Moving Picture World (Jan-Mar 1918)

1222 THE MOVING PICTURE WORLD March 2, 1918 Exhibitors Give Thought to Business Jesse Goldberg Finds Great Transformation in Picture Trade Throughout the Country OF THE many things I have learned on my tour of the United States, just completed, investigating the conditions of the motion picture field generally, I find that of all of the three branches of the motion picture industry, namely, producer, exchange man and exhibitor, but one has made progress with the march of events and the ever changing conditions that necessarily attach to any youthful industry. I took particular pains on this trip to investigate the demands of the exhibitor and his activities, largely because of the fact that the requirements of the exhibitor represent the choice of the ultimate consumer, namely, the public While heretofore and up to a period possibly of six months ago the exhibitor was content to give his patrons a production as handed him by the exchange, without any embellishment and without attempting to use original ideas of showmanship. My later investigation revealed to me the astounding fact that generally the theaters I visited from coast to coast and from Gulf to the Great Lakes exerted themselves to stage or present their features in a manner both attractive and befitting the production itself. As an instance, let me recite what has been done in some of the representative houses in the country. The Pearces theaters in New Orleans receive the personal visit of E. J. Pearce at least once a day, rehearsals are held with the entire program before public presentation, and from the ticket seller to the ushers one is made to feel that they are at a performance given solely for their individual benefit. Original publicity is circulated and the management does not confine itself to the use of stereotype press sheets issued by an exchange in connection with the release. In San Francisco, the California theater, under the active management of Harry David, is operated along lines no less than our boastful theaters in New York. The most competent of help is employed, and this, added to the wonderful theater itself, the acme of comfort, has necessarily placed this new establishment within an incredibly short time in the front ranks of motion picture palaces. A printed program is circulated, that by its make-up and its contents is even superior to the programs of legitimate Broadway attractions. The New Mission Theater, a neighborhood house in San Francisco with a ten cent top price, is conducted very much along the same lines as the California Theater, and in catering to the women folks they even go so far as to provide nurses to mind the infants while the mothers seek their recreation. It was a novel sight, but I am informed, not an uncommon one, to have seen about two hundred babes in arms and in carriages under ihe care ot intelligent matrons in the rear of the auditorium, and strange to say, there was not a whimper or an infantile cry that lasted more than three seconds. I made studious inquiries as to whether the war tax has materially interfered with the attendance, and in every instance I met with the same response "NO." The demands of the theaters are based upon a legitimate study of the likes and dislikes of the patrons. Comedy of a non slap-stick variety seems to be a national necessity. Program pictures are used largely because there is nothing better consistently furnished, but a theater would prefer to play a big production and pay twice what they would pay for a program, and play it twice as long in preference to the program variety. Stars are, fortunately, of secondary importance. In but one out of the thirty-two large houses I visited was the statement made that they are first interested in the star of the production before booking it. Of course open booking is preferential to program booking, but the managers feel they must have recourse to the program in order to safeguard a steady service. For the first time in my experience I have learned that the theaters require trade paper advertising. This not alone because it is the quickest and best medium of their being advised of the new release, but also, strange as it may sound, patrons somewhere and somehow, in a good many instances get the trade papers, and one reader will by word of mouth acquaint possibly one hundred others with what they have learned through a trade magazine. I suggested to several managers that in the rest or lounge rooms they have three or four copies of each issue of the leading trade publications for the benefit of their patrons. This suggestion was made upon the psychological theory that those living outside the mysteries of motion picturedom would likely become greater enthusiasts and more steady patrons, if, with the help of their theater they know a little of the trade gossip and workings of producers and actors. The exhibition end of the motion picture industry is in a solid, prosperous condition, and the business is run along strict commercial lines. Of course in certain localities, local laws occasioned by the stress of war times have placed a slight burden upon the shoulders of the exhibitors, but they are not complaining, the only demand being for productions really worth while. Ohio Censors Ban "Song of Songs" Cleveland Artcraft Manager, E. T. Gerrish, Will Combat Decision in Court. ALTHOUGH not interfered with on the speaking stage, "The Song of Songs," an Artcraft picture featuring Elsie Ferguson, has been rejected by the Ohio Board of Censors on the ground that the story is harmful. Acting upon orders from New York, Manager E. T. Gerrish, of the Cleveland Artcraft offices, has prepared to give the censors a stiff legal fight to get this picture on the screens of Ohio. The picture was booked for first run at the Mail and Alhambra theaters, Cleveland, starting Sunday, February 17. Only a year or so ago, Irene Fenwick appeared in the leading cities of the state in the stage version and made a big hit. The story of "The Song of Songs" is similar to "The Easiest Way," which just about one year ago was passed by the board and played throughout Ohio. About two weeks ago the board turned down Mary MacLane in "Men Who Have Made Love to Me." It may be that the members object to a heroine having too many lovers, as Mary had six and Elsie had three in "The Song of Songs." Critics of Cleveland newspapers were indignant when they heard of the board's action. They had seen "The Song of Songs" screened before it was sent to the censors and had made particular comment upon the excellent taste and artistic finish of the director, the late Joseph Kaufman. At Leading Picture Theaters Programs for the Week of February 17 at New York's Motion Picture Houses. THE RIALTO.— William S. Hart in "Blue Blazes Rawden," an Artcraft picture written by J. G. Hawks, in which the star appears as a lumber boss and the scenes are laid in the Canadian Northwest, was the leading attraction at the Rialto the week of February 10. The picture was directed by Hart himself, under the supervision of Thomas H. Ince. Rialto Animated Magazine, a comedy and an educational subject were also included. Albert Pellaton and Sascha Fidelman were the soloists. THE RIVOLI. — "The Song of Songs," with Elsie Ferguson as the heroine of the Artcraft screen version of the play made by Edward Sheldon from the Sudermann novel, was the principal feature at the Rivoli. An added feature was the third installment of "Hunting Big Game in the North." Other pictures were the Animated Pictorial and a comedy. Two of Helen Moller's pupils danced, and Helena Morrill and the Rialto Male Quartette were also on the program. THE STRAND.— John Barrymore in "Raffles, the Amateur Cracksman," was the feature at the Strand. The screen version of the E. W. Hornung novel and stage play brings out all the strong points of this celebrated crook story. Marie Dressier in a farce-comedy, "The Agonies of Agnes," headed the special features. A scenic of the Riviera and the Topical Review were also shown. The soloists were Don Alonzo Zalaya and Grace Hoffman. EIGHTY-FIRST STREET THEATER.— Dorothy Dalton in "Love Letters" the first half of the week. Mabel Normand in "Dodging a Million" the latter half. BROADWAY. — "Tarzan of the Apes" continues its recordbreaking run.