Exhibitors Herald (Dec 1922 - Mar 1923)

January 20, 1923 EXHIBITORS HERALD 39 THE THEATRE A department of practical showmanship Film Circus, Cleveland Invention, Counteracts Periodical Depressions Market Notes Press time reports, too late to illustrate, on exploitation of the new attractions. "Brothers Under the Skin" ■ KANSAS CITY. — Frank L. Newman of. the Royal theatre departed from custom for ''Brothers Under the Skin." fostering a motor parade of ten cars v\'n ich drew such good results that street lallyhoo is regarded in a new light by lie management. "Blood and Sand" GREENFIELD, Mass. — The Red 'ross used a full page in red in the news>aper edition which carried the first full >age smash of the Lawler theatre for Blood and Sand" and the color was jranted the theatre ad also without adlitional charge. Results were so good hat the theatre repeated in green for Manslaughter," paying full rates. "Oliver Twist" LOUISVILLE.— The Louisville Theare Guild, supported by the Louisville Fniversity Players' Club and aided by wo newspapers, conducted a contest for eaders involving original 20-minute >lays" taken from any episode in the )ickens' novel, "Oliver Twist." Stuart \ alker and the local dramatic critics cted as judges. The Mary Anderson lieatre will play the First National picure, "Oliver Twist." "Pink Gods" SALT LAKE CITY.— Boyd Park, ading jeweler, made up a $100,000 indow display of diamonds to advertise ne showing of "Pink Gods" at the 'aramount-Empress theatre. "Silver Wings" INDIANAPOLIS.— The Apollo theae exhibited the first reel of "Silver . ings" in the window of the Indian^olis News to an estimated pedestrian idience of 25,000. The newspaper had ;viewed the picture as "Better than )ver the Hill.' " "Skin Deep" PHILADELPHIA. — The Frankfort leatrc and the Frankfort Post of the merican Legion associated interests in Skin Deep" and the magazine published V the latter organization carried excelnt advance notices for the picture. "Clarence" BINGHAMTON, N. Y.— A newspaper id 19 merchants co-operated with Ned ornblite and Harry Royster in putting er a "Raffles" stunt for "Clarence" inilving a double spread with time schede of^the mysterious stranger's -visits to pres. A card reading, "Clarence Bids ou Good Morning" was put in the mail >x of all hotel guests. "My Wild Irish Rose" LOGANSPORT, Ind.— W. H. Lindy, Paramount theatre, attached a monograph playing "My Wild Irish >se to the amplifier of his radiophone d placed the whole upon the top of s theatre. The machine was slowed wn and a weird effect produced. "Film Circus," a motion picture performance including four feature length attractions and presented once each evening at a special admission price ranging from 50 cents to one dollar, is the invention of A. W. Kaufman of the Victory and Strand theatres, .Cleveland. The stunt is an effective tonic for such periodical depressions as the best managed theatre is heir to. As worked out in Cleveland, the programs are used three days in succession. The performance is started between six and seven o'clock and no part of the program is repeated. The original admission scale is maintained throughout the evening, but few tickets can be sold as the theatre is packed to capacity at or immediately after opening. The Kaufman program is the nearest approach to the motion picture equivalent of the big top show that has been made, if special presentations of extra length features at stage prices are expected. The phrase, "Film Circus," may be used effectively in advertising. Selection of features for such a program is a matter of considerable importance, as it is possible here to satisfy practically every element of the clientele. Obviously, quality must not be made secondary to quantity if the stunt is expected to prove of enduring value. Short subjects sprinkled through the program add the important virtue of variety. The inventor uses the stunt monthly. A Better Theater Platform 5. Advertising First In the scheme of things theatrical exploitation figures most prominently in news headlines and trade discussion. Not in box office results. Advertising has the obvious assets of assured newspaper circulation and authorial maleability. Its user goes to a waiting public, not one which he must interrupt and hold. To this public he presents his case in exactly the form in which he desires it to be presented. Generations of readers contribute assurance that his case will be weighed upon the merits with which he has endowed it. There is practically no risk of back-fire. Exploitation, generally, must find its public, interrupt that public in other activities and enforce its message upon public consciousness in the briefest possible space of time. There is no dependable means of safeguarding the import of the appeal. There is always risk of back-fire. In view of these, the more obvious comparisons, it is clear that a sound theatre policy must recognize the claim of advertising to first consideration. Second consideration due exploitation should be no less careful because of rank. Good exploitation is a powerful instrument for box office stimulation. It will become a better one as it is developed and improved and as the public is trained to grasp its significance. Yet exploitation never conflicts with advertising. Apparent, then, the folly of neglecting the latter for the former. Advertising is first.