Exhibitor's Trade Review (Sep-Nov 1921)

November 5, 1921 EXHIBITORS TRADE REVIEW 1629 Oh, Mary Be Careful Peter Ibbetson or Forever Pioneer Photoplay in Six Parts. Author, George Weston. Director, Arthur Ashley. Cameraman, William Fildew. Running Time, Seventy Minutes. THE CAST Mary Meachan .Madge Kennedy Morgan Smith George Forth Myra Meacham Marcia Harris Bobby Burns Harry Myers Judge Adams George Stevens Dick Lester Bernard Thornton Dr. Chase A. Drehle Susie Marguerite Marsh Professor Putnam Harry Fraser Luke Dixie Thompson Nellie Burns Mae Rogers Kate Lester Kathleen McEchran SXNOPSIS During her college days Mary Meacham is the most popular girl in the place. But fate decrees that at the end of her course she must reside with an old maid aunt, renowned as a man-hater and determined to reform her volatile niece. The aunt is given to making tests as to the qualifications of the male sex. Mary, horrified at the absence of admirers, enlists the services of several young folks of male and female gender to relieve the monotony of life, while her aunt is away on a visit. A young man whose profession is that of a tree surgeon arrives. On him Mary tries out some of Auntie's pet tests and a number of her own. A series of surprising adventures result and on her aunt's return Mary has succeeded in winning the affections of the tree guardian. Oh, Mary Be Careful registers as a bright and breezy comedy. There is very little plot worth speaking about, most of the situations pivoting upon the coquettish heroine's attempts to work out her elderly relative's theories in regard to the suspected male sex on several suitors, but the action bubbles along so crisply and Madge Kennedy's engaging ways lend such charm to the progress of events, that the picture, with its mirthful spirit and timely touch of romance, holds its interest to the close. Points of Appeal. — The complications which arise as a result of the happy-go-lucky heroine's experiments in lovemaking are irresistibly funny, witty subtitles assist in developing the humorous atmosphere, and a thoroughly satisfactory climax is achieved. Cast. — Madge Kennedy is at her best in the role of the flirtatious Mary Meacham, which suits her dainty personality in every detail. George Forth gives an excellent performance as Morgan Smith, Kathleen McEchran wins applause in the character of Kate Lester, George Stevens gets a lot of fun out of the part of Judge Adams, and the work, of the supporting cast as a whole is admirable. Photography, Lighting, Direction—There are many pretty exteriors shown, the interiors are well filmed, and good lightinggoverns the entire six reels. The continuity is unbroken and the action moves swiftly. George Fitzmaurice Production. Released by Famous Players-Lasky. From the Novel by George du Maurier. Scenario by Ouida Bergere. THE CAST Peter Ibbetson Wallace Keid Mimsi Elsie Ferguson Col. Ibbetson Montagu Love Major Duquesnois George Fawcett Dolores Dolores Cassinelli M. Seraskier Paul McAllister M. Pasquier Elliott Dexter Mme. Pasquier Barbara Dean The Child Mimsi Nell Roy Buck The Child Gogo Charles Eaton Duke of Towers Jerome Patrick SYNOPSIS Gogo Pasquier, the little son of a chemist, at the latter's death, is adopted by Col. Ibbetson, a rake, and takes the name of Peter Ibbetson. Peter grows tomanhood disgusted with Col. Ibbetson, supposedly his uncle. He whips a carter for abusing his horse and engages in a prize fight. Peter meets Mimsi, his childhood sweetheart, and learns that she is now the Duchess of Towers. In the dressing room of Dolores, a dancer, his uncle asserts that Peter's mother had been his flame and that he (Peter) was his own son. Peter accidentally kills him. He is tried and sentenced to be hanged, but Mimsi causes his sentence to be commuted to life imprisonment. In his dreams Peter sees the Mimsi of his childhood, and nightly thereafter meets his sweetheart in visions. Mimsi becomes a widow, and the two spend their lives together in dreams. Both grow old, but their dream life continues. Mimsi perishes while trying to rescue children from a burning orphanage. Her soul returns to Peter in his cell where he has just died, and the two are reunited in spiritual bonds. The screen version of George du Maurier's novel is one of the most exquisitely finished pictures of the year. And yet it is a question if it will prove to be as really great a picture in terms of box office values as it deserves to be. It is certain that in practically every technical respect it has super qualities. Though the action of the picture's beginning is somewhat slow, its development sees interest and suspense remarkably woven into a most unusual theme. Undoubtedly the story is different. The tale of the two lovers who find, as the years go by, that united happiness is not for them, and their resignation to a dream life together is delightfully told. The romantic appeal is tremendous, but it is of such a high order, its tone so lofty, that it may prove too much for the average unimaginative audience. Wallace Reid struggles splendidly with a role to which he is not naturally fitted, but in spite of his miscasting in this part he rises to such heights as promise that there are in this young man the undoubted qualities of a great dramatic player. He has too long been confined to comedy roles. He can do serious work, and do it remarkably well. George Fawcett, though he has a lesser part, portrays Major Duquesnois with a fine appreciation for the needs of the role and some of his work is better than that of even the principals. Miss Ferguson and Montague Love are convincing in their own parts and their work on the whole is good. Nellie Buck and Charles Eaton, playing the youngsters, Mimsi and Gogo\ either were directed with unusual care, or, asis more to their credit, have naturally the abilities they register so successfully in their small parts. As has been indicated before, the photography, the lighting and the direction are perfect. The scenes of the dreamland honeymoon are Art. They are epic contributions to motion picture drama. The prize fight in the old English sporting is the very spirit of an old print. MM, f ' L: