Universal Weekly (1923-1925)

80 Universal Weekly Maech 29, 1924 FOURTH "LEATHER PUSHERS" WIN MOST UNUSUAL REPRESENTATION nrryRE FOURTH LEATHER PUSHERS" series of J_ two-reelers, based on H. C. Witwer's amusing prize fight stories, is proving to be the most popular of the four series of these pictures put out by Universal. A check-up of the bookings-to-date on this series of six pictures, which form the 19th to 24th of the long list of "Leather Pushers" made and released by Universal, shows that the last series is even surpassing the first in popularity and representation. They have been booked by big first run houses in practically every important city in the United States. Fred C. Quimby, short subjects sales manager for Universal, who is a newcomer to that organization, is astounded by the vogue of "The Leather Pushers." "I have never known a series of short subjects to receive such splendid representation in big first run theatres," he said, commenting upon the showings. "Out of about a hundred of the most important American cities, in which there are three or more big first run houses each, I find that 'The Fourth Leather Pushers' are playing in one of the first run houses in each city. "For instance, they were booked in the Rivoli and Rialto Theatres, New York City; in the Lubliner and Trinz circuit, and in the Asher circuit, Chicago; in the Ruben and Finkelstein circuit, Minneapolis; by the Saenger Amusement Co., New Orleans, and by Turner and Dahnken, San Francisco. RED-AND-BLACK 1-SHEET COMiNq/ STORMY SCiS • CTAKBINC ITOMMV One of the many eye-catching accessories devised by Universal's exploitation department for "The Storm Daughter." "To cite just a score of leading theatres among the hundred or so cities where 'The Fourth Leather I*ushers' are playing, I might mention the following: "Lyric Theatre, Indianapolis; Fox circuit, Washington, D. C; Terminal Theatre, Newark, N. J.; Temple Theatre, Toledo; Olympia Theatre, New Haven, Conn.; Rialto Theatre, Atlanta; Royal Theatre, Birmingham; Strand Theatre, Nashville, Rialto Theatre, Columbus, O.; Whitehouse, Milwaukee; Strand Theatre, Des Moines; Strand Theatre, Memphis; Victoria Theatre, Atlantic City; Strand Theatre, Lincoln, Neb.; Hippodrome, Cleveland; Victoria Theatre, Rochester; Palace Theatre, Buffalo; Pantages Theatre, Portland, Ore.; Old Mill Theatre, Dallas; Hippodrome, Ft. Worth, and the Princess Theatre, San Antonio. " 'The Fourth Leather Pushers' was made by Edward Laemmle, with Billy Sullivan in the starring role. Sullivan succeeded Reginald Denny, when the original 'Leather Pushers' was promoted to Jewel productions for Universal. Billy is proving equally as good in the two-fisted role. "No more 'Leather Pushers' are scheduled for production, but Universal now has under way a fast-moving series of two-reelers — 'Fast Steppers' — based on Gerald Beaumont's 'Information Kid,' stories, written aroxmd the race track. Billy Sullivan is being starred in this new series. The 'Fast Steppers' is expected to be a worthy successor to 'The Leather Pushers.' " •9 Fashion Show Aids Laemmle Month THE Columbia Theatre's special Laemmle Month augmented program is what Robert W. Bender, manager of the Columbia, Seattle, called the second feature program arranged for the theatre's Laemmle Month celebration. Hoot Gibson's "Hook and Ladder" was the feature of the theatre's feature program and the "augmented" came in when Manager Bender arranged with Madame Schultz Dittrich, Seattle's foremost modiste, to give the city's first Spring fashion show at the Columbia. M. H. Newman aided in putting over many of the following stunts : A preview for Seattle's fire chief and his officers proved to be a good advance publicity stunt for "Hook and Ladder," and pleased the firemen. They all liked Hoot and enjoyed the "smoke-eating" angles in the picture. The fashion show tie-up proved an excellent businessbooster for this time of the year. Advertised as the Columbia's 1924 Spring Fashion Revue, it presented seven beautiful models who displayed twenty smart Spring costumes. Two clever young dancers, the Richardson twins, six-year-olds, who have become famous along the Coast, did two novelty dancing acts during the fashion show interludes. Publicity of all sorts resulted from the fashion show. Pictures were planted in the daily papers. Feature writ ers w^ere secured to write stories about it. A reproduction of the $25,000 insurance policy covering the gowns while they were being shown at the Columbia was planted with the Seattle Times with an accompanying story. Word-ofmouth advertising — an important feature in an attraction that appeals to women — brought many patrons, judging from comments heard in the lobby. Moreover, the fashion show cost the theatre practically nothing, for Madame Dittrich furnished the models and costumes and printed the programs. The hats, shoes and smart accessories that accompanied the costumes were secured from a leading department store. Several good windows were secured to advertise the fashion show, and it was given a fair share of the theatre's newspaper advertising. At the same time, pictures and publicity on the Hoot Gibson attraction were effectively planted with the newspapers and the combination of "Hook and Ladder" and the fashion show had the whole town talking about Laemmle Month programs. An effective front featured cut-outs from the "Hook and Ladder" paper, and combined attractive stills from the feature picture and of the style show models. Theatre patrons agreed that the picture was great and that Gibson was a favorite star in Seattle.