Exhibitors Herald (Oct-Dec 1920)

EXHIBITORS HERALD October 23, 1920 r m , — -v f v — v iiiiiiiiiiiiiiiiimiiiiiiiiiiiiiiiiiiiuii .inuuimniiiiiiiiiiimiiiiniiiiiiiiiiMiiiiiiiinaiminiHiiiniHi1 'mmmmmmmmmmmmmmummmmmmmm DKxj'yS il OF PICTURES OF THE WEEK .iiiiuuiiiiiimiiiihii 111 mmmini n , •• 'iiihmmmm TIIK ■"liitck to normal" movement currently engages the attention of citizens, politicians and professional economists throughout the nation. It is a matter of vital concern. Something very similar to il La forcibly Wrought to the attention of every exhibitor immediately after the playing of each of the "hig pictures" which are periodically exhibited. It has become a more or less general practice to hook for dates immediately following a big attraction a production which can be obtained at low rental, the supposition being that below normal attendance is inevitable and expenses should be curtailed in keeping. The policy is open to question. There is no sound basis for the premise that below normal attendance is inevitable. Good advertising, with an attraction worthy of it. should bring the same volume of patronage immediately following a big engagement as at any other time. Thus would be avoided one of the "dead calms" that cut materially into the year's gross. "THE RIDDLE: WOMAN" (Associated Exhibitors-Pathe) received wide publicity as a stage play in which Bertha Kalich starred, which will aid materially in putting it over as a picture. The production represents a vast expenditure in sets, costumes, and salaries of artists but as a screen drama it but moderately serves its purpose, despite Geraldine Farrar's work in it. "THE PHANTOM FOE" (Pathe) with Warner Gland and Juanita Hansen in the leading role-, iextremely well done and if succeeding episodes contain as much suspense, romance and feature investitures as the first two chapters, it should prove one of the best box office attractions in a long time. "THE BROADWAY BUBBLE" (Vitagraph) contains unusually fine acting on the part of Corinne Griffith. It is a story of the stage, with Miss Griffith playing a dual role. "YOU NEVER CAN TELL" (Realart) presents Bebe Daniels in her initial starring vehicle for Realart Pictures. The story is humorous in spots but many of the situations intended for comedy do not register. "CURTAIN" (First National) is another picture of stage life, with the beautiful Katherine MacDonald in the leading role. The story first appeared in the Saturday Evening Post, and is true to life and well staged. James Young directed. "THE BRANDING IRON" (Goldwyn) taken from Katherine Newlin Burt's novel, presents an absorbing tale of love, jealousy and hate. The leading feminine role is taken by Barbara Castleton. while James Kirkwood, Russell Simpson, Gertrude Astor. Richard Tucker and other well known screen player> appear in support. Splendid pholo<;raph\ and fine direction combined with perfect setting mark the picture as one of the best of the presenl month. "AN OLD FASHIONED BOY" (Paramount) is a picture that will appeal to the average audience and >eii<l them home in a wholesome frame ol mind. Charle> Ray's boyishness and farcical methods have a line play in the role of David Warrington, a young man with old fashioned ideas. '•TIIK WONDERFUL CHANCE" (SelznickJ presents Eugene O'Brien in a role which will be much more popular with men patrons than several of his previous pictures. Instead of a heart breaker, he presented as a •'man' man." Il offers splendid opportunities for the showman to exploit, advertise and present. The star appears in the dual role of an e\-eonviet and an English lord. "HONEST HUTCH" (Goldwyn) is declared to be one of the best comedies in which Will Rogers has thus far appeared. The picture contains equal parts of human interest and drama with the lovable comedian in the role of a ne'er do well who reform*. "IN THE HEART OF A FOOL" (First National) an Allan Dwan feature made for Mayflower, based on William Allen White's well known novel, tells a powerful story that will appeal to those who prefer realism to idealism in their pictures. An nniiMialh strong cast appears in the production. "PINK TIGHTS" (Universal) is a fresh, clean, small town story of parsonage and circus life, much after the plan of "Polly of the Circus." Gladys Walton and Jack Perrin are an attractive team of leads who do excellent work. A church fire and rescue and a balloon ascension are high spots of excitement. A trio of children do interesting work. The picture should have appeal to the patronage favoring the bright, clean themes. "BEHOLD MY WIFE" (Paramount) is an allstar cast production, featuring Milton Sills and Mabel Juliene Scott in leading roles. It is certain to be one of the most complimented pictures of the season. Elliott Dexter has an important role also. Scenes are laid in Canada and in England, and the settings and costumes are luxurious and the photography is uncommonly artistic. "THE TIGER'S CUB" (Fox) -presents Pearl White in a drama of the snow country set in attractive surroundings and played with a capable cast. Melodramatic tendency and a tinge of comedy throughout will make it favored of the patronage inclining to the thriller portraying primitive weaknesses and passions. Snow scenes featuring the star are a notable item.