Exhibitor's Trade Review (Nov 1925 - Feb 1926)

Record Details:

Title:
Exhibitor's Trade Review
Date:
Nov 1925 - Feb 1926
Publisher:
New York, Exhibitor's trade review, inc.
Volume:
Exhibitor's Trade Review (Nov 1925-Feb 1926)
Leaf #:
00075
Language:
English
Collection:
Early Cinema and Hollywood Studio System
Format:
Periodicals
Contributor:
Library of Congress, MBRS, Moving Image Section
Sponsor:
Library of Congress, Motion Picture, Broadcasting and Recorded Sound Division
Coordinator:
Media History Digital Library
Description:
In late-1916, Exhibitor's Trade Review entered a crowded market of weekly motion picture trade publications that already included the Moving Picture World, Motion Picture News, Exhibitor's Herald, and Motography, along with theatre and vaudeville-oriented papers that covered film, such as Variety, the Billboard, and the New York Clipper. To gain market share and differentiate itself from competitors, Exhibitor's Trade Review pursued a variety of tactics -- some constructive (gathering allies among exhibitor organizations), others destructive (smearing the reputations of competing trade papers and certain film companies that refused to buy advertising). Despite the behind-the-scenes controversies, though, Exhibitor's Trade Review appears to have, in the words of Alan Gevinson, 'established itself legitimately in its role as advisor to and fighter for the independent exhibitor.' All the issues that mattered to independent exhibitors were covered, including censorship, taxes, distributor contracts, piano accompaniment, and, of course, the films. In 1926, Exhibitor's Trade Review ceased weekly publication and only offered the daily service, Exhibitor's Daily, which was acquired a few years later by Martin Quigley as he attempted to consolidate the industry's trade papers under his control. -- Eric Hoyt, 2014
Date Added:
September 21, 2023
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November 28, 1925 National Tie-Up and Exploitation Section Page 25 ATTRACTIVE LOBBY ATA SMALL COST THERE is no need telling the big theatres how to fix up their lobbies. The job right now is to get one up for the exhibitor who is not able to put into it two hundred dollars worth of art work — or a hundred dollars worth for that matter. You've got your stills to work with, for one thing. They really are a very attractive selection for "Clothes Make the Pirate," and we would advise that you use as many of them as you have room for in your frames. Then get a suggestion of pirate atmosphere. That does not mean that you have to make a den out of your lobby. All you require is the suggestion. A treasure cask, which can easily be made out of some old trunk, with a lot of trinkets showing on the top layer, is one way to do it. Another would be to exhibit a line of pirates' weapons. These would inelude the old flintlocks, and the peculiarly shaped swords that were used. Or perhaps you can get a small model pirate ship. In fact any one item that has to do with pirates would be sufficient. Use Lobby Cards to Bolster Display After the first suggestion of the pirate atmosphere is attained, leave the rest to the lobby cards. The card shown in. the upper right hand corner of this page is one suggestion as to what could be used. The sketch is very simple to make, and any half-way decent artist would get us similar cards for you at a very reasonable cost. The First National press book on "Clothes Make the Pirate" has further suggestions for copy on these cards. Refer to them. Ushers and Doormen It is highly desirable that all your attendants during the run of "Clothes Make the Pirate" be suitably dressed in pirate costumes to carry out the atmosphere of the lobby. Whether men or women, these attendants should copy the style of Leon Errol's suit very closely — especially so far as the short pants are concerned. This feature of his clothes will be sure to get laughs in the picture, and is therefore the one point that ought to be accentuated in all your bally-hooing. Just a little suggestion for an attractive lobby card. The copy must carry the salt of the sea. It must also play up the leading players, especially Leon Errol. A still, either showing the domesticity of the Bad Pirate, or showing one of the funny sea scenes with Errol's wabbly legs in all their glory, should also be included. And always a punch for the last line. Yo Ho — and a Couple of Shivers IT'S LEON ERROL in STILL "Clothes Make the Pirate" With Dorothy Gish— and other stars DON'T MISS IT! Y The Tie-Up Quartette Will Make Up the Prologue OU won't need anything better than a good male quartette dressed in pirate costume as shown on page 16 for your prologue. Giving your stage an appropriate setting, darkened lights, with just a few iron lamps and two candles sufficing for that matter. The quartette is sitting around a little wooden table drinking, (gingerale) You might as well have them pull a line on this angle — something like "How the deuce can a pirate be a pirate when he has to wear knet pants and drink ginger-ale ?" As the curtain goes up, they are laughing at something one has told. Then the next line is "Well, I can't tell you any stories, but I'll sing you a song." That's the lead line for the quartette to get into action. If any of the quartette can do a dance, so much the better. Especially if the dancer can imitate the rolicking style of Leon Errol. For a final touch, if you have the facilities., use a gin, sweet and demure a la Gish to enter upon the scene. THE BOX OFFICE ANGLE What have you to got work with in "Clothes Make the Pirate?" Well, you have, among other matters LEON ERROL, DOROTHY GISH A MONEY TITLE And if that is not enough, consider the rest of the cast, Nita Naldi, the vampiest of the vamps. Edna Murphy, Tully Marshall. Rut always back to Leon Errol — the funniest comedian that ever was projected through a Simplex. The picture is a sure-fire hit. Laughs all the way through. Forget the forced gags — this is a case of pure comedy — natural laughs. Go on these features strong. Every dollar you put into exploiting the picture will come back to you about tenfold. You have a thousand and one angles to work from. Each and every one of these is the real goods.