Close Up (Oct 1920 - Sep 1923)

PERSONAL CRITICISMS OF PHOTO-PLAY PRODUCTIONS Supervised by Emm. Ell. SAMUEL GOLDWYN PRESENTS “THE PENALTY DIRECTED BY WALLACE WORSLEY Reviewed by — . Here is a moving picture which hundreds of thousands will enjoy and yet when you ask them why they enjoyed it the majority will probably inform you that it was on account of the weirdness, mysteriousness and superb characterization of Lon Chaney. These three reasons could easily be acceptable as a good valid right to proclaim this pictire an unique feature. To our way of thinking, the great secret of the success of “The Penalty,” is the undercurrent motive that lies behind. When Gouverneur Morris wrote this book, he must have been thinking of the paramount discontent prevalent among the masses. Social conditions were such that at the slightest flare a revolution might have ensued. This play, like the model bust of Saturn in the story, conceals the depth of mastery beneath. It is that of a man, who. being physically imperfect, strains with his entire mental ability to be a master mind of the lower world of crime. As the story unfolds before us. we could easily grasp that here was a direct parallel with the discontent of the toilers of the earth. Here we could see how one with little knowledge but with great determination can be deflected into paths leading to a reign of terror. And when the doctor eventually decides that “Blizzard” should not have limbs, but that an operation should be performed to remove the pressure on the brain of the man, he worked out our theory — which we are trying to have you understand— that it is the brain of us which can easily become terribly distorted through privation and circumstances. We would advise any man or woman discontented with their lot to sec this masterful production of absorbing interest. It is bound to hold you CHARLES RAY IN “AN Reviewed We could just as easily have reviewed Charley Ray in “Forty-five Minutes From Broadway” and would have been unable to say more for him in the way of our respects for his ability as an actor as in this particular picture, “An Old Fashioned Boy.” The reason we take this feature for a review is to bring out the fact that Charley Ray had a perfectly logical reason for producing his own pictures independently. Tonvlnce is known as an astute producer. but we fail to see where he showed any particular insight or cleverness when he allowed such a star to get away from him. In this feature this young natural actor is shown at his best. It is the kind of clean, unassuming comedy that brings a healthy glow into the core of an unhealthy mind. It is chock full of laughs — laughs which are not forced — laughs that seem to come from us as naturally as we know the sun will shine some time. We figure that one five-reeler of this kind is easily worth any five-five-reel features turned out by the Mack Sennett forces. Ethel Shannon convinced us that we were right a year or so ago when we predicted that she had the makings of an ingenue star. She typically portrayed all of those characteristic opposites prevalent in the nature of self-willed girls. Her forceful interpretation made a decided hit with the audience. For the first time in our picture career we were able to see Alfred Allen, who played such a marvelous part in “Hell Morgan’s Girl”, playing a kindly disposed man with a keen sense of domestic humor. Wade Boteler portrayed a splendid example of farcical revenge as the husband in continual hot water. Sybil, his wife, played by Grace Morse, did one of the very best examples of domestic incompatibility we have seen in pictures. Little Gloria spellbound with its technical display and the marvelous acting of its star. The latter we doubt never appeared to better advantage than he has in the part of “Blizzard.” He made it a character which stands vividly in our minds as something almost undefinable. He portrayed a man torn between beastly desires and idealism, and how the latter conquered makes one of the most vivid stories ever thrown upon the screen. The direction was smooth and unerring. The photography was clear and well defined at all times. The acting of Charles Clary, as the doctor, was a clever interpretation and showed this popular actor at his best. We think that Ethel Grey Terry deserves the histronic honors of the feminine portion of the cast. Katherine Adams was also very good. Kenneth Harlan, as Wilmot, was not correctly cast as a physician. He acted like any ordinary young juvenile bursting for a fight, and he made a fatal mistake when he notices Blizzard for the first time, in failing to observe the state of the cripple, confronting him. Most doctors would have concealed their personal feelings in viewing an interesting case of physical disablement. Edouard Trebaol was more than excellent in his part. Milton Ross, as Lichenstein gave a splendid performance. James Mason proved himself, as always, to be a good actor, while Jack Carlisle as O’Hagan, did very well. If we have given more space to this picture review than seems necessary, it is because we consider that this feature is the kind that we have been advocating as a double standard of story and moral. Anyone failing to see it have deprived themselves of a throbbing lesson in life which they cannot afford to lose in this day and age. OLD FASHIONED BO' ’ by G. M. Joy was very good and Frankie Lee, had we had him, would have been spanked quite often for his wicked pranks. Hal Cooley fitted the part he was supposed to play. As we heard someone behind us remark, “At last Hal was playing his own character to the life!” Altogether the continuity and direction showed the highest marks of ability and keen insight into humorous situations. Chester Jones deserves great credit for his photography. Jerome Storm directed. LINES AND LINES OF LINES Continued from second cover page) of the ‘Mechanical Stereopticans’, for food and taxis go ‘blaa’ with them. They always have a machine, if it is nothing hut a disguised flivver, and they would rather brew a ham and egg sandwich in your apartment than stop at any victual emporium. Oh! that is fair enough, but you can’t get off so easy the gang cried, how about Larry and his line? “Well, I replied, he is too much like the ice cream he manufactures — ‘sweet, but so cold’.’’ Weill then, they said, “How about Dick?” “You mean that horse thief lover of mine?” I asked. Gangway! girls — All those coming in late may remain for the next performance. Only my own fluttering heart will know the intricacies of the slow, deadly poison that he injects through my ear muffs Why, girls, I continued, if I believed in reincarnation, I always would believe that he played the ‘snake’ in the little ‘Cleo and Anthony’ act, for sweet ladies, his line is deadly. “And after all, don’t you all think that men are the natural magicians in the world? Why one good man if he so wills, can change your prosaic existence into an ‘Arabian Night’s Tale,’ and even decoy ducks become sweet singing canaries, the faded roses in the wall paper become a blooming flower garden, and his ‘disguised Lizzie’ a chariot of gold, and it isn’t hard to understand how Polly did her ‘quick change’ trick. Meeting adjourned.” P. S. — So we all heaved a sigh, came back to earth, and repeated in a chorus the afifrmative that “Heaven would protect the working girl, but who would entertain her?”