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 #:
000211
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 Wagner, Dreamland Theatre, Chester, S. C. — High class patronage. Berlin Via America, with Francis Ford ( Ford) — A good subject but nothing startling. Should make money for an exhibitor if he is careful about rental price. — C. J. O'Neill, Shullsburg Amusement Company, Shullsburg, Wis. — Mixed patronage. Series and Serials The Son of Democracy (Paramount) — With Sennett comedy, Bray pictograph and Burton Holmes reel drew poor business. Simply playing out deposits to fifth episode. Subjects all good, however, and entertaining, but public did not fall for the stuff as it should. Patrons are like kids playing hookey from school. They hate to take this educational stuff, although it is beneficial to them. — J. H. Henry, Empire Theatre, Winchester, Va. A Fight for Millions, with William Duncan (Vitagraph) — This is without a doubt the best serial in the market today. Action and thrills galore. — Tony Fink, Oak Theatre, Oak Park, 111. (Chicago suburb). — Middle class patronage. The House of Hate, with Pearl White (Pathe) — For any house that can use serials this is a good one. — W. F. Warneford, Gem Theatre, Lawrenceburg, Ind. ■ — General patronage. The Eagle's Eye, with King Baggot and Marguerite Snow (Whartons) — Fine. Takes public some time to get interested, but when they do they stick. — J. C. Taylor, Capitol Theatre, Frankfort, Ky. — General patronage. The Woman in the Web, with Hedda Nova and J. Frank Glendon (Vitagraph) — The best serial we have ever seen or used. — H. H. Billings, Pleasant Hour Theatre, Pine Island, Minn. The Eagle's Eye, with King Baggott and Marguerite Snow (Whartons) — Picture very fine. Business very poor on Episode No. 4, but good on Episodes No. 1, 2 and 3. — Brockhouse & Weeks, Electric Theatre, Arenzville, 111. — Rural patronage. National Board of Review Reports The Lure of Luxury (Universal) — Entertainment value, fair; story, fair; coherence of narrative, fair; acting, fair; photography, good; technical handling, fair; scenic effect, good; moral effect, good. The Kingdom of Youth (Goldwyn) — Entertainment value, excellent; story, good; coherence of narrative, good; acting, excellent; photography, good; scenic setting, good; moral effect, good. Angel Child (Plaza) — Entertainment value, fair; story, poor; coherence of narrative, good; acting, fair; photography, good; technical handling, good; scenic setting, fair. The White Lie (Paralta)— Entertainment value, excellent; story, unusually fine; coherence of narrative, clear; act ing, good; photography, fair; technical handling, good; scenic setting, well done; moral effect, good. He Comes Up Smiling (Paramount) — Entertainment value, excellent; story, excellent; coherence of narrative, good; acting, excellent; photography, good; technical handling, good; scenic setting, good; moral effect, good. To Him That Hath (World)— Entertainment value, fair; story, fair; coherence of narrative, fair; acting, good; photography, good; technical handling, fair; scenic setting, fair; moral effect, good. Come On In (Paramount) — Entertainment value, excellent; educational value, fair; story, good; coherence of narrative, fair; acting, good; photography, good; technical handling, good; scenic setting, good; moral effect, good. Vive La Francs (Paramount) — Entertainment value, good; educational value, fair; dramatic interest of story, good; coherence of narrative, clear; acting, good; photography, good; technical handling, good; costuming, good; scenic setting, good; historical value, good; moral effect, good. The Atom (Triangle) — Entertainment value, fair; story, fair; coherence of narrative, good; acting, fair; photography, good; technical handling, good; scenic setting, good. The Velvet Hand (Universal) — Entertainment value, good; story, fair; coherence of narrative, fair; acting, good; photography, good; technical handling, good; scenic setting, good; moral effect, good. A Soul Without Windows (World) — Entertainment value, fair; story, good; coherence of narrative, fair; acting, good; photography, good; technical handling, fair; moral effect, good. The Yellow Dog (Universal) — Entertainment value, good; educational value, excellent; story, good; coherence of narrative, good; acting, fair; photography, good; technical handling, good; scenic setting, fair; moral effect, good. Miss Mischief Maker (General) — Entertainment value, fair; educational value, fair; story, fair; coherence of narrative, fair; acting, good; photography, fair; technical handling, fair; moral effect, good. Treason (Mutual) — Entertainment value, good; educational value, good; story, fair; coherence of narrative, fair; acting, good; photography, good; technical handling, good; moral effect, good. When a Woman Sins (Fox) — Entertainment value, good; story, fair; coherence of narrative, fair; acting, fair; photography, good; technical handling, fair; scenic setting, good; moral effect, doubtful. The Rainbow Trail (Fox) — Entertainment value, good; educational value, good; story, good; coherence of narrative, good; acting, excellent; photography, excellent; technical handling, good; scenic setting, good; historical value, good; moral effect, good. What Is the Picture's Box Office Value? Is the film you are running in your theatre a money maker? Pass the i word on ! Does the picture draw the I crowds? Tell the exhibitors in the | other states. They want to book the I same pictures. Tell them in ExhibiI tors Herald and Motography's | "What-the-Picture-Did-for-Me" de| partment. Your box office is the test of 1 popularity. Fill in the blank NOW | and send to Exhibitors Herald and | Motography, 417 South Dearborn I street, Chicago. J Title | Star 1 Producer Weather How Advertised Competition Admission Prices Remarks Name of Theatre Transient or Neighborhood Pa tronage Title Star Producer I Weather I How Advertised.. | Competition | Admission Prices . | Remarks | City and State j Sent in by 41