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.