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) 6528 Santa Monica Blvd. (Hollywood 8620) 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 Eklltor Other Pubucations: “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, $4.60 a year; other parts of world. $6.00 a year. Single copy, 26 cents. Member, Audit Bureau of Circulations. Copyright. 1926, by Exhibitors Herald Co. Vol. XX February 28, 1925 No. 10 Money and Means — Not “Viewpoint” The Britsh film trade is commencing to show acute irritation over the advice that American visitors have been bestowing upon them. With monotonous regularity American film men in England have been dealing out quantities of advice and it is all pretty much of the same character. English producers are told that their production efforts are not sufficiently costly and, naturally, this advice is not particularly constructive when the objects of the advice are painfully aware of the fact that they have been and are handicapped in the matter of finances for production. British producers are also told that they have failed because they have been unable to grasp the American viewpoint. And this advice, too, does not help a bit in clarifying the situation because they cannot figure out how it is that the “American viewpoint” is the whole thing when pictures produced in America, with Americans and by Americans are successful throughout Great Britian. It seems reasonable to us to contend that the viewpoint has very little, if anything, to do with the matter. It is a question of interesting entertainment in motion picture form and the facilities with which to make it. The difference in viewpoint that exists is certainly not sufficient to either make or break a particular subject unless it is an exceptional one devoted to some strange and unusual theme. Novelists in England seem to be under no difficulty in the question of viewpoint when it comes to writing best sellers for the American literary market. English dramatists have been strikingly successful in the American theatre and no difference of viewpoint seems to have interfered with their success. But when it comes to pictures the scene changes. The British producer is traveling about in a vicious circle. His case simply is that without greater financial resources made available for motion picture production he cannot establish himself in the American market; and without first establishing himself in the American market, he cannot get adequate finances. « « « “So Big” Is Big in Many Ways As a story of mother-love, the current production of “So Big” is entitled to a consideration beyond that usually accorded motion picture entertainment, regardless of how popular or pretentious. When one reflects on the example of a story of this kind being selected, and being pnt into a big and successful production, there become apparent strong assurances that the industry, as now constituted and now directed, is in sound and trustworthy hands. “So Big” is first of all interesting dramatic entertainment, but beyond that there is depicted a heroic struggle of a mother for the existence, the success and, finally, the ennoblement of her son which, as a preachment and as a bit of life’s philosophy, far transcends the usual impressiveness of avowed moralists. “So Big” is an encouragement to other producers to strike away from the hackneyed plot and situation and to attempt solid and substantial things even though they do not happen to coincide with the usual formula. Mr. Richard A. Rowland, the producer; Edna Ferber, the author; Earl J. Hudson, the supervisor; Charles J. Brabin, the director and that great actress, Colleen Moore — all should reap a great deal of satisfaction out of the knowledge of the certain good that this production is going to accomplish as it travels its way through the motion picture theatres in America and elsewhere. * • • Do Not Build Radio Competition Because of the newness of the radio it is more than likely that its proper uses as far as the motion picture industry is concerned are not thoroughly understood. It does seem, however, that there is no good reason for using motion picture material over the radio in competition with the programs of theatres to which exhibitors are laboring to get the public to come. A case in point seems to be the recent radio appearance in Philadelphia of a number of motion picture stars. Following this event exhibitors have been loud in their complaints that business was badly affected. The theatres faced a difficult situation. These stars whose popularity has been aided by the support of exhibitors were giving a free radio program while exhibitors were endeavoring to collect an admission charge to theatres showing the stars’ pictures. Radio publicity is helpful when employed under circumstances which do not result in competition against theatres, but radio appearances of stars should be arranged so that they will help and not hurt the exhibitors’ business.