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

November 24, 1928 EXHIBITORS HERALD and MOVING PICTURE WORLD 9 more beautiful than now, for the further emphasis of its purpose and intent. Ornament and decoration would be the natural outgrowth, all subordinated to the emotional effect desired, and never at odds either with function or good taste. As the planning for the modern art of motion pictures of right deserves a new architectural planning in full accordance with its demands, utilizing our modern materials for construction and decoration, unaccustomed lines will be presented to the public, too unfamiliar at first to be grasped. But association with them will cause them to be liked and desired, exactly as the motor car of today has come to be liked and desired, as against its predecessor, the horseless carriage. Such an expansion of taste is surely necessary, if we are to live fully in the present and be of our time. Structures yesterday were limited by lack of scientific structural knowledge, to which the taste then current had to adapt itself, forming styles and fashions. With new knowledge and new materials, new ideas arise, momentous indeed, for there is little limit to their possibilities. Forms are coming into being that at first estrange us, but they will gradually educate our sense of the fitness of things to the point where they will be accepted as proper. Continuity of line, such as we now find in the stream-line of an automobile body, contrasts in colors and still sharper contrasts of lights and shadows created through definite angular mouldings and broken plans, are among the chief means for the production of modern effects. These will be found to have a definite rhythm, already evident in modern music, modern dancing, and modern fashions in apparel. Avoiding imitation in material, never pretending to be what they are not, they make a virtue of the material itself. Thus, while the conception and evolution of modern ideas in building should remain in control of the architect, he in turn should call upon the sculptor, the mural painter, and all other artists and handicraftsmen of abilitv for collaboration. With little or no precedent that can be followed in the development of the motion-picture house, there is no confining of talent at any stage, the very lack of earlier exemplars giving the widest scope to effort everywhere. Particularly true is this in so modern an industry, where the entry of new ideas will make its due impress upon all the arts surrounding their production. It ma.y be that in time to come the picture will no longer be framed with edges hard and sharp. "Stills" may be utilized for such a frame. More than one picture may be shown concurrently. Radio and television may prove revolutionary, just as the movietone is revolutionizing the industry at this moment. And with such changes architects and their fellow-craftsmen must keep pace. The inherited alphabet may be shaped to partial conformity, but from it a new language must be eventually framed, to be learned, perhaps, syllable by syllable. The motion picture is emphatically an art of the people, as will be all the arts involved in its housing. Its producers rightly boast of its educational values in many fields. How better can they be employed than in encouraging in every reasonable manner the architect and his associates to expression so modern that in many a case it must be of the very moment? A word about Mr. Root's associate in the preparation of this article. Mr. Rice, a contributor to many periodicals, is a friend of the architect, zvho sought his experience in putting his ideas in literary form. Lozver promenade in the Skandiateatern in Stockholm, one of Europe's most recent film theatres. Another view of the Skandiateatern, side balcony. The Skandiateatern this one of the auditorium from the stage. Note the is different even among theatres of its ozvn type. The Rich Beauty of R K O's New Kenmore Theatre THE new Keith-Albee Kenmore theatre in Brooklyn is the latest of playhouses to be added to the R K O circuit. It is of luxurious character. The entrance vestibule is lined with multicolored marble. The auditorium is 100 by 50 feet in area and will seat about 2,500. A paneled wainscot is carried around the side and rear walls, and the space above is divided into a series of arches framing gorgeously colored "carnival parade" scenes by Willy Pogany, noted mural painter. The smaller panels are in polychrome relief, and above rises the vaulted dome of the auditorium, done in tones of warm gray, enriched with gold ornamentation. The dome is 60 feet in diameter, with gay dancing figures al fresco upon the surface. In the cove running around the margin of the dome concealed lights are arranged, and there are also multi-colored glass panels in the ceiling, behind which groups of variegated lights may be used separately, in groups or together, giving a dozen color combinations for illuminating the interior. The great central chandelier is of cut glass and crj'stal garlands. It is ten feet in diameter. The grand staircases leading from lobby to mezzanine lounge and balcony, as well as to loge boxes, are of marble. The cornices and walls here, as throughout the interior, are finished in gray, old ivory and gold. The women's retiring rooms are upon the spacious mezzanine promenade, where there is a stone fireplace surmounted by panel mir The orchestra pit is 40 by 10 feet and will accommodate 30 musicians. It is of the elevator type. The stage has a depth of 30 feet. Photographs of this newest of R K O theatres are reproduced on pages 62 and 63.