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

Over forty years ago, a movie theatre didn't need totheatre, he recalled, had a "beautiful front lobby with
be located in a shopping mall to attract sufficientwalk-up front steps" which "later became illegal
patrons. As other small, privately owned businessesbecause it was a fire hazard." The Dallas Theatre
had done before them, small-town movies theatresmade a profit during World War II but , he added, was
survived -- and, in some cases, even thrived -- forthe first of his three small-town theatres to "dry up." A
several decades. One may still occasionally findquonset hut theatre was constructed in the river town
independent theatres grinding away in small townsof Warsaw after World War II. It outlasted the older
located far enough away from metropolitan areas, buttheatre in Dallas City, but it never, according to Justus,
one is more likely to find abandoned buildings withmade money. A large theatre circuit made him a
empty marquess that often resemble the rustedconsiderable offer in the early 1950s for all three of his
prows of old ships. Some old theatre buildings servetheatres, but, despite the gradual shifting of populations
as shells for churches and small businesses, but evenaway from small communities, he declined. He said that
many of these buildings wear such skimpy camouflagehe just didn't want to get out of the theatre
that someone passing through town can easily guessbusiness.Television contributed to changes in the rural
the role they once played as a local center for acommunities, particularly when nearby Quincy acquired
shared community experience. After the nature of thea TV station in the early 1950s, but a shift away from
community changed, after the local people beganthe shared experience of small-town living was equally
identifying with the national television community, theto blame. Justus' theatres lost customers no faster
local exhibitors stepped up the public spectacle throughthan many other local businesses, such as furniture
promotional showmanship in order to revitalize not onlydealerships and dry goods stores. Despite efforts of
its role in the community but often the local communitytheatre exhibitors and other merchants to keep their
spirit itself. These converted marquees remind us notintegral roles alive in a shrinking community,
only of abandoned ships but of shabby circus tentstransportation facilitated the migration of residents to
that remain long after the circus has left town; theyurban areas where they established suburban
may bear few traces of their former role in thecommunities complete with ubiquitous shopping centers
community rituals, but the memories of the personaland malls. New theatres cropped up inside these
efforts of local showmen to keep the circus alive inshopping areas, later becoming twins and multiplexes,
the face of cultural change will keep that circus andbut they generally failed to offer patrons any sense of
the knowledge of the cultural significance alive withinparticipating in communal rituals. Watching films
us.Before people relied so heavily on automobiles, andprojected by automated equipment while seated
before they were afraid to walk more than a few cityamong strangers in a shoebox-sized shopping mall
blocks, many towns of less than a thousand peopletheatre (in some urban areas) bore little resemblance
had their own theatre which residents often labeledto the experience of watching a movie with neighbors
"the show house" or "the picture show." Residents ofand relatives at the local "show house."Patrons in small
the western Illinois town of Carthage, for example,communities did not have to wait sixteen weeks or to
saw two show houses in its business district not longdrive around the city for a new film because the small
after the beginning of the 20th century, but only one oftheatres ran several changes a week. Justus recalled
them survived for long. The Woodbine Theatre, namedthat his own theatres would run "a Sunday-Monday
after the crawling vine that grew on the east side ofmovie, a Tuesday bank night, a Wednesday-Thursday,
the brick building, was not the first theatre in the townthen a Friday and Saturday. We got to the point
of over three thousand people, but the showmanshipwhere we were open three days a week. First it was
of its owner caused the competition to go out ofThursday-Friday-Saturday-Sunday; then it was Friday,
business.The first Woodbine was converted into aSaturday, and Sunday." The Carthage community
theatre in 1917 by Charles Arthur Garard. C.A., as hesupported the theatre during the week nights in the
was called, had already operated a local dairy and alate 1950s and early 1960s, but the Warsaw Theatre
downtown ice cream parlor which offered five-centdwindled down to Saturday and Sunday showings,
ice cream sodas, confections, five-cent crushed fruitsometimes with a different film each night. Students
souffles, and a tobacco called Garard's Royal Blue. Hefrom the local four-year liberal arts college in Carthage
was a shrewd businessman, but he was also akept Friday night attendance strong at the Woodbine,
fanciful dreamer who needed to be held in check bybut high school football games severely limited Friday
his pragmatic and even shrewder wife. Bertha, whoattendance in Warsaw.Another factor that "made it so
often accompanied the silent movies shown in histough for the little towns," according to Justus, was
theatre with her piano, kept him from selling the theatrethat the independent exhibitors "couldn't get the
and drifting off into other projects, such as the growingproduct until it had played the bigger places," such as
of grapefruits in Florida. When C.A. died, she took overQuincy, which is about forty miles south of Carthage,
as proprietor until her youngest son, Justus, becameor Keokuk, which sits just across the Mississippi River
old enough to help her.Justus recalled in June of 1981on the southeastern tip of Iowa. Because he was an
how his father never really had a chance to enjoy anyindependent, he had to wait six weeks to play a film
substantial returns from the theatre for ten years afterthat was booked first in Quincy, Keokuk, or at other
he converted it. "We would've been out of business ifnearby circuit theatres. "If we could've played the film
it hadn't been for talking movies," Justus said, thethe next week," Justus added, "Why, the people would
earliest of which "were very hard to understand." Thehave stayed home to see it. But they knew that we
Woodbine was the first theatre in the area to showweren't gonna have it for awhile. So they'd go to
talking pictures, which were sound-on-disc like WarnerKeokuk."Among later gimmicks employed to stir local
Brothers' Vitaphone system (shown in thecommunity interest were Halloween midnight shows
black-and-white TV promos for the 1955 film HELENand four features run each New Year's Eve, but the
OF TROY and included in the DVD and VHS copiesbiggest seasonal event in Carthage was the annual
of that film). The first sound films were "onlyseries of merchant-sponsored Christmas films. Before
part-talkies. They would use some dialogue, then [theeach Christmas season, Justus purchased a Filmack
characters] would soar into song." Because soundtrailer for the merchants, and a salesman from St.
equipment was expensive to install, he and a friendLouis sold the merchants a spot on the trailer for
Oliver Kirschner constructed their own sound system.$37.50. The merchants were also given tickets or
Cast-iron record turntables were cast at an industrialcomplimentary passes for the theatre that were good
plant sixteen miles away in Keokuk, Iowa, andany time, but the Christmas films -- usually chosen for
attached to the projector drive. Since sound projectorsthe children of those parents who were encouraged
operated at 34 frames-per-second, they revised ato do Christmas shopping in town -- were shown free
way to speed up their projectors to synchronize theto the community. The popcorn, of course, wasn't free.
film with the soundtrack on the record. Occasionally,I can remember stuffing sacks full of popcorn and
"the needle would jump out of the groove," and thehanding them across the glass counter to pushy
projectionist would have to "pick it up and set it on thepatrons who had to pay. . . not $3.00. . . but ten
right groove by watching carefully and following thecents.The midnight Halloween showings of horror
sound." He recalled that they had to do this for two ordouble-features were the ones that I found to be
three years until the advent of sound-on-film.particularly fun. Justus often ran double bills like THE
Whenever the needles would jump from one grooveFLY and THE RETURN OF THE FLY and AIP's I
to the next because of over-modulation, theWAS A TEENAGE FRANKENSTEIN (1957) with UA's
customers would patiently wait for the projectionists toTHE RETURN OF DRACULA (1958). For the latter, in
synchronize the record with the film.The introduction ofWarsaw, I shaped white cardboard into a castle which
sound-on-film, which Justus recalled was here to staycovered the left exit. Above the exit, appropriately
by 1933, required that he, like other exhibitors, insert anenough for Halloween, was a clock which advertised a
expensive sound head into the projector. Becauselocal funeral home. (I often wondered why funeral
some films were released as sound-on-disc and somehome clocks were displayed in small movie theatres in
were released as sound-on-film, such as Fox'sthose days. Were patrons being reminded that their
Movietone system, many exhibitors had to chooselives were ticking away while the films were flickering
between one system or the other. "Consequently," saidon the screen?) I stretched a wire from the projection
Justus, "we weren't playing any Fox pictures.booth to the exit, located immediately to the left of the
Paramount came out with the records and Fox withscreen, and draped a white bed sheet over a clothes
the sound-on-film." Once he installed the sound-on-filmhanger. During a high point of one of the films, I stood in
system, he no longer used the disc system becausethe exit doorway with my girl friend and jerked on the
he was never "able to completely overcome thatstring attached to the hanger, intending to pull my ghost
wavery noise. The music would go up anddown to the exit over the heads of the audience. The
down."Although C.A. died shortly after theghost emerged from the small projection window on
sound-on-disc system was working, he never saw thecue, but the hanger became hung-up on the wire and
business at his theatre improve. Justus saw a gradualrefused to travel as I had intended. I tugged on the
improvement "along about 1937." This increase instring and it snapped, so the projectionist gave the
patronage came about not because many small-townhanger a push. When the houselights came on at the
citizens were interested in the latest technicalend of the feature, I saw my intended deus ex
improvements or in having their lives enriched by themachina suspended in plain view in the center of the
imaginative visions of such geniuses as Orson Welles;auditorium. Maybe this failure was why Justus limited all
they merely wanted entertainment that would whiskof my future promotion efforts to the lobby and
them away from their humdrum lives -- and an excuseoutside the theatre; maybe he decided that I had been
to get out of the house. They didn't expect to beinfluenced too much by the gimmicks of such master
surprised by the plot or ending and didn't really want toshowmen as William Castle (for such films as THE
be intellectually challenged. They were as excitedHOUSE ON HAUNTED HILL, THE TINGLER, MR.
about seeing their favorite romantic leads involved inSARDONICUS, HOMICIDAL, and THIRTEEN
the latest routine star vehicles as they were aboutGHOSTS). Of all of the Castle films that Justus played,
seeing the burning of Atlanta.The fact that GONEI can only remember the colored glasses for the
WITH THE WIND (1939) was a hit in Carthage may ororiginal THIRTEEN GHOSTS being particularly
may not have been the result of Justus renting theeffective. [Further details about horror movie
side of a barn where he and his friends pasted up apromotions can be found in the companion article
24-sheet display touting the popular classic. Many ofBLACK-AND-WHITE HALLOWEEN HORROR HITS: I
the films that we today regard as classics were, atWAS A TEENAGE UNDEAD WITCH, which is
the time, little more than run-of-the-mill programmers.available online.]These are only a few examples of
CASABLANCA (1942), for example, was merely apromotional machinations that were necessary to
modest romantic thriller with Humphrey Bogart andboost ticket sales for the second-run films shown by
Ingrid Bergman acting as stand-ins for our exoticindependent, small-town exhibitors. Many of the earlier
fantasies; they turned the attention of small-towngimmicks, such as bank night and merchant-sponsored
patrons away from their personal issues while theChristmas shows, brought in a few extra dollars, but it
caricatured Nazi villains provided targets for their anger.is doubtful whether the later and more flamboyant
In most instances, what was playing at the localgimmicks greatly affected ticket sales. BOXOFFICE
theatre was irrelevant, whether it be a film likemagazine and press sheets for the individual films
WIZARD OF OZ (1939), which initially did disappointingoffered exploitation tips, many of which required the
business but was later perceived to be a classic, orordering expensive supplies, but the struggling
films with appropriate titles like SMALL-TOWN GIRLindependent had to primarily rely on his own imagination
(1936). It was a community activity that was as vital toto create makeshift, inexpensive promotions.Justus
the town as the Saturday night band concerts whenGarard* claimed to be one of the last independent
the white-painted wooden bandstand was hauled toexhibitors in the area to go out of business. The
the center of Main Street.An activity that JustusWoodbine Theatre in Carthage was sold to the
promoted in his small town to help improve theatreneighboring auto dealer in 1969 and eventually
patronage was bank night. Bank night was a gimmickconverted into a showroom for new cars. The interior
that worked like this: the patrons would register in aof his theatre, when my brother and I saw it shortly
large book, and attached to each registration formafter it had been gutted for this purpose, resembled
was a numbered tag which Justus or an employeethe interior of the small-town movie theatre in the
placed in a large drum. The drum was hauled out insuperb and touching Italian film CINEMA PARADISO
front of the theatre audience after the first showing on(1989). The Dallas and Warsaw theatres, although
Tuesday nights where a local merchant or otherclosed long ago, still resemble movie theatres; the latter,
prominent citizen would draw out a number andused as a storage area for antiques, still has its prow
announce it to the audience. If the person holding thatof a marquee that juts out over the sidewalk. Not
number sat in the theatre at that moment, he or shemuch has changed in the river town of Warsaw, but
would claim the money. "If not," Justus added, "theon Saturday nights, without the bandstand with local
money was put into what we called bank night andcitizens playing instruments while kids skip around it,
held over until the next week. We'd add fifty dollars aand without the glittering marquee of the old movie
week." A fifty dollar night would hardly pay for thetheatre, Main Street seems much darker, and a lot
showing, and the theatre wouldn't start making moneylonelier. Perhaps only a few independent exhibitors, like
until the jackpot reached around $200 or $300. "Thenthose in small, midwestern towns like Carthage and
we'd fill the theatre," he said, and this didn't include "allWarsaw, resorted to the above-mentioned gimmicks,
the people who came down and gambled in theand perhaps the death knell for the mom and pop
afternoons." Of course, a weekly winner would havetheatre operation had been sounded long before the
wiped out the business, so Justus, like otherstaging of many of the later promotional efforts, but
independent exhibitors, took a gamble with thislike the sailors on ships which many of these
particular gimmick.Another gimmick to bolster limpingstill-existing theatre fronts resemble, the tenacious
ticket sales involved the distribution of sets ofindependents refused to go down without a fight.[Note:
silverware one piece at a time until the patron had*Justus Garard's statements were taken from an
collected an entire set. These sets -- knives, forks,interview conducted by Sam Garard in June 1981 at a
spoons, and ladles -- were easier to handle thanDaytona, Florida, cinema draft house owned by Sam
dishes; dishes were shipped in barrels and oftenat the time. I am indebted to both my father who
arrived broken. Unlike today, exhibitors actually madepassed away in May of 1988 and younger brother for
the bulk of their profits from ticket sales. The limitedthe information which supports my own recollections.
offerings of the concession stands in small theatres --Some of these memories have been utilized as
long before the days of hot dog warmers andbackground for my novels WATERFIELD and
cheese-covered tortilla chips -- provided only a smallCLOSED FOR THE SEASON.]All rights
percent of the revenue. The best years for ticketreserved.Charles J. Garard is a writer and professor
sales, added Justus, were during World War II.Whileof British literature, American literature, mythology, and
Justus was an officer in the Navy in 1943, a firefilm studies. He has taught for two colleges, two
started in the furnace and consumed the entirecommunity colleges, and two universities (most
theatre. His uncle, prominent architect Edgar Payne,recently a university in Anshan, China). His nonfiction
drew up blueprints for a wider, single-floor theatre, andbook on film POINT OF VIEW IN FICTION AND FILM:
construction began immediately under Kirschner'sFOCUS ON JOHN FOWLES is available from
supervision. The new building had no balcony, but it didAmazon. His interests include mainstream fiction (with
contain a soundproof cry room on the second floor.his father's movie theatres forming the background of
The seating capacity of the theatre was 500 seats,two novels), science-fiction time travel, and horror; he is
and this was later reduced to 350.In the late 1930s,now working on a novel about Atlantis and is gathering
Justus remodeled an older building into a theatre inhis notes for a novel about China. He lives in Atlanta,
Dallas City, Illinois, sixteen miles north of Carthage. TheGeorgia, USA.