Close Up (Oct 1920 - Aug 1923)

HARRY GARSON PRESENTS CLARA KIMBALL YOUNG IN “ENTER MADAME,” A METRO RELEASE, DIRECTED BY WALLACE WORSLEY. PHOTOGRAPHED BY WILLIAM O’CONNELL. SCENARIO ADAPTION BY GILDA CARESI AND DOLLY BYRNE. LOEW’S STATE THEATRE. REVIEWED BY EMM. ELL. Those who think that Clara Kimball Young belongs to the past of the picture world had better change their views. Never before in her remarkable career has she been seen to better advantage than in the Metro presentation of “Enter Madame,” produced by Harry Garson. Never before has she appeared as beautiful, and although her role isdifficult, she carries it with high honors that only inimitable Clara Kimball Young is capable of doing. She appears as a prima donna and portrays a creature of temperamental proclivities and living a bohemian life that only a true artist can feel. Elliott Dexter, the leading man, is one of the superfine cast. He is truly an actor in every sense of the word, and was wisely chosen to play opposite the marvelous Clara. Louise Dresser, who is “the other woman,” is a trifle off color. However, she is a very clever actress and did finely. Lionel Belmore as Archimede, the Chef, could not have been better chosen. He and George Kuwa, the clever Oriental actor, get in some of the finest comedy seen in many a day. Wedgewood Nowell as the Doctor is not quite convincing in his part. In fact he anticipates action. Parts in this splendid story might seem a bit risque if the hero and the heroine were not married. Another spicy bit is added by Rosita Marstini, who is the prima donna’s maid. This, however, just adds zest to the plot and is not obnoxious. Orra Deveraux as the Secretary holds herself far too stiffly and caricatures a fine type of womanhood. Arthur Rankin as the Son gives a splendid, youthful and manly performance. He is proving to the theater-goers that he is an actor. Mary Jane Saunderson as Aline Chalmers — well, really we would like to know just why she is in the picture. The direction by Wallace Worsley proves just why this gentleman is at the top of the ladder. The photography is a thing to talk about. O’Connell deserves compliments. All the scenes are clear, concise and well lighted. There has never been a cleaner, better acted picture on Broadway! Those of you who have not seen Miss Young recently will be surprised and charmed beyond words with her personality. Had this attraction been billed without a star, you wouldn’t have had trouble finding out just who it was! Another creditable thing is the perfect adaptation of the story; it is a gem and a work of art. There are no ragged edges and misplaced scenes; it is a flawless continuity. “Enter Madame” will undoubtedly go down as one of the greatest entertaining film features of the past season. Congratulations to Harry Garson, Wallace Worsley and Metro. A PRE-VIEW “THE BEAUTIFUL AND DAMNED," BY F. SCOTT FITZGERALD. SCENARIO BY OLGA PRINTZLAU. DIRECTED BY WILLIAM A. SEITER. PHOTOGRAPHED BY FRANK GOOD AND ED DUPAR. A WARNER BROS. PRODUCTION. REVIEWED BY ‘CLOSE-UP JUNIOR.” Kenneth Harlan, leading man, started the picture after a long sub-title. He was looking at himself in a mirror. (No rehearsal was needed for this.) The story follows the book very well and is interesting. The Warners are to be congratulated on this picture. Marie Prevost is pretty in the close-ups and wears some very charming gowns. She did not have a heavy part and she suited this very well. Harry Myers is very clever. Louise Fazenda “steals” the picture for laughs. Harlan had some good gags but failed to get them over. He only acted in one part — a short scene near the end. Tully Marshall has a small and difficult role. He is perfect. The sets — well, some are beautiful, and others as bad as the good ones are beautiful. The underworld scene is a farce. Cleo Ridgely has a small part, but plays it well. Charley McHugh gives a splendid performance, and has a role which only a well trained actor could take care of. The one big thrill is cleverly arranged but impossible at the end. The storm scenes are not the best. Miss Prevost is gay, flashing, very kissable and captivating. Clarence Burton does a “heavy” and is good. Walter Long does very well indeed, and provides a few laughs as a comdey relief. Marcel’s Cafe is advertised greatly in one scene. So is the Morosco Theatre and “Abie’s Irish Rose.” Then in a close-up of some bills we see one from Siegle-Meyer. Wonder what Meyer Siegle had to do with this? Mrs. Warner’s wedding ring was in a close-up. In the first three reels the titles are very long, and then they suddenly shorten. George Kuwa, the Oriental actor, is great. He provides some of the best laughs of the feature. The art work on the sub-titles is good, but we found a lot of them jammed down in one corner and rather hard to read. Kenneth Harlan’s tears were not convincing. Kathleen Key was in the picture, but does very little. Some of the gags are very old. Especially the burlesque on Cleopatra’s snake dance. Tom Kennedy also had a small part and was not given screen credit. A bit of color photography was bad. The picture, when ready for the exhibitor, will probably be shortened at the end, and it needs it. That is the only place which drags. This will be a good box office attraction and will undoubtedly be a success. The Warner Brothers are learning fast, and if they keep up the good work they will soon be at the top again. By all means see “The Beautiful and Damned,” even with a few mistakes. It is well worth the admission price.