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Describe the functions of a sweeper  

Before the Malls Came: Showmanship for Small-town Movie Theatres

Over forty years ago, a movie theatre didn'tIllinois, sixteen miles north of Carthage.
need to be located in a shopping mall toThe theatre, he recalled, had a "beautiful
attract sufficient patrons. As other small,front lobby with walk-up front steps" which
privately owned businesses had done before"later became illegal because it was a fire
them, small-town movies theatres survived --hazard." The Dallas Theatre made a profit
and, in some cases, even thrived -- forduring World War II but , he added, was the
several decades. One may still occasionallyfirst of his three small-town theatres to
find independent theatres grinding away in"dry up." A quonset hut theatre was
small towns located far enough away fromconstructed in the river town of Warsaw after
metropolitan areas, but one is more likely toWorld War II. It outlasted the older theatre
find abandoned buildings with empty marquessin Dallas City, but it never, according to
that often resemble the rusted prows of oldJustus, made money. A large theatre circuit
ships. Some old theatre buildings serve asmade him a considerable offer in the early
shells for churches and small businesses, but1950s for all three of his theatres, but,
even many of these buildings wear such skimpydespite the gradual shifting of populations
camouflage that someone passing through townaway from small communities, he declined. He
can easily guess the role they once played assaid that he just didn't want to get out of
a local center for a shared communitythe theatre business.Television contributed
experience. After the nature of the communityto changes in the rural communities,
changed, after the local people beganparticularly when nearby Quincy acquired a TV
identifying with the national televisionstation in the early 1950s, but a shift away
community, the local exhibitors stepped upfrom the shared experience of small-town
the public spectacle through promotionalliving was equally to blame. Justus' theatres
showmanship in order to revitalize not onlylost customers no faster than many other
its role in the community but often the locallocal businesses, such as furniture
community spirit itself. These converteddealerships and dry goods stores. Despite
marquees remind us not only of abandonedefforts of theatre exhibitors and other
ships but of shabby circus tents that remainmerchants to keep their integral roles alive
long after the circus has left town; they mayin a shrinking community, transportation
bear few traces of their former role in thefacilitated the migration of residents to
community rituals, but the memories of theurban areas where they established suburban
personal efforts of local showmen to keep thecommunities complete with ubiquitous shopping
circus alive in the face of cultural changecenters and malls. New theatres cropped up
will keep that circus and the knowledge ofinside these shopping areas, later becoming
the cultural significance alive withintwins and multiplexes, but they generally
us.Before people relied so heavily onfailed to offer patrons any sense of
automobiles, and before they were afraid toparticipating in communal rituals. Watching
walk more than a few city blocks, many townsfilms projected by automated equipment while
of less than a thousand people had their ownseated among strangers in a shoebox-sized
theatre which residents often labeled "theshopping mall theatre (in some urban areas)
show house" or "the picture show." Residentsbore little resemblance to the experience of
of the western Illinois town of Carthage, forwatching a movie with neighbors and relatives
example, saw two show houses in its businessat the local "show house."Patrons in small
district not long after the beginning of thecommunities did not have to wait sixteen
20th century, but only one of them survivedweeks or to drive around the city for a new
for long. The Woodbine Theatre, named afterfilm because the small theatres ran several
the crawling vine that grew on the east sidechanges a week. Justus recalled that his own
of the brick building, was not the firsttheatres would run "a Sunday-Monday movie, a
theatre in the town of over three thousandTuesday bank night, a Wednesday-Thursday,
people, but the showmanship of its ownerthen a Friday and Saturday. We got to the
caused the competition to go out ofpoint where we were open three days a week.
business.The first Woodbine was convertedFirst it was Thursday-Friday-Saturday-Sunday;
into a theatre in 1917 by Charles Arthurthen it was Friday, Saturday, and Sunday."
Garard. C.A., as he was called, had alreadyThe Carthage community supported the theatre
operated a local dairy and a downtown iceduring the week nights in the late 1950s and
cream parlor which offered five-cent iceearly 1960s, but the Warsaw Theatre dwindled
cream sodas, confections, five-cent crusheddown to Saturday and Sunday showings,
fruit souffles, and a tobacco called Garard'ssometimes with a different film each night.
Royal Blue. He was a shrewd businessman, butStudents from the local four-year liberal
he was also a fanciful dreamer who needed toarts college in Carthage kept Friday night
be held in check by his pragmatic and evenattendance strong at the Woodbine, but high
shrewder wife. Bertha, who often accompaniedschool football games severely limited Friday
the silent movies shown in his theatre withattendance in Warsaw.Another factor that
her piano, kept him from selling the theatre"made it so tough for the little towns,"
and drifting off into other projects, such asaccording to Justus, was that the independent
the growing of grapefruits in Florida. Whenexhibitors "couldn't get the product until it
C.A. died, she took over as proprietor untilhad played the bigger places," such as
her youngest son, Justus, became old enoughQuincy, which is about forty miles south of
to help her.Justus recalled in June of 1981Carthage, or Keokuk, which sits just across
how his father never really had a chance tothe Mississippi River on the southeastern tip
enjoy any substantial returns from theof Iowa. Because he was an independent, he
theatre for ten years after he converted it.had to wait six weeks to play a film that was
"We would've been out of business if itbooked first in Quincy, Keokuk, or at other
hadn't been for talking movies," Justus said,nearby circuit theatres. "If we could've
the earliest of which "were very hard toplayed the film the next week," Justus added,
understand." The Woodbine was the first"Why, the people would have stayed home to
theatre in the area to show talking pictures,see it. But they knew that we weren't gonna
which were sound-on-disc like Warnerhave it for awhile. So they'd go to
Brothers' Vitaphone system (shown in theKeokuk."Among later gimmicks employed to stir
black-and-white TV promos for the 1955 filmlocal community interest were Halloween
HELEN OF TROY and included in the DVD and VHSmidnight shows and four features run each New
copies of that film). The first sound filmsYear's Eve, but the biggest seasonal event in
were "only part-talkies. They would use someCarthage was the annual series of
dialogue, then [the characters] would soarmerchant-sponsored Christmas films. Before
into song." Because sound equipment waseach Christmas season, Justus purchased a
expensive to install, he and a friend OliverFilmack trailer for the merchants, and a
Kirschner constructed their own sound system.salesman from St. Louis sold the merchants a
Cast-iron record turntables were cast at anspot on the trailer for $37.50. The merchants
industrial plant sixteen miles away inwere also given tickets or complimentary
Keokuk, Iowa, and attached to the projectorpasses for the theatre that were good any
drive. Since sound projectors operated at 34time, but the Christmas films -- usually
frames-per-second, they revised a way tochosen for the children of those parents who
speed up their projectors to synchronize thewere encouraged to do Christmas shopping in
film with the soundtrack on the record.town -- were shown free to the community. The
Occasionally, "the needle would jump out ofpopcorn, of course, wasn't free. I can
the groove," and the projectionist would haveremember stuffing sacks full of popcorn and
to "pick it up and set it on the right groovehanding them across the glass counter to
by watching carefully and following thepushy patrons who had to pay. . . not $3.00.
sound." He recalled that they had to do this. . but ten cents.The midnight Halloween
for two or three years until the advent ofshowings of horror double-features were the
sound-on-film. Whenever the needles wouldones that I found to be particularly fun.
jump from one groove to the next because ofJustus often ran double bills like THE FLY
over-modulation, the customers wouldand THE RETURN OF THE FLY and AIP's I WAS A
patiently wait for the projectionists toTEENAGE FRANKENSTEIN (1957) with UA's THE
synchronize the record with the film.TheRETURN OF DRACULA (1958). For the latter, in
introduction of sound-on-film, which JustusWarsaw, I shaped white cardboard into a
recalled was here to stay by 1933, requiredcastle which covered the left exit. Above the
that he, like other exhibitors, insert anexit, appropriately enough for Halloween, was
expensive sound head into the projector.a clock which advertised a local funeral
Because some films were released ashome. (I often wondered why funeral home
sound-on-disc and some were released asclocks were displayed in small movie theatres
sound-on-film, such as Fox's Movietonein those days. Were patrons being reminded
system, many exhibitors had to choose betweenthat their lives were ticking away while the
one system or the other. "Consequently,"films were flickering on the screen?) I
said Justus, "we weren't playing any Foxstretched a wire from the projection booth to
pictures. Paramount came out with the recordsthe exit, located immediately to the left of
and Fox with the sound-on-film." Once hethe screen, and draped a white bed sheet over
installed the sound-on-film system, he noa clothes hanger. During a high point of one
longer used the disc system because he wasof the films, I stood in the exit doorway
never "able to completely overcome thatwith my girl friend and jerked on the string
wavery noise. The music would go up andattached to the hanger, intending to pull my
down."Although C.A. died shortly after theghost down to the exit over the heads of the
sound-on-disc system was working, he neveraudience. The ghost emerged from the small
saw the business at his theatre improve.projection window on cue, but the hanger
Justus saw a gradual improvement "along aboutbecame hung-up on the wire and refused to
1937." This increase in patronage came abouttravel as I had intended. I tugged on the
not because many small-town citizens werestring and it snapped, so the projectionist
interested in the latest technicalgave the hanger a push. When the houselights
improvements or in having their livescame on at the end of the feature, I saw my
enriched by the imaginative visions of suchintended deus ex machina suspended in plain
geniuses as Orson Welles; they merely wantedview in the center of the auditorium. Maybe
entertainment that would whisk them away fromthis failure was why Justus limited all of my
their humdrum lives -- and an excuse to getfuture promotion efforts to the lobby and
out of the house. They didn't expect to beoutside the theatre; maybe he decided that I
surprised by the plot or ending and didn'thad been influenced too much by the gimmicks
really want to be intellectually challenged.of such master showmen as William Castle (for
They were as excited about seeing theirsuch films as THE HOUSE ON HAUNTED HILL, THE
favorite romantic leads involved in theTINGLER, MR. SARDONICUS, HOMICIDAL, and
latest routine star vehicles as they wereTHIRTEEN GHOSTS). Of all of the Castle films
about seeing the burning of Atlanta.The factthat Justus played, I can only remember the
that GONE WITH THE WIND (1939) was a hit incolored glasses for the original THIRTEEN
Carthage may or may not have been the resultGHOSTS being particularly effective. [Further
of Justus renting the side of a barn where hedetails about horror movie promotions can be
and his friends pasted up a 24-sheet displayfound in the companion article
touting the popular classic. Many of theBLACK-AND-WHITE HALLOWEEN HORROR HITS: I WAS
films that we today regard as classics were,A TEENAGE UNDEAD WITCH, which is available
at the time, little more than run-of-the-millonline.]These are only a few examples of
programmers. CASABLANCA (1942), for example,promotional machinations that were necessary
was merely a modest romantic thriller withto boost ticket sales for the second-run
Humphrey Bogart and Ingrid Bergman acting asfilms shown by independent, small-town
stand-ins for our exotic fantasies; theyexhibitors. Many of the earlier gimmicks,
turned the attention of small-town patronssuch as bank night and merchant-sponsored
away from their personal issues while theChristmas shows, brought in a few extra
caricatured Nazi villains provided targetsdollars, but it is doubtful whether the later
for their anger. In most instances, what wasand more flamboyant gimmicks greatly affected
playing at the local theatre was irrelevant,ticket sales. BOXOFFICE magazine and press
whether it be a film like WIZARD OF OZsheets for the individual films offered
(1939), which initially did disappointingexploitation tips, many of which required the
business but was later perceived to be aordering expensive supplies, but the
classic, or films with appropriate titlesstruggling independent had to primarily rely
like SMALL-TOWN GIRL (1936). It was aon his own imagination to create makeshift,
community activity that was as vital to theinexpensive promotions.Justus Garard* claimed
town as the Saturday night band concerts whento be one of the last independent exhibitors
the white-painted wooden bandstand was hauledin the area to go out of business. The
to the center of Main Street.An activity thatWoodbine Theatre in Carthage was sold to the
Justus promoted in his small town to helpneighboring auto dealer in 1969 and
improve theatre patronage was bank night.eventually converted into a showroom for new
Bank night was a gimmick that worked likecars. The interior of his theatre, when my
this: the patrons would register in a largebrother and I saw it shortly after it had
book, and attached to each registration formbeen gutted for this purpose, resembled the
was a numbered tag which Justus or aninterior of the small-town movie theatre in
employee placed in a large drum. The drum wasthe superb and touching Italian film CINEMA
hauled out in front of the theatre audiencePARADISO (1989). The Dallas and Warsaw
after the first showing on Tuesday nightstheatres, although closed long ago, still
where a local merchant or other prominentresemble movie theatres; the latter, used as
citizen would draw out a number and announcea storage area for antiques, still has its
it to the audience. If the person holdingprow of a marquee that juts out over the
that number sat in the theatre at thatsidewalk. Not much has changed in the river
moment, he or she would claim the money. "Iftown of Warsaw, but on Saturday nights,
not," Justus added, "the money was put intowithout the bandstand with local citizens
what we called bank night and held over untilplaying instruments while kids skip around
the next week. We'd add fifty dollars ait, and without the glittering marquee of the
week." A fifty dollar night would hardly payold movie theatre, Main Street seems much
for the showing, and the theatre wouldn'tdarker, and a lot lonelier. Perhaps only a
start making money until the jackpot reachedfew independent exhibitors, like those in
around $200 or $300. "Then we'd fill thesmall, midwestern towns like Carthage and
theatre," he said, and this didn't includeWarsaw, resorted to the above-mentioned
"all the people who came down and gambled ingimmicks, and perhaps the death knell for the
the afternoons." Of course, a weekly winnermom and pop theatre operation had been
would have wiped out the business, so Justus,sounded long before the staging of many of
like other independent exhibitors, took athe later promotional efforts, but like the
gamble with this particular gimmick.Anothersailors on ships which many of these
gimmick to bolster limping ticket salesstill-existing theatre fronts resemble, the
involved the distribution of sets oftenacious independents refused to go down
silverware one piece at a time until thewithout a fight.[Note: *Justus Garard's
patron had collected an entire set. Thesestatements were taken from an interview
sets -- knives, forks, spoons, and ladles --conducted by Sam Garard in June 1981 at a
were easier to handle than dishes; dishesDaytona, Florida, cinema draft house owned by
were shipped in barrels and often arrivedSam at the time. I am indebted to both my
broken. Unlike today, exhibitors actuallyfather who passed away in May of 1988 and
made the bulk of their profits from ticketyounger brother for the information which
sales. The limited offerings of thesupports my own recollections. Some of these
concession stands in small theatres -- longmemories have been utilized as background for
before the days of hot dog warmers andmy novels WATERFIELD and CLOSED FOR THE
cheese-covered tortilla chips -- providedSEASON.]All rights reserved.Charles J. Garard
only a small percent of the revenue. The bestis a writer and professor of British
years for ticket sales, added Justus, wereliterature, American literature, mythology,
during World War II.While Justus was anand film studies. He has taught for two
officer in the Navy in 1943, a fire startedcolleges, two community colleges, and two
in the furnace and consumed the entireuniversities (most recently a university in
theatre. His uncle, prominent architect EdgarAnshan, China). His nonfiction book on film
Payne, drew up blueprints for a wider,POINT OF VIEW IN FICTION AND FILM: FOCUS ON
single-floor theatre, and construction beganJOHN FOWLES is available from Amazon. His
immediately under Kirschner's supervision.interests include mainstream fiction (with
The new building had no balcony, but it didhis father's movie theatres forming the
contain a soundproof cry room on the secondbackground of two novels), science-fiction
floor. The seating capacity of the theatretime travel, and horror; he is now working on
was 500 seats, and this was later reduced toa novel about Atlantis and is gathering his
350.In the late 1930s, Justus remodeled annotes for a novel about China. He lives in
older building into a theatre in Dallas City,Atlanta, Georgia, USA.



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