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In form A MAGAZINE
= In fact
A SERVICE
are INDEPENDENT BRADSTREET REVIEWS OF oh OF FEATURE FILMDOM 4 FILMS Always Independent VOL. Il. THURSDAY, JUNE 1, 1916 No, 22 25 Cents a Copy
Issued Every Thursday
Published by Wid’s Films and Film Folk, Inc.;
$10.00 a Year
New Yo ie City.
Times Building g,
a Features Reviewd | THIS WEEK
Louise Lovely in ’ BOBBIE OF THE BALLET....... Bluebird ~ Walter McGrail and Leah Baird in
THE LIGHTS OF NEW YORK Vitagraph-V. L. S. E.
Bicidon Lewis in THE PURSUING VENGEANCE Unity-Sales—State Rights
“Blanche Sweet in THE THOUSAND DOLLAR HUSBAND F Lasky-Paramount
ia Stdele Farrington in
ie WHAT LOVE CAN DO....... Red Feather Bessie Barriscale in
_ THE SORROWS OF LOVE. .Ince-Triangle _ William Nigh and Marguerite Snow in
NOTORIOUS GALLAGHER or HIS Brel p meReAT TRIUMPH ...... Columbia-Metro Charlie Chaplin in
BEB RMEN .:..........., Essanay-V. L. S. E.
Nt eee Bs Essanay-General Dorothy Gish and Owen Moore in BUSAN ROCKS THE BOAT Fine Arts-Triangle
Douglas Fairbanks in
REGGIE MIXESIN...... Fine Arts-Triangle Howard Estabrook and Jean Sothern in
_ THE MYSTERIES OF MYRA
ae International Film Service Serial ay Ethel Clayton and Carlyle Blackwell in
e HIS BROTHER’S WIFE
Premo-Brady World Film
ixobert B. Mantell and Genevieve a in
THE SPIDER AND THE FLY....Fox Film
_Emma Thomsen in
THE END OF THE WORLD Great Northern—State Rights € “HOW BRITAIN PREPARED
Patriot Film—State Rights
~
A FRANK STATEMENT
Beginning issue | endeavor to in every some suggestion fas to the “best | methods of handling the advertising on each fea
Ere: | 1 will try to’ re| port on each sub| ject from two angles. One will | be from the technical angle, because of the fact that I have hundreds of subscribers among the producers and directors who are very much interested in the technical side. The other angle will be that of the exhibitor who wants to know whether it is possible to play a film successfully even though it might be bad technically.
I sincerely believe that I can do this successfully because I certainly know both view points and I hope to be able to give constructive criticisms from the technical side and intelligent advice from the exhibitors’ side.
I have always believed that it is bad business to play a poor picture even though it may be a money maker, because every poor picture which is shown hurts the prestige of the theatre which plays it.
with
will give review,
this
‘With this issue “Wid’s” becomes strictly technical. I am now writing only for the trade.
I believe that the business needs at least one publication which will tell frankly and freely the truth about features.
As I have explained in the past I am keeping “Wid’s” strictly independent’ and to date I have not made any money. The fact, however,