Motion Picture Herald (Apr-Jun 1931)

i April 11, 19 3 1 MOTION PICTURE HERALD 73 Rosenthal Got Lots Of Publicity On His mgh Hat First Night When he played "Hell's Angels" at the Strand Theatre in Albany, N, Y., Robert Rosenthal, manager of the Warner house, turned out a campaign that had plenty of pep in it. j The premiere of the picture was set for a midnight unreeljing and it was decided to make the showing a dress affair. And it was one of the biggest ever seen in Albany. Invitations were sent to the Governor, State Senators, Assemblymen, New York State aviation commission, Lt. Governor, and high officials of the State Department of War. As the celebrities arrived at the theatre, their entrance was broadcast over the air. The newspaper had given the special showing plenty of plugging, and immense crowds lined along the police lines set on both sides of the theatre. A stunt, incidentally, that helped a lot to advertise the picture, was that of having three planes, lettered "Strand— Hell's Angels," flying over the city, blowing sirens and dropping smoke screens in midair. An excellent move was that of having a local aviator, who had taken part in the filming of the production, talk on the shooting of the various highlights. We are showing here another medium that helped boost the picture — the front Rosenthal created for it. Look it over and see how he has managed to secure a maximum of advertising at minimum results. Any wonder, in view of such work, that the picture clicked? Below we show another picture, this time one on "The Life of the Party" display that was used when the film played the theatre. Here you can get a close-up view of the way Rosenthal uses a large piece of beaverboard to plug his film. Incidentally, you might look over his marquee cony and see the catchy lines he uses to tell the world (in Albany) about Winnie Lightner. Would that copy sell for you? Seeing that Rosenthal is always on the go at his house, we hope that he'll be represented on our pages again. ■ As is his custom — since he Trail pr PrnlnaUP As knows from past experience irauer rroiogut /ij> that it clicks— Herbert Brenon, Presented By Brenon jr., manager of the Orpheum Went Over Very Well l^Ti;-..°r^"S;J.'S --^^l ========= Bat Whispers." A costume was made up of black material to resemble that of a bat. The man wearing it was placed behind the traveler and next to the screen. The outer plush curtain was lowered and the funeral march of the Marionettes was played on the non-sync and all the house lights Showmanship — Fifteen Years Ago 1 Tommy Costello, live-zsnre manager of the American Theatre in Washington, D. C, for the Atkinson Chain {yep, they had chains 15 years ago) pulled a good one when he announced that chaperons luould be furnished for young folks patronizing his theatre . . . George Bleich, manager of the Empress Theatre in Owensboro, Ky., injected many novel angles into his house organ when he started stressing the personal slant into his appeal for patronage . . . sounds sorta modern to hear something like that . . . Being his own flag-pole sitter or steeplejack, as you ivill, is the way we would caption the doings of Bob Jennings, ivho, at that time, was running the Brewster Town Hall Theatre in Breivster, N. Y., but to get back to the important point in this story; he let loose a flock of toy balloons from the roof of the tallest building in town to advertise "The Mysteries of Myra" . . . some titles in those days! . . . Managers Gerber and Hess of the Majestic Theatre in Dayton, Ohio, took advantage of a local newspaper's giveaway of star rotos by announcing that Blanche Sweet, u/hose photo ivas due for distribution on the day they played her in a new attraction, zvonld be the star in the Majestic's current program and patrons could secure beautiful pictures of Miss Sweet through the local paper . . . Ya^oo City, Miss., at present reprresented in the Club by several showmen, is listed in this iveek's "Fifteen Years Ago" column through the activities of George C. Cacuin who managed the Yasoo Theatre that far back . . . he takes the honors of 1916 for ambition in connection zvith the hand-out of a special throivazvay which he distributed himself at 4:30 every morning throughout the commimity . . . maybe that 4 :30 business is a little far-fetched . . . but if he liked getting up at that hour the pleasure zvas all his . . . If you think a novelty circtdar in the form of imprinted zvall pa tier is nezv, let us disillusion you right now because the Regent Theatre in Alameda, Cal; used the gag way, way back when show-business zvas a business and not a pain-in-the-neck . . . Manager Douglas Creighton of the Globe Theatre in Vancouver created a lot of public sentiment in his favor zvhen he invited the entire I58th Battalion to be his gtiests at the theatre prior to their entraining for summer camp . . . and he zvas not asleep when he made sure that they would march to the theatre in a body, thereby attracting no end of attention . . . Emery N. Dozvns, manager of the Atlas Amusement Company of Cleveland, Ohio, proved he kneiv theatre operation and patron catering when he issued some much needed advice to other shozvmen on the question of handling crozvds in a busy theatre . . . his article on this subject attracted widespread interest all over the country . . . and zvhile on the subject . . . maybe some of those deluxers on Broadway could learn something from Emery ... ? C. I. Ramsdell who guided the destinies of the Lyric Theatre in Lincoln, Neb., worked out an effective electric display to advertise "The Iron Claw" . . . the gag consisted of a large iron claw zvith the lettering and play dates illuminated from zvithin . . . nice zvork ez'en in these days, ses we . . . zvhat sez you? . . . and here is one for the boys zvho make their first automobile banner tie-up to think about . . . Bill Roper, ozvner and manager of the Roper Theatre out in Council Bluffs, la., arranged for large banners on the sides of sez'eral cars to be changed zveekly . . . and according to zvhat we read about it now the cash customers sure took notice . . . In order to secure vuiximum coverage for his peppy house organ, H. P. Wareham of the Wareham Theatre in Manhattan, Kansas, made use of all the listings in his local telephone directory, the city director and through slides on his screen asking for patrons' addresses . . . and zvhat a zvedge that list zvas to plugging his many attractions . . . and jjust to prove that shozv-women were not unknozxm in those days, let us tell you that Maude Little field, manager of the Electric Theatre in Claremore. Okla., zvas responsible for a "clean-tip" stunt whereby she admitted free all children who brought to the theatre twenty old tin cans or bottles . . . jimminy! . . . and it was only about five years ago that a certain shozvman tried to tell us that he pulled that gag for the "first" time himself . . . well, zvell, we really wonder how far back some of those "nezv and original" ideas really go? . . . 'snuff said, zve'll Itave more to tell you next week. . . . with the exception of the exits were taken out. A dark green spot was shown upon the outer curtain as it began to rise. This spot outlined the shadow of the bat character behind the traveler. The traveler was then opened and the bat walked forward to stage No. \. The effect was very well received and created a great deal of comment relative to who the bat might be in real life and just what he was going to do at that time. The bat then walked to stage right in accompaniment with the music and walked slowly up aisle No. 1 and down aisle No. 2 — much to the amazement and good-natured surprise of the patrons. As he reached the stage, he backed up against the screen and the traveler was closed in while the plush curtain lowered. When the plush curtain touched the stage, the feature picture title flashed upon the screen as 12 gongs were rung on a chime backstage. The comment and reaction to this small presentation was very good and Brenon felt that it helped to bring in a great number of persons; perhaps just to have a glance at the bat and try and guess who he really was. The cost of the presentation to the theatre was nothing. And when that can be obtained, along with loads of publicity, who'll say that trailer prologues are not valuable?