No count has yet been made of the number of movie patrons who went to see The Seventh Veil in fond expectation that it would combine the most salient features of Salome and Minsky. It didn’t, of course: the veil that was lifted concealed only actress Ann Todd‘s innermost thoughts.
A more pertinent estimate made recently, however, indicates what producers have long suspected—that one-fourth of all movie-goers select their entertainment solely on the appeal of a film’s title. High-powered publicity, star casts, critics’ reviews and personal recommendations mean nothing to this phlegmatic 25 per cent. If the title “sounds pretty good”, they will pay their money without further ado.
Any businessman will tell you that 25 per cent is a figure to be treated with respect. In the move industry, it often means the difference between red ink and black. Small wonder that some of Hollywood’s highest-paid brains labor mightily over movie titles—occasionally bringing forth a mouse.
Twentieth Century-Fox had a sad experience when it first released Bob, Son of Battle, from the book of the same name. This was at a time when war stories were fast loving favor and movie-goers mistook it for a picture about the war. The thousands of dollars already spent to publicize the title had to be written off, and the opus—about a dog—relabeled Thunder in the Valley, a phrase which suggested intense conflict in a satisfactorily vague fashion.
Do not adjust your Internet. Yes, this gossip, though interesting, is slightly dated. It may still be somewhat relevant, however…
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