The first aim of the city boosters and Chambers of Commerce is to get the public to visit their communities. How, then, can this be accomplished? The usual way is by distributing attractive literature setting forth everything calculated to “lure” the visitor, but, in the majority of cases, the efforts of the publicity man fail to have the desired effect. “It is all very well of you to inform me of the advantages of your city or pleasure resort,” the man in the street might say, “but how on earth am I to know whether it was not written by somebody with a tendency to exaggerate? Again, I have to picture things before my eyes from cold print. Why not, therefore, have this done for me?”
It is for this precise purpose that the motion picture has made itself conspicuous as an advertising medium—one differing from all others.
An exemplification of what can be done came to the limelight when the Western Michigan Development Bureau had a series of films, comprising three reels altogether, taken to boost western and northern Michigan. The principal features of the pictures were the scenes of such prosperous towns as Grand Rapids, Muskegon, Petoskey, Cadillac, Manistee, Frankfort and Charlevoix. These show the industrial buildings, shipping industry by lake and rail, public parks, commercial and residential portions and recreation resorts. Additionally, the rapid development of western and northern Michigan was covered, as also were the excellent roads, fertile agricultural lands recommended to prospective homesteaders, fruit orchards, and the various industries.
Among other towns to employ motion pictures in a similar way may be mentioned Pittsburgh and Santa Barbara. The latter distinguished itself at the San Francisco Exposition by arranging a forty-minute show at intervals during the day. A lecturer heightened the interest in the films. The exhibit covered a floor space of four thousand feet.
The St. Louis municipal authorities made use of a motion picture several months ago to educate ignorant foreigners and their offspring to know the main features of their city in particular, and America in general. These American citizens in the making are now able to say a good word for their home town when called upon. The film was exhibited free in suitable places, like a Catholic church, police station, Jewish synagogue and a public school. On the first evening over two thousand children, of Italian, German, Greek, Irish and Russian parents, were present, along with their guardians. The picture depicted scenes of St. Louis, New York Zoo and American industries.
Because America can learn from England is my reason for citing the case of Blackpool, which is the Coney Island of Europe. In this case a photoplay was employed, a comedy of fifteen hundred feet, to be exact. A glance at the synopsis below will reveal its mirth-provoking possibilities. I was not able to see the film, so present the version gotten out by the advertising manager.
The plot is laid by August and September, the famous clowns of the Blackpool Tower Circus, inviting their old uncle and aunt to see the sights of Blackpool.
The scene opens at Talbot Road Station, where the elderly relatives are cordially welcomed and escorted to the Promenade and Sands. Donkey-riding, paddling and sea-bathing are indulged in, and the party then visits the Central Pier, where the delights of roller-skating and open-air dancing are enjoyed, to the accompaniment of many ludicrous and side-splitting situations.
Then follows the tour of the Pleasure Beach. Here we see aunt and uncle the victims of many thrilling, exciting and amusing adventures—joy rides on the Velvet Coaster and Scenic Railway, a trip on the Witching Waves, the descent of the Water Chute, and many other similar episodes, lead up to the ascent of the famous Blackpool Tower, which may be described as the outstanding feature of the film.
Other incidents follow, and the picture finally winds up with a screamingly funny Golf Tournament, in which the whole of the characters take part.
It is the custom to offer exhibitors a fee for showing an advertising film, but in this instance the picture was meritable enough as a comedy to offer a theater in each town the exclusive rights for a special price. The example of “Fun on the Sands at Blackpool”—for that was the attractive title—may be followed when you wish to boost some rural or seaside retreat.
Another point in favor of motion-picture advertising is that, if done on the right lines, a film does not appear to be an ad. Motion-picture fans—and there are twenty million of them in this country—have become so accustomed to seeing scenics and educationals that they would not realize the true object of city boosters and Chambers of Commerce. This is a considerable advantage, for folks are likely to evince more interest in a picture.