In between each picture, there is a selection by the orchestra, or a song- a high class song by an artist with a high class voice. This is not only pleasing to the ear of the music lover, but helps, unknowingly, to rest the eye from the continual strain, for the occasional film-goer, of the flickering screen. This, then, is another piece of thoughtfulness that Mr. Rothapfel has devised for his patrons.
"What the people want is novelty," he continues, "and I try to give them a mixed and novel programme, but always keep the programme clean. I see every picture that is presented at my theater before it is produced, and if the current releases do not suit me, I prefer to repeat with some previous success." Among the other things that he insists upon are that the ushers shall dress in evening clothes, that the theater shall be scrupulously clean, that the lighting of the house and the control of the light shall be perfect. An electrician has this, and this only, to attend to."
The theater itself contains all orchestra and huge balcony. It is finished with lavish and at the same time unostentatious style. The orchestra where it will be partly hid, an operating booth on the orchestra floor, the best projecting screen that can be had, lots of attention paid to the subject of getting a clear, high-powered image, and a thousand and one other details that go to make a perfect picture among high class surroundings. Do you get the idea?
It is the old saying that "Fine feathers make fine birds." Take the picture by itself and it comes to us a little bare, a delight to the eye alone. Surround it by pretty finishings, beautiful decorations, and fine music, and the picture is raised to the same high plane as its surrounding, and not only the eye, but also the ear is pleased; two senses instead of one are entertained at one and the same time. But don't mistake. While these settings will enhance a fine picture, they won't conceal a poor product from the critical eye.
These are the means by which he has popularized the moving picture drama among the better educated people of the neighborhood in which he happens to be situated. But this applies also to the other houses in poorer localities, in proportion. Mr. Rothapfel is but the far-sighted pioneer in finished moving picture exhibiting, systematically managed. He points the way to better results and a better understanding with the people that see the pictures.
Mr. Rothapfel will soon take charge of the Strand Theater, Broadway, at what is said to be the highest salary ever paid to the manager of a theater of any kind. The new playhouse seats 3,200 on two floors, and the managing of a theater of this size devoted to photoplays will test his genius to a severe point. Different audiences must be catered to here on Broadway, and sure-fire methods must be used to keep a house of the Strand's size on a paying basis. Mr. Rothapfel's methods will be watched with interest; his success is hoped for by all who know the man or who have watched his interesting career.
Excerpted from Horace Fuld, "Exhibiting the Picture," The New York Dramatic Mirror, January 14, 1914, page 54.
(The original article also included an interview of similar length with exhibitor Dan L. Weaver. The Roxy interview is reprinted intact.)
© 1997, David Pierce, on editing and revisions (if any)
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