The Moving picture world (January 1926-February 1926)

January 16, 1926 M O V I N G P I C T U R E W O R L D 271 Meet the ''Super Colossal Spectacle/' How's That? lower portion does not matter. That's just the vaudeville additions. The thing to notice is the manner in which these names are gotten over in all type. After you have looked at cuts all messed up with a lot of hand lettered names and facts, it's pleasant to see a display in which type performs its normal function of giving display. This may not be as "pretty" or as "artistic" as some other spaces, but it has a visual punch that is lacking in a majority of theatre displays. It gets it all over at the first look. This is a four-column space and it reduces down considerably, but you can get the idea. And if you like this nice clean display, remember that most supplied cuts can be trimmed to give the essential feature and leave room for type. And before you turn from the cut notice the signature. No mistaking the house with a signature like that, is there? From the Christmas wreaths we gather that this is a special drawing but that heavy letter is typical of this house, and it cannot well be bettered. blank makes this a design rather than rule work. He saves the cost of a column of space and at the same time gets the effect of an additional column. He does not just slap them in. He studies effects, and he suits the treatment to the individual cut. If he selected one form and always used that he would not be particularly well worth while. It is his treatment of the individual display that raises his work out of the ordinary and makes him a leader in this type of display If you really are interested in getting good advertisements, it will be worth the trouble to make a special scrap book section of these Burns displays. mainly because it packs a lot of words very nicely into the space at command. It is talkative without seeming to be overcrowded. Tom and Tony Sell in Limited Space This is a little more than two fours used by the Monroe Theatre, Chicago, on The Best Bad Man. It puts over the Mix picture with a minimum of cu-t. The cut is two inches high and less than that in width. That is not Bright Lights Here's the best bet on Charlie Ray's Bright Lights. The Gayety Theatre, Canton, Ohio, tied two electric shops to displays of bright lights and art announcement cards. The blazing windows were real sellers. MOhf/tOE ATOSfifiaoiM CONTINUOUS FROM M AKtollRH ia~ — Makes Three Column Fit Into the Four Most managers who used this three column cut on Graustark used it for a three column space. Frank H. Burns, of the Beacham Theatre, Orlando, Fla., put it in four columns and practically got nine column inches free, for this gives a five column effect on a four nines. Not long ago one of the students in the Paramount Training School for Managers wrote for a list of managers whose work might be profitably watched and we recommended Mr. Burns as one of a list of half a dozen because he makes a nicer use of white space in small sizes than any ^Now Playing j Qets New Billing for the Phantom The Columbia Theatre, Seattle, takes six tens in which to put over the advance for Phantom of the Opera, and finds a new classification. Just under the reverse title you will learn that this is the "super-colossal" spectacle of the age. That's that. It's getting so that it is difficult to find some phrase that will suggest a bigger offering than the last, but "super-colossal" sounds like something new. It suggests bigness as well as class and may help out others who have exhausted the old string of descriptives. There is not a very powerful kick to the cut work, but the Phantom gets over if Kerry and Miss Philbin do not, and it looks interesting. The display is interesting WISTERN ROMANCE, mm andTONYihe vtondfr horecl THE BEST BJID 1! A Fox Release SMALL, BUT EFFICIENT a large cut as cuts go these days, but it gets over Tom and Tony, and incidentally the girl, and a larger cut could not do much more. The display is planned to get the best value for star and title, and this is important where the advertising cost is heavy. A First National Release HARD TO BEAT other manager we know. He never resorts to local art work, yet he can get a better effect from supplied cuts than he could with the usual staff artist because he knows how to place the cuts to get the greatest possible value. Here the essential feature of the layout is that three point rule border on three sides of the display. Centering the cut and using border all around would have been too regular 'and formal. Putting the cut over to one side of the space and leaving the right Tomorrow! You Will See the Picture Event All Seattle Has Been Anxiously Waiting For MILLIONS OF THRILLS TO THRILL MILLIONS g|L*^*Jj|l[y I Universal Release A FIVE TENS ON THE PHANTOM OF T HE OPERA FROM SEATTLE