Moving Picture World (Nov-Dec 1922)

742 MOVING PICTURE WORLD December 23, 1922 Big Paramount Advertising on the Super Thirty-Nine to Break Records From the time when Paramount inaugurated its present national advertising polic}', some eight years ago, Paramount advertising admittedly has been one of the features of the motion picture business. At the outset of its national advertising campaign, which has done so much to sell motion pictures to the public, the company spent in the first year a sun: of money which was regarded skeptically in some quarters as extravagant. Time has proved the falseness of that view ; Paramount has kept on expanding and expanding the scope of its national campaign, and in 1923 the company will spend just about ten times as much in selling Paramount pictures for the exhibitor to the public as it did that first year. A. M. Botsford, advertising manager, with the co-operation of HanffMetzger, Inc., advertising agents, has completed his plans for the national advertising of The Super Thirty-nine— a campaign greater in magnitude than Paramount ever before launched. As usual. The Saturday Evening Post, with its circulation of more than two million copies every week, will carry the message in greatest volume. The Post campaign for The Super Thirty-nine will start in the issue of January 13. This will be a full page in colors, the Paramount trademark dominating the illustration, and the text being captioned “The name that earned fame through thousands of hours of wonderful entertainment !” In a box at the right is text calling attention to the complete announcement of The Super Thirty-nine to be found in the Post of January 27. In the issue of the 27th, immediately preceding the initial release of the six-months’ product, the listing of all the pictures will be carried in a double-page spread in colors. Double-page spreads in black and white will be run on each of the following six special productions, set for day and date release, the advertisement in each instance appearing in the Post, dated the day before the release of the picture : "Adam's Rib,’’ “Java Head,” “Bella Donna,” “The Glimpses of the Moon,” “Hollywood” and “Bluebeard’s Eighth Wife.” Copy on “You Can’t Fool Your W’ife” and “The Rustle of Silk,’’ also day and date releases, will con sist of single pages in colors ; while the big James Cruze production, “The Covered Wagon,” will be b.andled in a unique manner. Several weeks before the release of that picture a series of quarter-page teaser advertisements will be started, and they will culminate in a double-page spread in colors. Incidentally, color pages on “The Covered Wagon” will be run in many other national magazines. Supplementing this production advertising in the Post there will be a page in colors every four weeks. These will consist of good-will copy, and each will carry the complete Paramount schedule for the following month. The decorative and human interest features of this copy in each instance will center around a great motion picture theatre, the list of houses including, among others, the Rivoli, in New York; the Grenada, in San Francisco ; Grauman’s Metropolitan, in Los Angeles; the Palace, in Washington ; McVicker’s, in Chicago, and Newman’s in Kansas City. In addition to the campaign in the Post, all the leading fan magazines will carry at least one full page in each issue, with two-page spreads on some of the bigger pictures. The Ladies’ Home Journal will also carry a page each month, while Pictorial Review will have a special advertisement on “The Glimpses of the Moon,” the story of which ran serially in that magazine. The January issue of Pictorial Revienv, now on the news stands, has an interesting article by Nina Wilcox Putnam, entitled “What’s Right With the Movies?” embodying comments by Adolph Zukor, Marcus Loew, Samuel Goldwyn, W. W. Hodkinson, D. W. Griffith and other prominent figures in the pic ture world. Paramount has taken advantage of the fan interest aroused by this article and on the page opposite the start of the story there is a full-page advertisement, “Shopping for the Best Pictures.” Compson and Tearle in This "The Rustle of Silk” is a George I'itzmaurice production, and tells just the kind of story that Mr. Fitzmaurice revels in producing on the screen. Paramount says. Cosmo Hamilton wrote it and Ouida Bergere adapted it. Betty Compson and Conway Tearle are the featured players. It is a tale of a poor young English girl who falls in love with a famous statesman at first sight. His station in life being far above her own, she obtains employment in his household as lady’s maid to his wife Production in order to be near him. Spurning the love of a worthy young man of her own circle, she resolves to win the object of her admiration. She dons one of the gowns of her mistress and goes to the Savoy, where she knows he is to dine, and there, through a ruse, procures an introduction to him. She continues her masquerading, and at last succeeds in winning his attention and later his love. His wife discovers what is going on, and the triangular situation develops most interestingly, it is said. Gloria Swanson in Sam Wood Picture "Bluebeard’s Eighth Wife,” a Sam Wood production, is made from a scenario by Monte M. Katterjohn, based upon Charlton Andrews’ adaptation of the famous French comedy by Alfred Savoir. A year ago the play was presented at the Ritz Theatre, New York, with Ina Claire as the star, and scored a big success. This “Bluebeard” is a modern American millionaire who has gone to Biarritz to wed a famous French singer. He has been married before no fewer than seven times, his first wife having died and he having divorced all of the other six. But he meets another young French girl, becomes infatuated with her beauty, and decides to marry her rather than the girl to whom he is engaged. His attentions are not welcomed by the young woman, but her father and sister, learning of his immense wealth and the fact that he always settles 200,000 francs a year on his wives, make arrangements for the marriage, which eventually is performed. As in the case of the former wives, the millionaire tires of this one and seeks to divorce her; but she, even though she is not in love with him, decides obstinately to hold him — ^and does by many amazing stratagems. Paramount Names Super Thirty-nine (Continued from preceding page) Mary Miles Minter in “The Trail of the Lonesome Pine,” supported by Antonio Moreno. From the novel by John Fox, Jr., and the play by Eugene Walter. Directed by Charles Maigne. Dorothy Dalton in “The Law of the Lawless,” supported by Theodore Kosloff and Charles de Roche. From the Pictorial Review story by Konrad Bercovici. Scenario by E. Lloyd Sheldon. Directed by Victor Fleming. “You Can’t Fool Your Wife,” a George Melford production, with Leatrice Joy, Nita Naldi and Lewis Stone. By Waldemar Young, suggested by a story by Hector Turnbull. Walter Hiers in “Mr. Billings Spends His Dime,” with Jacqueline Logan. From the Red Book story by Dana Burnet. Screen play by Albert Shelby Le Vino. Directed by Wesley Ruggles.' “The Rustle of Silk,” a George Fitzmaurice production with Betty Compson and Conway Tearle. By Cosmo Hamilton. Scenario hy Ouida Bergere. Pola Negri in a George Fitzmaurice production, “Declassee,’ Ethel Barrymore’s Empire Theatre success by Zoe Akins. Scenario by Ouida Bergere. “Hollywood,” a James Cruze production, based upon the novelette, “Hollywood, and the Only Child, by Frank Condon. “Vendetta,” a Cosmopolitan production, with Lionel Barrymore and Alma Rubens. From the novel by Marie Corelli. Scenario by Frances Marion. Directed by Alan Crosland. Thomas Meighan in “White Heat,” from the Saturday Evening Post story by R. G. Kirk. Scenario by Percy Heath. Directed by Alfred E. Green. Agnes Ayres in “Contraband,” by Clarence Budington Kelland. Scenario by Beulah Marie Dix. Directed by Paul Powell. Betty Compson in “The Woman With Pour Paces,” by Bayard Veiller, auditor of “Within the Law,” “The Thirteenth Chair,” etc. Gloria Swanson in “Bluebeard’s Eighth Wife,” a Sam Wood production. Scenaro by Monte M. Katterjohn from Charlton Andrews’ adaptation of Alfred Savoir’s play. “Onlj' 38,” a William de Mille production, with Elliot Dexter, May McAvoy, George Fawcett and Lois Wilson. By A. E. Thomas, suggested by a story by Walter Pritchard Eaton. Screen play by Clara Beranger. Bebe Daniels and Bert Lytell in “The Exciters,” by Martin Brown. Scenario by Julia Crawford Ivers. Wallace Reid in “A Gentleman of Leisure,” by John Stapleton and P. G. Wodehouse. Screen play by Albert Shelby LeVino. Directed by Wallace \Vorsley. “Children of Jazz,” with Nita Naldi, Jacqueline Logan, Conrad Nagel and Robert Cain. By Harold Brighouse. An Alfred E. Green production. Dorothy Dalton in “Fog Bound,” by Jack Bechdolt. Scenario by E. Llo}’d Sheldon. An Irvin Willat production. Alice Brad}^ in “The Snow Bride,” a screen play by Sonya Levien from a story by Sonya Levien and Julia Herne. Directed by Victor Fleming. Jack Holt in Peter B. Kyne’s story, “The Light to Leeward.” Scenario by Jack Cunningham. Directed by Joseph Henabery.