Publix Opinion (Nov 10, 1928)

PUBLIX OPINION, WEEK OF NOVEMBER 10ra, 1928 5 ‘HEATRE MEN CONFOUND “USELESS FILM CRITICS” | Under the front page streamer sunt healline of “USELESS FILM RITICS,” the last issue of Variety reports the results of a meetg between film reviewers on New York daily papers-and theatre en in which the critics apparently came out second best. Their iswers to certain questions put them by theatre managers seemed | Suggest much indifference but little knowledge, the main idea, , gathered from evasive answers, being “to get away with it.” q Says Variety: _At a talk-fest where film re.@wers on the New York daily “wspapers were interrogated by group of theatre men on the ethods applied in reviewing picures, admissions were obtained ,owing that few of the reviewers re aware of the principles of -eture criticism, that reviews, ither good or bad, exerted a comiratively slight influence on at\ndance and that pictures which id been unfavorably received by -e eritics had often broken box ‘fice records. -In other words, they didn’t apxar to know what it is all about. Another group of theatre men, so with the idea of showing eatre managers how little picire reviewers on daily newsapers know about films, or the ‘anner in which pictures should 3 fairly judged, recently proposed similar meeting, based on the x3gults obtained the first time. hey temporarily side-tracked the lan on account of possible reiliation from the critics if ofpanded. yl NOTE THIS! Regardless of the competence or incompetence of the newspaper folk who review ' your shows, one fact is out' standing, and agreed upon by everyone. _ That is the positive neces‘sity for the showman to make available to the newspaperman with the least possible effort by the newspa“perman, all possible information about your show. A recent issue, ‘Publix Opinion” told you about is, suing a weekly ‘“Advance: Dope Sheet for Critics,’ con. taining skeletonized facts of your complete show. These facts will rarely be disregarded by any newspaperInvariably they want “Advance-dope sheets” are being successfuly used in many Publix Theares, as the result of ‘Publix Opinion’s” suggestion. If you’re not issuing one in multiple form for the convenience of your newspapermen, you’re passing up,your best bet for fair-minded reviews obtained at minimum ffort by you. The sheet can ontain many intimate facts -& program or trailer doesn't owmen disagree with the erage reviewer’s contention that hepersonal viewpoint should aracterize a picture notice. hi ere is also an impression in the ow business that reviewers sically opposed to motion picres as a form of entertainment, is in the case of a reviewer who aid that “His express viewpoint vill always be dominated by a estless discontent with nearly all ietures,’ are not the type of ‘eople who should be permitted to onvey their conceptions to the eading public. On the first occasion the plan or a meeting between critics and nanagers was proposed mainly in .n endeavor to inform theatre nen throughout the country not © accept a critic’s verdict, either vay, seriously. _ The critics were inveigled by dyeing told that the showmen were jarticularly anxious to hear what ‘hey had to say on the subject of showmanship, each reviewer being siven the same line. Though the rities’ lecturers were not aware of it they were subjected to a juestionnaire which had been irawn up in aaveare and the ques =. : tions were submitted according to the numerical order on the papers held by the managers. Questions submitted the following: 1.—To what extent do you believe attendance is affected by your reviews? Ans.—Very little. 2.—Does it ever happen that a pieture unfavorably reviewed proves to be an outstanding success at the box office? Ans.—Quite often. 3.—To what can this be attrib-uted, indifference, bad judgment or ignorance of the principles of show business? Answers on this point were not quite definite but the general idea the critics seemed to hold was that “To err is human, to get away with it divine.” A number of the questions asked were prompted by the ideas of some picture reviewers refative to the basis on which films should be judged. The contention among showmen is that a picture cannot be subjected to the same forms of criticism as a stage play; that all the included writer is called upon to do is re-. view and report rather than criticize. The critics who appeared before the managers were asked if they knew what the newspaper’s primary purpose was in carrying film reviews. No two answers were alike and not one was correct. Another query submitted was: “What principles of judgment do you apply?” Most of the reviewers answered they judged by the histrionic ability of the actors as one basis. In the opinion of showmen each film star is a personality not necessarily equipped with the ability to play numerous parts. It is believed, also, that a star has a following that wants to see him, or her, in a certain role. Stars are expected to be themselves, or rather, what they pretend to be in their screen personalities. Stars who assume various poses are not as assured of their drawing power as those who play types. “Influence” Question No. 4 was: ‘‘Are the contents of your reviews deter mined by any newspaper influence, except your opinion?”’ Some of the reviewers admitted that their reviews were not entirely dependent upon their personal opinions though not necessarily implying that advertising had any’ connection. Question No. 7 was: “What cooperation is given reviewers by producers, distributors or theatre managers in advance of a showing?’’ This implied ‘“‘co-operation”’ in the sense of personal gifts, dinners and other conveniences and was purposely misunderstood, with all the answers somewhat cloudy. One of the reviewers said something about getting press sheets. Considered a draw. ' Following the interviews the Managers summed up among themselves and passed judgment to the effect that few of the reviewers were judging pictures in relation to entertainment value; that very few of the reviewers knew what entertainment value was or if it was necessary for a picture to be successful and that too much attention is given to minor defects in production, especially since these cannot be corrected after a picture is released. To All Department Heads PUBLIX OPINION, the official publication for your theatre circuit, wants to serve your department, if you wish. If you will dictate a weekly letter, containing highlights and notes on matters within your jurisdiction, which you think might obtain more satisfactory results if ultimate contacts were familiar with same, we would be glad to print it. We do not want criticism, or facetious or frivolous matter. And very little personal news or opinions. as they are. Address your letter to PUBLIX OPINION, Room 802, Para mount Building. The paper is now issued every two weeks, but if we can get sustained contributor-interest sought by Mr. Katz, it will be printed weekly. day for copy. WEDNESDAY is dead-line Why not an official news-letter ‘tveekly from every home office Department head and every division and district? TO THE MANAGER: Dear Sir:— = = = = = = : = = = = = Timekeeper—Mr. L. J. Ludwig Umpire—Mr. David J. Chatkin Referee—Mr. Austin Keough HOME TEAM LINE-UP business that exists in school now and for all time to come. SUMLAIIMARI A ATA PENALTIES: Box-office losses; Holding-back: Advertising. Offside—organization criticism to strangers. FAIR CATCH: Taking advantage of oppositions’ mistakes. If we can put the same spirit and enthusiasm into our = Exploitation ..........L.E, = Service ...........-.-L.T. om Wmmeioney Soe ea ies L.G. = Gross Receipts ........... c: me TOCOROM Ys Fs oh ee aes R.G. = Showmanship .......... Ue = Co-operation........... R.E. ee Initiative: 5 20's. vse eth Q.B. = Aggressiveness ....... R.H.B. oe A MPDINION. 66 ic 5 ste oo L.H.B. = Accomplishment ....... F.B. = Utility players........ sound 2 projection; balanced program ~ = RULES: Play the game on the level; = =. carefully planned; = field. —The Editor THE KICKOFF TO SUCCESS! In keeping with the football season which is rapidly nearing its peak interest, I want to call your attention to advertising possibilities of tying up the season with your business and the following may serve as a suggestion: COLLEGE OF THEATRICAL SCIENCE PUBLIX—GRID IRON SAM KATZ, Dean Head Linesman—-Mr. Sam Dembow, Jr. Coach—Mr. J. J. Fitzgibbons OPPONENTS j PA |i BRS eee Sanaa Poor Music BS bak ae es Stage Waits L.G... ..-Poor Advertising ei ea aie Dalecece a whe Lax Service » oe ¢ Sa eperee Improper Service R.T.......Detail Carelessness R.E.. .Poor Lighting Q.B.. “Last Minute Plannnig R.H.B.. ... Poor Projection Lie Bee .Dirty House WO Bis. sea “Smart Opposition Utility players. .lack of sound supervisional distinterest every play a. box-office gain, every kick, constructive eriticism. Every rush every promotion—a goal from and college football by syn ehronized organization of purpose with the indomitable spirit to WIN, the goal will be crossed with comparative ease and the fruits of reward that come from being hailed as Champions will compensate that little extra push that is needed and will enable PUBLIX to hold the Worid-Champion Theatrical Banner The signals have been called; the Publix Organization is cheering; play the game to win! Yours for a Championship Season, R. M. STERNBURG District Manager of New England Division OUR THEATRE IN PARIS Crowds being turned away from Paramount theatre in Paris when Emil Jannings’ “Last Command” was presented. This picture broke all records at the Paramount Theatre. We want facts INNO TARTU Sul NNN SHOW BUSINESS SURVEY INNEW ENCYCLOPEDIA The new edition of the Encyclopedia Britannica to be issued in 1929, the first complete revision of the reference work in 18 years, will attempt to give a complete survey, resumé and summary of the show business during the past two decades, This period has witnessed a startling revolution in the realm of show business. Among the humerous subjects now. being studied and classified by the editors are the rise of motion pic "= |tures, the decline of the dramatic “road,”"’ the hey-dey of big time and its subsequent passing, the springing up of mammoth picture palaces, growth of censorship, the radio mushroom, little theatres, palatial public ball rooms, the revolution in popular music and finally talking pictures. The full story of the ‘‘talkies’’ will be written just before going to press because of the embryonic condition of this industry and the possibility of overnight developments and changes. The Encyclopedia is said to have made an effort to enlist the services of the most distinguished luminaries in the various branches of the show business treated. Some of the papers reported as completed and their subject matters are: Motion Pictures—Introduction, R. F. Woodhull; Sets, Sedgwick Gibbons; Production, Jesse Lasky, Terry. Ramsaye; Direction, Cecil B. DeMille; Acting, Milton Sills; Make-Up, Lon Chaney; Universal Language of Motion Pictures, Lillian Gish; Technique of Talking Picture, A. N. Goldsmith (R.C.A.) Modern Drama — Tendencies, Kenneth McGowan; Production, (theory and forecast), Robert Edmond Jones; Drama in U.S.A., George Jean Nathan; Costume Design, Ernest De Weerth; Cosmeties, Otis Skinner; Little Theatres, Edith Isaaca; Colour Music, Claude Bragdon; Stage Designing, Lee Simonson; Stage Lighting, 8S. L. Rothafel, (Roxy); Direction and Acting, Max Reinhardt, Constantin Stanislawsky; Marionettes, Helen Haiman Joseph; Masks, W. T. Benda; Ballet and Pantomine, Harold Kroutzberg. Theatre Architecture—General, Norman Bel Geddes; History, Sheldon Cheney; Modernism, Joseph Urban, Howard Crane. “CLARA BOW STOMP” ATLANTA’S NEW DANCE FAD New York may claim the lion’s share where new dances emanate but Hollywood is the home of the latest creation known as _ the “Clara Bow Stomp.” It is said that Miss Bow originated this new dance during the filming of ‘“‘The Fleet’s In” the current picture playing at the Sree Howard Theatre, Atlanta, a. Jack Chalman, publicity manager at the Howard made arrangements with one of the local papers to publish the ten poses of Miss Bow illustrating the various steps of the new dance. Publishing one pose daily for ten days would perhaps create more reader interest than publishing all ten poses in one issue, Due to close booking, Chalman was confronted with doing the best he could, the result being all ten poses were shown in one issue, Captions underneath the poses explained the various steps and also informed the public that this new dance was originated by the popular red-headed star during the filming of “The Fleet’s In” play playing at the Publix Howard.