The Moving picture world (December 1920)

December 18, 1920 MOVING PICTURE WORLD 845 Jacob Alpert Says Fifty Per Cent, of Posters Gives Patrons Incorrect Idea of What Is Portrayed on the Screen IN a letter to Moving Picture World Jacob Alpert, manager of the Victoria Theatre, Putnam, Conn., gives his views concerning the difficulties under which small-town exhibitors, who wish to exploit their attractions, labor. He says: "Because the small town is hampered by lack of proper facilities such as up-to-date printing shops, high-class artists, etc., the poster problem is even more important to us than to the big fellow in the big city who can avail himself of these advantages at a fairly moderate cost. For this reason, posters, to us, mean everything, from 24 sheets down to 8 x 14's and heralds, if we are to take full advantage of all advertising possibilities, and our only means of securing them at reasonable prices is to obtain them from the exchange. "While on the subject, I might say, that too often the little fellow who runs three and four months behind on his screening finds upon going to his exchange that they have run out of advertising material and there is little possibility of obtaining same. This means quite a loss to him in the proper exploitation of his picture, as the handicap cannot be overcome except at prohibitive cost. Yearsley Is Correct "The Associated First National expert's article in the World is fully correct in stating that 'front of the house paper' cannot be designed according to the standard commonly acepted for 'read as you run' paper. He, Mr. Yearsley, states that eighty per cent, of the posters are used on the theatre premises. In our particular case over fifty per cent, of the paper is used away from the house. However, our experience is that Mr. Yearsley could go further and state that ninety per cent, of the posters should be designed to accomplish more than merely to serve the purpose of being read at a glance. "Every poster by careful letter designing can take care of the hasty reader. At the same time it can also combine the quality of holding the reader who wishes to learn more. Our experience with 24 sheets has shown that they usually answer the purpose, as the 24, because it is seldom located near enough to intimate view, needs only large lettering to carry its message. The other sizes of posters, however, have often proved disappointing. Only One Choice "The small town picture patron does not "shop" in the true sense of the word. Usually there is no choice for him but the one house. But with the large town patron it is different. He has a large field from which to choose. Therefore the matter he has to settle is concerning which theatre to attend and he uses his shopping sense in an effort to select a picture he will like. The desire to see some picture is already instilled. However, the small town patron is always willing to stop and look at a poster whether he intends to go to the theatre or not, therefore, every poster should convey more to him, than merely a statement of names. "From 6's to window cards, the posters should convey the spirit of the play, for that is what the poster is to the reader. The poster should exemplify either the dramatic or humorous spirit of the picture, depending upon the type of play. Our one objection to a greater part of the posters is that they show nothing but a series of poses. Posing Is Useless "The poster to the observer is a piece taken out of the play. Posing in a play never makes a successful picture. Then how can one expect posing on the poster to make it a successful sales agent? Unless some star is presented who is of a rare type of beauty, or one who makes a specialty of wearing lavish gowns, I can see no use for a display of feminine poses. "The same applies to groups of life This Is Real Service There is. a little stunt which is attracting all sorts of favorable comments these days at the Strand Theatre in Syracuse, N. Y. Just who conceived it isn't known, but, anyhow, it is making a strong appeal to the male patrons of the house, who have been accustomed for years to struggle with their overcoats as they were leaving a picture theatre, depending upon their friends to slip into the outer garment as they perhaps struggled with the incoming crowd. At the first approach of winter, the management of the Strand placed a young man in the rear of the house, instructing him to aid the men and the women with their coats, and the young man, it must be admitted, is most efficient. One does not have to ask him for assistance with his coat. He is on the lookout for those whom he can help. And what is far more important, he does not stand with outstretched "paw" awaiting a tip. less mixed figures. Transpose a bit of real action to the poster and you have your successful sales agent. To prove this, take a set of 11 x 14 photos and distribute them in various places, singly. Then watch the effect of each individual photo on the gazers, and listen to their comments. The 1, 3 or 6 is an enlarged 11 x 14. Sometimes the spirit of the play can be depicted in such a manner that it will serve the purpose better than an actual scene. This idea is shown on the window card of "The Branded Woman," and is excellent. "If possible, it is even well to present more than one scene on the poster. For instance, one organization puts out a rotogravure sheet with 3 or 4 scenes, a large figure of the star, and good sized lettering. To my mind, the doubting theatre patron requires more than one action scene to convince him that he desires to see the play, and such a poster well serves its purpose. "A good caption assists in the making of a good poster, but if the poster is not convincing without the caption, it might as well be thrown away, as the caption is the last thing to be read on the advertisement. A moving picture is chiefly to be seen, not read, and the same thing is expected of its poster by the one who reads it. Must Not Trick Patrons "Now, although the chief purpose of the poster is to sell the picture, in so doing your patrons must not be tricked into coming in to see something which is not in the picture. From observation fifty per cent, of the posters, and this includes "stills," display scenes entirely foreign to the picture. No doubt, this is due to the fact that the stills have been made from parts of the picture which have been cut before final presentation, unknown to the poster artist. "But the fact remains that the patron has been fooled, and a steady, constant patronage cannot be built up except with complete confidence on their part in the statements of the house management, and poster advertisement is one of the big mediums by which the management communicates with the patron. "Therefore, the poster must be a fairly accurate promise of what the poster reader will see, if his faith is to be retained so that he may be sold for further patronage. "In conclusion, if without sacrificing the value of the poster, several of them can be designed to serve as lobby cutouts another item of economy can be given to the small town theatre."