Camera (May 1922-April 1923)

CAMERA ! "The Digest of the A''. lion Picture Industry" Page Five Current Reviews "Blood and Sand" ONCE more the cinema has been taken from the by-ways and led back to the throne. Crown and septre have resumed their sway in that remarkable production, "Blood and Sand." It is a looming triumph for the film world. But one cannot sit at this great feast until the final writing upon the wall, without feeling that, at some period, something must have vortexed itself into the creator's life, quickening his soul to the heavy heart-beats of mankind. For he has summoned to the screen life itself in all truth. Now come, in true colors, bits of life surcharged, broken blossoms indeed, and a great moment of tragic indelibility. The sunrise is no more natural than Fred Niblo's human passages in this presentation, for he is the master who has given us this truly great portrait of the smiling morn, the promise of mid-day, and then the solemn night of penalty! Niblo's humans play the game with a faithfulness which effaces all thought of mimicry. No miracles occur. His people surge steadfastly onward to their eventualities, although, for some, death flies in the offlng. "Blood and Sand," is the second tale by Vicente Blasco Ibanez to enter the film with Rodolph Valentino in the chief role. As in the first, "The Four Horsemen of the Apocalypse," tragedy rules. Under Niblo direction, Valentino emerges from this, his supreme effort, as a distinctive star in his own right. Even those familiar with this actor's previous performances, cannot realize the scope and depth of his full powers until they shall have followed him through this all-powerful presentation. Valentino has proven popular in all his productions, but "Blood and Sand" has led him to fame. It has revealed in him a greater genius, which needed only opportunity and consummate direction to disclose. This Ibanez story proves a greater tragedy than "The Four Horsemen," yet it resembles forebear in more than one regard. The hero, (Valentino), again surrenders to the woman whom he should have shunned. Here also we have the man of superlative wisdom, having no part in the trend of events but, standing aside, delivering prophetic utterances which foretell the results of smouldering entanglements. It was fitting that June Mathis, who adapted the former Ibanez story as Valentino's first vehicle, also should have developed the author's present tale for the same star. A cold sounding word, "continuity," for which picture audiences have found no recognition or appreciation, but still an art in itself which is making more and more for screen success. But, in the main, there is a wide divergence between the two stories. This time Valentino is "Gallardo," a noted toreador, the pride of Spain One might quarrel with Ibanez for cloaking such as Gallardo with sympathy, bringing this excuse and that to his rescue. We are quite apt to recall another man who, centuries ago, voiced his excuse; "The woman .... did give me of the tree, and I did eat." But Nita Naldi, although portraying the vampire character to such remarkable extent as to win the hatred of every woman in the audience, and cause every man to sit with clinched fists, emerges from the Niblo triumph with many laurels also. To do full justice to the numerous actors and actresses whose native genius lent strength to the director's efforts, would be to write a volume. Lila Lee, as the wife, was tender and appealing. Leo White was supreme in a comedy-relief role which fitted perfectly into the tragedy. Walter Long, as "Plumitas," the outlaw, was so impressive that, although seen but a few times, one will remember him as long as "Blood and Sand" lingers in the memory. Rose Rosanova was "// you have tears, prepare 1o shed them," ichen you see Rudolph Valentino die in "Blood and Sand." "Senora Augustias." To her the picture owes a decided debt. The honor list continues to such very competent persons of filmland as George Field, Marie Marstini, Charles Belcher, Jack Winn, Harry Lamont, Gilbert Clayton, George Periolat, Sidney DeGray, Dorcas Mathews and William E. Lawrence. It is a pity that full credit cannot be written here for each. The beauty and fulness of this production cannot be conveyed to the reader in cold printer's ink. Only the screen, warmed by Director Niblo's own art can do that. And, if public and critic should pronounce "Blood and Sand" as one of the greatest gifts from the realm of shadowland, the reviewer will be the last to reveal surprise. "Kisses" UNLIKE its title "Kisses" has no kick in it. The story is mildly entertaining .and without climax. It takes courage to mention June Mathis as the scenarist after seeing her name over "Blood and Sand" because the conlinuity and action of this Metro production are far below her standard. The original story by May Tully is not so original. A dozen parallels could be drawn to the plot were it worth giving space to it. Maxwell Karger directed "Kisses" in an inoffensive manner. He had a good cast to work with and an able cameraman. Alice Lake, the society bud, and champion candymaker takes a whirl at high finance and worries her rivals out of fifty thousand. Miss Lake has many beautiful gowns to aid her success, for very little opportunity is given her to act. Harry Myers is the same nonchalent person as in "The Connecticut Yankee." With his personality and easy manner he wins his way without having to worry about good looks. Edward Connelly, Edward Jobson, Dana Todd, Mignon Anderson, John MacKinnon and Eugene Pouyet are included in the cast. K. W. "In the Name Of the Law" AFTER being tripped up at every downtown street corner by a paper mache officer of the law, we were sufficiently peeved to spend two hours viewing "In the Name of the Law," an Emory Johnson production. The first night having a "Yes" audience, no conclusions can be drawn from their acceptance but that of a forced approval. Had Emory Johnson sacrificed vanity and family circle in casting the picture it would have jumped fifty per cent. But it is his first production and many allowances can be made. Only one man has made a success of acting and directing at the same time and the world acknowledges only one — Chaplin. The story from the pen of Emilie Johnson is more than good. It is charitable to the race known as policemen. Her story is based on the life of a good, yea honest officer of the law. Ralph Lewis' work is comparable, only to his own portrayal in "The Conquering Power," although his present role doesn't call for the tense dramatic action of the former. Ella Hall has been absent from the screen too long to be thrown into a leading part and her action doesn't benefit the production to any extent. Emory Johnson divides his interests between directing and acting and it is decidedly visible to the spectator. Claire McDowell in her usual mother role repeats the screen mother action in routine fashion. Johnnie Walker is the average juvenile whose name means more than his ability shows in this picture, Josephine Adair started the waif part that Ella Hall continued later. Had Miss Hall kept up the standard that Baby Josephine set more praise would have been forthcoming. Benny Alexander, another clever kiddie, brightens the first reel with Johnnie Thompson. Richard Morris has a minor role. R. W. "Lucky Carson" THE log in this Vitagrapli picture was good, but it should have been much thicker. Some of the scenes and subtitles became visible at times, to the annoyance of the audience. W. E. W.