MRTFFY Wednesday, March 31,1976 - University of Albertavruetalo/Sarli-Bo Research/Variety... ·...
1
40 LATIN AMERICA *• o #•..• MRTFFY Wednesday, March 31,1976 .'•" y Shifting Underground Films .(Continued from page 35). houses operate in greater New York and New Jersey. Over the past year a reverse trend to go back to Hispano salles has been noted, though with subtitled Yank pix. The Hudson off Times Square, tried and dropped Spanish product, another venturing into languages was the Edison in January, also in Man- hattan. The same thing happened with the Rio Piedras in Brooklyn. Switch In Chicago Similarly in Chicago, where 80% of the Hispano population is Mexi- can, there were four salles 10 years ago. Now there are 12. Jaime Gillette of Lana Films (firm re- cently joined up with Aquarius Films for national release of Span- ish subtitled fare, with h q. in Chi- cago) says he distributed 35 films in 1975, and he's already added eight others for 1976, mostly from Mexico, Argentina and Spain. But thererhas beM a major qualitative development, ft About three years ago, with the advent of KfingVu and black films many- Latmffcircuits switched-over from purelfoHispano product to Yank subrfnid fare. Josephine Frias of the Carady exhib circuit which runs the Eagle and Presi- dent salles in New York, plus six more in Puerto Rico (Carady is also building a 5-theatre complex in Santo Domingo) said: "We were forced to close the Hispano houses for a while due to shortage of material. Now we've been playing Yank product, sometimes with sub- titles, though on others we're run- ning them in straight English, like 'Jaws,' 'Benji' and 'Mahogany.' Exceptionally, we'll still release a film like Tonio Bicicleta' (Tony Bicycle), a Puerto Rican produc- tion which did well in Gotham) in Spanish. People no longer seem in- terested in Mexican and Argenti- nian films, unless they're with some well-known star like Cantinflas, Sandro, Raphael or Libertad Lamarque." Probably the best Latin s&llejin New York is the twin Cine 1 and 2 located right on Times^ijuare which unspools exclusively Span- ish-lingo fare. It is a comfortable, speckless house comparable to any East Side salle. Each of the twins seats 249. "Cantinflas is still the big- THE JKCK SIDNEY ORGkNISKTION INTERNATIONAL ENTERTAINMENT CONSULTANTS REPRESENTING PERSONAL APPEARANCE TOURS IN CENTRAL AND SOUTH AMERICA BOOKING & PROMOTION SUPERVISION FOR ARENA, THEATRICAL & SPORTS EVENTS CURRENT ATTRACTIONS ON TOUR INCLUDE: Rogai Liuizzan SiaHion snow annual Of Brazil uri THE JkCK SIDNEY ORGkNISkTION 4605 IANKERSHIM BOULEVARD, SUITE 801 NORTH HOLLYWOOD, CA 91602 (213) 763-6258 ••< te !jM Felicidades CADENA METROPOLITANA DE TEATROS EN ESPANOL METROPOLITAN THEATRES •;-•! -J teb iumA '-•tlqiW snixrutisigQ- .s8 >* i3'-nt-. ' a '"/'/ .gfii .jJOC !., XlhliV: m *f.oq3 MS'.W-'.i isob'j CORPORATION LOS ANGELES. CAUFORNIA gest draw," said manager Sergio Medina. "He can gross $100,000 na- tionwide, in Latin salles. But he's an exception. Till now the only Span- ish (from Spain) pix that have done any biz are Raphael and Sara Mon- tiel starrers. The latter's 'Varietes' grossed about $30,000 in our situa- tion. But since expenses run about $20,000 for royalties, cost of five prints, trailers, advertising etc. it was a dead loss." Medina explained that the Mexi- can circuits have virtually com- plete control of the Coast, whereas in New York the scene is more varied, since audiences are a mix- ture of Puerto Rican and South American. Even in New York the Mexican pix are popular, however. "They have been coming in for so many years that people are used to them. And the industry is stable, not like Argentina, for example," he added. Shows in the Cine 1 and 2, like in most Latin houses, run usually only one week, though a Sandro or Isa- bel Sarli film (two popular Argen- tinian thesps) might run four-six weeks. Sarli's "Amor y Sexo" un- spooled with English subtitles, while "The Virgin Goddess" was shown only in the Spanish version. Also run with English titles were the Peruvian "La Muralla Verde" by Armando Robles Godoy, and Spain's "Goodbye, Stork, Good- bye." In 1974, "Intimidad de una Prostituta" ran 11 weeks. The Times Square Latin twins unspool about 75% Mexican pro- duct, 20% from Argentina and 5% from other Latin areas and Spain. Medina reports he deals with Azteca and Col for product, or di- rectly with Argentinian distribs, who usually send only one print of a film. Biggest hits in 1975 in the twins were the Mexican "Valle de los Miserables" ("Valley of The Miser- able") , $20,000 gross in two weeks, "Tonio Bicicleta," $50,000 in one week showcase release in N.Y., at $2.50 b.o. admish (usual price is $2), "La Isla de los Hombres Solos," Mexican, followed by "Seguro de Castidad," Argentinian. "Valle de los Miserables" had a showcase re- lease all around New York, and was then dubbed into English and sold to some Yank circuits. In eight Go- tham salles it grossed $71,322 in Feb. 1975, per Azteca. Another popular pic was "My Adventure in Puerto Rico" which grossed $65,000 in eight Gotham salles. "Grosses for '75 in the twins," said Medina, "are over 1974. We're now operating in the black. 1975 totals are $600,000 for the twins, compared to $500,000 in 1974." Puerto Rico Lures —(Continued from page 35)— cians. Though admittedly the island's facilities are still modest, it does have the excellent video studios, good climate and naturally attrac- tive regions, a competent casting agency run by Janet Gomez, who sez she has about 100 male and female models, a "beautiful slice of life," as she put it, as well as a good deal of equipment and facilities, used mostly by several big adver- tising film companies on the island. Puerto Rico has produced a number of its own Spanish-lingo films such as "Amor y Sangre" ("Love and Blood"), "Yeyo," shot in New York, directed by Anthony Felton, "La Noche de San Juan," directed by Felipe Curiel, and most recently "A Little Man in a Small Corner," by Camilo Vila. Foreign productions that have lensed on Puerto Rico include the Mexican "Kill the Lion," and Yank pix such as "Bananas," "Che," "Lord of the Flies," "The Private Navy of Sgt. O'Farrell," etc. Hispano Show Biz Cyclone .(Continued from page 38), films a year, as does Colombia. In the latter country ambitious plans are shaping up, as indie pro- ducers try to hypo the industry and create a film office, but again one must wait and see. The remaining countries such as Chile, Uruguay, Ecuador, Paraguay, Bolivia and Central America have no pro- duction to speak of. They are strict- ly consumer markets for cine and video. In Puerto Rico some 30 features have been lensed over the years, and the island is presently making efforts to attract production. Cuba too has been fairly active over the past few years; some of its films were entered in festivals and the island could make a comeback as a market, depending on the poli- tical situation, as evidenced by Spanish Television's recent incur- sions there. Santo Domingo has at- tracted some foreign productions to its shores, mainly William Fried- kin's "The Sorcerer." About Television In video, Argentina and Peru have for the most part been disas- trously nationalized, with resulting losses in revenue, quality and pres- tige. Mexico's privately-owned near-monopoly Televisa continues to be the Hispanic giant, supplying novelas (soap operas) and musical shows to much of the remainder of the Latin world; it is followed by Venevision and Radio Caracas in Venezuela, upcoming novela-pro- ducers, and the three private sup- pliers in Colombia: RTI, Caracol and Punch. The biggest video operation of them all is Rio's TV Globo, a giant conglomerate whose sales are mushrooming. Its main competitor in Brazil, Rede Tupi, is making a comeback too; several new webs are in the offing, mostly privately owned. The only other video producers of any signi- ficance are WAPA in Puerto Rico, whose ownership is on the verge of being transferred from Columbia Pictures to other Yank interests, and Telemundo, which also has production. Yank Latin webs are strictly on the receiving end. They buy programs from abroad, and are seemingly doing well at the moment. Summing Up The overall trend is towards cul- tural and economic expansion throughout, as a growing middle class emerges and governments grapple with the huge health, educational, economic and poli- tical problems which till now have put a demurrer on full develop- ment. Though the illiterate, downtrod- den sectors are there in plenty, other strata are emerging to boost leisure-time operations. Contacts and feedback with the rest of the world are still very rudimentary; even among the Latin American nations themselves there is wide- spread ignorance of what each nation's neighbor is doing. Animosi- ties, cultural complexes and airs of condescension and nationalism blur common goals. Hopefully, 1976 will be the year not, of course, for a complete breakthrough, but for the first steps towards establishing a heightened awareness of what is myth and what is reality in Latin America. Response from some Latin sec- tors and interest in promoting their own countries, specifically through this Variety issue, has been en- couraging, though unfortunately many companies continued to be bogged down by shortsighted manana attitudes and by ignor- ance of how the international enter- tainment game is played. Cost Of Brazil Blurbs; Cigarets Lead Spot Ads Rio de Janeiro. Spot advertising in Brazilian video runs usually 15, 30 or 60 sec- onds, with biggest advertiser being cigarets, followed by cars, cos- metics, supermarkets (on local sta- tions) . Top price for a 30-second com- mercial, for the "Fantastico" show on Sunday at 8 p.m., costs 66,465 cruzeiros (about $7,600). That price is for national coverage on the Globo network. Price for a similar spot during the "Bravo" telenovela at 7 p.m. Mon.-Fri. is 46,545 cru- zeiros (or $5,300), dropping down to about $2,500 for "Disney- land" or the 6:20 novela, "A Moreninha." Spots during programs like "Ko- jak," Italo films, drama sessions, etc., which unspool at 11 p.m. on weekdays, cost around $1,600 for 30 seconds. Cost of commercials on other webs is cheaper. WORLDWIDE ENCYCLOPEDIA OF FILM AWARDS 6.000 titles and 5.600 names of 396 awards granted to all kinds of films all over the world. "A must for all libraries" CBA. "A book for long time nei-ded" HispanicAmerican Arts. send us $6.50 by check to E.DARINO—PO BOX5173GCS NEW YORK. NY. 10017.USA. TEL. 212: 335-6682 \}zxmo4.£.LL£. y^zocLuctioni RADIO-MOVIE-THEATER AND TV. 95-06 37th. Ave. New York 11372 Jackson Heights N.Y. U.S.A.
Transcript of MRTFFY Wednesday, March 31,1976 - University of Albertavruetalo/Sarli-Bo Research/Variety... ·...
40 LATIN AMERICA *• o #•..• MRTFFY Wednesday, March 31,1976 .'•" y
Shifting Underground Films .(Continued from page 35).
houses operate in greater New York and New Jersey. Over the past year a reverse trend to go back to Hispano salles has been noted, though with subtitled Yank pix. The Hudson off Times Square, tried and dropped Spanish product, another venturing into languages was the Edison in January, also in Manhattan. The same thing happened with the Rio Piedras in Brooklyn.
Switch In Chicago Similarly in Chicago, where 80%
of the Hispano population is Mexican, there were four salles 10 years ago. Now there are 12. Jaime Gillette of Lana Films (firm recently joined up with Aquarius Films for national release of Spanish subtitled fare, with h q. in Chicago) says he distributed 35 films in 1975, and he's already added eight others for 1976, mostly from Mexico, Argentina and Spain. But thererhas beM a major qualitative development, ft
About three years ago, with the advent of KfingVu and black films many- Latmffcircuits switched-over from purelfoHispano product to Yank subrfnid fare. Josephine
Frias of the Carady exhib circuit which runs the Eagle and President salles in New York, plus six more in Puerto Rico (Carady is also building a 5-theatre complex in Santo Domingo) said: "We were forced to close the Hispano houses for a while due to shortage of material. Now we've been playing Yank product, sometimes with subtitles, though on others we're running them in straight English, like 'Jaws,' 'Benji' and 'Mahogany.' Exceptionally, we'll still release a film like Tonio Bicicleta' (Tony Bicycle), a Puerto Rican production which did well in Gotham) in Spanish. People no longer seem interested in Mexican and Argentinian films, unless they're with some well-known star like Cantinflas, Sandro, Raphael or Libertad Lamarque."
Probably the best Latin s&llejin New York is the twin Cine 1 and 2 located right on Times^ijuare which unspools exclusively Spanish-lingo fare. It is a comfortable, speckless house comparable to any East Side salle. Each of the twins seats 249. "Cantinflas is still the big-
THE JKCK SIDNEY ORGkNISKTION
INTERNATIONAL ENTERTAINMENT CONSULTANTS
REPRESENTING PERSONAL APPEARANCE
TOURS IN CENTRAL AND SOUTH AMERICA BOOKING & PROMOTION SUPERVISION
FOR ARENA, THEATRICAL & SPORTS EVENTS
CURRENT ATTRACTIONS ON TOUR INCLUDE:
Rogai Liuizzan SiaHion snow
annual Of Brazil uri THE JkCK SIDNEY
ORGkNISkTION 4605 IANKERSHIM BOULEVARD, SUITE 801
NORTH HOLLYWOOD, CA 91602 (213) 763-6258
••< t e ! j M Felicidades CADENA METROPOLITANA
DE TEATROS EN ESPANOL
METROPOLITAN THEATRES
•;-•! -J
teb iumA '-•tlqiW
snixrutisigQ-.s8 >* i3'-nt-. ' a '"/ ' / .gfii .jJOC !., XlhliV: m *f.oq3 MS'.W-'.i isob'j
CORPORATION
LOS ANGELES. CAUFORNIA
gest draw," said manager Sergio Medina. "He can gross $100,000 nationwide, in Latin salles. But he's an exception. Till now the only Spanish (from Spain) pix that have done any biz are Raphael and Sara Mon-tiel starrers. The latter's 'Varietes' grossed about $30,000 in our situation. But since expenses run about $20,000 for royalties, cost of five prints, trailers, advertising etc. it was a dead loss."
Medina explained that the Mexican circuits have virtually complete control of the Coast, whereas in New York the scene is more varied, since audiences are a mixture of Puerto Rican and South American. Even in New York the Mexican pix are popular, however. "They have been coming in for so many years that people are used to them. And the industry is stable, not like Argentina, for example," he added.
Shows in the Cine 1 and 2, like in most Latin houses, run usually only one week, though a Sandro or Isabel Sarli film (two popular Argentinian thesps) might run four-six weeks. Sarli's "Amor y Sexo" un-spooled with English subtitles, while "The Virgin Goddess" was shown only in the Spanish version. Also run with English titles were the Peruvian "La Muralla Verde" by Armando Robles Godoy, and Spain's "Goodbye, Stork, Goodbye." In 1974, "Intimidad de una Prostituta" ran 11 weeks.
The Times Square Latin twins unspool about 75% Mexican product, 20% from Argentina and 5% from other Latin areas and Spain. Medina reports he deals with Azteca and Col for product, or directly with Argentinian distribs, who usually send only one print of a film. Biggest hits in 1975 in the twins were the Mexican "Valle de los Miserables" ("Valley of The Miserable") , $20,000 gross in two weeks, "Tonio Bicicleta," $50,000 in one week showcase release in N.Y., at $2.50 b.o. admish (usual price is $2), "La Isla de los Hombres Solos," Mexican, followed by "Seguro de Castidad," Argentinian. "Valle de los Miserables" had a showcase release all around New York, and was then dubbed into English and sold to some Yank circuits. In eight Gotham salles it grossed $71,322 in Feb. 1975, per Azteca.
Another popular pic was "My Adventure in Puerto Rico" which grossed $65,000 in eight Gotham salles.
"Grosses for '75 in the twins," said Medina, "are over 1974. We're now operating in the black. 1975 totals are $600,000 for the twins, compared to $500,000 in 1974."
Puerto Rico Lures —(Continued from page 35)—
cians. Though admittedly the island's
facilities are still modest, it does have the excellent video studios, good climate and naturally attractive regions, a competent casting agency run by Janet Gomez, who sez she has about 100 male and female models, a "beautiful slice of life," as she put it, as well as a good deal of equipment and facilities, used mostly by several big advertising film companies on the island.
Puerto Rico has produced a number of its own Spanish-lingo films such as "Amor y Sangre" ("Love and Blood"), "Yeyo," shot in New York, directed by Anthony Felton, "La Noche de San Juan," directed by Felipe Curiel, and most recently "A Little Man in a Small Corner," by Camilo Vila.
Foreign productions that have lensed on Puerto Rico include the Mexican "Kill the Lion," and Yank pix such as "Bananas," "Che," "Lord of the Flies," "The Private Navy of Sgt. O'Farrell," etc.
Hispano Show Biz Cyclone .(Continued from page 38),
films a year, as does Colombia. In the latter country ambitious
plans are shaping up, as indie producers try to hypo the industry and create a film office, but again one must wait and see. The remaining countries such as Chile, Uruguay, Ecuador, Paraguay, Bolivia and Central America have no production to speak of. They are strictly consumer markets for cine and video.
In Puerto Rico some 30 features have been lensed over the years, and the island is presently making efforts to attract production.
Cuba too has been fairly active over the past few years; some of its films were entered in festivals and the island could make a comeback as a market, depending on the political situation, as evidenced by Spanish Television's recent incursions there. Santo Domingo has attracted some foreign productions to its shores, mainly William Fried-kin's "The Sorcerer."
About Television In video, Argentina and Peru
have for the most part been disastrously nationalized, with resulting losses in revenue, quality and prestige. Mexico's privately-owned near-monopoly Televisa continues to be the Hispanic giant, supplying novelas (soap operas) and musical shows to much of the remainder of the Latin world; it is followed by Venevision and Radio Caracas in Venezuela, upcoming novela-pro-ducers, and the three private suppliers in Colombia: RTI, Caracol and Punch. The biggest video operation of them all is Rio's TV Globo, a giant conglomerate whose sales are mushrooming. Its main competitor in Brazil, Rede Tupi, is making a comeback too; several new webs are in the offing, mostly privately owned. The only other video producers of any significance are WAPA in Puerto Rico, whose ownership is on the verge of being transferred from Columbia Pictures to other Yank interests, and Telemundo, which also has production. Yank Latin webs are strictly on the receiving end. They buy programs from abroad, and are seemingly doing well at the moment.
Summing Up The overall trend is towards cul
tural and economic expansion throughout, as a growing middle class emerges and governments grapple with the huge health, educational, economic and political problems which till now have put a demurrer on full development.
Though the illiterate, downtrod
den sectors are there in plenty, other strata are emerging to boost leisure-time operations. Contacts and feedback with the rest of the world are still very rudimentary; even among the Latin American nations themselves there is widespread ignorance of what each nation's neighbor is doing. Animosities, cultural complexes and airs of condescension and nationalism blur common goals. Hopefully, 1976 will be the year not, of course, for a complete breakthrough, but for the first steps towards establishing a heightened awareness of what is myth and what is reality in Latin America.
Response from some Latin sectors and interest in promoting their own countries, specifically through this Variety issue, has been encouraging, though unfortunately many companies continued to be bogged down by shortsighted manana attitudes and by ignorance of how the international entertainment game is played.
Cost Of Brazil Blurbs; Cigarets Lead Spot Ads
Rio de Janeiro. Spot advertising in Brazilian
video runs usually 15, 30 or 60 seconds, with biggest advertiser being cigarets, followed by cars, cosmetics, supermarkets (on local stations) .
Top price for a 30-second commercial, for the "Fantastico" show on Sunday at 8 p.m., costs 66,465 cruzeiros (about $7,600). That price is for national coverage on the Globo network. Price for a similar spot during the "Bravo" telenovela at 7 p.m. Mon.-Fri. is 46,545 cruzeiros (or $5,300), dropping down to about $2,500 for "Disneyland" or the 6:20 novela, "A Moreninha."
Spots during programs like "Ko-jak," Italo films, drama sessions, etc., which unspool at 11 p.m. on weekdays, cost around $1,600 for 30 seconds. Cost of commercials on other webs is cheaper.
WORLDWIDE ENCYCLOPEDIA OF
FILM AWARDS 6.000 t i t l es and 5.600 names of 396 awards granted to all k inds of films all over the world. " A must for all l i b r a r i e s " CBA. " A book for long time nei-ded" HispanicAmerican Arts .
send us $6 .50 by check to E.DARINO—PO BOX5173GCS NEW YORK. NY. 10017 .USA.
TEL. 212: 335-6682
\}zxmo4.£.LL£. y^zocLuctioni RADIO-MOVIE-THEATER AND T V .
95-06 37th. Ave. New York 11372
Jackson Heights N.Y. U.S.A.
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