Exhibitors Herald (Jan-Mar 1920)

EXHIBITORS HERALD Alice Joyce in SLAVES OF PRIDE Five-part drama; Vitagraph. Directed by George W. Terwilleger. Published in January. OPINION ; Alice Joyce, possessed of personality and acting ability second to none, a star whose long service shows a steady advance from good to better, has never had better building material than that afforded by the story which is "Slaves of Pride." She has never made more of the opportunity at hand. "The Vengeance of Durand," popularly considered her best previous production, may be better liked in some quarters. The choice is a matter of individual taste. Certainly there are none who will dispute, after seeing the picture, the claim that this is one of the best society plays of the season. There is real story value back of the thing. The motivation is perfect. No action takes place without logical, definite causation. The thoughts of the characters are first set forth. The action to which these thoughts give rise is then permitted to take place naturally and as it would undeniably transpire in life. If one seeks a moral in motion picture drama — there is here a moral worthy of the search. If one seeks to feast the eye upon beautiful settings, elaborate costuming and the like — the production will more than satisfy. If the preference is for good acting, and good acting is the paramount thing in the picturization of the day — he will find nothing better upon the contemporary screen. The last six months have seen the photoplays of Miss Joyce advance steadily in favor. A few more publications like the present and the screen will chronicle the performances of no more pouplar star. SYNOPSIS: Patricia Leeds, whose financially embarrassed mother urges her to marry H. Howard Howard, head of a business firm of fabulous wealth, marries him for love, despite the generally shared belief that avarice has prompted the step. After the honeymoon she discovers that even her husband shares the popular misconception. When, after being insulted at her own dinner table, her husband demands that she apologize to him for leaving unceremoniously, she refuses to bend to his will. An estrangement follows, durinp which John Reynolds, her husband's confidential secretary, who woos her in private, takes advantage of the opportunity to wreck his employer's business. Persuading Mrs. Howard that she can bring her husband to his senses by seeming to run away with him, he rifles the safe and they depart. Howard follows and Reynolds is killed by a train. When Howard, bankrupt, is about to take his own life, Patricia returns and they begin life anew in the strength of their mutual love. Enid Bennett in THE WOMAN IN THE SUITCASE Six-part drama; Paramount-Artcraft. Directed by Fred Niblo. Published January 4. OPINION: C. Gardner Sullivan wrote "The Woman in the Suitcase" — the story of a man's infidelity and his ultimate rescue from a sorceress by his daughter — and Enid Bennett enacts the leading role of this six-part domestic drama, which will be sufficient recommendation to most picture devotees. However, it is not in Mr. Sullivan's best vein. Domestic tragedies are all too frequent in the columns of the newspapers of the country to need repeating upon the screen. The picture will not make the impression upon her followers that former vehicles have in which Miss Bennett has starred. The story is not one suited to her particular talents, although friend husband has spared no time and care in putting the play into picture form. The various sets are artistic and the lighting effects well arranged. William Conklin, in the role of the wayward father, deports himself in a convincing manner and ably assists Miss Bennett, cast as his daughter. Dorcas Mathews gives a splendid performance as the vampire. Claire McDowell appears as Mrs. Moreland, while Roland Lee is Billy Fiske, the son of a wealthy newspaper man. SYNOPSIS: Mary Morcland's father returns from a business trip to Philadelphia and while she is searching through his suitcase for a promised present, she finds the autographed photo of Dolly Wright. She does not inform her mother of the fact, but decides to save her father from the wicked woman. She advertises for an escort to take her about town in a search for the Wright woman. The son of the owner of the newspaper answers the advertisement and they soon discover Moreland at a dance. She makes the acquaintance of the girl and soon is invited to her apartment. Here she meets her father, who sees the error of his ways and goes home with Mary, while the faithful Billy is made happy when Mary accepts him as a life partner. James J. Corbett in THE PRINCE OF AVENUE A Five-part comedy-drama; Universal. Directed by Jack Ford. Published in January. OPINION : It is the general opinion, an opinion born of his success in serial drama, that James J. Corbett, of the luminaries in other fields who have been attracted to the camera, has a bona fide claim to the name of "actor." It follows, then, that that portion of the public which refuses to view the chapter play should be given a chance to see him in a photoplay form more to their liking. "The Prince of Avenue A" gives them this opportunity. It also gives a comprehensive and enlightening view of politics as they are reflected in the lives of what was known as "the Bowery," a phase of metropolitan life that is rich in tradition, consequently in interest. The role assigned the star gives him ample opportunity for the display of that athletic prowess which made him onetime kin? of the squared circle and has had a not inconsiderable share in his serial success. The picture is directed skillfully by Jack Ford, capably acted by a standard Universal cast and produced in typical Universal fashion. Exhibitors who have found Mr. Corbett's serials profitable should be able to capitalize upon the feature length production. SYNOPSIS: Buck O'Connor, son of Patrick O'Connor, plumber and political power, is called to the residence of William Tomkins, Tammany man, whom he is to "put over" at the coming election. Here Buck meets Mary Tomkins and mutual admiration results in an invitation to a social affair at the Tomkins' home. At the affair Buck's crude ways bring forth criticism and he leaves, offended. His father threatens to withdraw his support of the candidate but later changes mind. The rupture is completely healed when Mary and her father atend a ward ball and Mary leads the grand march with Buck. Here begins the romance which culminates in their marriage. Monroe Salisbury in THE PHANTOM MELODY Six-part drama; Universal. Directed by Douglas Gerrard. Published in January. OPINION; Before the first reel has been half run anyone familiar with Monroe Salisbury's productions can guess the course this picture is to run. It is the familiar story of Salisbury hiding his love for a girl because he believes his closest friend is in love with her; permitting abuse after abuse to be piled upon him, and finally winning the girl in the end because his supposed friend entangles himself by his deceit and is conveniently accidentally killed. This time the locale is Italy, with the world war as the background. A few battle scenes are woven in. There is nothing novel or spectacular to lift the production out of the monotony of its development. SYNOPSIS: Count di Montrone conceals his love for Mary Drake and encourages her marriage to Giorgetto Pisani, whom he has raised from childhood. Pisani, however, is is love with Rosa, a woman of the world, and plays with Miss Drake's love in hopes of getting Count Montrone's money and the Drake fortune. When the war breaks out, Pisani dodged service by falsely telling Miss Drake's brother he has killed a man in a duel and getting him to go into the Italian army under the name of Pisani. Pisani then disappears to join Rosa. Count Montrone goes into battle and is seriously wounded. When home, he receives word that Pisani has been killed and feels free to ask Mary for her hand. Preparations are made for the wedding, when Pisani reappears. Count Montrone steps aside for him. The count is struck by lightning and buried alive by Pisani. He regains consciousness in the tomb and disappears, later returning in disguise. Pisani's villainy traps him and he is accidentally killed. The count then marries Mary. George Walsh in THE SHARK Five-part drama; Fox. Directed by Dell Henderson. Published in January. OPINION: The athletic side of George Walsh, athlete-actor, has long been the side by which his productions have been adjudged. It is, doubtless, the "near side" in the great majority of his photoplays. But the discerning may not have allowed the actor side to escape notice. A steady improvement has been taking place here that should not be disregarded. N'o doubt it is this improvement which 64