Exhibitors Herald (Oct-Dec 1920)

Page scan 000259 from Exhibitors Herald

Record Details:

Title:
Exhibitors Herald
Date:
Oct-Dec 1920
Author:
Exhibitors Herald Co.
Publisher:
Chicago, Exhibitors Herald
Volume:
Exhibitors Herald (Oct-Dec 1920)
Leaf #:
000259
Language:
English
Collection:
Hollywood Studio System and Early Cinema
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:
July 25, 2024
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.

October 9, 1920 EXHIBITORS HERALD 113 Dead Men Tell No T a 1 e s ture does a nice business and about the same amount every time. She draws the better class, which makes her pictures worth playing in any progressive house. — Imperial theatre. Jacksonville, Fla. — Transient patronage. Good Gracious Annabelle, with Billre Burke. — Very enjoyable. — A. X. Miles. Eminence theatre. Eminence. Ky. — Smalltown patronage. His House In Order, with Elsie Ferguson.— A good picture, but the same old story as The Better Wife and Bonds of Love. Star is such a poser that she tires. — Majestic theatre, Grand Island, Neb. — Neighborhood patronage. The Right to Love, with Mae Murray and Davfd Powell. — An artistically staged box office hit. Sure-fire title and co-stars popular. Director also known from On With the Dance. Third biggest week in history of house with help of Paramount Week. — Arcade theatre, Jacksonville, Fla. — Transient patronage. The Grim Game, with Houdini. — If your patrons like serials they will like this, as it is all action. Drew good crowd. — Pfeiffer Bros., Opera House. Kenton, O. — General patronage. The Egg Crate Wallop, with Charles Ray. — This was a good one. Liked by everyone. — J. W. Bauer. Willow theatre, Havre de Grace, Md. — Neighborhood patronage. The Invisible Bond; with Irene Castle. — One of the weak sisters wished on us in order to get the good ones. If you can dodge this all the better. Irene not half bad. but story off color. — W. H. Creal. Suburban theatre. Omaha. Neb. — Neighborhood patronage. Pathe Rio Grande, with Rosemary Theby. — A good Western picture — N. O. Foster, Elite Theatre, Otsego, Mich. — Neighborhood patronage. Other Men's Shoes, an Edgar Lewis production. — A good program picture, but not a special. — J. B. Sparks, Liberty theatre, Condon, Ore. — Small town patronage. Dawn, a J. Stuart Blackton production.— A good Sunday picture. Fair business. — N. O. Foster, Elite theatre, Otsego, Mich. — Neighborhood patronage. Twin Pawns, with Mae Murray. — Did not draw. Picture is good, but this star does not seem to be popular here. Warner Oland is fine. — A. N. Miles, Eminence theatre. Eminence, Ky. — Small town patronage. Dawn, a J. Stuart Blackton production.— A very good picture. Robert Gordon -gaining in favor with every picture.— O. B. Sterling, Sterling theatre, Dayton, Tex. The Moonshine Trail, with a special cast. — Good picture. All well pleased. They went out saying that every man should see it. Good lesson. Business off on account of circus. — William Thacher, Royal theatre, Salina. Kan. Realart Sweet Lavender, with Mary Miles Minter. — Despite saccharine title this picture did better than any previous Minter picture. This star is building up a big following here and as long as she is provided with as delightful vehicles as this she will climb. — Imperial theatre, Jacksonville, Fla. — Transient patronage. The Law of The Yukon, an Allan Dwan production. — Good picture of the Northwest. Good business. — Star theatre, Denison, Tex. — Mixed patronage. Judy of Rogues' Harbor, with Mary Miles Minter.— It certainly is melodrama, with the accent on the "melo," but it is beautifully done and suited my Saturday crowd. — A. N. Miles, Eminence theatre. Eminence, Ky. — Small town patronage . Jenny, Be Good, with Mary Miles Minter. — Very fine picture. Business areat. Mary Miles Minter brings the crowd every time. — Peter Krauth, Denison theatre. Denison, la. — Neighborhood patronage. The Fear Market, with Alice Brady. — Fine picture. Realarts all good here. — W. L. Hamilton, Mazda theatre, Alden. Kan. — Small town patronage. Robertson-Cole The Wonder Man, with Georges Carpentier. — Here is an honest-to-God special. Played this picture three days. Big business and my patrons were well pleased. — R. E. Connell, Dream theatre, Hoquiam, Wash. — General patronage. Mary Pickford's forthcoming United Artist> production. He has played Juvenile roles opposite Alice Brady, Elsie Ferguson, the Talmadges and man? others. The Butterfly Man, with Lew Cody.— A very elaborate picture, but will not be enjoyed by all. — Strombo & Nemec. Auditorium theatre, Stillwater, Minn. Neighborhood patronage. The Wonder Man, with Georges Carpentier. — Very good picture, considering screen experience of star. Any small exhibitor could put this picture over because they are curious to see Carpentier. — B. E. Hipplen, McCloud theatre, McCloud, Cal. Diane of the Green Van, with Alma Rubens. — A good picture and good advertising.— E. S. Beynon, Cozy theatre. Lake Crystal, Minn. — Neighborhood patronage. The Fortune Teller, with Marjorie Rambeau. — This is the greatest mother love picture I've ever shown. Played three days fine business. — R. E. Connell, Dream theatre, Hoquiam, Wash. — General patronage. TRUMPET ISLAND A TOM TERRISS PRODUCTION From the Story by COUVERNEUR MORRIS Intensely dramatic and abounding in spectacular scenes. 1 he climax is reached in a honeymoon airplane flight into the center of a violent* thunder storm, where the machine is wrecked. The fall of the shattered airplane, and its crash into a tree on Trumpet island, provide thrilling spectacles. There is a love story of rare charm, and the brave struggle of a man against poverty and then against the temptation which come with sudden wealth. Wild orgies in a metropolitan hotel are shown, followed by scenes on rugged and lonely Trumpet Island, to which Richard Bedell fled from vice. The shattered airplane brings Eve De Merincourt to the island.