Exhibitors Herald and Moving Picture World (Oct-Dec 1928)

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October 27, 1928 EXHIBITORS HERALD and MOVING PICTURE WORLD 63 J. C. Jenkins — His Colyum (Continued from preceding page) place in shape for the fall and winter rush. She will look all right when they get through. W. A. Clark of the Cache theatre at Cache. looked over "Better Theatres" when we showed the magazines to him and he found one item that he said was "worth the price of the whole works" and that was by Richardson telling how to take the "ghost" out of the picture. He drew his check for three beans and said "Send 'er along" (Rovelstad, take notice). Bob Browning of the Aztec theatre at Enid reminds us very much of Wolfe who writes editorials for the Lincoln (Neb.) daily Star, only Wolfe is boosting Al and Bob is boosting the Aztec and says Al can run his own show. Enid doesn't need any finer theatre than the Aztec nor a finer manager than Bob — they both fit in well together. Among the "Sooners" who didn't throw rocks at us when we called, we note the following: W. T. Henderson, Alva theatre, Medford; A. T. Prouty, Electric theatre, Hennesy; Loomis & Enloe, Criterion theatre, El Reno; C. Lyles, Hamly theatre, Clinton; E. W. Harkins, Art theatre, Cordell. These boys all reached for their check books when we called and thanked us for saving their lives. The following are a list of the bovs (and girls) who were already seated at the banquet table: C. S. Watson, Electric. Caldwell, Kan.; W. Metcalf, Rex, Pond Creek, Okla.; Ollie Brownlee, Criterion, Enid; W. E. Barringer, Liberty, Geary; E. M. Wilson, Wilson, Hydro; L. A. White, Bungalo, Weatherford; Ed Smith, Amusu, Cordell; Thomas Mahone, Oklahoman, Hobart; Mrs. B. E. Howell, Liberty, Lone Wolf; Ray Moore, Rays, Snyder, and C. E. Hartman, Liberty, Carnegie. (We are invited to Hartman's for dinner tonight, Oh Boy!) * * * We ran across a theatre man the other day who was a very busy man. He told us he was taking up a subscription to buy a monument to be erected to the memory of the Republican party after November 6 and wanted to know if we wished to subscribe. We are not giving his name because he may be ashamed of it after election and have to return the money, but we told him sure we would, that we were always willing to help out a worthy cause, so we took him over to the drug store and bought him a couple of drinks. He said he wanted an appropriate epitaph for the monument and asked us to write it and said he would like it to be in verse. We told him we were not a writer of epitaphs, that our line was bunk, but he insisted, so we picked up a sheet of paper and wrote the following — Here lies the Mule, so poor and thin, This Donk was born without a stork, Let's all rise and sing for him "The Sidewalks of New York." We passed it over to him and after looking it over he said, "Say here, this won't do." "Why not?" we inquired. "Why what's the matter with you, it ain't going to be that kind of a monument," and we replied "Well, it may not be, one never can tell, but you better keep it, it might come in handy." Betcha that guy still thinks we are a Republican. * * * A fellow stopped us on the highway about two miles out of Altus yesterday and said he was out of gas and wanted to know if we would let him have enough to get him into town, and we told him we sure would if we had any way to get it out of the tank. He said, "I can do that all right," and he went to his car and got a can and rubber hose to use as a siphon and he drew out about four quarts. He would have taken more but it was all his can would hold. That guy is making a mistake by not carrying a five gallon can. He told us he was broke and wanted to know how far it was to the cotton fields, said he was a cotton picker. We told him it wasn't very far, just across the road on either side, and that he had been coming through cotton fields ever since he struck Oklahoma. It's a safe gamble that this baby hasn't bought a quart of gas since he left Louisiana, he goes toe well prepared. We got back in the car and said to ourself, "Eh eh, you old mullethead, you've been worked again." Gosh, but we are an easy mark. * * * How, oh how, can we proceed any further with this Colyum? We have just returned from that dinner, and "Shades of evening twilight gathered from the slopes of long ago" talk about "dinners," you hain't never seen nuthin' yet We talked, we ate, we visited, we smoked, we held little Dorothy Ann on our lap just as we did on our way back from Oklahoma City two years ago, and the only reason we are not there yet is because we had to finish this Colyum and it was time for people to go to bed. If Mr. and Mrs. Hartman can't entertain, then prohibition is a success in Chicago, and you know how that is. We are invited back any time we could come, which indicates that we must have conducted ourself properly and it makes us glad that Oklahoma is a part of the U. S. A. It's bedtime, Jay. J. C. JENKINS, The HERALD-WORLD Man. Your BOX OFFICE RECORD will be delivered to you in the issue of NEXT WEEK as a department of Exhibitors Herald and Moving Picture World pleased. — J. E. Ryan. Elberta theatre. Brigham. Utah. — General patronage. DIAMOND HANDCUFFS: Eleanor Boardman— Just another picture, same thrills, not many. Nobody very excited about it. Not worth price paid. Seven reels. — Herbert A. Wood. Regent theatre. Bangor. Mich. — Small town patronage. THE BIG CITY: Lon Chaney— September 21-22. While the picture is like a dozen other underworld pictures, which by the way. are being done to death, the name of Chaney out in front means money in the till every time. So. why worry ? Eight reels. — E. M. Biddle, Strand theatre, Paoli. Ind. — Small town patronage. THE SMART SET: William Haines— September 28-29. Dandy, good clean wholesome entertainment. Haines draws well here. Seven reels. — E. M. Biddle. Strand theatre, Paoli, Ind. — Small town patronage. ROSE MARIE: Joan Crawford^Tust fair. Crawford did real well for her. Some good settings saved it. Filmed dark. Not worth price paid. Seven reels. —Herbert A. Wood. Regent theatre, Bangor. Mich. — Small town patronage. Paramount THE RACKET: Thomas Meighan— 80%. October 5. An underworld story that is sure to please action fans. This type of picture is a good box office bet. Print good. Seven reels. — Stephen G. Brenner, New Eagle theatre, Baltimore, Md.— General patronage. THE RACKET: Thomas Meighan— October 3-4. The usual underworld blah. People are fed up on this type of picture. So producers, kindly "cease and desist." Seven reels. — E. M. Biddle, Strand theatre, Paoli, Ind. — Small town patronage. THE MAGNIFICENT FLIRT: Florence Vidor— 25%. October 4-5. Paramount should give Florence Vidor and Adolphe Menjou a studio in Paris as they both seem to crave a Parisian atmosphere for all their pictures. Only fair entertainment and business was poor both days. Print and photography good. Seven reels. — G. O. Tunstall. Midway theatre. Martinsville, Va. — Small town patronage. PARTNERS IN CRIME: Beery-Hatton— 68%. October 3-4. The best this pair has ever done. I believe it pleased 100 per cent. It is different from some of their previous pictures in that it has a better story. We are 6orry to see this team split as they have been a good drawing card for us at all times. Seven reels. — Paul B. Hoffman. Legion theatre. Holyrood, Kan. — Small town patronage. FEEL MY PULSE: Be be Daniels— 36%. October 9-10. Wow ! Some punkerino ! No doubt you all know it as this is an antique, so we merely comment that 6,000 feet of good celluloid was wasted. No plot, acting nil, direction childish. Shame to waste Daniels, Arlen and Powell this way. Six reels. — Wolfe & Williams, Screenland theatre, Nevada, O. — Small town patronage. THE LAST COMMAND: Emil Jannings— 65%. September 28-29. Failed to bring out the crowd. Deserving of more recognition than it received. Rarely do we run across a play with such unity of design as "The Last Command." It is a climax built up from the beginning and culminating in the last command at the finis. As a result of this huge climax it was too much for the star at the end. But why? Simply because he did build up his act into a climax in the same manner, but in less time, as the play was built up. In short he failed to develop his part of the climax. Here was a situation which it took a whole evening to bring about and in which he should have held his audience in *ense attention for minutes he slobbered through in £ few seconds. Emil Jannings is called a great actor. But how great? Greatness is comparative in most cases. After seeing Emil Jannings in 6everal plays I repeat: Not adapted to tragedy. Compared with the great actors of the past he is hardly a third rate man. Paramount has shown us some plays and players (made in Germany) but they are not superlative. — A. J. Gibbons, Illinois theatre, Metropolis, III. — General patronage. THE ROUGH RIDERS: Special cast— 31%. October 5-6. A mighty good picture, although it did not set this part of the world on fire for us. Yet we are glad to have had it. This is the sort that gives the village movie prestige and prestige is what we need. Yea boy! We spread a ballyhoo of "Americanism" and "education" for this and it's lucky we did. The woods have been full of counter-attractions this week and most of the younger crowd have been conspicuous by their absence. However, this advertising motif brought in quite a number of people who only attend pictures of "The Covered Wagon" and "Ben Hur" type, and this saved our bacon. Mary Astor makes a mighty sweet pre-jazz American girl, Frank Hopper is great as Roosevelt, and the rest of the cast, Charles Farrell, Noah Beery, George Bancroft, etc., combine to make one glad he saw the picture. Photography was pretty good but the print was in the same condition we usually get these Paramount specials, dirty and dilapidated. Spent two hours making repairs before the first exhibition. Ten reels. — Wolfe & Williams, Screenland theatre, Nevada, O. — Small town patronage. THE FIFTY FIFTY GIRL: Bebe Daniels— 64%. October 6. A very good program offering that pleased a good Saturday crowd. Seven reels. — Paul B. Hoff