Exhibitors Herald World (Oct-Dec 1930)

NOTE^on WRITERS and XUBJECT^ in thi/ L^UE I <J Much has been written about the effect of sound in the routine of the motion picture theatre, and on the technical phases of sound itself, there is a veritable library. In the points of view thus represented, sound is considered, however, as a thing more or less apart from the whole phenomenon that is today's motion picture. It is as if sound were simply a physical addition to the silent film, like a new gadget on an automobile. Well, we were more or less in the habit of regarding sound along the same lines until we received a manuscript from Gordon S. Mitchell. Mr. Mitchell is an electrical engineer affiliated with the sound technics department of the Universal studio in Universal City, Cal. Entirely capable of discoursing interestingly enough on certain, disjoined technical aspects of sound (and probably inclined, by the nature of his work, to do so) , Mr. Mitchell rather placed himself in the position of a well informed, yet lay critic of the motion picture as it is now produced and exhibited, and the result ("The New Motion Picture and the Public") is a blending of those multifarious considerations in sound picture production and exhibition that represents one of the most accurate analyses we have seen of the modern motion picture and the problems present in the process of bringing it before the public. «IIn the Mayfair theatre ("The May fair in New York"), just recently opened in New York, we have another Broadway supercinema (as they say in Lon'on) owned and operated by one of the great motion picture producers. That fact alone would make the Mayfair particularly interesting. But architecturally, and in general conception, the Mayfair is worthy of every consideration. In the first place, it represents one of the most extensive (and expensive) remodeling jobs ever tackled in the field of motion picture theatre construction. And secondly, it is in many respects representative of the new trend in motion picture theatre architecture — that is to say, the design is modern (modernistic, if you please), yet it employs these modern elements in a highly imaginative, brilliant and decorative form. . . . Howard Oiseth is a member of the editorial staff of the Herald-World. In this issue is concluded C. M. Cutler's discussion of the new illumination technique ("The Modern Use of Light in the Theatre"), which was begun in the October 25th issue. Mr. Cutler is a member of the research engineering staff of the National Lamp Works at Nela Park, Cleveland. <I As indicating one of the most significant developments of the motion picture theatre, as showing the varied functions of the theatre, and as an example of how space not paying sufficient dividends may be turned into effective promotional media, the "party room" which has been added to the Rialto theatre in Joliet, 111., is one of the most interesting innovations brought to our notice in some time. For the sketches, as well as the photograph and discussion, we are indebted to the architects, C. W. & George L. Rapp. Arthur Frederick Adams, who prepared the description, is a member of that architectural firm's staff. <J It is always interesting — and profitable, we believe — to have a look at the buildings in which we are to show our motion pictures. Few, if any, types of business are so intimately associated in their very function as a business, with the buildings that house them, as motion picture exhibition is. We have already mentioned the Mayfair. There is also the new Fox theatre in Stockton, Cal. ("The Spanish Colonial Design of a New Fox Theatre"), which is presented in plan as well as in picture and text. For the plans, we acknowledge the courtesy of the architects, Balch & Stanbery. . . . The theatres for which Boiler Brothers submit a group of projections and perspectives ("Designs for Three Western Theatres") are currently under construction, and therefore they offer a peek into the nearfuture regarding the conceptions of this architectural firm, which has designed scores of important American theatres. And in the new Michigan theatre in Muskegon ("A Theatre of the Commercial Building Type in a Small City") we have a representative of a distinct trend. <J In "Contractual Liability : Late Decisions," Leo T. Parker continues his series on the Theatre and the Law. Mr. Parker is a Cincinnati attorney. <J The new contribution of MetroGoldwyn-Mayer engineers to the art and science of sound picture exhibition — the socalled "squeeze track" — is discussed along with this same firm's interesting modification of the wide film principle — "Realife" film — in "Edward Churchill's first-hand report of technical developments at the M G M laboratories on the West Coast ("Two Innovations in Sound and Image") Mr. Churchill is a member of the Herald-World editorial staff, attached to the Hollywood office. '91