Exhibitor's Trade Review (Mar-May 1925)

Page 50 Exhibitors Trade Review BOX OFFICE REVIEWS All Reviews of Feature Product Are Edited by GEORGE T. PARDY, Reviews Editor "THE HEART OF A SIREN" First National Photoplay. Adapted from stage play by William Hurlburt. Director, Phil Rosen. Length, 6,700 Feet. CAST AND SYNOPSIS Isabella Echevaria Barbara La Marr Gerald Rexford Conway Tearle John Strong Harry Morey Mario Paul Doucet Maxim . .' Clifton Webb Isabella Echevaria, whose beauty has won her a legion of admirers, arrives at a French . hotel where she comes in con-tact with several,, men who have wooed her in vain. Because Gerald Rexford, a young Briton, refuses to respond to her siren glances Isabella vows revenge on him. Gerald accompanies his mother to Paris, and Isabella shortly appears on the scene. A mutual friend brings the couple together, with the result that Gerald yields to Isabella's fascinations and weds her. Gerald's mother, aided by a former fiancee of her son's, plots successfully to make trouble for the newly-married couple, Gerald's jealousy does the rest and they are separated. But finally Gerald learns the truth, seeks out his wife and they are reconciled. WHEREVER Barbara La Marr is popular this feature should satisfy patrons and bring welcome results at the box office. To a cerlain extent the story runs in a somewhat familiar groove, but good direction, extremely fine settings, exquisite photography, clever acting by -Star and supporting cast enable "The Heart of a Siren" to register as entertainment far above the ordinary brand. Another point in the film's favor is that although offering a decided vamp yarn, with unlimited lovemaking constantly in evidence, it contains nothing likely to offend the most prudish patron. Therefore, exhibitors catering mostly to the family trade may book it without fear of losing custom. Director Phil Rosen deserves congratulations for the deft, delicate fashion in which he has handled some near-daring situations, which, left to less expert guidance, might have proved a trifle too strong for the ultra moralists. Also, he has woven a thread of comedy throughout the story which serves to vary and modify its heavy emotional trend nicely and achieved some rarely beautiful atmospheric effects in the way of settings and Southern European backgrounds. The pursuit of Gerald Rexford, the young British hero who at first successfully resists the wiles of siren Isabella by the latter, their union, separation and final reconciliation, is set forth in a series of admirably filmed scenes which are never devoid of interest. The action moves smoothly and rapidly and suspense gathers gradually, culminating in a crashing climax, when Gerald rushes to avert Isabella's threatened suicide, and the pair finds happiness together. Barbara La Marr has never appeared in a vamp role in which her beauty and ability to manifest power over the heart of the average male showed to better advantage than in the part of the wilful, seductive Isabella Echevaria. She wears a dazzling array of handsome gowns with sylph-like grace, a fact which should go far toward increasing the film's drawing strength so far as feminine patrons are concerned. Conway Tearle gives one of his usual vehement, striking performances in the character of Gerald Rexford and is always equal to the emotional demands made upon him. The comedy, excellent of its kind, is provided by Willliam Ricciardi and Clifton Webb, the latter scoring some great laughing hits as valet to the heroine. Play up Barbara La Marr and Conway Tearle. Don't forget to appeal to your woman patrons on the strength of the beautiful gowns worn by the star. "SAVAGES OF THE SEA" Hercules-Bud-Barsky Photoplay. Author, William E. Wing. Director, Bruce Mitchell. CAST AND SYNOPSIS Silent Saunders Frank Merrill Daniel Rawley Melbourne McDowell Stella Rawley Marguerite Snow Ginger Danny Hoy Silent Saunders stows away on Daniel Rawley 's yacht, the owner and his daughter Stella being aboard. The yacht is wrecked in the South Seas, the Rawleys and Saunders finding refuge on a solitary island. They are rescued by a sailing shio, with a brutal skipper and mutinous crew. The skipper locks up Rawley and attempts to assault Stella. Saunders takes matters in hand ai d after a variety of exciting experiences, overcomes the skipper and h;s henchmen, Rawley turns out to be Saurder's father, but as Stella is only an adopted daughter, Saunders wins her for his wife. TPHIS film lives up to its luridly suggestive title. It's a rugged melodrama of the sea, with appropriate settings, handsome photography, unlimited fast action, wild adventure, love romance and a happy ending. The re's no doubt that "Savages Of The Sea" will please the patrons in full measure whereever stirring yarns of the red-blood variety are in demand. The plot differs pleasantly from the usual South Sea brand, wherein the hero is generally a white man "gone bad" from booze and sensuous tropical surroundings, who reforms and makes good. The hero in this instance, although a stowaway on a wealthy man's yacht, is an energetic cuss who behaves with admirable vigor from the start and keeps up a furious pace to the finish, incidentally discovering a long-lost father and winning a pretty bride. Of course there is no particular attempt made to stick to logic in developing the story. Geared to high-speed, with one sensational incident hurled rapidly on top of the next, it amply fulfills its purpose — keeping the spectators keyed up to the "steenth degree of excitement and providing a popular brand of amusement for those who don't want to cudgel their brains with too much , heavy thinking. They give the plot an odd and unexpected twist when, after Saunders and Stella are mutually attracted, it suddenly transpires that Stella's papa is also her lover's parent. You wonder if the romance is wrecked, when the clouds are cleared away by the announcement that Stella is merely an adopted daughter, and everything is rosy. The scenes aboard the sailing ship which carries the castaways from the island fairly explode into stormy action. There are first fights of extraordinary virulence in which the hero comes out on top and Frank Merrill, as Saunders proves himself a stunt actor and athlete of tremendous ability. The brutal skipper and mutinous crew are as choice a pack of deep water scoundrels as ever skimmed the waves, and director Bruce Mitchell has certainly succeeded in his efforts to pile up realism. Frank Merrill is well supported. Dorothy Wood is a fascinating heroine and clever emotional actress, Daniel Rawley is capably portrayed by Melbourne McDowell, while Clarence Burton, ■ as Black Brock, Danny Hoy, as Ginger, and Marguerite Snow, as Mrs. Rawley, are remarkably effective in their respective roles. Exploit the title to the limit and tell your patrons that this story of the South Seas is essentially a melodrama of dynamic power and lightning action. "MEN AND WOMEN" Paramount Photoplay. Adapted by Clara Beranger from the play by David Belasco and Henry C. De Mille. Director, William De Mille. Length, 6,223 feet. CAST AND SYNOPSIS Will Prescott Richard Dix Agnes Pres;ott Claire Adams Ned Seabury Neil Hamilton Israel Cu man Robert Edeson Arnold Kirke Henry Stephenson Cousin Kate Flora Finch Presco t and Seabury are cashiers in Culman's bank. Seabury speculates successfully and frankly avows his intention of spending his profits in an endeavor to win Prescott's luxury-loving wife. Kirke, a broker, temp's Prescott to "borrow" $30,000 from the bank to invest in a "sure thing." He loses, Kirke kills himself, the theft is discovered and all evidence points to Seabury as the thief. Prescott confesses and is given a fresh chance by Culman. He a--d Agnes sail away to a new life in South America. Jr seems strange that such an aggregation of talent should produce such an indifferent picture as this. The theme is trite and hackneyed, the characters stilted, and the situations almost ludicrous. A moderately discerning mind may fathom the plot after the first few hundred feet. Suspense is a minus quantity. If you show the picture the names of author, director and cast may help. But don't tell your patrons to expect something wonderful. To begin with, a title explains that here is a film with no hero, heroine or villain — that the people are merely "men and women." The situations that follow belie the statement. The weak-kneed Prescott is certainly not a man, and Agnes by her actions immediately sacrifices that degree of sympathy to which the woman is usually entitled. As to the villains, both Seabury and Kirke are well-qualified to lay claim to this role. When Seabury calmly advises Prescott that he proposes to take his wife away with him, the latter seems quite satisfied with going through a few motions registering indignation— when the next sequence might quite properly show a coroner's inquest into the cause of the disturber's sudden demise. Prescott seems entirely inadequate to controlling the actions of his wife who deliberately leaves him and his delicatessen supper to step out with Seabury. There is an attempt at high drama in the sequence showing Prescott struggling with his conscience in an anteroom, while the detectives wait to arrest the innocent Seabury. But with Prescott's gesture of surreptitiously snapping the mislaid handcuffs on his own wrists the situation becomes theatrically ludicrous. It is probable that the actors are not to blame for this mediocrity. They seem to have done their best with what material was offered. Neil Hamilton must share honors with Dix, who portrays an annoying mannerism in the use of his hands for incidental gesture. Robert Edeson is good, and Henry Stephenson has one or two big moments. Special mention for Flora Finch, who will be remembered by every audience. The character she portrays is dragged into the action for no reason at all, but the popular comedienne of other days has lost none of her cunning. . Exploit the big names connected with the production. David Belasco is co-author of the play. William De Mille's name as director merits attention, and the cast possesses pulling power.