Exhibitors Herald (Jul-Sep 1921)

EXHIBITORS ADVERTISING op motion PicTtra^ ON Exploitation Review The following exploitation review is based upon reports of exhibitors to the "What the Picture Did for Me" department of the Herald and theatre stories printed in these pages. Though not all productions powerful in influence are included, those discussed are representative of the various classes and serve to show that an even supply of motion pictures possessing this quality is at all times a v a i la b 1 e from many sources. "THE DEVIL" (Associated Exhibitors) brought George Arliss to the screen in an established stage success. Emphatic stressing of star name and play history by advertising exhibitors was noted. The production's influence upon the theatre was shown chiefly in the elaborate presentation accorded it by exhibitors who formerly had used prologues, etc., sparingly if at all. Stimulus to presentation was imparted. "THE LAST OF THE MOHICANS" (Associated Producers) strengthened an important bond between the theatre and schools, clubs, churches, the press and other important civic institutions. James Fennimore Cooper's novel admirably picturized provided a common meeting ground upon which was based cooperation through which old and young were properly entertained and brought to view the theatre in its proper light as a community factor. "THE KID" (First National) greatly advanced the cause of comedy, long mistakenly regarded by many as a backward phase of motion picture entertainment. The best known comedian won respect as a great actor. A comedy, for as such it was popularly regarded, was granted to be a great picture. The theatre was freed from much undeserved criticism. Incidentally, exhibitors learned much about comedy presentation and comedv values. Does the picture make the theatre? Or does the theatre make the picture? Which of the two dominant factors of the screen is the cause, and which the result? It is less difficult to trace picture influence than theatre influence. That does not mean that it is the stronger. The question of supremacy is one of deep interest to all in the industry. The brief digest of recent influential productions presented herewith is offered as a basis for reflection. Ask yourself as you read whether the pictures included were produced to conform with theatre demands or whether the reverse argument is sounder. "OVER THE HILL" (Fox) has demonstrated picture importance effectively. Though exhibited to a limited clientele its name is known throughout the nation and persons who will not see it for many moons discuss it intelligently. Only things of importance are thus widely heralded by press and word of mouth. A picture which proves to picture people the importance of pictures serves valuably the cause of the screen. "THE CABINET OF DR. CALIGARI" (Goldwyn) gave trade and public something to think about. A radical departure from production standards, and as daring in story and performance, it bred discussion of possibilities, developments, etc., which is of more than momentary duration. Such discussion stimulates general interest on the part of the public and serious thought within the trade. Neither can be too deeply stirred. "EAST LYNNE" (Hodkinson) proved the superiority of the screen. A picturization of a stage classic won from the majority of those who compared it with the original unqualified endorsement of the Hugo Ballin production. Many of the comparative few who still hold out against the motion picture theatre were brought to see it in its true light. The benefit to the motion picture theatre will be a lasting one. "THE FOUR HORSEMEN OF THE APOCALYPSE" (Metro) has figured importantly in the conquest of the stage field. Exhibited in legitimate theatres, it has remained in engagement when stage attractions under like circumstances have been withdrawn. The public attaches its own significance to such an occurrence. It is a significance favoring the film form of entertainment. "DECEPTION" (Paramount) induced the formation of "100% Quality Leagues" in which merchants banded together to advertise in connection with the theatre honesty of treatment, fairness of prices and general business integrity. Theatres identified with the merchant body of their cities in such a campaign win more than temporary profit. "WITHOUT BENEFIT OF CLERGY" (Pathe) added Rudyard Kipling to the motion picture theatregoers library and a literary classic to the screen without loss. Another step toward universality for the theatre clientele. Another step upward as an institution of arts and letters. "THE LITTLE CLOWN" (Realart) served invaluably as a summer attraction in a number of cities. In one an exhibitor used it to defeat a carnival in open warfare. A circus picture published in circus season and gener (Concluded on page 62)