Exhibitors Herald (Dec 1922 - Mar 1923)

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54 EXHIBIT ORS HERALD February 3, 1923 Digest of Pictures ^Week THOMAS H. INCE, in an open letter addressed to exhibitors, says that if exhibitors will shop more for pictures, the millions of theatre-goers will be forced to "shop" less. He puts the responsibility for "bigger and better pictures" up to the theatre owners of America, and declares there are plenty of good pictures to be had right now. Mr. Ince says : "Is there not a tendency on the part of many exhibitors to accept the productions they book without having thoroughly 'sold' themselves on them? I am hoping that this tendency is not growing ; it would be a bad day for pictures. "There are good pictures in plenty now being released. And if exhibitors will shop for them, picture-goers will be forced to shop less. "The exhibitor who shops for his pictures is the biggest asset my studios have, in fact, he is the biggest asset the entire motion picture industry has." From observation it would seem that more and more exhibitors are doing just what Mr. Ince urges and, as a consequence the results of their shopping tours of the exchanges is reflected in better shows and better attendance. — J. R. M. "THE CUSTARD CUP" (Fox) presents Mary Carr in a pleasing story replete with humorous situations, dramatic moments and sentimental appeal. It was adapted from a story by Florence Bingham Livingston, and directed by Herbert Brenon. Ralph Spence wrote the subtitles and many of these are quite humorous. "GIMME" (Goldwyn) is another one of those delightful Rupert Hughes productions which picture patrons have grown to look forward to with more than the usual interest. It was written and directed by the author assisted by his talented wife and, because of its human appeal, will live long in the memory of picture fans. "BELLBOY 13" (First National) is a Thomas H. Ince production with Douglas MacLean in the stellar role. It presents amusing bits of fun of a light order, bordering Herbert Rawlinson and support in a scene from "The Scarlet Car," a new Universal feature on slapstick, and while not uproariously funny, achieves its purpose as a diverting five-reel feature. There are unique exploitation angles that will put it over also. "NOBODY'S MONEY" (Paramount) is a new and better Jack Holt vehicle, as good as "Making a Man" in every respect, and better in most. The star is supported by Wanda Hawley, Julia Faye, Charles Clary, Lucien Littlefield and a host of other competent players. The story is a snappy yarn about crooked politicians and just plain crooks. It doesn't permit a break-down in interest in the six reels. "ONE STOLEN NIGHT" (Vitagraph) starring Alice Calhoun, is another "sheik" story and for audiences not grown tired of this style of photoplay it should answer every purpose. The story is light and amusing and although well photographed and well staged, it only fairly succeeds in holding the interest. "AS A MAN LIVES" (American Releasing), another regeneration story with several unusual twists. There is good action, plenty of suspense and a stirring climax. Robert Frazer, Gladys Hulette, Frank Losee and J. Thornton Baston in the principal roles give intelligent performances. "THE FLAME OF LIFE" (Universal), Priscilla Dean, Robert Ellis and W allace Beery are in the cast of this dramatic production from Frances Hodgson Burnett's story. It is filled with tense situations, moves fast and is screen entertainment of a high order. "MY AMERICAN WIFE" (Paramount) ranks above the majority of Gloria Swanson's vehicles in story value, losing nothing in richness of investiture and scenic interest. It is a story of South American horse racing and politics, with Antonio Moreno effectively present a.c the chief support. A large and well balanced cast aid the principals in discharge of their roles. It's a wholly interesting photoplay that should give wholly satisfactory box office account of itself. John Gilbert in a dramatic scene from "Truxton King," forthcoming Fox production