Exhibitors Herald (Dec 1919)

REVIEWS Ethel Clayton in MORE DEADLY THAN THE MALE Five-part drama; Paramount-Artcraft. Directed by Robert G. Vignola. Published in December. OPINION: The line from Rudyard Kipling's famous poem makes an admirable title for this compact little comedydrama dealing with feminine logic and emotions. Ethel Clayton's return to the screen after a long vacation in Japan will be doubly welcomed for she gives a forceful and convincing portrayal of a woman scorned and the story by Joseph Gollomb is one that will hold by reason of its novel twists and the uncertainty of the outcome. Miss Clayton will increase her large following by her work in ''More Deadly Than the Male" and deservedly so. She rarely ever fails to transcend the plays allotted to her and she has endowed each part with a dignity which lifts her plays above the average. In her latest piece she has one of her best roles and as a result she shines with renewed lustre as the actress who finds success in her little plan to win a recalcitrant lover. Vignola's direction is of the highest order and the support accorded Miss Clayton by Herbert Hayes, Edward Coxen, Hallan Vooley and Peggy Pearce could not be improved upon. Many lavish sets and beautiful exteriors show the painstaking care with which the photoplay was planned. SYNOPSIS: Helen O'Hara, an actress and manager, is in love with Richard Carlin. Carlin is a man of the world, fond of roaming in foreign countries and exploring uncivilized lands, rather than enjoy the comforts of city and country home. Helen decides to change his habits and make of him a useful citizen. With this purpose in view she stages a little drama in which Carlin makes ardent love to her, is caught by her husband, who is shot and killed in the encounter that follows. Up to this point everything worked out as planned, but the police step in and take Carlin into custody, and she is forced to produce her brother as the "dead" husband and explain that it was only a trick. Carlin, admiring the woman's cleverness, admits his love and decides to forgo further journeys to the uncivilized parts of the world. Tom Moore in TOBEY'S BOW Five-part drama; Goldwyn. Directed by Harry Beaumont. Published in December. OPINION : Author heroes are common. The screen has been thickly populated by the species since the multiple reel feature was introduced and a serious attempt made to put drama upon film. Unless producerial judgment is much less discerning than there is reason to believe it must follow that author heroes are popular. Tom Moore is an author in Toby's Bow. The casting of the star thus relieves him of anv obligation to act. A scene from "More Deadly Than the Male," starring Ethel Clayton, a Paramount-Art cruft picture. Every veteran player has portrayed author roles until it is second nature to him. Every picture fan knows what to expect as soon as the role is announced. The star who failed to deliver the required stereotyped characterization would be daring to the point of foolhardiness. To the credit of Tom Moore, whose rise in popularity during the past year has been little short of phenomenal, let it be recorded that his personality overshadows his characterization. Which brings up the crux of the discussion. "Toby's Bow" is essentially Tom Moore. The plot is commonplace, familiar, well developed and logical but never novel or extraordinary. The players who make up the supporting cast are good workmen. Their efforts, in conjunction with those of the star, make pleasant entertainment. The picture will please by reason of the star and the acting of the cast. Proper mechanical equipment has been supplied with the usual Goldwyn attention to detail. SYNOPSIS: New York night life holds Tom Blake, author, in its power until he finds himself mentally and physically weakened. Upon the verge of a collapse, he is convinced by his publisher that a vacation in the South is the logical treatment. He finds suitable lodgings in a little Southern city and boards at the home of Eugenie Vardaman, of the Southern aristocracy and but lately impoverished. The girl's influence works his reformation and he repays her by aiding her in a novel which she is writing. The work finished, he uses his own popularity to effect its publication. Numerous complications ensue, but the usual happy ending is brought about in due time. 117 Louise Glaum in LONE WOLFS DAUGHTER Seven-part melodrama; Hodkinson. Directed by J. Parker Reid, Jr. Published in January. OPINION: "The Lone Wolf's Daughter" is a worthy successor to "Sahara." It is a splendidly done production and has a quality of compelling interest that should make it a production of universal satisfaction. The cast supporting Miss Glaum is especially noteworthy and in this production the star appears to excellent advantage. Pictorially and dramatically it is probably the high-spot in Miss Glaum's screen career. The entire production is of the stuff that a genuinely popular attraction is built of — elaborate and very rich settings, mystery and intrigue, flashes of melodrama and a sustaining heart interest. The story and the screen script are the work of Louis Joseph Vance. Technically the production is of the first order. Past popularity of "Lone Wolf" stories, together with the fact that this is a thoroughly creditable production, should make it an especially desirable attraction. In the supporting cast Edwin Stevens gives a splendid characterization of a villainous nobleman. Thomas Holding in the romantic lead has an excellent part which is competently done. Bertram Grassby offers a satisfactory characterization as the "Lone Wolf." SYNOPSIS: Prince Victor and Princess Sonia sever their matrimonial bonds by divorce, the prince becoming leader of a band of criminals because of his bitterness toward society. Princess Sonia marries Michal Lanyard, who becomes a prominent Scotland Yard operative, dying after giving birth to a daughter who is also christened Sonia. Victor, hearing of the child, leads her to believe that he is her father and she comes to live with him. His secretary, Rarslake, falls in love with her, his affection leading him to tell her of her father's criminal connections and his own participation in criminal activities. Sonia then becomes instrumental in the capture of the criminals, after which she and Rarslake find happiness. Hobart Bosworth in BEHIND THE DOOR Six-part drama; Paramount-Artcraft. Directed by Irvin Willat. Published in December. OPINION: "Behind the Door" marks the return to the screen of that virile actor Hobart Bosworth, following a protracted absence during which time he was trying his hand at directing. And his return will be welcomed by picture devotees for Bosworth made a deep impression on a large portion of the followers of screen plays by reason of his sense of dramatic proportions. He has always delineated character as he observes it in real life and as an interpreter of technical ideals of pantomime he has few equals. In this story by (louveneur Morris. Bosworth gives a splendid delineation of