Moving Picture World (Jan-Feb 1927)

296 January 22, 1927 Two Sides To A Story (Continued from page 255) that much. A publicity writer of any particular merit draws a hundred, but only a few of them could get that much m newspaper work. The really high priced men are good for two and three hundred dollars as publicity writers and they earn it. So much for that side. It would seem to indicate that producers will come closer to the public, they will get quicker and better action, and at much less wear and tear on their publicity directors by hiring first rate newspaper people to do their stuff. But there is another side to the story. Unless the exhibitor knows how to handle the stories that are sent to him, they can be worth less than nothing. The showman who clips at random from a press book and sends it hurriedly to his local newspaper, should not be surprised when the sheriff calls to serve his papers. The case is on record of such an exhibitor who sent to a newspaper the admonition sent out by the producer. There was much laughter when the clipping reached the New York publicity offices. It read : “Don’t overlook the publicity in this press book. Read the stories and select those which should have the greatest appeal to your newspapers and the public of your town.” A weary copy desk man in the small town newspaper office had sent the clipping down to the composing room without reading it. He took it for granted that coming from the exhibitor it would have no news value, but should be run on account of the advertising account. In a press book, or a clip sheet, the exhibitor who knows his business may discover many an item of particular interest in his own town. Lacking that, he may find suggestions from which he will be able to build good publicity for this theatre, the picture and himself. And if there are any showmen in the world who have lived this long without distributing passes liberally to the newspapers, they may register now for entry as exhibits in the Smithsonian Institute. The others already know that a pass to the theatre is often the fare to box office results. Some day a shrewd New York producer is going to pick out the cleverest press agent of his acquaintance. And when they finish lunch in the Hunting Room at the Astor, the press agent will be on his way around the circuit, assigned to meet every showman, branch manager and newspaper editor on the route. The circus publicity departments do it. And if you’ve ever noticed, when the circus is in town, it visually gets a paragraph or so in the news. the big shows, visitors to New York find all the comedies that are produced. “The recognition of short features h}' the big Broadway houses, as well as the big houses in the largest cities, has a reflex action among Educational’s 13,000 theatres,” Mr. White said, “and with the increasing interest in short features, aided by the ‘Laugh Month’ drive of last year, and this year, these little features are rapidly finding splendid support among the theatre owners, as well ?,s the fans.” MOVING PICTURE WORLD “The Beloved Rogue ” Affronts the King (Continued from page 251) Since the exceptional success attending Paramount’s “Covered Wagon” and “Ten Commandments,” Paramount officials decided to create a road show division, and Albert L. Grey, of D. W. Griffith, Inc., was given charge of this organization. He is assisted by Theo. Mitchell. “Beau Geste” and “Old Ironsides” are being road showed through Mr. Grey’s office. In a chat with the Moving Picture World representative, Mr. Grey said: “There was a time when some theatre owners said they felt that the Broadway runs, and the road shows, hurt their business. But things have changed. It is pretty well established today, that this special treatment means bigger business at the box-office.” Warner Brothers have a couple of aces in “Don Juan” and “The Better ’Ole,” starring John Barrymore and Syd Chaplin, respectively. During the protracted runs on these specials, in the Warner and Colony theatres, an immense amount of exploitation and publicity work has been lavished on these pictures, and this cannot fail to help the showmen who are now booking these Extended Run offerings, through Sam E. Morris, general manager of distribution, and Morris Safier, head of the special Extended Run Sales Department. It is a fact that Vitaphone, the remarkable adjunct to the Warner and Colony program, has attracted wide attention, and the greatest praise, but it is asserted by the experts that “Don Juan” and “The Better ’Ole” constitute the best type of bookings, to showmen who, at the moment, find Vitaphone unavailable. “What Price Glory,” the Raoul Walsh production for William Fox, “whizz-bang” of recent war pictures, just naturally demands a road showing, and Mr. Fox has assigned H. Wayne Pierson to handle the road shows, with Wells Hawks presiding over the publicity for the shows. It will remain at the Harris for a long time, and then some more ! Gordon S. White, director of advertising and publicity of Educational Film Exchanges, Inc., commented on the striking way in which the big Broadway houses play up Educational product in the lights. Coupled up with Impressive scenes from United Artists’ production, “The Beloved Rogue,” starring John Barrymore and Marceline Day. Above is the Public Square in Paris as it is reproduced on one of the gigantic sets. On the right, a dramatic scene with Miss Day and Barrymore. The story is based on the life of Jean Francois ViUon, the great bohemian of old France. BROADWAY