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 #:
000209
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
Something wrong or inaccurate about this page? Let us Know!

Thanks for helping us continually improve the quality of the Lantern search engine for all of our users! We have millions of scanned pages, so user reports are incredibly helpful for us to identify places where we can improve and update the metadata.

Please describe the issue below, and click "Submit" to send your comments to our team! If you'd prefer, you can also send us an email to mhdl@commarts.wisc.edu with your comments.




We use Optical Character Recognition (OCR) during our scanning and processing workflow to make the content of each page searchable. You can view the automatically generated text below as well as copy and paste individual pieces of text to quote in your own work.

Text recognition is never 100% accurate. Many parts of the scanned page may not be reflected in the OCR text output, including: images, page layout, certain fonts or handwriting.

EXHIBITORS HERALD AND MOTOGRAPHY ecly)._Not so bad.— R. J. Relf, Star Theatre, Decorah, Iowa. Sandy, with Jack Pickford. — Fair business against competition in form of exposition.— Regent Theatre, Rochester, N. Y. — High class patronage. Arbuckle Comedies. — Good drawing cards. — William M. Roob, Grand Theatre, Port Washington, Wis. Resurrection, with Pauline Frederick. — Fine picture for high class patronage. — F. Fink, Jr., Fink's Theatre, Gridley, Cal. — Rural patronage. The Vamp, with Enid Bennett — Splendid picture. Pleased everybody. — J. C. Taylor, Capitol Theatre, Frankfort, Ky. — General patronage. Love's Conquest, with Lina Cavalieri — Another costume play that fails to satisfy.— Leo Peterson, Iris Theatre, Belle Fourche, S. D. — General patronage. Saucy Madeline (Sennett Comedy) — All of Mack Sennett's comedies are good. Only wish I had one a week as they always please. — Tony Fink, Oak Theatre, Oak Park, 111. (Chicago suburb). — Middle class patronage. Believe Me Xantippe, with Wallace Reid — Paramount should make more like this one. Surely a dandy picture. — F. Fink, Jr., Fink's Theatre, Gridley, Cal. — Rural patronage. Arbuckle C o m e d i e s — Never fail. — George W. Sumner, Dixie Theatre, Clay Center, Neb. The Bell Boy, with "Fatty" Arbuckle — Extra good. Al St. John, Buster Keaton and Alice Lake should share the honors alike with "Fatty" in this for it is surely their work as well as star's that puts the "pep" and action in the picture. — R. J. Relf, Star Theatre, Decorah, la. The Eternal Temptress, with Lina Cavalieri — Poor. Not the kind that the general public cares for. — R. A. Shobe, Kentland Theatre, Kentland, Ind. — High class patronage. Unclaimed Goods, with Vivian Martin — Nice, clean picture. — F. Fink, Jr., Fink's Theatre, Gridley, Cal. — Rural patronage. Uncle Tom's Cabin, with Marguerite Clark — Star good as Topsy. S. R. O. all day. Weather good. Regular advertising. Strong competition. Regular admission prices. — Princess Theatre, Bingham Canyon, Utah. Mile-a-Minute Kendall, with Jack Pickford — Very light. Story just fair. Good for an off night. Expected better from Jack. — Miss T. Benesch, Bell Theatre, 3004 Armitage avenue, Chicago. — Middle class patronage. The Inner Shrine, with Margaret Illington — Average picture. Poor business.— Brockhouse & Weeks, Electric Theatre, Arenzville, 111. — Rural patronage. Viviette, with Vivian Martin — A good star in a good picture to good business. — C. Everett Wagner, Dreamland Theatre, Chester, S. C. The Biggest Show on Earth, with Enid Bennett — Catchy title. Good production. Brought them in. All well pleased. — Miss Benesch, Bell Theatre, 3004 Armitage avenue, Chicago. — Middle class patronage. Pathe Winning Grandma, with Baby Marie Osborne — One of star's best. We have screened them all. The little colored boy is a knock-out. One would think a picture built around him would go over big. — C. J. O'Neill, Shullsburg Amusement Company, Shullsburg, Wis. — Mixed patronage. Stranded in Arcady, with Irene Castle — Poor business. Picture not suited to limited ability of star. — -Piccadilly Theatre, Rochester, N. Y. — Middle class patronage. More Trouble, with Frank Keenan — Just fair. Rather slow and not up to former Keenan Triangle pictures. Business light on second night. — B. C. Brown, Star Theatre, Viroqua, Wis. Mrs. Slacker, with Gladys Hulette and Creighton Hale — Drew pretty well on program with The Fourth of July in Paris. Creighton Hale popular through The Iron Claw serial. — J. H. Henry, Empire Theatre, Winchester, Va. A Little Sister to Everybody, with Bessie Love — Just a picture. — R. J. Relf, Star Theatre, Decorah, la. For Sale, with Gladys Hulette — Star very popular. In fact, all Pathe productions go big with us. Are very consistent in quality. — C. J. O'Neill, Shullsburg Amusement Company, Shullsburg, Wis. — Mixed patronage. Select A Pair of Silk Stockings, with Constance Talmadge — A farce comedy that pleased. Star good. Excellent cast in support. — R. T. Megibben, Regent Theatre, Cleveland, Miss. — Family patronage. The Studio Girl, with Constance Talmadge— Very good. Should go over in any first-class house. — W. F. Warneford, Gem Theatre, Lawrenceburg, Ind. — General patronage. The Death Dance, with Alice Brady — A bit sensational but good. Did fair business. — Regent Theatre, Rochester, N. Y. — High class patronage. Scandal, with Constance Talmage — Star good, but story is disconnected. — R. J. Relf, Star Theatre, Decorah, la. The Marionettes, with Clara Kimball Young — Should please high or middle class audiences. — W. F. Warneford, Gem Theatre, Lawrenceburg, Ind. — General patronage. The Silent Master, with Robert Warwick— Excellent picture. Fair business. — R. C. Wilson, Grand Theatre, Staples, Minn. — General patronage. The Silent Sacrifice, with Norma Talmadge— Pleased everyone and that's saying quite a bit. — W. F. Warneford, Gem Theatre, Lawrenceburg, Ind. — General patronage. The Safety Curtain, with Norma Talmadge— High class as usual. This star's productions are always good. — R. T.