The educational screen (c1922-c1956])

Theatrical Film Critique Conducted by M. F. L. NE EXCITING NIGHT (D. W. Grif- fith) And now comes Mr. Griffith with a mys- ery film affording real thrills and hearty laughs. There was, in the beginning, the old note of preachment but less offensive because of its psychological, not the familiar sentimental, nature. Yet, in full credit to Mr. Griffith, be it said that these leaders were sufficiently short and few in number to carry out, with no over effect, their pur- pose—the creation of an air of suspense pregnant with fear, the everyday human dread of the unexpected. The film un- rolled itself a perfect melodrama of un- utterable anxiety and immeasurable fun in between gasps. Carol Dempster, glowed with that cameo quality of feature that makes her more beautiful on the silver sheet than any former Griffith star. Add to this peculiar asset her grace of move- ment and her unfailing sureness in regis- tering emotion (possibly due to excellent direction) and one sees readily why Miss Dempster is acclaimed as a charming flap- per. Tense, nervous, at moments almost neurotic, is the work of the blackeyed Henry Hull. We like him. though we could understand why some of the audience were uncomfortable for him. Porter Strong, once rippingly funny in Dorothy Gish's picture, "The Ghost in the Garret," more than "did himself proud" in this Grif- fith film. In company with his mulatto companion (Irma Harrison) he furnished irresistible comedy. Morgan Wallace looked the part of a smooth and treacherous gen- tleman-killer and C. H. Crocker-King might easily have stepped from Scotland Yard to the screen. Altogether a successful picture — except! In every production he gives us it does seem, that Mr. Griffith must overstep himself in spots. The storm of "One Ex- citing Night" came too suddenly and waxed for too many shrieking and violent feet of film. Tremendous to begin with, it spoiled itself with its aggressive persistency. Too bad! An easily corrected error by the scissor man. But not so, the ridiculous presentation at the beginning- and after the intermission. History has seen the opera blend with a doubtful degree of success two art forms. Certainly, Mr. Griffith fails in his experiment with pantomimic dancing and the photodrama. It may be a very, very possible scheme but Mr. Griffith missed the possibility. Barring these two adverse criticisms, we should call "One Exciting Night" the satisfactory "Bat" of the screen. (Theatrical; some community use.) OLIVER TWIST (First National) We have here a film as faithful unto its Dickens source as "Our Mutual Friend." It is true that the story in the former is much more "adapted" than in the latter, but certainly in atmosphere, characteriza- tion and tone "Oliver Twist" is beautiful. The work of Gladys Brockwell as Nancy Sikes and that of Lon Chaney as the thief, Fagin, are the finest adult characterizations of the cast although it is frankly an un- fair procedure to make choices. Among the juveniles, the two London toughs were excellent, but shining over them (and over all the adult cast) was the serious, some- what older, and immeasurable sweeter Jackie Coogan. He is back with all the wistful charm of Chaplin's Kid plus that fearless dignity that comes to a kiddie de- finitely "growing up." If Jackie's Director will but continue to give us films as ad- mirable as "Oliver Twist" we shall be content sometimes, at least, as we sit at the movies and wonder about their future. (School, church and community.) 335