Exhibitor's Trade Review (May-Aug 1925)

August 29, 1925 Page 31 BOX OFFICE REVIEWS KENTUCKY PRIDE Fox Photoplay. Author, Dorothy Yost. Director John Ford. Length, 6,597 feet. CAST AND SYNOPSIS Mr. Beaumont Henry Walthall Mike Donovan J. Farrell MacDonald Mrs. Beaumont Gertrude Astor Greve Carter Malcolm Waite Mrs. Donovan Belle Stoddard Mike, Jr Winston Miller Virginia Beaumont Peaches Jackson Beaumont is ruined when his mare falls while leading the field in the Futurity. Not only does he lose his money, but also his wife, who deserts him for the villain, Carter. Donovan, his trainer, takes care of little Virginia, his daughter, and retires Virginia's Future, the injured mare, to the stud, despite Mrs. Beaumont's orders that the mare be destroyed. The mare herself passes into the hands of a junk peddler, but is rescued by Donovan, now a police sergeant, in time to see her foal, Confederacy, win the Derby, and rehabilitate the fortunes of all concerned. f\ FF to a flying start, "Virginia's Future," " with J. Farrell MacDonald up, and Director John Ford as trainer, carries the colors of "Kentucky" Pride" to box-office victory. A unique story of the turf, this one comes straight from the stable, for the crippled mare herself is shown telling the tale to a bunch of yearlings in the blue grass pasture where she is docilely passing a contented old age. The tale of her life is shown on the screen from the time when she was a long legged, awkward foal, through the terrible experience of losing the big race and breaking her leg, to the glorious moment when she witnesses the triumph of her colt in the far-famed Kentucky Derby at Churchill Downs. The racing sequences are splendid. They are redolent of paddock and track, and there are a number of real racing shots, including that in which the leading "Virginia's Future" •crosses her forelegs for a horrible spill. To add to the realism, the crowned monarchs of the turf pass in review. Such magnificient creatures as The Finn, Man o' War, Morvich, Fair Play, Negofol and others arch their glossy necks for the edification and entertainment of picture patrons. There is drama, pathos, thrills, and a veritable wealth of comedy. The latter is supplied by that wonderful character actor, J. Farrell MacDonald in the role of the old Irish trainer, Mike Donovan, later Sergeant Michael Donovan of the police. MacDonald's interpretation of this rich role surpasses his Corporal Casey of "The Iron Horse" if, indeed, such a feat be possible. He extracts every bit of humor from the part, yet never descends to obvious gags or strains in the least to get a laugh. Henry Walthall is fine as the scion of a Kentucky family who topples from prosperity via the horse and card route only to arise from the lowly life of a race track boot-legger through the aid of the partimutuel machines and confidence in his knowledge of horseflesh. The remainder of the cast does its share in making this picture a fine racing melodrama, and very special mention must be given to John Ford, whose directorial cunning has made the tale realistic and absorbingly interesting. Play this up as a fine tale of the track, make the most of the racing sequences, and feature the cast with special emphasis on the name of J. Farrell MacDonald. A racing lobby, whips, horseshoes, saddles, bridles, etc., will attract attention as will a bally of jockeys. FORT FRAYNE Davis Distributing Division Photoplay. Adapted by George M. Pyper from the novel by General Charles King. Director, Ben Wilson. Length, 5,000 feet. CAST AND SYNOPSIS Capt. Malcolm Leale Ben Wilson Helen Farrar Neva Gerber Mrs. Daunton Ruth Royce Royle Farrar Bill Patton Col. Farrar Lafe McKee Mrs. Farrar Minna Redman Sergeant Rorke Lou Meehan Crow Knife Joe De La Cruze Col. Fenton Major McGuire The renegade son of the Farrars is presumably dead the secret that he remains alive being shared by Capt Leal and Col. Farrar. The Colonel is slain in an Indian uprising. Years later Mrs. Farrar and Helen return to the post together with a mysterious Mrs. Daunton, who in reality is Royle Farrar's wife. Meantime Royle to escape imprisonment has enlisted and is also sent to the fort, under the name of Graice. Helen's jealousy of Mrs. Daunton is aroused because of secret interviews with Capt. Leale who has recognized her. Graice kills an Indian in a drunken brawl and the redskins rise to win vengeance. Graice Is in the guardhouse when a flaming arrow fires the powder magazine nearby. Leale risks his life to save Graice but the reneerade is fatally burned. Before death he secures the forgiveness of wife, mother and sister, and by his confession of identity smooths the way for understanding between Helen and Captain Leale. FORT FRAYNE" is the second of the series put out by Davis Distributing Division adapted from the books by General Charles King. The production is well up tc the high standard set by its predecessor, "Warrior Gap." The stories have to do with the days when the noble redmen had not yet been reduced to earning a livelihood from the sale of beadwork and the making of personal appearance in wild west shows. They were a bitter lot capably led by chieftains who were fighting against the paleface encroachments on their homelands and hunting grounds. And there wasn't much flash about the United States troopers who met these braves on their own territory and conquered them. There was a minimum of gold lace and a maximum of sharp shooting bravery. Thus the combination of trooper and redskin wrought into colorful melodrama and filmed against log block-houses and wooded hills makes unusual and interesting material. In this instance a story has actually gained strength in transposition to the screen, for the picture is better than General King's popular book. The characterizations are in perfect keeping, from that rendered by Ben Wilson as the dashing captain of cavalry to that of the vicious coward Graice. There are a number of thrilling encounters between the soldiers and their enemies and two especially good shots of life in the tepees. One of these shows the squaws busily engaged in piling faggots at the feet of three hapless white captives, and the other shows the braves in a real honest-to-goodness war dance. The Indians are real, too, and their painted visages are such as to strike terror to the heart. Neva Gerber is clad in the attractive costumes of the period, which are most becoming to her. She is an appealing figure and makes much of her role. Ruth Royce is the wronged wife, and Bill Patton the terrifying villain. One of the best bits is contributed by Joe De La Cruze as a friendly Indian. In exploiting the production effect tie-up with public library and book shops on General King's novel. Play up the period costumes and use them in ballyhoo. PEACOCK FEATHERS UniversalJewel Photoplay. Author, Temple Bailey. Adapted by Svend Gade and James O. Spearing. Director, Svend Gade Length. 6,747 feet. CAST AND SYNOPSIS Mimi Le Brun Jacqueline Logan Jerry Chandler Cullen Landis Andy Fuller Ward Crane Uncle George George Fawcett Hayes Edwin J. Brady Lionel Clark Youcca Troubetzkoy Mrs. Hayes Aggie Herring Mrs. Le Brun Dunbar Raymond Mimi Le Brun, parasite daughter of impoverished aristocracy, leaves her wealthy fiance to elope with Jerry who inherits a ranch which he has never seen. The property is far from sufficient to make them in comfortable circumstances, and Mimi is keenly disappointed. She decides not to quit, however, and tries to do her share. Andy, the jilted suitor, visits the ranch and persuades Mimi to return to the big city with him. Meantime Jerry is injured in a snow slide, and Mimi perceives his signal fires. The great fact of her love for him dawns upon her and she heads a rescuing party. Andy leaves Mimi and Jerry happy in their love. THIS is a passable picture which should offers a moderatly entertaining evening. The plot is quite obvious, although in early sequences one might be led to suspect that Director Gade had a trick or two up his sleeve with which to give the film a different twist toward the end. For instance, the young artist Clark points out the wealthy Fuller to the impecunious writer, Jerry, and remarks : "In real life that is the chap who wins the girl." And his statement is quite true, for no Mimi in this world of monetary standards would have forsaken affluence to share a tumble-down shack either in Athlone or the open spaces of the Southwest. There are a number of interesting shots, and perhaps the best of these is that depicting the utter disillusionment of the young couple when first they glimpse the ramshackle building that Uncle George has described as a veritable castle in Spain. The girl believes she has been tricked into marriage. Jerry is deeply hurt. He knows she believes him a cheat, and is himself resentful of the hoax which his uncle has played. There is a thrill in the sequence showing Jerry caught with his new-cut Christmas tree in a mountain snow-slide, and seme good comedy is afforded by the foreman, Hays, his good wife, and their several brawling offspring. The scene of the first dinner at the ranch house is at once humorous and pathetic. Mimi insists upon dressing for dinner, and then is forced to submit to having her soup flavored with the thumb of Mrs. Hays. Jacqueline Logan is equally seductive as the society peacock and the little amateur milkmaid who sallies forth to milk a docile bossy and encounters the male of the species, much to her dismay. Cullen Landis is rather a weak sister as a Yale man with writing aspirations, and does not carry conviction in the role of Jerry Chandler. Ward Crane, as usual, is a competent heavy of the not too villainous type, and the supporting cast is satisfactory. It is 'of special interest to watch the handsome young Prince Youcca Troubetzkoy in his bit as a wealthy and talented artist. There are some good pulling names in the cast, and the title may be featured in your exploitation. Throwaways of peacock feathers, even paper ones, will impress folks, and you may also renew the old question as to whether a girl should marry for love or for money. Feature the snow slide sequence.