Motion Picture News (Aug-Oct 1920)

October i 6 , 1920 3029 Special Service Section on "So Long Letty THESE Special Service Sections are written with the purpose of suggesting to exhibitors how to get the most out of pictures that they have booked. They are prepared after studying the picture and the best way of exploiting them. Won't you let us know any use chat you made of suggestions printed here and the original ideas that you have used in putting over this picture? General Summary of the Picture «O0 LONG LETTY" is an v3 adaptation of the real stage hit of a few seasons past in which Walter Catlett and Charlotte Greenwood were starred, being the story of two married peopie apparently mismated and living in adjoining houses who decide to trade life partners, or rather the two husbands conspiring so' that such an arrangement may be brought about. It is of course a purely farcical idea. On the stage it was very much burlesqued. In the picture less resort to eccentricity has been made, carefully selected types having the four principal roles, same being T. Roy Barnes, Walter Hiers, Colleen Moore and Grace Darniond. The cast therefore may be justly termed all-star. T. Roy Barnes is a newcomer to the screen, making his first appearance of importance in " Scratch My Back " and registering as a distinct screen personality. Walter Hiers is as well known as any comedian in films today who has not been starred. Colleen Moore and Grace Darmond are both players of reputation and ability. In point of opportunity all four roles are about equal. Mr. Barnes is a husband who likes " class," a gay time, etc., and is presented as something of a sport. His wife, Miss 'Moore's role, is a fine housekeeper and cook but inclined to be dowdy and not at all interested in her husband's ideas of life's pleasures. Mr. Hiers is the opposite of Mr. Barnes, in the role he portrays and has also a fondness for good things to eat, especially since his principal food at home has been sardines. Grace Darmond, who has the part of Mr. Hiers' wife, is presented as a butterfly, an impractical gadabout. Each husband sees in his neigh bor's wife what he believes to be the ideal qualities. They agree thai all are mismated and plan to have matters arranged to their mutual satisfaction. Each husband is to woo the other's wife with the idea of making the transfer agreeable all around. The wives become informed of the bargain and plan a counterplot in which each wife is to take the other's husband for a week, ostensibly on trial but really for the purpose of curing the men of their idea of trading wives, by presenting themselves in an unfavorable lighi Danger that the complications arising from such a plot might make the production suggestive have been carefully avoided. In addition to the sequences having to do with the theme, there have been interpolated a number of bathinggirl scenes which are pretentious. Also a cabaret scene of real caliber has been used. All of these have little to do with the real story but give the production considerable class. "So Long Letty" was directed by Al Christie. The original production was classed a " farce with music," and was staged by Oliver .Morosco. The accessories trat may be obtained from your exchange are two styles of one-sheet posters, three, six and 24-sheet stands, window cards, photographs both small and large showing interesting scenes from the picture, squeegees in sets of twelve, announcement slides, music cues, press book, heralds, throwaways, oil paintings, thirty by forty inches, three to a set, mats for one to four column newspaper displays and cuts for from one' to three column use. Exploitation and Presentation " So Long Letty " is -an exploitation picture or rather a presentation picture where the manner of putting it over should be so elaborate that the presentation will resolve itself into exploitation. The presentation angle naturally is the music of the original stage farce from which the picture was adapted. The principal song hit of the original was the title number " So Long Letty " sung first by Charlotte Greenwood and then used at various times throughout the production. Other song numbers that were popular were, " On a Beautiful Beach," "All the Comforts of Home," " That Rushin' Rag," " To Hear Your Voice " and " Here Come the Married Men." It is suggested that all these numbers be used in presenting the picture both vocally and in the instrumental numbers. The opportunity is presented for your musical director to write an overture score with " So Long Letty " and the other song numbers used as a basis. If he cannot or will not attempt this go to one of your local musical celebrities and have him write' the composition and then play his work up from a local talent angle. Select such of the songs as are best fitted for solo numbers and present them as near to the way they were sung in the original production as possible. For instance " So Long Lettey " was sung by Miss Greenwood with every effort made to get comedy frcm the number. The singer who is eccentric in personality, being extremely tall and slim was attired in a " slouchy " kitchen gown, with hair disheveled and run over shoes. Select a singer who can and will make up to the way Miss Greenwood looked in putting over the song and announce what you are doing on the program. Make the number an impersonation event. There is an opportunity for a prologue in a bathing girls' scene from the picture itself. Have your artist build and paint the «side of an ordinary summer street car with the sliding curtains of plain white muslin down on six of the openings between the posts upholding the roof. Back of this " car " place sufficient light so that with the house and stage lights off any figure standing behind the curtains will be visible. Select six dancers who have good forms and parade them in front of the " car " drop and through an opening that will represent an entrance to the car where one of the curtains is up. Have your dancers clad in the latest . summer togs with fancy bathing suits carried in bags. The girls will pass through the opening and distribute themselves back of the (Continued on page 3032)