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was a bit off. The Camberwell Rivoli (in
week three) always held the line.
Many cinemas could not justify a
one-week season for an inferior film,
offering a revival from the same studio
mid-week.
The Independent system in the early
fifties was a mature industry. Within a
few years the column would start to
shrink, but for now drive-ins and wide-
screen were still off the radar.
From its inauguration the week-by-
week release pattern weathered
tinkering and realignments. Unusual
blips include:
A contract dispute with Paramount
saw the St. Kilda Astor temporarily
switch to Warner Bros. product in the
early 1940s.
At this time the Newport Plaza and
Williamstown Empress, were on an
exclusive diet of film from Universal.
The New Mentone and Mordialloc
Regent achieved the distinction of pre-
release (week zero)
MGM/Paramount/BEF product. The
balance of the week was Hoyts product
from about week six.
Variations aside, the weekly
distribution was similar to the Hoyts
model, described in Part One (see
CR51), but without the consistency of
the Hoyts system. Inner suburban
theatres usually had first call on a new
release, before it began its outward
journey across the metropolitan area.
In the example that follows, the
Independent Theatres and Suburban
Entertainment entries are combined.
Theatres with a Robert
McLeish/Hoyts influence are shown in
italics, to highlight their hybrid style of
programming.

Why exhibitors wanted to do business with
MGM.
Opposite from top: Waterloo Bridge
(1940) with Robert Taylor and Vivien
Leigh, fresh from her triumph in Gone With
The Wind (an MGM release).
Outside the Metro Collins Street. Clark
Gable, fresh from his triumph in Gone With
The Wind , with new star Lana Turner. As
the trailer for Honky Tonk (1941) said, 'To
be specific, it's terrific'. The public
agreed.

Walter Pidgeon and Greer Garson -
Mrs. Miniver (1942). The film ran for an
extraordinary 24 weeks at the Metro.
CINEMARECORD 2006 23