Exhibitor's Trade Review (Nov 1925 - Feb 1926)

Page 28 Exhibitors Trade Review ARIZONA SWEEPSTAKE Universal GibsonJ ervel. Adaptation by Isidore Bernstein. Directed by Clifford Smith. Length, 5,418 feet. CAST AND SYNOPSIS "Coot" Caddigan Hoot Gibson Nell Savery Helen Lynch Jonathan Carey Philo McCullough "Stuffy" McGee George Ovey Col. Tom Savery Emmett King Detective Donnelly Tod Brown Mrs. McGuire Kate Price The McGee Kids Billy Schaeffer, Jackie Morgan and Turner Savage "Coot" Caddigan, cowpuncher, visits the Chinatown section of Frisco, and makes friends with a gang of thugs. A man is shot and "Coot" is charged with the crime. He hides away in "Stuffy" McGee's room, where live the little McGees. "Coot" has to be home on a certain date, when he is to ride in a horse race, on which depends the winning of a bride, and the saving of her father's ranch, who has bet his all on the race. "Stuffy" is "pinched," and "Coot" takes the little McGees and repairs to the ranch. There, just prior to entering the race, he is located by a detective. It seems all up with him, but "Coot" manages to escape and take his place in the race. This he wins after a neck and neck struggle with a designing rival, and soon thereafter comes a telegram to the sheriff acquitting "Coot" of any part in the crime. By Michael L. Simmons JJOOT GIBSON'S good-natured drollery, his smile, his perfect camera ease in every sort of situation, and his more tangible abilities with horse and fists, supply a characterization familiar to his admirers, and one that will satisfy newcomers as well, if they can be enticed to patronize a Western. There are some people distinctly opposed to viewing a Western, but even this class should find "The Arizona Sweepstake" pleasant divertissement. Hoot's picture, though in the literal sense a Western, is by nature of its treatment and his own versatility, endowed with entertainment appeal of wider scope than that usually associated with the "cactus and chaps" type of film. There is a story to this film as there must be a story to every film, and since the latter concerns itself with a prairie background, the story here has a certain amount of detail in relation to cowboys, horses, lariats and the like. But unlike most Westerns, the story in this case has no definite relation to the entertainment value of the film. It is the incident and by-play, mostly of a humorous kind, that make up a vehicle that shows off Hoot's special talents in a way that assuredly pleases and amuses. Another attraction is the diversity of setting. The locales are not exclusively confined to the range. The picture opens up in the Chinatown district of 'Frisco, where men are just as speedy on the draw and as eager to demonstrate this facility as they are in the wild and woolly. Thus the spectator's eye is given a change of atmosphere, a fact which tends to keep the interest alive as the action unfolds. Talking of action, by the way — wait till you see the horse race. You'll know what the meaning of the term "horsepower" is. Memories of Man o' War, Morvich, Zev, and the like, will take on a new meaning as you see the magnificent thoroughbreds lined up in the Sweepstake flash by, down hill, scaling rocky barriers, over hedges, and across grassy plains as level as a pool table. WANDERING FOOTSTEPS A Banner Production. Released by Henry Ginsberg Distributing Co. Adapted from the novel, "A Wise Son," by Chas. Sherman. Directed by Phil Rosen. Length, 5,060 feet. CAST AND SYNOPSIS Timothy Payne Alec B. Francis Helen Maynard Estelle Taylor Hal Whitney Bryant Washburn Elizabeth Stuyvesant Whitney ....Eugenie Besserer Matilda Ethel Wales Mr. Maynard Phillips Smalley Dobbins Sidney Bracey Billy Frankie Darro Hal Whitney, a young millionaire, wanders drunk to a large park where he meets Timothy Payne, once a gentleman, but now a "bum." They become friends and Hal decides to make Payne his adopted father. They go to a lawyer, who draws up the papers. Then Hal persuades Payne to accompany him on a yacht trip. Hal's sweetheart, Helen Maynard, is very indignant when she learns of Hal's associate and refuses to have anything further to do with him. Hal is torn with conflict, for he loves Helen dearly and also feels that Payne is a good influence to him. Helen later realizes the injustice of her prejudice and asks Hal's forgiveness. They both set out for Payne's home, to give him the glad tidings. There they leam that Payne and Hal s mother have just tied the nuptial knot they having been childhood sweethearts. By Peggy Goldberg ^HIS is a rather far-fetched and unconvincing melodrama that might go with the less sophisticated. i Years ago, before motion pictures had reached the heights they have attained, this undoubtedly would have been acceptable. However, the motion picture public has learned to admire the better things in drama, as well as expert direction, photography and acting. "Wandering Footsteps," lacking in these qualities, will therefore not go with the sophisticated at all. They will find it difficult, for instance, to accept the plausibility of Helen giving up her sweetheart because he befriends a man who is really innately fine — especially since he seems to be making a man out of Hal — and more especially since she herself is actively interested in uplift work. On the other hand, it may appeal to those not greatly concerned with the frailties of human nature, to whom a picture with the love interest throughout is sufficiently entertaining. It is surprising that even the grandeur of style and lavishness of settings looked for in a society melodrama are wanting. As the story is adapted from the novel, "A Wise Son," it opens the way for a tie-up with book shops. Of course, Estelle Taylor and Bryant Washburn are names that may be played up with advantage. Another exploitation stunt that suggests itself is a ballyhoo in the form of a "sandwich" man representing the book; — in other words, an animated book bearing the title "A Wise Son." Exhibitors DAILY REVIEW staff of reviewers are capable men who thoroughly realize their responsibility. It is true that reviews are the opinion of one man, but it is also true that experience and training count for a great deal in reviewing. But at all times you can count upon our reviewers not sidestepping, but reviewing with honest and absolute candor. THE SCARLET SAINT First National Photoplay. Adapted from "The Lady Who Ptayed Fidele," by Gerald Beaumont. Directed by George Archainbaud. Length, 6,880 feet. CAST AND SYNOPSIS Fidele Tridon Mary Astor Philip Collett Lloyd Hughes Baron Badeau Frank Morgan Mr. Tridon Jed Prouty Josef Jack Raymond Trainer George Neville Cynthia Frances Grant Butler J. W. Jenkins Betrothed as a child to Baron Badeau, Fidele Tridon finds herself in love with Philip Collett on the eve of her marriage. She p;ans to elope. The Baron tricks Philip into a fake duel. The Baron is wounded and Philip goes to jail. To free Philip, Fidele marries the Baron, but flees with Philip after the ceremony. The Baron is stricken with paralysis, and when Fidele hears of it, her conscience compels her to return and nurse him. A year later, Fidele learns he is feigning illness, and at the point of a gun forces him to select from two glasses of water, one of which contains poison. The Baron, seeing the game is up, offers her her freedom, and Fidele comes into her rightful love. By Michael L. Simmons average story, treated in an average way, and of no particular distinction at any point. Exception may be made of Mary Astor, who can be said to contribute whatever merit the film boasts of. It is never more than mildly entertaining. Now and then, a pretty interior, and scenes of New Orleans' Mardi Gras, furnish fragments of interest. Small town audiences may welcome it for its illusion of wealth and luxury. We have made an exception of Mary Astor. This beautiful and gifted girl stands out as the highlight of the whole picture. But her gifts, though having frequent opportunities to register, suffer from the lack of co-ordination in her supporting principal — Lloyd Hughes. Hughes, a very presentable chap, contributes very little besides good looks. He's handsome in a clean-cut masculine way. Now that I reflect on it, poor casting psychology seems to be the major fault. One can't help being won to the attractive personality and other admirable qualities of the villain. Alongside the villain, the hero cuts a rather meagre figure. Figure the effect of that on an audience that likes to see the better man win. Those little, but important, things called "touches," usually revealing the adept hand of the director, seem woefully lacking. These are what breathe "soul" into a picture. And that is what "The Scarlet Saint" lacks. At moments it holds the interest; at other moments it even entertains. But at no time does it stir. Never does it catch the senses in a responsive rush of emotion. That leads to one conclusion. The picture is ordinary. There are definite elements that may recommend it to your own particular kind of audience. There is a horse-race, which lends a certain amount of excitement to one scene. You can use this sequence to exploit the film. Then, there is Mary Astor, whose beauty and generally alluring qualities will undoubtedly find admirers. For further exploitation, the antics of a parrot offer a tie-up opportunity with the owner of a bird store.