Exhibitor's Trade Review (May-Aug 1925)

Record Details:

Title:
Exhibitor's Trade Review
Date:
May-Aug 1925
Publisher:
New York, Exhibitor's trade review, inc.
Volume:
Exhibitor's Trade Review (May-Aug 1925)
Leaf #:
000387
Language:
English
Collection:
Early Cinema and Hollywood Studio System
Format:
Periodicals
Contributor:
Library of Congress, MBRS, Moving Image Section
Sponsor:
Library of Congress, Motion Picture, Broadcasting and Recorded Sound Division
Coordinator:
Media History Digital Library
Description:
In late-1916, Exhibitor's Trade Review entered a crowded market of weekly motion picture trade publications that already included the Moving Picture World, Motion Picture News, Exhibitor's Herald, and Motography, along with theatre and vaudeville-oriented papers that covered film, such as Variety, the Billboard, and the New York Clipper. To gain market share and differentiate itself from competitors, Exhibitor's Trade Review pursued a variety of tactics -- some constructive (gathering allies among exhibitor organizations), others destructive (smearing the reputations of competing trade papers and certain film companies that refused to buy advertising). Despite the behind-the-scenes controversies, though, Exhibitor's Trade Review appears to have, in the words of Alan Gevinson, 'established itself legitimately in its role as advisor to and fighter for the independent exhibitor.' All the issues that mattered to independent exhibitors were covered, including censorship, taxes, distributor contracts, piano accompaniment, and, of course, the films. In 1926, Exhibitor's Trade Review ceased weekly publication and only offered the daily service, Exhibitor's Daily, which was acquired a few years later by Martin Quigley as he attempted to consolidate the industry's trade papers under his control. -- Eric Hoyt, 2014
Date Added:
July 11, 2024
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July 4, 1925 Page 31 DRUSILLA WITH $1,000,000 FOR EXHIBITORS TRULY, a million dollars' worth of showmanship material is contained in this big F. B. O. special. It is well called a "Gold Bond" photodrama, for to show it is equivalent to putting more money in the bank. The picture itself might have been titled "Drusilla With a Million Heart Throbs," for it is the type of production that reaches deep into the soul. It is a wonderful combination of sunshine and shadow. It brings a smile to your lips even while your eyes are moist with tears. It is the sort of entertainment everybody loves, and will pay well for at your ticket booth. Consider the story which has been filmed from Elizabeth Cooper's widely read novel. In the first place, picture Marv Carr, filmdom's finest "mother," in the pathetic role of a charity inmate of an old One of several "Drusilla With a Million" stills for use in window displays for the F. B. O. picture. A catch line "fresh as a daisy" will tie-up with Vivi face powder, and local tie-ups may be made with any "Daisy" brand product. ladies' home. Then imagine stalwart Kenneth Harlan, as the lovable waster who makes good with a vengeance when it becomes necessary for him to do so. Think of Priscilla Bonner, with all her innocent wistfulness, playing the part of the girl-wife whose ordeals will bring a pang of pain to a heart of granite. BRIEFLY, this is the action. Collin Arnold is disinherited by his irate father. In speeding away from home, he wrecks his racer and himself. Sally May Ferris, an orphan slavey in the home of a hatchet-faced spinster, finds him by the roadside, and in her mistress's absence cares for him. Propinquity begets love, and they marry. The boy secures work in a garage, and all goes right merrily until Collin's former fiancee persuades the unsophisticated Sally that she must leave her husband for his own benefit. The scene that will be long remembered. Meantime, Collin's father has died, and his immense fortune goes to a distant relative — none other than Drusilla. HERE is delightful comedy. The erstwhile ward of charity is ensconced in the stately residence that should have been Collin's home. Her introduction is full of humor. She shakes hands with the butler and other menials much to their disgust. But the little old lady soon gains the poise and confidence that come with wealth, and blossoms forth into a rarely beautiful woman whose lovely face reflects her saintliness of soul. Then one day an abandoned child is found upon her doorstep. It is welcomed with an open heart. Thereafter these poor, unwanted babies arrive thick and fast. Soon her mansion is a veritable orphanage. And Drusilla loves them every one. In order to break the will that has given Drusilla her million, and place Collin in possession of his heritage, a rascally lawyer arranges that the house be guarded, and that the next mother to leave her waif to partake of Drusilla's bounty be turned over to the grim justice of the law. (Continued on Page 42)