Exhibitors Herald (Jan-Mar 1920)

March 13, 1920 EXHIBITORS HERALD 67 Whangdoodle Band Aids Indiana Exploitation of "In Old Kentucky" A five column display used with success by the Rialto theatre, Omaha, Nebr. Worth-While Drawing Calls for Big Space The specially drawn illustration is still objected to by many exhibitors, otherwise progressive advertisers, on the ground that it is unnecessary and expensive. Such exhibitors are in need of enlightenment. And a recent advertisement in an Omaha newspaper provides that very desirable thing. "In Old Kentucky," Anita Stewart's First National attraction, recently concluded what is stated to have been a most successful engagement at A. H. Blank's Rialto theatre, Omaha. Xeb. There is every reason to credit the statement. The Rialto ordinarily uses two and, at most, three column widths. In this case it used five columns in at least one instance, and doubtless in more than one. And the reproduction of that one display compares well with any to be found in the pages of this department. The question arises, was the size the result of the artist's drawing? And the answer, if the advertisement is scrutinized closely, is in the affirmative, despite the fact that the production has been generally considered worthy of unusual advertising and exploitation. It is evident that the man who passed upon the size of the space to be used had seen the drawing. It is as apparent that the drawing was one to inspire generosity in this connection. It is a powerful picture. Its power is incontestably established by the fact that it was given this space. The man who doubts that this power operated as effectually when the picture reached the public gaze is not merely misinformed — he is obstinate in his stand. And obstinate men should not be engaged in advertising. Phil Brown, a showman whose road experience was gained in the days before the motion picture had crowded the "road show" into comparative obscurity, with a company of ten colored musicians who double as actors, is giving real assistance to the Indiana theatre men booking "In Old Kentucky," Anita Stewart's First National production, playing throughout that state as a road attraction. The band, of which it is said hve members are players who traveled with the original stage production oi the play, first joined the rilm road show during the presentation of the picture at the Circle theatre, Indianapolis. Here the engagement was given the aid of the exceptional advertising used by S. Barret McCormick, manager of the Circle, which was reproduced in this department and has been widely used in its essentials byother exhibitors. At two o'clock in the afternoon the band, in suitable uniform and with fitting banners displayed, marched the streets of the city. Upon the bass drum, a spot which is always sure of attention in such cases, a sign was painted. The musicians, as is true of all colored musical aggregations, played so loudly as to draw attention from far and near. There is no organization that marches with quite the pomp and ceremony that a band of colored musicians effect. And there is, by the same token, no marching body that attracts greater attention. The Circle engagement, it is reported, convinced those in charge that the picture should be given the advantage of this sort of exploitation throughout the state. Obviously this could not be done in the ordinary course of events. The scheme of playing the picture as a road attraction was the natural consequence. Muncie and Anderson were the next cities visited. By this time Mr. Brown had had time to perfect his organization in the mat ter of the street parade and the ballyhoo, several of which were given in front of the theatre during the days that the picture was shown. He next devoted what odd time was at hand to the rehearsing of a stage prologue to be known as "A Day in Dixie," this to follow the ballyhoo and to precede each screening. In each of these cities, it is said, severe snow storms were encountered. Under ordinary conditions, doubtless, business would have suffered greatly. But the band was called upon to provide the stimulant necessary to bring people out into the cold and snow and to the theatre. It succeeded, with the result that records were established in these cities. There is real value in this sort of exploitation, when the attraction for which it is provided warrants the expenditure of time and money that is involved. Experience seems to have established "In Old Kentucky" as that sort of a picture. It will doubtless go down in film history with "Better Times" and "Checkers," "Everywoman" and "Broken Blossoms," as one of the pictures that gave the first important stimulus to exploitation and presentation. Pictures of this calibre should be accorded something more than the usual attention. They are pictures of great and genuine importance to the exhibitorial estate. They are pictures that wield an influence upon the future. When exploitation of this type is accorded a picture, the whole body of exhibitors, whether or not they plajr the picture, should read with care the details of the exploitation that is provided. Such a reading will acquaint them in advance with the style of showmanship that is necessarily going to be the order of the future. This knowledge is invaluable. It is a forewarning, which is a forearming. It is in line with preparedness and all the other modern doctrines in present favor. i