What the Exhibitor Did

Movie studio publicity teams bombarded exhibitors with gimmicky promotions via the Pressbooks used to publicize movies. Some of the ideas were so outlandish it is easy to imagine that exhibitors’ eyes glazed over at the prospect.

But that would be to misunderstand the character of the cinema manager/owner on the 1960s. They often referred to themselves as “showmen” (ignore the gender slip) because they saw themselves as hustlers of the old school, required to come up with all sorts of schemes to ensure moviegoers were aware of what was showing.

So they weren’t short of coming up with their own ideas.  To promote Billy Wilder comedy The Apartment (1960) with Jack Lemmon and Shirley Maclaine, Loews State in New Orleans set up a replica three-room apartment within the Hurwitz-Minze furniture store in the city. A female model was hired to live there for a week during opening hours. She cooked, washed dishes, watched television and listened to records. “Her daytime routine was complete even to changing her clothes – behind a screen, of course.” The store advertised her presence daily and explained why there was model in the window. The Monteleone Hotel joined in the promotion by providing the model with free accommodation.

Handcuffs were handed out to customers going in to see Psycho (1960) at Proctor’s Theatre in Schenectady, New York, on the basis that it would be advantageous for patrons to handcuff themselves to their seats in case nerves got the better of them and they tried to dash out before the end.

Of course, that was a long way from offering patrons a dead body, raffled off in the intermission between the movies on a midnight horror program, as carried out by the Super 422 Drive-In in Pittsburgh. A dead body was given away – it just turned out to be a turkey.

Exhibitors pushing a horror picture might plant a coffin in the lobby – more effective if there was a hand sticking out – or, as indicative of the terrors that lay ahead, have a white-coated nurse prominently positioned or park an ambulance outside. Certificates of bravery might be issued to attendees.

To promote Macumba Love (1960) – starring Ziva Rodann from The Giants of Thessaly – which featured cannibals and shrunken heads, Loews State in Cleveland put their own shrunken head on display in the lobby behind reducing glass which made it seem even smaller.   

Love takes people the strangest places. Two cycling enthusiasts planning to get married were persuaded by Twentieth Century Fox to travel from New York to Juneau, Alaska, a mere 4,776 miles to promote john Wayne picture North to Alaska (1960).They were paid, of course, and had the honor of being married by the Governor of the state, William Egan. They passed through a hundred towns and cities, stopping off to talk to interested media about their unusual adventure and, in case anyone missed the point, their bikes were plastered with publicity material for the film.

SOURCES: “The Midnight Show,” Box Office, Aug 1, 1960, p64-65; “Girl Keeps House in Window for a Week Prior to Opening of The Apartment,” Box Office, Aug 8, 1960, 118; “Handcuffs Go to Patrons in Advance of Psycho,” Box Office, Oct 3, 1960, 103; “Couple in Bicycle Trip North for To Alaska,” Box Office, Nov 14, 1960, 73.

Marketing: Black Stamps

You might be tempted to fork out for the range of James Bond Commemorative Stamps being brought out to celebrate No Time to Die when it eventually sees the light of day on movie screens.

But stamps either as collector’s items or for trading purposes have been around since the silent era.  A line of movie commemorative stamps issued in America in 1944 sold 1.1 million first day covers, the second highest-ever at the time, and in the late 1950s Movie Stamps Inc set up a business that worked in the same way as the Green Stamps given away in supermarkets and gas stations. In this system, if you collected enough you won a gift, usually, in regards to the movie business, a couple of free tickets.

So Columbia Pictures looking for a way to sell its Hammer double bill The Gorgon (1964) with Christopher Lee and Peter Cushing and The Curse of the Mummy’s Tomb (1964) starring the lesser-known Terence Morgan revived the idea.

Horror specialist Hammer was one of the British film studios going through a production boom – over 100 movies were being made in that country in that year – with The Secret of Blood Island (1965) in the works for Universal and She for MGM. But horror was still a difficult sell and Hammer had ignored the advice of Variety that The Gorgon would work best if teamed with “a lively comedy.”

American International had expanded the horror market away from the Frankenstein/Dracula axis by exploiting the Edgar Allan Poe back catalog and William Castle had achieved some success in modern tales of terror such as Dementia 13 (1963) and The Night Stalker (1964). But Castle could call upon the likes of Barbara Stanwyck and Robert Taylor, players with substantial marquee status despite their lately diminished careers, for radio and television interviews.

For Hammer the obvious exploitation options were limited to a spread in the quarterly Castle of Frankenstein magazine which could be purchased for 35 cents at newsstands.

So the marketing honchos dusted off the old movie stamps idea. In some advertisements, the studio offered free stamps to the first 10,000 ticket-buyers but in the advertisement shown above they appeared to be given away free to everyone. The faces of the various monsters and characters featured in both films were imprinted on the stamps. However, on the debit side, there was no sign of any redemption for the collected cards. You couldn’t, should you be so inclined, collect ten and get a guest ticket in return. You could probably trade them and build up a collection. I’m not sure they did much for the movie judging by the box office accounts that exist but if anyone remembers seeing them or collecting them let me know.

Sources: “Film Industry New 3c Stamps Sets Record,” Variety, Nov 15, 1944, 1; “Tease-In Kids with Movie Star Stamps,” Variety, Aug 21, 1957, 20; “Premium Stamp Set Up,” Variety, Aug 20, 1958, 7; Review of The Gorgon, Variety, Aug 26, 1964, 6;  advert, Box Office, Nov 16, 1964, 2; “Film Plugs and Pluggers,” Variety, December 30, 1964, 21; Mark Thomas McGee, Beyond Ballyhoo: Motion Picture Promotion and Gimmicks, p125-131.