The Film Daily (1918)

Tuesday, July 9, 1918 DAILY Beautiful Star, Excellent Cast and Direction Put This Over Effectively Kitty Gordon in <(TINSEL" World Pictures DIRECTOR Oscar Apf el AUTHOR Fred Jackson SCENARIO BY Wallace C. Clifton CAMERAMAN Lucien Tainguy AS A WHOLE Social problem play made effec= tive and convincing by direction and excep= tional cast. STORY Divorced wife returns to husband after her custody of daughter proves that first loves are best. DIRECTION Made dramatic moments register and developed characterizations quietly and effec= tively. PHOTOGRAPHY Clearly defined and effective in close-ups. LIGHTINGS Varied although lighted faces to advantage. CAMERA WORK Very good STAR Beautiful and fitted character; wore "some" gowns. SUPPORT Exceptionally well balanced EXTERIORS Satisfactory; not many INTERIORS Generally very good; some excellent. DETAIL Very good. Some exceptionally well= CHARACTER OF STORY. . . .Debutantes should see it LENGTH OF PRODUCTION 4,900 feet THIS deals with a divorced couple, showing the effect of the separation upon the daughter about to make her debut in society, and it has been so well produced that I think it classes among the best plays dealing with this problem that I have seen in a long time. Most of Kitty's gowns were cut "V" in the back, but there was considerably less "C" in the front than she has registered in some of her recent pictures, which was very thoughtful of her in portraying the mother who wanted to protect her daughter from the same pitfalls into which she had fallen after divorcing her husband. Muriel's father, Bradley Barker, gets a letter from his wife, Kitty Gordon, from whom he has been separated since Muriel was a child, asking custody of the daughter. Muriel has been led to believe that her mother is dead. Barker refuses the request and Kitty's lawyer brings her to his home, at which time Muriel first meets her mother. Muriel wishes to go with her mother and the request is granted by the father. Kitty takes Muriel to her social sphere where she is overwhelmed by a world that is new to her and is showered with the attentions of several of the men in Kitty's set. Frank Mayo is the quiet willun who tries to "make" Muriel and Kitty overhears him proposing a party in his apartment, where they can be alone. Muriel, being the sweet, young, innocent — and she certainly looked the part — accepts, feigning illness to get away from her mother. In the meantime, Kitty's lawyer, who has warned her about Muriel's intimacy with Frank, knowing that it would come to no good end. has wired Muriel's father, and lie and Ralph Graves, Muriel's girlhood sweetheart, start out immediately in a racer to bring Muriel home. Muriel has kept her appointment with Frank, and Kitty, not trusting him, starts for his apartment. Here they pulled the old stunt of drawbridge detaining Kitty's car after Muriel's car had passed safely, but it was rather well handled and will not jar despite the fact that it was painfully convenient. Kitty arrives at Frank's apartment just as he is struggling with Muriel, and I w^vnt to thank Director Apfel for not letting this scene run to the point of tearing Muriel's gown or making it unnecessarily apparent what willun was trying to do. After denouncing Frank, Kitty and Muriel return home. Muriel has a cry in mother's lap and we have some very good titles here wherein Kitty proves herself a real mother despite her environment and associates. Father and Ralph arrive at this juncture, determined to bring Muriel back home, but father is won over by Kitty and we have the clutch of the two couples for a finish. Frank Mayo, as the roue, played with a quiet dignity that made his part seem real. Ralph Graves was a very likeable juvenile. Muriel Ostriche was beautiful and appealing while the star certainly registers some great moments throughout. Others in the cast were Tony Merle. George De Carlton and Marie Nau. Subordinate Meaningless Title With Gatchlines and Try To Get Them In The Box Office Analysis for the Exhibitor I don't remember of ever having seen a film in which Kitty Gordon registers the combined beauty and sincerity of appeal that we get in this. Muriel Ostriche also screens beautifully and the other members of the cast acquit themselves admirably, Frank Mayo and Ralph Graves being especially good. The title is brought out in the story, but it is very poor from a selling standpoint because the mere word doesn't mean anything. I would subordinate it with catchlines like these: "The story of how a woman was brought back to her tirst love when she observed her daughter falling into the social quicksands that had estranged her from her husband," or, "Proving that money and gaiety do not produce happiness where there is not love." You might shoot some questions at them like this: "Have you ever contemplated a divorce? Kitty Gordon in 'Tinsel' may change your ideas." "When a couple obtains a divorce, who should right fully be granted custody of the child if it is a daughter? See 'Tinsel'." This is in reality one of those "Enlighten Your Daughter" types of plays, but it has been handled in such a wholesome manner without ever approaching the objectionable stage that I have a hunch it will drive home the thought more forcefully than any of the pictures dealing with the same theme in the sensational sense. You can safely recommend this to any audience, and I think it will be accepted as capital entertainment by the great majority. Certainly it will win many friends for Kitty Gordon and every member of the cast. I would play up the fact that there are some beautiful gowns displayed in this, as that will pull the women — and this is a woman's kind of a picture. Although this would have ordinarily been a rather serious theme, it has been lifted by delightful little touches throughout. I wouldn't play up the "problem" angle too strongly unless it pulls business for you.