Movie Age (1927)

SEPTEMBER 2 4, 1927. PAGE 3 EDITORIAL REPORTS have come to us from all parts of the country of the triumph of several acknowledged big pictures. All previous box office records have been shattered at the thea¬ tres at which these productions have been play¬ ing. And last week, one of the hottest September weeks in many years, did not deter the crowds from these pictures. This shoud be of great sig¬ nificance to every exhibitor and producer in the industry — that good pictures, and good pictures alone, without the “aid” of presentations, bands and revues, are wrhat the public wants. It is worth noting that these sensational hits have been scored by pictures from several pro¬ ducers, namely, “The Big Parade” and “Ben Hur,” showing at popular prices, from Metro-GoldwynMayer; “What Price Glory?” from Fox; “The Cat and the Canary” from Universal; “Beau Ges.te” from Paramount; “The Fighting Eagle” from Pathe-De Mille, and “Camille” from First Nat¬ ional. In Minneapolis Pantages introduced his new policy of featuring the picture with “What Price Glory?” The vaudeville was forgotten about. And this straight picture policy broke all house rec¬ ords, being held over for a second Week of good business. In Kansas City “What Price Glory? repeated this record in its opening week at Pan¬ tages house here. In Oklahoma City, in Des Moines, in St. Louis and where you like similar records have been set up. “The Cat and the Canary,” Universal’s first special release of its 1927-1928 program, is being held over in Kansas City for a second week de¬ spite strong picture opposition and extremely hot weather. Reports state that this production has scored big at its first run showing in other parts of the country. Many similar instances can be sighted, all of which should make every one in the industry happy that so many good pictuies ha\e started off the season — let us hope a season of the bigger and better pictures that have for man\ years been promised. This writer has never been in favor of lavish presentations in picture theatres, especially in their present form, and the manner in which ex¬ hibitors put them on to overshadow their picture entertainment. We have declared many times that “pictures for picture theatres” was the best policy and predicted that straight picture pro¬ grams would pay the best in the long run. It is naturally gratifying to report the achievements mentioned above as proof of what can really be accomplished by pictures — and pictures alone — of real merit. Just for the sake of comparison let us see what appeal there is in the big scale presentations that can draw patronage. Except for the occas¬ ional booking that includes a Paul Whiteman or some other celebrity there are no “names” that can be played up as a “draw” to the public. There is no exploitation or advertising value whatever to the average presentation revue. While in pic¬ tures there are many big “names” — stars of known box-office value; authors of wide popularity; stories of great public interest; in fact, there is something in every picture that can be “playedup”, advertised and exploited to attract patron¬ age. Small town exhibitors and small theatres, have of course, never gone in for presentations. Some have feared they would have to resort to some “artificial” means to build up their business and have consequently failed to realize the full value of good picture programs alone. As we have pointed out there is some genuine value and audi¬ ence appeal in every picture. But the public has to be told about them. Play your pictures “straight” ; give the public good programs of fea¬ ture and comedy attractions; back them up with good advertising ; exploit as big as the merit of the picture warrents; and there’ll be no suffer¬ ance for business!