The Moving picture world (November 1921)

970 MOVING PICTURE WORLD December 24, 1921 Selling the Picture to the#Public following this suggestion and raising the side grills. Right now, mindful of the New Haven fire, many patrons will he somewhat fearful of the boxed-in entrance. WORKING THE OIL PAINTINGS INTO A LATTICE LORHY The lattice idea is not new. but C. H. Creslein, of the Modjeska Theatre, Augusta, Ga.. seems to haze been the first to work oil paintings or other decorative effects into the general design. It helped to put Paramount's "Experience" over Lattice Grill Framed Production Pa in tings Lattice grills for lobby fronts are growing in popularity in the south, for they are cheap and effective. C. C. Creslein, of the Modjeska Theatre, Augmta. Ga., used the idea for "Experience" and he worked the oil paintings supplied by Paramount into the general design, getting a better effect than with straight grill work. The photograph shows how this was done ;in<I also shows the general back.ng design. It is very nicely planned, but we think that it builds the front in too much. The fence leading to the box office should be dispensed with in favor of an ornamental design above. The general effect of any design should be to head the prospect in the general direction of the box office, but the steering through must be more artfully done. Mr. Creslein has hit upon a good idea, but we think the design can be bettered slightly by Ferguson Thought Faster Than Coppers Could Act Business has not been so good in Wilmington, Delaware, and the Majestic Theatre asked W. R. Ferguson, the Goldwyn exploitation man, to come down and help Elias VVetstein, their publicity man, out when they booked "Dangerous Curve Ahead." Ferguson went down and by keeping one jump ahead of the police, he put the picture over to capacity. His first stunt was to use the bridal auto from the press book, but he used a wrecked machine instead of the trim car, and it assuredly was a wreck. Wilmington is not a Sunday town, so the car stood in the lobby all day Sunday and most of Monday morning before the police called attention to the fact that it was not only a lobby obstruction but that it was hogging the sidewalk, as well. It stuck out two feet. Put in a Gong Then Ferguson put in a huge electric gong and rang it for two minutes out of every ten. It was large enough to be heard ten blocks, and pretty soon the men in blue intimated that if Ferguson didn't like his room at the hotel they could move him over to the police station He took the hint and the gong came out. Meanwhile he had had an enlargement made of a still of Helen Chadwick looking into a mirror. It was about three by six feet and with the frame it was even larger. A real mirror was set beside the pictured one, and any woman who looked into the glass and felt that she resembled Miss Chadwick was at liberty to leave her name and address at the box office and the one most nearly resembling the star got a five dollar bill. This lasted the week out and gave both Ferguson and the police a rest. In the lobby paper streamers were freely used and a cutout cupid was perched on a heart at the street line with the legend "They didn't see the 'Dangerous Curve Ahead.' " EERGlTSON THOUGHT UP STUNTS EASTER TH AN THE POLICE COULD ACT TO STOP THEM The Goldwyn exploitation man put the wrecked bridal automobile in the lobby of the Majestic Theatre, Wilmington, Del. It lasted a day and a half, when the police called it off; but an electric gong 'was permitted to remain only a couple of hours before the stop order came Then Ferguson got up a resemblance contest for "Dangerous Curie Ahead." and it lasted the rest of the week.