Universal Weekly (1924-1936)

October 23, 1926 Universal Weekly 31 UniversaVs Qreater Moi;ie List "The Mystery Club" By IRENE THIRER in the New York News "The Old Soak" By DON KRULL in the San Francisco Call and Post YOU'VE met -one of these lovable old chaps who are never too busy to speak a kindly word or to lend a helping hand. He's the type of chap who sometimes imbibes too freely of the fruit or grain juices that have been_ subjected to fermentation. If he tlidn't spend some of his money on drink, his family might ride in a Rolls Royce, but as it is they have to be contented with a Ford. In spite of all his faults, you love him, for the love of his fellow men fairly radiates from him. Meet. Him on Screen Wander down to the California this week and you'll meet this chap on the screen in Don Marquis' "The Old Soak." His name is Clem Hawley, and he's portrayed by Jean Hersholt, that splendid character actor whose work in "Stella Dallas," "The Goldfish" and other vehicles stands out as highly artistic. Her sholt's. work in "The Old Soak" at once elicits one's sympathy and love for that easy-going old gentleman whose bosom companion is Al, the village bootlegger. George Siegmann as Al lends the proper touch to get all the humor possible out of his role. Lest anyone think the picture in any way makes light of the prohibition amendment, let it be said here and now that "Pussyfoot" Johnson himself couldn't take offense at this film. June Marlowe Splendid Second only to the artistry of Hersholt is that of lovely June Marlowe, seen as Ina Heath, the chorus girl with whom Clem Jr. is in love. The sweet, sympathetic characterization given the part by Miss Marlowe is natural, wholesome and free from any affectation. It is a part admirably fitted to her talent, and she^ plays it with an ease and refinement that are a revelation. The manner in which she straightens out Clem Jr., smoothes over the grief of Mother Hawley and finally aids Clem in coming back into the good graces of his family, serves to make a thoroughly entertaining story. George Lewis does nicely as Clem Jr., while Louise Fazenda, William V. Mong, Gertrude Astor and Lucy Beaumont all do well. The direction of Edward Sloman is all one could ask. (Footage: 7445) "Perch of the Devil" From the San Francisco Bulletin ONE of the most sensational novelse of married life ever written is Gertrude Atherton's "Perch of the Devil," which in its picturized form is heading the California Theatre bill. The story deals with a married wo, man who foolishly and aimlessly wastes her time in frivolous attachments while her husband plods away in a gold mine which has suddenly made them rich. It also draws into significance a single woman who poses as the wife's friend but who is really stealing the husband away. The situation of these two "women coming to final mental and physical blows for the possession of the male is worked out more thrillingly in the "Perch of the Devil" than in any other play, story or picture. Mae Busch, who made such a tremendous sensation in "Foolish Wives," plays the feature role. She is supported by Pat O'Malley, Jane Winton and other players. "Perch of the Devil" has been directed by King Baggott and it contains a number of startling photographic innovations. (Footage: 6807) "The Flaming Frontier" By MAE TIN EE in The Chicago Tribune THIS is an up and coming picture of frontier days, and Hoot Gibson, terror of the bucking bronchos, is seen as a pony express messenger who, sent to West Point by one who believes in him, justifies that belief. The story is melodramatic, but thrilling and well screened. ... Mr. Gibson does honest and satisfactory work and the same is to be said for all other members of the cast. The director, who, by the way wrote the story, had an eye for color and effect, a knowledge of mass as well as detail, and has put over the production with snap and swing, assisted to splendid advantage by an Al photographer. I think you'll approve of "The Flaming Frontier," and I know it won't bore you. MYSTERY that is mystery is mystifying misses, misters and misseses who journey forth to the Broadway Theatre this week, seeking entertainment. This presentation ... is without a doubt the best screen fare of the present week's Greater Movie Season. Without being scary and spooky, it is replete with tense moments and thrill action. Director Herbert Blache has taken one of Arthur Somers Roche's popular crime stories concerning "The Arm Chair Club" and turned it into as enjoyable a movie as any one would want to become excited over on a hot day. The tale concerns a group of millionaires who call their organization "The Arm Chair Club." One member of the club fosters an institution for reformed criminals and, during a discussion on this institution, an argument arises as to whether or not it is easy to commit crimes without detection. As a result of the discussion a wager is made whereby each member of the organization is to err in one "gentlemanly crime" which can be fixed up when the game is over. It might have been a most enjoyable game if somebody hadn't gone ahead and committed a real, honestto-goodness crime for which each member of the club angrily blames the next person. But eventually the mystery is cleared up with most of the emoting done on the parts of Matt of the Moore brothers and Edith Roberts, a pretty brown-eyed girl who doesn't seem to have much luck in the movies, though she should have. Included in the membership roll of the Arm Chair Club are Warner Oland, Henry Herbert, Nat Carr, and Jed Prouty, all of whom portray their roles as mysteriously as the picture requires. Earl Metcalfe, who usually impersonates Theodore Roosevelt in movies, has shaved his bristly mustache for a gangster part in this movie and Mildred Harris, with her brand new brunette bob, makes a most inviting young widow. This is one you're certainly going to like. And befoi-e closing our review of the picture we want to make mention of the good work of little fat Charles Puffy in a butler role. You'd almost suspect Puffy of being criminal— but he isn't. (Footage: 6969)