Exhibitors Herald (1927)

48 EXHIBITORS HERALD April 2, 1927 tify the cost of the picture, and leave a margin of profit that will be satisfactory. Were we to advertise this attraction the way the distributor suggests, we would be guilty of misrepresentation, for the picture is only an ordinary program picture, and by no means the special the distributor would have us believe. In this particular press sheet appears the following advice, neatly boxed: S. R. O. Dust off that sign men! Get ready to hang it up in your lobby — right next to your box office — where all the world can see it. Because this picture is a trail blazer in the farce comedy field. Full houses are giggling, chortling, laughing at it. It’s made history by now — booked by the biggest showmen in the industry. And they’re using the ads on this page — all of them — in endless combinations! There is much humor in this sort of exhortation. One need only give his lighter hours to reading press sheets like this instead of such supposedly humorous publications as “Life,” “Judge,” “American Humor,” etc., to get a real laugh. The big kick to me in this is the last line : “And they’re using the ads on this page — all of them.” Roxy bought the picture and I can imagine him “throwing” a few half and quarter page ads in New York’s eight or ten dailies, using the same copy contained in the press sheets — “in endless combinations.” This press sheet tells us that the picture contains “The Screen’s Cleverest, and Fairest Comedienne in the Most Hilarously Frothy, Farce Comedy in Years!” Applesauce, likewise raspberries! We have played a dozen “best” farces this season which are funnier and better box office stars. * * H: Here is another press sheet — a gaudy affair in which there must have been a pound of red ink used on every copy. We haven’t played this one yet, and are in hopes our ledger, following the engagement, will not show as much red ink as was used in trying to sell us on its preponderance as a box office knockout. If we are to believe what the ad-writer tells us this picture will make enough money for the boss to buy a new organ for the theatre, and have enough left to present yours truly with a Cadillac. We read: “The sensational melodramatic triumph of the Season ! Mystery ! Suspense ! Thrills ! A marvelous entertainment with a Most Amazing Climax! A Cast of Exceptional Brilliance headed by . (Three names are given of actors who have never been starred in really big pictures, though they are good actors.)” It happens that the same company which distributes this “melodramatic triumph,” had another picture earlier in the season, which at that time was Jonas Perlberg’s exploitation for “Don Juan,’’ Warner Brothers, and V itaphone. State theatre, Hammond, Ind., as described in his letter in this issue. similarly billed. It proved to be a box office record breaker for poor attendance. What’s the use going further? It’s the same story with nine out of ten press books you pick up. Every picture is the best. It operates as if the ad-writers had all swallowed copies of Roget’s Thesaurus and can disgorge only such words as “Greatest,” “Mightiest,” “Most Remarkable,” etc. In summing up, I would say to the ad-writers: Dig up an old school reader and get acquainted with a few qualifying adjectives and monosyllables. First National Establishes Institutional Copy Service A department devoted exclusively to institutional theatre advertising and publicity in connection with the exploitation of feature picture will be inaugurated as part of First National’s exhibitor service. This is‘ the first time that a definite step has been taken by a major producing company in specifically outlining to exhibitors a procedure whereby their theatres as institutions, and apart from the particular production offered, may be held out as an inducement to patronage. The institutional service goes into effect immediately. Exhibitors receiving First National press sheets will hereafter find sample ads containing institutional copy, as also suggestions relating to institutional exploitation by means of tie-ups, stunts and displays of various types. It was explained that the new service to exhibitors would be combined with the feature program of the house in such a way as to offer a double audience appeal, thus stimulating attendance. Next Week — Accessories Next week’s issue of this department will be devoted, as scheduled, to the general subject of motion picture advertising accessories and to specific angles of that subject raised in previous issues and discussed not only widely but vehemently in the meanwhile. One thing and another prevented your faithful servant from dashing out his usual priceless paragraphs for your house organs this week, but you must have a considerable supply on hand and so he sits not up this night to provide more. He’ll do better for the next issue, or a homicide. Speaking of house organs, several letters have been received from publishers of those analyzed two weeks ago and none of the letters to date have contained infernal machines. In fact, none of the publishers who might feel inclined — by reason of said analysis — to enclose infernal machines have written. Nor — so is man constructed — have these sent the usual weekly copies of their papers. Notwithstanding which, the issue following next week’s book will be devoted to further discussion of theatre publications. It will contain at least one knockout idea, which is at hand, and the “House Organ Exchange” will be published. Our good friend Buddy Stuart has left the Toronto Regent and gone to the Sudbury Regent for a spell. While it isn’t a time to risk international complications, it can be said that Buddy ought to stay in the United States where good managers are so badly needed. Not that Canada doesn’t need them, as well, but that Buddy’s birthplace should have first call. And the manager thing seems to be pepping up a bit since various violent (whether or not virile) paragraphs concerning them appeared in these columns.