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Prisoner Garth Drabinsky Returns to Work on Day-Parole

Photo of Tom Brueggemann By Tom Brueggemann | Thompson on Hollywood February 21, 2013 at 4:13PM

Garth Drabinsky, the Canadian entertainment mogul whose acquisition of American movie theaters in the 1980s sparked the consolidation of exhibition that continues to this day, has been granted day-parole after serving 17 months of a five-year prison sentence in Ontario. The 63-year old Drabinsky, a larger-than-life impresario who also produced movies and Broadway shows as well as restoring theaters, had been convicted along with partner Myron Gottlieb of fraud in relation to the loss of hundreds of millions of investors' money at their public company Livent. That included fleecing former uber-agent Michael Ovitz by cooking the Livent books before selling him the comnpany, which he eventually had to take into bankruptcy.
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Garth Drabinsky
Garth Drabinsky

Garth Drabinsky, the Canadian entertainment mogul whose acquisition of American movie theaters in the 1980s sparked the consolidation of exhibition that continues to this day, has been granted day-parole after serving 17 months of a five-year prison sentence in Ontario. The 63-year old Drabinsky, a larger-than-life impresario who also produced movies and Broadway shows as well as restoring theaters, had been convicted along with partner Myron Gottlieb of fraud in relation to the loss of hundreds of millions of investors' money at their public company Livent. That included fleecing former uber-agent Michael Ovitz by cooking the Livent books before selling him the comnpany, which he eventually had to take into bankruptcy. (There are multiple reasons why the Canadian mogul was often called "Darth" Drabinsky.)

Drabinsky has been transferred to a Toronto halfway house for what is expected to be several months, but is now able to return to his office during the daytime while still confined overnight. In typical Drabinsky fashion, according to a report yesterday in the Toronto Star, he already is at work on two projects -- a remake of his 1980 horror film success "The Changeling" and a stage musical adaptation of his 1988 Shirley Maclaine-starring movie "Madame Souzatzka."

Drabinsky's flamboyant career was captured in the documentary "Show Stopper," shown at last year's Toronto International Film Festival (an event to which he had close ties). It traced his rise from a young lawyer involved with taking advantage of Canadian tax and film finance laws to producer of such films as "The Silent Parter" and "The Tribute," and exhibitor at Cineplex Odeon theaters. He built (on a smaller-scale) the prototype for cinemas with far more than the one-to-four screen standard in the early 1980s. First in Toronto, then expanding in Canada, Cineplex had its first foray into the United States with the Beverly Center in Los Angeles, at its time a revolutionary change in local theater design and programming.

Drabinsky then shocked the industry by rapidly building an American empire. He bought Plitt Theaters (which dominated Chicago, but also had theaters throughout the South as well as Los Angeles) and then quickly acquiring other chains in New York and elsewhere, which shook up the dormant exhibition industry and led to several chains, most of whom had been only slowly expanding (AMC, General Cinema, Redstone, Loews and others) to buy out local ownership and eventually each other to the point where today most of the country's top-grossing top screens are owned by only a handful of companies (AMC, Regal and Cinemark).

He then established a film production and distribution entity at Cineplex Odeon, handling films such as "The Glass Menagerie" directed by Paul Newman, "Jackknife" with Robert DeNiro and Prince's "Sign o' the Times" among others. Back in Canada, the company controlled about half the theaters and had a more substantial distribution role.

This article is related to: Exhibition, News


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Thompson on Hollywood

Born and raised in Manhattan, Anne Thompson grew up going to the Thalia and The New Yorker and wound up at grad Cinema Studies at NYU. She worked at United Artists and Film Comment before heading west as that magazine's west coast editor. She wrote for the LA Weekly, Sight and Sound, Empire, The New York Times and Entertainment Weekly before serving as West Coast Editor of Premiere. She wrote for The Washington Post, The London Observer, Wired, More, and Vanity Fair, and did staff stints at The Hollywood Reporter and Variety. She eventually took her blog Thompson on Hollywood to Indiewire. She taught film criticism at USC Critical Studies, and continues to host the fall semester of “Sneak Previews” for UCLA Extension.