Exhibitors Herald (Dec 1921 - Mar 1922)

40 EXHIBITORS HERALD January 7, 1922 At a time when the prologue is being subjected to a severe test as to practicability it is not unfitting that attention be directed to the fact that a comic prologue, exactly as the lighter forms of stage productions, is especially worth while. It is logical to assume that the public which prefers farce and musical comedy to straight drama is disposed to receive with greater favor the prologue which has something of humor in its content. For the occasional feature which offers no especially adaptable prologue suggestion to the exhibitor who is equipped to use prologues and makes it a practice to do so the majority of comedies supply solutions of the seeming difficulty. To apply the prologue to the comedy instead of to the feature attraction is not only acceptable theatricals but makes possible a change in program order which makes for novelty, another important consideration at this time. Two stills presented herewith, from "Peace and Quiet," Arrow (above), and "Rolling Stones," Educational (below), indicate the type of comedy that may be presented successfully with prologues. These will assume the form, possibly, of the playlet often seen in the vaudeville theatre, of little merit in itself but permitting of development in adaptation. The novelty value of this occasional change in program order must not be underestimated. It is generally accepted that novelty plays important part in box office showings during periods of comparative laxness in public interest. It produces comment, in itself valuable, and it stamps the theatre man to whom it is credited as a progressive business man. Edward L. Hyman, managing director of the Mark Strand theatre, Brooklyn, N. Y., foresees a year of intensive effort in 1922. He believes the showman will be forced to work in the coming year as he has never worked before. In his well written special article which follows he makes statements of great interest and importance to all theatremen. Motion picture theatres are opening everywhere — new houses, and often in new localities. That is the condition 1922 will find. It's fine for the public, but doggoned hard on the exhibitor. Pack-'em-in houses, who had the big "edge" during the war and a considerable time afterward, are worrying some, for with feature pictures and weeklies and other shorts following after five acts of vaudeville, the house that sticks to film hasn't such a pleasant prospect, unless — the stimulus is given to presentation. There is the 1922 solution, in my belief — in presentation. * * * A perfect musical setting — miniature versions of grand and light opera — atmospheric prologues — short subjects carefully cut and scored — these are the stimulants that will help many theatres to stand the gaff in 1922. We learned the lesson of these things in 1921. The public has been educated to them. And the ship that carries 'em will be the ship that will swim. Competition may be the life of trade — but it means work for the executive who runs a house devoted to films. At least it means work in 1922 if said theatre man wants to keep up the standard of prices. * * * Proper, elaborate presentation is the key for the chief houses. The others will have to put in their best licks in selling their houses. Some houses can do it with balyhoo. Others more dignified will find the mailing list the proper thing. But a stimulus to business will be needed — and it will be found, or the traveling will not be easy. Some folks arc content to wait a week or two until the big picture moves from downtown to the neighborhood house nearest them where the price is lower. This is a grave reason for stimulus. Nineteen twenty-two will reward fighters. And competition isn't a poor fighter.