Every country followed a similar system. Unlike nowadays, new movies would first be released on the biggest cinemas in the biggest cities. Only after the hullabaloo of premieres and publicity in national newspapers did the films move into the bread-and-butter of the release pattern, appearing for a given week on the circuits. Britain had two main circuits, ABC and Odeon, both of whom, unlike their counterparts in the USA, were permitted not just to exhibit movies but to make and distribute them.
In the UK at the start of the 1960s, regardless of how well new movies had done in their opening salvos at the super-cinemas, they were allocated just one week on the circuit. In retrospect, it seemed a weird notion that a big-budget Hollywood movie would be given the same amount of time to sell tickets as a cheaper home-grown product. Even more basic, that demand was automatically limited. Unlike now, a cinema could not hold onto a hit film for as long as it wanted, because the print was already assigned another cinema in another locale. And there was no way of bringing back a hit for a second go-round until years later.
The release system began to change with the introduction of the roadshow, when 70mm movies showing twice a day at increased prices would run for at least a “season” (13 weeks) and could respond to demand by playing for much longer. Following their roadshow run, such films would be fed, at a later date, into the circuit system.
But in 1964, there was the beginnings of a shift on the ABC circuit. Towards the end of the year, instead of the traditional one-week circuit run, The Carpetbaggers, not a contender for roadshow despite its 150-minute running time, was shown for two weeks. But that proved an isolated incident. It was another two years before ABC repeated the experiment, courtesy of Alfie starring Michael Caine.
The following year the first two months saw four films go down the same route, Oscar-winning musical My Fair Lady which had been road-shown a couple of years before, Hayley Mills drama The Family Way, The Dirty Dozen, also a roadshow hit, and Bonnie and Clyde (a flop in the USA).
In addition, the circuit had learned to re-evaluate earlier hits. At that point a revival/reissue only made a second showing in the UK about 7-10 years after initial release. But in 1967, just three years after it proved to be a colossal box office success in the UK (it flopped in the USA despite an immense marketing campaign), Zulu was given another week on the circuit, this innovation adding a new dimension to the circuit release system.
In fact, The Dirty Dozen was afforded yet another week on the circuit in 1968 – in effect, counting the roadshow and the initial circuit release, the public was accorded three opportunities in a very short space of time, The following year One Million Years B.C. (1966) starring Raquel Welch and She (1966) starring Ursula Andress were double-billed in a reissue.
But whether the two-week window had proved a complete success was open to doubt because such clear-cut hits as Bullitt and The Italian Job were only granted one week to make an impact on the circuit box office. In 1969, the circuit had so misjudged the box office potential of Till Death Us Do Part, a movie version of the popular British television comedy series, that it was initially scheduled for a one-week run. But it was such a blockbusting success that ABC tore up its release calendar and slotted it in for a further week two weeks later.
Growth of the multiplex meant big films could be retained for much longer on the biggest houses, switching between two or three or four individual cinemas until demand was deemed fully drained. No longer did a circuit release mean that release dates for the suburban part of the release were set in stone, an approach guaranteed to force the main city center cinemas to remove from its screens a movie that still had pulling power and at higher prices.
But any kind of change to the circuit release system remained minimal. In 1970, only two movies, Where Eagles Dare, a monumental success when road-shown (a release option denied in the USA), and the home-grown Women in Love were provided with a two-week circuit platform though Bullitt doubled with Bonnie and Clyde made a speedy return as a reissue.
In 1971, a pair of British comedies Percy and Up Pompeii, both made by EMI which had taken over the ABC circuit, were given the two-week treatment. But like Till Death Us Do Part, revisionist western Little Big Man was allocated another week over a month after its initial showing. The Dirty Dozen returned yet again.
In 1972, the circuit introduced unveiled another release strategy called variously a “selective release” or a “pre-release.” This meant, in effect, that in major suburban cinemas, the biggest new pictures would be given two bites of the cherry. A Clockwork Orange and The Godfather were both deemed worthy of a one-week “selective” release with a second week factored in for the following year in what was deemed a “full release.” A version of roadshow was already in place for both these movies and in the main cinemas in big cities these were retained for a considerable amount of time.
In 1972 there were also re-runs for There’s a Girl in My Soup, Zulu and Paint Your Wagon (a bigger roadshow success in the UK than the USA). But the following year saw a whole wave of reissues beginning with The Ten Commandments (1956) followed by Dirty Harry/Klute (both 1971), The Wild Bunch (1969), Love Story (1970), Coogan’s Bluff (1968)/ Play Misty for Me (1971) while Gunfight at the OK Corral (1957) supported the new Friends of Eddie Coyle.
In 1974, The Sting and Airport 1975 went down the new “selective” plus normal release pattern, enjoying one week in each phase, while Blazing Saddles and The Exorcist received a two-week send-off from the start, Fear Is the Key (1972) was revived to support another television spin-off Holiday on the Buses.
Towering Inferno in 1975 ran for three weeks, the first qualifying as “selective” system but the others two weeks shortly after. But there was another development with Jaws which went out first as “selective”, then a week in “pre-release” and its third appearance on the circuit deemed a “full release” turned into an extended run. But the “selective”/”full release” of Death Wish, Mandingo, and Murder on the Orient Express comprised only two weeks. Lisztomania looked set to join the exclusive club but instead of going out on the full release some weeks later it was restricted to a single “selective” week, suggesting it had not fulfilled expectations first time round. The Godfather Part II also managed two weeks but not sequential, the second week deemed a “re-run” six weeks later. Where Eagles Dare and David Essex duo That’ll Be the Day (1973)/Stardust (1974) were reissued while Uptown Saturday Night (1974) was revived in support of Inside Out. Gone with the Wind (1939) enjoyed another reissue in 1976 as did Zulu and Freebie and the Bean (1974)
In 1977 “pre-release” replaced “selective” as the preferred jargon and was applied to King Kong, Airport 77 and Rollercoaster but in these instances amounted to a total of two weeks counting the later full release. By contrast, When the North Wind Blows and The Eagle Has Landed enjoyed a straight two-week release. Ben-Hur (1959) was reissued as were Jaws (1975), The Sting (1973), The Godfather (1972), Clint Eastwood double bill The Outlaw Josey Wales (1976)/Magnum Force (1973) and television spin-off duo All Creatures Great and Small (1977)/It Shouldn’t Happen to a Vet (1976).
In 1978, 2001: A Space Odyssey (1968) and Jesus Christ Superstar (1973) entered the reissue market along with revivals of Enter the Dragon (1973)/Death Race 2000 (1975). Charles Bronson western Breakheart Pass (1976) returned in support to Michael Caine thriller The Silver Bears, The Car (1977) to Full Circle, Paper Moon (1973) to House Calls and the ribald Adventures of a Taxi Driver (1976) to The Other Cinderella.
However, by this time, the big city center cinemas had begun holding on to major releases for such inordinate lengths of time that they were virtually played out by the time they reached the suburban circuit houses so there was little reason to insist on those cinemas retaining them for two or three weeks. None of the ABC chain’s top hits of the year – including the likes of Saturday Night Fever, Grease and Watership Down – played more than one week when they entered the circuit release.
By 1979 the “selective” and “pre-release” idea and the two-week booking was gone. But the following previous hits were re-cycled: Superman: The Movie (1978), The Goodbye Girl (1977), The Getaway (1972), The Towering Inferno (1974), the inspired pairings of Blazing Saddles (1974)/Monty Python and the Holy Grail (1975) and Convoy (1978)/Sweeney 2 (1978). More obvious was the dualing of Peter Cushing duo The Ghoul (1975) and Legend of the Werewolf (1975). Clint Eastwood was back on support duty, The Enforcer (1976) helping out new Boulevard Nights, The Eiger Sanction (1975) bolstering John Travolta romance Moment to Moment while The Land That Time Forgot (1974) boosted to The Brink’s Job.
But by the start of the new decade, there was little differentiation between a major cinema in a city center and the rest, a new movie, in order to take advantage of advertising, either running for months in the one locale, and sucking the commercial meat out of a movie, or going much wider from the off rather than settling down in any one place for an exclusive run. Though the saturation that’s common today was still a long way off, movies still inclined to be released in regional bursts to save on prints, the circuit business had come a long way in two decades.
The Magnificent 60s 