Exhibitors Herald (Oct-Dec 1922)

52 EXHIBITORS HERALD November 4, 1922 The once despised "costume play" figures dominantly in the theatre news of the day. The tenor of box office reports has undergone a marked change, a notable silence punctuated by occasional mention of a broken attendance record denoting the passing of the long depression. Related or not, the developments combine to indicate that the outstanding attractions in the March number of the "Box Office Record" are to include many not of the "modern story" classification. "Douglas Fairbanks in Robin Hood," "The Eternal Flame," "When Knighthood Was in Flower" and "Under Two Flags" are big pictures of the moment. To news of their exploitation is accorded the bulk of this department's space this week, a circumstance produced by sheer importance of product. Exploitation Matter Plentiful Costume pictures, it has been argued, make exploitation essential. It has not been argued, but is apparent, that costume pictures also provide rich material for the use of those engaged in their exhibition. The brief records of the four pictures named stand as proof of this condition. iWith respect to the box office showings of the costume play it is important to consider that their active exploitation, their presentation to the public in befitting manner, is something new in showmanship. It brings to the public, in effect, precisely that "something new in pictures" that has been demanded by exhibitors as a means of bringing straying patrons back to the box office. Interest Is Capitalized On sheer artistic merit, on literary merit, always desirable .but previously held unmarketable, the Costume picture stands out against a background of equally meritorious modern pictures as especially engaging of interest. Capitalization of this interest is good showmanship practiced currently by an increasing proportion of exhibitors. Police Support "In the Name of The Law" Drive (Picture on Page 54) The police department, including the mounted squad and the motorcycle division, co-operated with F. J. Miller, Modjeska theatre, Augusta, Ga., in a big campaign for "In the Name of the Law," F. B. O. feature. Ten per cent of the gross receipts were donated to the police fund and Mr. Miller found the money well spent. The police paraded the streets or Wednesday evening, drawing up in front ot the theatre and giving a band concert. A band of 30 newsboys distributed exploitation extras. Mounted 24-shccts were displayed in front of the playhouse, the police department giving permission for billing of the city generally as the management saw fit. Traffic towers and patrol wagons were liberally bannered, as the illustration shows. "Moneymaking Ideas" Show Real Effort Style shows staged in a New York city of 10,000 and an Idaho city of less than 5,000 population are described by exhibitors who produced them in "Moneymaking Ideas," this issue. The style show long has been considered all but impossible of production by showmen in the lesser cities. Real effort was involved in the enterprises chronicled. Real results were obtained. Precedent which other showmen may readily follow was established. All should read those contributions, exceptional features of an exceptional department. Davies Feature Exploited With Window Display (Pictures on Page 55) "When Knighthood Was in Flower," Cosmopolitan production featuring Marion Davies, is the subject of numerous window displays installed by book stores in New York, Chicago, Boston and other cities where the picture is being exhibited. The Marion Davies edition of Charles Major's book, published by Grosset & Dunlap, used in the displays, contains 10 page illustrations from stills of the picture and bears a special jacket in four colors. Pictures upon a succeeding page show window displays at Gimbel Brothers, Broadway at Thirty-third street, New York, and Doubleday, Page & Co., Pennsylvania Station. In Chicago displays have been obtained at Marshall Field's and other Loop stores. The Ince Manner The press book on "Lorna Doone," Thomas H. Ince production, an imposing volume done in the careful, finished Ince manner, is off the presses. It is a brilliant piece of work, too voluminous for detailed discussion in this space, worthy of every exhibitor's attention and undoubtedly destined to find a permanent place in the office archives of many. COSTUME PICTURES PROSPER Exploitation Fitness Big Argument for Period Play Saunders Fairness Advocate (.Concluded from page 49) the whole story. He can tell you that the city editor of the News won't co-operate worth a whoop; that, on the other hand, the city editor of the Star will and does co-operate. "Most of our men have come from newspapers or advertising concerns with just enough knowledge of the theatre to keep them from looking foolish. Before an exploiteer is sent out he usually spends anywhere from two to six weeks in the home office learning the principles on which we work. Before the man is given an assignment, he usually works with one of our more experienced men and puts these principles into execution. * * * "Our men have the utmost liberty of action. We seldom suggest a stunt to them, leaving it to their initiative and ingenuity to do the work themselves. That's what they are paid for. We do not endorse fly-by-night stuff — stunts with a kick-back. The exploiteer must leave the city officials, chamber of commerce, newspapers, merchants, all others, well pleased with the results of the tieups and perfectly willing* to co-operate again. Outside of that, there are no rules. "He knows that the street car company won't carry signs free, but if you slip the president a few passes he •.vill gladly make an exception in favor of the Rialto theatre. He can tell you how far the mayor and chief of police will cooperate. "He can tell you that the Rivoli theatre is getting the better class of patronage, and while he is working for the Rialto he will go after this better class. He knows that Mr. Jones, manager of the Rialto, is a fine fellow, but that he is in bad with the ministers because he runs a Sunday show. "The exploiteer will tell you that on 'The Man Who Saw Tomorrow' he will go after the ministers, give them a preview of the picture and then sell them on the Rialto and its owner. * * * "He knows just how much the exhibitor can spend for advertising. He fights just as hard as the exhibitor to spend only as much money as is necessary for large returns. I once asked one of my men how much a certain exhibitor could spend on 'Manslaughter.' The exploiteer answered, 'We can spend only $200.' "That 'we' slipped out naturally. He had put himself in the exhibitor's place and was working as if he had a financial interest in the theatre. Yet the only interest he did have was Paramount's. "Stunts are not imagined out of clear air. They grow. One of our men walked down the streets of St. Louis and saw a second-story ledge in full view of three streets. That gave him the idea of building a scaffold and having an artist dressed as the Toreador in 'Blood and Sand' block out a picture of Valentino. This was seen by a quarter of a million people. * * * "The best stunts arc those that 'have