Exhibitors Herald (Dec 1924-Mar 1925)

February 28, 1925 EXHIBITORS HERALD 89 about as big as they make ’em. Big in story, big in acting, big in entertainment. Some may prefer Colleen in her “flapper” types, but no one will deny the fact that her acting in "So Big” has seldom if ever been equaled. The picture failed to draw the business that I expected, but it pleased them all. Nine reels. — K. W. Hickman, Lyric theatre, Greenville, 111. — General patronage. FRIVOLOUS SAL: Mae Busch— This kind of a picture will do business any place. Cast good. Don’t overlook this one, it’s a credit for any house. — Harry Van Noy, Starland theatre, Anderson, Ind. — General patronage. FLIRTING WITH LOVE: Colleen Moore— Picture seemed to please and drew better than average, but not so good as “Flaming Youth.” Seven reels. — A. R. Bender, Olympic theatre, Cleveland, Okla. — Small town patronage. CLASSMATES: Richard Barthelmess — One of the best pictures released this season. Get behind it and tell ’em you have something extra good. — Russell Armentrout, K. P. theatre, Pittsfield. 111. — General patronage. HER NIGHT OF ROMANCE: Contance Talmadge — Splendid. It is a pleasure to report on a picture of this calibre. Constance Talmadge does her stuff great. After making a number of slumps, here she goes over big in one of the best comedies of the year, without a doubt. This will make a chronic grouch laugh heartily. Seven reels. — D. H. Dorchester, Community Centre theatre, Southbury, Conn. — Rural patronage. HER NIGHT OF ROMANCE: Constance Talmadge— Dandy little show. Sure pleased, every one talked about this show. — Harry Van Noy, Riviera theatre, Anderson, Ind. — General patronage. ABRAHAM LINCOLN: George Billings — This picture drew and how they shouted when the men of the North came from the cities of the North, the farms of New England and the prairies of the West answering the call of Father Lincoln. There was not a dry eye when it was over. The strongest picture of the Civil War ever made. Greater than “The Birth of a Nation” by far. Everyone should show this. — D. H. Dorchester, Community Centre theatre, Southbury. Conn. ABRAHAM LINCOLN: George Billings— A picture that everyone should see. It didn’t draw here. Print good. Ten reels. — W. T. Waugh, Empress theatre, Grundy Center, la. — Small town patronage. ABRAHAM LINCOLN: George Billings — This is the greatest picture of the season, according to box office reports. Use a little extra effort and tie up with the schools. The kids will eat this up ; so will Ma and Pa. Eight reels. — V. E. Sager, Southern theatre, Akron. O. — Neighborhood patronage. SECRETS: Norma Talmadge — This was sold to me as a big special, or in other words, we played it 50-50, admission 35 and 10 cents. Here are the results : It did not please my patrons. Not one said it was a good picture. Several walked out. Others, said, “such a picture.” Anyway, it won’t go over in a Western town. I would class this picture only as a program picture.— Joe Blaschke, Wapato theatre, Wapato, Wash. — G^eral patronage. SECRETS: Norma Talmadge — Splendid. Here is a screen masterpiece. A fine portrayal of the true sweetheart, true wife and mother. There is tender pathos and there is also action and there is comedy. The faithfulness of the wife who sticks to her man when he has played false, the way she sticks to him through it all and keeps the home together and where she watches over her husband in old age is wonderful. Norma Talmadge is one of the real artists of the screen. I would rather hear her say, “I have always loved you,” than to see all the camels in the world in one film — Ten reels. — D. H. Dorchester, Community Centre theatre, Southbury, Conn.Rural patronage. SECRETS: Norma Talmadge — I myself think Norma great, but somehow our patrons think different. She does not draw for us. Eight reels. — V. E. Sager, Southern theatre, Akron, O. — Neighborhood patronage. SANDRA : Barbara La Marr — Oh what a lemon I If you don’t run for the cellar when this is over it’s because you have more nerve than I had. Limberger is mild compared with this piece of cheese. Eight reels.— Russell Armentrout, K. P. Theatre. Pittsfield, 111.— General patronage. THE SEA HAWK: Milton Sills — Ran this New Years to a small crowd. A real picture that should draw better than it did. Sills good. Print fair. Twelve reels.— W. T. Waugh, Empress The Contributor’s Column Richard A. Rowland on Exhibitors* Reports Richard A. Rowland, general manager of First National Pictures, begins in next week’s issue a series of articles written exclusively for the “Herald” under title of “What an Exhibitor Ought to Know About Production.” The following is from the first article in the series : I am a firm believer in the value of trade paper exhibitor reports. But I think they should be evaluated by each exhibitor according to his knowledge of conditions in his own city. They are more a supplement to his judgment than an absolute basis of judgment. The onlj' fault I might find with exhibitor reports is that there are not enough of them. Exhibitor reports for another thing should be made more comprehensive. For instance, an exhibitor reports that a picture, highly heralded elsewhere, failed to meet expectations in his theatre. His report is caustic and sketchy, and tends to give that film a black eye without revealing the reason for the failure in this specific instance. The reason for its failure might be traced to exceptional conditions, with an inclemency of weather, heavy competition, or a thousand and one other things. Omitting mention of these conditions is unfair to the picture and to other exhibitors who look to the report for guidance in booking. Before sending a report to his trade paper an exhibitor should ask himself these questions: Did I do all that was warranted in putting over the picture? Did I exploit and advertise the picture as it should be advertised and exploited? Did I book the picture, place a conventional advertisement in my newspaper, put a three sheet outside of my theatre and let it go at that, or did I study the picture for its appeal to my particular community and advertise it accordingly? What’s Become of You Poets? /. S. Latimer, Merit theatre, Hartford, Ark., enclosing the verse here presented, writes : “In our musings toe sometimes find a few words that rhyme and still partially ■convey our thoughts. A line of doggerel sometimes carries a better punch than carefully worded prose, and if we could shoiv up the bigotry of some people who persistently fight the picture shove {we have a number in this town) we would be zoilling to spill another mess.” Mr. Latimer’s rhymte follows: When we were young we had some dreams Of distant lands and peoples strange That we would visit, but it seems As we grow older times will change | For now wo need not treck away To see the things we dreamed about— The movies bring them here today, A wondrous thing, but some will flout And cry, ‘‘The movies are all Bosh.” But if you’ll take a squint at them You'll see they never go, by-gosh. To see these pictures made by men. We get a laugh, at least a smile. Each time we see a picture show; And we get paid to walk a mile. The movie is the place to go. A sermon, now and then, we see— A dog fight, or a chase^— And all the things that in Life be Fit snugly in their place: A little child, a mother’s love, A struggle for the right, The better things w® place above The victories won by might. Recalls old times, doesn’t it? When Rand was at Salmon, when Jenkins was at Neligh, when Lynch, Sprague and a dozen others fought it out poetically, letting chips fall where they might. Any poets among the replacement troops? If so — shoot! theatre, Grundy Center, la. — Small town patronage. THE SEA HAWK: Milton Sills— This is a great picture of its kind and Oh Boy, Milton Sills sure does show what he can do if given a chance. Eight reels. — Y. E. Sager, Southern theatre, Akron, O. — Neighborhood patronage, THOSE WHO DANCE: Blanche Sweet— Excellent. Will hold the interest all the way. But NATIONAL SCREEN SERVICE /iic. , NEW VORK CHICAGO LOS ANGELES NOW BOOKING c4 FRANK WOODS SPECIAL PRODUCTION EAUTYtr*'® AD MAN PETER B. KYNE Directed by WORTHINGTON JleUased by HlLUa U Lt /{ N ~ D LS XR I B.U TJNQ CO R