Motion Picture News (Oct-Dec 1930)

86 Motion Picture News November 1 , 19 30 Can the Old Theatre Be Modernized Successfully? Further Discussion of a Timely Subject with Supporting Facts in Substantiation by An Authority By J. HARRY TOLER In Collaboration with ELMER F. BEHREHS, Theatre Architect, Chicago LOOKING back over a span of only a few years, one may notice a gradual but decided change in the style of theatres. Theatre styles change, perhaps not so rapidly as that of personal habits, clothing, automobiles and radios, but there has been and probably always will be a constant transfiguration in the architecture, practical arrangement and operative practices of the theatre. The theatre owner who persistently ignores these cyclic style changes and passively avoids modernity in the appearance and operation of his house is certainly not giving his business the consideration to which it is entitled. The corner grocery, the neighborhood drug store, the self-satisfied business man in practically every form of trade, who allowed his business to become out of style and out of step with progress was suddenly faced with mail order competition and later the chain store. They came as a natural consequence, because there was an unrequited demand for better service and the refinements of a present generation which The remodeled Park Theatre at Chicago Avenue and Washington Boulevard, in Chicago, is an outstanding example of an attractive recreation of an old style theatre front at nominal expense. Executed by Mr. Behrens. the neglectful tradesman could not, or would not, recognize. The progressive theatre owner, however, naturally more alert than the average business man, and with more of the sportive element in his makeup, saw what was coming and with whatever available means he had at hand, wagered that he could meet and satisfy the public demand for the new styles and modes in moving picture entertainment. These progressives need have no fear as to future trade demands. They know how to meet such situations when they arise. To many others, however, the problem remains untackled and unsolved. A Need for Careful Planning How may the present theatre owner, with limited means, go about fixing up his theatre? No cut-and-dried plan of procedure is available and if obtainable would not apply economically. Every project must be treated individually because no two such problems are identical and local conditions vary. Let us assume a case that will probably fit the average condition : An exhibitor is operating a theatre which he built and opened back in 1925 and which has until the last few years been a rather consistent money maker, notwithstanding the fact (and he admits it) that just about everything imaginable is wrong with his house as compared to present standards ; bad sight lines, poor projection, terrible acoustics, drabby stage settings, uncomfortable seating facilities, and worse than all, an antiquated front. His business has been gradually slipping away during the last few years, and the steady depression has almost depleted his surplus. He owns the building r.nd the leasehold on the site, which is still in the circle of patronage, but his house is unattractive, dull and consequently not inviting to the modern age of theatre-goers. He has often considered tearing down the old structure and promoting a new theatre. But he has found that consideration beyond his means and the required amount of capital difficult to raise, and if it were possible to finance the project with outside capital, it would, perhaps, mean loss of controlling interest in his business. He must do something for self Elmer Behrns Joins The Toler Discussions IN a preceding article, certain views were expressed on what, if anything, was wrong with the motion picture show business from the mechanical angle. But they were personal opinions and, after all, a diversity of ideas is always more to be relied on than merely one individual's convictions. Consequently, to add more thunder to the argument for better equipment and more modern houses in which to show pictures, Elmer F. Behrns, a Chicago theatre architect, was prevailed on to assist. The Basis of Authority Mr. Behrns is a busv man. That alone explains one plausible reason why he was selected to collaborate with the writer in this series of articles on Equipment and Its Relation to the Successful Operation of the Theatre. An architect who has successfully engineered the construction and reconstruction of so many theatres of all classes certainly is qualified to lend authority to the discussion, not merely from the standpoint of architecture, but from other angles as well. A more widely or nationally known designer of theatres might possibly have been selected. That is usually done when an article on theatre architecture and construction is to be composed. But world-wide reputation and eminence was not essentially a requirement in this instance. Our collaborator was selected because of his familiarity with the problems of the rank and file of theatre owners ; not the leaders, but the progressive runners-up in the industry. Elaborating the Series Elmer Behrns is not yet a celebrity, but he is building an enviable reputation among theatre owners of the Middle West. He has been steadily adding to that reputation during the past 12 years of intensive work and research among that class of theatre owners who are progressive and ambitious and have been willing to provide adequately, and withal economically, those things which have subsequently brought them success. Mr. Behrns will furnish facts and figures on which this instalment and others to follow will be based. In this installment of the series, which appears regularly each month in The Showman, there is a continuance of that timely discussion: modernizing the old theatre successfully. J. H. TOLER