Exhibitors Herald and Moving Picture World (Apr-Jun 1930)

24 Better Theatres Section April 12, 1930 during weeks when the houses would otherwise have been dark. The Moderate-Sized Theatre Contact with two older forms of stage art must have broadened the vision of film exhibitors, for about this time the moderate size picture house was created, and taking a leaf from the Thespian notebook, the comfort of the patron began to be the paramount issue. Interior decorators for the first time looked upon this branch of theatrical work as a possible field for their efforts, and the motion picture theatre front began to develop certain characteristic features, which marked it as a place of high-class entertainment. The picture itself was rapidly being carried to perfection — if we dare speak of perfection in an industry of such rapid changes. The architecture of the auditorium and interior foyers strove to furnish a setting suitable for the beauties of the screen’s vision and range. The Deluxe House The theatre of moderate capacity has held its place of popularity as a moneymaker for the exhibitors in spite of the advent of the deluxe motion picture house, which was introduced about 15 years ago in our larger cities. Money was expended lavishly in an effort to dazzle the public with new wonders. Strange to say, in spite of the thousands spent on the interiors of these veritable palaces of shadows, the exteriors commanded little more study than was necessary to install larger and showier electric signs — a hang-over from the old poster days. The “Baby Deluxe” Smaller communities, envying the metropolis its deluxe houses, were made happy by the creation of what we like to term, the “baby deluxe” theatre, a The “Shooting Gallery” Type Graduating from the vacant stores and folding chairs of the “store show” period, the industry displayed its product in small buildings designed especially for the showing of moving pictures. For want of a better name, we call this first crude attempt at motion picture architecture, the “shooting gallery” type of house, for it was long and narrow, with little thought for comfort, attractiveness or ventilation. The front was little more than a huge display board for posters in clashing hues, and a stiff wind had an exasperating way of working havoc with the advertising man’s work, giving the theatre a curiously down-at-the Sketch No. 3. — Long walls and secondary features offset weighty effect of dominant motif. Sketch No. 2. — Central feature wider than subordinate surfaces at side. desire of the exhibitor himself to place his wares before the people of his community in as legitimate and attractive a fashion as the high class department store, the best delicatessen, or the exclusive shojrpe for women’s wearing apparel. “Legitimate” Theatres Rented In short, the “movies” have for years been imbued with a desire to be respected as an art. This wish dates back to the afternoon when the first showing of a lengthy film was given in a regular playhouse in New York City, before an audience of critical legitimate theatre patrons. Every detail was thought of to give the matinee an atmosphere of respectability, and the affair marked the beginning of a long struggle upward toward the artistic goal. heel appearance after a storm. Occasionally a real twister would bring down the large billboard, exposing the false front for the empty shell it was. The next move made by the motion picture was into the vaudeville theatre, playing as an attraction added to the regular bill. Films of special merit began to appear in legitimate theatres