Motion Picture News (Jan-Feb 1922)

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1 ““ M o t i o n P i c t u r e N e w j I / | # gaiiiiuiMiiiiiiiiiiiiiiiiiiuiiiiiiuiiiiiiuiiiuiiiuiiiiiiiMiiiiiiiiiiiuniiiiiiiiiiiiiiuiiiiiiiiiiiiuiiiiiiiiiiiiiniiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiimiiiiiiiiiiiiimiiiiiiiiiiiiniiiiiiM r I More Expert Opinion on— Why the Prologue? ^LUiiUiiiuiiiuuiiuuiiuiiiuMiiiiiiiiiuniuiuMuniiutiuuiiiiuuiiuiiiuiiimiiiiiiiiiiiuiiiiiiiiiiuniiiiiiiuiiiiiiniiiiiiMiiiiniiifiniiHiiniiiiiiiiniiniiiiiiiiiiniiiniimrmiiiiiHinnimiiiniimiimiiiuiiiiiiiiniiiniiiiiiuiiiiiiiiiiiiiiuiiinMMinnniiuiH^ ,)lu, ' THE controversy centering around the question of prologues in the motion-picture theatre received fresh impetus this week with the receipt of further expert opinions from E. R. Rogers, managing-director of the Tivoli and Rialto, Chattanooga, Tenn. Writes Mr. Rogers apropos the Prologue : “To the Exhibitor belongs the idea of the Prologue. By him it must be said whether or not the prologue or special number used on his programs shall be retained. He finances it and evidentally profits by it or he would not keep it. “ Attention to the prologue has come through objections directed to this form of divertisement by those who classify it as Vaudeville and make the contention it has no place on a motion-picture program. “ Now, let’s see whether it has or not. If the people want musical numbers and atmospheric prologues it behooves the^exhibitor to satisfy his public. If through his own errors he has made the prologue the predominant factor of his program, and has confused his public to the extent that they do not know whether they are attending a vaudeville show or a photoplay exhibition, he will soon find that expenses and public opinion will prohibit his continuing his efforts. So the question of the practicability of the prologue will work itself out. No exhibitor who is a business man will burden his institution with “ trimmings ” which do not bring him results, nor will he add to his program more than his income will serve. “ The prologue, judiciously managed, should add tone to any motion-picture theatre’s program. It’s cost can be made nominal. It must be always secondary to the feature. It must be so carefully constructed that it dovetails with the theatre’s intent to give satisfactory entertainment to its patrons. The result is the theatre sells " White Hands ” lobby sign used for the showing of this picture at B. S. Moss’ Broadway theatre Nezv York its program as a whole and the audience receives the afternoon or evening’s entertainment as a palatable morsel. “ The prologue must be used as a vehicle for carrying the musical themes or the atmosphere of the picture, or it is not in the true sense of the word a prologue. Many fine themes used to interpret a picture fail to get over because the spectator is not familiar with the lilt or lyrics. But if the words are properly enunciated in song numbers the audience catches the significance whenever the theme is interposed. “ A prologue or adequately staged song or dance number does this. It warms up the audience ; gives a ‘ kick ’ to the program that puts the spectator in the right mood to respond to the subtle and dramatic situations in the feature. Any excuse at all that is fruitful of audible demonstration from a theatre audience is worth' the effort. The best impression any patron gets of a theatre is when it is doing capacity business, or when the audience expresses its appreciation in a manner that registers with the auditory nerves. An enthusiastic audience oft-times changes the opinion of those who are more or less indifferent. So then the prologue serves to “ break the ice ” — to give the spectat< the cue to be natural. It is easier to gi\ f vent to his emotions after he has on< , raised his voice or clapped his hands whe ” the “ punch ” in the picture comes. An whenever this happens we use that shoj worn, but nevertheless useful theatric; phrase, “ It went over with a bang ” — an after all it is this for which the exhibitc strives and when his performances reg ister “ satisfaction ” with his audience, h realizes he has done all he can to appeas the ever-yawning maw of the box-office. “ Brevity is one of the factors that ente into the success of the prologue or “ specie number.” Three or four minutes are suffi cient. Don’t tire your audience. Giv your program to them in a snappy fash ion. If they want more when the curtain are drawn and the title comes flashing leave them clamoring. Don’t overdo it. “ Few pictures offer an opportunity fo a prologue. Those that do not should b» let alone. Musical numbers should sat isfy in this instance. Few exhibitors an capable of putting on a prologue that ha: the ear-marks of professional execution “ So after all, the prologue’s worth i: measured by the intelligence behind it If an exhibitor can use prologues for r| nominal cost and at the same time makt them serve a purpose, he should continut them. Those who lack the ingenuity tc command rhythm, color and music; whe are devoid of the sense of proportion and value, should never attempt this form of presentation. “ There must be progress in the realm of theatres. We cannot always go on serving our public the same menu. Sometimes a very small thing will have a psychological effect that means increased business. So to him who attempts the ultimate — who strives for the new and novel, let credit be given.” Manager B. B. Varner, of the Casino theatre Lakeland, Fla., recently built a “cabin” lobby display and then to get double his money’s worth placcdtt in a different position, added the " Conflict ” cut outs, the whole serving as an entirely different front