Exhibitor's Trade Review (Dec 1923 - Feb 1924)

December 8, 1923 Page 25 FEATURE PREVIEWS 'The Man from Brodney's' Vitagraph Photoplay. Presented by Albert E. Smith. From the novel by George Barr McCutcheon. Director, David A. Smith. Length, 7,100 Feet. CAST OF PLAYERS HoUingsworth Chase J. Warren Kerrigan Princess Genevra Alice Calhoun Lady Deppingham Wanda Hawley Mrs. Browne Miss Dupont Robert Browne Pat O'Malley Neenah Kathleen Key Rasula Bertram Grassby By Michael L. Simmons ROMANCE, breath-taking situations and an amazingly realistic battle between a horde of frenzied natives and a handful of whites on a South Sea island mark "The Man From Brodney's" as a film well calculated to entertain an audience until the last inch of film has passed the shutter. It will probably do more than that if the reviewer may be taken as a judge of audience response. There isn't a moment of dilly-dallying. Things start with a rush. J. Warren Kerrigan in the role of HoUingswood Chase, irrepressible adventurer and thrill hunter, takes action by the scruff of the neck and makes it yell "Uncle" before five minutes of footage have passed. He resents Prince Karl's unwelcome attentions to the beautiful Princess Genevra (Alice Calhoun sure is easy on the eyes as the Princess,) and matches his cane against the Prince's sword and wins first money in the fracas. Which reminds us that a series of fencing matches with canes might not be out of order as a tie-up for stimulating interest in the picture. For this indiscrimination Chase loses his diplomatic post. The law firm of Sir John Brodney engages Chase to go to the island of Japat. This isle, rich in sapphires and rubies, is the bone of contention in a will contest. Under the wills of two men who owned the island, the land and its mines are to go to their grandchildren provided they live six months on the island and marry. Should this stipulation be disregarded then the island is to revert to the natives. One heir, Robert Browne, is already married. Chase is to prgtect the interests of the natives. Enter the villain, Rasula, native leader and heavy in the story, who stirs the natives into revolt to gain his own sinister ends. Bertram Grassby presents a flawless character interpretation in this role. When the Princess Genevra, by a peculiar coincidence, comes to the island as a guest of Lady Deppingham, the other half in the legacy tangle, Cupid commences to take some pot shots at Chase. The cherubic one has to relinquish his position in the spotlight for a while, for the natives now commence an attack on the house occupied by the little band of whites. This is where the gentle innocents bend forward in their seats and breathe hard. The fight is replete in realism. It will make the blood of the average audience leap — th«^ sensps tingle! In the last hour, when Chase discovers the Princess is in love with him and massacre by the natives is imminent, a worship arr'ves. Melodrama all the way. The kind that stirs and apoeals particularly to Americans. The kind in which J. Warren Kerrigan as the dauntless Chase will hq.ve the men in the audience rooting for him and the women wishing thev were in Princess Genevra's high-heeled slippers. All in all, "The Man from Brodnev's" is clean, wholesome entertainment. Full of heart interest values and spectacular adventure. To say nothing of exploitation possibilities in which a dressed up Swami fortune teller at the gate of the theatre and a direct-by-mail campaign of Last Will and Testament facsimile letters can play prominent parts. 'Broadway Broke' Sehnick Photoplay. Author, Earl Derr Biggers. Director, J. Searle Dawley. Cameraman, Bert Dawley. Length, 6,000 Feet. CAST AND SYNOPSIS Nelly Wayne Mary Carr Tom Kerrigan Percy Marmont Charles Farrin Edward Earle Augusta Karger Sally Crute Mary Karger Gladys Leslie I-«w Gorman Dore Davidson Claude Benson , Macey Harlan Madge Foster Henrietta Grossman Joe Karger Billy Quirk Nelly Wayne, once a famous American tlieatricnl' star, faces hard times as she grows old. She lives with her daughter-in-law, th'e princiD-il support of the family being Chum, a vaudeville dog. Old age tells upon Chum, who is finally unable to perform. Nelly's son-in-law is about to sell the dog for vivisection purposes, but she prevents him. He forges a check and is in danger of arrest. Nelly encounters a big film executive who purchases the rights of her old plays and also hires hfir to act for the screen. She straightens out the family troubles and all ends well. By George T. Pardy /^LD-TIME drama patrons will prob" ably wax enthusiastic over the early shots in this picture, depicting Daly's Theatre in the heyday of its prime, front and back, with a very realistic and artistic presentation of a "first-night" play and "behind the scenes" stuff. But apart for the veterans there ought to be many movie goers who will be pleasantly entertained by a plot which vibrates with human interest, links up the past with the present in unique fashion and is convincing throughout. The names of thr principals should be widely exploited in advertising the film, which registers as an excellent program attraction, and the titlf* also offers good boosting possibilities. The story slams the practice of vivisection severely, but in his endeavor to excite the spectators' feelings against those who mishandled the brute victims we are inclined to think the director sacrificed good taste to realism. He should have put the soft pedal on some of the scenes where the vivisectionist is supposed to operate. Any person who is fond of animals will naturally object to the situations in question, which are really not necessary for the unfolding of the narrative. The first reel deals with the heroine'.^ star days, after which come the twilight of advancing age and hard luck. Ther*^ are many finely sympathetic touches. Chum, the vaudeville dog, forgetting his stunts and losing out on his act, with the dire consequences to the family for which he earns bread, is a pathetic note. Nelly's struggle with evil fortune, the ups and downs of Broadway life, are all set forth in simple, yet convincing style. The players one and all give appealing performances, Mary Carr being especially effective as Nelly Wayne, a difficult role, with its varying moods and contrast in atmosphere of old stage days and the new, Percy Marmont scores a decided hit as Nelly's friend of the past, Gladys Leslie and Sally Crute deserve creditable mention for their well balanced work and the support is adequate. There is an abundance of superb photography, handsome interiors, alluring shots of the Grep.t White Way, a New Year's revel, elaborately filmed and crowded with mteresting detail, and perfect lighting governs the entire production. 'The Mail Man' An Emory Johnson Production Released by F. B. O. Story and Scenario by Mrs. Emilie Johnson. Directed by Emory Johnson. Length, 6,800 Feet. CAST OF PLAYER?; Bob Morley, the Mailman Ralph Lewis Johnnie, his son Johnnie Walker Betty, Johnnie's little sister Martha Sleeper Mrs. Morley Virginia True Poardman lack Morgan, a neighbor Dave Kirby ■Virginia, his daughter Josephine Adair Harry, her brother Taylor Graves Captain Kranz, owner of "The Shark" Hardee Kirklaiid By Eddy Eckels QUITE a lot of possibilities on this one for the average house. It is brimful of human interest and home ties to say nothing of sensational thrills. Like all of Johnson's efforts, "The Mail Man" deals with the steadfastness and heroism of a public servitor. He is shown in all the happenings of his daily routine and Emory has taught us all that routine can be made interesting. But whatever praises there is due Emory Johnson he would have you know— and rightly so — that much of it is really due his mother, Mrs. Emilie Johnson, who writes his stories. To her he gives all credit for those humanisms that make his pictures successful. And there is no disputing that they are successful in reaching the hearts and emotions of the masses. You don't need to be told the story of "The Mail Man." Let it suffice that he has a wife, a son and a daughter. They are all his pride and joy and when his son is about to hang for murder you see what a son's father really should be made of. The cast for the most part has been well selected. Ralph Lewis is again the ideal servitor hero. Virginia True Boardman makes a wonderful mother. Johnny Walker is a satisfactory son. Martha Sleeper, however, is unconvincing. Overacting seems to have been her one ambition and Mr. Johnson failed to curb her apparent desire. The one big highlight of the picture is the acting of little Josephine Adair, the neighbor's daughter. Here is a child that has every natural trait of the born actress. Her work is next to marvelous. You may make careful note of that name. Josephine Adair is just as sure to be one of tomorrow's stars, as you, as an exhibitor are bound to make money with this picture. .She is iust .1 child — a real child. And her part in this story is none too prominent. Yet, were it not for the stellar work of Rp'nh Lf'wJs she would pgsily dominate the production as a whole. It goes without saying that you can tieup with everything connected with the post office of your locality. If you play this before Christmas the possibilities are unlimited. Remember the mail man and post your presents early. And so forth. 'When Odds Are Even' Fox Photoplay. Directed by James Flood. Scenario and Story by Dorotliv Yost. Length, 4,284 Feet. CAST AND SYNOPSIS Jack Arnold William Russe'l Caroline Peyton Dorothy Devore Neal Travis Lloyd Whitlock Clive Langdon Frank Beal British Consul Allan Cavan Jack Arnold, representing Eustace Whipple, presi.cent of a mining syndicate, is commissioned to jarrive at Pago Tai (near Australia) before the of