Visual Education (Jan 1923-Dec 1924)

66 Visual Education confused with that of an electrical engineer. Thus equipped he undertakes the job of "electrifying" a house, which he outfits with every sort of electrical appliance to take the work out of housework. All goes merrily until the tona-fide electrician, seeking revenge, tampers with the wires and precipitates some extremely funny situations. An honest-to-goodness corned}', as good for the young folks to take as for their ciders. (First National.) The Flaming Hour An ordinary cinematic tale of businesi intrigue interlarded with romance. The machinations of the customary politic villain culminate in the explosion of a gunpowder mill with a regular Fourthof-July pyrotechnic exhibition. Frank Mayo is indefatigable as the choleric, impatient hero — a departure, by the way, from the modern sartorial hero whose behavior under all circumstances is calm and sans reproach. Children who are fed upon up-to-date serial movies will find in this film no more violence than they have been accustomed to gulp down in the serials. (Universal.) The Headless Horseman Washington Irving's "Legend of Sleepy Hollow" brought to the screen in 1-icasant manner, with the inimitable Will Rogers as Ichabod Crane. The picture was photographed in the actual places where the action was supposed to have occurred, and is as charming visually as it is effective dramatically. (Hodkinson.) The Hottentot An exciting steeplechase well pictured, with a generous measure of refreshing humor. Douglas McLean in the role played by William Collier in the stage production, is mistaken for a well-known jockey of the same name in spite of his frantic denials and his reiterated statement that he stands in terror of the entire equine race. Circumstances force him, in order to win the girl of his heart (impersonated by the lovely Madge Bellamy), to ride "The Hottentot," the most vicious horse in his host's stables, in the great championship race. The picture is brimming over with laughable absurdities, and recommends itself as a proper entertainment for the juvenile population. All of which does not imply that those of voting age will not equally enjoy its thrills and fun. (First National.) Lorna Doone Many critics have extolled this picture, din <tcd by the capable Maurice Tourneur, as a fine historical film. While that is undoubtedly true, they cannot have read the novel or they would have something to add to their criticism. The novel is one thing, the picture another. If you would keep unspoiled your reverence for Blackmore's classic, stay away from the film, which, despite careful settings and direction, visualizes the story in garbled vestpocket form. (First National.) Making a Man You will enjoy seeing the suave Jack Holt sitting down in mud puddles and sleeping all night on a democratic but uncomfortable park bench. The story concerns itself with the financial king of a certain California valley, who is not what might be termed a benevolent despot. So autocratic is he, in fact, that it becomes necessary for him to seek suddenly a more healthful climate. New York City, however, fails to salaam before him and the financial king emerges from a number of undignified adventures, a wiser and a nobler man. The entire family may safely enjo;« this picture of sudden and humorous regeneration. (Famous Players-Lasky.) The Old Homestead This old stage favorite belongs to the day and generation of "Way Down East," and its regeneration upon the screen is something of an event. The picture is interesting and effective. Its melodramatic plot furnishes good screen fodder, and the director has staged a storm fully as alarming as any of Mr. Griffith's tempests. The characterizations are full of human interest, with the genial face of Theodore Roberts doing much to brighten the footage. A child can come to no harm in viewing this picture. (Famous Players-Lasky.) One Exciting Night Mr. Griffith, trying his hand this time at the mystery play, has evolved a tense and thrilling drama that keeps its audience gasping in suspense and anticipation right to the very end. People may sneer at the artistry of this director, but they must admit that he can "produce the goods" when it cones to making a popular success. This picture demonstrates both his failings and his virtues as a director. (D. W. Griffith.) One Week of Love A brief synopsis of this picture will be a most illuminating critical comment. When the story opens, the wealthy heroine (Elaine Hammerstein) is celebrating a birthday with what might be called a wet party. The guests are rakishly and damply eating from a festive board spread in the swimming pool. There is revelry. The next morning the heroine races a suitor by airplane, the prize her fair hand. The suitor returns triumphant; the maiden and her plane fall in Mexico. They land upon a hut in which two Mexicans and a renegade American (Conway Tearle) are happy drinking and gambling. The plane and the house are demolished. The heroine faints for two minutes. The renegade American buys the heroine at reduced rates from the immoral Mexicans and takes her to his hut, fifty miles from anywhere. His intentions are not noble. She dashes out into the night, but sees snakes, owls and wild cats, and — safely penetrating the trackless wilderness — returns to the hut. The next morning she shoots the renegade in the arm. He appears to be hurt. Immediately rushing out at the front door, he shoots the Mexicans concealed in ambush. Terribly wounded by their dying shots, he falls unconscious by the front door. He lies there exposed to a dreadful storm. Finally the heroine drags him inside. He has brain fever. In a day or so he is quite well. He is now noble. Soon the suitor comes in at the door and they all go back to civilization in the nearest town. There the suitor gets drunk and flirts and proves that he is not a noble man. He and the heroine board the train for home. The train falls off a high trestle into a raging river. Every one is drowned except the heroine, who is pulled out by the noble renegade after having made a Paul Revere dash. You understand now that they love each other. (Selznick.) The Pride of Palomar This story by Peter B. Kyne ran in serial form in the Cosmopolitan Magazine and was sufficiently colorful to satisfy the readers of that periodical. As a picture, it seems to lack what Americans designate as "punch." The film bears evidence of careful direction and close attention to detail. That it falls short of achieving a strong impression is probably due to the failure of Forrest Stanley to make vivid the role of the picturesque Don Mike. He is athletic enough, but his emotional capacity is apparently limited. "California antiJapanese propaganda" labels the story. Safe for the children. (Famous Players-Lasky,) Remembrance "Remembrance" is one unusually appealing picture of home life in which the father theme is developed. The characterization of the harassed, unselfish father as played by Claude Gillingwater is one to linger in the memory. Unlike many pictures which purport to point a moral, "Remembrance," with its revela