The Moving picture world (January 1924-February 1924)

306 MOVING PICTURE WORLD January 26, 1924 This Reverse Card Not So Successful Most of the First National plan book cuts carry one or more reverse plates with the title of star, or both. Generally the artist uses large letters and keeps out of the usual pitfall, but the two column cut for The Fighting Blade proves an exception to the rule and it could not well be much worse. It would be better to rout out the center of ARAMOUNT CROWN MONDAY And All Next Week Men called him 1 Thrust-him-through Kerstenbroock" — and shuddered at the mention of his name, for his was the most dexterous wrist and the most deadly blade of Europe. You'll be thrilled by the valorout exploits of this intrepid youth, pictured in a romance which is one of ih? screen's most admirable achievement*. The first story fro the Cromwetlian Era to reach the A story of love and life and a magnanimous courage in the foment of a revolution which changed the currents of an empire. A First National Release POOR REVERSE this banner and to replace it with type set into the mortise thus formed. With a black letter title and star, which would be bad enough even in black on white, the matter is still further complicated by hand lettering as small as five or six point above and below. If you are interested in the cut and the particularly good copy, it is easier to call up the theatre and ask the title than to puzzle it out from the display. This causes some loss through the lack of display of Barthelmess' name. There are so many good designs on this same title that there is small excuse for using this unless it happened to be the only thing the exchange would send, and in that case it would be well to blow up the exchange. Even notching the cut and setting in type would be preferable to this style. cuts. To make matters worse the title is none too clearly lettered. At least type — and the clearest sort of type — should have been used for star and play. The frame is rather odd in that a top slogan is topped by another slogan, which does not hook THE ABSOLUTE BEST IN ENTERTAINMENT A First National Release TOO MUCH CUT closely into the frame. The effect is as though the copy writer was afraid he had not made his display strong enough and sought to add to the effect. The result is that he seems overanxious to persuade and may create the impression that he is afraid of his features. It is by no means the Garrick's best. Type Complements Well Done Cuts There is a nice handling of type matter it this six tens from the Beacham Theatre Orlando, Fla. At first look it might seem that some six-point matter has been tucked into the space just because there was room, and it might be argued that white space would be better. This seems to be one instance wherein white space is not to be preferred. White space is used to gain display, but here the cut itself gives all the necessary display, and it is better to draw the title over to the cut than to shove it back to the left. The title type does not intrude on the drawing, and getting it over in the center gives it better emphasis. It could be read just as easily were it over to the left, but probably it would not have made as much of an impression. This may seem a bit far-fetched. It may be argued that a two-inch space would not make much difference, but it does. There is a more intimate connection between Ashes of Vengeance and the screen than there would have been were there a gap of white space, and this space is taken in the left for three paragraphs of good talk about the play. The press criticism up in the upper right-hand corner does not work as well and might have been omitted with good effect. A pretty letter for the signature would have been advisable, but since it was not used, the probabilities are that the office did not have a better letter, for Frank Burns would not have used this were a more sightly font available. But had we been handling this cut we would have cropped off the top line and have let Mr. Schenck present in a tenpoint type. Xo one down in Orlando cares particularly who presents the star and the heavy line detracts a little from the star name. Of course it has to go out from the home office in this form, but there is nothing to prevent it from being cropped when it comes to the theatre. This is an exceptionally good handling of a stock cut. Stock Cut Mortised to Let in Type Line This cross page six from the Liberty Theatre, Seattle, shows how the stock cut has been mortised to let in a "Now." The job Joseph M. Schenck presents This Trio of Cuts Reduces the Display Three cuts are almost too many in this decidedly brunette display from the Garrick Theatre, Duluth. The two upper circles are a vaudeville specialty and the lower is that of Constance Talmadge whose Dulcy is the attraction on the film portion of the bill. Probably in Duluth the amusement advertising is studied more closely than in larger places and perhaps readers will take the trouble to figure out the star and attraction, but it looks decidedly inconspicuous, surrounded as it is by a heavy border and the NORMA TALMADGE in ASHES OF VENGEANCE I '» r.I l-» SUr i itm la •Wds ■mirtif M »n*t «ai ■ twin tv A First National Release A CLEVER HANDLING OF A STOCK CUT BY FRANK H. BURNS