Associated First National Franchise (1921)

February is, I 9 2 I First National Franchise 5 Personal Patter and Some Other Points Pioneer Exhibitor OUT in Lancaster, Pa., there is a pioneer of the exhibiting: end of the industry who has crowned his interesting and successful career with the reopening of the New Hippodrome Theatre, following its complete remaking. George M. Krupa, owner and manager of the Hippodrome, was at the age of twentyfive, working as a coal miner, and was later employed in a wire mill. Still later, when he became connected with the Westinghouse Electric Company, his attention was attracted to the new form of entertainment, alleged motion pictures. In 1907 he visited Lancaster and rented the Dreamland Theatre, which had a seating capacity of 160 people. This was considered a large place at that time, as the store shows averaged about 90 people. The Dreamland picked up, and the seating capacity was gradually increased to 412. This was not large enough, so Mr. Krupa formed a partnership and the Hippodrome of 191 1 seated 920. He bought his partner's interest the same year, and a little later also secured control of the Hamilton Theatre. He has never stopped improving, and in this line he has established First National Attractions as standard equipment of the house. When the Hippodrome reopened "The Fighting Shepherdess" was the attraction. The organ in the Hippodrome is said to be the largest in any motion picture theatre in the state of Pennsylvania. It is played by Ralph Kinder, with Miss Bertha Krupa and Mrs. H. A. Pfenninger as pupils. Cadoret Kept Adding Seats To His Kankakee Theatre WM. H. CADORET, Kankakee, entered the theatrical business on February 2nd, 1909, when he purchased the La Petite Theatre at Kankakee, 111. This theatre had been in operation for two years at a seating capacity of two hundred forty. Mr. Cadoret realized that it would be necessary that he must present the finest productions he could secure. He has followed this policy throughout his successful career in the motion picture field. About 191 1 the theatre was enlarged to three hundred forty seats and in 1915 the capacity was again increased to five hundred twenty seats. At this time the La Petite was entirely rebuilt. Mr. Cadoret emphasizes the fact that he has always championed the cause of clean wholesome entertainment and a square deal for all. He feels that this policy has greatly added to his successful operation of the La Petite. FRANCHISE Invites suggestions and advice, as well as criticisms, from all who read it. We are trying our darndest to make it a genuine aid to the exhibitor. We did him a big favor by launching FRANCHISE without a trace of publicity in its columns — and we're going to stick close to that policy. A string to it? An axe to grind? You bet! Service is the keystone of success. If you buy a motor car, the maker invites you to call at the service station. It means satisfaction to you. If you're a First National exhibitor, FRANCHISE is an accessory of the Service Station. By making it a real service publication, minus the publicity, we strengthen the parent organization, naturally. And it strengthens the exhibitor organization for the reason that the latter stands or falls upon the former. Published semi-monthly by Associated First National Pictures, Inc., 6 and 8 West 48th Street, New York. LEE S. FERGUSON Editor Credit to Chicago Wheelbarrow Prices for Limousine Attractions? SHOULD limousine pictures, manufactured by the quality process instead of the quantity plan, draw only wheelbarrow prices at the box office? Experts who have put in much time and thought upon the matter, tell us that the BIG attraction is worth and should get extra monetary consideration from the public. It sounds reasonable. If analyzed, as some First National Exhibitors have done, it will be discovered that IT IS reasonable. But it is up to the exhibitor to conduct his selling campaign on a business-like basis, just as his brother merchants sell their Tbetter class of merchandise for more money. If the merchant could not get his customers to pay more for the better material, he would have to quit handling it. And it is the same with pictures. Unless the bigger, better attractions get the price at the box office they deserve, the BIG picture will have to stay off the market. The public today is insisting upon unqualified excellence, upon extraordinary entertainment value in the screen dramas to which it gives its wholehearted support — support that is expressed in crowded houses and lines of waiting patrons. Will the public cheerfully pay more to see such productions, in proportion to their increased excellence over the (Continued on pa%e 16) CHICAGO, the windy place which in the past gained considerable reputation for being behind the country in the matter of first class motion picture theatres, is picking up. We should say, on second thought, that it is being picked up. Balaban and Katz, the latter half of which duo we present herewith, are partly responsible for the improvement in motion picture presentation there. News comes that Chicago is to have several of the finest and largest structures for motion pictures in the world, with First National attractions first and foremost. Two theatres are under construction "Downtown." One is the Ambassador, a Balaban and Katz house to seat 4,500. The other is the Roosevelt, with 1,000 seats and owned by Ascher Brothers. The Tivoli, another Balaban and Katz theatre, is nearly ready to open at 64th street and Cottage Grove avenue. It will seat 4,000. The Senate Theatre, at Kedzie and Madison, is owned by Lubliner and Trinz, and is to seat 2,500. Could further proof be needed that motion pictures have taken a place in the world that stamps them as necessities of life? Started With Sawdust As Carpet on the Floor \117 W. WATTS, leading motion picture " • exhibitor of Springfield, 111., and owner of the Gaiety, Vaudette and Princess theatres, has been serving the public in the amusement field for the last 37 years. Watts was born in Maumee, Wilks county, Ohio, in 1865. He located in Chicago, where he was identified with Hooley's, later Powers' theatre, the Grand Opera House, the old Columbia and the Alhambra. Several years were spent with Barnum's and Ringling's circuses, and with many of the other traveling amusement organizations. Watts came to Springfield in 1906, opening the old Vaudette on Fifth street shortly afterwards. In those days people were afraid to come into the theatre, and would sneak in when they thought their friends were not looking. The seats were boxes with planks between them, and there was a plentiful supply of sawdust on the floor. Men would chew tobacco. Only travel and trick films, mostly French pictures by the Pathe company, were employed. An illustrated song and a couple of reels were all that were shown. No one dreamed at that time that stories and plays would be made into six, seven and ten reel productions.