Sound and the Depression significantly changed the way theaters presented movies. Warner Bros. initially viewed sound as a way of eliminating live orchestral accompaniment of features and stage acts in the theater. Its effort was successful, and by 1930 most theaters showed only filmed entertainment. In effect, creative control of programming had at last been taken entirely out of the hands of local theater managers, who received their entire shows in the form of films.
The Depression cut short the age of the movie palace. Many theaters no longer could afford ushers to show patrons to their seats. Managers also needed to bring in extra income, and so they offered candy, popcorn, and beverages in the lobbies. Since many moviegoers had little to spend on entertainment, exhibitors resorted to playing double and even triple features, in addition to the usual short films. The second film was often a cheap B picture, but it gave the moviegoer the impression of getting twice as much. Just as important, the double feature had an intermission during which the spectator could buy refreshments.
Managers also lured patrons with giveaways. There might be a drawing for a door prize, or a souvenir pillow might come with every ticket. Most effective were “dish nights,” when each ticket came with a piece of chinaware (purchased in bulk by the theater). Families were thus encouraged to attend weekly to collect the whole set of crockery.
As attendance expanded during World War II, some of these incentives declined. B-film production was less important, but the double feature remained, as did the concession stand. Many big movie houses had deteriorated during the Depression, but they were still ready to accommodate the renewed crowds of moviegoers.
10.2 A lightweight boom aims a small microphone directly at the actors during production of Lloyd Bacon’s San Quentin (1937).
World History
