Close Up (Oct 1920 - Sep 1923)

-2 fO-^ THOS. H. INCE PRESENTS “SKIN DEEP”; STORY BY MARC EDMUND JONES; DIRECTED BY LAMBERT HILLYER; PHOTOGRAPHY BY (?) ; MISSION THEATRE Reviewed by Emm. Ell. Judging from the various publicity stunts pulled off by the Thos. H. Ince organization previous to the presentation of "Skin Deep,” one was really led to believe that a masterpiece of the century was going to be presented at the Mission Theatre, and under this illusion I paid a trip to review this picture. 1 think it would be right at this time to indicate to various producers who have "Masterpieces” to eliminate flambuoyant, distorted advertising which is likely to lead the public into the belief that it is going to see something in the super-class. Having gotten this off my chest, let’s get back to the picture proper. “Skin Deep” is without a doubt a very clever story. It is wonderfully well acted. It shows a thorough, master direction throughout, but there is nothing in it that would lead one to believe that a great resume was being promulgated to the masses without. It is just an entertaining story in which a few shots are introduced of trench life to show that a certain character, such as Bud Doyle, can become glorified. I admit that many well-known crooks in the past have successfully reformed and have been of great assistance to Uncle Sam during our last war, but this is no reason for suggesting to the public that they have forgotten the heroic efforts made by “our soldiers over there.” We have not forgotten. We are only hoping that Washington hasn’t; so, if it was the object of this picture to awaken the public’s mind in the cause of remembrance, then it has failed in its task. A very weak link in this chain of circumstances that form the story is when the producer and author would attempt to lead the public to suppose that a pair of crooks, who no doubt helped to do their share in winning the war in their various ways, are carrying on a gigantic plot to rob the Disabled Veterans of a fund of $60,000. The public is ready to swallow the story of Jonah and the Whale at all times, but the public have become greatly educated since those days and they are not likely to swallow a piece of unpractical propaganda of this nature. Milton Sills played a dual character which more than enhances his fame as an actor. He is presented in such a dual role that he holds you fascinated from the start. Florence Vidor, as usual, plays a wishy-washy, sweet, young thing who eventually marries the hero of the story. Her part is that of a nonentity. The feminine honors for acting should go to Marcia Manon. She did the part of Sadie Doyle in such a comprehensive manner that I could almost believe that she was an actual inhabitant of the tenderloin from which she emanated. Charley Clary, of whom I have said s6 much in the past, plays the part of the district attorney and he does it with such dignity, poise, manliness and resourcefulness that he lends a great dignity to the film. Winter Hall is a fine, lovable character as Dr. Langdon. Frank Campeau is always presented to you as a villain and as a villain in this particular vehicle he looked out of place. Joe Singleton and Gertrude Astor filled in their little bits with exactness. Muriel Francis Dana and B. H. DeLay are also in the cast. The photography is of such excellence throughout that the cameraman responsible for same, if he is not a member of the Cinematographers, should be immediately admitted to membership. Altogether, I claim that “Skin Deep” as a box office attraction will make money, but will not revolutionize any angle of the Motion Picture Industry. CARL LAEMMLE PRESENTS A UNIVERSALJEWEL PRODUCTION, “UNDER TWO FLAGS,” STARRING PRISCILLA DEAN; DIRECTED BY TOD BROWNING; KINEMA THEATRE Reviewed by Emm. Ell. I little thought that mine would be the task of reviewing in a favorable light a production turned out under the direction of Tod Browning; whereas, I had looked upon this as a task, I find that it becomes a pleasure to have to review this great Ouida story. "Under Two Fags” has been picturized as closely to the famous book, which we all know, so as to almost enhance the value of this masterpiece. It is very apparent throughout that Tod Browning put more than directorial ability into this feature. He seems to have injected the rudiments of a colorful mind. Although at times I found the continuity slightly weak in spots, still the subject screened is so well portrayed and carried out that these little weak points are easily overlooked. Universal can congratulate itself in having been sponsor in this masterful production. Priscilla Dean, as “Cigarette,” seemed to throb and live to every emotion of this famous character. It is true in the beginning that she seemed to be almost too masculine and had too many close-ups to get into the story proper, but these were easily forgotten as soon as the clever action started. Priscilla Dean has very greatly enhanced her reputation in this characterization. If I were to give any special mention to any individual in this vehicle, I select James Kirkwood for the honor. As Corporal Victor, his interpretation becomes a classic. The virility of this well-known leading man is of such a character that he completely takes you away from the knowledge that you know that he is James Kirkwood. John Davidson, a well-known young actor, gives a very diplomatic characterization of the part of the Shiek. This young man’s suavity seems to be the embodiment of the Oriental character. Ethel Grey Terry is a splendid, forceful actress. Perhaps she made the part of Princess Corona look just a little bit too old, but the dignity of her portrayal easily eliminated such a minor matter. Stuart Holmes, a national, well-known villain on the screen, was no better nor worse than we have seen him in other productions. He cannot lose his individuality. This is really unfortunate, in a picture sense. Robert Mack gave a very amusing interpretation of a rake. Albert Pollet is an actor worth while. His is fidelity itself to the French character. Burton Law, as well as a few other minor characters, who were unprogrammed, were more than excellent. The general ensemble and massing of characters and the atmosphere of this story make it a masterpiece of fidelity. The photography could not have been better. Unfortunately, I am unable to give you the photographer’s name, as they do not give you sufficient time to find out at the theatre. Everybody connected with this Universal production merits the greatest praise and, as 7 started this criticism in an odd way, I will close in the same way, namely, that although it goes against my grain to speak highly of Tod Browning as a director, yet I have to admit the fact that in this particular vehicle he has shown himself to be a director with a capital “D.”