The educational screen (c1922-c1956])

March, 1923 The Theatrical Field 137 will be employed in making the big feature pictures to which the company has committed itself. Each director will have his own staff and will be given every facility in putting into his productions his own individuality and personality. He will have the cooperation of the department heads of the Culver City studio, but each unit will be separate unto itself. Marshall Neilan recently transferred his whole staff to the Goldwyn studios and is releasing his pictures through them. He is now producing his own story, "The Ingrate." Eric Von Stroheim, Rupert Hughes, King Vidor, Clarence Badger, and Hugo Ballin will also have their own studios. Franz Lehar's famous "Merry Widow" is promised under -Von Stroheim's direction, and a series of Rex Beach stories beginning with "The Spoilers" will be produced by Jesse D. Hampton, directed by Lambert Hillyer. Victor Seastrom, the Swedish actor and director, has also joined the Goldwyn staff. He has adapted and directed the stories of Selma Lagerlof and Johan Stefansson in his own country. Douglas Fairbanks, feeling that his pirate picture demands color, has his technical staff hard at work on a process which they hope to be able to perfect for this production. Incidentally, Mr. Fairbanks and Miss Pickford are turning their attention more and more to production, their intention being to include in the United Artists' Corporation a number of artists, who will have freedom to depart from the conventionalized type of picture. Film Reviews ROBIN HOOD (United Artists) After watching a few of the scenes in the actual process of being "shot," and moving for a short time in the atmosphere of the Crusades, I find a particular pleasure in the opportunity to review "Robin Hood." It is a great picture; it places Mr, " Fairbanks in the first rank as a producer. Technically and artistically, it is practically flawless, and the picture it gives of mediaeval England, is incomparable. The settings are little short of marvelous. No pasteboard "scenery" here, but the castle of our imaginings, the Nottingham of Howard Pyle, and the Sherwood of Walter Scott and the English ballads. The tournament scenes are perhaps the most brilliant that have ever flashed across the screen — all the glitter and glamor of "Ivanhoe" and "The Talisman" rolled into one — the very spirit of the age of chivalry. The plot is an adroit assembling of the historic incidents of the period, and the fragmentary legends centering around the romantic figure of Robin Hood. It moves swiftly and smoothly. The cast is without exception excellent, and Wallace Beery as Richard the Lion-hearted does the finest work of his career. His portrait of the big, laughter-loving ruffian, who loved his friends and hated his enemies with equal staunchness, and went blithely crusading as much for the sport of it as for any other reason, will not be soon forgotten. Sam DeGrasse and Paul Dickey as Prince John and Guy of Gisbourne jointly supply the villainy with good effect, and Enid Bennett is as lovely a Maid Marian as anyone could wish. Alan Hale contributes a pleasing picture of the faithful squire, afterwards Robin Hood's lieutenant, Little John, and Willard Louis presents the very image of Friar Tuck. Mr. Fairbanks as the Earl of Huntingdon in the earlier scenes, plays with commendable restraint, and, if later, his Robin Hood becomes a sort of grown up Puck, one can enjoy his antics the more because of the contrast. Despite his reputation as an acrobat, one suspects him also of being an actor, for one of the most exquisite bits of pantomime that has graced the screen in a long time comes in his love scene with Lady Marian on the parapet. Lighting and photography are rarely effective; and a word must be said for skilful and unobtrusive titling. To Allen Dwan, the director, goes great credit for his admirable handling of crowds in the tournament and banquet scenes, which are such vital and beautiful parts of this extraordinary picture. (Church, community and school.) THE HOTTENTOT (First National) Sam Harrington was afraid of horses, so it was entirely by accident that he suddenly acquired a reputation as a skilful horseman. Then, there was Peggy Fairfax, the girl he loved, Kentucky bred, and utterly incapable of understanding why anyone should fear a horse. And there was Hottentot, the horse