Camera (May 1922-April 1923)

Page Eight "The Digest of the Motion Picture Industry' CAMERA I THE SILENT TREND Composite of Views, Previews, and Reviews of Motion Pictures. "A Gentleman From America" is a pleasing comedy-drama having to do with the experiences of an American doughboy in Prance during the final days of the recent World War, and the story is so deftly put together that no one will chastise Raymond L. Schrock. the author, for reminding us of a catastrophe. "Hoot" Gibson, the star, gives a performance which stamps him as an artist who does not have to depend on cowboy stunts to maintain himself in the picture-loving eye. In short", he has demonstrated definitely that he is first of all, a good actor, and, secondly, one of the world's champion cowboys. Personally we do not hesitate to predict really great dramatic triumphs for "Hoot," because we are convinced he has mastered the fine points of the science of being a true exponent of the dramatic art as it has been developed for the screen. There could be more photoplays of the order of "A Gentleman From America" inasmuch as there has been a scarcity of such stories ever since the vogue of "The Man From Home," which proved one of the biggest of stage hits. Frankly, it has been difficult for the average picture-goer to understand why Agnes Ayres is a star! And, it must be confessed that she has disappointed in several of her screen characterizations. But, she seems to have found her plane to some extent in "Racing Hearts," her latest picture for Paramount. In this photodrama of geared-up action, she does the best work of her career — not truly stellar performing of artistic finesse, but satisfactory interpreting of a role for which she is suited. Here is an automobile story quite unusual in that it has provided opportunity for just about the most exciting auto races ever filmed. During some of the more exciting race moments, it is impossible to restrain yourself from getting up on your feet and letting out an obstreperous whooj). Near the finish there is a mishap in the form of a "spill" and this all but makes one swoon. To attain such heights of arousing excitement is an achievement for which Paul Powell deserves credit. One of the unusually interesting features of "Racing Hearts" is, Jimmy Murphy, the real thing in the automobile-racing world, who appears briefly in the role of a driver out of a job. Richard Dix is in the cast contributing those ingratiating qualities of his, and Theodore Roberts is also among them in his usual flawless acting form. The combination of an enthralling love theme and a first-class lot of action is a good one for a motion picture. William Fox has this combination in "Truxton King," an adaptation from George Barr McCutcheon's sequel to "Graustark." This is one of those pictures which fits the requirements of any picture theatre, large or small, aristocratic or plebeian. John Gilbert in the title role is at his best and Jerome Storm contributes some of his best directorial ability. The supporting cast is well-chosen with Ruth Clifford and Otis Harlan winning top honors. The adventure element in this story is "just right" for Americans in view of the fact that Truxton King, a real American, is the adventurer in a foreign land and a thoroughly invincible one. His love-making is of that dashing, irresistible variety which could be aptly rescribed as "passion dr gentle a la America." It would be surprising if "Truxton King" failed to make money for most any exhibitor, because it possesses all the TEXDENCIES TERSELY TOLD Everywhere in all bramhes of the motion picture industi-y. there j.v a marked tendrncii to rslahlish more biisinr.sn-lil^e methods. It having tea.sed to be a yumbliiKj oame, neeesnity in once nwre proving the mother of invention, and new icni/.v to make the business pay us a business are being invented on all sides icith Will Hiiys taking something of an initiative in framing what he terms a Uniform Contract designed with the idea of placing the dealings between distributors and exhibitors on a sounder basis. Well, businrss is business even in the play world. The popularity of exploiting motion picture attractions on the circus ballyhoo plan is ■'ihowing signs of the inception of a waning. Many exliibitors, who heretofore have staged all kitids of "loud" stunts to attract attention to their features, are now utmost totally abstaining from such tactics, depending upon more dignified advertising chiefly in newspapers. There seems to be a .strong current of feeling against continuing the policy of vuiking the fine art of cinema seems like a sideshow proposition. It is jnst tis well and most likely better. One of the mo.st reassuring movements of the present is that wliich has as its objective the making of photoplays with definite objectives for wholesome entertainment. Sensationalism is losing its grip on producers. Art is in the ascendency, and, art is a good business proposition. They were singing swan .songs for serials not .so long ago. but the public interest in the to-be-continued brand of motion pictures as a part of an evening's entertainment seems to have been revived and quite a number of theatres, which never before had shown chapter-plays, are advertising them strongly now and in some cases where they had been .ihown only at Saturday matinees, they are being made a part of the night program. requisites of a steady money-maker, which is different from a fortune-maker and more dependable. They are battling valiantly to keep "animal stuff" well within the category of "surefire." A good percentage of recent releases provided full quotas of scenes in which a big variety of beasts figure. Now Nell Shipman in "The Grub Stake," another story of the Klondike, has gone the limit with the featuring of animals. As an artist's model, persuaded to brave the hardships of a grubstaking campaign "away up north," she wields an influence similar to that of a snake-charmer among the bears and other wild beasts of a desolate district uninhabited by man. This is a typical outdoor picture in which there is much attention given to getting "shots" of beautiful landscapes. But, the story is devoid of any of those elements which arouse enthusiasm or even convince. An effort is made to build up suspense by delaying the arrival of rescuing officers of the Northwest Mounted Police until the very last minute, but it does not pan out well, because it is so very obvious that the rescue will be accomplished in spite of all. Miss Shipman has been striving for a place in the cinema sun as an outdoor girl for some time, and we admire her courage in being so persistent. However, it would seem that she might try being another sort of girl on the screen to an advantage, because she fails to impress as really a product of the life she seeks to have depicted in her pictures. "Dollar Devils" as a title hits a mark — there are many of them, but the picture Victor Schertzinger has made under said title misses the mark of real drama by a wide margin. Its best point is its cast; the players save it from being hopelessly commonplace. Joseph Dowling, OuUen Landis, Eva Novak, Lydia Knott and Hallam Cooley do some mighty good turns for the production, and Mr. Schertzinger should be glad he had them in his cast. The theme of this picture is rather allegorical having to do with little dollars which as veritable devils so often make enemies out of friends. There is a conmiendable attempt to blend humor and pathos, but somehow there always seems to be something missing which might round out each vital situation. In fact, this is one of tliose cases in which it is not easy to place one's finger on the chief fault. It certainly is not a picture for a theatre frequented by blase people. It will probably do better in the smaller towns. It contains none of the Schertzinger handiwork so noticeable in the "The Kingdom Within." Here's an out-an-out defi flung under the noses of censors bent on restraining the popularity of western stories on the screen. It s William Farnum in the William Fox production of "Brass Commandments," which is a "western" not minus the pistols and gun-play, which is supposed to be under the ban. Moreover, it is a rattling good picture of the older school de west. It is all familiar melodrama with the usual thrills and excitements of the cow country when a gang of cattle thieves are playing havoc with herds. There are the last-second rescues and the inevitable happy ending. But, Mr. Farnum adds virility to the big, upstanding westerner, who isn't afraid of Satan himself. Wanda Hawley is the girl at stake and she serves the purpose well while Tom Santschi revives interest in the old-time villain, who used to make 'em sit up and hiss. But, as we remarked before, it is rattling good entertainment and comes as something of a relief after seeing a surfeit of society and drawing-room dramas of colorless, unexciting plots. Eric Mayne, popular character man of such screen successes as Mabel Normand's "Suzanna" and Gloria Swanson's "My American Wife," is going to try mixing a new love with an old love just for the experience of it. While he continues his activities in the film studios, he is going to portray one of the leading characters in a stage prgduction of "Just Suppose" at Los Angeles. "Actors divide their time between the stage and screen in New York constantly, but it's not being done so much out west, and therefore my effort can be well called a decided experiment," Mr. Mayne says.