Exhibitors Herald (Dec 1924-Mar 1925)

Record Details:

Title:
Exhibitors Herald
Date:
Dec 1924-Mar 1925
Volume:
Exhibitors Herald (Dec 1924-Mar 1925)
Leaf #:
000889
Language:
English
Collection:
Early Cinema and Hollywood Studio System
Format:
Periodicals
Contributor:
The Museum of Modern Art Library, New York
Sponsor:
Media History Digital Library
Coordinator:
Media History Digital Library
Description:
Founded in 1915 by a Chicago printing company as a regional trade paper for Midwest exhibitors. In 1916, editor Martin Quigley bought out the owners, and over the next 15 years, he grew EXHIBITORS HERALD into one of the most important national, weekly trade papers in the film business. Quigley acquired MOTOGRAPHY in 1917 and MOVING PICTURE WORLD in 1927. In 1930, he acquired MOTION PICTURE NEWS and the new 'consolidated' publication became MOTION PICTURE HERALD. From the pulpit of his editorial page, Quigley preached the need to improve the motion picture industry and improve the quality of the films. He skillfully served as a mediator in disputes -- between distributors and exhibitors, between the film industry and the Catholic Church (Quigley was one of the architects of the Production Code). Quigley claimed that EXHIBITORS HERALD represented the 'independent exhibitor' and sections like 'What the Picture Did for Me?' certainly provided a forum for theater owners. But plenty of exhibitors viewed Quigley as a servant to the studios and large theater chains. In response, publications such as SHOWMEN'S TRADE REVIEW, INDEPENDENT EXHIBITORS FILM BULLETIN, HARRISON'S REPORTS, and BOX OFFICE were either formed or grew significantly in the years following Quigley's brief moment of consolidation in 1930. -- Eric Hoyt, 2014
Date Added:
September 21, 2023
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February 21, 1925 EXHIBITORS HERALD 5 TWO WEEKS AT THE NEW YORK PICCAD I THEATRE dbrnTtUx is Broadway ’s favorite Fight Fans will repd in the old style fi^ Battle! U WILLIAM FOX presentation J.G.BLYSTONE ^ production Jlewfotkcritics unanimous in praise. %eoid what they say Swashbuckling . . . packed with excitement, dare deviltry and romance. . . . Tom Mix out-Reveres Paul, out-Fairbanks Doug, and out-Glyns Elinor in this picture . . . ably aided by his horse, Tom rides, fights and loves. If Tom doesn’t give you thrill after thrill in this picture, nothing will. — Dorothy Herzog in Daily Mirror. If you’re hungry for a stout tale of adventures “Dick Turpin” is your meat. . . . Every thrill in this picture we expect to see. ... A dashing picture you’ll surely like. . . . You’ll be wildly enthusiastic. It is cer tainly the best Tom Mix has ever done. — Mildred Spain in Daily News. “Dick Turpin” is a thrilling picture and Tom Mix a romantic hero. . . . He can do all the things which Douglas Fairbanks can do and some which we never saw Doug do. . . . He rides like a centaur. There is never a dull moment. — N. Y. Herald Tribune. Tom Mix superb in “Dick Turpin.” . . . Rudolph Valentino and Douglas Fairbanks have never given a better performance than Mix’s “Dick Turpin.” Far better than many productions labeled “Extra specials.” — N. Y. American. A glorified version of “Dick Turpin.” .... A clever wholesome production with plenty of humor and Mix’s performance is remarkably capable. — N. Y. Times. Tom Mix is the star of an acrobatic and stirring version of “Dick Turpin.” ... Is one of the very best Mix pictures. . . . The horse is as dashing and picturesque as his master and Bull Montana is surprisingly — N. Y. Evening Sun. comic. “Dick Turpin” is by far the greatest thing that Tom Mix i has done. . . . Every scene is packed with adventure and romance. — N. Y. Evening World. ENCHANTING ROMANCE AND JOYOUS ADVENTURE FOX FILM CORPORATION