Canadian Moving Picture Digest (May 1925-May 1926)

TORONTO, ONTARIO. Pictures in Montreal By S. MORGAN-POWELL vos May 16. — All too often the announcement of a spectacular film in which some wellknown screen favorite appears is the cause of much disillusion. Hopes are raised that an inspection of the film does not sustain. People build up all sorts of expectations, and when these are not realized, they find it hard to believe that the fault lies with the artist. Yet in ninety percent of such cases, this is so. Now and _ then, however, a popular actress essays a part in a dramatic story that gives her unusual opportunities, to which she rises successfully. In the case of Gloria Swanson there is a well-established popular tradition that whatever she does must be good. Probably nobody knows better than Miss Swanson that this is not the case. On the other hand, she must also be well aware when she does work of outstanding merit. “Madame SansGene” is certainly one of the best of her achievements. | From a sheer technical viewpoint, this picture was worth doing. The French government apparently placed many buildings, scenes, and historic possessions and property at the disposal of the producers, to enable them to secure, as far as possible, the most accurate historical perspective and the true backgrounds against which to set their story. Thus, Fontainebleu and the other palaces, with authentic buildings, costumes, and properties, appear in this film, and the atmosphere thus engendered goes far to create a sense of conviction at the very outset. But no magnificence of scenic investure, no beauty of setting, no splendor of coloring would make of this film a thing of human appeal, such as it is, but for the acting of the principals. Miss Swanson has a role many actresses have revelled in upon the stage. The story of the jolly washerwoman who scorned Napoleon’s swashbuckler Court is known the world over. This film will tend to bring it closer to the heart of the public. Miss Swanson makes a very real, very human Sans-Gene, whether in the humble setting of her washtub or seen against the regal brilliance of State apartments. It is the humanity of her conception that impresses one most. Moreover, she is fortunate in being provided with such a thoroughly competent and adaptable cast. M. Emile Drain in the role of Napoleon makes a distinctive figure. M. Charles de Roche as the famous Sergeant Lefebvre is vivid and realistic. Ward Warwick, too, as Fouche, strikes a sincere note. It must be conceded that “Madame Sans-Gene” is a picture of note, worthy to be ranked with the few real screen achievements of the day. x * * A contrast of a striking character is provided in the consideration of the feature film at the Palace. “SansGene” is at the Capital. The Palace has been showing “Raffles” in opposition. Now, Raffles is a very good role for any actor, and the melodrama was a big success on the stage, following the wide circulation of Hornung’s novel, in which this character of a gentleman adventurer-burglar was first created for the public entertainment. Translated to the films, it retains nearly all its entertaining appeal. Perhaps one is impressed first by the very welcome difference between “Raffles” as a crook story and the usual film yarn of crime. It 1s a departure from a type that has become just as thoroughly standardized for the films as office furniture or ’Varsity education or departmental stores or the Woolworth chain or Childs’ restaurant meals. It breaths originality, and it is refreshingly different from the rest in its romantic values, its whimsical blend of humor and resolution in the character of the chief protagonist. : House Peters plays the title-role, and he plays it with vigor, with restraint, with power and with a smoothness that means much more than the blustering theatricality most actors mistake for characterization in crook films. He has the support of a competent cast, and the scenes and the action are alike worthy of the subject and its popularity. There is a maximum of realism and a minimum of mere theatricality. Exaggeration is avoided, and some of the acting is remarkably good. It ought to prove a very popular film. * * Ok Ox This week Tom Mix was in Montreal. But at Loew’s Theatre the feature film exhibited in conjunction wtih his personal appearance in the city did not do him justice. “Riders of the Purple Sage” was a rattling good novel when Zane Grey wrote it. But “Riders of the Purple Sage” on the screen is not half so good a picture. The action is involved. The story does not develop either directly Page Nine or clearly. Its movement is erratic, both as to time and place. Occasionally there seems to be a hold-up in the unravelling of the plot. How much is due to unintelligent censorship and how much to the original scenario, it is of course impossible to Say, nor are we concerned with that point. What does matter 1s that the picture is indifferently good, and the support is indifferently capable. Moreover, the whole film is swamped with sub-titles—a sure sign of unconvincing action. If it has any success, ' that will be due to Mix himself and his breezy ways—not to any inherent merits in the story or in the producer’s work. * * Kk * At the Imperial Theatre they have been showing “The Triflers,” in which Mae Busch, Elliott Dexter, Eva Novak and a few others work well together in the enactment of a distinctly interesting romantic story of a marriage of convenience turned into a union of true love after many rocky paths have been negotiated by the parties chiefly concerned. It is a substantially told tale, satisfactory in type and in development, and if its photography is not in the very latest mode, its merits are none the less obvious. * * ok * The Strand featured “Gold Heels” for the first half of the week. Robert Agnew and Peggy Shaw are the chief | figures in the cast, and they do sincere and effective work in a somewhat mediocre vehicle—a racing story with a good deal of incredible material that strains the limits of plausibility stiffly. The fact that they do so well says much for their skill and judgment. In.a better story, they should stand out with distinction. * * «*€ The Princess Theatre will show “The Iron Horse” for an indefinite period after the close of the regular vaudeville season at the end of the current month. This is a Fox picture, and apparently is not under the control of the Nathanson trust, or it would never have been released for Montreal. We are still waiting to see “The Ten Commandments,” held up for so long by the same incomprehensible “trust” tactics. The General Theatre, Welland, has been taken over by Mr. Filman of Brampton, and business to-date has been very satisfactory. The Grand is the oldest house in Welland. Sid Taube of the Universal Film Co., found plenty of business on his recent peninsular trip. Sid is on the level that’s the answer. , ale’ CONVENTION ISSUE MAY 23rd, | OOS e