Moving Picture World (May-Jun 1925)

June 27, 1925 MOVING PICTURE WORLD 985 Tombstone Shape to Match a Cut M. W. Larmour, of the National Theatre, Graham, Texas, admits that the effect of this display is rather funeral, but explains that the cut he had was so black that he figured it would require a black border. We think that he would have done better to have clipped the lower half of the cut, setting this material in straight type, since it does not show through the reverse and he loses A Paramount Release HERE LIES the value of Menjou’s name, save that it is run in the reading notice just along side the upper left. Mr. Larmour has worked so many good stunts with the saw that we are surprised that the idea of trimming did not suggest itself to him. At any rate he got an unusual form, which helps to get it over. In a reduction of nearly three times you probably can see nothing of the white lettering, but even in the original you cannot read these lines. Paramount puts out such good advertising that it is surprising to find such small reverse letters in their small ads. Probably the general idea was suggested by the title, the “dark” suggesting the use of the tar brush, but it is not at all in the Paramount general line. We think that Mr. Larmour is right in his contention that he had to use a heavy border. A light rule around the cut would have been pointless. The cut was made to run alone, and in a three-title display he had to do something to hold it in the space. One little thing in his frame is the use of double rules for the bottom and base sides. Twelve point here, the same as the rest, would not have given nearly as good a result. Simple Lettering is Fine Attractor This cross page eight on Charley’s Aunt carries little reading, but it sinks in that little with an emphasis that would have been defeated by more talk. You don’t have to argue about Charley’s Aunt. Everyone has known for years that it is a funny play. All you need to do is to tell them that you have it on sale and when, and this large lettering gets it over better than a .thousand words of copy. We do not particularly like the all capitals at the bottom, but this does not matter much. That single lettered title is better than a raft of cuts; the three small ones used being more than sufficient. Old timers will remember that cat back in the days of the original run of the play at the old Standard Theatre, in New York, when the cat one and three sheets were regarded as being pretty fancy advertising. The device is still good, but it does not stand out the way it did in those earlier days when exploitation had not yet been taken out of the dictionary and lost jewels still were good press work. This space is from the Isis Theatre, Topeka, and we think it one of the best things that has been done on this play because the management has had the good sense to avoid overselling and to get a strong display for the title. Oddity of Design Catches the Eye We don’t know whether or not this is a specially planned cut or whether it comes from the plan book. If it is a stock cut the chances are it was cropped from a larger design, but in any event the shape makes it a fine eye-catcher, and at the same time provides two every convenient boxes for sales Starring Virginia V alii & Norman Kerry Willi Louise FazrmU. T.Roy Barne*. George FairccU, Kate I>ester and Word Cane; S(or, by Marlon Orth and Elltnbeih Holding; Directed by EdwardSloman — I'nlreraal Jewel. nta« itA all this week KfAU/’ « K1AL1U Commencing Today AU TT • A Universal Release ODDITY WINS talk and the announcement of a chapter play. This was laid out by the Rialto Theatre, Des Moines, and it provided the house with a really unique display. The cut is too fine a screen to come through well, but enough of it shows to give interest. Eastman Idea Is Very Attractive There is little variety to the advertisements of the Eastman Theatre Rochester, N. Y., but you can spot them the moment you open the page, for they are distinctive. This is the top portion of one of the spaces, showing the general idea, which seems to be to get a character portrait where possible and a straight portrait where no character cut is available. They seem mostly to be drawn from the stills, and are not the plan book EASTMAN “ " ■ Direction Eric T. Oar It — GALA EASTER WEEK PROGRAM Beginning Today The Firm of “Kelly and Ginsberg’ Here is the wonder-child of the screen in another of those roles that combine wistful pathos with delightful comedy. When Jackie, an East Side orphan, joins forces with a rag merekant to form the firm of “Kelly and Ginsberg" the scene is set for a series of incidents rich in both heart-appeal and humor. JACKIE COOGAN in “The Rag Man" (1.42. 3.42. 5.42. 7.42. 9.42.P. M-l “THE PRINCE GOES HUNTING’’ Original Pantomime with Cast of 21 People A Metro-Goldwyn Release THE EASTMAN STYLE cuts, though almost always there is some line cut that can be cut down to work where there is no house artist available — and it has to be a whale of a good artist to turn out work’ like this. The Eastman ads run well down the page, with emphasis given the musical side of the program. With the Eastman