Motion Picture News (Jul-Aug 1919)

August 2 , I Q 1 9 (Exhibitors Service) 1061 ^\v^i Live ^ires Ace T)omg keeps most exhibitors from employing an artist. The striking design, the balance and proper contrasts of this ad, is such that every exhibitor who plays the Firing Line should take advantage of it. RAUJJIAN'3 MILLION DOLLAR T H EA.TE R r "i." "Overt II re ' ' "Orpheua" bjr OUnnbacli. Ployed by Bympbony prcbcfltra. Arthur Kay, 2r Travel a la'Str^n^e, 3. . Arcble Mclntyre, ;TJia Shijyari). McCor 6. . IntorDallonal Flaebca. 7. . "Boltby Riimp9.|; ■ ■ "Wlzurd' or,the Plaao.; 9. Prologue, . , ■ ■ " . ' •>t the, Baseball Park.'! THOS.^: JNCE, PrOBcnW. CiAll! la -"THEBUSHER" Paramount's Wonderful Screen Slory of a Coiinlry Boy You'll Never Forgel l Legs" to good business after an advertising campaign that merited attention. Then they booked the picture back for three more days. Now they had told their story on the first showing and accomplished what they had set out to do — attract every one in Birmingham who they could reach to see the play, but of course they didn't get them all. However, it is safe to say that by the time the first engagement was over that by word of mouth and the exploitation they had given the picture everyone who goes to the theater were fully inforiThed concerning "Daddy Long Legs," consequently this announcement of the second showing sufficient. Five words tell the whole story. No one needs to be told what "Gold Medal Flour— Eventually— Why Not STARTING MONDAY THi<EE DAY? Return Engagement Mary Pickf ord "Daddy Long. Legs" effect, week after week, if he is willing to spend a few dollars for a name cut ■ and some border to match. We want to call your attention to the program announcement. Every day, the music and other things that you use in addition to the feature picture to make up a show, are getting more attention from the patrons of picture houses and it is positively necessary to give them some advertising space. Just saying "and other numbers" won't do any more. Tell them about the whole show. No\y?" means, because it iS a known product and that was what "Daddy Long Legs" was in this instance. Then they tell why the feature was given a second showing. Just a plain statement of fact but enough. The cut-serves to fill in ari otherwise too large space for the wpVding of the ad. and attracts the attention. There are only two kinds of business that can get along . by w.ord of mouth advertising. One is a " blind tiger" and the other — ivell, not the show business. , . . SPECIMENS of . the, recent displays . of: the Princess theatre, Birmingham,., Ala-., . giv€ us -sornething more than -a chance to criticise this week. They offer opportunity to study some fundamental rules in advertising. These two ^re good examples of how to advertise return engagements. The Princess played "Daddy Long "MICKEY" IS BACK MABEt^^RMAND, as ih» miictiievfi^ mountain tomboy, n bac^ for a three-day visit— tolill you with laughtar and thrills. Soe her now d; "forever hold your peace.". Jt'i your last chance PRICES Afternoon, 2Sc NAHT 3SC CHILDREN IOC mm If ii'e always~[ived in the past like some exhibitors we'd be still wearing the beaver .of the pre-Civil War days. THIS is even better than the Daddy Long Leg's ad. for Mickey had been put over just as well on the initial showing as had the Pickford film and the Princess had nothing new to tell about this either so they made their simple announcement again. First is the "Now — three days," which shows up big because there is lots of white space around it. Then a very good cut of Mabel Normand in The Rialto Orchrstrs— Maurice Pfrlranltor, t^^a Kim ■gramsGomedy > RIALTO There's no art in hiding yourself away where no one can find you — and HO profit. THIS hand drawn design used by the Muse, Omaha, Neb., R. S. Ballaynlyne, manager, attracts attention in spite of the fact that we do not call it extraordinarily good service the artist no doubt having spent considerable time in getting up the copy. It does, however, attract instant attention and the eye catches the star's name and the title of the feature a't a typical pose. The use of the black rule gives the ad. distinction and doesn't leave Mabel suspended in mid air. Then the anouncement. It didn't take five minutes to write this ad. but it sticks right out of the page at you. We O K it as one of the best displays of it's kind yet inspected. WE are giving this one space only because it is an example of what might be accomplished with the material furnished by exchange for the exploitation of pictures' if all such material was of the calibre of the cut used for all but the last .two lines of this ad. Here is a display that' certainly attracted attention and it is entirely due to the fact that the cut was way above the usual standard' for all the Rialto (Denver) did was to add the two lines at the bottom. If exhibitors could get cuts as good as this from the exchanges ' much of the kick we hear continually algainst the exchange service would soon <iisappear. The Rialto was able to ge't with this all the results of a "made to order" ad. minus the expense' 'which WU/L THE MeonPARABl£ \ A pouier/ul (/rem 3 of a rjeh or/enfal ^a/niJc/ wAo up/ioJcfsf /he f.-ad/honJ of A/s race>, paydcifj' a-i co/d/u eolj/i/ as he cojfedh Memg/uf '/r^ 3 ///e /or a J/fe — ^/td jasi for ih(> fun of li ho\^^ . A oirsnd Comedi/, i fdUtf Arbdckle Comedj/, mS£ h/eeA/yjS" Cuscade/i'sO/-c/tesira first glance. In that much it is very good. The lettering on these points suggests "Chinese writing" and is different enough to be termed unusual. In the selling talk, the argument is good and predicts the sort of picture Hayakawa's admirers like to see. We do not like the theater name line. It looks as much like. a "mule" as it does a "Muse." While the clipping we had does not show the colurtin rule. This was two columns wide with a white space of about one-fourth of an inch on all four sides. It was ten inches in depth. You sell a cake of soap today and forget it tomorrow, but your theatre is forever with you. THIS quarter page display was used by the Tivoli Theater, San Francisco, a Turner & Dahnken house. The subject of a story in last week's issue that should prove an inspiration to every exhibitor, who trys to "do things." It is to be expected that a man who has had the vision and the courage to make the Tivoli what it is, an unquali