Exhibitors Herald (Dec 1924-Mar 1925)

Published every Wednesday by Exhibitors Herald Co. Editorial and Executive Offices: 407 S. Dearborn St., Chicago, U. S. A. (Tel. Harrison 9248-9249) New York Office Los Angeles Office 1476 Broadway (Tel. Bryant 6111-1368) 5528 Santa Monica Blvd. (Hollywood 8520) James Beecroft, Manager Harry Hammond Beall, Manager All Editorial and Business Correspondence Should Be Addressed to Chicago Office. Edwin S. Clifford, Managing Editor George Clifford, Business Manager William R. Weaver, Exhibitor Editor Jay M. Shreck, News Editor J. Ray Murray, New Pictures Editor John S. Spargo, New York Editor Other Publications: “The Box Office Record,” published semiannually, and “Better Theatres,” published monthly as a supplement to Exhibitors Herald. Subscription Price: United States and Its Possessions, $3.00 a year; Canada, $4.50 a year; other parts of world, $6.00 a year. Single copy, 25 cents. Member, Audit Bureau of Circulations. Copyright. 1925, by Exhibitors Herald Co. Vol. XX January 31, 1925 No. 6 Consider Critics and Go All Wrong Right now the drama in New York City, the nation’s amusement capital, is wallowing in the latrines of human eonduct. If the drama is still the mirror of life it would seem that it is now being focussed only upon topics of life which could be well-passed by when it comes to selecting themes for the entertainment of the general public. Shortly you may expect a piteous wail from the theatrical managers. They will encounter a decrease in patronage and many curious explanations will be invented to account for a plain fact which they will not care to recognize. The managers will find — as they have found before — that the American public will for a while tolerate this sort of drama and then after they have become quickly surfeited with it, they will quietly stay away from the theatres that are offering it. Several of the plays now on the boards in New York are studious attempts to be just as immoral as the law will stand for in public exhibition. They are “different,” but different in the wrong direction. Practically no phase of sex immorality does not come in for a share of attention. The language used is consistent only with the character of the themes upon which the plays are based. It is proper to inquire, “Do these plays exist in answer to popular demand?” The answer is that they certainly do not. They may afford a little relief from too much external wholesomeness for some of the ultra sophisticated and the hyper-bored but their presence as American theatrical entertainment is in re sponse to no demand of the theatregoing public. The condition may be described simply as a periodic flareback, a result of the effort of managers to produce something sensational and different. But whatever the underlying and mainly responsible reason may be, there is one influence of importance on the situation which may be taken into account with benefit by the motion picture industry. This influence consists of the efforts of the managers to give that little group of tired men, known as dramatic reviewers, something that will gain their approval. The tastes of these men who spend most of their waking hours — and a few of their sleeping hours — in the theatre are jaded almost to the point of unconsciousness. They are supposed to be interpreters of the public’s dramatic inclinations; but they are almost anything but that. Unless there is something daringly explosive about a new show in New York it is almost certain to be ^vritten up in a way that conveys the impression that it is an amateur theatrical or a revival of “Alice in Wonderland.” The New York managers are simply producing down to the deadened sensibilities of the critics and the result is a most discouraging and obnoxious lot of rubbish. This situation must be taken as a warning by motion picture producers. If they try to make their pictures to satisfy the carping critics of the general press — whose opinions actually represent none but their own — they will find themselves pointed in the same direction as that in which the New York managers are now traveling. Fortune Only For Those Who Earn It Many structural changes of vast importance have been coming about in this business and they are bringing about a condition in which the industry will be absolutely freed, for some time at least, from domination and dictation from persons who may be generally described as representing the artistic branch of the business. This was certain to come about, •although for a long time it seemed to be some distance off and there were little or no indications of how the end would be achieved. But the absurdity of various people, little if at all known to the public and consequently of no demonstrable box office value, levying royal demands upon producers could not continue indefinitely. Just so long as motion pictures exist personalities which appeal to the public may count upon great rewards from their work. But these little prophets who have been great in their own little countries about their studios are going to find that the motion picture industry is no longer going to meet heavy financial demands for services of no indispensable character simply because of the rivalry and competition that exists among producers. Many persons connected with the production end of the business have been better showman in their efforts to impress the executives they have been working for than they have in their efforts to make entertainment for the public. They have “circussed” themselves into contracts which now look very silly to the party paying the bills when they are taken aside and calmly considered.