Exhibitor's Trade Review (May-Aug 1924)

July 12, 1924 Page 25 BOX OFFICE REVIEWS SHOULD PLEASE MAJORITY 'Behind the Curtains' Has All the Elements of Popular Appeal BEHIND THE CURTAIN. Universal Plwtoplay. Author, William J. Flynn. Director, Chester Franklin. Length 4 820 feet. CAST AND SYNOPSIS Sylvia Bailey Lucille Ricksen High Belmont Johnny Harron Laura Bailey Winifred Bryson George Belmont Charles Clary Professor Gregorious Eric Mayne Slug Gorman George Cooper District Attorney Clarence Geldert Spike Pat Harmon Laura Bailey fears that the man to whom she has given herself will not keep his promise of marriage. From Professor Gregorious, fake crystal-gazer, she hears that a tragedy impends in her life. Her sister elopes with her lover's youthful son. He breaks with her and is murdered. Laura and Slug Gorman, crook, are unjustly convicted. But the mystery is finally untangled and the crime fastened on thr guilty party. By George T. Pardy A GOOD attraction for the average house! Wherever murder-mystery m e 1 odramas are popular "Behind The Curtain" ought to fill the bill satisfactorily and bring Mrelcome box-office returns. William J. Flynn, former Chief of the U. S. Secret Service, is the author of the yarn v\^hich furnishes plot foundation for this picture. It is said to be based on facts, and does carry conviction to a greater extent than most stories of its type. This is largely due to skilled direction and the smooth, well-balanced work of an excellent cast, the continuity being well preserved throughout, despite the manifold complications which follow the discovery of the murder victim. The plot hinges on a case of mistaken identity, and considerable ingenuity has been shown in cloaking the personality of the actual criminal, with the result that suspense is developed and maintained to the 'steenth degree. This is what counts heavily when it comes to a question of gripping an audience's attention. Keep 'em guessing up to the final reel and they are pretty sure to go away satisfied. Whether you are disposed to accept the outlining of Laura Bailey's troubles as a page from real life or not doesn't matter greatly. It's alluring screen material, anyway, the melodramatic phases are convincingly handled, a vast amount of sympathy is evoked for the innocent sufferers, particularly in the lady's case, and there is no let-up to the rapid, easy swing of the action from first to last. Sylvia Bailey is pleasingly impersonated by Lucille Ricksen, Winifred Bryson scores successfully in the many emotional situations which fall to her share in the role of Laura, Johnny Harron gives a capital performance as Hugh Belmont and satisfactory support is accorded the principals by other members of the company. The photography throughout is excellent, including many efifective closeups, artistic long shots and well-filmed interiors, with adequate lighting. You can safely exploit this as a good murder mystery picture, with many exciting episodes, pronounced heart interest and an unexpected finish which it is just as well not to reveal in advance. Lucille Ricksen, Winifred Bryson. Charles Clarv, Eric Mayne and Johnny Harron are worth mentioning. SEMON IN SIX-REELER 'GirZ in Limousine' Bright, Amusing Feature Starring Popular Comedian THE GIRL IN THE LIMOUSINE. Chadzvick Pictures Corporation photoplay. Distributed by First National. Adapted from Stage Play by Avery Hopwood and Wilson Collis&n. Director, Larry Semon. Length, 5,600 Feet. CAST AND SYNOPSIS Freddie Larry Semon The Girl Claire Adams Butler Charley Murray Freddiie is much in love, but his intense bashfulness prevents him from courting the object of his afTection. The result is that she marries another chap. After the ceremony Freddie, disconsolate, takes a walk. A crook in feminine disguise lures him into a machine, steals his clothes and leaves him in the bedroom of The Girl, clad in a woman's pajamas. He has an awful time dodging the guests and husband, becomes tangled in an engagement with another girl, pursues thieves who have stolen the hostess' diamonds and finally recovers the jewels. By George T. Pardy T ARRY SEMON has long reigned as one of the screen's prominent merrymakers in short comedies and his many admirers will not be disappointed with the entertainment he offers them in this six-reeler. In his dual capacity of director and star he has turned out a picture which ought to prove a first class drawing card for big and little theatres, an amusing hot weather attraction without a dull moment in it. He had a good plot to start with, "The Girl in the Limousine" having scored a decided hit in the "legitimate"; the film deviates here and there from the original lines, but the main theme is preserved and the net result pleasing. There are a few serious touches injected which serve to strengthen the story and make the comedy clement stand out by contrast. The hero is first seen as a boy, in love with a kid sweetheart, but handicapped by bashfulness and getting the worst of it from another lad, a bit of a bully. Twenty years later the bashful complex still hoodoos Freddie, and he sees the girl, now a fascinating damsel, wedded to a rival. Larry Semon mingles his old effective "clown methods with some really fine legitimate comedy in impersonating the too modest Freddie, and occasionally, as is the case with the majority of clever comedians, manages to shade his work with a subtle suggestion of pathos. It is no exaggeration to state that this performance, dramatically, outshines anj^thing Mr. Semon has so far done in filmland. He is well supported, Charlie Murray, putting across some humorous punches, and Claire Windsor wins all hearts in the role of the charming heroine. The photography includes a variety of pretty exteriors, handsome interiors with appropriately decorative settings and good closeups of the principals. Larry Semon is, of course, your best bet in exploiting the picture. His popularity is deservedly wide-spread, and the fans will be naturally interested when they hear of him being featured in a six reeler. You can tell them it's a bully line of mirthful entertainment, adapted from a big stage success, brimful of laughs and speedy action, and rest assured that tliey'll agree with you. HAS GENERAL APPEAL 'Sixth Commandment' , Starring William F aver sham. Should Please All Patrons THE SIXTH COMMANDMENT. Associated Exhibitors Photoplay. Author, Arthur Hoerl. Director, William Christy Cabanne. Length, 5,214 feet. CAST AND SYNOPSIS David Brandt William Faversham John Brandt John Bohn Mrs. Calhoun Charlotte Walker Marian Calhoun Kathleen Martyn Robert Fields J. Neil Hamilton Dr. Carvel Coit Albertson Florence Page Sara Wood Henry Charles Mack Helen Brooke Consuelo Floverly Colonel Saunders Edmund Breese John Brant, popular preacher, loves Marian Calhoun, but conceals his passion because she is supposed to be engaged to Robert Fields. The latter's neglect forces Marian to break their engagernent, after John, blinded in the war, recovers his sight. Robert is mysteriously shot and killed. John is suspected, but Dr. Carvel, a former suitor for Marian's hand, confesses that he slew Robert, Marian and John are united. By George T. Pardy HERE is a rapidly moving melodrama with a dandy cast, swift action, considerable pathetic appeal and fine artistic polish. It ought to please the high brow element as well as the masses, for the former can scarcely resist the lure of a film in which that favorite of the American stage — William Faversham — is starred and the latter will be carried away by the picture's thrills and romantic heart urge. So it is a safe prophecy that "The Sixth Commandment," based on the Biblical injunction—"Thou Shalt Not Kill," should serve as a likely box-office asset for theatres in general. There's some good battlefield stuff in evidence, but not too much. Director Cabanne knows just how far to go with war surroundings, and when to call a halt. Intensely emotional and thrilling is the scene where hero John loses his sight while rescuing his rival in love, and the_ former's return home, his meeting with his father, the complications which ensue as a result of Robert's mysterious murder, are all outlined with rare dramatic skill. The sub-titles, for which Merritt Crawford is responsible, play a large part in developing the action. They are terse, to the point, never overdrawn, fine examples of the difficult art of diffusing information in a few well-chosen words. As might be expected, the work of William Faversham in the role of David Brandt is an artistic treat. It is acting plus, a characterization of rare emotional power and natural appeal. The carefully selected supporting cast is worthy of the star. The work of John Bohn. Charlotte Walker, Kathleen Martyn. J. Neil Hamilton, Edmund Breese, Charles Emmett Mack and others, cannot fail to please the most captious of critics. Excellent photography distinguishes the whole production. It might be well to explain the full significance of the title when exploiting the feature, as the murder angle is what the plot pivots upon. As regards the cast, you can go the limit, as well as featurine the star. Tie-ups with American Legion Posts are also in order and the story will stand all the boosting you care to give it.