Arizona Republic from Phoenix, Arizona • Page 62

mi EDITIONS The Arizona Republic Friday, November 6, 1981 'Halloween II' perpetuates the slashing gore genre i- IV v. Advertisers turning toward cable TV By David Crook Los Angeles Times HOLLYWOOD Here's a short course in the economics of television that explains why the big three commercial networks may be in so much trouble today. The explanation is courtesy of John B. Vanderzee, advertising manager of the Ford Motor Lincoln-Mercury Division. "As the price of a car goes up, clearly there are fewer and fewer people who can afford it or aspire to it," Vanderzee said in a recent telephone interview from Detroit.

"As the price of your product goes up, the attractiveness of network advertising goes down." The three most important letters in television are not ABC, CBS or NBC. They are CPM, which means "cost per thousand" a ratio between the cost to an advertiser of a TV commercial and the number of people who see it. Networks make so much money because their CPMs are generally much lower than newspapers, magazines or other media. Even with 80 million or more people watching a network broadcast, an advertiser may wind up spending only $4 to $5 for every 1,000 people who see his commercial. A similar advertisement in a magazine with a couple of million readers may cost $15 to $20 per For more than 30 years, the networks have used their low CPMs to lure the big bucks of advertisers.

Now, some aren't buying. The old network CPM pitch "doesn't really do me any good at all," Vanderzee said, "because so few of the audience can really consider purchasing the product. Cable TV viewers are more likely to be able to purchase." So Ford, like some other big companies, is taking money away from the commercial networks and spending it in cable. Cable CPMs are higher, but, as Vanderzee explained, "Cable would appear to me a way to reach better new car prospects. That's enough to send shivers down the back of any network executive.

Last year, Ford spent more than $125 million with the networks. Now, some of that money "not a major percentage," Vanderzee said that used to go to ABC, CBS or NBC is going to cable networks. By Michael Maza Republic Staff It's time to continue our visit to the browned-out community of Haddonfield, where the population of insufferable teenagers is being whittled down by an escaped, mental patient named Michael Myers. You will recall when we began, on Oct. 31, 1978, (in Halloween, the most-profitable independently made movie ever) that Michael, 21, had returned to the town where he killed his trysting sister 15 years previously.

After dispatching the sexually active Annie, Lynda and Bob, Michael set upon virginal Laurie (Jamie Lee Curtis). Just as Laurie was about to lose the last fall in their protracted struggle, in burst Loomis (Donald I'leasence), Michael's psychiatrist. A most-practical physician, Loomis shot his patient six times with a very large handgun. Michael fell out a window, and by the time Loomis got outdoors, the body was gone. After recapping this last scene, Halloween II picks up the action with Loomis' scientific explanation of Michael's apparent indes-truotability.

"I shot him six times in the heart he can't be human!" he says. Laurie is whisked to the local clinic, where a drunken doctor (the first of several authority figures to be raspberried here) sedates her and binds her wounds. Meanwhile, Michael obtains a new knife and stalks the shadowy streets of Haddonfield, headed toward the clinic and another dragged-out chase and grapple with Laurie. Halloween won a following that extended beyond cultists through its simple dedication to scaring audiences limp. A touch of macabre humor and some unusual camera work, especially director John Carpenter's imaginative use of the full, wide Panavision frame, added a touch of class to the low-budget project.

HALLOWEEN II A Universal release of a Moustapha Akaad presentation of a Dino De Laurentiis Corp. film produced by John Carpenter and Debra Hill, directed by Rick Rosenthal from a screenplay by Carpenter and Ms. Hill. Cinematography by Dean Cundey. Cast: Jamie Lee Curtis, Donald Pleasence.

Rated R- In the sequel, co-written and co-produced by Carpenter and Debra Hill, but directed by Rick Rosenthal, we get a thinner atmosphere. There are a couple delicious thrills, but on the whole Halloween is your basic teen-age exploitation picture. Picking up a few tricks from their imitators (most notably Friday the 13th), the film makers this time go heavy on blood and graphic mayhem, light on tension. Most of that is of the don't-open-that-door variety. By my count, 14 people are sliced, impaled, strangled, drained, blown up or otherwise murdered in Halloween II.

As is the fashion, the hit list is heavy on teen-age girls, especially teen-age girls who are enjoying tests of their newfound powers of sexual allure; the kind of girls that age boys used to call "teases." This is diverting to a certain segment of the movie-going populace a segment to which I don't belong. Indeed, about the only worthwhile comment from this corner is a fervent hope that one of Ms. Hill's comments in the film's production riotes are on the mark. "We started the (teen-age slasher movie) cycle with Halloween, and maybe we'll end it with Halloween II." SECOND OPINION: From Janet Ivjaslin, the New York Times: Actually, Halloween II is good enough to deserve a sequel of its own. Dr.

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