Exhibitor's Trade Review (May-Aug 1925)

Page 58 Exhibitors Trade Review BOX OFFICE REVIEWS All Reviews of Feature Product Are Edited by GEORGE T. PARDY, Reviews Editor SIEGE Universal Jewel. Adapted from Samuel Hopkins Adams' novel by Harvey Thew. Director, Svend Gade. Length, 6,424. CAST AND SYNOPSIS Fredericka Virginia Valli Kennion Ruyland Eugene O'Brien Aunt Augusta Mary Alden JJorval Ruyland Marc McDermott Dawley Cole Harry Lorraine Alberta Ruyland Beatrice Burnham Fredericka's Mother Helen Dunbar Kennion Ruyland in marrying Fredericka, the girl of his choice, incurs the enmity of his aunt, the all powerful head of the Ruyland family and industries. Aunt Augusta does everything possible to control the girl's life and break her spirit. She ■succeeds in arousing Kennion's jealousy regarding imysterious boxes of flowers that are daily delivered »to Fredericka. These prove to be the gifts of Norval, a mute member of the clan. And when his -admiration is discovered he is so ridiculed by the tfamily that he commits suicide. First, however, he gives Fredericka his stock in the Ruyland industries thus placing a controlling interest in the hands of Iher and her husband. This drives Aunt Augusta itnto a crazed frenzy. She mounts the box of her carriage and lashes the horses into mad speed. Fredericka, at the risk of her life, stops the runaway, saves the aunt's life and gains her friendship. HP HIS sombre film offers another proof that some stories acceptable in novel "form are not good screen material. The picture is dreary throughout with constantly impending tragedy and no lighter moments to relieve the pall of gloom. It will scarcely meet with enthusiastic audience approval. There is no outstanding "big scene" in the production, although there is a thrill in the sequence depicting the wild ride of Aunt Augusta providing that one may believe the probability of this autocratic dame indulging in such antics. The pursuit and capture of the runaway team is also hair-raising, and the portrayal of Norval's suicide is impressive. In this bit of action, merely the twitching.feet of the dying man are shown, and a smoking revolver drops beside them. The outstanding performance of the phoiodrama is given by Marc McDermott in the difficult role of a sensitive soul who is cursed with the great misfortune of having been born a mute. His agonized expression as he struggles for words during tense moments, and then gropes through his pockets for the essential pad and pencil with which to communicate his thoughts, is gripping. He never overacts, yet extracts the last bit of sympathy with his characterization. Eugene O'Brien as the aunt-pecked nephew has not much to do. The role of Kennion Ruyland cannot be considered a "fat" part, and he can scarcely be censured for an unsatisfactory performance. Virginia Valli is good as Fredericka, acts naturally, and holds the interest of the audience. Mary Alden seems miscast as the aunt, and is woefully handicapped by a make-up that causes her to appear more like a vicious old goblin, than the iron willed aristocrat who is the arbiter of the destinies of all those forming the Ruyland clan. Her attempts at sarcastic laughter are more the triumphant leers of an ancient witch. The direction of Svend Gade is good with one or two exceptions. In the sequence depicting the runaway episode, the sophisticates in your audience cannot help but be reminded oi. a two reel comedy-thriller. The racing Victoria just escapes collision with the usual accumulation of railroad trains, motor cars and so on. The sets are satistactory ana the photography and lighting are fine. Exploit the names of the cast and the fact that this is an adaptation of Samuel Hopkins Adams novel. EVE'S SECRET Paramount Photoplay. Adapted by Zoe Akins from Lajos Biri's play, "The Moon Flower." Scenario, Adelaide Heilbron. Director, Clarence Badger. Length, 6,305 Feet. CAST AND SYNOPSIS Eve Betty Compson Duke of Poltava Jack Holt Pierre Wm. Collier. Jr. Duchess Vera Lewis Baron . . . .' Lionel Belmore Prince Boris Mario Carillo The duelling Duke finds his affianced bride in the arms of another. He kills his rival in a duel, and announces his intention of wedding some "honest working girl." For this purpose he selects Eve, the cobbler's niece, whom he has educated in Paris. After being put through a course of social sprouts the girl emerges as a gorgeous butterfly whom all men adore. However, a look from the Duke, touted as the best shot in Europe, is sufficient to put them to flight. Pierre, the tailor's son, appears on the scene masquerading as a Count. He insults the Duke in order to win Eve, whom he knew and loved when both were poor and humble. The Duke permits himself to be shot for Eve's happiness, but instead of sticking to her "little tailor," sne flies to the arms of her benefactor. TI/TERELY a mildly entertaining picture, this one calls to mind the type of story known as "summer fiction." Such tales serve to wile away a dragging hour, and are immediately forgotten. So will it be with "Eve's Secret." However, there are several angles which will help you sell the show. The production is an, adaptation of a play, "The Moon Flower," which in turn was made into a novel of the same name by Zoe Akins. Those who have read the book or witnessed the staging of the story will be interested in viewing the screen version. Then again, the title is not without lure and possesses good exploitation possibilities. Finally, the featured players have won many friends among the fans in pictures offering far better chance for acting than does "Eve's Secret." Perhaps the most impressive scene is that contained in the brief flash which ushers in the action. It is in the nature of a prologue and depicts the Duke finding his Princess bride-to-be yielding willingly to the caresses of another. This is followed by a shot of the duel in which the deadly Duke slays the man who has crossed his heart's pathway. William Collier, Jr., as Pierre, the tailor's apprentice who dreams of being a "gentleman," supplies the humor. And this humor is not without its share of pathetic wistfulness. However, the stitcher of clothes is such an utter buffoon that one will laugh at him, rather than sigh with him, when in the final sequences he is left waiting for the lady of his heart, whom he finally spies in the Duke's arms. Jack Holt is darkly glowering as the Duke, and stalks through his role with a sum total of two expressions. One is the habitually severe cast of countenance which is a part of this particular nobleman, and the other a mere trace of sardonic smile at the fear which his prowess as a duelist has installed in the hearts of mankind. Betty Compson is an alluring Eve, and the director has not forgotten how well she looks in aquatic costume. William Collier, Jr., in the role of the apprentice tailor, has a part in which a more finished thespian might have "stolen the picture." He fails to do so, but nevertheless manages to render a fairly competent portrayal. In minor roles Lionel Belmore and Mario Carillo are excellent. Exploit the picture as an adaptation of the play and the novel. Play up the stars and make the most of the title. THE MANICURE GIRL Paramount Photoplay. Authors, Frederic and Fanny Hatton. Scenario, Townsend Martin. Director, Frank Tut tie. Length, 5,959 feet. CAST AND SYNOPSIS Maria Maretti Bebe Daniels Antonio Luca Edmund Burns Flora Dorothy Cumming James Morgan Hale Hamilton Mrs. Morgan Charlotte Walker Mother Luca Ann Brody Mrs. Wainwright Marie Shotwell Mrs. Root-Chiveley Mary Foy Maria, a manicure, is engaged to Tony, an electrician, who is endeavoring to save sufficient to purchase a home from the proceeds of a struggling radio business. Maria meets James Morgan, wealthy but a "straight shooter", who becomes interested in her. Because of him she quarrels with Tony, and is thrown more ana more in Morgan's society. She finds Morgan is married to a charming woman, delivers him to his wife and is reunited wth her lover. HERE are comedy, romance, threatening calamity and a happy ending combined in a picture that should go well in the average house. The plot is no different from a hundred others dealing with a working girl, her poor but honest lover and the wealthy chap who completes the triangle. But it is well done, and sustains audience interest throughout. The scenes in the beauty parlor depict much drollery, and Maria's wistful longing for some of the beautiful things which surround her is not without its pathos. From comedy the action passes on to drama of the type that calls for a scene between Morgan's wife and Maria, who confesses that she is the other woman. There is also a good shot when Tony and Maria meet in Morgan's country place, he having been summoned to fix a radio se't, and she being present at a little dinner party strictly for two. It is rather pathetic to see Maria and Tony step out for an evening at the theatre in their shabby clothes and meet Flora, clad in ermine, with her ancient admirer. Tony's seats are in the second gallery, and to end a most imperfect evening, the rain comes down in torrents as they leave the theatre. Tony, set on saving every dollar for their marriage has the bright idea of spending half a dollar for an umbrella rather than a dollar for a cab. While he is gone Morgan's car rolls up, and Maria can scarcely be blamed for acceptinc his invitation. Director Tuttle has overlooked a bet in not stressing the excitable Italian temperament, Tony and Maria are entirely too self contained to be true to type. Bebe Daniels does good work as Maria, but Edmund Burns fails to register as a hero. He fails to win the sympathy of the audience, who will be inclined to agree with Flora, the beauty parlor manager, that Maria is a chump for not passing him up. Hale Hamilton, in the thankless role of James Morgan, is excellent, and despite appearances registers as a good fellow quite satisfied with platonic friendship. The support is excellent with a special word of praise for Dorothy Cumming, who as Flora, the manager, renders an exceptionally good characterization of a well-poised girl with an eye always open for the main chance. The photography and lighting are fine, and the titles add much to the comedy touches. Exploit the name of the star, and make the most of the title. Stress the production as one dealing with the romance and temptations of a working girl in a big city.