Paramount Pep (1923)

Paramount Pep 7 “Exploitin’ ” By Bam John McConville, Boston, had the police and Mayor of Lawrence, Mass., all “het up” when he sent them letters from the Bean City signed Huck Kant, Private Detective, warning them of a gang of crooks headed by Boston Blackie, Peter The Red, and a fake Russian count who intended to “pull a big job” in their city. “If you see or hear anything of the ‘Face in The Fog,’ that’s the clew — watch out” was “Huck’s” closing admonition. Plain clothes men and all the cops were looking for the Face. Followed by clever ads tying up to the letters, publicity, and finally an invitation to the force to see the Paramount Picture, John’s ingenuity resulted in S.R.O. at the Palace Theatre. Then to show them that the very next picture could be as successfully exploited he arranged a “Newlyweds Night” for “The Impossible Mrs. Bellew,” using special ads and letters directed to all who had secured licenses for the last two months. The newspapers cooperated and again the Palace turned ’em away. Rick Ricketson, Denver, created front page publicity for theatres all over his territory, playing “The Young Diana.” Articles appeared signed “The Young Diana” wherein Christmas shopping hints were given to readers as a result of this “young lady’s” visits to local stores and interviews with merchants. Oscar Kantner worked on “Knighthood” for the Missouri, the F-P-L house in St. Louis, smashing all attendance records for 1922. It was the opinion of everyone that the KantnerHerschel Stuart campaign was of wider and more varied scope than any that has ever been put on for a picture or theatrical attraction in the history of St. Louis. Included in the big exploitation was a gigantic tie-up with the U. S. Marines. Special paper was printed for this. The slogan was : “Not since ‘KNIGHTHOOD WAS IN FLOWER' has the young man of America been afforded greater opportunity than is offered him in the (J. S. Marines.” Besides other locations, 300 special recruiting boards carried this. Kenneth Renaud, Salt Lake City, claims the most costly merchandise display ever used in a store window tying up with a Paramount Picture. It was for “Pink Gods” at the store of Boyd-Park, Salt Lake, and the value of the diamonds displayed, including replicas of noted gems which aroused considerable discussion, was well over $100,000. The Paramount-Empress Theatre was the “beneficiary.” Eli Orowitz, Philadelphia, is worth $250 per engagement to at least one exhibitor we know who aereed to pav th\s m",,h more for each of four pictures provided Eli exploited them. Did he? He did! Tell this to the few remaining exffibs who are not “sold” on exploitation. Eli will give name of the $250 one on request. A Studio Eye View ( Continued from 2nd Page ) every succeeding town has only strengthened the impression created in the one left. Chicago is a bit crowded now — but wait till they get their new place! Those boys just live Paramount, they literally absorbed coast information “blotter-fashion,” crazy for it as additional background for their selling: — O. W. Bolle, somewhat lean, but not when it comes to a contract price ; H. S. Maning, H. A. O'Brien — they’re just a sample of the gang who have made the Windy City blow profits into the coffers of Paramount exhibitors. Detroit has a big and busy office where among others you find salesmen H. W. Collins, R. H. Ramsay, C. B. Planck, men who differ from slim to stout, jolly to .serious — but men who outsell every competition in their zones ! Sat in on a sales meeting headed by Manager Given and later joined by Division Manager George Weeks. After hearing that discussion, now I can see why already the field is showing a big increase on the "39” over the “41.” “Pep” and “Paramount Pride.” Detroit saw my firs/t Pep Club meeting. When any other company can show the “one for all and all for one” spirit here exhibited, then and not before will Famous Player.sLasky need to fear real competition. Ed Kempner, Ray Powers, Brooks, Brink — part of the Buffalo gang with the shined shoes, neat clothing, courteous bearing and carefully modulated voices characteristic of S. R. Kent — trained salesmen wherever you find them. Was in an office where a competing salesman was finishing a sale. He used “them” as “them things” three times in ten minutes. He did not get the contract. We sell that house! “Paramount Pride” is just like wireless waves. It hits everyone. If my experience is a criterion “Paramount Pride” has created a race of stenographers who just can’t misspell. Y’see a misspelled word might mean a lost contract and it just isn’t being done. Exploiteers? “The price is too high!” wails an exhibitor. “It’s not too high if you let your public know what you have,” says the Exploiteer. In show-windows, billboards, newspapers, everywhere the Paramount trade mark looms at you. Ken Renaud, Salt Lake, Johnny Kennebeck, Omaha; Bill Danziger, Chicago; Walt Lindlar, Detroit ; Harry Royster, Buffalo; just a sample of go-getters in a field where Paramount outclasses everyone. These I have mentioned are not the managers ; they’re the “hired help,” some film companies would say. I call ’em my relatives of the Paramount family. And you boys and girls who don’t know it — it’s SOME FAMILY! Adolph Zukor, Jesse L. Lasky, S. R. Kent and Cecil B. De Mille head it — but their success wouldn’t be possible if they weren’t backed, not by a “machine,” but a “family.”