Close Up (Oct 1920 - Sep 1923)

* N e(c^p "v3 O “HUMAN WRECKAGE” BY C. GARDINER SULLIVAN. DIRECTED BY JOHN GRIFFITH WRAY. PHOTOGRAPHY BY HARRY SHORT. ASSISTANT DIRECTOR ROSS LEDERMAN. REVIEWED BY PHYLLIS STONE “Human Wreckage,” Mrs. Wallace Reid’s drama of drug addiction, has been advertised extensively both throughout Los Angeles and the rest of the country. “The Startling Exposure of the Drug Evil,” “It Tells Everything,” and half a dozen similar phrases, led one to expect an extremely sensational melodrama, intercepted with extracts from newspaper editorials. Melodrama it certainly is, but much of the sensationalism is left to the imagination, for which producer and author are to be congratulated. It is high time that pictures which are designed to reveal some evil in our (so-called) civilization had their more objectionable features eliminated, features which must appeal solely to the debased imagination of a comparatively small percentage of lascivious morons. “Human Wreckage” is a powerful story showing even too clearly the tragedy and suffering attendant upon the improper use of narcotics. And if the rapidity with which a craving for such drugs becomes imperative is extremely exaggerated, and the popular “movie” conception of a “dope peddler” is adhered to consistently, these are faults which fade into insignificance beside the high lights of the photoplay. The direction is excellent, although occasional attempts to use the impressionistic methods of the Germans are not entirely successful... The use of a hyena to symbolize the drug evil is very obvious, and while there is a tremendous field for symbolism in the motion picture, surely a more subtle means of emphasizing certain points could have been employed. The tempo is extremely fast and the action never fails to hold the attention of the audience. Mrs. Wallace Reid’s acting is conspicuously lacking in sincerity, she does not seem to feel her part, and is obviously posing for the camera most of the time. The work of Bessie Love as the young mother who drugs both herself and her baby, cannot be too highly praised. Her sincerity, her appealing pathos, and a very fine sense of the dramatic (without which no actress can succeed), together make a performance which will be long remembered by everyone who sees the photoplay. James Kirkwood gives a fine performance as the lawyer who conquers his addiction to morphine, although he, or the director, occasionally exaggerate the “drug-craving” to an extent where it becomes almost laughable. George Hackathorne is good as the juvenile, though he, too, suffers from the exaggeration which is the predominant fault of the entire production. It is regrettable that such capable players as Claire McDowell, Robert McKim, Eric Mayne and Otto Hoffman are reduced, in the cutting, to little more than “bits.” The photography is satisfactory, but the continuity is weak in places. No credit, and but little opportunity, is given to the designer of the sets. One, however, a composition in vertical lines, against which Mrs. Reid makes her first appearance, is excellent, and certainly deserves screen credit. Whatever opinions one may hold as to the power of the cinema as a means of educating the people, whatever doubts one may harbour as to Mrs. Reid’s sincerity, or that the motive behind the production is anything higher than a financial one, “Human Wreckage” is worth seeing for the excellent acting and very capable direction. It can also be recommended to students of the photoplay as an example of what a good picture ought not to be like. sherwood McDonald productions present “bareback,” starring gloria joy. DIRECTED BY SHERWOOD McDONALD. PHOTOGRAPHED B,Y WILLIAM BUCKWAY. WRITTEN AND ADAPTED BY SHERWOOD McDONALD. PRE-VIEWED AT THE ROOSEVELT THEATRE JULY 9, BY CLOSE-UP JUNIOR. There is one thing good about this picture of the “big top” life; it is probably the best film of the year — to sleep through. All exhibitors should dismiss their orchestras, as they will not be heard during the snoring period, which will continue throughout the photoplay. Evidently, Mr. McDonald has undertaken too large a production, as “Bareback” is simply a “bare nothing.” The entire cast is only good in spots, and the situations are merely stereotyped things with much hokum — so much, in fact, that the audience — as dumb as it is — chuckles gayly at the old “meller”-drama plots and lines. The titles need a great deal of fixing. There is one that the producer liked very much; he used it eight times. That was “The Show Must Go On !” Then there was a touch of ye olde days in “Now I’ve Got You Where I want You!” Such wayward atrocities in the film drama are seldom passed by the blase patrons of the cinema art. The cast, besides Gloria Joy, includes Joe Bonner, Joe McCray, Jack McDonald, Ford West, Betty Foster, Frank Crane and S. L. (Tiny) Sanford. The famous circus horse belonging to “Poodles” Hanneford, well known bareback rider, was used (without credit line) throughout the picture. Gloria Joy, child actress, should be given much better opportunities to display her talents. As far as being a picture of circus life, this is a waste of time and film. I hope that in the future they will be more careful in selecting the proper stories and casts. This picture might be saved, however, by a lot of good cutting. But !