Camera - April 14, 1923 to February 16, 1924 (April 1923-February 1924)

Page Eight "The Digest of the Motion Picture Industry" CAMERA ! THE SILENT TREND Composite of Views, Previews, and Reviews of Motion Picture. "The Covered Wagon" as it finally comes to the picture-going public of Southern California in the midst of the alluring environments of Grauman's Hollywood Egyptian Theatre, is a superb cinema achievement worthy of the highest encomiums. Slight imperfections, chiefly in the assembling, have been eliminated since its premiere showing here several weeks ago and. as the picture stands now, it is well-nigh the maximum in true art. Los Angeles critics seem to agree that Ernest Torrence takes the top honors although Tully Marshall is given credit generally for offering one of the most brilliant performances the screen has had in some time. J. Warren Kerrigan as the hero and Alan Hale as the villain have also registered personal triumphs while Lois Wilson does some of her best work as the heroine. James Cruze is entitled to much praise for the directorial genius he displays. All in all, "The Covered Wagon" constitutes another history-making high mark in screen history and there is every reason to believe it will stay in Hollywood prosperously for several months. Although there is plenty of room in which to take exception to some of the revelations" in "Souls For Sale," Rupert Hughes is given credit for the creation of a motion picture sensation — one which is pretty sure to attract throngs to any theatre any place. With a total of twenty -five principal characters in the hands of twenty-five wellknown photoplayers, it would seem Mr. Hughes put himself to the disadvantage of an unwieldy cast, but close scrutiny of the results of his assemblage of talent reveals Hares of masterly handling and consummate skill in dove-tailing characterizations so as to prevent the confusion to be expected. By all means, "Souls For Sale" is a picture for the audience— it will ingratiate itself with most any class of people. It is replete with class and it is devoid of serious faults. It is an eloquent example of the tendency of the times. That tendency is to reach out and do something different. "Success" is a daring title for a photoplay inasmuch as it gives the punsters too wide a latitude in which to poke fun in case the picture does not live up to its name. This one made by Metro is blessed with enough commendable qualities to keep it quite out of the class of the unsuccessful and it is in reality exceedingly interesting, because it neither sags or drags and in it is unfolded an intriguing story of stage life. Suspenseful moments abound after the picture gets away to a slow start and no one is liable to walk out before the word "Finis" is projected. Ralph Ince directed this picture and did a very good job of it, all things considered. Brandon Tynan and Naomi Childers, to whom are intrusted the two principal roles, do excellent work and add interest to the feature by virtue of their intelligent interpretations of two interesting characters. "Success" is especially suitable for neighborhood theatres. "Slippy McGee" slips into the going with something of a pleasing rush and it is destined to return a fair profit because it offers a new twist or two which lift it out of the rut of the common-place. It is rather unfortunate that there should be so much of the hackneyed in some of the situations in TEXDEXCIES TERSELY TOLD Bri'ish-made films are coming into the I'nitrd Sdilc.s in increasing numbers nist note and although the quality excels that attained by the Britons fire years ago. the general loncensus of opinion among Xew York critics seems to be that the American standard is still untouched by Several notches. The British idea of the cinema seems to be too stifled by old traditions of the London stage. Therefore, there is no trend toward serious competition for American producers from English sources. Reference to tin soul is unusually common among current photoplays. Rupert Hughes' ''Souls For Sale" mid Thomas H. Ince's "Soul of the Beast" are only starters of a list of about a dozen ucie pictures in ichich "soul" creeps into the titles. Although then is a decided inclination on tlw part of most producers to do something different in the nay of producing pietur.es, still they seem hog-tied by a reluctance no doubt inspired by the men whose responsibility it is to sell the pictures to the exhibitors. These salesmen shudder at the mere suggestion of trying to sell exhibitors something unlike they hare bet u accustomed to buying. Could this meqjis that fogyism grapples with the exhibitorst And how could they possibly fail to realize that the public literally era res sunn thing different.' There is still a determination in some quarters to make a reality of practical talking movies. Elias E. Ries. a Xcw York electrical engineer, is the latest inventor to get into the limelight with an alleged perfection of a device making possible the utterance of words as the motion picture is being projected. But why all this seeking to obliterate the silent drama ' It is more than likely that a vast majority of the "fans" would prefer a continuance of the omission of spoken words from screen entertainments. If they want the spoken drama, there is plenty of it to be had in the legitimate theatres. Adolph Zukor and Jesse L. Lusky deny the trust charges preferred against them by the Federal Trade Com mission, although they admit the acquisition of additional theatres. We bore no opinion whatever as to the merits of this case, but we do commend the Federal Trade Commission for being so active in efforts to restrain monopolistic tendencies in the motion picture business. A trust is something which simply must not infest Filmland. The fruits of film-making labors continue to come in pairs. Simultaneously with the release of "The Girl Next Door" comes the Victor Schertzinger production of "The Man Xext Door." Guess we will have to call tin in neighbors. this film, because if this occasional element could have been avoided, the whole story would have come under the wire as a novelty. As it is, it's only half novel. Wheeler Oakman and Colleen Moore carry the bulk of the responsibilities of the story although Sam De Grasse and Edmund Stevens handle their roles with artistic finesse. Wesley I Buggies directed with a great deal of ability, but overlooked some good points. However, for a crook story with a sufficiency of human interest, "Slippy McGee" sizes up well and with its memorable dramatic climax it is hound to send a good percentage of any audience away talking favorably. "Foreign production is now at a rather low ebb, in great contrast to the activity one sees in the California studios. We think in larger terms over here, with more selfcenfidence and assurance, knowing, as everyone does who has made pictures on both sides of the Atlantic, that Los Angeles easily maintains its supremacy as the world-center of motion picture production." This is the report of Joseph J. Cohn. Coldwyn production manager, who has just returned to the studio from a two months' trip to Europe, on a confidential mission. Although not primarily in search of entertainment, Mr. Cohn visited Europe's gayest capitals, including the three cities which with each other as centers of Continental night life, viz: Paris, Berlin and Vienna. His itinerary also included Venice and Rome. "If European pictures are not as good as the American product." he says, "one reason is that the Los Angeles-made pictures now showing abroad are just about four years old. This puts the foreign producer and public just that far behind American ideas and methods, which, as practically the whole world admits, set the pace." BORZAGE HAS FOREIGN AMERICANS! Frank Borzage, directing "Children of Dust," for Arthur H. Jacobs, has an allAmerican company, but by the sounding of their names one might think them ailabroad. The list below demonstrates this fact: Italy, Frank Borzage, art director. Holland, Tristram Tupper, author. Ireland. Frank Dazey, scenarist. Scotland, Johnnie Walker, star. France, Pauline Garon, star, dermany, Frank Ormston, art director. England, Howard Bretherton, cutter. JACK COOPER ASKS QUESTIONS Jack Cooper, who is playing the leading comedy role opposite Doris Eaton, in the Century Comedy in which the famous Gorham Follies appear, wants to know if studio employes are heartless -if they KILL a set — if they TRIM a light —if they UNDRESS a set —if they THROW a spotlight —if they DRESS the stage — if they SHOOT a scene -if they BREAK DOWN film Cooper asks these few simple questions, and believes anyone correctly answering these questions deserves a front seat at the theatre showing Century Comedies in which the dazzling Gorham Follies appear.