The Moving picture world (November 1926-December 1926)

November 29, 1926 MOVING PICTURE WORLD 299 Larmour^s Central Space Makes a Nifty Single tut this is a proof and not a press copy and probably the lock-up brought the mitres together. Proper joining seem to be a small matter, but it gives a sloppy effect to the entirt' space and unless your printer can give you a good join, it is a good plan to persuade him to use the cast corner. These can bo had in all sizes and will give a well-knit corner. It pays to have a space looking neat, even though it may not directly affect the ticket sale. It does have some effect upon the general impression of your house. Wed.-Thurs., Sept. 22-23 For All the World!.... The greatest drama of all— big in the things that grip your heartromance, love, pathos, joy, sorrow, heartbreak, happiness — wrapped up in the life story of America's greatest leader during the most stirring events of American history See him rise from the log cabin of his birth to the highest place in the land. Know his struggles, his romance, the humor and drarria of his great life. to get attention for this space, but the signature and title have ample attraction value, standing alone. Add this to your collection of good one-column spaces. Mr. Larmour booked in this picture shortly after the opening of school to give emphasis to the value of the pictures in showing history, and he sent a ticket to each teacher in the Graham schools. Even had he lost money on the engagement, he would have been a winner, but he made a profit on the picture and had the respect of the teachers as a premium. harmouY^s Centre Is a Nice Single M. W. Larmour, of the National Theatre, Graham, Texas, sends in a three-column display with the suggestion that the centre panel might make a nice single by itself, so we have cut this out from its surrounding Combines a Display With An Open Letter H. G. Olson, of the Jeffris Theatre, Janesville, Wis., uses a combination display ad and open letter on The Barrier that gets them going and coming. And he does it in a nice display in three eights. He takes a new angle in pointing out that the play that really gets over to you is the play with a good plot and a strong appeal. He does not tell that this is a big production or stress the number of persons employed. He sells them on the story, and more than one six figure production has fallen flat because it had everything but a story. TONIGHT and SATURDAY Rex Beach 's "The Barrier" Dear Patron: OLSON'S OPEN LETTER Mr. Olson points this out and then adds that The Barrier has this appeal, plus. It's better selling than all the fancy adjectives you can copy out of a book of synonyms, and Mr. Olson dresses it with a decidedly good display. Most of his recent work shows an increasing appreciation of the value of white space, but this is about the best he has done along these lines, and it would be a good plan to clip this outline for use some time when you want to get a double appeal in a comparatively small space. With one up-and-down and one wide measure, he can conduct two conversations without confliction. MR. LARMOUR'S SINGLE matter and offer it as our own idea of a good single space. The side panels carried cuts, which helped Iced Letters Eight cakes of ice, supplied by the local company, carried the announcement of You'd Be Surprised at the Liberty Theatre, Greenwood, S. C. Seven of these were placed on street corners, and as the letters were pasted to a sheet of glass everyone stopped to figure how the letters could be placed so accurately, the glass, naturally, being invisible. The eighth cake was used for an estimate stunt in the lobby, and here a card bore the line "You'd be surprised how slowly our ice melts. Greenwood Ice Company." Selling Talk Is Better Than Cut Taking a twotens for Mile. Modiste, the Rialto Theatre, Butte, Mont., has done better with its talk than with the cut. The cut is not particularly attractive. It suggests a burlesque star rather than a musical comedy heroine. l)ut I he talk gets over. She's Delicious! Delightfuf! DivincI 'I'Ut: Wortd's cnoac ctiannln^ &axxji euw «nd tUr <rorld'g A noA diArmlne opercfu with VM<ir Sffi'bm's Jmimrul m«.-Jo— co^ld r^u aNlt mnre? Wtt^ »d<nr»blo Oorlnnc.' u ih^ mMlrap Pronoli mi&s. «rhlKpm ''Kim Jno tifta," yonll waoi lo mt itoltt out ol joar t^ont «nd IdiM her « UkoasoDd tlnmr Thrrc mro gon^O:t i^owna ^aO gTuncCowt gir\a to woCt* tttcm — Korm* n Kon-> Is ib^ enUniit lovor vuX *il JbnKlSti t9 UiM PrcDctif aptoo tbat makoa It * — PEACH OF A SHOW < Sitardjr"MIKE" It' I » Riot Comtdy — ^troic-— N<W» Mmc PItnnrvaux PUyer^ KjH Weight Jt thi Organ. RIALTO • • 1 WHtlKE TALK. IS Hi:. 1 l cK It takes up more room than its sales value warrants and holds to six point a breezy sales appeal set into the panel. The vertical line at the left of the cut is a total loss. It does not mean much even when it is read, and its chief purpose seems to be to detract from the cut. Be careful of vertical lines. When you do use them, use not smaller than 18 point to ensure reading.