Exhibitors Herald (Jul-Sep 1922)

September 16. 1922 EXHIBITORS HERALD 47 No. This is not a billboard stand. It is a window display used by the Miller theatre, Los Angeles, in exploiting "The Crossroads of New York," Mack Sennett First National attraction. The miniature train, automobile, etc., apearing at the street intersection modeled, were borrowed from a toy store. Specialization Governs Modern Theatre Effort Walter F. Eberhardt, Associated First National division of exploitation, has contributed exclusively to this department the following article summing up observations made during recent months in his official capacity. Readers of previous contributions by Mr. Eberhardt will find his statement that the day of specialization in exploitation has arrived particularly interesting. This is the day of specialized exploitation. From week to week certain forms of calling the public's attention to the picture, such as heralds, personal letters, etc.. are as much a matter of habit as eating three meals a day and calling around at the pay office on pay day. And then there zips across the horizon some little stunt that doesn't involve a big wad of money but makes its impression purely by its novelty and power to attract. These are the "nifties" of the exploitation business — bright inspirations that ring the box office welkin and demonstrate that it isn"t necessary to have an unlimited purse to do sound exploiting. In evidence ot this argument there is the recent campaign conducted by Manager Goebel of the Isis theatre, on the Virginia-Tennessee border line. The feature of '"Molly O" at this house was the lobby display in which Mr. Goebel made an animated display of a dirigible eight feet long suspended under the marquee. A battery in the cabin kept the propeller in motion. A strip of leather between the blades gave a realistic whirring sound to the circling of the blades. Red lights in the cabin reflected occupancy and made the display equally effective at night. The cost: Three dollars. Of this amount two-thirds went for paint. The "expensive" gas bag was nothing more or less than an old sign cloth. At the same time Manager Goebel used an animated display of Mabel Normand, taken from the 2i sheet, with the star holding a dripping umbrella. The lithographed umbrella was replaced by a real one and a syphon pump, worked by electricity, kept the water dripping over it and, at the same time, sucked it up again for a new start. The cost for this, four dollars, was spent for a drip pan. All other articles were furnished by retail dealers. * * * The Miller theatre, Los Angeles, effected an unusual and inexpensive window display in its tie-up on "The Crossroads of New York." A miniature street and highway intersection was laid out on the window floor with railroad trains, automobile and pedestrians occupying the limelight. Most of the articles were borrowed from a toy store. For "The Boat," the Alamo theatre, Griffin, Ga., had an inspiration in reproducing Buster Keaton's seagoing craft, the "Damfino" suspended from the marquee of the house with a quick shot of the frozen faced comedian looking out of the cabin window. A radio outfit behind the display, connected with a phonograph and operated from the inside of the theatre guve the effect of Keaton himself announcing the run of "The Boat" and urging patrons to come and see it. These little stunts are ingenious devices that not all the wealth of Midas could buy. They are the property of brainy showmen who have taken the trouble to solve the problem of exploitation vs. expense and have done so in an effective manner.