Moving Picture World (Jan-Feb 1927)

January 15, 1927 MOVING PICTURE WORLD 215 Larmour Gives An Object Lesson in Cut Trimming Long , Even Lines Are Utterly Lost Here is an extreme example of poor composition from Chelsea, Mass. It is taken from a locality paper, which probably accounts for the use of eight inch lines in six point gothic. In the reproduction it does not show much, but in the original it really is a task to read from one end of a line to the other, and a lack of leading makes the job even more difficult. 4-3 SUNDAY -3 m STANDARD ACTS VODVIL 4 ffV Dl C ACT A NO* O^CMFST CHELSEA ' ■ THE MIGHTIEST OF THEM ALU — —— MEN OF STEEL V? MILTON SILLS ?§■; W,'D DOTUS KEJVyOJV l. MONDAV-TUESDAY ■ AlBfRIA VAUGHN » "THE ADORABLE DECEIVER!" * W CO NC SO AY -THURSO A Y | LAURA 1 L.PLANTE iHEJIA BARA in "[he Uochisleied Womanl" Wm. Fairbanks in 'Through Thick or Thiuj’ EIGHT INCH SIXES In Roman this would not be as bad, though it would be hard going even then. At least the eye would have an uneven line, but here the letters are all of even height, practically all capitals, and there is nothing to hang to. It would take at least twelve point to be readable in that width, and to set in half that size, and all capitals to boot, is simply wasting the advertiser’s money. Larmour Crops a Cut T o Qet What He W ants When M. W. Larmour, of the National theatre, Graham, Texas, bought We Moderns, he ordered a certain style cut, because he figures his advertising layout when he or THE PLAN BOOK MAT ders a cut instead of taking a cut and then figuring the layout. Instead of getting what he ordered, the exchange sent him this mat. This was not at all what he wanted, but instead of tearing his hair, he tore over to the newspaper office, where he and Itis printer coadjutor went into executive session. The obscure stript title was amputated with a saw and a file, the First National trade mark was dissected out, and the script title done over in legible type with the result that Mr. Larmour’s newspaper space looked like something to be read. Tickle-toe, Twinkle-toe, When she charlestons, oh! oh! OH! O! — O! — o! — o! — oh! what a party WEDNESDAY and THURSDAY, SEPTEMBER 1-2 BLANCHE SWEET, Robert Frazer, Charles Murray in “WHY WOMEN LOVE” A thrilling drama of the Rum Runners. Life, love and adventure on the high seas. FRIDAY and SATURDAY. SEPTEMBER 3-4 The Years Greatest Comedy Novelty— “THE SAVAGE” Tropic nights when every island breeze sounds a love call — when every rustle of the palms sets the her.: t a throb-when the purple of the night crowns all in nature's glory. — HE-TRE SAVAGE SHE— THE TAMER BEN LYON MAY McAVOY • MR. LARMOUR’S SPACE John McCormick was divorced from the space and even Zangwill went out, because Zangwill means nothing to Graham and Colleen Moore is Mr. Larmour’s best box office bet. The director and editorial director also fell overboard, but it is not recorded that their loss hurt the box office in the least. Mr. Larmour does not believe in weeping just because someone slips him the wrong mat. He knows that he can juggle the mat to get something he can use, no matter how hopeless it may appear to be, and he uses a saw instead of a handkerchief. He got a display that would make much more of an appeal to his particular clientele and he got it with less work than you would imagine if you never tried to edit a cut out to your way of thinking. Probably Mr. Larmour would have liked a cut that gave him the star name in better display, but he figured that the face would carry the title if only he could get a lot of interfering material away. Get a hacksaw, a fine file and a small cold chisel and you'll be able to work wonders with the most stubborn of mats. Mats are made to suit a general demand and not your particular need. You have to make it over to suit your own requirements. Crossed Letters Are Bad in This Reverse Small reverse cuts are always ticklish things, but the Randolph theatre, Chicago, adds to the hazard by crossing the letters in the title of The Flaming Frontier. They get a better result than was to be expected, but the experiment is not to be commended. I STARTS TOMORROW I UNIVERSAL’S A Mighty Spectacle and the H | Most Beautiful Love Story |j A Ever Told Sweeping Into a gj i — | Tremendous Climax of | | Custers’ Last Stand | ■ at t!ie 11 State at Randolph Lust Times Today Valentino in “Blood and Sand" I 1 I i ~m m • K’lMiwiB w viianin A STREAKED REVERSE Apart from this the Randolph does nicely in a drop of 60 lines, this cut being the actual size of the original. Using Roman between the cut and the bold face below gives additional prominence to both. This is a good example of a single space that gets over — outside the streaks. Frank Burns Frames Buster’s Big Battle Frank Burns, of the Beacham theatre, Orlando, Fla., makes his usual nice display for Buster Keaton in Battling Butler. This time he shoves the cut over to the right and runs his inner frame on three sides only, which gives a better effect than had the frame been continued up and down on the right to meet the cut. This is one of the things which make Burns’ displays always interesting. He does not work on a fixed rule. He does not say