The Moving picture world (November 1922-December 1922)

728 MOVING PICTURE WORLD Laemmle Flays First Run System as Industry's Greatest Menace Denunciation of the present method of first run showings and a warning that the first run system is the greatest menace to the business, are contained in a statement just made public by Carl Laemmle, head of the Universal organization. The statement is a verbatim copy of a letter written recently to an exhibitor who solicited Mr. Laemmle's personal views on the first run situation. Mr. Laemmle's answer impressed him so forcibly, he urged the Universal head to carry the same message to every exhibitor. "You are making the mistake of your life if you are booking your pictures according to what the first run house in your territory is showing! "You know as well as I do that nearly every first run house in the United States and Canada is controlled, either by some producing company or by some distributing concern, and you know mighty well that the purpose of controlling first run houses is to exploia pictures there so you will book them. "In the great majojrity of cases nowadays, the quality of a picture as precious little to do with the case. If a company produces a picture and the same company owns or controls theatres, it is going to run that picture in those theatres for the sake of the impression it will make upon you! "There was a time, when first run houses were really owned by individuals, that the first run meant something. In those days, if the man who owned the theatre and made his living out of it picked out a picture to exhibit, it was safe bet for you to follow his lead and book the same picture. "Evidently 'them days is gone forever.' "Today, in most cases, first run does not mean first run but it simply means first exploitation. "I know what I'm talking about, because the Universal in its time has tried out the scheme of controlling a handful of theatres in order to exploit pictures. The only place we ever tried the stunt was in cities where Universal pictures were frozen out of first runs because competitors controlled all the good houses in the zone. The only place where Universal will ever own or control a theatre is in such cities as that ! Heaven knows, he want to stick to the producing and distributing end of the business and never compete with our own customers but in a few cities we have been driven into the theatre end of the business in self-defense. "Therefore, I am speaking as an exhibitor as well as a producer when I tell you that in all except a mighty few instances first runs are bunk. They are the greatest menace to the business and they are a double menace to you, because they not only compete with you but they mislead you into booking pictures that you should not book. "There is only one safe booking system and that is all summed up in the Universal slogan, 'Look before you book.' I have been telling you this for years. It is even truer today than when I first told you. "If Universal has no first run in your territory, you know why. It is not because of the quality of the pictures. It is because the people in control of the first run houses are not running their theatres for profit but for exploitation of their own pictures in the hope that you will book them. That's where the profit comes in. "Remember: — Nowadays most first runs are pure punk!" December 23, 1922 Title of Picture Is Changed The new Syracuse Motion Pictures Co., feature starring Henry Hull and Mary Thurman which is now in production under the working title of "Midnight/ has been definitely titled "Through the Skylight." Director Hamilton Smith reports rapid progress on the feature which will be handled through Producers Security Corporation. "Daddy" Is Jackie's Next "Daddy" will be Jackie Coogan's next First National release. It is being booked now for February showing. Jackie has started another under the direction of Eddie Cline. Falkner Appointed I The home office of the W. W." Hodkinson Corporation reports that G. A. Falkner has been appointed branch sales manager of their Washington, D. C, office. He replaces Sam A. Galanty, who has resigned. Works on Another B. B. Schulberg announces that " the shooting of "The Scarlet Lily," ^' Katherine MacDonald's starring vehicle for First National release, has been completed under the direction of Victor Schertzinger. Flagg Praises Highly Doug's "Robin Hood" Fox Music Lauded by Noted Composer James Montgomery Flagg, artist and student of the technique of motion pictures, recently saw Douglas Fairbanks in "Robin Hood," a United Artists release, which is having a record-breaking run at the Lyric Theatre, New York. He was so impressed that he wrote to the New York Times as follows : "I don't owe Doug Fairbanks a cent nor do I want anything he has, but I would like to compliment him in print on his 'Robin Hood.' Do you mind? "I was nuts on 'The Three Musketeers,' but when I sat in on 'Robin Hood' nothing but superlatives expressed my appreciation. I had a hunch when that huge drawbridge was lowered right out into the audience at the opening shot that Romance would pour over it — and it did. The picture is a gorgeous delight from start to end — the burly ruffian King Richard gnawing on the hind leg of a sheep, or whatever it was, while he watched the tourney — the wonderfully satisfying villainy of Prince John — the winsome frailness of the Lady Marian — the fairyland beauty of the ladies in waiting as they threw themselves at Huntingdon — just as they do today at Earls and such — the brilliant magnificence of the scenes at the jousting — the wonderful castle — the gigantic curtain, a mile or so long, that 'Robin Hood' slid down to escape John's retainers — the mystic forest with the beautiful giant trees — the sunlight and the velvet shadows where the robber band hid — the pitiful tragedy of the court jester done with the impressiveness of superb art — the thousand satisfying niceties of direction— and last but first, the inimitable Doug as the gayest and most chivalrous and humorous and astonishing 'Robin Hood' imaginable I "It is one of the few really great pictures I have seen on the screen, and I hope everybody who loves fairy tales, adventure, romance and beauty will see it, no matter what their ages or sex, or whether they believe in the Republican Party or Bacardi cocktails or Postum, or blanket legislation for women or Santa Claus, or bran on their oatmeal, or anything, because thty will be thrilled in spite of themselves." J. N. Naulty Joins Distinctive Mr. J. N. Naulty has become affiliated with Distinctive Pictures Corporation in the capacity of studio manager, it is announced by Arthur S. Friend, president of the company. Mr. Naulty entered the motion picture industry in 1898 with the original Edison Company in West Orange. N. J. Eastwood Lane, one of America's foremost composers, in a letter to Mr. William Fox, gave an unsolicited testimonial to the musical arrangements used at the Astor Theatre, New York, where "The Town 'That Forgot God," the Fox special, is now in the sixth week of an indefinite engagement. Mr. Lane, whose letter follows, is the author of "The Sleepy Hollow Suite," "Five American Dances" and "The Adirondack Sketches." "There is a world old dispute among musicians as to the relative merits of absolute music and program music. The acadefnicians have always sneered at the latter — even Wagner did not convince them. The pure classicist resents any assistance in the shape of descriptive notes or even a title: he wants to weave his own dreams in his own way. In spite of the extreme contempt in which program music has been held by some, however, the Icit motif idea continues to grow in favor and there seems to be ample reason for this. A few evenings ago this was emphasized to the writer's satisfaction at the Astor Theatre. "I am not a movie fan — in fact 'The Town That Forgot God' is the third feature film (is that the term?) tliat I have seen. Naturally the music interested me very much ; arranged, according to tlie program, by Mr. Erno Rapee. This gentleman knows ■ great deal about music. He reM ognizes a very important facta that the emotional appeal of music is in direct ratio to the musical sophistication of the listener. "But the picture. After alternating light and shadow, having to do with relatively quiet phases of rural life, there suddenly sounds a more portentious note — a smouldering, ominous undertone suggesting a vague terror. I partly realize that the orchestra is playing the awesome opening bars of the 'Erl King.' Schubert indeed had the program music idea when he wrote this great dramatic song. Does the audience recognize the music? Better, they feel it without recognizing it. "The music was brass and percussion, but now one floats along on a lovely melody for strings. What were they playing during the storm? I have no idea. The storm was tlie music, the music the storm. The program music idea. Mr. Erno Rapee surely believes in Wagner." Exhibitors, Send in All tlie Reports You Can on How the Pictures Go in Your House. They Will Help Other Exhibitors.