Close Up (Oct 1920 - Aug 1923)

CARL LAEMMLE PRESENTS THE UNIVERSAL-JEWEL PRODUCTION “BAVU,” ALL-STAR CAST. TITLES BY GARDINER BRADFORD. HAROLD McLERNON, CUTTER. ELMER SHEELEY, MINIATURE ARTIST. PHOTOGRAPHY BY ALLEN DAVIES. DIRECTED BY STUART PATON. ASSISTANT DIRECTOR, HARRY WEBB. AT A SPECIAL SHOWING OF FEATURE REVIEWED BY EMM. ELL. Many times in the past it has been my privilege to review film features directed by Mr. Stuart Paton. At these time I have felt that there were many just causes for criticism, favorably and adversely. In the particular case of “Bavu,” shown a few nights ago recently to the technical staff who were responsible for the masterpiece, I came to the conclusion, after witnessing this vehicle, that Stuart Paton had given to the world a production dealing with Russian life which stands in a class entirely by itself. Atmospherically, the story needs no commendation on the part of anyone; theorectically, there is a semblance for every active item in the production. There is nothing far-fetched, and everything wears a reasonableness which, I believe, can defy criticism. Foremost in my estimation is the unusual and marvelous acting participated in by “an Honest to Gawd” all-star cast. It would be invidious and almost impossible upon my part to select any one feminine star. They are all directly stars in their own right. I have in mind Sylvia Breamer and Estelle Taylor; then — again, when you realize the accuracy with which Martha Mattox performed a very unthankful character, you can realize the predicament I am in. Miss Breamer played a character which, no doubt, she did not personally care about, as it seemed directly foreign to her usual characterizations, but she made such a vivid impression in her portrayal that I came to the conclusion that, should she ever get old (which no doubt is many years distant), she could very easily transfer her histrionic ability to character parts. Estelle Taylor, who played the Princess, and incidently the heroine of the story, looked and acted as natural as any Russian Princess would under like situations. Undoubtedly, her beauty was highly enhanced by the regality of the part she played. Coming to the male members of the cast, I go on record as stating that, undoubted as is the marvelous ability of Wallace Berry, here, as “Bavu,” he did the greatest acting of his screen career. This includes anything he has ever done. He seemed to breathe and live the part of the brute Russian peasant who acquired power in the downfall of aristocracy. If he has been famous in the past, this production should place him utterly in a class by himself. Nick De Ruiz, who portrayed a crippled henchman of Bavu, consistently interpreted a very difficult character in whicb he is deprived of the actual use of one of his limbs. No better selection for this part could have been made than in Mr. Ruiz. It goes without saying that, when Josef Swickard plays an aristocrat, you will see a conclusive presentation of what aristocracy means — more particularly so as conveyed in this picture. Forrest Stanley, as the hero, played the hero as a hero should be played. Perhaps, his work did not shine forth as conspicuously as it should have done, but I can easily attribute this to the more difficult scenes in which he played — having been cut out. A word would not be out of place at this time to give credit where credit is due. I am referring to the elucidating titles, brief and complete; nor can I pass the clever manipulation of the scissors by Mr. McLernon. He made it a perfect vehicle of smooth continuity. The photography was really a series of gems showing flittering lights, and giving absolutely the impression of lamps being blown out in a natural way. The snow scenes were also clear and well conveyed to the audience without these people having to put on snow glasses. Probably, outside of the Director, the greatest credit should be given to Mr. Elmer Sheeley. He is the Miniature Artist who fooled the senses of the beholders. He conveyed to your imagination and eyes a city in flames — and the eventual destruction of it. I doubt if anything so clever as this has happened in the past. Stuart Paton can flatter himself in the production of this film. You can sense the minuteness with which he entered into every detail. The acting all seemed to have been mostly guided through his vivid individuality which shows in such a conspicuous manner throughout the picture. I predict that “Bavu” will create a storm of commendation, and should be relegated as one of the three best pictures of the year 1923. LOEW S STATE THEATRE— LOUIS B. MAYER, THROUGH METRO, OFFERS THE' FRED NIBLO PRODUCTION “THE FAMOUS MRS. FAIR,” ADAPTED BL FRANCES MARION; PHOTOGRAPHY BY CHARLES VON ENGLE. AN ALL-STAR CAST. REVIEWED BY EMM. ELL. It isn’t often that a domestic problem can engross our attention but this is one instance where, as in the case of “The Famous Mrs. Fair, we emphatically change our mind. The greatest all-star cast wander in and out of the picture with perfect poise and conscious power. In trying to find the star, one would have a great difficulty in naming the person, but, inasmuch as Myrtle Stedman plays the name part— and insofar as the plot revolves about her search for applause and adulation, we think it but right to relegate to her the Feature Spot. I\fiiss Stedman endeared herself to thousands in her sympathetic, motherly interpretation of a woman torn between duty to her country, and to her children in the earlier phases of the story, and then when she gives up her family for the ulterior motive of acquiring an income for herself; and allows her grown-up children to take care of themselves in her absence on a lecture tour, we feel that through it all she holds the attention and merits the sympathy of her audience. Physically, she is an ideal Nancy Fair. From an acting point of view, criticism cannot touch her. Huntley Gordon gave a dignified and splendid portrayal of a man torn between love of wife. circumstances of the moment, and his children. Marguerite De la Motte stood out as a planet in a sky of budding constellations. The extensions of her character as she portrayed them showed her soul to be possessed of the larger meaning of versatility and art. As Sylvia, her charmingness and beauty were emphasized manifold. This picture serves also to bring out Carmel Myers, who has starred in her own right, in the part of a Vampire. She was exquisite, beautiful, and played the part to perfection. Helen Ferguson, although not having a tremendous part, played it with her usual conscientious and natural ability. Here is a lady who combines a certain type of beauty with a correct natural means of conveying both her beauty and art to the audience. Cullen Landis, as Allan Fair, played a part which suited him right down to the ground. It could not have been played any better. Ward Crane made a most “adorable” villian, no doubt, to the young girl in the story. Personally, we believe that if many more villians run around this earth such as Ward Crane depicted, there will be many girls who will leave home sooner. He was ideally cast for the part. (Continued on Third Cover Page)