appeal. did not represent a big demand for Continental films. Mr Parker said he doubted whether most of them went to the pictures more than once a year. “Christchurch is the worst city in New Zealand for film-going. It is a snob town —and I was born and educated there.” Later he said: “The type of person who signed the petition is the type not prepared to put his hand in his pocket for money to go to the films anyway ... the screening of Continental films in New Zealand Is doomed anyway. 1 * Asked why it was that a Continental-type theatre was being opened in Dunedin. Mr Rankin said: “That theatre was operating at such a loss that anything was worth a try. There may also be a difference between the Christchurch and the Dunedin public. Dunedin is a keen university town” “Too Many Seats”

Mr Rankin said there was no case for the reopening of closed theatres in New Zealand, if those theatres had been closed for economic rea-

sons. This was particularly so in Christchurch, which was “over-seated” anyway. Cross-examined by Mr Mahon, Mr Rankin said the exhibitors held no shares either in his company or in British Film Imports. He had not told Mr Masters that he would take care to be out of Wellington on the day of the hearing. Apart from the establishment of theatres screening Continental films, more of such films were being screened in “main-run” cinemas, said Mr Rankin. He agreed that Continental films were much better received in small, intimate theatres. Mr Mahon: You agree with Mr Moodabe’s statement, made in Auckland at the time of the opening of the Lido Theatre, that Continental films needed a special atmosphere? Mr Rankin: Yes. I helped him with it It was a good publicity stunt. We were trying to sell an idea. He added that the type of theatre envisaged by Mr Masters would not be a success even if he could get the films he wanted. It could succeed only if it could have the major Continental films. Mr Mahon: If Amalgamated Theatres opened a theatre in Christchurch with Continental films, would that succeed?

Mr Rankin: Yes. That could happen some time in the future. Circumstances could allow the functioning of a Continental theatre —but it would not be in the forseeable future. Problem of Supply

Mr Rankin denied that his firm was “a puppet of Amalgamated.” The two main distributors did not control the supply of films to New Zealand—but naturally they influenced it

The problem of supply was almost everything, he said. It was the reason why this year between 34 and 45 Continental films would be shown, whereas in previous years the number was 20. “You screen what you have available.”

Asked about the last Plaza screenings, Mr Rankin said that for the film festival, and with two other theatres temporarily closed, the Plaza had screened “The Island” (Japanese), and “Last Year in Marienbad” (French). These films, he said, were “Continental tops.” They had gone well everywhere else in New Zealand. In Christchurch they were “flops.” This was not due to the condition of the theatre at the time.

Mr Mahon: Then Continental films succeed elsewhere, but not in Christchurch? Mr Rankin: That has been our experience. Mr Rankin said Mr Masters might bring in films from Australia, but “the economics would kill him.” He explained that this method of individual importation would mean that Mr Masters would be both importer and exhibitor, and that he would have to pay both costs. He said he knew of Natan Scheinwald, and of Modem Films. Both had promised films, he understood. Mr Mahon: Modern Films have offered Mr Masters 20 films, including Chinese and Russian. Do you dispute this? Mr Rankin: No. If he is prepared to screen films of Iron Curtain Countries. . . .

Later Mr Rankin said he saw all Russian films, and had accepted some. Mr Mahon: You would say then that “art has no frontiers”? Mr Rankin: Yes. Backing For Project

Mr Rankin said he was convinced Mr Masters bad considerable backing for his project. If the licence were granted, therefore, the Plaza might be kept going at a loss for some time, thus causing damage to existing enterprises.

Cross-examined by Mr Thomas, Mr Rankin said his firm had 150 low-budget “action” films on hand. He had told Mr Masters that if he based his application on an “action” policy, the supply of films would be there, and he would probably get a licence.

“The fact that he chose to go the other way is his own funeral,’' said Mr Rankin. He said that Modern Films had a large number of 16 millimetre films, provided free, and screened in halls by

organisations “of a certain political leaning.” He thought Natan Scheinwald's name would come up. “1 think Scheinwald would supply anybody, if he saw money in it,’’ he added. “I

think he would supply Masters —but the costs would overwhelm him.” As the front seats in a Continental-type cinema were practically impossible to sell, this would reduce the planned capacity of the Plaza to fewer than 300 seats, he said. Saturday night Was still “picture night” for a large number of New Zealanders. If a theatre did not have the capacity to sustain a big Saturday night, it could not “carry” small mid-week attendances. Objection Over-ruled At this stage, Mr Mahon objected to the way in which Mr Rankin was commenting on other evidence, and saying what he thought about the application. Mr Honour: I think you are just as much to blame as Mr Thomas in this respect. I think we should endeavour to keep the issues down to those for which Mr Rankin was called.

Cross-examined by Mr Savage. Mr Rankin said that between them Amalgamated Theatres and Kerridge-Odeon controlled about 200 theatres. Counting “one-night stands” and the like, there were about 500 theatre licences in New Zealand. His own business would be about 95 per cent with the two main companies and 5 per cent with the rest. “The sort of theatre proposed is doomed anyway,” Mr Rankin said. “I have told Mr Masters this. I would rather not take his money.”