Fox West Coast Theaters Now (May 14, 1930)

With JUSTIFIABLE PRIDE... Metro-Goldwyn-Mayer presents its latest con- tribution to the progress of the talking screen. Here in one surging pre- sentation is a living and breathing adaptation of Ursula Parrott's widely talked about novel. No picture or play can sur- pass it for beauty, drama, modernness and impor- tance. Supporting Miss Shearer are, among oth- ers, Chester Morris, Con- rad Nagel and Robert Montgomery. The direc- tionof RobertZ. Leonard places him squarely in the first rank of talking picture makers 28 sheets and you like ours . . give us your requisition and we’ll ship at once. (See cut of billboard on another page). Please use these ads. I think they have more selling power than the press sheet ads. By saying this ... I don’t mean to take anything away from the M-G-M copy. The press sheet ads were made up before any one had seen the picture . . . we've seen The Divorcee and, I think, we have caught the spirit of Miss Shearer’s great performance and, in addition, the importance of the picture as a production. # Visualize these ads as 2x10 . . not as they are shown here . . 1x5. There is a punch line in every ad . . there is a punch illustration. The make-up of the ads—the entire spirit back of the campaign is different than anything we have ever given you. When you use these ads . . you may be sure there will be nothing like them on the page of your local paper. We have mats and cuts of three 7x20 ads. This is studio . . not exchange . . copy. All three of them (one is shown in the center of this page) are great . . they are different . . in make-up and design. Send for mats if you need them. 9 We Have a serial story . . in six chapters . . on The Divorcee. Can you plant it? It is yours for the asking. When you see your editor . . don’t tell him it is a serial of Ex- Wtfe because it isn’t—it is the story of The Divorcee. • In Reference to the 7 column ads. The one repro- duced here will make an ex- cellent window or tack card. Do you want any? We are not strong for this type of adver- tising . . unless it is exception- ally well done . . but this copy is so striking . . so different— it might be a good idea to use it. 9 Don’t . . . Please . . don’t gag this pic- ture. The Divorcee isn’t the kind of picture that you can gag .... Don’t have matinees for divorcees . . or grass widows —or things of that sort. Keep to the dignity of the attraction. To the average woman . . a good cry in a theatre is a re- freshing treat. That’s why Camille stood the test of time on the legitimate stage . . every woman wanted to think of her- self as Camille. They’ll do the same thing with The Divorcee . . every woman will want to suffer as Jerry suffers . . they’ll laugh when she laughs . . cry when she cries . . because— Jerry is a very human, and lovable, young woman. Let your women patrons know . . here’s a chance for a good, old fashioned cry. • I Bought . . and read . . Ex-Wife in September of 1929 . . . it was then in its fifth edition. This is May, of 1930—can you imagine how many copies of the book have been sold since then? If this is true . . . then build a huge book for the top of your marquee. Copy the same colors of the book jacket BUT—do • GREAT care was exercised in selecting stills for these ads. You will note each is dif- ferent, bat modern and spell- ing refinement. They indicate a picture that has been lav- ishly produced. When order- ing mat at left ask for Mat. No. 138. For cut above order Mat No. 139. • A NICE balance of white space has been maintained in each ad without crowding copy, at the same time there is sufficient copy to get a sell- ing message into it. Each ad has a space left in it for the insertion of play date and theatre name. "When ordering the above cut ask for Mat No. 140. not use the words Ex-Wife. In their place . . say—suggested by a famous novel by Ursula Parrott. MAY 14TH 19 3 0 give the impression you will want to tmt over on this production of it be- modern, of a high standard in | both production and story, j i All cuts are two columns in width, | excepting the large center illustra- tion. It was necessary to reduce the : two column ads to one column meas- : ure for reproduction here. Bear in i mind, however, when ordering these cuts, that they, are all made to lit a two column newspaper size. ence to the book to make the engagement successful—I think the title, the star, the support- ing company, the director and the strength of Metro-Gold- wyn-Mayer as producers—will carry you on to an unusually profitable engagement. I haven’t seen the exchange billboard on The Divorcee. I don’t know if it is better than ours or not—but if you need HERE’S TO LOVE TED . . . as an ex-wife look for me where the primroses grow ... I’ll take my out- ings in the subway and my excercise in the night clubs . . . from now on . . . you are the oply man in the world... to whom my door is closed...and such is the philosophy of . . ■ THE DIVORCEE And here is a girl you re newer known before ... a NORMA SHEARER Here is the story of l r- sula Parrott . . . the heart cry that startled America STARTS WED., MAY 14 NOW Piit Over "The Divorcee’... Norma Shearer’s Latest and sty- - It Must Be Handled Carefully ... Intelligently... ^ o Reference to Book... too Fine for Cheap Exploitation y by Frank Whitbeck