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1122
EXHIBITORS TRADE REVIEW
Volume 10 dumber 16.
The very ring that Gloria wore in "The Great Moment" was displayed in this store window, while Miss Swanson was appearing in the picture at the Columbia Theatre at Washington, D. C.
Augmented Scenics
Adding animation to short scenic film subjects through the proper use of soloists has served to popularize the scenics, which are not always met with cheers on a motion picture programme, according to Edward L. Hyman, managing director of the Brooklyn Mark Strand, who finds that a show without one of his augmented scenics, as he calls them, is not regarded as complete.
An example of how presentation can enliven a scenic had its demonstration in the Prizma film, "At Dawning," which is a series of delicately tinted outdoor scenes. While this number would have been accepted, it was given life through the rendition during the showing of the picture of several romantic song numbers by operatic stars.
The singers were off stage when the first scenes of the film were shown. As the film was unreeled Dorothy Bell, soprano, sang Cadman's "At Dawning." George Dale, tenor, followed this with "Somewhere a Voice Is Calling." The singing of the two songs gave a story or descriptive theme for the film. In this way an element of life was given.
Take Bed Along
The old adage "take up your bed and walk" was put to practical use by Joe Eyerly of the Lyric Theatre, Newton, Iowa, recently in exploiting the First National attraction, Twin Beds.
Joe had two miniature beds constructed in such a manner that they could be carried easily. Then he secured the services of two boys who carried the beds through the principal streets of Newton and on each prominent corner the boys would stop, sit down on the street and give the illusion that they were lying in the beds. The head and foot boards of the beds were lettered, calling attention to the title of the picture and also to the fact that the feature would be shown at the Lyric Theatre.
Wedding Bells
Those who laughed at Constance Talmadge in Wedding Bells, at the Brooklyn Mark Strand, were swept into the lively current of that farcical film by a cleverly adapted prologue which Managing Director Edward L. Hyman provided to introduce the featured number.
Everything romantic, artistic and conventional in the matter of weddings was made into a composite stage effect by Mr. Hyman and his aides. It fairly sang a song of marital happiness.
Mr. Hyman sought to produce the effe:t of a modern delicately done wedding invitation. Much silver and white and pink was utilized, both in scenic set and in the dressing of the singing and dancing principals, for soloists and dancers participated in the prologue.
Of course, there was a pretty bride, a groom in silken knickerbockers, powdered wig and buckled slippers. When the curtains parted one imagined as the principals posed that there was before them a huge and delicately contrived engraved wedding bid. Suddenly there appeared a wedding bell, veiled with orange blossom sprigs. Edgar Kiefer, baritone, sang "The Yeoman's Wedding" for this scene. The curtains lifted and revealed two tiny dancers ; they might have been baby bridesmaids. These dancers interpreted "A Gavotte Piquante" and "Polka." The dancers were Miriam Hopkins and Anna Arnovvitz.