Exhibitors Herald (Apr-Jun 1922)

58 EXHIBITORS HERALD May 20, 1922 Novel stunt used by the Washington theatre, Dallas, Tex., in exploiting "Over the Hill." Stunt Contrast Bissinger Idea The hare and the tortoise of /Esop's fable put up a great race. Either might have made good entertainment in an exhibition run. Lewis J. Bissinger, Washington theatre, Dallas, Tex., might have reasoned thus, but probably didn't, when he staged sharply contrasted and therefore additionally effective stunts symbolical of /Esop's contestants for two Fox productions recently exhibited. THE tortoise of the fable is directly comparable to the tractor which Mr. Bissinger engaged through a co-operative arrangement to tow about the city his float advertising "Over the Hill." The picture reproduced above this story shows the street appearance of the stunt. The hare of the fable is comparable, with a slight stretching of metaphors, to the front constructed to advertise "Thunderclap," another Fox special production. Consider the efforts singly ->nd each measures up to modern standards of effective exploitation. Consider them col lectively, permitting the element of contrast to enter in, and together they equal an amount, if merit is measurable in amounts, equal to considerable more than the sum of the two. This is a beginning, whether or not intentionally made, which may be followed up with profit. If contrast in advertising composition is of merit in any degree approaching that commonly granted, it follows that the same element is of merit when applied to stunt exploitation. It's worth thinking about. Gish Costume Window Draws Staid Boston DRESSES worn by Dorothy and Lillian Gish in the making of "The Two Orphans," David Wark Griffith production distributed by United Artists, were displayed in a prominent shop window when the picture was exhibited at the Park theatre, Boston. So great was the interest manifested by passersby that it was necessary to photograph the window at night and by flashlight to get an unobstructed "shot" at it. "Orphans of the Storm" window at Boston, featuring gowns worn by Dorothy and Lillian Gish in the United Artists picture. Young Ideas Youth acts. Age talks. Youth spends. Age saves. Youth lives. Age dies. All of which (although it sounds like propaganda for hair restorative) explains why wise showmen of the present keep their programs "young." Adults who do not like program elements introduced for the entertainment of young people say so plainly — but continue to come to the theatre. Habit. Young people, once bored by too adult entertainment in too great quantity, find that which they seek elsewhere— and forget the theatre. The W. K. Arts Diligent press-agentry in early days ot the motion picture is reflected in the rather general public opinion that something like a "wedding of the arts" is the hallmark of the really good theatre. Ideally, of course, that is true. Actually, due to program and market restrictions, it is not always possible to satisfy that definition. Yet it is always worth while to try. And it can be done. Washington theatre nhowmanahip applied to "Thundercap," Fox racing melodrama. A Tiny Reform A T the Chicago theatre performance ot "Fascination" which we attended, Nathaniel Finston, musical director, came from back stage and took up his baton promptly with the turning up of the lights. There was no protracted pause No tinkling of bells. And the overture, which we considered one of his poorest selections, drew a big hand. A tiny reform, perhaps, but a step toward better theatre.