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Page 52
Exhibitors Trade Review
"JIMMY'S MILLIONS"
F. B. 0. Photoplay. Author, John Moroso. Director, James P. Hogan. Length, 5,167 Feet.
CAST AND SYNOPSIS
Jimmy Wicherly Richard Talmadge
Susan Montague Betty Francisco
Luther Ball Charles Clary
John Saunders '. Brinsley Shaw
William Johnson Dick Sutherland
Patience Delavan Ina Anson
Speck Donnelly Lee Moran
Mickey Boteler Wade Boteler
Jimmy Wicherly is informed that he is to inherit his uncle's millions, on the condition that for a three month's period he reports promptly on time on a certain day each month to executor lawyer Ball. Failure means that Saunders, another nephew, will obtain the fortune. The latter immediately sets about to block Jimmy's path. Jimmy has a fight with a chap named Johnson. Saunders bribes Johnson to disappear and Jimmy is arrested on charge of having murdered his antagonist. A pal gets Jimmy out of his cell and the accused man sees and captures Johnson. Jimmy is honorably discharged, gets the millions and Ball's ward, Susan Montague, for a wife.
A RATTLING good stunt' melodrama which should please all lovers of exciting entertainment and prove an excellent box office card wherever the fans like the fast-action, crisply adventurous stuff. Also "Jimmy's Millions," provides Richard Talmadge with innumerable opportunities for displaying his acrobatic abilities and complete indifference to danger which has characterized that agile star's best pictures in the past, and is certain to please his many admirers.
As is usual with this type of film the probabilities are stretched quite a bit at times, but this won't matter in the least, so far as the kind of audience it is intended for goes. It's there with a regular storm of decisive punches, well sustained suspense and hurtles along in genuine whirlwind style. The human interest angles and romantic atmosphere have not been neglected either, indeed in these respects the story values are much stronger than in the majority of Talmadge features.
Early in the proceedings of a grand oil riot hurly-burly is admirably staged and Jimmy gets_ into hot water for mixing in and administering a whale of a clean knockout to a truck-driver noted for his pugilistic proclivities. In fact, the truckman, not only looks dead to the world, but Jimmy believes his victim has actually expired.
While Jimmy, in great fear, is busy dodging the avenging law, the other chap, Saunders, who will get the estate if James fails to show up by a certain time, bribes truckman Johnson to disappear, with the result that Jimmy is finally captured and paced under arrest on suspicion of murder.
All of this gives Richard Talmadge a chance to show what he can do in the line of scaling giddy heights, leaping like a deer and fighting against heavy odds, the scraps are immense and the chase situations keyed up to high concert pitch. He is at his best as a stunt artist in this film and makes a good impression as an ardent lover, for of course he wins a pretty girl as well as the long green in the finale.
Betty Francisco is the girl in the case, a very enticing personality and clever actress, Brinsley Shaw a fine figure of a scheming villain as the sinister Saunders and the support is excellent. The photography includes a number of exceedingly attractive exteriors, the interiors are skilfully filmed and clear distinct lighting prevails.
Richard Talmadge is your best bet in exploiting this one. The fans know and relish his stunt work, but in addition you can praise the story's realism, suspense and romance as quite out of the ordinary. Betty Francisco, Brinsley Shaw, Charles Clary, Dick Sutherland and Lee Moran are worth advertising.
"THE LOSER'S END"
William Steiner Photoplay. Author, Ford Beebe. Director, Leo Moloney. Length, 5,000 Feet.
CAST AND SYNOPSIS
Bruce Mason Leo Maloncy
Lois Kincaid Josephine Hill
Barney Morris Tom London
Lucky Harnish Bud Osburn
Simmie Busch Barney Furey
John Kincaid Whitehorse
Ranger Captain Roy Watson
Chink Wong Ti Set
Dog Bullet Himself
Bruce Mason and Lucky Harnish are rival suitors for the hand of Lois Kincaid, known as the prettiest girl along the Rio Grande. Lois refuses a valuable bracelet from Harnish, but accepts Bruce's famous dog, Bullet, as a present from the lat*er. The rangers are hot on the trail of opium smugglers and Barney ^Morris is assigned to the job. Learning that Lois has received two marriage proposals, Barney makes her promise not to become engaged until he finds which of the ranch hands is smuggling. Bruce finds a can of opium, is seen and arrested by Barney. The latter is blinded by his gun breech exploding. Bruce prefers to take the helpless man back rather than escape. Later it transpires that Harnish is the real criminal. Bullet saves his master's life when Harnish tries to shoot him. Barney recovers his sight and Bruce wins Lois.
A BULLY good buy for the State Rights field ! It didn't cost a million to make nor is the story startlingly original, but wherever they want a red-hot border tale, with rough riding, gunplay and lovemaking galore "The Loser's End" will send them home satisfied.
We have seen plenty of Westerners with far more celebrated casts and running up a huge bill of costs that didn't come within a mile of "The Loser's End" in point of fast, well sustained action, unbroken continuity and general interest. It's a case of good uniform workmanship all round, a credit alike to director and players.
The action takes place along the historic Rio Grande, a name which somehow always suggests romance unlimited and deeds of valor and there is no lack of either so far as this feature is concerned. Also, the Rangers are on deck, and whenever you read of that famous band of law-enforcers in a sub-title, you expect the bullets to begin flying in short order.
And so they do. But in the present case a Ranger's gun plays him an ugly trick. He has arrested hero Bruce Mason on a charge of opium smuggling. Bruce although innocent, makes a break for liberty. His captor fires, the gun breech explodes and blinds the owner. This is a sufficiently spectacular incident and leads up to what is easily the most impressive situation in the film.
For Bruce is free ! He can walk away, leaving the helpless chap to his fate, and cross the border, not a yard beyond. Ranger Barney refuses Bruce's offer to take him back if he promises to forget what has occurred, preferring to die rather than sully the honor of his corps. The suspense tightens almost to breaking point here, as Bruce makes his decision ; which is to return with Barney.
Another intensely dramatic episode is that in which villain Harnish is about to shoot at Bruce, when the dog Bullet leaps at the marksman, knocking the gun from the latter's hand and saving his master's life. Dog Bullet deserves especial mention as one of the screen's best trained and most sagacious canine actors.
Leo Maloney plays the role of Bruce Mason with dash and ginger, rides and fights with equal enthusiasm and is altogether a pleasing hero. Josephine Hill is a charming personality in the part of Bruce's girl and the support is adequate.
You may bill this as a rousing good Westerner with action all the way, utilize the title, and play up Leo Maloney and Josephine Hill.
"THE WAY OF A GIRL"
A Metro-Goldwyn-Mayer Photoplay. Director Robert G. Vignola. Author, Katherine Newlin Burt. Length, 5,025 Feet.
CAST AND SYNOPSIS
Rosamond Eleanor Boardman
George Matt Moore
Brand William Russell
Matt Mathew Betz
Police Judge Charles K. French
Prize Fighter Jack Herrick
Overhearing her fiance tell her father that his training enabled him to "understand women and horses," both of whom required the same handling, Rosamond determines to make George prove his boast. Her escapades land her in jail for ten days for reckless driving from where she is rescued by being paroled to her fiance. Still headstrong, not yielding to admission that an ordinary man can subdue her, she finally goes over an embankment and is captured by two murderers hiding in a cave. After escaping what appeared certain death, she ultimately admits she is "tamed," and love points a better way.
XTERE is something new in film productions. Its novelty will please, its comedy will entertain. The picture is a good program attraction that average audiences in smaller cities will enjoy. Its course suggests that the author originally had a splendid idea but stuck to her task too long and got tired before she finished it.
Showing an author getting strict orders from Metro-Goldwyn to write a scenario quickly, with the privilege of selecting his own stars, the picture has an amusing comedy vein, with a few thrills, and is built around a plot that wins popular appeal.
Opening scenes portray an author at his typewriter, seeking inspiration in cigarettes, picking Eleanor Boardman and Matt Moore from a collection of photographs. When selected, the trick of the camera reveals the personal appearance of both on his desk in miniature, discussing the plot, which gradually unfolds as the author starts writing.
The determination of Rosamond, to show her fiance that his conception of women and horses, both of whom should be handled alike in his opinion, proves interesting. Accordingly, the headstrong character lands in police court for reckless driving, where the judge paroles her into her future-husband's custody. Not willing to submit to the humiliation, she prefers going to jail foi ten days. When finally released, she pursues her policy of showing 'George" that no man can handle her. As a result, thrilling experiences follow, including a raid on an "artists' ball," an automobile skidding over a mountain embankment, her capture by murderers hiding from justice, and her ultimate reformation.
The author started out with a splendid idea. But the play weakens as it nears its end. Either the writer conceived the notion that the public must not be served with an ending it unanimously expects, or tired feeling interfered and spoiled the plot. For instance, Rosamond, set in her determination she will not be governed by any man's dictation, does not get any satisfaction. For a while, during her escapades, she furnishes excellent entertainment, but the "breaking" of her will, and meek submission, come too suddenly to appear altogether natural. In this the play is bitterly disappointing. The audience is wrought up to expect a better finale
The direction is splendid, but the story leaves little room for the director to show his best work. Eleanor Boardman excels her past performances, and while Matt Moore does well in carrying out his role, the plot somewhat limits his ability also. As a whole, however, [he play will please, despite its careless make-shift for a finish. There are some odd situations as the police court scene, the fall over the precipice, the underground cave of the murderers, showing a row over the captured girl and the escape, which help the play over its rough spots.
Exploit the play by featuring Eleanor Boardman and Matt Moore. Show views of the thrilling scenes, the fall and escape.