Exhibitors Herald and Moving Picture World (Apr-Jun 1930)

Exhibitors Herald-World 27 une 7, 1930 i View of the auditorium (which seats a little less than 300. The walls are paneled in a pattern based upon similar paneling in an early American mansion once situated near the site of the present theatre-— now a district in the heart of a i oaring metropolis. \ Theatre for the incouragement of 'Better Pictures" V T OT all “little cinemas” serve coffee in a modernistic environ 1 ment. The Little Picture House i New York is a modification, perhaps nique, of the usual formula. It is of eorgian architecture. And the beverage sually served is tea. The Little Picture House, which was oened on last Christmas day, is the mture of the Film Bureau, Inc., an oranization more or less philanthropic of itention but which, by its own admison, is nevertheless somewhat interested l “making a go of it” by annually turnig in a reasonable amount of profits, n inquiry concerning its history and irpose brings the following response: “Before the war was over, the Amerian Committee for evastated France itablished relations ith motion picture >mpanies through le film Mutual Bene|t Bureau, in order > raise funds for its ork by supplying loitions for producers, fter securing estates >r locations for iany important picires (including Mr. leorge] Arliss’ silit ‘Disraeli’), it as decided that the ork to be done to it permission from vners who were ’ten in Europe did 3t pay as an all-year ^position, as only “(ring sunny weather could the Bureau 'rn money, and producers were begin!ng to desert the uncertain climate of sw York for Hollywood. However, the •mmittee which had started the Bureau ■It that constructive work lay before 'em in the motion picture field. They 'cided to form an influential group to upport the best pictures which often, :om lack of the proper appreciation, iled on Broadway. The name was ranged from the Film Mutual Benefit [ALL PHOTOS BY RICHARD AVERALL SMITH] A corner of the charming “tap room,” which is a rustically appointed sublevel lounge. Bureau to the Film Bureau, and a motion picture review service was inaugurated. “The Bureau soon became a center for motion picture information for Film Bureau members and affiliated organizations, who were guided to the better pictures on Broadway. Private screenings of many exceptional pictures were arranged, preview audiences were built up, and through the cooperation of the industry, members were allowed many privileges, such as visiting studios, etc., in order to promote a better understanding of, and to stimulate their interest in, motion pictures. A membership which started with about 40 people, slowly but gradually gained in number and prestige, until at the present time the Film Bureau is one of the oldest and most widely known of the ‘better film movements’ in America. “Within three years of the time it started, the Film Bureau established an experimental service in one of the public schools. It was soon working in 1922. Its principle from the beginning has always been to earn its own overhead expenses and never to make an appeal for funds to carry on. Surplus funds have gone to various charities and in six years about $20,000 has been distributed. The ambition of the Film Bureau has always been to own and control a small picture house of its own as a practical demonstration of what a Film Bureau, Inc., opens its own theatre, the Little Picture House in New York, adopting a design embodying early American motifs volunteer group can do in building up interest in better pictures. In 1928 the Film Bureau, by popular vote, was authorized to look for a suitable site for such a theatre and to start a stock-selling campaign among its members and friends to finance it. In April, 1928, a site was found and title was taken to land at 151-3 E. 50th Street,” near which once stood the old Beekman mansion, where Nathan Hale was taken when captured by the British. The building, standing amid modern skyscrapers, is Georgian in architecture and only seven stories tall. The theatre is on the first floor, occupying also a part of the basement. Above is office space from which is expected a large share of the revenue to support the venture financially. Pruitt & Brown, in association with the R. H. Howes Construction Company of New York, which erected the building, were the architects. Nancy McClelland, however, designed the main foyer, which is a reproduction of a Georgian hall. In general, the pattern of the interior is based on early American styles. The main lounge in the basement, for example, is a faithful reproduction of the tap room in a tavern situated in Colonial times on the Eastern Post Road not far from the site of the theatre. And the white paneling of the auditorium was