The Moving picture world (March 1923-April 1923)

March 17, 1923 MOVING PICTURE WORLD 333 A Metro Release JAZZED AMARILLO FRONT FOR MURRAY IN "JAZZMANIA" Ross D. Rogers, of the Mission Theatre, got an off effect in the center panel by cutting openings back of which a color wheel revolved. He also shot jazz music through a magnavox hooked to a phonograph with repeater attachment back stage. Greene *s Letter ' Brought Results When he played The Headless Horseman at the Rialto Theatre, Jamaica, L. I., Fred V. Greene, Jr., sent out a letter to the principal of each school which not only brought in a lot of single tickets but attendance by classes. It will be noted that passes are enclosed for all of the teachers. The letter is so well phrased that we are offering it as a model. It runs: This Thursday, Friday and Saturday we are showing Will Rogers in "The Headless Horseman," which is adapted from Washington Irving's "The Legend of Sleepy Hollow." This picture is truly one of the classics of the year, as was amply proven when it was recently shown at the Capitol Theatre, New York City. Will Rogers plays to perfection the quaint character of Ichabod Crane and the scenes in the picture were taken in the actual locations which figure in the story. In fact, historically and in every other way the picture is perfect, and I would like you to see it, as well as the teachers under your jurisdiction. I am informed that you have four assistants, so I am enclosing herewith five passes and would ask that you be so good as to distribute the four, keeping the other for yourself. seemed to loom. It's one thing to put over a good one against a couple of poor ones, but when they are all above the average, the prize goes to the fighter, and C. G. Behrens is a scrapper for exploitation. Liked the Production So Played It Up Ross D. Rogers, of the Mission Theatre, Amarillo, Texas, liked the Tiffany production of Jazzmania so well that he got solidly behind it for a cleanup, and he writes that it is one of the best audience pictures he had handled in his twelve years in the business. The cut speaks for itself except that the circular panel back of the figure of Mae Murray in the centre requires a little explaining. This had openings cut in the circumference, back of which a colored wheel revolved so slowly that the various colors did not blend into one neutral tint. At night this was illuminated by a spot light, but wc think that placmg colored mediums back of the openings, illuminating from the rear, and interrupting the light with the revolving wheel would have made an even better effect. This would give some result, even in daylight. Mr. Rogers does not tell the color scheme but blue and white, red and yellow, red and black, yellow and black and blue and silver would all give good color combinations. Back stage a phonograph was supplied with jazz records and a repeater attachment and this was relayed to a magnavox back of the central panel for a mysterious music effect. Hooked on a Diner The Lyceum Theatre, Duluth, hooked the Northern Pacific Railroad to "The Stranger's Banquet" and got window displays through the connection line "because of their uniform excellence dining car meals have often been called the Stranger's Banquet, the title of the Marshall Neilan photoplay now being shown at the Lyceum." This offers a suggestion to oth«r towns. The railroad windows are generally in fancy positions. Pride Pays When the Strand Theatre, Ottumwa, la., played Marion Davies in When Knighthood Was in Flower, W. E. Matlock, the manager, got a letter from the Des Moines Paramounteer to the effect that Ottumwa was the first city in the southern part of the State and the second in the entire State to see the Cosmopolitan production. Matlock reproduced the letter for his display advertisement and local pride did the rest. Even the newspapers played up the appeal to municipal vanity. If you get an early run you don't have to be too darned careful as to the exact truth. It's a strong bid always. It means nothing, but sounds well. Neatly Put Buffalo took The Flirt for a second week at the Olympic Theatre, on the strength of a comprehensive four weeks publicity ■campaign. One of the good ideas was a preliminary teaser which read: "The Flirt says it doesn't hurt to flirt if you don't flirt to hurt." Rode It In Fighting pretty stiff opposition, the Family Theatre, Davenport, la., put out half a dozen jockeys with blanketed horses for The Kentucky Derby, and backed this up with a street wagon, the details of which are not clear in the photograph sent in. It's old stuff, but it built up receipts where a deficit A Paramount Release BORROWED FROM TUT-ANKH-AMEN FOR A WINDOW SHOW There is an Egyptian slant to "The World's Applause," and Richard A. Addison, of the Pickwick Theatre, San Diego, Calif., played this up with very little painting — and a Buddha. It was a great flash.