Exhibitors Herald (Dec 1921 - Mar 1922)

42 EXHIBITORS HERALD January 21, 1922 Concentrates on Arliss To Advertise "Disraeli" A resourceful exhibitor and an artist with profound admiration for 'George Arliss combined forces to excellent advantage and produced what is described as "big business" for the run of United Artists' "Disraeli" at Poli's Palace th e a t r e, Springfield, Mass. Accompanying illustrations show the appearance of the theatre front during the engagement. Gordon Wrighter, better known to intimates as "Doc" Wrighter, is the exhibitor who did not believe that because "Disraeli" is not a story of automobile racing, volcanic eruptions or cataclysmic disasters it could not be exploited actively. He found in Springfield an artist who coincided with his belief and proved himself especially valuable in addition because of his admiration for the acting of George Arliss. The two collaborated and produced the lobby display shown, featuring twelve silhouette drawings of the star. The method of procedure was demonstrated effective at the box office. Not every showman has regarded the United Artists' production in a similar light. Many have expressed themselves as confident that its entertainment qualities w ere 9 great, adding doubt as to IS their own ability to interest a majority of their patrons tion. "Highbrow" is the term -ikIi comment. The plain fact to every showman who realy knows the theatre is that the term is not and should never be considered a badge of tin suitability. It is as reasonable i«i argue that checkered suits are more readily sold than plain designs as it is to maintain that a blatantly colorful motion picture is more desirable for the program than a liner work of equal entertainment qualifications. Where an attempt has been made to sell a motion picture of the latter class by simply and forcefully rep Two views of the dignified representation maintained in the entrance to Poli's Palace theatre, Springfield, Mass., when "Disraeli" was in engagement. Gordon Wrighter, manager, concentrated upon the 'star, George Arliss, in every phase of his exploitation for the feature. in it through cxploitathat has been used in resenting it as such it has been brought out that thcbox office receipts are on a par with the best experienced with more sensational attractions. To any who go into the matter deeply it is apparent that the single acceptable advertising policy is one which operates selectively in briging to the theatre the persons who want to see particularly the typrof production in exhibition. There are more than surface advantages to this policy. In drawing from different classes, as indicated by picture preference, the theatre man increases the bulk of his public. Each individual in that public may visit the theatre less often than is commensurate with a straightway flash policy without diminishing tintotal receipts of the theatre. And when a picture is played which appeals to every class a box office mark high above that obtainable in any other way is automatically recorded. Mr. Wrighter rep re-' sented "Disraeli" as a fine piece of acting by a star of established rank. His public came to see the picture he represented and no other. The report ot business indicates that they were not inactive among their a c qua in tances thereafter. There should be con siderable study devoted to this style of exploitation. It may be designated as "selective" for want of a more closely fitting term. In its cultivation lies promise of attainment to a position which will render powerless to influence theatre receipts any industrial developments which the future may hold. The theatre is unique among business institution in that it is not compelled by a standard product tf limit its advertising appeal to any single class. Today it may appeal to the highbrow ; tomorrow to the socalled middle class; next day to the whole of humanity Selective exploitation is thus revealed as an instrument of incalculable value.