Motography (Apr-Jun 1916)

1432 MOTOGRAPHY Vol. XV, No. 26. This exhibitor operates in West Lafayette, Indiana, and has very good opinions on what the smaller town manager needs. In reading the different trade journals from issue to issue, I find them very lacking in information regarding the basic principles upon which the small town theaters should be run. Also the editorials and write-ups are lacking in the practical experiences required for the average small town exhibitor. They are, however, quite handy to keep informed as to the current and future releases and also the helps concerning projection. As an illustration, the music required for the big city houses is not necessary and again cannot be afforded. These helps seem to be all in favor of the city houses. And I think if a careful diagnosis of the case be taken it will be found that all the revenue derived from pictures is not obtained from the cities. I am basing my argument on towns of 10,000 to 50,000 inhabitants. I think I am voicing the sentiment of the largest majority of moving picture exhibitors. If the authors of the articles on helps to exhibitors would get into the smaller towns and acquaint themselves with the existing conditions, a greater help would be derived. Being a city exhibitor myself, perhaps I have been prone to state my ideas more from this standpoint, and if so, I stand reproved. It has not been my intention to do so, and perhaps one reason is that more of the larger exhibitors have presented their problems to me for solution than the smaller ones. If this manager, and any others who are working in the smaller towns, will tell me just what subjects they would like treated in this department, and just what problems they are having to solve at the present time, I will be very glad to be of what assistance I can, and will endeavor to keep in mind the fact that it is the smaller town viewpoint that is required. I do not agree with this theater man entirely, however, in that he thinks the descriptions of the activities of the larger houses are of no benefit to him. Even if you are working in a smaller sphere, do you not aspire to have the best possible, and cannot you work along the same lines as your city brother, but make them conform to your conditions? For example, take this same musical program which you mention. Of course, you are not engaging a large orchestra, for your house could not support it, but you have at least a pianist, and perhaps one other instrument. But with the piano alone, if your musician has any ideals, she endeavors to make her music fit the picture, and if she can read in the trade journals just the musical program which the big theaters used to accompany a certain film, can she not use a part at least of the same airs when the play is shown in your house? With the first showing of the film she can practice her music with it and make it as interpretative as possible, and she is helped in knowing which airs will be best adapted to this play, because she has read of the musical accompaniment rendered by the large orchestra in the city theater. This same principle holds true with the other phases of the management. If you hear of worthwhile programs, or special "stunts" which the larger theaters have tried and found successful, does it not inspire you to attempt something of a similar nature in your theater on a scale to meet your conditions? If you get ideas or inspiration from reading of these, is not that alone excuse enough for their being published? T also do not agree with this writer entirely in his claim that all the write-ups are lacking in practical experience for the average small-town exhibitor. Take, I'll example, the department, "What Theater Men Are Doing," which appears each week in Motography, and in which are published the letters of the managers telling what they are doing in their theaters. I believe a count of these would show that a large percentage are from the smaller towns and describe the trials, tribulations and successes of the smaller theater man. Take also the "Split Reel" department in Motography, which gives information regarding managers all over the country; here also a large per cent is devoted to news of the towns of 1,000 and 5,000 which the writer mentions. Vim Comedies The Vim comedies with their slogan of "slapsticks and stories" have struck the popular keynote. Slapstick is popular to a certain extent but too much of any good thing is distasteful. The moving picture public has been educated to the extent that they do not care to have a series of incidents carrying no plot whatever presented to them. They want the humor but at the same time they demand the reason back of it. In the latest Vim releases "The Brave Ones" and "Home Made Pies," this combination of pie-throwing and plot is well combined and the result is both laughable and pleasing. The champion pie-thrower also has to be able to extricate himself from some good plot situations and the result is comedies of a high character. Splendid Screen Results The Picture Theater Equipment Company again proved that it is in a class by itself by its latest installation of projection machines, special screen, and its own special condensing and projection lens system that was installed in the new Rialto theater in New York. This is considered the finest theater in the world, and was erected and is directed by S. L. Rothapfel, the peer of all managers, known to Motography readers for his "First Aid to Theater Men" department. The screen results obtained at the new Rialto are the finest in detail we have seen in many a day, and we must compliment the Picture Theater Equipment Company on its progressiveness in showing the moving picture trade that it can produce such fine results in the world's finest photoplay house. Unicorn Opens Office The Unicorn Film Service Corporation has opened offices at 414 Belmont Building, Cleveland. The manager of this new concern is L. C. Gross, who was formerly connected for many years with the General Film Company and whose wide and intensive experience bode well for the success of the young company. Exchange men, exhibitors and the trade in general wish for the Unicorn a rapid and healthy growth. The executives of the Lubin Company are close readers of current Mexican news. They have a contract with the elusive Mr. Villa to fill the loading role in a five-act photoplay feature, "The Star of Mexico."' A company of players enlisted from the California and Philadelphia studios of the Lubin Company, was to he sent to Mexico this month to support Villa, but for obvious reasons the company is still on this side of the border.