Canadian Moving Picture Digest (Apr 1923-Apr 1924)

‘ TORONTO, CANADA. 4 iD & ~, iw es a] BS a 3 A fe a | e/ <—JAC a 3 1 NSW oe 2 \ CSS GREE NJ a ne RESENTATION is the “spirit” of motion picture entertainment— its effect is purely psychological. It is like the cleverly concealed wiring on a Christmas tree trimmed with tinsel and colored bulbs. The current is switched on and the tree becomes alive with color. A hidden beauty becomes evident and an air of expectancy prevades the scene. The fantastically lighted tree glittering and twinkling with trimmings and presents is at once a big pleasuregiving surprise. Without this same element of surprise, “presentation” would fail utterly to function effectively as an important part of motion picture entertainment. The modern exhibitor is getting away from the “store show” idea of grinding out a picture and letting it go at that. Every exhibitor has an ideal—or should have-—and it is based on his ambition to improve his program, please his patrons and thereby increase his business. The small exhibitor has the same opportunity to build up the reputation of his house with the aid of “presentation” as the man who controls a string of first run theatres in a metropolitan centre. Novelties on the program are of inestimable value—these may be achieved by clever selection of the films exhibited, by introducing an instrumental or vocal number, by employing a More pretentious presentation, thus rounding out and satisfactorily balancing the evening’s entertainment. It 1s essential to keep the fact in mind— rots as it is—that patrons of more elite entertainment come to the re bs be entertained. The exhimen 0 understands thoroughly the oes “ogy of entertainment — will ata! eit his patrons to become this. rea estless or dissatisfied. For at rune if as is only in a position introduc ee est programs he will fore pee digs nat will find: these ng of the feature. You come this little “break” he ich wo rest the © litile “break’ in which to enjoy thee before settling down to they have paar Tt is quite possible various suis lve or six reels on On to «, Jes and to proceed right wi © SIX OF seven : without some ‘ reels of feature Would-certa Slight divertisement inly by the-acme of steady . 7 '. / in RB sfork Bey (Interviewed by Harriett M. Ball.) Mr. Jack Arthur, who is general musical director of the Famous Players Canadian Corporation theatres, and whose program arrangements at Shea’s Hippodrome, Toronto, have caused wide spread comment, was the first motion picture musical director on this continent to introduce complete scenes from Grand Opera for picture presentation. This elaboration on “diverttsement’ was successfully introduced at the Regent theatre, Toronto, in 1916. A year later Reisenfeld of New York introduced Grand Opera numbers wm his theatres, and eventually every first run theatre on the continent followed suit. Mr. Arthur 1s the originator of much that ts best im “presentation.” za al diet—just what you are striving to avoid. Directly ahead of the feature, then, it the psychological position for any presentation number to be introduced if you are restricted to one number. The exhibitor in a position to employ a more extensive presentation policy, should never loose sight of the fact that the picture is the feature ; the novelties in’ presentation, though a component part of the whole, must remain always subordinate to the film. Balancing an elaborate bill involves more psychology. In my own experience I have found that the ideal program for larger centres consists of an overture, occupying ten minutes, a weekly review, ten minutes, a bright divertisement, running from five to six minutes, followed by a short reel topical or cartoon, an organ solo, a comedy, the main presentation, and finally, the feature picture. You will see by this arrangement that the first part of the program is very peppy and that the entertainment gradually works round to a proper setting for the dramatic feature. If it happens that the feature is in comedy vein the type of divertisement may be reversed, thereby preserving diversified entertainment. — ) Now to get.down to brass tacks with the small exhibitor. An elaborately equipped stage 1s not an essen Page Fifteen a Ni ( ‘t %, ¢ wy ck 1 4 ) ‘ i Ss tial to insure successful presentation numbers. Many of the most effective little divertisements that I have utilized have cost next to nothing, and been among the most popular numbers presented. The manager of any small town theatre can soon locate two or three good voices. He can utilize these to their mutual benefit, and with a little patience, a little training in stage presence, the home town talent can do a lot for the house. Friends of the ambitious young artists engaged will naturally come to hear them sing; and the exhibitor will find his house drawing new patrons" right along. BLACK VELVET CURTAIN As important really as your talent, is the black velvet curtain. You can get more different effects out of a pair of black velvet curtains than you can possibly conceive of, off hand. Without stage space or stage crew, a progressive little theatre with a reputation for showing good pictures can, with the use of velvet curtains and intelligent talent, do more towards achieving successful presentation than a less progressive theatre equipped with slap-dash antiquated sets and a rickety stage. Impressions rather than sets are the result—and the result is invariably satisfactory. The curtains create an illusion of depth which, with the proper utilization of “spots,” is most effective. For instance, by using a Gothic window tastefully lighted and set in the velvet drapes, you at once have an effective classic or church setting—a sacred “atmosphere” is suggested in a background in keeping with the musical presentation. A transparent window of generous proportions achieves the effect of a studio setting. Bohemia can be achieved by arranging a window as in a sloping roof, and supplying atmosphere by the arrangement of the inevitable velvet curtains, and by proper costuming of the performer. Settings are a thing the small exhibitor can’t always figure out. His stage is inadequate, his talent limi ted. Let him keep to simple equip ment, and a modest scale of presentation. I am a great believer in ‘costuming—it perfects the illusion created by the velvet curtain and the spot (Continued on Page 18.) wFheures Read The Digest Advertising Pages.