Close Up (Oct 1920 - Aug 1923)

12 = Marshall Lorimer iif'i ACp.l |D*> 1 Editor and Prop. XLU3C = The Magazine of Movie Land Issued the 5th and 20th of Each Month M Editorial and Business Office: H f§ 603 Western Mutual Life Bldg., (formerly Exchange Bldg.) s H 321 West Third Street. Telephone 820-609. || | SUBSCRIPTION RATE: ONE YEAR TWO DOLLARS j H Advertising Rates on Contract Basis = Checks Should Be Made Payable to “Close-Up” H All manuscripts and Contributions Should be Addressed to the Editor 0 llllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllillllllllllllllllllllllllllllllllllU^ Goldwyn Presents Lon Chaney in “THE NIGHT ROSE” At the California Theatre (Reviewed by Sam Silverman) Arthur — Le Roy Scott. Director — Wallace Worsley. Continuity — Arthur F. Stattcr. Photographer — Ben Short. “The Night Rose” is the most libelous, audacious and insulting film I have ever reviewed. It traduces the sublime profession of motherhood, depreciates the newspaper profession, disparages the police force of a great city, and nullifies the great work sponsored by some of the leaders of the cinema industry. From the first moment when the two sisters kissed, we knew it was one of those artificial, insane far-fetched films consisting of just so much footage and that’s all. Where, oh where, is the mythical municipality that will defy such outrageous preposterous characters as O’Rourke, played by Lon Chaney? The last of his infamous clan was murdered in cold blood in Chicago a few years ago — Jim Colosimo was his name, and I knew him and his carnal caravansary quite well. And where is the newspaper that will stand for persecution of an administration via the O’Rourke system of double cross and diabolical tactics. And where is the mother that will repudiate the daughter simply because a suspicion attaches to an isolated incident? Statter, I know, is a former newspaper man. Shameful indeed that a man who knows better would lend his efforts to defiling his own nest in such a manner. “The Night Rose” winds its way through a tortuous maze of unconvincing “business” that gets you nowhere. It is not a moving picture — rather a stagnant, puerile recital that its sponsors should blush to present to the public. There is only one valid excuse for pictures of this sort — and that is, a revelation of how not to do it. Even if the premises in this plot is true, does it advance a great art to project it on the screen? Is there a subtle preachment in the circumstance of a perfectly virtuous maiden being closely juxtaposed with such a wily monster as O’Rourke and emerging clean and wholesome? Why do screen writers emphasize such balderash — such asinine themes? • I want to know. Docs the newspaper profession carry on collusions with fiends of the O’Rourke stripe? I want to know. Does the police force employ double crossers who inform the O’Rourkes of what is going to happen aforehand? I want to know. But enough of this — it’s dignifying rot and piffle to even ask the question. Leatrice Joy as Georgia Rodman did the best she could to make the part convincing. Cullen Landis as Jimmy got nowhere, because the portrayal was inhuman and ungallant. Lon Chanej' as O’Rourke should have received a fat stipend for wading through this thing — but it added not an iota to his repute for characterization. The photography was excellent — likewise several of the settings. “The Night Rose” in the final analysis is just a thorn in the side of the cinema industry — that’s all. It will never grow to be a hardy perennial, thank goodness. RUPERT JULIAN, one cf the biggest mcney-making directors Carl Laemmle ever associated with, says ‘en passant,’ “It is better to get out of bed than to tumble into one!” He seems to look stripped for action in new directorial channels. PLEASE PATRONIZ E— W HO ADVERTISE— GREATEST AGGREGATION OF TALENT Jackie Coogan’s “Oliver Twist” can truly boast an "all-star” cast! Flere’s the names of those who assist Jackie in making ‘ Oliver Twist” a screen classic: Lon Chaney) Fagin, Gladys Brockwell, Nancy Sikes, George Siegmann, Bill Sikes, Carl Stockdale, “Monks,” James Marcus, “Bumble,” Aggie Herring, Mrs. Corney, Eddie Trebaol, “The Artful Wodges,” Jones Standing,” “Charlotte,” Louis Sargent, “Noah Claypool,” Florence Hale, “Mrs. Bedwin,” Nelson McDowell, “Sowerberry,” Joseph Hazleton, Mr. Grimwig. Seldom indeed it is that an aggregation of artists such as mentioned above are represented in one production. That "Oliver Twist” will be a massive picture is assured by all those in association with the Coogan company. No expense will be spared. No time will be saved in giving Director Frank Lloyd every opportunity to bring to the silver sheet the picture of pictures — one that will live long in the silent drama industry. The lady Staretts are using the Japanese Gardens on the Metro lot to play handball in bungalow aprons. Of course if the ball enters a pond, scmecne goes cn in after it. Water doesn’t damage this apparel. DOROTHY MORGAN A Clever Child Actress IN “CLOSE-UP”