Exhibitors Herald (Dec 1921 - Mar 1922)

THE THEATRE =^^TMENT PRACT ICAit Rex Beach, Himself, In P erson Chicago newspapers announce this week appearances of Rex Beach at the Roosevelt theatre with "The Iron Trail," of George Beban at the Chicago with "The Sign of the Rose" and Charles Jones at the Rose and Alcazar at alternate performances. This is the high point of a season marked by frequent personal appearance announcements, the theatres mentioned being situate in close juxtaposition. Mr. Beach's appearance is particularly significant. We believe that persons uninfluenced by picture or theatre preference will go to the Roosevelt to see the first author of rank to dignify the picturization of his story with his presence at its premiere. We are quite certain that the Roosevelt will house this week audiences including many who are not regular picture patrons but may become regular as a result of the visit. That class of person who regards himself as of the mythical upper strata and remains away from screen exhibitions, repressing a normal impulse for the sake of affectation, will welcome this perfectly acceptable "alibi." In providing it Mr. Beach performs a creditable service, facilitating extension of the photoplay's appeal in a desirable direction. The enlargement of its public is quite the most important benefit that the motion picture may experience at this or any time. bard said, 'It is a great man who, when he finds he has come out at the small end of the horn, simply appropriates the horn and blows it.' "Most people are successful because they are persistent. Make the world belieVe in you; but you can never convince anyone else if you lack faith yourself. "True success is slow, and must be built upon a solid foundation if it is to endure. "Those who do good work only when the boss is around cannot have much confidence in themselves. They must know that they are deceiving not only others but themselves as well. These never get very far. People seldom achieve success until fate has cuffed them thoroughly. It is by experience that we learn. "Confidence must not be confused with conceit. There is a great difference, and most people do not know one from the other." You comment that this has little or nothing to do with motion pictures. You are right. But "Sheaology" is one of the most widely read of the theatre's house organs, and it is this type of material that makes it so. To study the writing of the theatre is to observe its changing and improving personnel. To read one of the better house organs of today and refer thence to the similar product of a decade ago is to note unmistakable advancement. The modern house organ is interesting for many reasons aside from its supposedly primary content, the literature of current and coming attractions. The following is an example of the new and better subject matter coming into general use. It is written by Harold B. Franklin, ofthe Shea Amusement Company. Buffalo, N. Y., and appears in the current issue of "Sheaology," the house organ of that organization. The title is "Confidence." "Every successful business organization is successful only because they have vision. To have vision is to have the courage of your own convictions. It is another word for confidence. No one can truthfully succeed in anything without confidence. To know that you are right and 'carry on' along a definite line overcoming every obstacle is indeed achievement. Elbert Hub Your Id ea Your idea of what a department of this nature should contain is our sole consideration in its preparation. You placed your stamp of approval on "Exploitation Letters," a recently introduced feature, and this week a change of page order is made to permit its expansion. You are invited to start the New Year by availing yourself of this service. We want to know your idea. It is our business to help you in every possible manner and we want you to help us to help you more. The same city is the home of another theatre writer of different but likew i s e enviable talent. He prepares the house organ of the Elmwood theatre, which carries the name of Bruce Fowler as manager. His is the gift of catchline writing. Consider the following examples. Doris May, versatile and sweet . . . Ralph Ince, of many talents . . . Bebe Daniels, the fascinator . . . Douglas MacLean, on his way to the topmost rung . . . Katherine MacDonald, famed beauty . . . Barbara Castleton, Lewis Stone, Richard Headrick, two big stars and a little one . . . Norma Talmadge, ever piquant . . . Alice Joyce, superbly supported . . . (Concluded on page 44)