Camera (May 1922-April 1923)

CAMERA ! The Digest of the Motion Picture Industry" Page Five Current Keviews "The Eternal Flame" THE changing world always has been a subject of feverish study on the part of publisher and producer. "What does the public want?" has been the query upon the tongues of men since humankind has sought to apprehend desire, in order to appease appetite either physical or mental. And, during the existence of motion-picture production, no one has sought more earnestly to find the ansvv'er than the manufacturers of screen features. These easily discovered what the public did not want. That was a simple task. Among other things it was found that seekers of film entertainment did not want period plays; costume productions. And that was not so long ago. But now, with much suddenness, picture patrons have gone "costume mad," if that expresses it. Perhaps it would do greater justice to the genius of screen writer and director to say that the twain have "made the public like it." At any rate the old country and the new are putting over production after production wherein past periods with their people, customs and costumes score heavily. "The Eternal Flame," from the studios of Joseph M. Schenck, is far from the least of These. Indeed, it seemed to be a question during « discussion in a group of highly intelligent persons recently, whether this Norma Talmadge special did not rank with the highest efforts of this character in recent times. Certainly it is gratifying to herald now the appearance of this splendid screen entertainment, and to announce its remarkable success, in these days of anxiety among picture folk who are battling for normalcy in the industry. "Tyie Eternal Flame" not only is wholly satisfying with its colorful unfoldment, but it has been handled with such superb intelligence by Director i<rank Lloyd that 'it stands out brilliantly in a field where great productions are not unknown. The screen adaptation of Balzac's famous "La Duchess de Langeais" in itself deserves special mention, for it proves entertainment of highest value. That alone insures the success of any film production. Director Lloyd's people are not manikins, stiffly moving about in stiffly starched gowns and clothes. Each one moves with graceful ease, as humans of past, present and future did and always will move. Without question Miss Talmadge leads the way in this most acceptable offeiing, with a command which is not challenged by any previous screen appearance of that very popular star. And she has glowed very brilliantly at certain times in the past. A difficult role for anyone, however talented. Miss Talmadge registers as surely and certainly as in those days when she was supposed to be at her best. Conway Tearle never was better in his role, and that is high praise. Rosemary Theby, as the rival duchess, deserves one of the several special mentions in which Otto Lederer, Irving Cunningham and Kate Lester must share, although the first two were seen but little. Adolphe Jean Menjou as the Duke, much helped the uplift of the action. Otis Harlan, Thomas Ricketts and Wedgwood Nowell were others who registered heavily in a production which made big demands upon histrionic ability. Cameraman Tony Gaudio was supreme in filming the big special. W. W. "Remembrance" To truthfully present some specific, if temporary, manifestation of human life, in the unfoldment of a telling bit of man's existence, is entirely worthy of writer or photoplay moulder. So long as this is done in entirely satisfactory manner, the public always will approve. It has become rather a maxim among those of Filmland, that one must not approach real life too closely in the realm of fancy which attends the mute folk who move and have their being in shadowland. However, it appears that the exception to the rule is about to become the rule itself, for a number of examples of this character have manifested themselves recently upon the screen, with success which has opened the eyes of many producers. One of the foremost disciples of the humble story, who leaves all question of socalled art to others, is Rupert Hughes, the novelist, recently turned to the task of writing and directing motion pictures. "Remembrance" is the second of his productions, and both have proven homey exemplifications of human nature as have all his screen stories. We owe this author-director so much for the beautiful things he has given us all, that it is with reluctance that we carry out the duty of indicating faults in "Remembrance," which ordinary analysis easily presents. Admitting that the subject is one filled with great interest, an appealing interest which immediately draws the audience's warmest sympathy, it must be confessed that, from a production standpoint, "Remembrance" does not class with either "The Old Nest" or "Come On Over," both of them from Hughes' scenarios. Perhaps if a recent production based upon the same subject — the long-suffering martyr, old dad — had not arrived first with its ripeness and richness as developed by a iong experienced director, one might not feel so much of the thinness in spots, .the lack of logic at intervals, and so much "tame" footage which neither advances the plot nor sustains high interest, all of which now are apparent in the present production. Again there are fade-outs which are cut too closely, the same scene jumping in again after a presumable passage of time, but all this sudden transition is without a subtitle to explain to the audience or to save such breaks from crudeness. Dad's illness was very sudden; he hid the documents in the sofa pillow, a big, stiff bundle of them which would be discovered by the first person to touch or handle the pillow. Then he managed to climb several flights of stairs afterwards, rather overdoing the attack of illness. And the sickbed scenes did not reach out and grasp the spectator with the strength they should have manifested, nor were they as convincing as they surely would have been in a Rupert Hughes novel. There are certain underlying principles of motion-picture production which must always be observed in production, but these elements are given to the director through experience. And "Remembrance" is only the second picture put over by this author. Claude Gillingwater is good as the old father, a type which would be difficult to improve upon. Outside of the over-acting mentioned, Mr. Gillingwater is immense. Patsy Ruth Miller is the one daughter who does not "work" father. Everyone likes Patsy. Cullen Landis, the necessary lover for Patsy, does not add to acting values heavily. Kate Lester, as Dad's wife who has grown rather snobbish with wealth, but who recalls the past and love, through the mutterings of her delirium-stricken husband, is not so convincing as one earnestly wishes her to be. The remainder of the cast include: Nell Craig, Dana Todd, Richard Tucker, Esther Ralston, Arthur Trimble, Lucille Rickson, Max Davidson, William Carroll and Helen Haywood. All were as satisfactory as one could wish in the work they were called upon to do. W. W. "My Friend the Devil" WE have done penance enough to last a lifetime of sin in viewing ' My Friend the Devil," a Fox picture. The first ten reels are the worst but long before that one may become cured of chronic insomnia. This agony is divided into three periods and as they progress the action, logic and direction become more absurd until it becomes a ludicrous failure. The idea buried in this alleged feature is an elevating and well-meaning one. This fact makes us resent more than ever, the treatment that made it look ridiculous. The theme is that of an athiest who eventually learns that no thing on earth can save his loved one and turns to the Divine Power. The director, Harry Millarde, made a brave attempt in the beginning but he tired of his subject or it became too difficult to I)revent the subject from becoming ridiculous. His characters run wild in action. Paul H. Sloane scenarized George Ohnet's novel "Doctor Ranieau." In doing so he eliminated any fineness or restraint and preserved the melodrama and erratic atmosphere, resulting in a scrambled chaotic mass of moving neither forward nor backward. Joseph Ruttenberg has accomplished a bit of art in many of his long shots and his photography of Miss Castleton is beautiful. Bunny Grauer, the boy character of John Dryden, is a real trooper and sets a standard of acting that Charles Richman as the grown-up John Dryden fails to live up to. Richman overacts and in a supposedly great dramatic climax causes a murmur of laughter by distorting his role. Barbara Castleton matches her beauty with remarkable dramatic work far above the quality of other material used here. Wm. H. Tooker as Doctor Brewster is poised at times but at others has flares of exaggeration. Peggy Shaw's impression of an ingenue is pitiful and if her attempts at acting were not so sad they would provoke a chuckle. The also-rans are: Myrtle Stewart, Adolph Miller, John Tavernier, Anna May, Robert Frazier, Mabel Wright, John Randall and Robert Marks. R. W.