Exhibitor's Trade Review (Jun-Aug 1923)

August 25, 1923 EXHIBITORS TRADE REVIEW 553 Little Johnny Jones Warner Brothers Photoplay in Six Parts. Adapted from, George M. Cohan's Stage Play of Same Title. Scenario by Raymond Schrock. Director, Arthur Rosson. Running Time, Seventy-five Minutes. CAST AND SYNOPSIS Johnny Jones Johnny Hines Earl of Bloomsburg Wyndnam Standing Mrs. Jones Margaret Seddon Sir James Smythe Robert Prior Edith Smythe Molly Malone Robert Anstead George Webb Jockey Nelson Mervyn LeRoy Chauffeur "Fat" Carr Lady Jane Smythe Pauline French Brownie, the Dog Himself Johnny Jones, American jockey, is engaged by the Earl of Bloomsburg to ride Yankee Doodle in the English Derby. On the voyage he meets and falls in love with Edith, daughter of Sir James Smvthe. Anstead, crooked gentleman gambler, reports to the Earl that he has information to the effect that Johnny intends to throw the race and substantiates his statement by means of a fake cablegram. This takes place at a ball. Johnny's dog brings him a message from Edith that she has been kidnapped and he rushes out to find her, thereby leaving himself under suspicion. Edith is in the hands of Anstead's men on a houseboat, having overheard their plans regarding Johnny. He rescues her. On the day of the race the Earl at first refuses to back his' own horse, but when Johnny places his entire pay, two thousand pounds, on Yankee Doodle, he is convinced of his jockey's good faith and bets freely on the horse. Anstead's jockev endeavours to blind Johnnin the homestretch by throwing a liquid into his face from a hollow whip, which he then throws away. Johnny's dog picks up the whip and brings it to his master, who has won the race and is accusing Anstead's jockey. The latter and Anstead are at rested. Johnny wins Edith and takes her back to America. Nearly a score of years ago George M. Cohan, playing the lead in "Little Johnny Jones" started an entire continent singing and whistling — "Give my regards to Broadway." Both song and play went over like wildfire, and the writer will be much surprised if the film public doesn't get equally excited as the old-time playgoers in regard to the Warner Brothers' screen version of the turf classic. For they've revamped the stuff, brought it up-to-date in many ways, still preserving the Cohan sentiment and comedy; and the result is a picture bubbling over with laughs and dealing out melodramatic wallops that land with immense effect. The successful Cohan method of giving amusement seekers just what they want was never more in evidence than in the construction of "Little Johnny Jones." There's hokum unlimited, but the sort of hokum that wins out every time. The burlesque note creeps in every once in a while, but the sympathetic touch holds good, the mother love idea is cleverly worked out and utilized, as is the love romance. And the race scene is a whopper. It gets the crowd warmed up until a roar of applause greets the winner as he thunders into the homestretch and past the post. In fact the demonstration accorded the winner, when the feature was given its initial showing at the Strand Theatre, New York, was as enthusiastic as though an American jock and horse had actually carried Uncle Sam's colors to victory over a foreign competitor. Johnny Hines makes the hit of his career in the leading role. His smile is irresistible, his comedy sharp-edged, his love for the old mother, who secretly follows her boy abroad to watch over him tenderly displayed, and to crown all — he rides Yankee Doodle with the vim and cunning craftmanship of a dyed-in-the-wool professional. Margaret Seddon plays the mother with great effect, Dog Brownie is a canine marvel, Molly Malone registers as a most charming heroine and the British types are very whit as true to life as the British scenery — which is saying a lot. The fog effects are excellent, the views of the track and grandstand at Epsom Downs wonderfully impressive and, as for the race — it must, be seen to be appreciated. There ought to be little trouble in successfully exploiting this feature. George M. Cohan 's name and that of the star is a combination hard to beat from an advertising angle. G. T. P. The Tango Cavalier Aywon Film Corporation photoplay. Written, and directed by Charles R. Seeling. Vernon Walker, Cameraman. Footage, approximately 4300. CAST AND SYNOPSIS Don Armingo George Larkin Carmelita Olli Kirby Dons Pomeroy Doris Dare Colonel Pomeroy Frank Whitson Bran Morgan Billy Quinn Don Armingo, a Spaniard, comes to a dance hall on the Rio Grande, where his native dance, the tango is being featured for Mardi Gras. There he meets Colonel Pomeroy and his daughter, Doris, at whose request he tangos with the dancer, Carmelita whose partner is ill. Carmelita learns that he can drive an airplane and tells him he can make some easy monev by flying over the border once a week. He consents to come to the cabin at the outskirts of the town and meet Carmelita's associates the next day. Although they will not tell him the reason for the weekly trips, he promises to undertake them. Carmelita sees Don Armingo making love to Doris and compels the leader of the gang to promise to make away with her. When Don Armingo is returning from his first trip across the border, his plane is wrecked, but he is uninjured. He returns to the cabin and finds that the gang have kidnapped Doris. When a member of the party brings word that a posse is out searching for the girl, the gang escapes with Doris and ties Don Armingo and Carmelita to avert suspicion. Carmelita unties Don, but because he refuses to return the compliment she tells Doris's father, when he ocmes with the posse, that Don Armingo is one of the gang. He is put under guard, but escapes and saves Doris. The gang's automobile goes over a high cliff. Doris learns that her tango cavalier is a secret s~rvice man who has been tracking the gang for smuggling. There is a dash of Spanish atmosphere in this western thriller. The plot is a timehonored one. It is quite evident that Don Armingo will prove to be a secret service man. The story seems to have been written to show up the versatility of George Larkin. Without a doubt he is versatile; he can dance a tango, kiss a girl, ride a horse and use his fists with equal ease and evident enjoyment. And he has an engaging smile. He seems to have acquired the Spanish mannerisms, too. Doris Dare as Doris Pomeroy works too hard at being the ingenue. Her childishness is almost funny in spots, but she can fight and kick like a little wildcat. Olli Kirby as Carmelita makes a better dancer than a vamp. Like Miss Dare, she occasionally works too hard. The film has action and a good title for exploitation purposes. It will no doubt please the patrons of the smaller theatres, but it will hardly be satisfactory for firstrun houses. The Midnight Alarm Vitagraph Photoplay in Mx Parts). Adapted from the Stage Play of Same Title. Director, David Smith. Running Time, Seventy-five Minutes. SYNOPSIS Silas Carrington and Thornton are business part ners. The latter appoints Carrington executor o his property and is s'ain by him. Thornton is sup posed to have committed suicide, Springer, a servant, having helped Carrington to hide all traces of the murder. Mrs. Thornton nins away to escape from Carrington's attentions, taking her child with her She is killed but the little one survives. Mrs. Thornton's parents, the Tilwells, make every effort to find the child, but in vain. Years pass and Carrington discovers the missing girl, known as Sparkle. She and Aggie, a cripple, are running a newsstand. A love affair has developea between Sparkle and a young man named Chaser. With the the intention of depriving Sparkle of her inheritance, Carrington attempts to destroy the documents which confirm her identity. Chaser and Captain Wesimore of the Fire Department combine against Carrington and are successful in outwitting him after many thrilling adventures. Carrington finally dies in a midnight fire and Sparkle is free to wed the man of her choice. Frankly melodramatic, liberally punctuated with startling situations and surcharged with speedy action, "The Midnight Alarm" responds to the demand by a very large section of movie patrons for a "sureenough" thriller which breezes along at cyclonic pace, makes a direct appeal to the most elemental emotions and winds up by enveloping hero and heroine in a blaze of glory. The "blaze" must be taken literally, for the fire in which the villain meets his welldeserved doom at the close registers as one of the most spectacular episodes in a picture which fairly vibrates with "big punch" scenes, as exemplified by the attempt to send a limited express crashing to the bottom of a trestle, an auto wrecked by a train and other exciting bits of realism. The film follows closely the methods of the old-time stage melodramas, which, prior to the advent of the screen, provided entertainment to suit the popular taste and set the gallery gods ayelling in wild applause over the triumph achieved by virtue when opposed to unbridled wickedness. But where the "legitimate" had its limitations in regard to matters of detail the silver sheet is not hampered by such