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

April 12, 1930 Sketch 4. — Long perpendicular lines give effect of great height. house of moderate capacity but otherwise embodying all the luxuries and comforts of the mammoth urban amusement places. These satisfied the craving for beauty which lies in the hearts of most Americans, and presented a concrete opportunity for the creation of a real civic asset on the part of some public spirited man or group of citizens. Since they were planned essentially as monuments, rather than strictly commercial enterprises, the exteriors of the “baby deluxe” type of house usually show signs of more studied and pleasing design than the earlier attempts at theatrical architecture. It is gratifying to know that under competent management they have in every case proven financially successful. Sketch No. 6a. — A shallow arch appears iveak to the eye. Exhibitors Herald-World Advancement in screen production demands better taste in the motion picture theatre, which should be the beauty spot of any city or town. To paraphrase: While it is undoubtedly true that “the picture’s the thing,” and that it is the talking screen that modern patrons pay the currency of the realm to see, nevertheless a splendid film presented in an unsightly or slovenly kept building does not have an opportunity to please the taste of the customer the management most wishes to reach — because he is not there! Unless we are willing that the screen shall be rated on a low plane — and the present and awakening interest shown by owners and exhibitors in better films and tasteful interior and exterior design gives the lie to that assumption — the environment surrounding the motion picture must be a visible proof of its aesthetic value. Characterization as a Theatre Masques WE have spoken of certain characteristics which have, through the years, identified themselves with a theatre exterior. One of the oldest, and most obviously “tacked on” devices, was the introduction of plaster or cast stone masques, placed on the theatre front without rhyme or reason. It was an apology, as it were, on the part of the builder, for not having made the purpose of the structure clear in the design. Statuary There followed a short-lived fad for ladies of supposedly great pulchritude, in various stages of negligee cast in permanent materials and left to recline in languishing positions at various points on the cornice, sometimes attended by plump cupids. These, and the interior murals of the same day, offended the sensibilities of the better class of trade, and their span of popularity was brief, designers and decorators turning to more conventional forms of ornamentation. The Marquise The marquise, originally intended as a shelter from sun and inclement weather, has become an historical feature offering an excellent advertising medium. Did you ever see a theatre without the overhanging marquise? Didn’t it appear queer and incomplete? Without this unit, which might be dubbed the signature of a playhouse, the building at once loses its individuality. Signs Electric bulb and neon gas signs have become a usual item in taking stock of the modern theatre front. Their height and width is usually limited only by the size of the lessee’s pocketbook, whereas they should be designed in conjunction with the entire exterior, so that they will not overshadow and nullify the beauty of any part of the structure. Display Cases Poster frames have been subordinated and made artistic additions to the effect of the whole front. The modern 25 Sketch No. 5. — Exactly the same dimensions as in Sketch No. 4, hut less pleasing because of horizontal lines. display man creates real works of art in presenting the attractions in store for the patron, in striking contrast with the lurid signs of bygone days, which are now left to the bill posting companies. The Box Office An old theory of exterior design had it that the box office should be placed directly at the street entrance, so that the patron need not go through a door in order to secure a ticket. This idea sprang from the now antiquated notion that the customer must be “lured” in, which is no longer necessary. In cold climates, or localities subject to bitter storms and cutting winds, the inside box office is an evidence of fore Sketch No. 6b.— Adding depth to arch makes it appear strong.