Exhibitors Herald (Oct-Dec 1920)

106 EXHIBITORS HERALD October 9, 1920 Dead Men Tell No Tales Mary Anderson in BUBBLES Five-part comedy-drama; Pioneer. Directed by Wayne Mack. Published in September. OPINION: As a tomboy heroine driving a motorcycle with speed and destruction Mary Anderson romps in lively way through this feature. It is a story of youth's irrepressible pep with the love affair of the spirited young woman and a young aviator the romantic trend. Jack Connelly in the part of the birdman schemes to discourage the tendency towards things masculine*—knickerbockers, boxing gloves and mechanics that interest "Bubbles," his sweetheart, and persuades her, after carrying out a little plan with assisting friends, that she is infinitely more attractive as a girl. The structure of the plot is thin, but it is a vehicle that offers chance for the vigorous star to play with dash and energy the boy parts that she has made popular. There are good comedy effects in her race across country on motorcycle, in her efforts to put the servants in her aunt's home through a strenuous series of gymnastic exercises, and the scenes wherein the aviator carries the girl, through a series of wild driving trick* to gain her consent to marry him make a clever conclusion. Adelaide Elliott plays the part of the aunt and Bert Woodruff gives good characterization as Prof. Van Saynt. Stanley Durham as Jack Mower, Mary Land as Mrs. Dorrance and Arthur Millet as Dorrance give acceptable performance. SYNOPSIS: "Bubbles," the hoydenish granddaughter of Professor YanSaynt. ia hopeless tomboy. She affects boy's clothes and travels by motorcycle the greater part of the time. While her grandfather is East on business, she is consigned to the care an aunt who finds her a lively handful. She strikes up an acquaintance with Jack Corrigan. aviator, in lending him a hand when his motor car balks. Corrigan takes her to his club, warning his friends there that she is a girl, but putting them up to humoring her eccentricities in treating her as a hoy. When Jack Mower attempts to force attentions upon her as she leaves the club at midnight. Corrigan champions her and the two disappear to re human Harry Carey savs turn with indications of a struggle. Later, unable to stand the limitations of freedom that her aunt's, home offers, in the position of nursemaid she witnesses affectionate scenes between her employer, Mrs. Dorrance, and Mower. Ultimately this is proved rehearsal for amateur theatricals and the tight between Corrigan and Mower is disclosed a faked one, the whole staged by Corrigan to discourage the girl's zeal for things masculine. '1 he wooing is completed in the air with the plane doing a scries of stunts. F 1FE is a poker game, in 1— J which a happy grin is as g good as a full-house and a m laugh as good as a royal flush. g — Watch for ( "SUNDOWN SLIM" Shirley Mason in MERELY MARY ANN Five-part drama; Fox. Directed by Edward Le Saint. Published in September. OPINION: Heaping measure of heart interest with an appeal that is irresistible makes this screen adaptation of a stage play that scored immediate success a feature that should duplicate that popularity. Shirley Mason plays the part of an uncomplaining little household drudge in an English rooming house, bringing to the part a wealth of pathos and heartreaching gentleness that is unquestionably her best impersonation to date. Worshipping the handsome, temperamental composer, Mr. Lancelot, the part played by Casson Ferguson, she supplies a character creation distinctly skillful. There arc no ridiculous comedy situations, too common to this sort of story, and the whole moves with a quiet smoothness that adds greatly to its value. Casson Ferguson, who plays the part of the son in "Madame X." has a widely different role here in that of a genius aspiring to write opera music, a lover whose selfish impositions upon the adoring Mary Ann arc done with a clever skill. Harry Spingler plays the part of IVter, the composer's friend, and Georgia Woodthorpe is a capital landlady. The closest approach to out and out comedy comes in the imposition of the portly Rosie Woodthorpe upon the musician as a pupil, but there is a tinge of humor underlying even the pathos that grips and holds the interest with its absorbingly human trend.' One exciting episode comes in an encounter between Lancelot and a mysterious boarder annoying the little slavey. An inherited fortune takes the youngster out of the sordid atmosphere into luxurious environment that makes the final scenes pleasant to remember. The feature is not heavily dramatic nor does it offer anything spectacular or sensational, but its wholesome appeal to humanity's tender side is certain to make it received with great praise to whatever audience it is shown. SYNOPSIS: Mr. Lancelot, son of a baronet, pursuing his art of composing, a roomer in the boarding house of Mrs. Leadbatter, takes an interest in Mary Ann. a cheerful little housemaid whose life is a constant drudge. For the first kindness that he shows her when she gives him one adoring service after another following his arrogant dictation, she presents him with her canary, the only creature who has ever loved her, she informs him. When Lancelot discovers his real love for her, his aristocracy stands in the way of his marrying her after he has promised to remove her from the house. She comes into a fortune and leaves the place. Months later his love asserts itself over his pride and he seeks her out. willing to take her as she is, "Merely Mary Ann." a nameless little girl. Marion Davies in THE RESTLESS SEX Seven-part drama; Cosmopolitan-Paramount. Directed by Robert Z. Leonard. Published October 31. OPINION : They have dressed up Robert W. Chambers' "The Restless Sex" so nicely that upon leaving the theatre one is conscious of a sense of having witnessed an interesting, artistic picture. This in spite of the fact that the whole structure is built upon a dramatic device as ancient as that of the heroine marrying the one she does not love in order to escape the consequences of a compromising situation and by so doing thrusting her true love into the group of things unattainable. It is said of the works of Robert |W. Chambers that they are not wholly satisfying screen fiction. Certainly those Chambers stories picturized to date have borne out such an opinion — more or less. And "The Restless Sex" is scarcely an exception. Viewed strictly for story values from a screen standpoint, it offered little to begin with. Yet, on a meager groundwork, Robert Z. Leonard, the director, and his associates have built remarkably well. Mr. Leonard's direction is superb, the acting of his costly cast is effective, the background are pleasantly luxurious or colorful according to the mood of the episode, and the story progression is so smooth and even that the lime-honored plot is given a spirit of life it is difficult to believe any man could have infused into it. True, the action lags a bit at times, a fact that is most evident in the "Ball of the Gods" sequence. The lack of sufficient hardy material can be held responsible for this. But as the slowest moments occur when the picture's biggest and most colorful setting is on display the drooping in the action has a measure of counterbalancing merit. Marion Davies gets a good deal out of the role of Stephanie Cleland. who typifies the restless sex. but the best work in the piece is done by Ralph Kellard as Jim Cleland, Stephanie's foster-brother. Crowding him for honors is Carlyle Rlackwell. The work of the remainder of the cast, namely, Charles Lane, Robert Vivian. Etna Ross, Stephen Carr, Vivian Osborne and Corinne Barker, is commendable. "The Restless Sex" will be liked because it is done so well as a picture. SYNOPSIS: The restless sex is exemplified in Stephanie Cleland, who wants to do everything, think everything and be everything. This characteristic leads her to spur on Oswald Grismer to speed his car to the limit. A smash-up occurs and they are obliged to seek refuge in a lively wayside roadhouse. The place is raided and as Stephanie and Oswald have crossed the state line their situation seems serious until the officer suggests the alternative of marriage. Though she loves her stepbrother. Jim Cleland, she marries Oswald. She will not live with Oswald and her sense of honor will not allow her to heed Jim's pleadings. Meanwhile she is the restless Stephanie of old. Os' wald. disheartened and discouraged, partly because of a crime committed by his father, takes his own life, leaving Stephanie free for Jim. Married, she settles down to a peaceful domestic life.