The Film Daily (1918)

Copyright 1918. Wid's Film and Film Folk, Inc. Published Every Day in the Year at 71-73 West 44th St., New York. N, Y. By WID'S FILMS & FILM FOLK, Inc. F. C. ("WID") GUNNING President and Treasurer LYNDE DENIG, Editor Entered at New York Post Office as Second-class Matter. Terms (Postage free) United States, Outside of Greater New York, $10.00 one year; 6 months, $5.00; 3 months, $3.00; Foreign, $20.00. Subscribers should remit with order. Address all communications to WID'S DAILY, 71-73 West 44th St., New York, N. Y. Telephone: Vanderbilt 4551—2 Features Reviewed Margary Wilson and Wallace MacDonald in MARKED CARDS Triangle Virginia Pearson in HER PRICE Fox Wallace Reid in THE FIREFLY OF FRANCE Paramount Baby Marie Osborne in CUPID BY PROXY Diando=Pathe Constance Talmadge in . . A PAIR OF SILK STOCKINGS Select Peggy Pearce in A GOOD LOSER Triangle Edith Roberts in THE DECIDING KISS Bluebird=UniversaI William Desmond in HELL'S END Triangle Madge Kennedy in THE SERVICE STAR Goldwyn Mary Miles Minter in. THE GHOST OF ROSY TAYLOR Mutual Elsie Ferguson in THE DANGER MARK Artcraft Kitty Gordon in TINSEL World Roy Stewart in BY PROXY Triangle Louise Glaum in WEDLOCK Par a It a= Hod kin son Sessue Hayakawa in THE CITY OF DIM FACES Paramount Viola Dana in OPPORTUNITY Metro Why Keep on Kidding One Another? Boston ! Convention ! \( i Exposition ! Will it be politics, as in the past, or*will they decide to admit that no exhibitors' organization has ever really done anything except to provide an annual vacation for a lot of hard working (?) fillum folk and much publicity for certain limelight seeking exhibitor (?) politicians I ?) If they decide to be honest with themselves the chances are that the M. P. E. L. of A. will decide to forget it. If the fellows who want to use the title for whatever prestige may be attached thereto (a la Ochs), decide that this glory (?) is worth fighting for then we will hear a lot about the spirited election, -there will be oodles of enthusiasm apparent, and many, many wonderful promises will be made as to what is going to happen in the coming year. If you boys who have attended conventions in the past will think back and remember, it will not take much effort to recall that each year (in the convention hall) the entire business has been reformed beautifully by the few lime-light-seeking officers and bosses who have always run things while the real gang of film folk, exhibitors, exchange men and producers have had one wonderful vacation chasing about whatever city happened to hold the gathering. Now let's talk brass tacks ! There never has been any real strength in the M. P. E. L. of A. because it has always been boss ridden and broke. It has never had a real representative membership. It seems to me that it has been conclusively proven that exhibitors' organizations conducted like the M. P. E. L. of A. are all wrong except as an annual meeting place at vacation time for the inspiration that comes from making new friends and hobnobbing with the old ones. Let's quit kidding one another and admit the facts. The exhibitors, to protect themselves, should have an organization, but it should be a business organization and it should actually have money to be in a position to do things. The United Theatres, Inc., was a great theory, but it doesn't look to me like it will or can work (Continued on Page 32)