Close Up (Oct 1920 - Sep 1923)

i H 3 NIGHT LIFE IN L. A. (By “The Rounder”) RIALTO — A re-issue of Thomas Meighan in “The Bachelor Daddy.” This Paramount photoplay certainly deserves several re-issues. Beatrice Joy is unusually good and Meighan was never more happily cast. GRAUMAN’S — For the past two weeks there have been two splendid pictures shown here. “For the Defense,” directed by Paul Powell, showed a very keen appreciation of the dramtaic element. Ethel Clayton was at her very best; Vernon Steele is at all times satisfactory; Zasu Pitts gave a splendid performance; Bertram Grassby was ideally cast and gave a clever performance in the prologue; Mayme Kelso, as usual, was good; Mabel Van Buren and Sylvia Ashton completed a splendid cast. This bill was succeeded by George Melford’s production, “The Woman Who Walked Alone,” in which Dorothy Dalton did one of the best bits of work in her life. She was splendidly supported by Milton Sills, Wanda Hawley, John Davidson, Charles Ogle and Maurice B. Flynn. This production at all times showed the painstaking care of its director, George Melford. KINEMA— Marshall Neilan’s “Fools First.” Here is a Hugh Kahler story in which it seems the principle is the glorification of crooks, and crime! Mtorder is apparently justified before your eyes. This is an (Olla Poddrida), in which Neilan is continually striving for gruesome effects. Some writers termed him the Dickens of the screen. The dickens he is! If any picture ever deserved to be strenuously censored, this is the one! There were no lascivious scenes, but if you wanted to encourage your young son to enter a life of crime, he would certainly gain a thorough knowledge of it in this vehicle. The police are made to look foolish, while the crooks are made to appear as the super-men in the picture. There were several clever situations, one of which should have been entirely cut out, namely, putting a corpse in a game of poker. This is demanding too much of the public. The acting generally was very fine, although this cannot be said about Claire Windsor. This, woman’s ability has been over-exaggerated through publicity channels. Claude Gillingwater gave a clever characterization, although the director allowed too much buffoonery to enter into his part. Richard Dix depicted the right shades of emotion and humor. George Seigmann was very satisfactory; Leo White looked and acted inane; George Dromgold was splendid; Helen Lynch didn’t look or act quite crooked enough to play such a part. Although mis-cast, you could see that she possesses talent. The winner of the histrionic talents went to Raymond Griffith. This ex-Mack Sennett comedian showed the public a forcible picture as “Tony, the Wop.” We would like to see Griffith in many more dramatic productions. We cannot speak too highly of the wonderful photographic shots by David Kesson and his assistant. If “Fools First,” which has been press noticed as Neilan’s best picture, is considered to be his best — then, for Heaven’s sake, give us an example of his worst effort. This may be more satisfactory. SUPERBA — One of the best things that can be said regarding the future of this Broadway theatre is, that Mr. Noble Hearne has returned to it in his former capacity as manager. This young man, before he went to various other cities in the interest of Universal, made the Supcrba the most talked-of show house on Broadway. His lobby displays showed more novelty and uniqueness than in any other house. There isn’t any doubt but that as time elapses Broadwayites will again become accustomed to the feeling of astonishment and wonderment as they pass this theatre. Mr. Hearne seems to be a veritable genius in placing his ideas before the public. Unfortunately, he returned in time to have “The Black Leg” thrust upon the public. The only thing that can be said about this film affair is that it was cleverly directed by Stuart Paton. Mr. Hearne must have felt some compensation in having on the same bill that clean-cut English actor, Reginald Denny, assisted by Molly Malone, in a northwestern thriller. Nor, must we forget that Lee Moran did his share towards balancing off a weak bill in “3 Weeks Off.” The trade welcomes Noble Hearne back into its bosom. LOEW’S STATE— I have a feeling, and this is a personal thought, that Nate Holt, the manager of this very popular playhouse, must have been terribly disappointed when he had to play “The Face Between,” starring Bert Lytell. Now, the majority of us like this square-jawed, wholesome actor, but Miles Forman is certainly responsible for the damndest lot of drivel ever presented to the public. Bayard Vieller, who directed, must have felt as if this vehicle could never succeed. This picture starts off with a bang — and ends with a blow-out. Bert Lytell, playing a dual role, gave a much better characterization as Tommy Cartaret, Sr., than he did as the son. Andre Tourneur was just plainly insipid, but very pretty. Sylvia Breamer did some fine acting. Joel Day was a much-misinterpreted character. This type either doesn’t exist, or should not exist. Girard Alexander was fair; Frank Brownlee, as usual, overdoes his part. This man succeeds about one in every twenty pictures in making good, and yet many directors consider him to be a great actor! What’s the answer? Burwell Hamrick is a very clever and natural boy actor; Hardy Kirkland gave a good interpretation; Dewitt Jennings can always be relied upon to do his natural work. Bert Lytell is good and can be depended upon to please the public, if he is presented with the right story, but things of this kind will never enhance his fame and he should know it. The vaudeville bill this week is more than excellent. It was so good, in fact, that we actually caught Billy Shoup laughing. The State is packing ’em in. Learn lo Dance Buck, and Wing Soft: Shoe Eccentric Waltz-Clog Jazz, and All Dancing pertaining to the Stage Vaudeville Acts and Sketches written and produced Maurice L. Kusell Theatrical Dance Studio 417 W. 5TH ST. Room 208 Phone Pico 4600