Exhibitors Herald (Jun-Sep 1919)

EXHIBITORS HERALD AND MOTOGRAPHY C j I'yvS'.l OF PICTURES OF THE WEEK [iiluiiiiiiliiritiiii(iiiiiiJii)riiu]iiiiiiii[iiiiiiiiiiiiri(iiTtiuiiti(iiitiit)|]iuiiiiitiiii(i(KiiiMtiiiriMiiiiiMiiiiiiiiii:iii[! inrii jniiiiiritiiiiiiiiiiiiiiniiiicir iiititiiiiitiiiiiiiiiiriiiiiiiiiiEiiiMiiiuii 1 1 tiiitit iiiii tiitnii tiriimi iiiuiiiiiiititomc I T is not difficult to foresee the not-distant end of *■ the supremacy of the "five-reeler."' With the new booking polity barely getting under way, the necessity for better pictures has already brought about an increase in the number of six, seven and eight-part productions. It is logical to believe that this tendency will bring about a state wherein the five-reel length will occupy about the same position as that now held by the "two-reeler" which it displaced. The comedy and the news reel are alike indispensable. A longer show is the inevitable result. The house with ample seating capacity need look for only benefit from the change. The smaller theatre, unable to obtain the necessary revenue, will be pushed to the only measure that can possibly meet the situation — a higher admission scale. Now is the time to prepare. It can be done gradually now. It will have to be done abruptly if you wait too long. The matter is worth considering. "THE VALLEY OF THE GIANTS'' (Para'mount) is a story of the Eedwood country of California, featuring Wallace Eeid. The picture is replete with action consisting of fistic encounters with rough woodsmen and the usual struggle for possession of timberland. What the story lacks in novelty is more than made up in beautiful photography amid the tall trees. Grace Darmond appears opposite Mr. Eeid and a capable supporting cast lends realism to the story "IIEAETSEASE" (Goldwyn) with Tom Moore in the stellar role is somewhat disappointing in that it does not furnish this likeable star his usual happy-golucky part. Here he is cast as a poor composer who is outwitted at every turn by the conventional villain and is not given an opportunity to inject his smiling personality into the piece. "THE MISLEADING WIDOW" (ParamountA rtcraft) is Billie Burke's best vehicle. Absent from the screen for six months, her vast following will welcome her back in this delightful little comedy. It i taken from the stage success "Billeted" and gives her full <(■(>])(' as an extravagani ami carefree little bodi trying to gel along without using husiness methods. "LOVE IS LOVE" (Fox) departs radically from the type of play in which Albert Ray and Elinor Fair have appeared to date. It is a modern version of the '•Oliver Twist'* pint, with a serious beginning and a whnt lighter finish. The stars do well with the roles allotted to them and seem certain to give satisfaction in the play. "THE SPITE BEIDE" (Select) will disappoint those who look for a play following the general lines of "Upstairs and Down," Olive Thomas' first Selznick production. There is a certain novelty of execution and several good situations which will doubtless please, but as a whole the production is not on a par with its forerunner. "EVANGELINE" (Fox) portrays the action of Longfellow's classic and preserves the spirit of the poem. Miriam Cooper is particularly to be commended for the stellar performance, though the whole cast does fine work. E. A. Walsh is responsible for excellent direction and the choice of locations and settings of the best. "A MAN'S FIGHT" (United Picture Theatres) presents Dustin Farnum in a play that cannot be ranked with either "A Man in the Open" or "The Light of Western Stars.'' The story is less dramatic, the star has less opportunity to score, and the standard of production is decidedly lower. It may do good business on the strength of those successes, but it will not heighten the star's prestige. "A SOCIETY EXILE" (Artcraft) presents the ever presentable and always attractive Elsie Ferguson in an English society play that has all the usual equipment of the photoplay of the type. There are good moments and weak ones, the former sufficiently in the majority to guarantee the success of the production when it is presented to the public. Elsie Ferguson, in a role that demands more of her than those usually falling to her lot, proves herself mistress qf her art. "OLE BETTEE SELVES" (Pathe) contains ideal roles for Fannie Ward and Lewis J. Cody, some very excellent production, and a story that will be somewhat handicapped by the war element which figures prominently in it. Credit should be warmly accorded the producers, however, for permitting the plot to work itself out logically, even though that entails an unhappy ending. • A SAGE BEUSH HAMLET" (Exhibitors Mutual ) begins as comedy, runs about three reels in very light vein, then clinches its success by a sudden transition to melodrama, rapid action and convincing dramatic effect. William Desmond is equally at ease in the comedy and dramatic portions, and the whole of the picture is certain to leave a favorable impression. 60