Exhibitors Herald (1927)

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qeil^em how record-breaking audiences have cheered “CAMILLE” in St. Louis, Minneapolis, Seattle, Omaha j»«s them what James R. Quirk, Editor of “Photoplay,” says about “THE PRIVATE LIFE OF HELEN OF TROY”:“Marvelous humor. . . extreme beauty. . . great spectacle”.. . . York’s gone wild about “THE PATENT LEATHER KID,” drawing capacity every show for weeks in a $2.00 house .... how the Kansas City critics praised Harry Langdon in “THREE’S A CROWD”, 100 per cent .... O ellthem how New York, Los Angeles and San Francisco capacity audiences howled over George Sidney and Charlie Murray in “THE LIFE OF RILEY,” another “McFadden’s Flats” qellthem how audiences everywhere are raving over “THE POOR NUT” with Jack Mulhall and Charlie Murray— Billie Dove in “THE STOLEN BRIDE” — Dorothy Mackaill and Jack Mulhall in “SMILE. BROTHER. SMILE”— “THE PRINCE OF HEADWAITERS” with Lewis Stone. Then ask them to compare these KNOWN VALUES,— -Story for Story and Star for Star -"With anything else offered you— Ask them to Pick the group they'd prefer to see during the coming year f lOO \ ^PATRONS, mil tell ifou .. First National >>1027-28 to Take your Public into Partnership!" It will get you" 1. Thousands of dollars worth of Good-Will; 2. Great advance publicity for coming pictures; 3. Definite assurance that vou’re Buying RIGHT! That's another revolutionary Picture Purchasing Plan from FIRST NATIONAL. . . . What other company would have the NERVE to risk a Showdown like that — bank everything on the verdict of the IMPARTIAL PULIC 2 Z Well, you can figure for yourself that we wouldn't take a chance like that if we didn't KNOW we had all the others faded: