Camera (June 1920 - May 1922)

CAMERA! “ The Digest of the Motion Picture Industry Page Seven EXHIBITORS’ SERVICE PAGE CRITICISMS OF CURRENT RELEASES “THE WONDER MAN” — ( Robertson-Cole) “The picture will catch on big because it has none o £ the unpleasant element usually attached to stories of the sporting fraternity. Carpentier screens well and has a magnetic personality; his appeal will be universal.” — The Billboard. “This production seems destined for success. It reveals unexpectedly a genuine talent possessed by the ring idol. His bearing is excellent, his camera presence that of a veteran, and the production promises much from the box office standpoint. It should be backed by extensive exploitation which is thoroughly justified.” — Exhibitor's Herald. “The sum of values in this Robertson-Cole super product is so high that it will prove a sure winner irrespective of the star’s drawing powers, a thoroughly pleasing and clean entertainment of itself.” — Moving Picture World. “This is the first of a series of three pictures Georges Carpentier is under contract to make for Robertson-Cole. If his initial effort and drawing power are a criterion ne should clean up a fortune without wasting a blow.” — Variety. “THE COURAGE OF MARGE O’DOONE”— (Vitagraph) “A brown bear, a half-wolf dog, vast snow scenes, and rough unshaven men are the chief attractions of this filmization of the Northwest country. Lacks the sympatnetic appeal of “Back to God’s Country.” — The Billboard. “The result is a very draggy feature, where any number of uninteresting scenes are overshot while others with the real action did not get the footage that they deserved.”— Variety. “The story is well told. It is decidedly picturesque and beautifully photographed amid snow and ice that bespeaks the environment of the Curwood story. David Smith has done a master’s job of directing.” — Dramatic Mirror. “THE MAN WHO LOST HIMSELF”— (Selznick) “While the dominant element contri outing to the composite of successful production is that of William Faversham’s personality and fine interpretation, there are others of importance. The structure of the play deserves high commendation. It enlists interest from the outset and holds it through some very risque situations.” — Moving Picture World. “William Faversham has turned out an exceptionally interesting, fascinating romantic drama produced in a comedy way, and made all the more absorbing by some ingenious double exposure. This screen vehicle is superior in many aspects for general motion picture appeal.” — Variety. “HUMORESQUE”— (Cosmopolitan) “Throughout there is excellent acting.” — Dramatic Mirror. “Up to the middle it seemed like a won derful picture. Then things began to slip. The continuity based by Frances Marion on the original story by Fannie Hurst was inadequate. Even so, you can throw over EDGAR LEWIS SIGNS NEW PATHE CONTRACT Four or five big Edgar Lewis productions are assured for Pathe distribution during the coming year, under a new contract just signed by the producer and Mr. Paul Brunet, Vice-President and General Manager of Pathe Exchange, Inc. This is exclusive of “Sherry” which has just been released, and “Lahoma” which Mr. Lewis has just completed for release in the early fall. The new Lewis contract calls for the production of “four or five super-feature photoplays to be produced during the year commencing on or about May 15th. Karla Schram Doing Jane Porter in “The Return of Tarzan,” at the California Theater. board this and Frank Borzages at times illuminatingly careful direction — forget most of what went to make this a picture, and you will have left the appealing and moving performance set before you by Vera Gordon.”— Variety. “THE RETURN OF TARZAN”— (Numa-Goldwyn) “The Return of Tarzan” is an improvement over the preceding Tarzan productions from at least one point of view — action. The story obviously has been arranged to give Tarzan every opportunity for adventure. It is a combination of coincidences that puts a heavy strain on credulity. At the close there are several loose ends not accounted for. The photography is very good.” — Variety. “The Return of Tarzan’’ forms a fitting sequel to the popular “Tarzan of the Apes.” The scenes, well directed by George Mooser. contain a varied assortment of thrills, many of which keep the spectator on the edge of his seat.” — Dramatic Mirror. “THE WONDER MAN” BOOKED AT NEW YORK BROADWAY THEATRE Moe Mark, director of the Strand Theatre, New York City, has booked “The Wonder Man,” the Georges Carpentier picture. It will be shown, according to an announcement by Robertson-Cole, which is distributing the production, for a week in the New York house, immediately following the close of the Astor engagement, and in the Brooklyn house for the week following this. Together with the Astor Hotel showing of eight days, which began Saturday evening. May 29th, this will give “The Wonder Man” fifteen days on Broadway. CURRENT REVIEWS “GOING SOME” Rex Beach and Samuel Goldwyn presented the former’s story, “Going Some” at the California Theatre last week. It is one of the most satisfactory farces produced by Goldwyn recently and scores heavily with the audience. The comedy touches are well placed and clever. Cullen Landis plays J. Wallingford Speed entertainingly. Lillian Hall does not particularly impress aa Helen Blake, his superficial little sweetheart. Kenneth Harlan and Ethel Gray Terry are satisfactory as Mr. and Mrs. Donald Keap. Lillian Langdon characterizes splendidly the perhaps somewhat exaggerated role of Miz Gallagher. M. B. Flynn is good as Skinner, and together with Walter Hiers who plays Berkeley Fresno and Snitz Edwards (Willy), provides general mirth. Frank Braidwood and Nelson McDowell play respectively Culver Covington and Still Bill Stover. The former’s part was obviously mutilated in the cutting room. Others in the cast are Hayward Mack and Willard Louis. Harry Beaumont directed. “SAND” William S. Hart in a typical Hart picture, “Sand,” appeared last week at Grauman’s Million Dollar Theatre. The film contains one of the usual characterizations of the star, the same beautiful scenery, and the well remembered horseback thrills. A good cast supports. Mary Thurman does the leading feminine role in a satisfying manner. G. Raymond Nye plays well the not too unique heavy role, Garber. Patricia Palmer adds a bit of complication as Josie Kirkwood, and William Patton plays Pete Beckett opposite her. Hugh Saxon not only accomplishes a good characterization as “Pop” Young, but almost fools his friends with his effective make-up. Lon Poff does Jim Kirkwood. Lambert Hillyer directed. “THE DESPERATE HERO” Owen Moore appeared last week at Clune’s Broadway in his current Selznick production, “The Desperate Hero.” The story falls down sadly in entertainment vaiue, principally on account of the star’s obvious lack of interest. In the light of Moore’s several late lacksadaisical offerings the above trait has become more than noticeable. His role is that of Henry Baird, an inconsequential part poorly interpreted. Gloria Hope does Mabel Darrow, as wen as possible taking into consideration the hopeless situations, indifferent opposite and insipid role provided for her. Arthur Hoyt is well cast as “Whitty.” Others in the cast are: Henry Miller Jr., Charles Arliner. Nell Craig, Virginia Caldwell. Emmett King and Tom Ricketts. Wesley Ruggles directed. “THE LOVE EXPERT” Schenck presented Constance Talmadge in “The Love Expert” at the Kinema last week. The story is the usual Connie Talmadge vehicle, only much more so. In other words, Connie’s screen offerings are steadily growing a bit naughtier. In any event the audience seemed to be more than entertained, as could possibly have been expected. (Continued on Page 15)