Exhibitors Herald (Dec 1924-Mar 1925)

Record Details:

Title:
Exhibitors Herald
Date:
Dec 1924-Mar 1925
Volume:
Exhibitors Herald (Dec 1924-Mar 1925)
Leaf #:
000963
Language:
English
Collection:
Hollywood Studio System and Early Cinema
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:
July 25, 2024
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February 21, 1925 EXHIBITORS HERALD 71 Compare! Compare the actual performance of Pathe News with the claims and the performance of any other. Compare the quality of every number with the quality of any other. Remember the numbers of times when you’ve had it in the Pathe News days and weeks before it was in any other. In one instance a “scoop” was claimed by another news reel six months after it was shown in the Pathe News! Performance is the only thing that counts; performance day after day, week after week, month after month. Compare! That’s all! ace theatre, Worthington, Ind. — Small town patronage. United Artists AMERICA : D, W. Griffith — Good picture ex cept too many sub-titles and short scenes. A bad ice and sleet storm the second day knocked business into a cocked hat, although the exchange gave me another day yet to run. — G. J. Ritter, Regent theatre, Bogata, N. J. — General patronage. AMERICA : D. W. Griffith — A very good picture of its kind, but it flopped here. The public doesn’t want to see educational, historical or costume pictures. If you want to starve to death, play this one. I lost heavy on this one. — A. J. Paul, Royal theatre, Gallon, O. — General patronage. AMERICA: D. W. Griffith — Good picture but did not draw for us. Spent extra money to advertise it and thought that title and Griffith would pull them in, but some how did not do anything on it. Ten reels. — A. J. Inks, Crystal theatre, Ligonier, Ind. — Small town patronage. LOVING LIES: Monte Blue— Played this Sunday only with two acts of vaudeville. Vaudeville was innovation and turned hundreds away. Vaudeville drew them but everybody spoke well of the picture. Seven reels. — John W. Hawkins, Capitol theatre. New Bedford, Mass. — General patronage, ORPHANS OF THE STORM: D. W. Griffith— A very good picture but too long. Eight reels is long enough for any picture. Twelve reels. — A. C. Betts, Powers theatre, Red Creek, N. Y. — Small town patronage. Universal THE HURRICANE KID: Hoot Gibson~*A dandy Western and pleased. Good Saturday business. Has got the action and pep. Six reels. — E. D. Luna, Cozy theatre, Wagoner, Okla. — Small town patronage. THE MEASURE OF A MAN: William Desmond— Neither good nor bad. Just a picture, that’s all. Desmond never did go over here for some reason or other. Print excellent. Paper fair. Five reels. — C. H. Bills, Opera House. Lenora, Kan. — Small town patronage. LOVE AND GLORY: Madge Bellamy — Don’t see why so many exhibitors knock this. A fine picture, splendidly acted and competently produced. Work of Bellamy, De Roche and McDonald was excellent. Light attendance, due to unfavorable weather conditions. No fault of the picture. Eight reels. — Henry W. Gauding, Lincoln theatre, Pittsburgh, Pa. — Neighborhood patronage. THE RIDIN’ KID FROM POWDER RIVER: Hoot Gibson — Another Gibson and a good one that pleased those who saw it. Run in zero weather with under average attendance. Pleased all who saw it. Print fine. Paper good. Six reels. — C. H. Bills, Opera House, Lenora, Kan. — Small town patronage. THE RIDIN’ KID FROM POWDER RIVER: Hoot Gibson — Up to the Gibson mark. This star’s pictures have been dependable as a rule. Six reels. — Henry W. Gauding, Lincoln theatre, Pittsburgh, Pa. — Neighborhood patronage. HIT AND RUN: Hoot Gibson — An entirely new role for Hoot, but he gets by with it in fine shape. Plenty of comedy, but is in no sense a Western. Paper is much overdrawn, as it gives too much of the scene where the girl is rescued from the runaway team and this is a mere incident . in the picture. Very good. My people liked it and I was not afraid to stand at the door and look them in the eye when they came out.— F. E. Moore, Libei’ty theatre, Lakeview, Mich. — Genera) patronage. YOUNG IDEAS: Laura LaPlante— This is a good comedy drama. Will please the majority of the people. Film good. Copyright 1924. Five reels. — Burt Parsons, Grand theatre, Springfield, Minn. — General patronage. THE WESTERN WALLOP: Jack Hoxie— A good Western type of picture with plenty of action. Not the best Ho.xie, howevet*, but will please the Western fans. Print excellent. Paper good. Five reels. — C. H. Bills, Opera House, Lenora, Kan.— -Small town patronage. FIGHTING FURY: Jack Hoxie — “Fighting Fury” is a humdinger. We are thinking seriously of bringing action against Hoxie for the price of 50 perfectly good opera chairs which were occupied by 50 young fans, and we also notice that many seats occupied by adults were badly NOW BOOKING