Publix Opinion (Aug 1, 1930)

2 START SELLING ‘MONTE CARLO’, |Atianta Manager Pe Se A Ley te mein Tn) hi . PUBLIX OPINION, WEEK OF AUGUST ist, 1930 LUBITSCH HIT, NOW—MR. KATZ Following receipt of a telegram from Mr. Lasky, describing the tremendous enthusiasm with which “Monte Carlo” was received by a representative audience at a Hollywood preview, Mr. Katz has ordered Publix showmen to begin intensive free publicity campaigns immediately for this super-production by Ernst Lubitsch. Jack Buchanan, matinee idol and popular hero of the Broadway musical success, “W. ake Up and Dream,” and Jeanette MacDonald, lovely heroine _who needs no introduction to Paramount audiences, are the stars of this lavish romance of Europe’s gayest, liveliest resort. “Bifteen hundred people roared with laughter, applauded repeatedly and joined in an enthusiastic demonstration at the conclusion of the preview, according to the wirewhich I received from Mr. Lasky,” said Mr. Katz. “The telegram stated that all classes of theatregoers were represented in the audience, and that they were unanimous in their appreciation of the picture’s spirit of comedy, its freshness of dialogue, the new technique and brilliant direction of Lubitsch, and the splendid performance of Buchanan and Miss MacDonald. ‘ “TJ want every individual in Publix to start telling the world that ‘Monte Carlo’ is coming. Mr. Lasky says that the production sets a new mark for the industry and it is up to us to use it as ma ‘terial for new high grosses at the box-office.” Box-Office Picture Lubitsch, celebrated for the lavish, extravagantly brilliant beauty of his productions, has made a fine, down-to-earth, boxoffice picture in ‘Monte Carlo,’ and it must be sold as such. It has a more wide-spread appeal than any screen musical show ever produced. It is focussed on the sense of humor of the masses. The locale is one of the most fascinating in the world—Monte Carlo, the pigmy principality, with its gay life, gaming tables and romantic atmosphere. Burope’s hottest hot-spot! The story is a zestful one, and the sparkling dialogue builds laughter to hysteria. Jack Buchanan, always the idol of London, has a_ personality which captivated hard-boiled New York in such stage successes as “‘Charlot’s Revue,” “Battling Butler” and ‘‘Wake Up and Dream.” His fan mail is full of feminine handwriting. His sense of comedy and his ability to sell a song, combined with his attractive appearance, makes him an ideal hero. Sure-Fire Hit Songs The same balance which has been preserved in the screening of the picture, offsetting colorful romance with rib-tickling comedy, has prevailed in arrangement of its music. There are SIX popular songs—some with comedy lyrics, others romantic, and only three brief, melodious operatic numbers. Leo Robin, who wrote the lyrics, was responsible for the words of “Hallelujah,’ “True Blue Lou’ and other popular hits. Don’t sell “Monte Carlo” as a musical show. Sell it as a comedy smash, with more laughs than there are dollars in the famous bank of Monte Carlo. Play up “love under the warm Riviera | moon.” Gambling in _ hearts, _ lilting love melodies, gay adven ture in the playground of the rich. And start selling it now! PLUGS NEW PLANT Elaborate campaign executed by Manager George D. Bickford told citizens of Rock Island that a $50,000 cooling plant had been installed at the Fort Theatre. Front banners, heralds from a plane, and a fur-coated-usher ballyhoo were used. Day plant began operation, full page of co-op ads broke in a newspaper, with accompanying publicity. f Ballyhoos Bow Picture With ‘Boat’ on Wheels Ballyhoo of Manager Monte Hance of the Saenger, Biloxi, on “True to the Navy,’’ was a “‘boat”’ on wheels. Car built up fore and aft to simulate a boat. Regulation fog horn and pilot’s bell, promoted for passes, were used on the car, Cost $7.50 for two days. Members of Coast Guard were invited to see picture, and at 7:30 P. M. marched from city hall to theatre, in uniform, led by the “boat.” Aids Foreign Department An excellent example of the inter-departmental co-operation in Paramount Publix was furnished 4when the foreign distribution de partment was recently aided through. the efforts of W. C. Patterson, manager of the Paramount, Atlanta, Ga. The occasion was the visit of 200 South American school teachers to that city, and the subsequent theatre party held in honor of these foieign guests, through the sponsorship of the local Chamber of Commerce, the Gcvernor and Mayor. In referring to the party, Patterson said, “I felt that while we would get some good-will from our local Chamber of Commerce, the distributing department might receive good-will in Cuba and other South American countries because of the Paramount Theatre-Paramount courtesy and a Paramount picture.’ <A letter of sincere gratitude was received by the theatre from the Cuban consulate for the kindness and courtesy extended. : BLAIR AT SEATTLE All future mail for Robert Blair, District Manager in Portland and Seattle should be addressed to the Seattle Paramount Theatre, Seattle, Washington, as the district headquarters have been moved from Portland to Seattle. : “AVALON NEWS” Manager Jerome Zigmond of the Avalon Theatre, Grand Junction, Colo., issues a four page sheet called the ‘‘Avalon News” giving odds and ends about pictures, stars, etc.’ Back page advertisments cover the cost. SPE-EE-( IF MR. KATZ called upon you to speak before the as sembled convention of all Paramount Publix — WHAT TOPIC would you choose? What would you say? You’d feel justly honored and you’d do a noble job : MR. KATZ INVITES and directs you NOW to make that speech! ON ANY TOPIC THAT will justify in value the time of such an audience. THE AUDIENCE OF READERS of Publix Opinion is exactly the same as would be assembled in a con vention—and ‘the value of your speech would be the same. IF YOU HAVE A MESSAGE that is of value, utter it in Publix Opinion — now — and as often as you wish! That’s what the paper is for. MR. KATZ CALLS UPON YOU FOR | A SPEECH! ' Ni ine |i ais Cali ie iat i's, ss FAVOR OF PUBLIC TS ESSENTIAL SAYS KEOUGH (Continued from Page One) public business. The public is our real boss. They have put up the money for our enterprises and we are, in a sense, actually working for them. Consequently, no theatre manager dare offend the public taste, no actor dare insult his public or bore them, no publicity director dare belittle its intelligence. Our theatres should always be on parade before the public, with their best foot forward, like a crack regiment in review before its superior officers. Jor, as in’the case of the military example, our promotion comes from them. If we please them we succeed, if we don’t we fail. “Failure to properly earn the good will of the community is particularly brought home to us in the legal department. Innumerable suits would never have been instigated, if the proper amicable relationship had existed between the Publix theatre in that community and its public. Highhanded methods by managers in dealing with the public, particularly in the case of eviction of objectionable patrons, keep us in hot water. Numerous accident suits would never have taken place if managers, having the safety of the public at heart, had rigorously and constantly taken the necessary precautionary measures in keeping their houses in safe repair. “So, with very few exceptions, nearly every Iaw suit or confining piece of legislation involving the public, might have been avoided if the proper emphasis had been placed upon the high value of public good will. “We are in the amusement business. Our mission is to entertain, to make people happy. We, less than any other business, can afford to antagonize the public. We, more than any other industry, must have the public on our side. If every theatre and advertising manager would conduct his daily contact with the public in the same manner as though he were putting on a special show for Messrs. Katz, Dembow, Chatkin, Botsford, Saal and other Home Office executives, I am certain that the good will enjoyed by Publix theatres would be immeasurably increased in every community.” MANPOWER IS AT FAULT IN ‘STAGE-WAIT (Continued from Page One) hearsals, extra equipment, etc., are designed to prevent just such mishaps. There is always the possibility of running.up the organ to fill the void, or bringing a lobby entertainer on: the stage, or of starting a community song fest if the delay promises to be a long one, or of giving a non-sync concert where all else is impossible. Such measures must be adopted, however, only when power or equipment fails. A stage-wait in the course of a smoothly running program usually méans that somewhere along the line manpower has fallen down. “The responsibility for a delay of this sort,’”’ Mr. Katz stated, ‘‘can rest with no one but the manager. He must make sure: that every program is perfectly planned as to time and that all men know their cues whether projectionists, organists, or stage musicians. He must witness the performance in rehearsal and be satisfied that everything is in smootk running order. And he must be on the job every minute of the time, so that should an emergency occur, he can fill the breach immediately.”