Close Up (Oct 1920 - Aug 1923)

THE UNIVERSAL SUPER-JEWEL PRODUCTION, “MERRY GO ROUND,” AT AN INVITATIONAL PREVIEW AT THE AMBASSADOR THEATRE, MAY 31ST. DIRECTED BY RUPERT JULIAN; ASSISTANT DIRECTORS, EDDIE SOUDERS AND JACK SULLIVAN. PHOTOGRAPHY BY CHARLES KAUFMAN. TITLES BY MARY O’HARA. REVIEWED BY EMM. ELL “The World’s a Stage” and the “Merry Go Round” revolves, and “Humanity” in the end pays the cost of each ride. We think this is the most apt way to describe the theme of “MERRY GO ROUND.” The thoughts evolved in the story are potent with poetical possibilities; it isn’t so much the story that counts as the wonderful treatment it receives at the hands of its guiding spirit — RUPERT JULIAN! No doubt remains in our mind regarding the high intellectual mode in which it was happily brought to its conclusion. Merely judging from the remarks of the ultra-critical audiences (for the film had to be re-run for the overflow admirers), “MERRY GO ROUND” is destined to have a phenomenal success, and at the same time it will conclusively prove to millions that ANOTHER, other than Eric von Stroheim, can treat a European subject with the masterly touch of a great artist. We have personal knowledge from observation that Rupert Julian came in at a moment’s notice, without script, and turned chaos into order. At that time we noticed a great deal of impersonal antagonism to the man who supplanted von Stroheim, and for this very reason a greater degree of credit should be given to Julian. Although the story may have provided labor to the artists for a year, under other direction, Mr. Julian, without stinting the production from necessary outlay, was able to turn out a finished product that has all the earmarks of opulence and finished detail, there wasn’t one spot in the entire picture that could have been improved upon. Then, if for no other reason than the saving in cost to Universal, this great company owes a great debt of gratitude to Rupert Julian. Getting back to the story — We see war treated in such a delicate manner as to merely emphasize a factor essential to an episode. We see the life of the PRATER, the Coney Island of Vienna, in all its boisterousness, gaiety and heartaches. If you seek emotion, you will find it here a-plenty. If in search of humor, there are touches here and there to amuse you. If you wish to know how the Austrians lived, their customs and foibles, you will find them all vividly outlined. If you are a snob, and desire to delve into high court circles and society affectations and snobbery, it is here that you will receive a liberal education. Are you inclined to be morbid, or a seeker into the weird? Then tragedy meets you face to face in a most original manner. “All the World Loves a Lover,” and you are no exception to the rule, we hope. You cannot help but enter into the love affair of the little organ grinder, Mary Philbin, and her exquisite lover, the Count, etc., etc., Norman Kerry. “Merry Go Round” is a vital thing to every human heart, and yet it is a gem of a satire. It should have an instant appeal to thinkers, and should prove a real pleasure to those who merely go to see a finely wrought-out picture. The photography by Charles Kaufman deserves the greatest praise. He takes you almost into another world of reproduced beauty. The titles by Mary O’Hara were simple in language, but conceived in the right light of understanding. We do hope, though, that the lettering will be placed further apart, so as to obviate straining of the eyes in reading them. The most consummate detail is shown during the filming — these are the LITTLE THINGS which act as the dramatic periods! The handling of the thousands of small bit parts was admirably attended to by Jack Sullivan. He must have proven himself invaluable to his chief! The acting was of the highest order. The starring honors are equally divided between NORMAN KERRY and Mary Philbin. We doubt if anyone else could have made such a perfect military hero as he. Besides meeting the physical requirements, his acting stands out as something admirable, natural, and perfectly poised. Mary Philbin has her great chance! and under Mr. Julian’s direction she almost becomes a star. We mean by “almost” that occasionally she failed to touch “High C.” In time she will have overcome a certain amateurishness. When she does she will be worthy of genuine Stardom. Dale Fuller, unfortunately, didn’t have a great deal to do, but what she did was comprehensive, fine, and atmospherically correct. George Seigmann must have loathed the part he played ! He depicted about one of the vilest villains we have ever seen on the screen. He never overplayed it. His artistry will long linger in your memory. Dorothy Wallace made an exceptional foil for Norman Kerry — as his wife, the Countess, she looked and acted the part to the very life. Why don’t we see more of her? Spottiswood Aitken is good, and Czare Gravina plays one of the most colorful parts of his entire acting career. Here is a man who so thoroughly understands his art, with its various shadings, that he almost stands in a class by himself interpreting such roles. One of the finest things we have ever seen is, when he is presumably dying, and in his character of the Clown, seeks his missing finger in the glove, merely to keep the little children laughing, who are at that time drenched with tears at the thought of losing their beloved fun-maker. George Hackathorne is simply a wonderful actor. Here is a young man who has a most difficult character to essay, and he does it with histrionic flying colors. Just keep your eye on George Hackathorne! There were a few others who did noteworthy small parts, and, through lack of knowledge, we must relegate them into the class, “They Also Ran,” but in running made a splendid showing. Maude George didn’t have her usual chance to show anything, although everyone recognizes her ability as a splendid actress; in fact, we can readily understand why so many characters had to be deleted when we realize the tremendous footage that had to be “cut down” to an audience picture. There is one paramount thought in our mind— and that is that “MERRY GO ROUND” will stand out as the cinematic achievement in the year 1923.