The Moving picture world (January 1924-February 1924)

212 MOVING PICTURE WORLD January 19, 1924 Atmosphere Cuts Are Help to Davies Play Little Old New York supplies a wealth of good cut material, and almost everyone manages to get a distinguished effect, even with the use of a single cut, and it is possible to build up the material into a very ^lUIIIIIIIHIIIIIIilllllUinilllllllljilliillilllHIill^iii!:!! IN APPRECIATION OF YOUS LOYAL 3L'P?CRT :r~ THERE WILL BE NO RAISE i.\ 'trCiS Marion IM 1I7HEN THE LIGHTS " ARE LOWERED AT THE RIALTO TO. DAY. THERE WILL UNFOLD ON THE SCREEN A TRULY GREAT PHOTOPLAY. ^HIIIIiliiWilil!illlilllfll||lillljl!iiiiliiilijjliijilllllijir^ A Qoldwyn-Cosmopolitan Release PICTORIAL AND SELLING effective design. In this example from the Rialto Theatre, Washington, D. C, the balancing of the figure cuts with scenes in old New York is very effective, but the type display is not as happy. There is too much all-captial display, the only upper and lower case being in the title itself. This is the more remarkable in that this comes from Washington where good type display has been developed to its highest point. They have a very useful italic face that would have been much better for the smaller banks and which would not only have been more legible but which would have given greater prominence to the major paragraph in the center. All capitals do not appear to have affected the enormous business done at the Rialto with this play, but all capitals most assuredly did not help any toward getting that patronage. It would be possible to get a pretty advertisement instead of merely a pretty art layout with a rather stupid arrangement of the type lines. Five Column Space Uses Single Cuts Here is a somewhat crude and yet effective use of a couple of one column cuts to get a five column display. There is nothing in the slightest degree attractive about this five fives from the Princess Theatre, Bloomington, Ind., and yet there are two good punches, from the press book, and the appeal of the cuts, with an underline for the following day, all held in separate spaces in orderly fashion. It may be crude, but it packs a punch, and we would rather have a punch than the prettiest design a high priced artist ever painted for a magazine page. This is going to sell the remnant of the town, and the simple layout gets four cracks at the money of the maybe patron. It is nice to be able to turn out very attractive spaces, if they can sell, and it is nice to be able to use the fancy four column cuts in the plan books, but if you have to make money on a small margin and count the costs, it is much nicer to feel that you can pull them in with a simple appeal, even though it may be the reverse of artistic. The big point is to get the money, and that is the test of every display. If it can be artistic, too, so much the better, but often the prettiest display has its sales value sacrificed to art, and art all alone never brought a penny to anyone's box office. This is a good display in spite of its seeming crudity. It sold tickets. Quoted the Critics on Coogan Offering Generally it does not help much to quote the critics, but the Baltimore writers were so lavish in their praises of Long Live the King that the New Theatre is not to be blamed for utilizing these opinions, and the local criticism carries greater weight, as a rule, than that from the out of town papers. The cut layout on this 145x3 is rather crude, and it is probable that the display would t Every body's Favorite In His Greatest Picture ^ MKIECOOGAI Lavishly I Beautiful Epochal In Its Magnitude h iang mm king By Mary Roberts Rineharl Jjt What The Critic! Siid ICs A Melro J» . i A Metro Release . . TOO MANY CUTS have been better without the corner cuts, which do not add much either to the attraction or the selling. The chief value lies in the fine display of the star and title lines and the strong play-up the selling lines or» either side of the central cut are given. With this section as it is, there is less reason to worry about corner cuts, but as a point of academic interest, it would seem that white space would be preferable to the rather crude cuts used, none of which suggests the charm of the little central figure in this play. Even the center cast is not as good as much of the material supplied on this production, but this is a good advertisement in spite of the cut handicaps, and the display value is marked. Even the press notices are not permitted to detract from the value of the space. They are set where they cannot pull away from the announcement. It's a great type layout, and it probably sold to the limit. Different Cut Is Clever for Lloyd This cut used in the display of the Garden Theatre, Baltimore, for Harold Lloyd in Why Worry seems to be an original and not taken from the plan book, though the crop line at the top suggests that it has been cut down from a larger size. It may have come out of the book, but it is the first time we HEP MOLD LLOYD WORRY »« aw«r your vtiry with Ma latatt* f<ut furioua, (fMi f.rce Reginald Denny FIVE BIG ACTS OF UAUDEUILM.E A Pathe Release A DIFFERENT LLOYD have seen it used, and think it should be used more often if it is at the command of exhibitors, for it gets more attention than the ones more generally used. The pose permits a slight exaggeration which makes for size and in general it is a better attention getter. There are some good slogans there, including "He'll wave away your weary worries" that almost qualifies as a tongue tickler. Lloyd does not require much selling, and the proportion of talk here is just about right. The addition of the wave rule box gives ample emphasis to the sub-feature, and sells the whole show to advantage. It is one of the features of the Lloyd comedies that they do not require a great deal of argument to sell and so there is plenty of jpace for display and large letters, where some titles have to be sold with almost as much argument as "CIRCUS DAYS" LAST TIMES TODAY Jackie Coogan PR ixitjt um.3U-.-i of Motion Pictures l'r< -t mcd with Luxurious Surrounding and Accompanied hy the Best of Music. Ester Wonder Organ Princess Harmony Orchestra mon § •.•»:•»»»»;.>;. c Everybody ALL THE THRILL OF S THE BIG SHOW I ALL THE GLAMOR % NOISE, BANG AND 8 JOY JN THE GREAT 8 F.ST OF JACKIE'S CA 8 REER. ITS THE GREATEST I 1 ET _ J: •>:-:•:•»:•:•:•:•:•:■ ■ '»>:»»»»:•:*: Saturday dont write Greatest iSi^o'' lShowonEarthi letters \>can cv; GAHETH HUGHES circus Mars Jackie Congnn in "CIRCUS DAYS'* I rl*an Classic ."1*1 H AT KS m THE .Ilk" Christie Comedy "A OF SEIES One ticket admits to all tne big ntxov. Adults, -35 cents Children 10 cents. .■ ••».>X'»;.:-»jt->:«^o:»:^»>:-»: 2 A £ historical drama K "In the Days of Daftiel Boone" First National Release NOT ARTISTIC, BUT GOOD BECAUSE IT SELLS