The Moving picture world (January 1920-February 1920)

February 7, 1920 THE MOVING PICTURE WORLD 925 New Circle, Ottumwa, Iowa, Opens. On January 19, Ottumwa gave to the southern section of Iowa the finest moving picture theatre it has ever possessed. The Circle, costing around $100,000, was opened on that date with highly gratifying results forcasting a splendid future for house and management. Order That New Front and the Pipe Organ; Here Comes Dr. Shallenberger Brief News Paragraph About Equity Players A NUMBER of new personalities on the Equity roster are now located at the Garson studio, Edendale, Cal. Adele Rowland is visiting her husband, Conway Tearle, who is being starred in "Michael and His Lost Angel," which Equity will release early in March. Jack Boland, for years associated with various of the big producing concerns, is assisting Director John Voshell on the Tearle picture, while Helene Sullivan, last seen in "The Brat" and "The Bird of Paradise," is engaged for the role of Angela Bryton in "The Soul of Rafael" in support of Miss Young. Rosemary Theby is at the plant, appearing opposite Tearle, and Hal Wilson is permanently located with Garson as one of the character men. Sam Sothern and Milla Davenport are also stationed at the studio. Sarah Ellis Ryan is a daily visitor, assisting the technical staff on its atmospheric work in preparation for the production of her story, "The Soul of Rafael." "Fortune Hunter" in Seven Parts. "The Fortune Hunter," the next Earle Williams Vitagraph feature to be released, will be shown in seven reels. Graham Baker, who made the scenario from the comedy by Winchell Smith, found such a wealth of good material, fine points and humorous situations the limitations of the spoken stage would not permit of showing, that he did not limit himself in making the working script. Tom Terriss, who directed the picture in a masterly way, found all the action indicated by the scenario writer pertinent to the picture and attempted no cuts. TAKING the exhibitor of America out of the slavery and shackles has become almost as popular with big producers as the floating of a weekly million dollar corporation. This liberation usually takes place in the New York home offices after the return from a cross-continent trip, but according to Dr. W. E. Shallenberger, president of Arrow Film Corporation, the exhibitor of America wants to know when this liberating business is coming to an end, so that he may have the town contractor come around and fix up his theatre with a new front. Don't Know Where They Stand. Dr. Shallenberger has just returned from one of those famous cross-country tours himself, and although not wishing to rush in with a rescue act, he nevertheless states that there are thousands of exhibitors in this country who cannot tell the town contractor to come around with a barrel or so of plaster and paint because they do not know where they stand. "The exhibitor wants to 'get things fixed up' and progress, but with million dollar organizations being talked of every day like mere trifles, the cost of which he knows he must stand, and with faction after faction entering the field to gobble him up, it's no wonder he's sitting as tight as possible." Such was the introductory line given the Moving Picture World representative by Mr. Shallenberger in the "home office." Want Pictures — Not Money. "This industry doesn't need capital," continued Dr. Shallenberger. "It needs pictures. I grant that it takes capital to produce pictures, but I can't see by the average quality of pictures that these great wagonloads of capital are going into production. "On my trip I found the independent exchanges in the healthiest financial condition possible. These exchages do not want money: they want pictures. And, as you might guess. Arrow Film Corporation is going to do its best to supply that need. Just this morning I concluded a contract for twelve fivereel productions to be delivered to exhibitors one a month — these to be added to our already strong list. "But looking at the independent field in a general way, I'm firm in the conviction that it will be the safety valve for both producer and exhibitor. The independent market will save the producer because the big producer who is now fighting for theatres will look to independent picture makers to supply his houses rather than book films from a rival theatre grabber. "And the independent field will save the exhibitor because it will be the only source of supply outside of the big monopolists, all trying to drive him out of the business by financial discouragement. "The big producers are afraid of the independent market. They try their best not to let a good picture be distributed by independents. It is their object to disable the independents by buying all pictures of worth. But as far as this organization is concerned, they cannot succeed. "Arrow Film Corporation doesn't need a headline reorganization or a tremetidous new capitalization. It has all the money it needs. "It is my opinion that the independent market man is the saviour of the exhibitor. And while I decry all this 'saving' business, I nevertheless intend touring this country again, starting within the next few weeks. And I'm going to do my best to get the exhibitor to believe that the really independent service is the service for him." Looks like there were going to be a lot of new fronts and pipe organs ordered in the near future. REILLY. D. M. Thomas Quits U. P. T. We are informed in a letter from D. M. Thomas, dated Cincinnati, January 23, that he has resigned as division manager for United Picture Theatres. His teritory embraced Cincinnati, Detroit, Cleveland and Dallas. Nope, No Prizes Offered As to What Is "The Devil's Riddle'; That's Gladys Brockwell's Newest Fox. The above scenes, of course, just whet your riddli — not RritUllr— appotite, so we'll o-xpect to see you sign that dotted line Immediately.