The Moving picture world (July 1925-August 1925)

July 25, 1925 MOVING PICTURE WORLD 423 A Swanson Cut is Found Very Useful Here is a display from the Olympic, Pittsburgh, based on the plan book cut of Gloria Swanson in Sans Gene. This was offered in several forms and, as we showed at the time, could be adapted to any size display by OLYMPIC orintr ave -»dovntovn One Wuk Only _<f *„ In tht hanitms French Comedy Clairic MALWME A\ SANS, GENE isdaM Dei ilMay Care ) Comedy "Alice Cans the Cannibals " INTERNA l'lONAL NEWS Radio Fans Tunc in Friday Evenings jor your dinner music u.ith KDK A cm (lie OLYMPIC ORCHESTRAS Symphony fc? Jazz Programs N«t Wcch ANY WOMAN uttk Alice Terry i A Metro-Goldtvyn Release A MUCH-USED CUT trimming the large cut. We believe this is the actual cut and not a trim, it was offered in the smaller sizes. This does not tell much about the picture, which evidently has been sold through other media. It merely gives the announcement of the showing for the opening, and this Directoire costume makes a striking attractor, though it does not suggest the play as well as would a picture of the laundress. But the drawing is striking, and you do not have to explain Sans Gene after the long runs of the play on the stage. This is 135 by 2, and makes a good splash without costing too much. More, it gives emphasis to the fact that Pittsburgh can give much better results than it did a year or so ago. It is only recently that the newspapers appear to have laid in a supply of good small faces, and it is well to remember that Milt Crandall set the pace by buying his own fonts in order to get just what he wanted. This created a demand the newspaper had to meet, so it really was Milt who dragged Pittsburgh amusement advertising out of the sub-cellar. Second Week Ad is Better Than First Although Fox's Terminal Theatre, Newark, put out a very nice display for Charley's Aunt, it was not as good as that for the holdover which is shown here. This is a little more than a four tens; larger than the usual space, but worth it to put over a business bringer. The two panels are the best sellers. Both are all written and read convincingly. There are several kickers in other parts of the space, but these two alone could have sold the second week. We like the moderate use of cut material. Cuts do not help materially, and a single cut is as good asa dozen. The big fact is that the comedy is still as H*ra Terminal tsble Syd ind r film li concluded "CHARLEY'S AUNT" SYD CHAPLIN THE CRITICS GUARANTEE THE FUN: "My Uiy'i hflont" — Supporting I Uracuotu "A Spanish Romeo" "Ttu] Hew Jintcopilion" Trrminil Orcfintr^ A Producers' Distributing Release A GOOD REPEATER funny as it was years ago, and this is what can be put over in type more effectively than in cut. One cut for an attractor is ample on this play. The big thing is the title. That is what sells, and it Has been selling to the limit limit everywhere. The best line gets the smallest type. This is just above the title and runs: "The funniest farce the world has ever known. The funniest picture the world has ever seen." This is set in two sections, gaining strength through this simple device. Set as one running statement it would not have half the farce. You can see how this was done, though the lines will be too small *n rpad. Uses Full Cut to Tell About Sally Generally Frank H. Burns, of the Beacham Theatre, Orlando, Fla., trims his cuts to get his white space, but he uses the entire First National three-column cut on Sally in this three nines. He did so much advance selling on this picture that he does not require much ".elling copy, but he does hook to his song-campaign in two small banks, and lets the cut do the rest. This example is interesting because most managers who use First National cuts seem fairly to wedge them in with type. Mr. Burns shows that the cut and little else can be made to sell. Tastes differ, but personally we do not particularly like that dirty faced kid. It's Sally in her early reels, but it is not the Sally of the bulk of the play, and it isn't Colleen Moore; at least not the Colleen Moore most of us like best. It really is not the Colleen Moore of Sally, for her make-up is not so pronounced as it necessarily is in the drawing. There is less type with this than with any First National cut we recall seeing used, and yet it goes over as well, if not better. Why not BEACHAM Starting Today Colleen Moore HARRY LANCDON A First National Release SELLING SALLY try the experiment of lay off the excess of words and let the illustration do some of the work? It can. It worked for Burns, though he backed this production with an unusual campaign because he wanted to get unusual results. Jazzy Cut is Qood for Melodrama Sale There is a comparatively poor display for the title in this stock cut for Head Winds, used by the Hippodrome, Cleveland, but the title does not matter much with such a cut. That illustration is going to sell you to the point of looking for the title, if you are interested in the cut, and if the cut does not •MB [ WUKHHT HIPPodrOME ndMlef ^ TOM MIX Sofa;? 10NV ' THE DCADWOOO COACH A Universal Release PLENTY OF ACTION interest you, the title won't sell anyhow. Melodrama sells better on picture than on talk, because the lover of strenuous action responds most quickly to plenty of action in a cut. It is not easy to sell the melodrama lover with words. You have to interest him