Exhibitor's Trade Review (Mar-May 1922)

Record Details:

Title:
Exhibitor's Trade Review
Date:
Mar-May 1922
Publisher:
New York, Exhibitor's trade review, inc.
Volume:
Exhibitor's Trade Review (Mar-May 1922)
Leaf #:
000452
Language:
English
Collection:
Early Cinema and Hollywood Studio System
Format:
Periodicals
Contributor:
Library of Congress, MBRS, Moving Image Section
Sponsor:
Library of Congress, Motion Picture, Broadcasting and Recorded Sound Division
Coordinator:
Media History Digital Library
Description:
In late-1916, Exhibitor's Trade Review entered a crowded market of weekly motion picture trade publications that already included the Moving Picture World, Motion Picture News, Exhibitor's Herald, and Motography, along with theatre and vaudeville-oriented papers that covered film, such as Variety, the Billboard, and the New York Clipper. To gain market share and differentiate itself from competitors, Exhibitor's Trade Review pursued a variety of tactics -- some constructive (gathering allies among exhibitor organizations), others destructive (smearing the reputations of competing trade papers and certain film companies that refused to buy advertising). Despite the behind-the-scenes controversies, though, Exhibitor's Trade Review appears to have, in the words of Alan Gevinson, 'established itself legitimately in its role as advisor to and fighter for the independent exhibitor.' All the issues that mattered to independent exhibitors were covered, including censorship, taxes, distributor contracts, piano accompaniment, and, of course, the films. In 1926, Exhibitor's Trade Review ceased weekly publication and only offered the daily service, Exhibitor's Daily, which was acquired a few years later by Martin Quigley as he attempted to consolidate the industry's trade papers under his control. -- Eric Hoyt, 2014
Date Added:
September 21, 2023
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1364 EXHIBITORS TRADE REVIEW Volume 11. Number 19 "The Cashier," Harold Lloyd in "Hit Him Again." "FIRST LOVE," Constance Binney (Realart). Picture took exceptionally well and drew good houses all week. Well received by both press and patron. KARLTON "BOUGHT AND PAID FOR," Jack Holt and Agnes Ayres (Paramount). Took so well that it was held over for a second week. Was patronized by a very fine class of people, who were unstinted in their praises of the whole production. Splendid business. Short Subjects. — Buster Keaton in "Cops," Pathe News and scenic, "Combatting the Elements." STANTON "FOOTFALLS," Tyrone Powers (Fox). Did not draw at all, and one of the few pictures to stay only a week at this house. Production was declared to have merit, but did not seem to bring in the crowds. Short Subjects. — "Urban Movie Chats" and Fox News. CAPITAL "THREE LIVE GHOSTS" (Paramount). As a comedy production picture made a good mark, and did well from the box office end. Short Subjects. — Buster Keaton in "The High Sign" and "Magic Gems." VICTORIA "SKY HIGH," Tom Mix (Fox). Mix is always a big favorite with Market Street theatre-goers, and this picture proved no exception. Good business and production well liked. Short Subjects. — Bruce Scenic, "Missing Men," and Sunshine Comedy, "Hold the Line." RICHMOND, VA. COLONIAL (First half) "THE BROKEN DOLL," (Alan Dwan-Associated Producers). Personal appearance of Monte Blue in connection with this showing resulted in capacity business for three days. (Last half) "THE LAW AND THE WOMAN," Betty Compson (Paramount). Three days to very good business. BIJOU "FOOL'S PARADISE," (De Mille-Paramount). An entire week to very good business. ACADEMY "ORPHANS OF THE STORM," (Griffith-United Artists). Griffith's greatest picture, and played to capacity business for an entire week at one dollar top, all seats being reserved. SCRANTON, PA. STRAND "FOOL'S PARADISE," Dorothy Dalton (ParamountWilliam De Mille). Played for whole week to packed houses, even with mine situation in bad shape. Made big impression and did unusually good business. Classed as one of best of the Paramounts of the year. De Mille's name used in exploitation and magic of his name helped to make picture success. POLI "DOUBLING FOR ROMEO," Will Rogers (Goldwyn). Much interest in star. Comedy end of bill was looked for from Rogers and his appearance in film assisted in cleanup for houses past normal averages in size. Made fine impression and the film was enjoyed. Well spoken of in theatrical pages of Scranton dailies. STATE "THE GOLDEN SNARE," Lewis Stone (First National). Curwood story on screen was good magnet. People turned out well and liked Curwood yarn of northwest police first rate. MILES "THE DWELLING PLACE OF LIGHT" (Benjamin B. Hampton production). Robert M'Kim, star, appeared in person and this was big drawing card. Picture pleased and was considered first rate production. Audiences past average figures. ST. LOUIS, MO. NEW GRAND CENTRALWEST END LYRIC "THE BEAUTIFUL LIAR," Katherine MacDonald (First National) and "THE BATTLE OF JUTLAND" (Educational) — Double Feature. — Business throughout week very good, M^ith a slight increase in attendance at matinees. "The Battle of Jutland" was featured above "The Beautiful Liar." Short Subjects.— " 'Twas Ever Thus" comedy News and Views. "The Battle of Jutland" received a good amount of advance advertising, a week before showing of picture. MISSOURI "HER HUSBAND'S TRADEMARK," Gloria Swanson (Paramount). — The women admirers of Gloria Swanson made the matinees very good while the night attendance registered above average. Short Subjects. — News and Views, Topics and short comedy. Princess Mary's Wedding. FOX LIBERTY "CHASING THE MOON," Tom Mix (Fox). Tom Mix is without a doubt the best drawing card for the Liberty theatre here. Mix's name is always good for an added attendance. Eva Novak who also appears in the picture is a St. Louis girl and no doubt her name helped to draw some also. The night business was very good throughout the week. Short Subjects.— Fox News, Sunshine Comedy, Mutt and Jeff. Exploitation. — Usual newspaper space. EMPRESS "TOO MUCH WIFE," Wanda Hawley, (Realart). Vaudeville also in this house. The local press liked the picture and attendance was very good at both the matinees and nights. Exploitation. — Picture advertised over vaudeville. KINGS "MAN FROM LOST RIVER," House Peters (Goldwyn). Vaudeville also. Picture more than pleased and attendance very good at all but a few performances. COLUMBIA "RECEIVED PAYMENT," Corinne Griffith (Vitagraph). Vaudeville also. Attendance seemed to show an increase here this week. The Columbia is also running the "White Eagle" serial. SEATTLE, WASH. LIBERTY "MORAN OF THE LADY LETTY," Dorothy Dalton, Rodolph Valentino (Paramount.)— Stars both popular with Seattle audiences. Good business. Exploitation Newspaper advertising, window cards, billboards, attractive lobby display. Short Subjects. — Scenic, Liberty news. Snub Pollard comedy, "Bow Wows." COLUMBIA "THE WISE KID," Gladys Walton (Universal).— Recent personal appearance of star promoted popularity. Also very wellbalanced bill. Business good. Exploitation. — Window cards, newspaper display and attractive lobby display with stills of Baby Montgomery. Short Subjects. — Round 3 of the "Leather Pushers," International News and Baby Peggy Montgomery in "Peggy Behave." STRAND "FOREVER," Wallace Reid, Elise Ferguson (Paramount). — Good business. Exploitation. — Billboards, extra newspaper space, window cards, lobby display. Short Subjects. — "The Rainmaker," a "Ham" Hamilton comedy. First National Kinograms. COLISEUM "ENCHANTMENT," Marion Davies (Paramount). — Playing to large audiences. Exploitation. — Regular newspaper space, billboards and lobby display. Short Subjects. — Cartoon comedy. First National Kinograms, Pathe news featuring exclusive wedding pictures of Princess Mary. BLUE MOUSE "THE FOUR HORSEMEN OF THE APOCALYPSE," Rodolph Valentino (Rex Ingi-am). — Playing second big week at popular prices to capacity. Regular newspaper space after first week. PALACE HIP "THE NIGHT HORSEMAN," Tom Mix (Fox). — Good business. With this week's show theatre goes into one a week change instead of bi-weekly, planning bigger and better features. Wn^KES BARRE, PA. SAVOY "FOOL'S PARADISE," Dorothy Dalton, (Paramount). Business held up to limit on whole week. De Mille's name used in publicity for fine results. Special orchestra boosted attendance. Regular prices prevailed and this was used as a lever to win attention. Film was spoken of well in all quarters. Photography and Eastern scenes were features in exploiting attraction. STRAND "THE WISE KID," Gladys Walton. Did average business. Nothing to criticize, save fact that patrons want "knockouts" and ordinary run of pictures do not seem to qualify as winners. CAPITOL "SERENADE," Miriam Cooper and George Walsh, (First National). Deserved better business than it drew as many said Walsh was better than Fairbanks in acrobatic stunts and romance of Old Spain was declared rare piece of photography that was credit to screen.