A total of 23 cinemas – comprising 22,000 seats – made up the roster for London’s West End, the most important cinemagoing location in the United Kingdom. All films had their British (occasional European or World) premiere here. Eleven cinemas could accommodate over 1,000 patrons, the biggest being the Odeon Leicester Square with 1,994 seats. At the other end of the scale and just round the corner from that Odeon was the Cinecenta, a multiplex of four tiny screens, highly unusual in Britain where the doubling and tripling of cinemas was in its infancy.
Although the roadshow was beginning to die the death in the United States, it remained very big business in London. the longest-running film was The Lion in Winter (1968) still taking £4,803 at the 600-seat Odeon Haymarket in its 40th week, equivalent to $11,046 (taking inflation into account that would amount to a colossal $83,248 at today’s prices). So you can see the advantage of letting films run and run in one location rather than shifting them out as soon as possible onto the circuits. Although roadshow tickets were more expensive than continuous performance, there were substantially fewer showings, a roadshow might be screened 15 times a week compared to 35-40 in continuous.
Top film of the week was aerial spectacular roadshow The Battle of Britain (1969) with an all star cast which took in £17,104 ($39,339) in its third week at the 1,654-seat Dominion. Setting a house record in its debut, Midnight Cowboy (1969), going down the continuous performance route at the 1,004-seat London Pavilion, knocked up £11,577 ($26,627). Third, with £8,255 ($18,986) was Oscar-winning musical Oliver! (1968) in its 38th week at the 1,407-seat Leicester Square Theatre.
Sam Peckinpah’s controversially violent The Wild Bunch (1969), blown up to 70mm, came fourth at the 1,568-seat Warner Theatre with £8,091 in its seventh week. The sophomore outing at the Odeon Leicester Square of John Wayne and Rock Hudson in The Undefeated (1969) rammed home £6,094. Holding down sixth spot was the 70mm Cinerama disaster epic Krakatoa-East of Java (1968) with £5,091 in its tenth week at the 1,121-seat Astoria.
The Lion in Winter placed seventh. Eighth was a surprise package, Easy Rider (1969), racking up an extraordinary £4,493 in the tiny 272-seat classic Piccadilly. Omar Sharif as revolutionary Che! (1969) was next, first week at the 1,159-seat Carlton bringing in £4,475. Rounding out the top ten was The Fixer with £4,460 in its second week at the 1,366-seat Empire. The last three movies were all in continuous performance.
Reissues were surprisingly popular. Gone with the Wind (1939), also showing in 70mm, was in its 12th week – after a long run at the Empire – at the 1,360-seat Odeon Marble Arch while The Jolson Story (1946) starring Larry Parks played separate performances at the 1,394 Metropole in an eight-week run.
Also making their debuts were Cannes Award Winner Z (1969) at the 546-seat Curzon, The Royal Hunt of the Sun at the 713-seat Odeon St. Martin’s Lane, documentary Footprints on the Moon – Apollo 11 at the 570-seat Rialto, and in move-over The Prime of Miss Jean Brodie at the 550-seat Studio One.
Other long-runners were: Barbra Streisand giving an Oscar-winning performance in musical Funny Girl (1968) in its 38th week at the 760-seat Columbia; Where Eagles Dare (1968), also in 70mm, in its 30th week at the 412-seat Ritz, after a long run at the Empire; Ice Station Zebra (1968), filmed in 70mm Cinerama, in its 28th week at the 1,127-seat Casino Cinerama; Robert Aldrich’s The Killing of Sister George (1968) also in its 28th week at the 648-seat Prince Charles; and Oh! What a Lovely War (1969) in its 26th week at the 972-seat paramount.
Other films still showing include The Graduate (1967) in week fourteen at the 154-seat Cinecenta 4 and Goodbye, Columbus (1969) in week five at the 820-seat Plaza.
In those days the length of run a film racked up in the West End impacted on when it would go into general release. So if a film ran for six months in the West End, it could delay its circuit release for that length of time.
Movies were judged as much by length of run as box office. Except in the case of specialize product, a film achieving “legs” was seen as indicative of its future performance. There was subtle marketing going on here – West End films were advertised every day in the London evening newspapers so if a film ran for six months that was six months of daily exposure of that picture for the rest of the city’s inhabitants who, unable to afford West End prices, were desperate for it to appear at their local cinema.
SOURCE: “Box Office Business,” Kine Weekly, October 11, 1969, p8.