Canadian Moving Picture Digest (May 1924-Apr 1925)

Pictures in Montreal By S. MORGAN-POWELL ONTREAL, March 6—There is considerable activity in motion picture circles this week. place, the action of the Quebec Board of Censors in condemning the motion picture “Chu Chin Chow” has roused a very strong feeling of resentment, based both upon the stupidity of the ban and the unpleasant suggestion of anti-British prejudice it contains, in view of the fact that this is a big British production. There was a private screening of the film at the Mount Royal Hotel last Friday, and this was attended by a very select representative audience, including dignitaries of the Catholic and Protestant churches, leaders of bench and bar, prominent men in arts, commerce and other de' partments of profesional and trade activity, and delegations representing most of the women’s organizations in the city. The entire audience literally gasped when told at the conclusion of the exhibition that it would be the last time the film would be shown, as it had been condemned by the censors. Expressions were outspoken on all sides that such a condemnation was utterly unjustfiable. The head of one of the big Protestant theological colleges and a prominent dignitary of the Roman Catholic church both agreed that there was nothing whatever in the film, as shown, to juitsfy the action of the censors, which they held to be incomprehensible. * * *K The reason given by the censors for their action is indicated on the tag as “nudity.” Yet, as pointed out, the girl Zahrat wears more throughout this film than Betty Blythe—who plays Zahrat—wore in the film “Queen of Sheba,” which was passed by the Quebec Censor Board and shown here. People are asking on every hand “Are the censors prejudiced against British films?’ “Is this race prejudice?” and similar unpleasant questions. They are also writing to the papers, making similar comments and suggestions. Altogether the censors, by their bigotry and their stupidity, have got themselves into a pretty tight corner, and are now understood to be endeavoring to discover some method of wriggling out without being seen. There are strong and persistent rumors that as a result of numerous private complaints the Attorney-General’s department is taking a hand in the matter of censorship andthatanew personnel will most likely be named before the Greek Kalends. In the first Nothing could conceivably be worse than the present state of affairs. This is recognized by everybody concerned. Exhibitors and exchanges alike will welcome any change suggested as impossible to do further harm and as likely to do some good. x ok Ok * Owing to the dearth of first-class road attractions, His Majesty’s Theatre is compelled to play a picture this week, and selected “Capital Punishment” as the film. Unfortunately, this is a propaganda film, and it is an unconvincing one. It is designed to win supporters to the cause of the abolition of capital punishment, but the story told is so full of improbabilities, and so lacking in plausibilities that nobody will be likely to change their mind as a result of having seen it. Indeed, it is more ‘likely to harm than to help the cause it was planned to aid. But the inherent improbability of the plot does not effect that quality of the action. The tale is well played, and those taking part in it do their work effectively, and, as far as may be, in a manner that tends towards plausibility. George Hackathorne, as young reformed crook who enters in to a joke, only to find himself face to face with execution for a crime he never committed, is both realistic and emotionally effective. Clara Bow, breeziest of flappers, is picturesque as the young crook’s loyal sweetheart. Mary Carr paints a “mother” portrait hoth human and restrained. Joseph Kilgour is a dignified Governor, and both Elliott Dexter and Alec. B. Francis do sound work. It is the story that lacks truth, not the acting. x ok Ok Ox One feature in the evening’s entertainment, however, is noteworthy. It is entitled “Il Trovatore,” and is one of a series of British-made operatic stories told in film form. The action is excellent. The story is graphically and dramatically told. The settings are adequate and impressive, and the music provides a natural accompaniment for the presentation of the drama. * OF Ok Ok At the Capitol there is a pictorial version of “The Goose Hangs High,” a domestic comedy that delighted many people when presented on the stage here last December. Naturally, the film version differs from the acted version, but the central idea of a modern middle-class family, showing little but selfishness on the surface, but united and revealing capacity for v Google Page Seven self-sacrifice and selfish action in time of stress and need is retained in the screen story. Myrtle Steadman, Constance Bennett, Esther Ralston, George Irving, and Pell Jr., compose a cast that does the story full jusice and leaves behind an impression of natural acting not many pictures con _vey. If there is any exaggeration, it is as to characteristics, not natural qualities. Yvette and her Entertainers, a jazz band that plays lots of other music than jazz, and some of it exceptionally well, is an extra feature many people consider the main attraction on the bill. x ok Ox “Born Rich,” the feature at the Palace, is a sincere effort to expose the artificialities of social life and the unsatisfying nature of an existance of wealthy indolence compared with one of comparative poverty into which the hypocricy, the intrigue, and the insincerities of modern society do not enter. A typical young married couple who want for nothing are taken as an example, and the theme is developed out of their own experiences. Claire Windsor, as the jealous and spirited young wife, does some of the best effective work of her screen career. Jimmie Fairfax is good as the young husband. Doris Kenyon and Cullen Landis is less important roles are seen to advantage. The story is better than most with society settings, for some regard has _ been _ paid to logical development, to inti mate touches of significant detail, and the sub-titles are marked by wit and distinction—qualities rarely seen in any titles on the screen today. * * * The Strand Theatre gives a double bill of thrills. In the first film, “The Beautiful Sinner,’ crime and sensations are deftly intermingled by an old hand at thrills, with the result that we have an automobile chase, a wreck on the road, a romantic denouement, and plenty of sentimental interludes. William Fairbanks, Eva Novak, and a competent cast do well enough to make the thrills thrilling. In the second film, ‘Traffic in Hearts” Mildred Harris and Robert Fraser are the principals in a human story with plenty of sustained interest, but with a few minor weaknesses in the construction and development of the plot. The cast do their work with quiet realism. AT LIBERTY MANAGER—10 years experience in the West—wishes to locate in the East. Open for engagement. Al signwriter, display and publicity man. Thoroughly familiar with the motion picture business and all current releases. If you need an anditode for your box office, write or wire, BOX 7—DIGEST.