Exhibitors Herald (Jul-Sep 1922)

Page scan 00071 from Exhibitors Herald

Record Details:

Title:
Exhibitors Herald
Date:
Jul-Sep 1922
Author:
Exhibitors Herald Co.
Publisher:
Chicago, Exhibitors Herald
Volume:
Exhibitors Herald (Jul-Sep 1922)
Leaf #:
00071
Language:
English
Collection:
Hollywood Studio System and Early Cinema
Format:
Periodicals
Contributor:
Media History Digital Library
Sponsor:
Media History Digital Library
Coordinator:
Media History Digital Library
Description:
Founded in 1915 by a Chicago printing company as a regional trade paper for Midwest exhibitors. In 1916, editor Martin Quigley bought out the owners, and over the next 15 years, he grew EXHIBITORS HERALD into one of the most important national, weekly trade papers in the film business. Quigley acquired MOTOGRAPHY in 1917 and MOVING PICTURE WORLD in 1927. In 1930, he acquired MOTION PICTURE NEWS and the new 'consolidated' publication became MOTION PICTURE HERALD. From the pulpit of his editorial page, Quigley preached the need to improve the motion picture industry and improve the quality of the films. He skillfully served as a mediator in disputes -- between distributors and exhibitors, between the film industry and the Catholic Church (Quigley was one of the architects of the Production Code). Quigley claimed that EXHIBITORS HERALD represented the 'independent exhibitor' and sections like 'What the Picture Did for Me?' certainly provided a forum for theater owners. But plenty of exhibitors viewed Quigley as a servant to the studios and large theater chains. In response, publications such as SHOWMEN'S TRADE REVIEW, INDEPENDENT EXHIBITORS FILM BULLETIN, HARRISON'S REPORTS, and BOX OFFICE were either formed or grew significantly in the years following Quigley's brief moment of consolidation in 1930. -- Eric Hoyt, 2014
Date Added:
July 25, 2024
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July 1, 1922 EXHIBITORS HERALD 63 get over with the old folks but the young people will go to sleep or walk out. — H. Daspit, Atherton theatre, Kentwood, La. — Neighborhood patronage. The Greatest Love, with Vera Gordon. — Almost as good as Humoresque, which means that it is very good. — H. Daspit, Atherton theatre, Kentwood, La. — Neighborhood patronage. After Midnight, with Conway Tearle. — Just fair. Not up to his standard. Not his type of picture. My patrons like him in society plays. — W. E. Elkin, Temple theatre, Aberdeen, Miss. — Neighborhood patronage. The Way of a Maid, with Elaine Ham merstein. — Very good. Star well liked. Picture pleased 100 percent of audience. This is the class of picture I must get if I want to please my patrons. — A. S. Carlos, Bijou theatre, Jeanerette, La. — Neighborhood patronage. A Wide Open Town, with Conway Tearle. — Just another average "Tearle" show. Nothing extra. — Olen Reynolds, Pearl theatre, Hymera, Ind. — Small town patronage. Clay Dollars, with Eugene O'Brien. — They didn't care for this one. Dozens walked out before the show was half over. — W. E. Elkin, Temple theatre, Aberdeen, Miss. — Neighborhood patronage. The Moth, with Norma Talmadge. — Very good reissue and better than some of her new pictures. — H. Daspit, Atherton theatre, Kentwood, La. — Neighborhood patronage. The Way of a Maid, with Elaine Hammerstein. — Just a program picture. What is wrong w-ith Selznick photography? — Thomas S. Daley, Casino theatre, Halifax, N. S. Why Announce Your Marriage? with Elaine Hammerstein. — We considered it the best of this star's work. Several good comments. All pleased. — W. E. Elkin, Temple theatre, Aberdeen, Miss. — Neighborhood patronage. The Highest Law, with a special cast. —Ralph Ince is great in this impersonation of Lincoln, but the picture is slow and draggy. Fine for schools, but absolutely no good for a picture theatre. — H. Daspit, Atherton theatre, Kentwood, La. — Neighborhood patronage. United Artists Little Lord Fauntleroy, with Mary Pickford.— Unquestionably the biggest thing "Our Mary" has ever done. Her interpretation of the two roles of Lord Fauntleroy and Dearest, his mother, are a work of art, and proved especially pleasing to our audiences. Should go over big wherever Mary has any drawing power whatever. The children simply adore her as the little Lord. — Fred S. Meyer, Palace theatre, Hamilton, O. — High class family patronage. The Ruling Passion, with George Arliss. — One of the kind of pictures that, no matter how little business you do, you are not sorry that you played it. — Eugene Saunders. Saunders theatre. Harvard, 111. — General patronage. Way Down East, a D. W. Griffith production.— One of the best pictures ever made. People still talking about it. Ice scene most remarkable ever witnessed. Splendid business. Matinee put the night show over. Book it. You can't go wrong. — W. E. Elkin, Temple theatre, Aberdeen, Miss. — Neighborhood patronage. Orphans of the Storm, a D. W. Griffith production. — Griffith has established a record at this theatre in that we have played The Love Flower, Way Down East, Dream Street, Orphans of the Storm, and one has proven itself a bigger fizzle than the others. Orphans of the Storm, following the greatest exploitation and advertising campaign in local history, cost us a young-sized fortune. We can't help but repeat what we mentioned some time ago: Griffith once said that the average theatre-goers have the intelligence of a twelve-year-old child. Knowing that, why does he make pictures like Dream Street and Orphans of the Storm? Or what is worse still, will exhibitors ever learn when they have had enough? Some people seem to learn as they grow older, so there's still hope for me. Personally, I consider, and still think, Orphans of the Storm is one of the most wonderful pictures I have ever seen. It cost me a lot of money to find out that I was in the minority. — Fred S. Meyer, Palace theatre, Hamilton, O. — High class family patronage. The Three Musketeers, • with Douglas Fairbanks. — Fine picture. Pleased about 70%. Played it two days on straight per cent and lost money. Have to show me that specials get the money. Every one a loser for me. — L. J. Burkett, Lyric theatre, Morrison, 111. — Neighborhood patronage. Universal Man To Man, with Harry Carey. — Good outdoor picture with a stampede cattle scene that is a thriller. If your audience likes westerns play this. Title good. — Chas. H. Ryan, Garfield theatre, 2844 Madison street, Chicago, 111. — Neighborhood patronage. Second Hand Rose, with Gladys Walton.— Good program picture which got by. — L. D. Fairfield, Legion theatre, Wakenda, S. D. — Small town patronage. Man To Man, with Harry Carey. — Audience highly pleased. Very good western. — D. M. Pearce. Lillian theatre. Martin, Tenn. — Neighborhood patronage. Man To Man, with Harry Carey. — Good picture. Lots of action. Would have been a money maker in cool weather. — J. L. Rappeport, Lovejoy theatre, Buffalo, N. Y. — Neighborhood patronage. The Fire Eater, with Hoot Gibson. — Great. Program picture and better than Man To Man, which cost us four times as much. If Hoot keeps this up he will be a winner. Verner Hicks, Family theatre, Marion, 111. — General patronage. The Guttersnipe, with Gladys Walton. — Just fair program picture. Saw star in better pictures. Business just fair. — H. A. Feeps, Gem theatre, Wood River, Neb. — Small town patronage. Nobody's Fool, with Marie Prevost. — Extra good program picture. Well worth the price paid for it. Played Brownie's Baby Doll with this, which made a program that pleased .'00 per cent and proved a gocd drawing card.— W. P. Perry, Rialto theatre, Cheyenne Wells. Colo. — Small town patronage. Wild Honey, with Priscilla Dean. — I did not like the title. Business only average. Dam scene is wonderful, slow motion photography being used. Don't pay too much for it. — Chas. H. Ryan, Garfield theatre, 2844 Madison street, Chicago, 111. — Neighborhood patronage. No Woman Knows, with a special cast. — Very good picture and one will stand DOUGLAS FAIRBANKS wins a wager by "bending the elbow" of the strongest knight of Prince John in "Robin Hood," the United Artists production now being completed on the Coast. in "TheTimber Queen Pafheserial Positively Miss Roland 's Best Serial/