Camera (May 1922-April 1923)

CAMERA ! The Digest of the Motion Picture Industry" Page Five Current Reviews "Trooper O'Neill" ARTISTS would be amused were a thriller in Detective Stories illustrated by exquisite etchings — and readers of the thriller probably wouldn't appreciate the art. Perhaps a steady diet of it would gradually gain their appreciation, however. There is an analogous situation in "Trooper O'Neill," which is ju.st another northwest mounted police story, graced by occasional screen paintings of beauty by Lucien Andriot, an artist of the lens. Not many art lovers will see the picture, but the folks who do see it will unconsciously absorb some appreciation of artistic composition. There is one moment of unstilted drama in this story by George Goodchild, and William K. Howard's script handle it in just the right way. A woman has died. Three men with eyes tear-dimmed throw dice for the privilege of avengement. The dice are not shown, but the actors' faces are. Then the action jumps to another sequence. Good suspense here later serves to keep spectators guessing. That is merely introduction. The real story is a trite affair that any bright little scenario student can reconstruct in a moment, when he learns that Trooper O'Neill is assigned to "get his man," and that the dead woman has a charming sister. Scott Dunlap directed. He steps the action forward as fast as the script permits. Francis McDonald has the "fat" characterization. His scowls are monotonously the same, but his dramatic demeanor is convincing. Charles Jones ("Buck") Jones, if you don't recognize the name — is Trooper O'Neill. The most that can be said for Trooper O'Neill is that he is clean-cut, rides a horse well, and salutes smartly. But Charles' uniform is so stiffly starched, the poor boy can do little else. Jack Rollens enacts a plump but tough recruit in a human way, and gets all the chuckles lying about loose. The cutter left in too much of Beatrice Uurnham's lip-trembling in her early scenes, which prejudices spectators. Also too much of forae over-saintly poses. Karl Forms as the old father, Sidney Jordan as the impetuous brother, are acceptable. Claude Peyton does some wild scrapping with Jones in the early portions, and steps in later in time to be conveniently killed. T. T. "Men Of Zanzibar" THERE is great mystery in the first reel of "Men of Zanzibar." The mystery being, where is the cast and what does a reel of stock film and letter insertions mean? In the second reel of Richard Harding Davis' submerged story, one of Fox's male "idols" is seen, William Russell. Edward LeSaint captured the original story and brought it into captivity by filling it with civilized hokum and dashing into it "daring" titles of insipid variety. Rowland V. Lee gets the credit of bringing to the screen one of the marvels of the age. We see women who, the titles tell us, have been on the island for years, in the latest Parisian gowns, dancing the newest roof garden steps, and natives of Zanzibar regaled in the garb of Sheikland. This is the height of economy on the part of the fast-producing Fox organization. We hope that the thought will not occur to them to produce a picture of Chinese locale, for they have not yet used up the sets and costumes of "Monte Cristo." William Russell overestimated his importance to the screen. Brilliantine and eyelash cosmetics play a big part of his career. Perhaps this egoism had something to do with the fact that one of the better male actors of the cast was not credited on screen or program. That person is Claude Peyton who played a heavy with skill. Ruth Renick has the advantage of being the only woman in the picture. There is no snap to her acting but she is pretty and plays the part with serenity. Harvey Clark does good work in the toupeed character and once in a while lands a big laugh. Arthur Morrison plays an indifferent role with sincerity. The interior camera work is only ordinary and sometimes groggy, but occasionally, as if through sheer luck David Able shoots a nifty forest. R. W. "Strange Idols" AN aspiring writer by the name of Jules Furthman has made a novel discovery in the line of film plays. He has written a story that he terms "original," dealing with a heretofore unheard of thing the "triangle" situation. This unique story contains the hero, — ine, and villain. Such originality should not pass by unsung. Bernard Durning had the honor to direct the masterscript and it is difficult to know whether it was wrecked in the making or was born deformed. It was rather annoying to see the leading lady, a blonde, become a decided 1)runette when doubled in long shots, dancing. From the first opening shot, a huge interior, (he photography was beautiful and distracted one's mind from the horrors and triteness of the plot. Don Short was back of the camera. Dustin Farnum retains his magnetic personality in spite of his mileage over the years. Never does he forget to smile face front to the camera nor hesitate turning the heroines back to us when proving himself a cinema "great lover." Doris Pawn has personality, lots of it. But she has little chance to use it and it falls in the shadow of the star. Philo McCullough as a dancer is a good actor. He has an indifferent part that he struggles with nobly. Richard Tucker as a cafe owner has virtue that is unbelievable, but he works well and fast for his time is brief on the screen. This concludes the epidemic of Fox films this week. R. W. "Broadcasting" A FOURTH McDonaldJohnny Jones comedy-melodrama has reached the screen with a slight deviation from their usual kid comedy picture. This production, "Broadcasting," is a timely subject with a bit of drama and suspense in the plot. The fact that children have taken up the radio craze makes the theme logical and comedy situations run rampant throughout the two reels. Mrs. L. K. Deighton wrote the story and Mason Litson wrote the continuity. Not only did Litson adapt it to the screen, but he directed the subject and handled the kiddies in the skillful manner and with as good results as former ones. This picture cannot be compared to its forerunners because of the difference in type, and while it is entertaining it takes a half reel to get to the story. Roy June, the cameraman, got some fine exterior shots and lightings, while the interiors were just straight photography. Johnny Jones is the same poised boy actor. He is ever at ease before the lens and adapts himself to his part whatever it may be. But of the children Gertrude Messinger is the prize emotional actress. Her naturalism and naivete are charming to see. On Kenneth Green, the fat boy comedian, rests the greater part of slapstick comedy. Other clever kids, members of the "gang" are present in all their talented glory. R. W. A preview of Bertram Bracken's all-star production, "Over Here," was given September 7. Prominent in the cast are Jean Perry, Edward Kimball, Tully Marshall, Wilfred Lucas, Snitz Edwards, Kenneth Gibson Eddie Traebol and Ben Dely. The feminine roles were assumed by Bstelle Taylor, Winifred Landis, Milla Davenport, Margaret McWade and Kate Price.