Canadian Moving Picture Digest (May 1924-Apr 1925)

TORONTO, CANADA. : Page Five Pictures in Toronto By HECTOR CHARLESWORTH HAT used to be known as West ern melodrama; and what: might be called melodrama of the outposts is a hardy perennial on stage and screen. Years before the majority of motion picture “fans” were born, men like McKee Rankin and Louis Aldrich were making fortunes out of pieces like “The Danites” and “My Pardner.” Somewhat later James H. Wallack the “Cattle King” gained celebrity by doing feats with horses . on the regular stage of a_ similar order to those performed by “Broncho Billy’ and William S. Hart for the screen. The locale of these melodramas is obliged to move on. Most of the territories where the scenes of the early Western pieces were laid are now marked by large and progressive cities, with colleges, community theatres and aspirations toward ‘establishing symphony _ orchestras. The dramatist who wants to continue this type of play is forced to go into regions that cannot be colonized, like the great American desert; or Alaska, which is likely to remain primitive for a long time to. come. These thoughts occur to one in considering James Oliver Curwood’s screen melodrama “The: Alaskan,” in essence a perpetuation of the old tradition of Rankin and Aldrich. For one I am glad that’ Curwood has gone to Alaska for his locale and is leaving this Canada or ours alone. Some time ago I was told that the Canadian Pacific \ Railway and the Canadian National Railways would give a good deal if they could induce Mr. Curwood to leave the name of Canada out of his film dramas or at any rate limit their circulation to this continent. The immense popularity of Curwood films in Great Britain and European countries is one of the gravest handicaps that Canadian emigration agents abroad have had to deal with. Overseas the teaching of geography is an even more perfunctory business than it is with us, and millions of Europeans, who have seen the Curwood films imagine that they revealed the general conditions in Canada. No one on business or other grounds can take exception to* Mr. Curwood’s adapting his special talents as annalist of the struggles and triumphs of the people of the outposts, to the continually © splendors of the great Alaskan outdoors. The story has its crudities, particularly in the handling of the love interest, it is curious for instance that a woman running away from a husband who has been cruel to her should go to the very country where she knows he_ has where he is likely to turn up some fine day. But the scenario is rather clever in its use of actual conditions. Twenty years or so ago, an Alaskan melodrama would have dealt with mining; but mining is more or less dead along the arms of the Yukon and the interests involved in the latter episodes of “The Alaskan” are salmon fishing and grazing privileges, one of the new industries that have arisen of late years. In addition, Mr. Curwood has made. his_ story topical byintroducing an investiga tion by U. S. Federal authorities at. Seattle into an attempt to capture the salmon fishing righs of the Yukon, by corrupt means. Such investigations were threatened some years ago when Collier’s Weekly had its “muck-rakers” out looking into the way U. S. natural resources had been diverted into private hands. It also has been rumored that as an aftermath of the Tea Pot Dome enquiry, there will be future investigations into Alaskan transactions of the U. S. Department of Interior. Mr. Curwood is therefore up to date, in certain features of his plot. The impressiveness of “The Alaskan” is. in a considerable measure due to its splendid nature photography, showing the picturesqueness of Alaska’s rich valleys and mountain fastness. The main character, who is a real hero of the traditional breed, is played by Thomas Meighan, who as everyone knows is a “he-man” if ever there was one: Estelle Taylor is rather disappointing as the heroine, somewhat stiff and saucer-eyed in her scenes of emotion. There is excellent acting of subordinate roles by adepts like Charles Ogle, and the Hench Canadian actor, Ethier. ee HE novels of Sinclair Lewis are in their essence not. easy to transfer to the screen, since the main note of his work is mordant irony. Irony is difficult enough to put over interests, and’ Alphonz in the spoken drama; and the screen is not a vehicle that lends itself ‘to that critical and_ satirical attitude toward his fellowmen, for which Mr. Lewis is notorious. ‘Thus, despite the fact that “Main Street” was one of the most widely. circulated novels ever published in America, and naturally had a tremendous pre liminary advertisement, it proved, when transferred to the screen, a disappointment to ‘its producers. “Babbitt” though very widely discussed as a criticism of business life inthe smaller American cities was an even more difficult proposition for a director. The real screen material of “Babbitt” is to be found in some of its subordinate episodes like the tragedy of Babbitt’s idealistic friend who in a moment of rage tries to kill his wife, and the love stories of the young people. Babbitt’s own affair with the quiet “vamp” is a rather ordinary and common theme. Consequently the screen version does not excite the interest the fame of the novel would at first blush lead one to expect. ‘Willard Lewis though, well-known as a capital artist in romantic costume roles, shows his cleverness and adaptability to straight American types, and he is satisfactorily supported. by Mary Alden, Carmel Myers and others. , kk OK OK OLLEEN MOORE has come forward rapidly as an _ exponent of flapper types; and it is perhaps proof of her real arrival, that motion picture “fans” are divided into two camps about her. Among playgoers approximately of her own age, some do not like her personality. Others are delighted by her gift of abandon. Nothing is really so help .ful to the career of a young star as to be argued about as is Colleen Moore. And she is undeniably clever in her hackneyed treatment of emotional scenes. In “Flirting With Love” she presents something different from the misunderstood flappers she has been playing; the story is rather fantastic, but more amusing than her earlier pieces. She is a romping young actress who to delude a censor poses as demure; and though not notable for finesse she manages to hold everyone’s interest, Before Buying-Pictures Read The Digest Advertising Pages. Google