Motion Picture Classic (Jan-Dec 1920)

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Charlie Kay's final Taramount vehicle, ■■'I'hc \'illaf;e Sleuth," will not add to bis laurels. This, an original story by Agnes C. lohnston. is a trick melodrama. Ray ]ilavs a would-be detective who, while employed at a sanitarium, attempts to solve •what appears to be a murder. Just as he seems to unravel the mystery, the "n""'dered" one returns. "The X'illage Sleuth is an involved thing, told rapidly but loosely. It does not hold our interest in the least, despite Ray's usual byplay as the yokel sleuth. The director, Jerome Stonn.'loo, does not seem to get a dehnite hold on the story, ridiculous tho it is. It is our painful duty to record "Little Miss Rebellion," (Paramount), as another failure, despite the spontaneous Dorothy C.isb. Harry Carr's original .story, the pleasant hocus of a royal princess of some small luiropean principality who falls in love with an .\mericau doughboy, is lost in the direction. George Fawcett, the director, seems to have told the story in chunks — and then had considerable difficulty getting the chunks to fit. Result, a comedy which became a melodrama — and an exceedingly lame oiu at that. Even r^Iiss Gish is lost. We hand another medal to Harold Tdoyd for his "Get Out and Get Under." ( Pathe). We thought the humorous possibilities of the Ford car had been exhausted, but now we know better. Lloyd has not equaled his classic "High and Dizzy," (which was the funniest thing since Chaplin's "Shoulder Anus"), but he has succeeded in building a consistently iunny farce. The Talmadges had better look to their scen.ario departments. For instance, Constance Talmadge has ju.st been miscast in "Good References." (First National), an original story by E. J. Rath, in which she plays a young secretary who gets a liosition in a wealthy home on fake credentials. Of course, she falls in love with the young man of the household and has to face the terrific emotional problem of cimfcssing the fib. Here Miss Talmadge is lifted away from her forte, light comedy, and dropped into a far-fetched semi-melodrama. K. William Xeill, the director, probably did all he could with the story. He gives Miss Talmadge a new leading man. the boyish Vincent Coleman. Young Coleman seems rather artificial as yet and wears a fearfully theatric looking makeup. TIIK IMPERISHABLE Hy CHARI.OTTK UkCKF.R Dcith may take to Iiim tlic painter, Hut his works to us belong; lit may steal from us the sinRcr, liul iie cannot seize the song. .\n(!. tho he may take the lives tliat Hold our sum nf joy, yet he Cannot mh us of the largess 01 a single niemury. 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