Paramount International News (1935)

^aramomtJntematimalQlews Exploitation and Success Go Hand in Glove! ’S CINEMA REAL AREAL PROLOGUE f' Paramount hats should certainly ';e off to Benito del Villar for the i.iarvelous presentation he gave ■jCleopatra” at the Real Theatres ii Santiago and Valparaiso, Chile. This is the young lady who played the role of Cleopatra in the prologue. Benito called our attention to the fact that she closely resembles Miss Colbert. Even without such a reminder, the fact is apparent. The scene at right represents the manner in which the lobby of both eatres — they are somewhat iden— was transformed into a I lagnificent Egyptian reception hall, ot at all unlike several of the Ttings in the DeMille picture. The larger scene depicts the vish stage show, or prologue, nd when we call it lavish we ■e anything but mincing words, ue to an elaborately painted back ■'Op behind the actual stage setings, an impression of almost un fathomable depth was secured. At least fifteen players were used in this prologue, which was a dramatized adaptation of an identical scene in the picture. I»TiEASE COMPLETELY CAPTION ALL PHOTOS Jf'e lun’c lately received a imuiber of photos, either of staff's or phases of exploitation, zoliieh have been lacking in complete information. Staff photos haz'e simply said, ‘‘Staff of Soand-So Off ice,’’ zvhen you knozv darned zvell that if zve reproduce such a picture zoe zvant to be able to definitely identify every Paranwuntecr in the group. Likezmsc, cz'ery exploitation photo should carry the name of the theatre, the country, the picture involved, and zvhcrcz'cr possible the name of the theatre manager or publicity manager responsible for the exploitation. Above all else zee zvant to give credit zvhere credit is due; and zvhen zve pass exploitation photographs on to trade papers for their use, they invariably insist on knozving just zi'ho zvas responsible for the zvork. RIO DE JANEIRO’S GLITTERING THEATREFRONT The Cinema Odcon did not hide its light under a bushel when “Cleopatra” was the attraction. South American Gen. Mgr. [ohn L. Day, Jr., sent us this picture, showing a great T rade M ark directly under the title, and elaborately fashioned colored pictures of Colbert, William and DeMille, himself. SPARIOANG NEW HOUSE ORGAN We welcome with open arms the advent of “Actnalidade.s Pai'aiiiount,” a new and poweid'nl hou.se organ pi'oduced hy the Matadors of Spain for the purpose of telling exhibitors of that jjart of the world all about the new Paramount product. “Actualidades Paramount” is strictly a product pirblicatiorr. There is rrothirrg ahoirt the Matadoror'garrizatioir or its rrrerrthers anywhere irr its glitterirrg sixteerr pages of rrews. The isstre of March, which is Nttirrber Two (the irritial i,ssire was rrot forthcorrring to otrr editor-ial desk) has a perfectly swell three page story orr Ernst Lrrhitsch, the highlight of which is the Sparrish or-garrizatiorr’s joy at seeittg the gr-eat rlirector assigned to the vitally irrrportant post of Mairagitrg Dir-ector of Pararrrorrnt prodrretiorr. NEXT MONTH, a big blast of news detailing the rrragrriticerrt exploitatiorr work dorre throrrghoirt Spairr orr behalf of “The Lives of a Rerrgai Lartcer.” Data received frorrr Mr-. Messer-i just as we werrt to press. OSLO WAS INFORMED In no uncertain terms the populace of Oslo was told of the popular importance of the Carl BrissonMary Ellis picture, “All the King’s Horses.” Here's one phase of the street exploitation in the Norwegian capital: and if that isn’t the Paramount trade mark over the picture’s title, there’s something wrong with our eyesight. RRILLIANT ITALIAN THEATRE FRONTS Exhibitors throughout Italy have used great initiative and enterprise in presenting “The Scarlet Empress” to their patrons. We reproduce herewith three typical theatre fronts, the theatres in question being the Augustus Theatre in Genoa, the Cinema San Carlo in Milan and the Ghersi Theatre in Turin. We heartily commend the fine work which these displays represent. HONG-KONG HIGHSPOT Pictured below and at the left is the magnificent Alhambra Theatre in Hong-Kong, China, on the occasion of showing “Cleopatra.” The exterior of the house was magnificently arrayed with news about the great picture, giving large slabs of space to the cast and to C. B. DeMille. In fact, a whole panel of this display is noted along the entire side of the house. By night the theatre has one of the most magnificent illuminating systems in the entire Orient, neon lights picking out the complete outline of the building.