Motion Picture Classic (1923, 1924, 1926)

Have You Wondered Why Some Toilet Goods Clerks So Persistently Push One Line? A REPRESENTATIVE of the Federal Trade Commission made an address at the last convention of the National Association of Toilet Goods Manufacturers calling their attention to a situation which threatens the good faith between department stores and their customers. Now that the spotlight has been turned on this evil practice which has grown up slowly, it must inevitably disappear. Many women have, no doubt, been at a loss to understand the persistent and often adroit methods by which clerks at toilet goods counters in department stores attempt to make them take some brand other than the one they had intended. They are frequently irritated by this, but how completely they would resent it if they knew the real facts. The young woman who is trying to substitute is not an unbiased clerk of the store, but in truth, the employe of a manufacturer masquerading as a clerk. In a great many department stores of this country the salaries of all the clerks at the toilet goods counter are paid by individual manufacturers. The advantage to the manufacturer is that the young woman so employed will divert to his brand all wavering or undecided customers, and within the limits laid down by the store rules, switch from other brands. There can be no objections to the open demonstrator. She often serves to perform a useful demonstrating and sampling job. But the hidden demonstrator — who masquerades as an unprejudiced clerk speaking in the interests of the store and with its authority — tends to break down the good will that is the greatest fundamental asset which the department store possesses. At present the only real protection the customer has is to know what she wants and insist upon getting it. The Play of the Month (Continued from page 89) would be the latest thing. It would be just a little smarter, just a little more exclusive. When the Jewish hero had to invent a kosher name for his bride, Rosemary Murphy, it wouldn't be so obviously impossible as "Murphysky." The verbal humor would run above the following: "For why you want to get Abie married? He's heppy." The final fact about this play s success is that it appeals to the nontheatergoing populace. The theory has been that, between the Irish and the Jews, it was bound to make a mint of money. It happens that outside New York and Boston there aren't so very many of these peoples. It happens, also, that the audiences — if mine was any sample — are shy on both varieties. The people who go to "Abie's Irish Rose" are mainly the kind of people who went to "Ben-Hur" and "Experience." The fact that the gentlemen frequently bring a two-pound box of candy as well as a girl defines their familiarity with the ways of the theater. They like a certain amount of religion in their plays, and a certain amount of good oldfashioned hokum. But above all they need the obvious. And they get it from "Abie's Irish Rose." The Picture of the Month (Continued from page 47) down to earth. He puts before us human characters in real places. "Manhandled" might be criticized on the ground that there is just a little too much space given its star. Perhaps such is the case, but at least Miss Swanson deserves more space here than ever before. She is a real actress — and demonstrates here that she is a gifted comedienne as well as an accomplished mimic. And she offers a distinctly new touch in hairdress. She wears a bob like no other bob — with the front ends long enough to curl forward in a crescent over the cheek. It adds more color to her personality and makes her characterization sure. Is she a real actress? We offer in proof of this the fact that she wears a dingy dress thru half of the picture and still holds the attention. There are others who give good performances. Tom Moore is a perfect representation of what he pretends to be — an every-day youth of the workshop, and Ian Keith (with profile), Arthur Housman, Frank Morgan, Lilyan Tashman and Paul McAllister act with authority. (Ninety-two)