The Moving picture world (November 1926-December 1926)

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December 18, 1926 MOVING PICTURE WORLD 517 Make Your News Stands Permanent Advertisements Lay Some Bricks Production Hints from Edward L. Hyman Getting good results from hardwood "bricks" given newsboys to hold down their papers in a breeze, the Uptown Theatre, Los Angeles, has changed them into permanent ads. At the request of the boys the bricks were elongated to the width of a newspaper. The original bricks for Take It From Me were the size of the usual building brick. The longer ones were first used for Poker Faces, but as 300 are in use, the house prints a block strip to be pasted to each size of the face. These strips gain the attention of every newspaper buyer as well as passers by and have a strong advertising value Farrar Proffered Advice to Lovers Steve Farrar, of Harrisburg, 111., put over a slicker for Colleen Moore in It Must Be Love. He started a column of advice for the lovelorn by "Beatrice Barefacts" and got the paper to call editorial attention to its new department. That got everyone turning to Steve's advertisement, and when they got there, they read it through, though it palpably was an advertisement. The big point was that it was a clever idea, so it was read and remembered. Steve has been pretty busy lately, staging a harmonica contest and a Take-a-Chance week cut down to one night. Managing Director, Mark Strand Theatre, Brooklyn The "money act" for this week was Ben Bernie and his Hotel Roosevelt Orchestra, this being a return engagement of these radio and stage favorites. Besides this musical organization there were three other presentations, the topical review and the feature photoplay. The latter was "The Blonde Saint," First National production with Lewis Stone and Doris Kenyon. The picture itself ran for 1 hour and 12 minutes, while the complete show ran 6 minutes over 2 hours. The musical end of the performance took up 46 minutes. Jacques Pintel, pianist, was given a chance to uncover his talent. The orchestra, under tlie direction of Willy Stahl, played Liszt's "Thirteenth Hungarian Rhapsody" and Pintel had an original piano cadenza arranged by Stahl. Appropriate lighting effects for the fabrics and draw curtains and floods on the musicians were provided by Managing Director Edward L. Hyman. Eight minutes. Following up the overture came Eldora Stanford, soprano, on the apron of the orchestra stage in the aria, "Some Day He'll Come,'' from Puccini's "Mme. Butterfly." She was spotted by a white light and the effects used on the overture, including magenta and soft green, were held over. As an encore number the singer did "Only a Rose," by Friml. Seven minutes for this number. One artist here whose popularity seems never to wear out is Harry Breuer, xylophonist. This week he manipulated the sticks through a medley of popular tunes, which included "A Night in Araby," "Tonight You Belong to Me" and "Mary Lou." He was spotted from the dome by an amber light and the lights for the overture were held over but subdued. Breuer's number took 3 minutes. Ben Bernie and his Hotel Roosevelt Orchestra held the position preceding the feature photoplay. They appeared in full stage on a specially built platform 2 feet off the stage. There were two pianos on the platform. The opening disclosed a front drop of the exterior of the Hotel Roosevelt, this drop proving to be a transparency through which the orchestra was visible as the lights dimmed up behind the curtains. Backing up the whole set was a black cyclorama in front of which were golden lattices covering the whole opening. P'crnie's repertoire included the late popular selections, which he has had especially arranged. Among them, "Because I Love You" was done as solos by cornet, trombone and vocalists, with a chorus of "Falling in Love," worked in to break up the two choruses of "Because I Love You." A highlight for "My Sweetheart" was the playing of the chorus by three saxophones in waltz time. To close up the presentation with a bang, Bernie brought on a young man who did the fastest "Charleston" ever put on exhibition at this theatre and to show that he is up on all the latest stuff, encored with "Black Bottom." This presentation took up 1 hour and 12 minutes. We don't hear from Steve very often these days, but we gather that he is on the job about seven days a week; which is plenty. A TREY OF HEARTS AND THE ACE AT ASHEVILLE, N. C. H. M. King, Jr., of the Imperial Theatre, designed this very attractive display for It Must Be Love. As these heart shapes will be useful for othev titles, part of the cost can be written off this release. Added Selling Talk To Radio Broadcast E'ecause radio figures in the Chadwick production of Devil's Island deals with a radio episode, the Colonial Radio Corporation is co-operating through its local dealers with the producers. A street wagon has been built which catches whatever may be on the air and deals it out to the crowds collected in front of the perambulator. At the end of a selection the operator cuts in a short message about the picture and the theatre at which i it is playing, suggesting that this is a part , of the regular radio program. This gives the sales talk more importance than if it were known that it emanated merely from ' the wagon. For the New York run more than 50,000 fake automobile summonses were put out, while in another city a group of convicts were put out, presumably from Devil's Island. It was effective, but by no means new. Forty years ago convicts perambulated the streets for The Black Flag, if you can remember that far back. It still got enough interest to call for police intervention. Devil's Island is being put over with a variety of stunts, but they all seem to click.