Exhibitor's Trade Review (Mar-May 1925)

April 4, 1925 Page 55 "A BROADWAY BUTTERFLY" Warner Brothers Photoplay Author, Darryl Francis Zanuck. Director, William Beaudine. Length, 6,700 Feet. CAST AND SYNOPSIS Irene Astaire Dorothy Devore Cookie Dale Louise Fazenda Charles Gay Willard Louis Crane Wilder , John Roche Ronald Steele Cullen Landis Thelma Perry Lilyan Tashman Stage Manager Wilfred Lucas Riding Mistress Eugene Gilbert Mrs. Steele Margaret Seldon Irene Astaire comes to the city and obtains a place as chorus girl. She is befriended by Cook e Dale, who knows the ropes thoroughly, and falls in love with Ronald Steele. Crane Wilder schemes with Thelma Perry to win Irene. Cookie spoils Wilder's game, but Ronald Steele is disgusted when he sees Wilder leaving Irene's apartment. Irene, discouraged, determines that she will follow the primrose path. But Cookie takes her to her mother's home and Irene and Steele are finally united. 'T'HE night life of Broadway is set forth in ■"• dazzling style in this picture, which is lavishly produced, elaborately mounted and will .probably please those who like the "jazz" stuff. It's sensational, all right, and exhibitors who cater strictly to the family trade would do well to give it "the once over" before booking the film. But there is no denying the artistic atmosphere of the feature. Of course, the country maiden who suddenly strikes Broadway and becomes involved with nasty men who try to lead her along the primrose path is a sufficieEtly familiar figure on the screen, and taking it altogether the plot proceeds alongconventional lines. Yet there's lots of action, plenty of ginger and Director William Beaudine has displayed his usual good judgment so far as putting spice and color into the footage is concerned. The back stage stuff is excellent, better dressing room shots have never been filmed, and the chorus girl rehearsals are the real thing, tensed up to the 'steenth degree. Among the big scenes may be mentioned those on the Amsterdam Roof, and the Greenwich Village episodes, all of which are filmed with wonderful accuracy of detail. Director Beaudine has missed no chance to display the physical charms of the feminine members of the cast and truth compels the admission that they are well worth displaying. Put in a nutshell the sum up of "A Broadway Butterfly" amounts to just this : It is colorful, amusing, here and there sexually suggestive, but never quite hopping over the moral borderland, or close enough to warrant interference on the part of the censors. As regards the acting Dorothy Devore registers as a very charming heroine, too much praise cannot be awarded Louise Fazenda for her excellent characterization of the volatile Cookie Dale, and Cullen Landis figures as a likeable lover. The support is well balanced. Deep sets have been utilized with fine effect in filming the interiors, the exterior scenes are beautifully handled, the long shots are perfect and better lighting could not be desired. You have a good title to draw with. If your patrons want the "jazz" stuff, with highly illuminated Broadway lights on the side, a dash of comedy and romance to fill up with, "A Broadway Butterfly" should go good in the exploitation field. A dance prologue might help matters considerably. There are several names that are also worthy of exploitation. Dorothy Devore, Louise Fazenda, Willard Louis and Cullen Landis have their admirers, and when folks know they are playing at your theatre the fact will echo at the box-office. "CONFESSIONS OF A QUEEN" Metro-Goldivyn-Mayer Photoplay. Director, Victor Seastrom. Adapted from Alphonse Daudet's Novel, "Kings in Exile," by Agnes Christine Johnston. Length, 5,809 Feet. CAST AND SYNOPSIS The Queen Alice Terry The King Lewis Stone , Prince Alexei ) John Bowers Eleanora Eugenie Besserer Sephora Helen D'Algy Prince Zara Frankie Darro Duke of Rosen Joseph Dowling King Christian of Illyria, a small, decadent empire, gets married to Princess Fredericka, a beautiful girl, but does not relinquish attentions to Sephora. His marriage, as his conduct, is disapproved by Prince Alexei, the king's cousin. When the king brazenly rides through the streets with a new mistress, the populace reaches its greatest unrest and a revolution follows. Fleeing to exile, the king is willing to abdicate, but the pride of his wife prevents it. Later he relinquishes his throne to Alexei, after escaping plots to poison him. The king and his wife decide to live their happy existence in exile, in Paris. TTERE'S a good program attraction with an appeal'ng title. In the hands of a good cast, the picture is also well directed. Of course, much of Daudet's original novel is eliminated, chiefly, perhaps, because of the screen's limitations. But the plot is interesting, has a humorous angle, and despite its unpopular ending, will please the average audience. With Alice Terry and Lewis Stone in the cast the production has pulling power. Most of the fans, and particularly women, should follow this with liberal patronage The story.is old, but its new title enhances its value. The film generally is a creditable portrayal of an interesting subject. And both Alice Terry and Lewis Stone ably depict the royal character roles, which Victor Seastrom rounds out with considerable skill. The comedy vein which is so subtly woven into the action of the story livens up things considerably, and the demeanor of a king who boasts "that his heart is greater than his reign," reveals nn interesting angle. Casting power to the discard, forgetting convention, belittl ng aristocratic dogmas by living the plain, simple life of an ordinary man, the king forces many laughs with his unkingly conduct. Especially when he publicly rides with a mistress, which breaks his people's patience and a revolution follows. Lewis Stone is one of the 'most accomplishd actors on the screen and he gives a splendid impersonation of the king, faithfully depicting the royal dignity of this monarch who found more pleasure in making love than in wielding the scepter. It is a characterization that shows the result', of fine dramatic understanding and sympathy. Of course, Alice Terry, possessed of her feminine charm, truly does justice to her part as the queen. And the average audience will be quick to note the well balanced cast selected for this production. It is particularly pleasing to see the underlying love story woven throughout the plot, which only Daudet's pen could have supplied so skilfully. And here is action, too, for during the revolution and while in exile, the revolutionists' plot to poison their ex-king furnishes abundant material for holding interest. It' is just an interesting story, well told, and is somewhat of a departure in screen presentations. The settings are unusually rich and attractive, the direction is excellent and the photography is a page from nature. The director and cast have combined their talents to make this a picture very much worth while and altogether out of the ordinary. ' . Feature Alice Terry and Lewis Stone in your exploitation. Show stills of the drunken, good natured king, who'd rather be one of the people than a royal monarch. Interest women by urging them to come and hear the "confessions" which wrecked a throne and brought about a revolution. But feature the comedy of the play. It is more appealing than its plot. "ONE WAY STREET" First National Photoplay. From the Story by Beale Davis. Adapted by Earl Hudson. Director, John Francis Dillon. Length, Seven Reels. CAST AND SYNOPSIS Bobby Austin r>„„ T „„„ Lady Sylvia Hutton . Anna Q. NUsson Q-A/raIiC1lThompson Dorothy Camming Sid Edward Hutton Lumsden Hare Kathlee Lawrence Mona Kingsley John Stuart Thomas Holding Lady Sylvia Hutton's social supremacy is beinsr challenged by Lady Frances Thompson, and her sway over Bobby Austin, a younR American, is being lessened by Elizabeth Stuart. Bobby tails madly in love with Sylvia, and asks her to divorce her husband and marry him. She refuses, and Bobby breaks off the friendship. Lady Sylvia outraged, makes it appear that Bobby has cheated at cards, and then orders him from her home. He discovers her duplicity and confronts her ' with it She flies into a violent rage. She suddenly changes, her beauty fades, leaving her a wrinkled old hag. She confesses that her youth has been restored through an operation. She admits having framed him at cards, and Bobby and Elizabeth nnd happiness together. JT is extremely doubtful whether "One Wa> Street" will prove a successful box-office attraction, for it appears to be sadly lacking m what is known as audience appeal. If we are to accept Shakespeare's definition of the drama— that it is the holding of the mirror up to nature— it is difficult to classify First National's latest contribution to the silent drama, for we must confess that it has little in common with either nature or us poor mortals. It is replete with absurdities and strained situations, the characters fail to carry conviction and the story is pathetically weak. The machirery in this production not only creaks but groans laboriously. It spems a nity that a cast of such excellence and a production of such beauty should have been squandered on a story so palpably absurd and inconsequential. The theme is one that is not new to the screen. The note of rejuvenation was first sounded in "Black Oxen," and has been repeated many times since with varying success. The business of bringing youth and beauty to a withered and faded beauty on its face value is not easy to digest and we can think of no other picture in which the thing has been more badly muffed than in this instance There is not a hint that Lady Sylvia is anything other than she appears and then suddenly we are asked to accept the fact that she is an elderly woman who has found the magic fount which Ponce de Leon searched for in vain so many years ago. Anna Q. Nilsson plays Lady Sylvia in her most tragic and emotional manner. The role is not one well suited to her talents, and in her endeavor to bring out the note of tragedy, she overacts her part. Ben Lyon is the youth who arouses the fire of youth in the breast of the re-made woman, and it is difficult to understand how such a vapid youth could inspire anything except boredom and ennui. His playing is all of one piece, and not of the best quality at that. Marjorie Daw is sweet and winsome in an insignificant part, but then Miss Daw is always that. Dorothy Cumming and Mona Kingsley contribute excellent supoprt. The director has provided a lavish and artistic sett.ng for the story, and it is evident that he has gone to some pains to achieve the correct atmosphere. The photography also is excellent, but the titles are strained and artificial. Play up the names of Anna Q. Nilsson, Marjorie Daw and Ben Lyon. Do not promise your patrons too much with regard to the story for they are certain to be disappointed. The title has little or no bearing on the story.