Movie Age (1927)

EDITORIAL AS he slept — came death. Thus is marked the passing of Marcus Loew, one of filmdom’s greatest leaders. It was a peaceful death characteristic of the quiet, gentle nature that was so much a part of Marcus Loew in life. The story of his life reads like an Alger novel. Starting work at nine years of age, with practically no schooling, Mr. Loew was destined to become one of the leaders in the vaudeville and motion picture world. He was truly a pioneer in the business of motion pic¬ tures, entering the field at its very inception, after he had establish a chain of penny arcades. Mr. Loew was first an exhibitor and then he combined vaudeville with the pictures he was showing in his large chain of theatres. His entry into the production of motion pic¬ tures came with the taking over of the Metro Pictures Corporation, which he later merged with Goldwyn Pictures. In a comparatively short time the business acumen and genius with which Marcus Loew conducted all his other enterprises built this producing organ¬ ization into one of the most formidable in the industry. His organization has produced many of the screen’s outstanding successes, among them “Ben Hur”, which, despite many set-backs that mounted its production cost to a fabulous sum, has proven worthy of its large investment through its magnificence and will set a record in gross receipt figures. Marcus Loew was a man who was quick to recognize ability in others. He vested much faith in youth and surrounded himself with an organization of young manhood in every department of his enterprises. And he brought to the forefront many stars, directors and production executives. The passing of this great leader, just in the prime of life, is an irreparable loss to the mo¬ tion picture industry and as well to the entire world of entertainment. He was beloved by all who knew him — he was admired by friend and foe alike. He was a man, gentle in spirit and high in his ideals. SINCE there has been so much discussion as to whether or not a straight picture policy would be better for picture houses than the present vogue of presentation that has taken hold of first run houses, it is inter¬ esting to note the results of a ballot taken by a first run house in Kansas City among its patrons. This theatre, the Liberty, never has gone in for presentation, although from time to time presented short stage acts, but never anything elaborate. This theatre is situated on Kansas City’s main street between a Publix presenta¬ tion house and a Publix extended run house. Further down the street is a new Loew thea¬ tre, which will, undoubtedly, go in for elab¬ orate stage presentations, and a block away is an Orpheum combination picture and vaude¬ ville house, featuring the stage band idea. The other first run houses here are one of the Pantages circuit, which naturally presents vaudeville, and the Globe, featuring Vitaphone attractions. Naturally the management of the Liberty was desirous to know whether it would pay to change its policy with the opening of the fall season, so the poll was taken. Four thousand six hundred and thirty-seven votes were cast by patrons. Of this number 3,458 voted for pictures, exclusively. The remaining 1,179 votes were cast for presentation. The result, as the figures show, was 3 to 1 in favor of pictures exclusively. For the theatre owners who are in doubt as to what policy to operate under, a vote among their patrons should help them decide. After all, the public is the one that is to be pleased. Give the public what it wants and the box of¬ fice will take care of itself. However, pictures for picture theatres, in our belief, will pay the best in the long run.