Camera (May 1922-April 1923)

Record Details:

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Page Eight "The Digest of the Motion Picture Industry" CAMERA I THE SILENT TREND Composite of Views, Previews, and Reviews of Motion Pictures. "Mighty Lak a Rose" conies as a boon to the cause of ingratiating the screen with those who demand better pictures. This is a better one. In fact, it deserves credit as a veritable triumph. And, it acliieves its greatest Iieights through its simplicity — its total lacking of complications such as many directors interpolate with the fallacious idea of startling someone and creating the atmosphere of suspense. It has been proven already that suspense, for instance, is not nearly so much of a requisite to a picture success as they used to think. Considerably more important is the element of human touches. In this particular regard "Mighty Lak a Rose" excels. Its story gets right und(>r your skin because it is so much like life as you understand it and is so devoid of the frills and useless trimmings some producers seem to dote on as the means for showing genius. Edwin Carewe directed this picture and thereby convinces the whole world that he is one of the "safe-and-sane directors" who is more concerned in making a good picture than he is in trying for a diiectorial ten-strike. Although the cast does not seem to strive for any unusual brilliance in performance, it is satisfactory and the characterizations ring true — quietly, unostentatiously. Dorothy MacKail, in the difficult role of blind Rose, does the best work while James Rennie and Anders Randolpli contribute a full share towards making the picture a success. Most everybody will like "Mighty Lak a Rose" because it contains most everything everybody does like in their cinema fare and it is so mighty like a screen gem. Maurice Tourneur's "The Isle of Lost Ships" certainly did "knock 'em dead" at its preview here this week. Seldom has a picture overwhelmed members of the profession with such unstinted enthusiasm. As Charies Furthman, the diligent writer of "screen originals," expresses it: "With twists that change smiles to tears and tears into thrills our master director of the foothills again puts himself forward as one of the screen's foremost geniuses." Also, as this same discerning Mr. Furthman observes: "There is no getting away from the idea lliat the blood-and-thunder melodrama is the thing. It is the liealthiest, most invigorating and fruitful sort of screen entertainment, and, it fills a longing in the great fan world for mental gymnastics, for heartquakes and a conflict of emotions perfectly normal, being equally good for the soul and the body." We agree to all of the foregoing provided, of course, the melodrama is presented with tlie artistic finish which has been attained in tliis latest Tourneur contribution to the silversheet. The preview audience sat almost breathless expecting for occasional hysterical gasps. No one seemed to bi' able to fathom wliat could happen next or to anticipate wliat might happen as the resuK of what had just been visualized. In sustaining suspense, it is perfect. The play is skillfully constructed; the director has Dpened his bag of tricks and pulled out a wealth of artistic science! The cast is adequate— Walter Long as the villain is extremely brilliant. In tact, his performance in this picture is one of the greatest histrionic achievements of the last many moons. Frank Campeau also deserve.^; some special mention. Anna Q. Nilsson and Milton Sills in the "leads" contribute precisely what they should contribute in the way of com TEXDENCIES TERSELY TOLU Thri/ are all all-starring iwuadans. 'Tis wonderful ichen you recall how only a couple ijears ago most all of tlif III trrrc half-starving. The proposition of "having a release" is beginning to lose its magnetic charm. Sloult/ but surel;/ they are learning a fundamental, to-ivit: one must have a picture first. It sounds (xceedingly revolutionary, reversing the whole course of procedure as it does, but experience has tended to prove something which .should never hare needed proving, namely: everybody Hants a good picture and whether or not there is a prearranged release for it makes no difference whatsoever. Xow that Coue has tran.sferred Jiis "Day-by-Day" to the "FUcker-byFlicker." as the Film Daily puts it already there has been started a rush among other producers for similar ideas. Just as there must always be a "goat" among us. there must always be many sheep eager to stampede together on the slightest provocation. And, Coue isn't provoking at all! There is a most marked trend among San Francisco producers to transfer their activities to the Southern California field. This is thought to be the result of dyicovering the disadvantages and e.rpen.'iiveness of being away from the headi/uarters of the industry. Three Frisco outfits have come to Los Angeles in the last month to m-ake pictures. It ■'icems inevitable that Los Angeles will eventually become to the .•icreen what \eic York City is to the stage — the premier center for all the activities from, beginning to end. There being no reason why this should not be. it just naturally bids fair to be. An inning for a record-breaking supremacy of child stars seems at hand. M'esley Barry was the pioneer in the new movement. Jackie Coogan boosted it along prodigiou.sly and Baby Peggy made a definite boom of it. Xow Muriel Frances Dana is in close proximity to the dotted line which will result in her "coming out" as a star in her own right and great things are being predicted for another Muriel — Muriel MacCormae. Among others of promise are "Peachi .s" Jackson, Mickey McBan and llichard Headrick. A^nong the older children in the ascendancy is ' Virginia Lee Corbin, now about to start in a feature production of which she nill be the star. Verily, it does look like the kid age. ponent parts to an enthralling^ entirety. Raymond L. Schrock and William K. Howard were among the notables present who were unrestrained in their declaration of admiration and the phrase "a great audience picture" was what they both used to make known their approval. William McConnell admitted he had not been quite so thrilled by a film in a whole yeai'. Thus, in taking into consideration the concensus of opinion among those who know motion pictures, it seems certain Mr. Tourneur has given the First National something worth bragging about. It is a foregone conclusion that those who see "Java Head" will associate it with the career of Leatrice Joy since her absolutely unique portrayal in this feature is a veritable personal triumph which is sure to endure in the memory of all for a mighty long time. Seldom has there been so perfect a characterization in pantomime — she simply is not Leatrice Joy at all in this picture; she is a native Chinese princess and never did anyone see a native Chinese princess in real life more like one than she is every second she is on the screen moving with sure artistic genius tlirough the various intensely interesting scenes which go to make up this cinema classic. If Miss Joy had needed some great force to complete her arrival at the top of the ladder of thespian fame, this effort of hers would have accomplished it without the aid of any previous achievement. She seemed to have actually inspired the members of the supporting cast, because every one of them gave an unusual performance in close harmony with her interpretation. Especially admirable was Jacqueline Logan while Albert Roscoe proves himself deserving of classification in the category of "actors extraordinary." George Fawcett and Raymond Hatton are also "there" with their unfailing art to endow the whole structure with reinforced strength. There was an unintentional error in this department last week. In praising Clifford S. Elfe't's production of "Danger," in which J. B. Warner stars, we ventured the guess that the production did not cost much more than $20,000, but the printers, fallible as ever, made a typographical error which placed our figure at $10,000. We voluntarily correct the mistake because it is so easy to see in "Danger," the expenditure of more than $20,000, which, however, is a remarkably small outlay for a picture of such high entertaining value as this one is beyond a doubt. Viola Dana is one of the screen's greatest delights. This fact is impressed in every picture in which she stars, and, is one of the few stars who never fails to maintain a certain high standard in her very characterization it makes no difference how many pictures she must make in a year's time. She has just scored again in a story of the South called "Crinoline and Romance" and as Miss Emmy Lou she offers a performance which "has everything." As a romancer she is irresistible in this feature; in the moments for lighter touches, she is the superb comedienne of exquisite finesse; in the dramatic situations she arises to all emergencie.s with a power which intrigues one. Even thougli the plot may get thin in spots. Miss Dana carries it along without a single lialt in her own vivacious tempo. She is given excellent support, especially by John Bowers and Claude Gillingwater. The direction of Harry Beaumont is without flaws. "Crinoline and Romance," adorned by Miss Dana's artistry, is a winner without doubt since it is a picture which will meet the Continued to Page 21