Canadian Moving Picture Digest (Nov 1922-Apr 1923)

Page Ten 67 ORNA DOONE,” an Associated First National, Maurice Tourneur production, starring Madge Bellamy was given its Toronto premiere at the Allen Downtown Theatre. Ht tells a love-story which is filled with romance, sword-play and adventure. It is in truth the romantic drama as the literary school of romanticists conceive it. The Tourneur production presents a story which retains its consistent and simple appeal amid all its 1869 characteristics. Lorna Doone leaves you with a “good taste in your mouth,” or more aesthetically speaking, with a half-regretful sigh that the days of romance are not the days of today, when royal maidens defied the King’s wishes to marry commoners who were in truth noblemen. The story opening tells of the approach of the “bloody Doones.” Lorna and her countess mother enroute to London, stop to rest in a village in Devon. They are warned to avoid the path which will bring them in contact with the ‘“‘Doones,” a band of highwaymen, who rob and plunder, capturing the women with whom they mate. This band had as its leader a nobleman called Sir Ensor Doone, who has adopted this mode of living out of revenge for the injuries and injustices accorded him at the hands of men. The countess makes light of the warning, her party is attacked, she is left to die upon the seasands, while her daughter 1s taken captive by the Doones. John Ridd, youthful villager of Devon, swears to avenge the capture of Lorna, which he witnesses. | The picture abounds with swordfights, hand to hand battles, thrilling encounters and escapes, but it is the love of Lorna and John which holds the interests of the audience through all the vicissitudes which beset them. Madge Bellamy is an ideal Loina Doone, she appears to have stepped from the pages of this romance. Her interpretation of the role is free from an affectation, she is Lorna Doone, gentle born, high-spirited ,strong in her purpose to love, gentle in her spirit of loving. John Bowers, as John Ridd, makes an excellent lover. The scenes laid in Devonshire, England, furnish backgrounds and _settings which help to place this picture among the screen classics. Frank Keenan, as Sir Ensor Doone, gave us another of his characterizations which will live. ‘I'he entire cast is to be commended for individual satlad ie ai Before B CANADIAN MOVING PICTURE DIGEST RAY LEWIS REVIEWS “LORNA DOONE,” “TESS OF THE STORM COUNTRY,” “BROTHERS UNDER THE SKIN” the roles assigned them . The moving picture industry should thank Maurice Tourneur for giving us “Lorna Doone.” * * xk ee Of The Storm Country,” an United Artist release, starring Mary Pickford, presents this little star in her favorite role, if I may be permitted to quote her. “Tess” was probably Mary’s first real success, and the new production of an old favorite is said to have been made by special request. The most important phase of this proposition is that Mary returns to us as young as she was when the picture was first produced, more mellowed in her art and beautiful. One always spoke of Mary Pickford as ‘‘very pretty,’ charming personality. Today Mary presents herself to us with a more serious expression underlying her winsomeness ‘and this places her in form for the adjective beautiful. But it is not Mary’s face, or her body which 1s the great attraction, it is Mary tout en semble, the whole of her. | “Tess” furnishes Mary with a role in which she is perfectly at home. In the laughter which was frequent and which attended the entrance of “Tess,” and her subsequent bursts of temper followed by the use of hands and limbs, swift and true in their punishment, this laughter had with it that tone of affectionate merriment which one displays toward the cleverness of a young member of one’s own family. Mary’s audiences betrayed in their laughter, at the antics of “Tess,” just what a warm hold Mary has upon them. The scenes which called for the more womanly traits in the character of Tess were flashes of sunshine, while the more emotional depths were sounded with such sincerity that they struck a responding sympathetic cord in the emotions of the spectators. The care of the baby, its baptism, the attacks by a “squatter suitor,’ the combats between the “squatters” and the legal authorities furnish plenty of exciting action in a picture which throughout radiates with merry examples of Mary’s personality. An_ excellent cast supported the star. To inform exhibitors that they should not miss presenting “Tess” to their patrons is almost superfluous . It is a picture to which every exhibitor can sign his name in his presentation to his pa ste OgIe ¢6P)ROTHERS Under The Skin,” Goldwyn feature thru Famous Players Film Service, tells a consistent possible story showing that women in all stations of life are indeed “made of the same stuff,” sisters under the skin,” and their husbands too are “Brothers Under The Skin.” The rich man and the poor man alike are driven to desperation by the extravagances of their respective wives Mr. Richman’s pampered wife treats him with a haughty indifference, ts unreasonably jealous and indulges in rages of temper skin to the Poor Man’s wife, who lazes about while “hubby” washes the dishes and then flies into a jealous rage because of the “supposed attentions” of hubby to a “Divorced Neighbor.” The famtly secrets of both families, the apparent inability of the husbands to say “no,” where a big strong “no” 1s necessary, furnish ample opportunities for amusement. It all ends happily .Mr. Richman gets “fed up” and_ the “pampered wife” is told the meaning of economy . Mr. Poor Man, observing that the rich lady and his Millie might be twins, determines to adopt the Rich Man’s attitude and Muilhe promises in return for the pay envelope and her husband’s love to wash the dishes and abstain from ‘“‘delicatessen meals.” All ends happily. The submission of the wives proves fruitful, for both families appear to multiply in numbers and prosperity. When audiences leave the theatre and say: “I know a woman just like that,” it is “the proof of the pudding.” ‘The story is logical enough to be true to life, and although it.shows the husband as very much “hen-pecked,” the whole picture presents the family relations” most amusingly. Most wives feel that they are exceptionally good wives these will bring their husbands along to show them how terrible the other fellow’s wife is. While husbands will urge their wives to go and see this picture in order to provide themselves with an alibi to use when wifie becomes suspicious of a “meeting of the lodge,” or refuses to wear her last spring’s bonnet. The exploitation can be followed along the lines which was introduced so cleverly by Mr. Stewart, of the Goldwyn Exploitation Department. “Sympathetic Husband Clubs” can be formed, the “Sympathetic Wife Club” will naturally follow . “Brothers Under the Skin” is a good domestic comedy, splendidly acted by an allstar acst. It should please generally. Watch Out For AFrontPageStory The Trath About Gorham ng Pictures Read The Digest Advertising Pages.