Exhibitors Herald (Sep-Dec 1918)

Record Details:

Title:
Exhibitors Herald
Date:
Sep-Dec 1918
Author:
Exhibitors Herald Co.
Publisher:
Chicago, Exhibitors Herald
Volume:
Exhibitors Herald (Sep-Dec 1918)
Leaf #:
000207
Language:
English
Collection:
Early Cinema and Hollywood Studio System
Format:
Periodicals
Contributor:
Media History Digital Library
Sponsor:
Media History Digital Library
Coordinator:
Media History Digital Library
Description:
Founded in 1915 by a Chicago printing company as a regional trade paper for Midwest exhibitors. In 1916, editor Martin Quigley bought out the owners, and over the next 15 years, he grew EXHIBITORS HERALD into one of the most important national, weekly trade papers in the film business. Quigley acquired MOTOGRAPHY in 1917 and MOVING PICTURE WORLD in 1927. In 1930, he acquired MOTION PICTURE NEWS and the new 'consolidated' publication became MOTION PICTURE HERALD. From the pulpit of his editorial page, Quigley preached the need to improve the motion picture industry and improve the quality of the films. He skillfully served as a mediator in disputes -- between distributors and exhibitors, between the film industry and the Catholic Church (Quigley was one of the architects of the Production Code). Quigley claimed that EXHIBITORS HERALD represented the 'independent exhibitor' and sections like 'What the Picture Did for Me?' certainly provided a forum for theater owners. But plenty of exhibitors viewed Quigley as a servant to the studios and large theater chains. In response, publications such as SHOWMEN'S TRADE REVIEW, INDEPENDENT EXHIBITORS FILM BULLETIN, HARRISON'S REPORTS, and BOX OFFICE were either formed or grew significantly in the years following Quigley's brief moment of consolidation in 1930. -- Eric Hoyt, 2014
Date Added:
September 21, 2023
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EXHIBITORS HERALD AND MOTOGRAPHY "What the Picture Did For Me VERDICTS ON FILMS IN LANGUAGE OF EXHIBITOR Copyright, 1918 The criticisms contained in this department of Exhibitors Herald and Motography are truthful statements relative to the actual box office value of the pictures. If the picture you wish to know about is not included, write Exhibitors Herald and Motography and the information will be sent you promptly. Using blank form on last page of department write us your experience with the pictures you are showing. Address Exhibitors Herald and Motography, 417 South' Dearborn street, Chicago, III. Artcraft The Great Love (D. W. Griffith production).— Dandy picture and good business, despite competition of Hearts of the World. — Piccadilly Theatre, Rochester, N. Y. — Middle class patronage. The Modern Musketeer, with Douglas Fairbanks. — This is a good one. — George W. Sumner, Dixie Theatre, Clay Center, Neb. How Could You, Jean? with Mary Pickford.— An excellent comedy drama. My patrons like this kind. Ought to go well anywhere. — R. T. Megibben, Regent Theatre, Cleveland, Miss. — Family patronage. The Goat, with Fred Stone. — Very poor story for Stone and one that does not please. — William Sievers, New Grand Central Theatre, St. Louis. — High-class patronage. Bound in Morocco, with Douglas Fairbanks.— This is not one of the best of the Fairbanks pictures, but it did good business.— Regent Theatre, Rochester, N. Y. — High class patronage. Say, Young Fellow, with Douglas Fairbanks.— One of Fairbanks' best. Pleased all, but star seems to be slipping. — J. H. Henry, Empire Theatre, Winchester, Va. Mr. Fix-It, with Douglas Fairbanks. — "Doug." is one of my best bets and everybody is satisfied at the end of the show. — F. Fink, Jr., Fink's Theatre, Gridley, Cal. — Rural patronage. Shark Monroe, with William S. Hart. — Very good picture. Received good comments.— J. C. Taylor, Capitol Theatre, Frankfort, Ky. — General patronage. Selfish Yates, with William S. Hart.— Usual Hart performance, only a little bit slow. Business fair. — F. Vesley, Brown Theatre, Salinas, Cal. — General patronage. The Great Love (D. W. Griffith production).— A 100 per cent picture. Went over big, people standing on street until 12 p. m. Weather good. Regular advertising. Strong competition. Charged 1"> and 25 cents. — Princess Theatre, Bingham Canyon, Utah. Heart of the Wilds, with Elsie Ferguson.— Picture not worthy of this talented star. Did only fair business. — -Piccadilly Theatre, Rochester, N. Y. — Middle class patronage. The Tiger Man, with William S. Hart. — William S. Hart is the same old William S. Hart in every one of his pictures. People getting tired of him. — Miss T. Benesch, Bell Theatre, 3064 Armitage avenue, Chicago. — Middle class patronage. The Song of Songs, with Elsie Ferguson.— Inferior. Would have made a fairly good three-reel picture. — C. Everett Wagner, Dreamland Theatre, Chester, S. C. — High class patronage. The Little American, with Mary Pickford. — Excellent picture. Good business two nights. — A. R. Kremer, Lyric Theatre, Alexandria, Neb. — Rural patronage. The Widow's Might, with Julian Eltinge. — A great picture and will surely please. — R. A. Shobe, Kentland Theatre, Keiitland, Ind. — High class patronage. Bluebird Midnight Madness, with Ruth Clifford. — Very good picture. Drew fairly well MARGARITA FISHER, The American Star, in a Scene from "Fair Enough." and pleased everybody. — F. Fink Jr Fink's Theatre, Gridley, Cal.— Rural patronage. My Unmarried Wife, with Carmel ^.yers-T Good — George W. Sumner, Dixie Theatre, Clay Center, Neb First National Exhibitors Circuit Italy s Flaming Front.— This went over exceptionally well at 10 and 20 cents. Patrons knew what to expect, as I had Lieut. Roselli of the Italian army give a lecture on this very subject two weeks before.— William M. Roob, Grand Theatre, Port Washington, Wis On Trial, with Sydney Ainsworth.— A good, out of the ordinary story. Well produced. Spiced with some rich comedy—Tony Fink, Oak Theatre, OakPark, 111. (Chicago suburb).— Middle class patronage. My Four Years in Germany.— Two days to good business, but little profit due to high rental. Satisfied everyone Wihlam M. Roob, Grand Theatre, Port Washington, Wis. Alimony, with George Fischer.— This is a good production and will make money almost anywhere if properly advertised.—Tony Fink, Oak Theatre, OakPark, 111. (Chicago suburb.)— Middle class patronage. Fox Les Miserables, with William Farnum. — Went over big to capacity business. Farnum did some wonderful work in this. — C. Everett Wagner, Dreamland Theatre, Chester, S. C. — High class patronage. Woman and the Law, with Miriam Cooper. — Wonderful picture, but did not draw. — J. H. Henry, Empire Theatre. Winchester, Va. The Forbidden Path, with Theda Bara. — Better than the average Bara Standard pictures. Star does fine work. — R. T. Megibben, Regent Theatre, Cleveland, Miss. — Family patronage. For Liberty, with Gladys Brockwell. — Great picture. Print in fair condition. — Tony Fink, Oak Theatre, Oak Park, 111. (Chicago suburb.) — Middle class patronage. 37