The Moving picture world (January 1926-February 1926)

270 MOVING PICTURE WORLD January 16, 1926 How They Put Them Over Out In Karachi, India Indian Broadside Runs Three Tones G. R. Gvalani, of Karachi, India, sends in a broadside on the Universal white list that seems to be a combination of house throwaway and trade appeal. The top announces that the Imperial theatre. Bangalore, has booked these releases and will show them all, but there is a lot of talk about the Universal policy that cannot be of very great interest to the patron, but which can efifectively reach other exhibitors. You cannot get much of an idea of the 18x24 inch sheet from this reproduction, but you can arrive at the fact that they cleaned 'UNIVERSAL PICTURES" Thte MALU MARK OF QUALITV The IMPERIAL THEATRE, ji. tisioc, i;T«it Sl Tiwai Oliiaii. — * I -CT^ HERE ARE THE PrCTUMS ON " JHE WHITE LIST."! R EG I r 1 -OH! DOCTOR! "=flrr~^- 1 ■ ' 1» VSSJi^'i'JS* " TSMOLOERIWC nBES" i U BOOT OIBSON -uTuwtt =^*z ZT-T-I " " ^ V 1 4 ■„'^rj:z:.T .-..—-—-—'—> -a womans FAfm" L'l ■ -I t MOU5I; PtTE(t'5 ,„ i. : .^'.J.TT'"" • -nrrM avenue models' " t JACK HOWE -RJiot TtiiKiiM ■szrr—':rz:r.'~^^—. • o.--. riX SHOW YO« TW: TOWRHOOT CfB50N AGAIN ■» "^""^IIL—i.vi-" , VlrciiaU V&lll In "UP the LADDEB" -SECRETS <■ • NIGHT i BMH Pun IM PWI Ut IniV' »_HEAQ^^IN^.g,_ RED CLAV" . w,-. — — IIUIll BtSIIID HOOT CIUM •~":;;:.;ZSr"'~ -TomlnK the We«." "THE PHRNT©jVLS!LTH§.^JEpR^^" — "~— Universal Releases AN INDIAN BROADSIDE out the display cases on this job, for there are a dozen different faces in the list alone. The cuts are printed in purple with the text in red and deep blue. From the fact that the job carries the imprint of a Bangalore firm we infer that it is done on behalf of the Imperial, though it makes good trade advertising as well. Mr. Gvalani also sends in a smaller sheet in native character, but does not name the dialect. We used to get a set from India printed in English and four different native dialects, but this is the first to come to hand for some time. Selling Romola With a Dignified Appeal Becuuse it is a special, some theatres have sought to sell Romola with too much of the circus appeal. The result has been that they have sold the bult of their scats to the wrong people. They have failed to get in those who are most likely to appreciate the beauty of the production and the care with which it was made. The chief value of Romola to a house lies in the better class of patrons who can be attracted and who may be interested in coming again. They will not come to Romola if the suggestion is created that the Elliot novel has been slaughtered to make a film holiday, yet this is precisely the outcome of a circus style of announcement. The New Theatre, Baltimore, makes the most of its opportunities in a four nines in which there is strong appeal to both the intelligent and the lovers of the purely pictorial. The NEW A Metro-Goldwyn Release A GOOD ROMOLA AD appeal is on the splendor of the production, and the form of the display suggests dignity and respect. The space is not overcrowded with copy, but the few lines are set in eighteen point. The cut suggests action and romance, and about the only point overlooked is the fact that the exteriors were made in the authentic locales. We think that this hand' ig not only got more patrons for the New, but that it helped business for the follov.'ing attractions, since it helps get new patrons, some of whom will return on later attractions. From a purely technical angle, this open composition is more effective than would be a space filled to overflowing with eight and ten point appeals. Striped the Star Bearing down on the prison angle of The Man Who Found Himself, D. Roscoe Faunce, of the Strand Theatre, Birmingham, Ala., put out a convict perambulator with a sign on his back. The lobby display showed Meighan behind the bars with a guard patroling the wall. Trick lighting made the display very attractive. One Strong Line Sells Man on Box While the comedy cut of Syd Chaplin driving a hansom is the chief attractor for The Man on the Box, we think that more than half of the selling will be done by the line "It'll get every laught you've got." This is better than the paneled: "If you liked Charley's Aunt you'll rave over The Man on the Box." That probably will help, and it is not the usual "better than," but there is more real appeal and argument to the line first quoted. That has a tang to it that the other lacks. It means something, and that something is entertainment. It looks as ETOpPOLTTAN* SYD CHAPLIN The Nan On' Box mpERBROC 'Classics of ihc Screen". if you liked "Chartty'i Mmn on (Ac Box.' JuUua Sokolove** EnttmUi t/ Vai^tU Next Week— Rln Tio Tta la • beUrm The Luw" A Warner Brothers' Release A SELLING LINE though this might be a plan book cut, though it may have been produced by Warner's Metropolitan Theatre, Baltimore, but whatever its origin it is distinctly useful and should materially increase the work of the box office attendants. It looks like a press book cut because it is fitted into the space and not a part of the full design, but wherever it came from, it is distinctly good. There is not much use arguing about Chaplin in this play. He sold himself in Charley'sAunt and as long as he can repeat, the name will suffice. This Type Lettering Qives Fine Display Here is the upper portion of an advertisement from Loew's Theatre, Newark. The iOEWS IJ/J.»l^Uli. NORMA SHEARER "HIS SECRETARY" LEW CODY WmARD LOUIS WILLIE A Metro-Goldwyn Release CLEAN TYPE FACES