Exhibitors Herald (Dec 1921 - Mar 1922)

February 4. 1922 EXHIBITORS HERALD 53 Omaha Welcomes Fox's Specials WHEN a showman really believes in the pictures he advertises it is an almost invariable rule that his public agrees with him after it has seen them. It is also true that his public is present in large numbers at the exhibition of the pictures. Confidence creeps into exploitation unbidden. Its semblance cannot be forced in if the genuine does not exist. using a shamrock design with title painted across same. Engaged a boy to drive same all over city, as well as parking it at busiest spots in town. When the picture started I used same in lobby throughout run. "I then put on a tie-up with grocery stores and markets and confectionery having them distribute heralds in packages. As for my lobby I used the same design as on the Ford, a large tinseled shamrock with the title across it. As for newspapers and posting I used only my regular amount of space. This composed the exploitation which cost me my regular weekly appropriation." The stunt-front connection here was inescapable. The illustrations show it in some detail. Other illustrations show the street representation and the lobby display used by W. R. Ferguson, of Goldwyn. in exploiting '"Theodora" for the Tulane in New Orleans. A circus closing its season in the city provided the lion and the cage. And circus methods were followed out in the hilling, pape>" A stunt and a front that combined perfectly made business for "Theodora" at the Tulane theatre, in New Orleans. being distributed with a lavish hand. Window displays and an elaborate newspaper campaign completed the direct to-the-public advertising. More than 500 flags were displayed in the Tulane lobby. An extra box office was installed to handle the overflow. The circus atmosphere was thus assured to the front. It was also carried within where a singer opened the picture with a solo prologue terminating with the entrance of the lion used in the street work. A good stunt has a cash value. A good front has a cash value also. N. N. Frudenfeld, advertising executive for the Sun and Moon theatres, Omaha, Neb., had confidence in "Thunderclap" and "Queen of Sheba," recently shown at those houses. His enterprise in their behalf reflects it. You, as well as his public, came to sense that fact when you looked at the two stunts shown in accompanying illustrations. For "Thunderclap" frontal representation Mr. Frudenfeld devised a horseshoe display with a harmless element of misrepresentation. The shoes were labeled as having been worn by sundry famous racers. The fact that they were obtained at a local blacksmith shop detracts in no degree from the merit of the idea. For "Queen of Sheba," exhibited at the Sun, a lobby waiting room was converted into a miniature art gallery, a specially painted picture of the star in character being set between black velvet drops at its terminus and proper lighting arrangements made. The sheer artistry of the display spoke volumes for the production. Industrious and prolific as is the Omaha executive, he does not often produce more strikingly original and effective devices. That he was moved to unusual lengths in behalf of the Fox specials is indication that he considered them worthy of his best efforts. Insensibly but no less truly, the public recognizes work of this character and responds automatically to its appeal. Although no report of the attendance during either engagement is available, it is apparent that the stunts devised for them were effective. A good idea does not require an affidavit.