Exhibitors Herald (Dec 1922 - Mar 1923)

52 EXHIBITORS HERALD January 20, 1923 SPECIAL CAST IN THE STRANGERS' BANQUET (GOLDWYN) A pretentious and interesting Marshall Neilan production, from a story by Donn Byrne, with an elaborate cast, headed by Rockliffe Fellows, Claire Windsor and Hobart Bosworth. A "Capital and Labor" theme, with a strong moral. Frank Urson is given credit for co-direction. Scenario by Frances Marion. Seven reels. This is not one of those somnolent photoplays which lure you to sink comfortably back in your seat, and not care whether someone passes between you and the screen occasionally. On the contrary, you have to keep both eyes on the screen and your mind constantly on the tale there being unfolded if you want to know what it's all about, for it goes rapidly, with constant cut-backs to the secondary theme. A remarkable cast gives an excellent performance. Honors go to Rockliffe Fellows in the role of "Angus Campbell" and to Claire Windsor as "Derith Keogh," with Hobart Bosworth, as Derith's father, old "Shane Keogh," head of a big ship-building industry, running them close for place. Teddy, the wonderful Keystone dog, as old Keogh's constant companion, refusing food and dying at his master's tomb, lends a bit of real pathos. Others of the impressive cast are Ford Sterling, Eleanor B o a r d m a n, Thomas Holding, Nigel Barrie, Stuart Holmes, Margaret Loomis, Arthur Hoyt, William Humphrey. The story opens with the interrupted wedding of John Trevelyan, who, learning he has no right to the name, and that he is an outcast from society, turns on that society and in a few years becomes an agitator, inflaming workmen against their employers, his real motive to be revenged on the society from which he himself is an outcast. His life mingles with that of the Keogh's when, after the death of old Shane Keogh, the vast industry falls into the hands of Derith. John Keogh is under the influence of the shallow wife he has married in haste, and leaves the business to the girl. She has for counsellor Angus Campbell, whom her father has adopted when the lad's father, foreman of the works, died. Angus wears glasses, and their sudden removal is always the sign of a fight. They come off with surprising frequency when he tries to help Derith run the business. Trevelyan finds a quartet of malcontents at the plant who spread his insidious propaganda, the men, really loyal to the Keogh interests, following like sheep. John Keogh finds the girl he has married is mercenary, faithless, shallow. She meets her fate dramatically, in an excellently staged automobile catastrophe. Angus tries his best to convince Derith she must not give in to the absurd demands of her men, for Angus sees there is not real discontent, only that stirred up by a certain group, with their own interests at heart. At last, unable to get Derith to see her folly, leaves though secretly keeping in touch with the plant and managing its course. At last Derith realizes her mistake, but her refusal to listen to further demands brings on a strike. Angus locates Trevelyan as the real cause of all the discontent, and with Derith appeals to him. A man who has Celt the weight of Angus' power goes to "get" Angus and shoots Trevelyan. Dying, the agitator makes public confession and urges the men to return to work. Derith is compelled to ask Angus to marry her, as his tongue is tied because of her wealth. A well produced, and thoroughly interesting picture. It may be a bit confusing to those who are slow to get things, but cannot fail to hold attention. Beautiful scenic shots add to its attractiveness. SPECIAL CAST IN THE LAST HOUR (MASTODON FILMS) One of the season's best crook stories made into a film production so cleverly as to add much to the charm and interest of the narrative. The cast is exceptional and with the elimination of most of the grewsome gallows scene, should prove a good attraction. "The Last Hour," made by Edward Solman for C. C. Burr's company, is a crook picture which proves by its excellence that this class of fiction provides a prolific field for picturization. Mr. Sloman has taken Frank R. Adams' popular story "Blind Justice" and transformed it into a picture, which from many viewpoints is one of the best he has yet done. What would be otherwise an almost perfect film entertainment is greatly marred by the use of scenes showing a gallows and the execution of a prisoner — execution to the point of where, after the trap has been sprung, the mechanism balks and an innocent man's life is saved. Just why a director of Mr. Sloman's ability and experience should inject this grewsome and shudder provoking feature, is a mystery. Less of the gallows stuff would greatly help the picture. The story, which originally appears in Munscy's Magazine, deals with the adventures and misadventures of Steve Cline, a reformed crook who has made good. This part is given to Milton Sills, and is excellently handled. Cline returns from South America to learn that his brother Tom (Jack Mower) has robbed a bank. Steve meets his brother at the home of Saidee McCall (Carmel Myers) and her father and while planning Tom's escape the police appear. In the fight which follows Tom is killed but Steve succeeds in aiding Saide and her father to escape. Several years later the world war is on. Saidee is a Red Cross nurse and meets Philip Logan (Pat O'Malley) whose life has been saved by Steve. The scene shifts to America after the war. Steve is arrested, tried and convicted for the murder of a political boss who has been killed by Saidee's father while protecting her. Philip Logan's father is governor of the state and through him Saidee tries in vain for a pardon. The day set for Steve's execution arrives and by a subterfuge Saidee secures the pardon, but reaches the prison too late. Steve is led to the gallows, the trap sprung, the mechanism fails to work. Steve's stay on earth is to be prolonged an hour while the gallows is again put in working order During this hour the real slayer, injured by an automobile, confesses and Steve's innocence made known, with the usual ending of the love affair between hero* and heroine. The picture is filled with exciting incidents and presents many good angle' for exploitation. It is in six reels. KATHERINE MacDONAI.D IN MONEY, MONEY, MONEY (FIRST NATIONAL) The happy combination of a good story, beautiful star, and capable direction make for success of "Money, Money, Money." It is beautifully produced, very well acted and should appeal to every lover of good, clean screen entertainment. Advertise it as a story with a Main Street setting. Tom Forman directed. Six parts. Larry Evans wrote "Money, Money. Money" especially for B. P. Schulbergs beautiful star, Katherine MacDonald, and he has given her one of the most entertaining and novel stories in which she has ever appeared. Miss MacDonald is cast as Priscilla Hobbs, the daughter of a poor manufacturer, George Hobbs. The family suddenly acquires wealth, through the death of a mysterious relative, not knowing it is a trick of the local banker to involve them in debt that he may acquire the small Hobbs factory. It is partly the fault of the daughter that he becomes so entangled but the girl takes a desperate chance to save her father and ultimately succeeds in finding happiness with her poor but honest lover. There is a thrilling ride through a storm, with Miss MacDonald driving a high-power car and the small town scenes are especially well produced. Careful attention has been paid to this detail of the picture. The continuity is good and the snappy subtitles fit in with the logical and carefully planned action. Miss MacDonald plays the role of Priscilla Hobbs with her usual charm and grace and praise must be given her acting which is worthy of the rest of the film. The role of the father is in most capable hands also, Carl Stockdale playing this part with conviction. Frances Raymond is Mrs. Hobbs. Paul Willis the brother, Lennie Hobbs; Charles Clary appears as J. J. Grey, a promoter, and Jack Dougherty as Reggie, his son. in love with the fair Priscilla. Hersche! Mavall is the villain of the piece, banker Carter, and Brenda Fowler plays Mrs^ Carter. Margaret Loomis renders good support as Caroline Carter, a society belle. There are many unusual catch line; to use in advertising this picture, such a"Does money bring happiness — See Money, Money, Money" and "Wha' would you do if given a million dollars. The title suggests a number of othei advertising angles as well. THE CAST Shane Keogh Hobart Bosworth Derith Keogh Claire Windsor Angus Campbell Rockliffe Fellow es Jean McPherson. . . . . . Eleanor Board man John Trevelyan Thomas Holding Mrs. McPherson Eugenia Besserer Claude Cillingwater Bride Bride's Mother Lillian Langdon Seven reels