Motion Picture Herald (Jul-Sep 1931)

Perhaps the most widely discussed paper read before the 1931 Spring convention of the Society of Motion Picture Engineers was that by Architect Ben Schlanger of New York on his proposal to reverse the incline of the orchestra floor so that instead of walking down toward the stage, patrons would be walking up toward it. Rather a novel experience, after these many, many years of accepting the slope toward the stage as the established one. The paper was received with much acclaim and some dismay. The significant thing is that it was received at all, since the acutely interested attitude of the S. M. P. E. indicates that it is temperamentally equipped to sit in with the architect in at last getting at the motion picture theatre, to find out how it can be divorced from its old-fashioned traditions and revalued anew in accordance with the newness and distinction of the entertainment form to which it is devoted. As a matter of fact, the reversed slope is not without actual existence, its application in a Paris theatre, described in a recent issue of Better Theatres, having been one of the most interesting developments of the past six months in theatre architecture. However, the history of Mr. Schlanger's idea takes one back quite a long time prior to the Paris innovation, and so far as we know, Mr. Schlanger has contributed a truly original idea to architectural form. It seems also that he has also gone more deeply than the other effort into the scientific readjustment of sight lines and seat installation. It is even beyond these considerations that the discussion of the Schlanger plan {Reversing the Slope of the Main Floor) endeavors to take us, for upon examination, the proposal seems to have great potential effect on many phases of the theatre. The spring meeting of the S. M. P. E., was by the way, the first time an architect had been invited to read a paper before it upon some scientific development in theatre architecture, and following that meeting, the society formally arranged for a program of constructive cooperation with the American Institute of Architects, a definite sign that the motion picture theatre has just begun its most important period of development. |] Among the theatres described in this issue, two naturally join each other through their contrasts as much as through their likenesses. They are the Warner theatre in San Pedro, and the Arlington, a Fox house, in Santa Barbara— both Spanish, but oh, how differently! The one is as Spanish as the elements of modern design could make it, the other as Spanish as Spain itself could make it. The one the result of straight adaptation that brings up the old ■'period question" again. The other the result of an attempt to assimilate the decorative values of period styles (so enthusiastically adopted by the theatre!) into the modern spirit. Two distinctive methods, distinguishingly employed. 1[ The systematized manner of seating patrons evolved at the Fox Strand in Milwaukee, analyzed in Seating Patrons According to Sections, has been in operation there for about three months, long enough to allow some appraisal of its value to other theatres. The verdict of the Strand management is that at least so far the system has realized its purpose, which is to eliminate confusion and interference, and also to get the most from available seats during peak attendance. J. E. Taugher, who discusses it, is himself an observer of theatrical affairs in Milwaukee, and a writer on them for the trade and other publications. While continuing the series. What the Manager Should Knoiv About Sound, this issue inaugurates another series of practical articles on sound (The Prevention of Interfering Noises). System and other noises have offered new problems to the sound engineer since the establishment in the studios of "silent recording," and the three articles are aimed at helping each theatre's projection staff and manager to help themselves in getting the most benefit from this advance in talking picture technique. The author, P. T. Sheridan, is equipment manager of Electrical Research Products (Western Electric). tf IV. H. Mooring (Tivo Netu British Theatres) is the editor of The Bioscope, leading British film trade journal, and also representative of the QuiGLEY PuLiCATiONs in England. . . . Leo T. Parker {The Lauu of Contracts and Copyright) is a Cincinnati attorney who contributes regularly to Better Theatres on legal developments of special interest to the motion picture theatre field. NOTES on WRITERS and SUBJECTS in this ISSUE [9]