Moving Picture World (Nov-Dec 1923)

Page scan 000562 from Moving Picture World

Record Details:

Title:
Moving Picture World
Date:
Nov-Dec 1923
Publisher:
New York, Chalmers Publishing Company
Volume:
Moving Picture World (Nov-Dec 1923)
Leaf #:
000562
Language:
English
Collection:
Early Cinema and Hollywood Studio System
Format:
Periodicals
Contributor:
The Museum of Modern Art Library, New York
Sponsor:
Media History Digital Library
Coordinator:
Media History Digital Library
Description:
Moving Picture World, founded in 1907 by J.P. Chalmers, was one of the motion picture industry's first trade papers. Published on a weekly basis in New York City, Moving Picture World informed exhibitors about films available for rental and editorialized on behalf of the growing industry (improving the quality of movies through higher filmmaking standards, not government censorship, was a frequent topic). The paper reached its height in the mid-to-late-1910s--a fact reflected in the circulation figures and the huge amount of advertising that filled every issue during the period. In the 1920s, Moving Picture World lost ground to other competing weekly trade papers -- including Variety, Exhibitor's Herald, and Motion Picture News. In 1927, Moving Picture World ceased publication when it was acquired by Martin Quigley's Exhibitor's Herald. Across the 20 year run of Moving Picture World, readers can watch the transition from short film programs to feature films and witness the transition from the dominance of Edison's Trust to the rise of the "Independent" film companies that ultimately became the Hollywood studios. Silent film historians have utilized and cited Moving Picture World more frequently than any other trade paper, and the publication still has many insights left to offer. -- Eric Hoyt, 2012/2013
Date Added:
May 30, 2024
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MOVING PICTURE WORLD December 1, 1923 Straight from the Shoulder Reports The Reports appearing in this reproduction of Straight from the Shoulder Reports are actual reports from theat res where the pictures have run , and are reprinted from a random selection of earlier issues of Moving Picture World. Goldwyn GOLDWYN FEATURES. Have proved consistently good. Never get a bad print from Goldwyn and they don’t hold you up on the price. Pictures satisfy. Draw town and country class in town of 700. J. B. Carter, Electric Theatre, Browning, Missouri. HUNGRY HEARTS. (6,540 feet). Stars, Bryant Washburn, Rosa Rosanova. A corking good picture of the struggles of a poor, indigent family in America. Well liked here. Played it on a Saturday night and it turned out' to be an ideal picture for here on that night. Usual advertising and good Saturday evening attendance. Health seekers and tourists attend. Dave Seymour, Pontiac Theatre Beautiful, Saranac Lake, New York. BLIND BARGAIN. (4,473 feet). Lon Chaney and star cast. Excellent in every respect. Plug Chaney’s dual role— scientist and ape man— and you have a winner. Used a special built front, pulled excellent attendance. Big city, draw transient trade. Admission 17-20. J. L. Stallman, Savoy Theatre, Philadelphia, Pennsylvania. LOST AND FOUND. Star, Pauline Stark. Clad in a sunny smile and a bale of hay, this picture, a colorful, delightful episode of life in the languorous South Sea Island, portrayed Pauline Stark and co-stars to splendid advantage. The picture should please all seeing it. William Noble, Empress Theatre, Oklahoma City, Oklahoma. BLIND BARGAIN. (4,473 feet). Star, Lon Chaney. A masterful piece of acting; Chaney, in our opinion, doing the best work of his brilliant career. A little gruesome, part of it, but it all had a meaning. Book it, brother, if your people know good acting when they see it; this one will please, thrill and satisfy them. Moral tone, can’t say for that. Suitable for Sunday, hardly. Big attendance, drawing fashionable class in city of 10,000. Admission 5-20. Ned Pedigo, Pollard Theatre (800 seats), Guthrie, Oklahoma. BROKEN CHAINS. (6,190 feet). Star cast. Here is one of the best pictures I have ever shown. Lots of clean comedy and a fight at the end that lifted them out of their seats. If you want summer business, play it and boost it. Moral tone splendid. Suitable for Sunday, yes. Town of 3,000. Excellent attendance. Giles Master, Strand Theatre, Gallup, New Mexico. STRANGER’S BANQUET. (8,531 feet). A very good production that pleased the majority. Did not have to pay a fortune for it. Had fair attendance, for hot weather. L. M. Zug, Rialto Theatre, Jerome, Idaho. SHERLOCK HOLMES. With John Barrymore. A very good picture and every one well pleased who saw it. Did a fine business. Advertising: regular. Patronage: general. William Noble, Empress Theatre, Oklahoma City, Oklahoma. SIN FLOOD. (6,500 feet). Helene Chadwick and star cast. The picture pleased here a hundred per cent. One of the best pictures heretofore played at this theatre. William Noble, Empress Theatre, Oklahoma City, Oklahoma. Preferred Pictures DAUGHTERS OF THE RICH. A good picture, full of entertainment and interest from start to finish. William Noble, Criterion Theatre, Oklahoma City, Oklahoma. GIRL WHO CAME BACK. We class this as something very, very good. Kenneth Harlan, Gaston Glass, Miriam Cooper, Joseph Dowling all doing splendid work. We bought this reasonable. Certainly a fine picture from every side. Many producers would have charged five times the rental that Preferred is charging. Good stuff; you tell ’em! Nobbiest advertising you ever saw brought very good attendance. Ned Pedigo, Pollard Theatre, Guthrie, Oklahoma. POOR MEN’S WIVES. An absolutely good picture, well liked by audience. Advertised big, and as “The Rich Picture of the year.” Nat L. Royster, Alcazar Theatre, Birmingham, Alabama. POOR MEN’S WIVES. Excellent picture. William Noble, Rialto Theatre, Oklahoma City, Oklahoma. RICH MEN’S WIVES. Went over very well in very bad weather. Everybody thought the picture was great and we think we could have run it longer. Advertised with extra newspaper space. R. L. Wood, Eastland Theatre, Portsmouth, Ohio. RICH MEN’S WIVES. A classy society picture. Not much new to story but well produced, with great cast. Has Prizma titles. R. J. Relf, Star Theatre, Decorah, Iowa. RICH MEN’S WIVES. One of the real big ones out this year. Don’t cost a lot of rent, but has drawing power and pleases all who see it. You can go out for business with this. Steve Farrar, Orpheum Theatre, Harrisburg, Illinois. RICH MEN’S WIVES.' Splendid cast in an excellent picture from every standpoint. Drew well and pleased about every one. Received dozens of good comments from patrons. And the price was certainly reaonable. Good attendance. C. W. Cupp, Royal Theatre, Arkadelphia, Arkansas. SHADOWS. Lon, as usual, makes good. This is splendid entertainment and with some comedy injected at intervals this would have been a real special— it is rather sombre as it is at present. H. J. Longaker, Howard Theatre, Alexandria, Minnesota. THORNS AND ORANGE BLOSSOMS. Excellent picture with an exceptional cast. Pleased everybody. While story is not new, it is put over in an effective way. Jack Kaplan, Rivoli Theatre, South Fallsburgh, New York. THORNS AND ORANGE BLOSSOMS. A fine picture. Pleased a hundred per cent. So far (in this) Preferred has released “the” picture of the year. Estelle Taylor is excellent in her part. O. W. Harris, St. Denis Theatre, Sapulpa, Oklahoma. THORNS AND ORANGE BLOSSOMS. A pleasing picture. Many favorable comments. Could use more like it. Ned Pedigo, Pollard Theatre, Guthrie, Oklahoma. Paramount BACHELOR DADDY. Star, Thomas Meighan. Corking good picture that pleased 100 per cent. Clean as a hound’s tooth and rich in entertainment value. Book it, play it and boost it. Advertising about usual. Patronage high class. Good attendance. E. W. Collins, Grand Theatre, Jonesboro, Arkansas. CAPPY RICKS. Star, Thomas Meighan. A good Meighan picture. My patrons getting to like Meighan better every day and I am well pleased with him. Louis Pilosi, Pilosi’s Theatre, Old Forge, Pennsylvania. CITY OF SILENT MEN. Star, Thomas Meighan. You need not be afraid to meet your patrons when they’re coming out from seeing this. Far more entertaining than most specials. More favorable comment than any other picture shown in six months. A La Valla, Bethel Community House, Bethel, Connecticut. CIVILIAN CLOTHES. Star, Thomas Meighan. Will please all. Heard favorable comments on this for a week afterward. Thos. L. Haynes, Town Hall, Old Lyme, Connecticut. CONQUEST OF CANAAN. A regular picture. Pleased a Sunday crowd one hundred per cent. R. J. Relf, Star Theatre, Decorah, Iowa. EASY ROAD. This picture is all right and with Meighan as star it satisfied. F. M. Harvey, Unique Theatre, El Paso, Texas. FRONTIER OF THE STARS. They liked this one. Tom Meighan has a role similar to that in “The Miracle Man.” R. J. Relf, Star Theatre, Decorah, Iowa. IF YOU BELIEVE IT, IT’S SO. A very good picture. Meighan does fine. Book it. Thos. J. Romine, Isis Theatre, Roseville, Illinois. MALE AND FEMALE. Star, Thomas Meighan. A splendid picture and many comments from my patrons. A. Wertenberg, Woodlawn Theatre, Schenectady, New York. MIRACLE MAN. One of the biggest and best pictures we ever played. Those who saw it said it was good. Kenneth W. Thompson, M. W. A. Hall, Hancock, Wisconsin. OUR LEADING CITIZEN. Star, Thomas Meighan. This is the best Meighan has had since “Bachelor Daddy.” Patrons all pleased. Meighan always pleases. A picture which should be a good one in any small town. Ryan & Kundert, Empress Theatre, Beresford, South Dakota. WHY CHANGE YOUR WIFE? Star, Thomas Meighan. This one pleased them all. The print was in excellent condition. Meighan gains in popularity here with every picture in which he stars. D. B. Rankin, Co-operative Theatre, Idana, Kansas. WHY CHANGE YOUR WIFE? Star, Thomas Meighan. A superb picture in every respect, with a splendid cast. You can’t go wrong on this one. If you haven’t played it, book it. J. F. Schlez, Columbia Theatre, Columbia, North Carolina.