The Moving picture world (November 1923-December 1923)

November 10, 1923 MOVING PICTURE WORLD 251 Associated Exhibitors Pictures Are Based on Public Demand By J. S. WOODY, General Manager of Associated Exhibitors, Inc. Gone is the day of the make-itand-seek-a-market-later class of motion pictures. The present is the time when the public is making its wants clearly known to the exhibitor, when the exhibitor transmits that information to the distributor, and the distributor, in turn, orders from the producer a picture to be made after given plans and specifications — for an already prepared market. Associated Exhibitors is proud to be playing a part in this process. We believe we are giving the picture fan what he desires most. We base this belief partly on the fact that we cause to be made for distribution by us the character of production that the exhibitor avowedly requires. And the exhibitor buys pictures simply and solely on the basis of values and box-office returns. That the public does know what it wants, that the exhibitor is heedful of the popular demand, and that Associated's policy is the correct one we consider amply attested, moreover, by the box-office reports on those of the productions named in our current announcement which already have had showings : Charles Ray in "The Courtship of Myles Standish," Douglas MacLean in "Going Up," Mabel Normand in "The Extra Girl." and Harold Lloyd in "Why Worry?" Each of these has met a reception from theatregoers and critics such as is accorded only an outstanding attraction of the very first order. Associated is proud — j u s 1 1 y proud — of this array of product. It is product in keeping with the J. S. WOODY General Manager, Associated Exhibitors, Inc. policy we are sedulously careful to follow — to offer no production that is lacking the stamp of either character of quality. It is gratifying to know, too, that it is just such big time entertainment as this that the public insists upon having. The advantage of the process followed by the independent distributor and which is the fundamental basis of the Associated Exhibitors policy are many and manifest. Our close contact with the exhibitor, maintained through a carefully-selected and well-organized field staff, enables us to know exactly — or with as close an approach to exactness as is humanly possible — what kinds of pictures the exhibitor requires. It is our constant aim to keep our hand on the pulse of the man who runs the theatre. Thus, we are in a position to transmit exhibitor opinion and preference to the producer, to supply him with a vast fund of information and data of very great value to him. In other words, we hand 'the producer a pattern to cut out and make up into a finished garment — in this case a motion picture whose character is in accordance with the consensus of exhibitor opinion throughout the country. Then we endeavor to exercise extreme vigilance, to the end that all mistakes may be detected and corrected while the picture is in the progress of making. Close supervision of whatever is made for us is essential to assure our receiving and delivering to the exhibitor what he wants. In the final analysis, then, the product is virtually exhibitor-made. The adoption by many leading first run exhibitors of the policy of indefinite runs— retaining a film as long as it continues to attract — is only one demonstration of the independent distributor's importance to the industry as a whole. For it is obvious that only product of the highest quality can be used profitably in an indefinite run, and that product is most certain to be found in the wider field of selection which the independent distributor offers. It is an axiom in our industryin every industry that has to do with the furnishing of public entertainment, indeed — that close association with the exhibitor is based upon confidence. That we enjoy this confidence — as evidenced by results — is a source o deep and lasting gratification to us. Confidence is predicated on delivery of the goods, on achieving results, on making good. So, Associated Exhibitors believes that in following consistently and steadfastly along the lines it early set out for itself and to which it has always adhered it is performing a service of very real value to the industry of which it is a part; to the exhibitor; without whom the business could not exist, and to the great pleasure-loving but thoughtful and discriminating public, to which, after all, the producer, the distributor and the exhibitor alike must look for continued life and prosperity. Harold Lloyd Working on Another Big Comedy The Harold Lloyd comedies are progressively popular. That is to say, each succeeding one of his attractions proves a greater drawing card, a bigger money-getter than the one just before it. As "Why Worry?" is Mr. Lloyd's latest it might be said to have brought him to the climax of his fame, — had he not scaled to climactic heights several times before, and were he not even now at work on another production which, too, is certain to be a world-beater. "Why Worry?" was the feature at the Mark Strand Theatre, New York, during Labor Day week, and it packed 'em in so thickly and regularly that it was held over for a second week to accommodate the overflow. It caused Don Allen to observe in the Evening World : "Take it from us, if you see Harold in this, his most uproarious farce for months, you won't have a cause to worry." The Evening Telegram's reviewer found "Why Worry?" Mr. Lloyd's "greatest humorous achievement to date," though ,ie recalled "such admirably fine works of laughter as 'Grandma's Boy,' ''Dr. Jack' and 'Safety Last.' " The Evening Mail described the picture as "another of the successes which this gifted comedian is using to climb the ladder of fame to a place all his own in film comedy." Such comments as these are typical of thousands which are uttered throughout the country during the triumphal march of the Lloyd picture. All the Lloyds enjoy the unique distinction that they excite no adverse criticism anywhere. Not only that, but it is doubtful if any ever read a Lloyd review which was merely lukewarm in its praise. Announcement of the coming of one of Harold's films is the signal for a run on every reviewer's stock of superlatives. Just to cite one or two instances of "Why Worry?" triumphs, in addition to that on Broadway, New York, it should be said that this latest of big comedy fea tures smashed every known record of Eastman Theatre, Buffalo, with a total attendance for a single week of 64,923 paid admissions. And at the West End Lyric, St. Louis, it opened to a capacity house, with an overflow crowd of two thousand, and the capacity houses and the overflows continued every day of the entire run. But while each succeeding Harold Lloyd offering sets a new high water mark, the appearance of a new Lloyd never means the rejection of others which have gone before. Each of them possesses "lasting" qualities. Thus even now, while "Why Worry?" is approaching the zenith of its popularity, "Grandma's Boy" released more than a year ago, and others of his successes continue to smash records. For one thing, the Lloyd pictures are all "different" — so different that frequently they inspire editorial praise in leading newspapers, which, except in the case of this superlative player is almost unheard of among picture actors. Perhaps the chief reason for this is that Harold does not resort to cheap humor of the slapstick, pumpkin pie variety to put his offerings across. Each of his screen plays is based on a real story, a definite purpose. In this connection it is interesting to note that it was Harold Lloyd who gave real comedy a definite place as the feature offering in theatre programs. None of his pictures is presented as the comedy supplement to a feature of another character. It is the whole works. Mr. Lloyd is now at work on another production. All that is necessary to say of it is that it will be typically Lloydian — hence a mirthquake. Title Changed The title of the William de Mille Paramount production, which, filmed as "Everyday Love," features Agnes Ayres, Jack Holt, Nita Naldi, Theodore Kosloff and Rod La Rocque, has been changed to "Holiday Love."