Exhibitor's Trade Review (May-Aug 1925)

June 27, 1925 Page 59 STEELE OF THE ROYAL MOUNTED Vitagraph Photoplay. Adapted from the novel by James Oliver Curwood. Director David Smith. Length, 5,700 feet. CAST AND SYNOPSIS Philip Steele Bert Lytell Blacky Nome Stuart Holmes Isobel Becker Charloite Merriam Mrs. Thorpe Mabel Scott Colonel Becker Sydney DeGray Colonel MacGregor John Toughey In a spirit of fun Isobel introduces her father as her husband. Steele, who is in love w.tn her, leeis himself deceived, and journeys North where he joins the Northwest Constabulary. He is sent on the trail of Blacky Nome, notorious gambler, tra.n robber, and betrayer of women, who is wanty} for murder. Isobel accompanies her father to Canada and is kidnapped by Blacky. After many adventures Steele "gets his man'' — and his girl, too, as her explanations fix everything okeh. THIS is a fair program picture that will go best where audiences are interested in watching members of the Royal Constabulary get their men, and are not too critical regarding plot possibilities. It is slow in getting starting and much footage is used in establishing Steele as a member of Canada's romantic police force. Once he gets on the job, however, there is sufficient action in the approved Western manner. The plot hinges upon the rather absurd action of the heroine in introducing her father as her husband, all for the avowed purpose of creating jealousy. This drives her lover to the North Woods, despite the fact that she writes and telephones asking for an opportunity to explain. If she had only thought to state the facts about five thousand feet of film might have been saved. There is a good scene in which Constable Steele overpowers a hooch-crazed terror engaged in snooting up the liquid veneer emporium. Also there is a train wreck, a shooting affray in the dark, and a very fair battle between Blacky Nome and Steele. The most thrilling shot, however, is that in which Steele shoots some swirling rapids in a frail canoe. This is the most realistic scene in the production. The tiny birch-bark boat is tossed about in the surging foam of the mountain torrent like a chip, and eventually the valiant Corporal is swamped and swept along to the very edge of a roaring falls where he is rescued by his fellow officer. It is rather surprising that such a scoundrel as Blacky Nome, who already has a price on his head, would hesitate to add one more to his string of crimes by picking off his pursuers from ambush. But he doesn't do so, and pays the penalty of his oversight by being safely escorted back to civilization and the justice he has cause to fear. Most of the action takes place in the great outdoors, and there are some fine scenic shots. The photography is above the average and the lighting is all that could be desired. Bert Lytell is quite up to his usual standard in the role of Corporal Steele, and Stuart Holmes plays Blacky Nome, the gambler, with all his usual villainy. Charlotte Merriam has little to do as Isobel Becker, and renders a somewhat stilted performance. Mabel Julienne Scott does good work as the wife of a man wrongfully accused of murder, and the remainder of the support is entirely adequate. The name of the star has pulling power, and should be stressed in your exploitation efforts. Also the fact that the picture is an adaptation of a James Oliver Curwood novel will bring additional patronage to your boxoffice. A log cabin theatre front with pine trees and snow will help create the proper atmosphere and will attract attention to your showing. DON Q, SON OF ZORRO United Artists Photoplay. Based on the novel "Don Q's Love Story," by K. and H. Prichard. Scenario, Jack Cunningham. Director, Donald Crips. Length, 10,264 Feet. CAST AND SYNOPSIS Don Cesar de Vega Douglas Fairbanks Zorro, his father Delores de Muro Mary Astor General de Muro Jack McDonald Don Sebastian Donald Crisp The Queen Stella De Lantd The Archduke Warner Oland Don Fabrique Jean Hersholt Colonel Matsado Albery Mac Quarrie Don Cesar, scion of the house of Vesta, is s^nt from California to Spain for travel following the custom of his family. Here he meets and loves Dolores, and through his prowess with the stock whip gains popularity at the Spanish Court and with the Austrian Archduke, a visitor. He also incurs the enmity of Don Fabrique and Sebastian, Captain of the Queen's guard. The Archduke is assassinated by Sebastian, and Fabrique the only witness declines to refute the circumstantial evidence that points to Cesar. The latter feigns suicide and flees to the ruins of his ancestral castle where he plans to circumvent his traducers. Zorro, apprised of the situation, hurries to Spain. After many thrilling adventures the villains are unmasked and Don Cesar gains his heart's desire, Dolores. ROMANTIC melodrama in the best Fairbanks manner, this attraction will please all who like fast moving, slashing action in their screen entertainment. Fairbanks carries his audience with him. The triumphs of Don Cesar are the triumphs of the audience, and from such as these come big boxoffice receipts. The production is somewhat reminiscent of "The Three Musketeers," inasmuch as the inimitable Douglas flouts danger, beats numerous enemies and emerges triumphant against odds that would daunt one less valiant of heart and less skilled with the blade. And good swordsmanship is not the hero's only asset. He is well versed in the use of another and not less terrible weapon. It is the snaky bull-whip, which in expert hands may hiss its way about a man's throat, or flick from the hand of a sweetheart a pen poised to sign a hateful marriage contract. In "Don Q" it does both, and much more, for Fairbanks almost literally lashes his way through the picture, scourging villainy and receiving the reward of valorous virtue. Also, welcome back to the screen Zorro, that friend of exhibitors who cut his famous mark in the flesh of his enemies, and left dollars in many box-offices. Zorro is the father of Don Cesar. And Fairbanks plays both parts with admirable artistry. The hero is shown with his father in several clever shots. Fairbanks also masquerades cleverly as the notorious Colonel Matsado, and thus may almost be said to play a triple role. There are high lights aplenty in the picture. Every sequence depicts some thrilling adventure, and from each Don Cesar emerges a victor by dint of a quick brain, a strong wrist and a skilled eye. Exciting events follow one another thick and fast like the rattat-tat of machine gun fire. The star renders a capable performance of the type that has gained him fame. He has added several good numbers to his bag of tricks and uses them all to good stead. Next to Fairbanks, the laurels for character delineation go to Jean Hersholt, as the slimey, scheming Don Fabrique, who holds the card upon which the Archduke scribbled the name of his murdered, and uses it to blackmail the slayer. And almost equalling Hersholt is Donald Crisp, who registers impressively as the sinister Don Sebastian who inflamed by wine and thwarted love, impales the royal roisterer upon his ready blade. Mary Astor is a pale and beautiful Dolores, and in the part does some of the best work of her career. And Warner Oland is fine as the Archduke. In fact, the picture is excellently cast throughout, and every player is due a word of praise. Exploit the star, and don't forget to mention that Zorro has returned. THE WHITE OUTLAW Universal Photoplay. Author, Isadore Bernstein. Director, Cliff Smith. Length 4380 Feet. CAST AND SYNOPSIS Jack Lupton Jack Hoxie Mary Gale Marceline Day Malcolm Gale William Welsh James Hill Duke Lee Negro Cook Floyd Shackelford Sheriff Charles Brinley Jack Lupton captures a wild horse known as The White Outlaw. The horse escapes and organizes a band by freeing ranch horses from the corrals at night. Jack is accused of stealing these horses, and sets out to locate the herd. He finds it being driven away by a gang of horse thieves. The herd stampedes and Mary is caught in their path. Jack saves her, and after a vicious battle he and the neighboring ranchers subdue the rustlers and secure the horses. rpHIS "Blue Streak Western" is above the average picture of its kind, and will please where patrons like lively meodrama dealing with bad men and wild horses. The outlaw stallion that leads the band of roaming equines lends valiant aid to Jack Hoxie in estabishing audience appeal, and it must be said that Scout, the horse, and his herd share honors with the star. There are several sequences that are unusually thrilling and may be counted upon to register with Western loving patrons. One is that in which "The White Outlaw" wages furious combat with a bear that has selected one of the herd's colts as a delicate morsel for a light luncheon. In realistic fashion bruin is vanquished, and the outlaw returns to his harem with tail waving proudly as the plumes of the Irish brigade at Fontenoy. Other breathless moments are furnished during the stampede of the terror stricken horses. They dash madly along, and Mary, who is in their path, seems doomed to terrible death beneath their flying feet. But in the nick of time she is saved through her lover's heroism, and the audience will gasp in relief. There is the usual display of horsemanship, and it must be said that the riding of these chap-clad centaurs of the West never fails to quicken the pulse beats of those who watch them gallop hell-for-leather across the screen. Besides the melodrama, there is a fair sprinkling of humor of the more obvious sort which will aid materially in affording satisfactory entertainment. Jack Hoxie's work is quite up to its usual mark, and those who have chosen him as their favorite portrayer of Western characters will find that he still smiles as infectiously, rides as hard and fights as fearlessly as ever. Marceline Day, who plays the role of Jack's sweetheart, Mary Gale, does a creditable bit of acting, and the supporting cast is entirely adequate to the requirements of the film. Special mention must certainly be given to Scout. Whoever trained him made a thorough job, and Director Smith has done remarkable things in the way of realism. Exploit this as an actionful Western melodrama. Feature the name of the star, and stress the intelligent exhibition given by the horse. The big scene is that depicting the stampede. A cowboy ballyhoo will attract attention and help to fill the house.