Exhibitors Herald (Jul-Sep 1922)

46 EXHIBITORS HERALD September 30, 1922 lin's ''Pay Day" was featured and plastered over the billboards of almost every city where it played. The Liberty theatre of Portland, Ore., made special lobby displays. The Blackstone theatre of Detroit, Mich., used nothing but Chaplin for its showing that week, by comparison. The Castle theatre of Guelph, Ont., had the policy of running a First National Week all by itself in which it advertised equally everything First National offered. * * * "Cops" and "My Wife's Relations" are Keaton comedies that have hit high spots of exploitation where other short subjects have been allowed to wither on fallow soil. Perhaps the best example of short subject exploitation has been with Keaton's "The Boat." Probably because it suggested a ready idea, this comedy has had the greatest theatre front exploitation of any short subject and it has paid amply. Only two weeks ago Manager S. Danz of the Liberty theatre, Astoria, Ore., had his operator and display manager, Thomas C. Grindley, prepare a lobby front featuring Keaton and "The Boat." Two wave lines, a six sheet cutout and a motor supplied the equipment. The motor rocked the boat and electric lights illuminated the craft. The exploitation justified itself on the only basis on which any exploitation is warranted — it paid real money at the boxofhce from patrons who were interested in this attraction. Grombacher Markets "Grandma's Boy" In Spokane To exhibit a picture is one thing. To exploit a production is another. And to market a motion picture is quite something else again. Ray Grombacher, contributor of many striking "Theatre Letters" to this department, marketed "Grandma's Boy" in Spokane. Like all his undertakings, this task was well done. Crowded street during run of iew of the Liberty "Grandma's Boy." Mr. Grombacher is known as a good showman by frequent demonstration. Harold Lloyd is known as a good comedian. "Grandma's Boy" is known as a good picture by review and by exhibitor report to date. All these things do and should amount to a good engagement accompanied by good receipts. There is no moral to this story, but there is a good deal of good news in it. In a wire to Harold Lloyd relayed to this department by Associated Exhibitors, Mr. Grombacher wrote : "I personally claim 'Grandma's Boy' to be the world's greatest audience comedy picture. The wholesome appeal of this production merits the phenomenal reception all America is giving it. Give us more like 'Grandma's Boy.' Accept my appreciation." Mr. Grombacher's enthusiasm colored his exploitation, with results shown in accompanying illustrations. The Liberty was well decorated for the engagement, the lobby being dressed up in excellent fashion. A picture of Lloyd from the stock paper dominated the sidewalls. Stills from the picture went well with this. Admirable lettering and brief copy set off the whole advantageously. The second illustration shows the type of patronage drawn to the showing. This completes the essential elements of the story. Of the newspaper advertising used no report has been made. Yet readers familiar with the Liberty style of copy need not be told that it was good. Acting upon the impulse inspired by his confidence in the production, Mr. Grombacher undoubtedly made his inches count heavily. All this is as it should be. Jackie Coogan Has Song A song, entitled "Jackie," written especially for and dedicated to Jackie Coogan by Vaughn De Leath, will be featured as a musical theme in all the star's pictures. Ray Grombacher's lobby display for "Grandma's Boy," Associated Exhibitors-Harold Lloyd feature, during its run at the Liberty theatre, Spokane, Wash.