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IN PREVIOUS INSTALLMENTS of this series of articles on newspaper advertising, we have called attention primarily to the manner in which press-book lay-outs were followed, or pressbook material changed to fit the needs of the moment. Of the accompanying lay-out, nothing will be said as to the source material. Rather, shall it be considered more important to discuss other aspects of the advertisements.
It matters not whether the theatre be Chicago’s Chicago, Providence’s Strand, Philadelphia’s Stanley, Buffalo’s Great Lakes, or Washington’s Earle, the advertisement is a forbidding and incompresensible (at a glance, that is) blah of reading matter, supplemented by blobs of blackness which might — or might not — be illustrative matter.
Which one of the five advertising men is most reprehensible in perpetrating such assaults upon the sight of a man is a moot question, although he who is responsible for the Earle, Washington, advertisement, is the least culpable — but that is not high praise.
IN THE OTHER ADVERTISEMENTS, the first reaction can be nothing but "Well, what is playing?” Especially is this true of the Strand, Providence, advertisement. Ostensibly, there is at this house, coincidentally, two double features: "Paris Honeymoon” and "Storm Over Bengal,” along with "Thanks for the Memory” and "Illegal Traffic.” Now, if "Artists and Models Abroad” is on its "last two days,” just when do these twin double features go on the screen? We do not answer questions, we just ask them.
In the copy for Chicago’s Chicago, the volume of material that the copywriter put into the advertisement is sufficient to keep any possible patron away from the theatre, notwithstanding the probable appearance on the same bill of sinuous Ina Ray Hutton and Her Melodears.
ANOTHER CASE of what’s what is the advertisement of Philadelphia’s Stanley, where there is an open doubt as to which of the four heads represent the principal character, or even the
star of the show. Our private opinion is that the position of the Akin Tamiroff drawing belies successfully both the size of the Bing Crosby name and drawing. But, perhaps we are wrong.
While Buffalo’s Great Lakes might be applauded for making display of the concurrent short subjects (noticeable after close examination), the treatment of the copy, together with the general aspect of the whole lay-out, make such applause not entirely warranted.
The Earle, Washington, endeavored to a certain extent, and manifestly greater than in any of the five other theatres, to capitalize on advertising’s most valuable commodities, white space and judiciously used art work. But the full force of the potentialities was missed.
If Paramount’s "Paris Honeymoon” was illy received in these locations, surely the advertising men must take their share of the blame and not thrust the entire responsibility on the star and his supporting cast and on Paramount.
For the first time these posters will bring to billboards the actual life-size action pictures from a film itself. They were created to catch in black-white all the full realism, authenticity, drama of the screen vehicle that is being sold to the public.
The series of six 24-sheets for "Gunga Din”, when posted in a community, may be heralded as a highway trailer. Of them, 5,000 will be spotted in 37 key cities in the U. S., Canada. In
each city all six styles will be posted. They will give the passing motorist or pedestrian a constant change of "Gunga Din” dramatic scenes, yet carry a continuity of thought, appeal.
"Dark Victory”
Fourteen national fan magazines reaching a total of 17,325,548 readers will carry full page
ads on Warners production of "Dark Victory” starring Bette Davis in their March issues. The issues carrying the ads will reach the newsstands February 1.
Magazines which will run the ad are:
Motion Picture, Screen Book, Hollywood, Movie Story, Photoplay, Modern Screen, Movie Mirror, Modern Moiies, Movie Life, Screenland, Silver Screen, Picture Play, Screen Guide, Screen Romances
January 25, 19} 9