The Moving picture world (May 1924-June 1924)

Tune 21, 1924 MOVING PICTURE WORLD 737 Store Business Conducted Thru Oui First National Release A STRIKING HAND PAINTED SIGN FOR A SECRETS RUN This was planted in the window of a vacant Cleveland store for the three weeks' run of Norma Talmadge in Secrets at the Stillman. Note the heart-shaped foliage on the trees. No color effect is suggested, though you can guess at the peacock. Triumph Lobby Is Loud as a Whistle H. B. Vincent, of the Beacham Theatre, Orlando, Fla., told Frank H. Burns to get a good loud lobby for Triumph, and Burns turned out one that could be heard half a mile without the aid of a microphone. The cut shows three large banners and a set piece all carrying the title in letters measured by the foot instead of the inch. There are fourteen pennants each with the title and fourteen more with one letter each in behind the first row, spelling the title two more times. We don't know just what Burns was shooting at with that talk about "Orlando's priemiere." Any picture has its Orlando premiere. Possibly he means that Orlando got this picture earlier on the release date than is usual, but it doesn't carry much conviction if you study it out. "World premiere" or "Simultaneous with New York and Chicago" might mean something, but this brings no especial thrill. It does, however, show one of the most emphatic lobbies the Beacham ever put out. It simply will not be ignored, and this has an effect upon the ticket sales. Mostly Legs For the central panel of the lobby banner on Why Men Leave Home, the Liberty Theatre, Seattle, used the legs from the First National paper, getting a nice display that caught the eye and gave a laugh to the sophisticated. The main panel was flanked by smaller ones giving the names of Lewis Stone and Helene Chadwick. This might not be so good in a neighborhood house with a family trade, but the Liberty is "downtown," and it went over all right. Schade Interviewed George Schade, of Sandusky, is a City Councilman as well as manager of the theatre bearing his name, and each job helps the other. As a sample of how it works, George got himself interviewed lately on the Sandusky brand of gangster, comparing him with the Mexican and other types — But mostly Mexican. He said nothing about his forthcoming attraction, but when he played The Bad Man people were more than usually interested in the First National because they knew all about his type. The moral is to go get yourself a job as a City Father. Had a Real Shiek for Song of Love This desert scene for The Song of Love cost the Messerole Theatre, Brooklyn, very little more than a cutout, and naturally a real Sheik has more pull than any cutout work. A First National Release A SATISFIED SHIEK The tent was hired from an awning concern, the hookah probably was borrowed and any costumer will rent a burnous and cape. If you want to make it complete, you can get a real Arabian record from either the Victor or Columbia, if you order in advance, and run that with a repeater in the tent. It does not show clearly in the cut, but there is a sketchy painted back and the title and date are lettered on the top. Sometimes a Sheik is better than a shriek. Thomas G. Coleman, of the Rialto Theatre, Macon, Ga., used a green and yellow tent for Shadows of the East and made Frank Mayo and Mildred Harris secondary to Edith Hull in all his displays, reminding all and sundry that this was the author of The Sheik. It brought the money in. A Paramount Release THERE WAS NO QUESTION IN ORLANDO AS TO THE FEATURE H. B. Vincent and Frank H. Burns got out a lobby that is about as emphatic as anything the Beacham Theatre has ever shown. It is not artistic, but the big idea was to sell the De Mille play, and this did the stunt to the last thin dime.