Close Up (Oct 1920 - Aug 1923)

METRO PRODUCTION— “TRIFLING WOMEN.” DIRECTED BY REX INGRAM. ALL STAR CAST. SCENARIO BY MARY O’HARA, FROM THE STORY BY REX INGRAM. PHOTOGRAPHY BY JOHN SEITZ. LOEW’S STATE THEATER. REVIEWED BY “CLOSE-UP JUNIOR” "Trifling Women” is a very good title... Trifling is quite the word to use for this production of an unbelievable story. It is, however, portrayed in such a manner that the average audience would not notice the unbelievable part until the final fadeout. Remon Novarro is very handsome on the screen. We find him quite different from his appearance in “The Prisoner of Zenda.” It seemed to us that Ingram has tried to outdo many of the greatest pictures of the year in one production. Some of the biggest scenes seem a bit crowded. But his “little” touches are successes; which are, the cat playing with the gold fish, and his unusual lighting effects. Evidently he spent much time with John Seitz on the lighting, as it is perfect. Joe Martin, the Universal monkey, has an absurd part, and leaves with a distasteful vision before your eyes. The three dwarf servants is a trifle overdone. Lewis Stone is always good. We found him so in this. Edward Connelly is amusing and does splendidly with his role. Now, Barbara La Marr is a very charming person and she has done a wellremembered performance. She acted. Even though she did create a new sort of vampire on the screen, we shaH not hold that against her, as she has great ability and proved many times over that she should be a star in her own right, if she could s stand the pace without becoming big-headed. A GOLDWYN PICTURE— “BROKEN CHAINS.” DIRECTED BY ALLEN HOLUBAR. FEATURING COLLEEN MOORE. THE $30,000 PRIZE WINNING STORY BY WINIFRED KIMBALL. CALIFORNIA THEATER. REVIEWED BY “CLOSE-UP JUNIOR” First, may due credit be given Allen Holubar for making Colleen Moore act. And thanks for giving her the part. This is the first time she has acted so well in a “straight” role. She is the wife of a brutal outlaw ranchman, played by Ernest Torrance, and we were surprised as well as pleased at her ability. Mr. Torrance plays the villain role to a T. Never has there been a better villainous role portrayed. Miss Kimball surely must have had him in mind when writing her story, which is really an unusual affair. Mr. Holubar has placed some very good thrills in some unexpected places. This is pleasing — very much so. Claire Windsor as the heiress is good, but does not have enough to do. Malcolm McGregor does very well as the young hero, but he does not let himself “get in and act.” He seems to be holding back — sometimes. However, a few more parts and he will be O. K. He has ability; that can be seen — in spots. Beryl Mercer and James Marcus have small bits, but do them to advantage. There was plenty of room for more well-known faces. Was the production cost kept down on account of the high-priced scenario? Then why pay so much for a good story, and put on an inferior cast to play it? I’m not saying that every one was inferior, but this seems to be the age of All Star Casts, or two big stars, and both were lacking in this production. Why? A GOLDWYN PICTURE— “HUNGRY HEARTS.” DIRECTED BY E. MASON HOPPER. ALL STAR CAST. SCENARIO BY E. MASON HOPPER, FROM THE MAGAZINE STORY BY ANIZA YEZIERSKA. CALIFORNIA THEATER. REVIEWED BY “CLOSE-UP JUNIOR” Although Helen Ferguson was billed as featured — she did not feature — much. That is to say. Rose Rosanova, as a struggling immigrant mother, “stole” the picture. Miss Ferguson does some very clever acting and has a great deal of dramatic ability, but it seemed — at times — as if she hesitated to act. She has far too many close-ups, for really no good reason. E. A. Warren is unsurpassable as the father of the family. His characterization is one of note. We should like to see more of him. He IS an actor. Bryant Washburn did not come up to our expectations as the lover. He was unusually slow. Probably not his fault, though. It is plain to be seen that every effort was put forth to make this story sad, and full of pathos. They certainly succeeded. We were glad when it was over. E. Mason Hopper was the director, and did — as he always does — his best. We can’t complain about his work. The author, Aniza Yezierska, writes very good magazine stories, but let’s not have any more of these drab things on the screen. A remarkable part was taken by Otto Lederer, who always plays a lovable role. He should be given much larger parts. His acting in this was flawless, although there was much room for over-acting. George Seigmann had a very difficult role, but did his best. In one or two places we might say that he either over-acted, or else the part was unnecessary. Let’s not detract from a great story. In novel form it’s unbeatable, but in film — well, why add to the misery of nations?