Exhibitors Herald (1927)

Record Details:

Title:
Exhibitors Herald
Date:
1927
Volume:
Exhibitors Herald (Mar-Jun 1927)
Leaf #:
00063
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:
September 21, 2023
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March 19, 1927 EXHIBITORS HERALD 57 BOX OFnCE TICKER %e HERALD System for determining the definite attraction values of Motion pictures Don’t Let The Breaks Break You Don’t let the breaks l)reak you. Figure them into the bargain. Use ■‘The Box Office Ticker.” Exhibitors’ “What the Picture Did for Me” reports tell both sides of the story. The percentage rating tells what the picture did. Accompanying comment tells tvhy. Only the percentage ratings — telling what the pictures did in spite of bad luck and good — are compiled to produce “The Box Office Ticker.” “The Cohens and Kellys” did 80 per cent of house record business in the 16 exhibitions reported with percentage ratings. You don’t care ivhat those 16 house records are; you know what yours is. It wouldn’t help you to know what “breaks” the picture had in those 16 engagements; because you can’t know what breaks you’re going to have with it. You do know that you stand to make more money with that picture regardless of breaks than any other picture among the 66 listed. Look up a certain type of story, a certain company’s product, a certain star’s pictures, in “The Ticker.” It’ll tell you what that type of story, brand of pictures or star’s vehicles are worth against the breaks. Figure that knowledge into your bargain when you buy. Individual reports containing percentage ratings, obtained by exhibitors as explained in Editor’s Note on page 47, are published as received. When 10 exhibitors have reported on a picture, individual ratings are added and the total is divided by the number of ratings to produce the current gross average. THE COHENS AND KELLYS (U.) LADDIE (F. B. O.) THE BAT (U. A.) THE ARIZONA SWEEPSTAKES (Fox) THE TOUGH GUY (F. B. O.) THE VOLGA BOATMAN (P. D. C.) CHIP OF THE FLYING U (U.) THE VANISHING AMERICAN (Para.) SENOR DAREDEVIL (F. N.) THE UNKNOWN CAVALIER (F. N.) THE NIGHT CRY (W. B.) ELLA CINDERS (F. N.) UP IN MABEL’S ROOM (P. D. C.) THE CAMPUS FLIRT (Para.) LONE HAND SAUNDERS (F. B. O.) THE QUARTERBACK (Para.) THE SON OF THE SHEIK (U. A.) WE’RE IN THE NAVY NOW (Para.) THE BLACK PIRATE (U. A.) FOREVER AFTER (F. N.) THAT’S MY BABY (Para.) UPSTAGE (M-G-M) BROWN OF HARVARD (M-G-M) SWEET DADDIES (F. N.) BEHIND THE FRONT (Para.) THE TWO GUN MAN (F. B. O.) SUBWAY SADIE (F. N.) THE WANING SEX (M-G-M) THE MIDNIGHT SUN (U.) IT MUST BE LOVE (F. N.) THE ROAD TO MANDALAY (M-G-M) THE FLAMING FRONTIER (U.) MEN OF STEEL (F. N.) THE TEMPTRESS (M-G-M) WILD JUSTICE ( ) WHAT HAPPENED TO JONES (U.) THE WILDERNESS WOMAN (F. N.) WAR PAINT (M-G-M) TONY RUNS WILD (Fox) TIN GODS (Para.) , PRISONERS OF THE STORM (U.) OLD CLOTHES (M-G-M) THE RUNAWAY EXPRESS (U.) BATTLING BUTLER (M-G-M) FORLORN RIVER (Para.) SPARROWS (U. A.) MARE NOSTRUM (M-G-M) THE WALTZ DREAM (M-G-M) PARTNERS AGAIN (U. A.) PARADISE (F. N.) POKER FACES (U) THE BARRIER (M-G-M) THE FLAMING FOREST (M-G-M) PADLOCKED (Para.) BORN TO THE WEST (Para.) THE MILLION DOLLAR HANDICAP (P. D. C.) MISS NOBODY (F. N.) EAGLE OF THE SEA (Fox) HER HONOR THE GOVERNOR (F. B. O.) THERE YOU ARE (M-G-M) THE BROWN DERBY (F. N.) SO’S YOUR OLD MAN (Para.) LA BOHEME (M-G-M) THE CANADIAN (Para.) BLARNEY (M-G-M) THE MAGICIAN (M-G-M) 16 Reports 80.12% 16 (( 79.06% 11 H 78.90% 10 << 78.80% 10 77.50% 16 75.06% 10 «( 74.30% 22 n 72.72% 12 i t 72.08% 13 it 71.23% 12 <( 71.16% 14 (( 70.21% ... 11 ti 69.09% 20 i( 69.00% 13 tt 68.00% _..27 tt 67.26% 18 a 67.16% 20 it 67.05% 19 ft 65.94% 10 tt 65.00% it 64.27% 13 it 64.23% 21 it 63.76% 12 it 63.16% 11 it 62.81% 18 if 62.77% 12 tt 62.67% _..16 it 61.18% 12 it 60.42% 17 it 59.88% 14 ft 58.64% 14 it 58.35% 19 it 57.10% 10 it 57.00% 10 it 56.80% 13 tt 56.69% 11 it 56.64% 16 ft 56.62% 11 it 56.27% 11 tt 55.81% 15 it 54.13% 10 it 53.18% 12 it 53.01% 16 it 52.94% 14 it 52.71% 12 ft 52.41% 19 it 52.36% 11 ti 51.18% 10 tt 50.60% 11 ti 50.54% 10 tt 50.03% 11 tt 50.00% 11 tt 49.45% 10 tt 49.207o 13 tt 47.30% 12 tt 46.33% 10 tt 45.80% 12 tt 44.66% 10 tt 43.70% 10 tt 43.30% 11 tt 42.45% 11 tt 42.09% 13 tt 39.31% 12 it 38.13% 10 it 36.50% 11 tt 35.63%