Camera (May 1922-April 1923)

CAMERA ! The Digest of the Motion Picture Industry' Page Five Current Reviews "Free Air" WITH only one big name back of the production, and in spite of subtitles that were probably intended for a travelogue, "Free Air," an independent, is a snappy picture with enough interest to hold attention. The only familiar name here is that of Sinclair Lewis, the author. The story is only ordinary, and every situation is anticipated. But it is well directed and entertains. Our sense of humor overcomes us, however, when this picture of the great outdoors flashes painted and obviously photographed backgrounds of Glasier park. The idea in this ne wtype of film is supposed to be a combination of scenic and plot. Marjorie Seaman, new to the screen, is thrown into a featured part and does very well. She is pretty, has a nice personality, and has grasped screen tricks in a short time. Tom Douglas is a young chap of the Charles Ray type. However, he and his director know this fact very well and the bashful small town tactics are easily recognized. Katherine Hilliker, known for writing titles on industries in the South Sea Islands, and how sugar cane is cut and dried, wrote the titles, forgetting it was a feature story. Others in the cast whose work is commendable are Henry Sells and George Paunceforte. "Hearts Haven" FAITH healing and "miracle" pictures, though not quite so much in style, have entered the Northwest Mounted Police and Sheik class. Propaganda of any kind worked into a beautiful production brings with it a wave of resentment. In "Hearts Haven" another of Benjamin B. Hampton's spotless productions, the story for two reels runs along well directed and well acted. Suddenly it suffers a cramp and turns Christian Scientist. From then on the story becomes impossible. It diverts from the land of real people ,to closed doors and practitioners. Clara Louise Burnham, the author of "Hearts Haven,' 'tried to slip the same stuff over on us as children. She wrote the "Jewel Story" books, but Anderson's fairy tales had it all over her. The surprising phase of this production is the fact that the director-producer (Hampton) should step off his neutral ground where he made so many red-blooded pictures, into the land of religious propagandists. Robert McKim, though one of the features of the cast, had little to do. His role is unusual for him, but he handles it well. Claire Adams is beautiful and graceful, but it is when she becomes a cripple in the story that her emotional acting proves her worth. Frank Hayes, the long-faced comedian, so often seen in slap-stick, is on his good behavior here. He and his set of pills and tonics form a created contrast to the atmosphere of the story. Aggie Harron has a small part, but she is a sympathetic figure, and makes her good heartedness radiate from the screen. Frankie Lee and Virginia Lee Corbin, the famed kiddie team, improve the production ■with their clever acting and appeal. Betty Brice played a true-to-life character (the only real-life person in the story) in a way that caused the remark, "I've seen women just like her" from observers. Claire McDowell was the faith healer this time. Her role took on the sameness of every other one she has played since "mother" features have come to the screen. Many others completed the cast. Photography was good. We are not surprised that so sweet a star as Mae Summers has risen from tJie ranks of an extra to a serial queen. Scott Darling, well known as a senarioist, came through with the following: "I will never again blame a director for changing the continuity of a story that I write. Since becoming a director, I can see why such changes are essential." Darling, let it be known, has been made director of Louis Sargent, known for his performances in "Huckleberry Finn" and "Just Around the Corner." "A WIDE OPEN TOWN" Again we have the example of the popular fiction story which becomes trite when shown upon "the screen of a million photoplays." You see, they can still fool them with printer's ink, but the multitude knows an old friend, especially when the friend calls often. "A Wide Open Town" is interesting to the average audience, but suffers from oldfashioned methods of direction, besides carrying very familiar plot and episodes. At that, it is far above the average Selznick offering, although this may be damning the production with faint praise. Conway Tearle and Fai»e Binney are the two principles in the picture, but neither could do themselves justice in the circumstances. W. E. W. Independence THE eyes of the motion picture world are taking an interested slant at the independent producer at the present time. He is showing signs of gaining weight. While no one was looking, this foot-loose fellow has evidently crept into the pantry with interesting results. Most of us want this fellow to continue feeding up, that he may make the weight in a battle that gives every entry hard rubs and then more hard rubs. Therefore one should extend to the new favorite the usual words of wisdom and advice. The one mistake of most independents who have entered the producing field, has been that they considered the struggle all over when they landed their finances. After that it was merely a matter of going right out and making the picture. It has required many years of bitter struggle and great losses to bring the old-timer of the business to the realization that there is something besides currency and his own superlative wisdom behind successful pictures. He rebelled to the last against the story itself. It was the organization, the director and management that made for results. The story was something of a leadoff, but it had so little to do with the actual production, that it was unworthy of much credit or price. Now the story is the big thing when in successful continuity, and the Old Guard is pawing the air to discover in its midst, imaginative writers who have trained down to the minute — the present minute — for the job of directing the picture on paper. The independent well might take a tearstained leaf from that book of experience, and turn to the only proven system of successful production, that of co-operation between author and director. But, the independent will do well to improve upon some of the standard methods by refusing to allow studio system to ruin the effects of such co-operation. None of the great screen successes have been made under a studio system. In each case the unit was unhampered by outside interference. A hasty roll-call of the really big ones will prove this. Therefore the independnt is in a happy position. He may take all the good from the other fellow's experiences, and cheerfully chuck aside the stumbling blocks which the Old Guard is too stubborn or helpless to discard. The product of the author's brain cannot be put upon the screen in all fullness by any director, without the personal aid of that writer. On the other hand, the mind of the director should be an aid to the author while the continuity is in process of development. If both these persons are competent ,and will work together, succes sis assured. The wise independent is happily placed. He stands a chance of winning from the outset. R. W. HERO HAROLD SAYS If the jungle beast would become entirely popular with picture audiences, he might try biting the serial producer a few.