Moving Picture World (Nov-Dec 1923)

MOVING PICTURE WORLD December 1, 1923 .•1 First National Release AN UNUSUALLY GOOD LOBBY TABLEAU FROM ASHEVILLE Manager E. D. Turner and Fred Tipton, his art director, contrived this nice display for Penrod and Sam, building up cutouts with branches of fir to achieve a convincing background. The idea appealed to the adults and tickled the kiddies. Gave His Cutouts Realistic Backing Achieving a realistic result with a minimum of work was the achievement of Fred Turner, artist for the Imperial Theatre, Asheville. X. C., of which E. D. Turner is the manager. Using the poster cutouts from Penrod and Sam. he framed these in a lobby shadow box and gave a fine effect with a judicious use of foliage branches, which obviated the necessity for elaborate paintings. The lighting from the back of the drapery gave exceptional prominence to the display, and supplied the house with a strong lobby appeal at a minimum of cost and trouble. The base of the frame was built up with other cutouts. Cutouts are always useful, but now and then they can be dressed into a tableau and their selling value increased tenfold. Study the simplicity of this display and then plan something of your own. If you have to build a box, build one that can be taken down quickly and stored for re-use. Winnipeg CapitoUs New Trilby Stunt Out of consideration for our readers we have signed a pledge not to reproduce anymore shoe or stocking hook-ups for First Xational’s Trilby-. They are the same all over because they are national hook-ups. and all off the same piece, but the Capitol Theatre. Winnipeg, offers something new and so good that it more than makes the grade, and without changing gears. Of course they got the free socks and when they could not find an agency for the national shoe hook-up, they sold a local dealer into a donation of $25 worth of merchandise in return for the advertising, but then Clare Appel, who does the exploitation for this Canadian string, pulled a whizzer. Model was Hidden Borrowing a window from a prominent store, he put an artist inside to draw pictures of Trilby, apparently working from a concealed semi-nude model. The sketching got attention, but after the novelty wore off the crowd still hung around waiting in the hope that the model would appear. She did not, because the artist was working from the First Xational stills, but hope sprang eternal. In the cut are two pictures taken an hour apart, one at three and the other at four. In ti e thiee o’cloc picture a bicycle with a self-standing rack will be noted at the left. At four o'cloc : the rider is just mounting, while the same three bicycles are shown at the right. A note adds that at six o'clock the photographer could not get close enough to make a decent shot. The details do not show clearly in the cut, but the artist is equipped with a drawing table and is apparently engaged in turning out posters shewing the familiar bare legged seated pose of Andree Lafayette. These are displayed as drawn, the collection bringing cumulative advertising. The model is supposed to be behind a screen. If you can get a girl and expose her bare feet, so much the better. The best exploitation is that zehich not only puts ozrr the title, but zcliich also persuades the spectators that the theatre using the stunt is the home of the big things. Exploit both house and title , if you eon. A First National Release THE CROWD HUNG AROUND ON THIS TRILBY STUNT FROM THE CAPITOL, WINNIPEG The picture on the left was taken at three o’clock and the other an hour later. In the first you will note a bicycle on the left. An hour later the owner is iust preparing to mount and ride away. The owners of the three bicycles on the right are still hanging around in the hope of seeing the model the artist in the window is supposed to be drawing from.