The Film Renter and Moving Picture News (Jan-Feb 1923)

9% WELL-DESERVED RECOGNITION. Presentation to Birmingham Directors. _ ECENTLY a pleasant and interesting presentation took place at the Midland Hotel, Birmingham, when the directors of the Coronet Cinema, Small Heath, invited two of their number, Messrs. W. H. Bull and H. B. Lane, to meet them at luncheon in order to make a presentation to each of them of a solid silver rose bowl in recognition of the additional services they had rendered whilst the Coronet was in course of construction. The chairman (Mr. H. H. Reynolds), in felicitous terms, handed the gifts to the recipients. Mr. W. Astley also joined with the other directors in a warm expression of opinion that the company and the structure had benefited considerably by the knowledge and ability of the two directors they were honouring. Mr. Bull and Mr. Lane suitably replied, and both gentlemen expressed their thanks and delight with the beautiful and very useful gift. One side of the bowl bore the following inscription’: ‘t Presented to William H. Bull, Esq. (or Heury B. Lane) by his co-directors for valuable services rendered . by him in the inauguration of the Coronet Cinema, Small Heath, Birmingham.” PRAISE FROM THE AUTHOR. [The following letter has been received by Mr. A. E. Coleby, the producer of ‘‘ The Prodigal Son,"’ from Sir Hall Caine.] Dear Mr. Coleby,—I gladly avail myself of this opportunity of adding to my former congratulations on your scenario of ‘‘ The Prodigal Son ’’ the expression of my gratitude for what seems to me to be the great excellence of its production. You have covered a wide and varied range of the comedy of life, but you seem to be equally at case and at home in all your scones. You set out to tell a human story that should touch the lives of millions, and you have never allowed yourself to be drawn off from it by the temptation to present merely spectacular scenes which are not of the essence of your theme. From the first moment to the last you have tried to speak to the heart of your audience, and I think you have greatly succeeded. In my humble and perhaps partial judgment, your work has the first qualities of true art--depth, naturalness and simplicity. I should like to thank your artistes also. Where all are so admirable it would ill become me to mention names. The truth and sincerity of their work are apparent and beyond my praise. If the public are moved to anything like the emotion I experienced, it will be because your artistes themselves were deeply moved before us. Your picture is a dong one, and it may be necessary to divide it into two parts. That will be better for it than to make any compression that might break the sequence and leave gaps which would perplex the spectators and thereby diminish the interest. I trust the innovation of presenting one picture in two parts may be found practical to the exhibitors and agreeable to the public. If the division is judiciously made, I feel sure it will be so. Finally, I thank you for the fidelity with which you have followed my book. Your picture is my story seen through a mirror. That your film will succeed in its first purpose of interesting, arresting, and moving its. audience I cannot doubt, but I am hoping that perhaps it may do even more. By your “‘ Prodigal Son ’’ you have given a‘new lease of life and a yet wider sphere of influence to the conscious moral of my book, which is that an evil act once done can never be undone, but also that however low a man may fall he is never lost until his soul is lost. In the present troubled condition of the’ world I ‘trust ‘this teaching may go far, and I shall be surprised if (in more ways than one), your work does not mect with a great response. Yours very truly, (Signed) Hani Carne. | THE FILM RENTER & MOVING PICTURE NEWS. February 3, 1923. TO HELP EXHIBITORS. _ Apathy of London Showmen. ONDON exhibitors have not shown any remarkable enthusiasm over Maurice Elvey’s offer to superintend, entirely free of charge, the musica! effects and speed of projection, etc., of ‘* Dick Turpin’s Ride to York,’’ which he produced for Stoll’s, and which he personally superintended at the trade show. Such apathy is lamentable and quite inexplicable. Here is one of the best known producers in the kingdom offering -his services entirely free of charge to ensure the presentation of a picture in the best possible way—and a producer certainly ought to know how to get every ounce of effect out of his own production—and it is, apparently, too much trouble for London exhibitors to write and accept his offer! Provincial exhibitors, it would seem, are much more alive to the advantages of co-operation with the man who made the picture fhey are showing. Mr. Elvey made it quite clear that his work would not permit of his travelling very far from London, but several wide-awake exhibitors in the provinces, while realising that they could not get him down in person to superintend, yet sought his advice by letter. One of the first of these exhibitors to write was Mr. Robert Freeman, of the Tower Picture Palace, Hull, and since Mr. Flvey’s reply may be of service to other exhibitors, we have pleasure in reproducing it. “Tt is, of course, a little difficult for me to advise you in writing,’ ho says. ‘‘ I see, however, that your principal interest is in the music which we used with very great effect at the trade show, and which is described in the exploitation pages dealing with this picture. This music is all written to cue, and is an exact replica of the conductor's music scenario. The most effective thing was the sudden entire pause in the orchestra at the places marked, and also the playing of a post horn, or trumpet, during the riding scenes. It was found advisable to play this fortissimo in all the scenes of Dick Turpin riding alone, and then when Black Bess dies, and the rest of the orchestra had stopped playing, the playing of the same trumpet call, very piano indeed, was very affecting. ‘* Regarding the running speed, from the time that the ride to York starts there is no reason why the whole film should not be run at top speed. You need not bo afraid that the quiet scenes which cut in with the ride will be ludicrously speeded up on account of this; these quiet cutting-in scenes were photographed at a slow pace in order that the whole film could be conveniently speeded up. I strongly advise coming down to normal speed, however, during the first wedding scene, the death of Black Bess, and the last 150 feet of the picture.’’ DE ROUGEMONT GOING STRONG, 66 WN THE FOOTSTEPS OF DE ROUGEMONT " made an immediate ‘‘ hit *? with exhibitors at the London trade show. W. A. Brewer, Gaumont’s general manager, is already forecasting that the picture will make more money than uny short interest picture previously offered by the Gaumont Co., Ltd. Most exhibitors who have booked the film are running it for a full week, and intend to make it a feature for the school children and approach the local education officers. The Gaumont publicity department is offering excellent exploitation service with the film. A really striking quad-crown poster in full colours will be available next week, lobby stills van be obtained on the usual terms, a good range of Press matter and stereo blocks has been prepared, and the company can also supply reprints of a fascinating article on De Rougemont and the film, written by Elliot Bailey, which appeared in the ‘* Wide World ‘Magazine.”* The Gaumont publicity department will quote for these reprints according to quantities required, but the prices will be arranged to allow for o resale to the public at a useful profit for the exhibitor.