Exhibitors Herald (Dec 1925-Mar 1926)

42 BETTER THEATRES SECTION OF December 26, 1925 You Don't Buy A Ticket to Your Own Show So don’t say, “My screen is good enough for me!” That’s not the point. It’s the audience that pays the rent and you’ve got to please them. Why risk sending them away with eye strain? There might be a fellow right around the corner who is presenting pictures as they should be shown. So get in step with profits and get a DA-LITE screen right now. Quit sending him your business. It’s that extra reflective-extra heavy, long wearing, surface that counts. And DA-LITE Screens are supported with the longest lived backing obtainable. You can’t get a better screen. We know it can’t be made — for we are constantly trying to do it. But just the same we are mighty proud of making the best. And if you have any doubts about DA-LITE Screens, let us give you some samples. Test them any way you think a screen should be tested to make a real comparison. We leave it entirely up to you and the DA-LITE Screen. But we bet you choose DA-LITE after the test. BE FAIR How about that test? We really mean it! Let us send some samples over. For you really owe it to your audience to at least know what a DA-L.ITE Screen looks like. There won’t be a cent of cost — and positively no obligations. How About It? DA-LITE SCREEN & SCREENS Iris Viiiing Tells of Playing Tom Mix Starring Film ( Continued from preceding page ) ever written for the piano, and one of the most musical. With little work this can be adapted for the organ. It is strictly for the piano, and adapting it to the organ requires the most delicate yet rapid staccato touch. When I have mastered one of these particularly stiff “rapid fire” compositions it is then that I realize how useless our old school of legato training has become. Nothing is sustained anywhere and yet the phrasing is so smooth and graceful and “unchopped” that the effect is most “orchestral.” Play the “Seguidilla” from “Carmen” as Anita intrigues the guards on the parapet of the castle, rendering it softly, then louder, as Tom scales the wall. The idea is, you can’t play a mysterioso and then interpret her continuity until Tom bursts in and overcomes the guard. Back to “F.spagnole” for the truly beautiful feasting scene as Anita dances. As she accuses the bridegroom of infidelity play the lento movement from “Petite Bolero” again. Now for trouble. Sound the gong, followed immediately by a very furious allegro — the “Rondo alia Ttirca” by Mozart fits admirably in tempo and character — if not by title. Here’s where the real color of the picture may be brought out with dash and brilliancy, affording the organist opporuntiy to drag the picture out of the fire. Play a little strain from “I Love Thee” from “Atlantis” then back to “Rondo,” played furioso as Pancho holds back the throng and Don Juan and Eleanora escape. Continue your furioso playing to the scene in which the witch Zaragoza casts her spell over the elopers, then MacDowell’s “Witch Dance.” * * * Bring Tom back to his senses as he rides the bench, playing “Barney Google.” This fetched one of the best laughs of the season every time I played it at the Granada Theatre during the showing of “The Lucky Horseshoe.’” The finish of this picture is a jumbled lot of tears and action. Eleanor is heartbroken because she is marrying the other man. Where Tom bucks up and stages his escape, fill your playing with excitement, then calm down to Mendelssohn’s “Wedding March.” As his captors dash away on their wild ride after Tom, watch the screen closely and play to each scene. While I am entirely out of step with improvisation, you can make improvisation an art in the finish of this picture because of the fast insets and flashbacks — a few bars of wedding bells, a crashing ride, soft, loud, soft, lound. As Tom saves his sweetheart from her fate, play the “Don Juan” march again. There is opportunity for another bit of humor as Mac chases the other man down the road — play “There's a Long, Long Trail a-Winding.’” This finishes the picture with a bit of laughter, a sort of musical gesture sgnifying all’s well that ends well. As this picture, a pot pourri of everything imaginable, fades to its finish, who could resist playing as an exit march, “Everything Is Hotsy Totsy Now.” More Music Less Cost Gallagher Music Stands are made in a design especially fitted for Motion Picture Theatres. Better handling of music, more light for the musician, no light to blind the audience and beauty in design are the features. You know your orchestra is a drawing card. The better you make it the bigger it will draw. That’s logical ! Gallagher Orchestral Base gives purer tone, more volume and better music all around. It will pay you. No end of America’s finest theatres are fully Gallagher Equipped, including the marvelous tone-multiplying GALLAGHER RESONATOR ORCHESTRAL BASE Full details are yours for the asking Gallagher Orchestra Equipment Co. 3235 Southport Ave. CHICAGO UNIFORMS For Ushers, Doormen, Footmen, Orchestras, Hands, etc. Made to individual measures, fit guaranteed. Special catalogue. With correct up-to-date styles, and samples sent free postpaid. WESTERN UNIFORM CO. 204 So. Clark Street Chicago, 111. Sketches free upon request We erect our signs anywhere in the country. VERB SIGN CO. 4543-51 W. Lak. St. Chicago, III. Theatre Displays Electric Signs ILLUMINATED ATTRACTION BOARDS