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

Page 32 Exhibitors Trade Review HOGAN'S ALLEY Warner Brothers Photoplay, trom the story by Gregory Rogers. Directed by Rou Del Ruth. Length, 6 reels. CAST AND SYNOPSIS Lefty O'Brien Monte Blue Patsy Ryan Patsy Ruth Miller Michael Ryan Willard Louis Dolly Louise Fazenda A Stranger Ben Turpin Jewish Clothier Max Davidson "The Texas Kid" Herbert Spencer Griswold Battling Savage Frank Hagney Dr. Emmett Franklin Nigel Barrie Mother Ryan Mary Carr Al Murphy Frank Bond Lefty O'Brien, prize-fighter, takes a fancy to Patsy Ryan, a neighborhood tomboy. They become engaged. Patsy makes the acquaintance of a doctor, who, smitten by her charms, invites her and her father to his home for dinner. Lefty breaks in on the party and orders Patsy to leave. She refuses and returns his ring. Following this, the doctor gets Patsy on a train to the Adirondacks, eluding her father by a trick. Lefty is soon on their trail by auto. A wild race follows, brought to a thrilling climax, when Lefty changes to an airplane and boards the train just in time to save Patsy from the doctor's evil designs, and the train from going over the side of a trestle. By Michael L. Simmons 'JpHIS film is pleasantly diverting while it confines itself to absurdities on the outand-out burlesque order. A Hebrew comedian makes funny wise-cracks under the name of Abie O'Murphy. Michael Ryan would like to smash Abie one every other moment, but Abie wisely sports spectacles, and dares the Irishman to "hit a man vid glasses." You get your mood set to appreciate all this broad, easy-going hokum, reminiscent of the Webber and Fields style of entertainment. Suddenly, the theme switches to ripe, unadulterated "meller," and then you begin to wonder what the director had in mind. From that point the film is frankly bad. This is my chief cause for complaint with "Hogan's Alley." It suffers a directorial change of mind. It starts in Hogan's Alley, in a good, bluff comedy way and then hits out for parts miles from the ghetto and the city's dust. The further the action gets away from the city, the more exciting it tries to become but fails. There are very interesting prize-fight scenes. The atmosphere here is very real, and further augmented by the introduction of live celebrities from real pugilistic life, ivionte Blue's acting is good, in that he does everything required of him, but it is hard to accept his type as that of a hard-hitting knuckle-pusher of the city slums. One swallow doesn't make a summer any more than a cap and a jersey makes a tough fighting champion, and that again is where the picture is weak. In a dare-devil leap from an airplane to a railroad train, Blue is more in his element, and here he is quite satisfactory. Patsy Ruth Miller is in turn interesting as a street gamin, lovable in the robes of the gutter as well as those of the drawing-room. Summed up, you have here a picture that will give a none too critical audience some odd amusing moments, and which should have a particularly interesting appeal for fight fans. A DOG'S LIFE Distributed by Pathe Exchange. Written and directed by Charles Chaplin. Length, 3 reels. CAST AND SYNOPSIS Charlie Charlie Chaplin The Girl Edna Purviance A Dog Scraps Charlie has a tough time of it satisfying the inner man and keeping Scraps, his dog, supplied. When Scraps digs up a wallet which has been buried in their sleeping quarters — a backyard — for once it seems Dame Fortune has been smiling on them. But their joy is short-lived for the thugs who originally hid the wallet, again take possession of it. Charlie, however, devises a clever means of rescuing the money and thereupon settles down to a nice peaceful life on a farm with a sweet little girl as1 his mate. Nor is Scraps denied the luxury of a comfortable fireplace. By Peggy Goldberg TYPICAL Chaplin picture which will more than please those who like Charlie. And who doesn't? It is being released as a three-reel special. "A Dog's Life" is akin to "Shoulder Arms" — though not containing the same number of screamingly funny situations, but certainly of a calibre. For example, picture Charlie furtively devouring one by one perhaps a dozen buns — imagine the nonchalant expression on his face each time the vendor turns around suspiciously, unable to comprehend the disappearance of his wares. The repetition of the action gives it momentum and by the time the twelfth bun has been deposited in Charlie's mouth, this has developed into one of the biggest laughs. There is the usual Chaplin pathos which causes a choking feeling in one's throat, soon to be cleared away by a laugh. For instance, when he steals a frankfurter from the other side of a broken stile — and realizes he's been caught at it, Charlie humbly puts it back, looking up smilingly at the policeman. The latter isn't inclined to let him off so easily, but Charlie deftly evades the hands of the law by rolling back and forth under the broken fence, finally making his escape by running as fast as those Charlie Chaplin feet can carry him. And thus he rambles on philosophically, so that one is filled with a sense of gladness when the final close-up shows Charlie happily ensconced with pretty Edna Purviance and "Scraps" — to say nothing of the 5 or 6 little "Scraps." What is more logical than exploiting Charlie Chaplin in your lobby display, newspaper advertising, community circularizing, and in every other means of advertising you do? A Charlie Chaplin ballyhoo with Scraps, his dog, wearing a hat perhaps and carrying a pipe a la Charlie would undoubtedly attract attention. And don't forget the dog shops. It might be pertinent to add that one fairly large theatre, practically subordinated its feature in the lobby display, using the Chaplin announcement to lure in the patrons. The stunt worked handily. There is a cue for you. IRISH LUCK Paramount Photoplay. From the Saturday Evening Post Story, "An Imperfect Imposler.,, Adapted by Tom Geraghly. Directed by Victor Herrman. Length, 6 reels. CAST AND SYNOPSIS Tom Donahue Lord Fitzhugh Thomas Meighan Lady Gwendolyn Lois Wilson Douglas Cecil Humphreys Solicitor Claude King Earl Ernest Lawford Doctor Charles Hammond Aunt Louise Grafton Uncle S. B. Carrickson Denis MacSwiney Charles McDonald Kate MacSwiney Mary Foy Tom Donahue, a New York traffic cop, wins a newspaper contest which gives him a free trip to Europe. He visits relatives in Ireland. His uncanny resemblance to Lord Fitzhugh leads to his winning 5,000 pounds at the races, in the latter's name. Later he meets His Lordship and remains as his guest at the castle. Fitzhugh's sister calls, and thinking Tom is her brother, kisses and embraces him. She learns her mistake and is fearfully embarrassed, but Tom puts her at ease, and is later instrumental in saving her brother from a gang of plotters, who would benefit by a will left by Fitzhugh's uncle. In the meantime Lady Gwendolyn and Tom have learned that their hearts beat for one another and they plight their troth. By Michael L, Simmons rpHE film starts off with Tom Meighan . directing traffic in the uniform of "one of the finest." But just as we are visualizing Tom in one of his familiar choice roles, the picture departs for parts across the sea, and we have the star in what is for him a decidedly new type of story. One that is dreamy, whimsical, and for a good part, dependent on pictorial lure. All told, it makes a satisfactory measure of entertainment. One that will have particular appeal for the Irish. Action is quiet until very late in the film, the story being allowed to run its course without being obtrusively jacked up with "pep." With another actor in the role, the film up to this point might even be termed "draggy," but with Tom Meighan exhaling very evident wads of personality from every proverbial pore, a sense of tedium never obtrudes itself. Later, action of a good intelligent sort is staged and gives the picture the balance it needs for those who crave excitement. There is an entertaining flavor throughout, even when the scenes are purely pictorial, as they are when Tom is being shown the country by his relatives. How those who retain fond memories of Old Erin will welcome these shots! Close-ups of pretty streams, bridges, monuments and castles — most of which have been made known to the English speaking peoples of the world through sobbing Irish lyrics, contribute a pensive beauty to the background. These should find wide appreciation. There is an exciting scene in which Tom capitalizes his experience as a New York cop, by rounding up single-handed, three Irish gangsters on murder bent. This scene is perhaps more humorous than it is exciting ; in fact, most of the entertainment value of all the sequences are secured through touches that tickle the funny bone. You have an angle of exploitation here with your local police department. Invite a traffic detachment as your guests. It will create newspaper talk and add to your prestige.