Exhibitors Herald (Apr-Jun 1922)

MARJORIE SEAMAN IN FREE AIR (HODKINSON) Here is a thoroughly enjoyable comedy-drama that makes excellent hot weather entertainment. It is finely acted and the greater part of the story takes place in a summer camp in Glacier Park. It should prove entirely acceptable to the majority. Directed by E. H. Griffith. Six reels. For a summer evening's diversion "Free Air" takes the spectator to the woods and mountains of Glacier Park where one can forget the solar pressure Df the day 'mid the cooling effects of such atmosphere. And the trip to the jark is accompanied by a number of imusing and pleasing incidents that make his comedy-drama a thoroughly palaable piece of entertainment. Tom Douglas, Marjorie Seaman, G. Pauncefort and Henry Sell occupy the :enter of attention having likeable roles vhich they carry out to best advantage. The trend of the story, which, by the vay, is from the pen of Lewis Sinclair nd appeared in the Saturday Evening ■'ost, is free and easy, its point being to 'lease rather than excite with any heavy naterial. The photography is excellent nd the locale of the theme highly picuresque. Tom Douglas is Milt Daggett, who uns the best and only garage in Schoentrom, Minn. When Claire Boltwood, /ho has induced her father to shake the ies of Wall street for a motor trip to Ilacier Park hits Schoenstrom, Daggett ; captivated, sells out his business and allows in his Ford roadster. Then fol>ws a series of incidents in which he escues Claire, who is driving and her ither from a number of situations. First ley become stuck in the mud and >aggett, with his flivver pulls them out. 'hen the motor goes dead and Daggett igain comes to bat and fixes things. And pen Claire and her father meet up with traveling thug who tries to force his :tentions on Claire, Daggett very nicely ssoes him off the running board of the oltwood car while passing it at a lively ip. Arriving at Glacier Park, Claire and ;r father meet Jeffery Saxton who is the ost ardent of Claire's suitors. Daggett, his mechanic's clothes figures he hasn't uch of a chance with Claire in the esence of the well groomed Jeffery id is about to give up. Having packed s outfit Daggett starts back for Schoenrom when he again has the chance to lp Claire who, with Jeffery has been tacked by the same thug encountered eviously on the journey. In the crisis ffery proves that he has a wide streak saffron and Daggett rescues Claire 5m the thug. After that he suggests at she ought to have some one pulling r Out of scrapes for good — and she rees with him. Richard Barthelmess and Pauline Garon in "Sonny" (First National). RICHARD BARTHELMESS IN SONNY (FIRST NATIONAL) A good theatre picture. Hokum in spots, honest drama elsewhere, with deftly injected humor stitching varied pieces together in a compact whole. Some things to complain of, more to praise, much to cause talk and draw patronage. Directed by Henry King from the play by George V. Hobart. Length seven reels. The direction of Henry King and the acting of Richard Barthelmess do much for the story of "Sonny." Its war is good war. Its domesticity is good domesticity. Its melodrama is sharply drawn, briefly depicted and forceful. Both tears and laughs were heartily given by the Chicago theatre audience present when reviewed. Marching dough boys were applauded spontaneously in their brief appearance. (This hasn't been done recently.) Some objection may be made to a touch of spiritism seemingly dragged in by the heels. Some of the characters are so unusual as to bring from some complaint on the ground of logic. These are the minor flaws that make the picture's excellent bulk impressive. Barthelmess is superb, .even in a dual role. Margaret Seddon is a better mother than films often present. Pauline Garon, whose childish beauty remains a haunting eye memory, portrays an understandable and effective flapper. Herbert Grimwood (eldest of the three brutes in "Tol'able David") and Lucy Fox, as his daughter, do the heavy stuff of the picture without making it weighty. There are no weak characterizations. The picture is one to advertise, to give special musical setting, to sell as all wool and a yard wide. It will fulfill promises. In outline, the story relates the incidents surrounding the death of a well loved son in Flanders Field, the return of his double and the latter's masquerade undertaken in the interests of the bereaved mother's happiness. An unusual romance is worked out incidentally and without unnecessary ado. All are satisfied at the fade out. SPECIAL CAST IN NERO (FOX) A tremendous spectacle, magnificently produced by J. Gordon Edwards, setting to rest, once and for all, any fear of a "foreign supremacy" in historical films. Story by Charles Sarver and Virginia Tracy. Chief Cameraman, Harry Plimpton. Ten reels. William Fox is to be congratulated on fathering such an excellent contradiction to those who would persuade us that any German-made or other foreign-produced spectacle can ever make Uncle Sam "take a back seat." J. Gordon Edwards has to his credit a tremendously effective historical production and Charles Sarver and Virginia Tracy, the collaborators, have written an interesting story with logical continuity. The players, with the exception of Violet Mersereau, are all Italians. "Nero," as played by Jacques Gretillat, seemed a bit over-dramatic at times, nor did his unlined countenance appear quite wicked enough for that of the infamous Nero. He, like the rest of the cast, seemed "acting," rather than living the parts assigned them. The queen-vamp, played by Paulette Duval, was rather more convincing than some of the others. "Acte" (Edy Darclea) registered all emotions with the same frown and locked so much like "Poppaea," that at times it became confusing. However, regardless of the acting, the types were what they should be, descendants of Romans. Photographed in Italy the scenery leaves nothing to be desirej. Black cypress trees against the wonderful Italian sky, ancient stone walls heavily hung with verdure, falling spray from waterfalls— there is beauty to spare. Then the thrills are legion. Vesuvius spouts flame and ashes, Rome is shown during a celebration of victory over fallen Spain, the ego-crazed Nero, listening to a fawning favorite, allows Rome to be burned that his supposed genius may have inspiration — hordes pour madly through the streets, flames licking at their fleeing heels, the legions camped outside the city rebel and at the word from their leader gather to ride down upon the city and force the tyrant to vacate the throne of the Caesars. You can fairly hear the thunder of the galloping horses and the chariots. The feeding of the Christians to the lions in the great Ampitheater is another thrill, with Nero's suicide the fitting finale. The story tells of Poppea conspiring with Tullius, the Emperor's favorite soldier, to have her carried, apparently against her wishes, to Nero's court. There she is sure she can make him her slave. For his part in the plot Tullius demands he be made Governor of Cyprus. Poppea's husband protests in vain, and, refusing to slay himself, as Nero suggests, joins the legions outside Rome. Horatius,