Exhibitors Herald (1927)

Page scan 000110 from Exhibitors Herald

Record Details:

Title:
Exhibitors Herald
Date:
1927
Volume:
Exhibitors Herald (Sep-Dec 1927)
Leaf #:
000110
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:
July 25, 2024
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32 EXHIBITORS HERALD September 24, 1927 Mythology doesn’t tell us whether the “Three Graces” were sisters, but here we have a modem edition and “it’s all in the family,” even if they’ve adopted other names for reasons concerned with the box office. Furthermore, they all worked in one M-G-M picture. (L. to R.) Sally O’Neil, Molly O’Day and Isabelle Noonan in Cosmopolitan’s “The Lovelorn.” Left: “Ship Ahoy!” Not a very orthodox salute but who cares about that? Gilda Gray is making “The Devil Dancer” for Samuel Goldwyn and United Artists. Jeanne Eagels, dramatic stage star takes to the Kleigs and Monta Bell (left) and John Gilbert give her a royal welcome to Hollywood. Miss Eagels will have a lead in Gilbert’s “Fires of Youth,” which Bell wrote and will direct for Metro-Goldwyn-Mayer. Ernest Hilliard (left) may be telling Forrest Stanley to “keep his shirt on,” but there isn’t much left of it after the scene just taken for Rayart’s “The Wheels of Destiny.” Stanley must have been caught by a cog but the scenario said he should come out whole and he has. Speaking of airplane thrillers and if we weren’t we’re going to right now — how would you like to spend one of these nice warm afternoons climbing aboard a swooper from the top deck of an auto going beaucoup miles an hour? A1 Wilson, stunt aviator for Universal, shows how it’s done. Thanks, we won’t. You may like it, Al, but we’d rather look at it from a nice, cool seat. Jean “takes his pen in mouth” — not hand — and signs with Edwin Carewe for a role in United Artists’ “Ramona,” starring Dolores del Rio.