Exhibitors Herald (Oct-Dec 1920)

86 EXHIBITORS HERALD October 16, 1920 George Walsh in FROM NOW ON Five-part drama; Fox. Directed by R. A. Walsh. Published in October. OPINION: George Walsh, who delivered an attractive lot of nonsense in a clever way in "Sink or Swim." comes to the screen in this new feature in a distinctly different character. He plays the part of crook, if that term can be applied to the manner in which he steals funds that he believes he is justified in taking inasmuch as they equal an amount owed him by the parties from whom he filches them. The role is one that enables him to employ an art in heavy, dramatic impersonation that is evidence of his versatility, and one which he carries excellently. The picture is one of uncommon character. It deals altogether with the shady walks of life, criminal haunts and prisons. Its atmosphere is a sombre one. but the plot's intricacies should appeal to patrons who welcome something out of the ordinary and the feature which keeps their attention closely concentrated throughout its footage While there is a doubt about its appeal to the general patronage, certainly it will win commendation from those previously mentioned. It might best be described as high class melodrama for it is a series of scheming and trappings, escapes and captures with crooks and their aids supplying the cast. There is a romance running its length, but this is moderated. The action is swift and the suspense continually sustained. Regina Quinn plays the feminine lead, that of an Italian girl who double-crosses her gang to save the life of the hero because she loves him, and she contributes a highly commendable performance as well as being very good to look upon. Mario Majeroin is seen in the role of her father, Capriano, an aged Italian, meeting its requirements with excellent GEORGE WALSH AVho lias just completed a crook play. "From Now On" (Fox I skill. Others of the supporting cast contribute good work. The feature offers exploitation possibilities in its concern with a coveted hundred thousand dollars which is a matter of mystery as to its whereabouts throughout the picture, and ideas will suggest themselves in settings and scenes to the exhibitor interested in giving the feature the exploitation boost that it should be given to make it appeal universally. SYNOPSIS: Left $100,000 by his foster father, David Henderson invests >t in a race betting partnership, but finds his business associates to be dishonest. He demands his money back and finds opportunity to take it back himself when sent by one partner to another with that much money to meet immediate needs at the track. Henderson's escape with the money starts a series of plots against him. the crooks follow him for the money, the police for the theft. He is caught and convicted and spends five vears in prison. He acquaints one man. Millman, a prisoner who completes his sentence before Henderson is released, with the whereabouts of the money that he hid before his arrest. When free himself, he goes to seek it and finds it "gone, believing Millman to have failed in his trust. His pursuit is taken up again by his enemies and by the police and he is aided by an Italian. Capriano. and his daughter Theresa. The Italian sends him to the tavern of a crookshielder in Pittsburgh, presumablv aiding him, really instructing the man to kill him. The girl follows and plays an important part in the final skirmish which results in vindication of Millman and the married happiness of Theresa and Henderson with the tatter's determination to go straight "from now on." Harry Levey presents UNCLE SAM OF FREEDOM RIDGE Seven-reel drama; Harry Levey Production. Directed by George A. Beranger. Published in September. OPINION: A large and enthusiastic gathering, presumably Democratic, was present at the Selwyn theatre, Sunday evening. September 26, at the premiere of Harry Levey's "Uncle Sam of Freedom Ridge." an adaptation of Miss. Margaret Prescqtt Montague's well-known story by that name. After brief speeches by the Hon. William G. McAdoo, the Hon. Oscar Straus, Miss Margaret P. Montague and George Creel, the picture itself was shown. In a foreword on the program Mr. Levey takes occasion to say that the picture was made "because he believed in the League of Nations and because the story teems with screen possibilities." Obviously, the first reason far outstrips the second. For what screen possibilities a story centering around an old man maj have, are weakened by the League of Nations propaganda the picture undertakes to set forth. It can hardly be enjoyed by anyone not thoroughly in sympathy with the League of Nations. Mr. Beranger has directed the screen version of this much talked-of story with his usual skill. The scenes and lightings, too, are very good. But the story moves slowly and. despite the dramatic heights reached in parts, it falls short as a screen vehicle. The cast is a good one. Especially good is Eugene Keith, who portrays the role of the village half-wit. George MacQuarrie as Roger Blair, the village postmaster, is his usual interesting self, and William D. Corbett as Uncle Sam, around whom the story centers, is also good. Helen Flint as Roma Jones is convincing. Others in the cast include Paul Kelly as Uncle Sam's son, Leslie Hunt as Andy Mason and others. • STORY: L'ncle Sam of Freedom Ridge is a heart and soul American. With him live iiis son and his adopted daughter, Roma. War is declared with Germany and Uncle Sam bravely gives up bis only boy. Roma is being educated by Robert Blair, the village postmaster. Blair loves her, but hasn't the courage to say so. Roma is joyous for Uncle Sam's sake. She is impatient with Andy Mason, son of the village's wealthiest man. because he has, to all' appearances, shirked serving in the army. Arthur, the village half-wit, is forever being mistreated by Andy. Arthur, therefore, is always glad to spy and tattle on him. Roma receives several letters from Uncle Sam's son. Andy sees her drop a letter and when she has left he picks it up and opens it. Arthur tattles to Blair and Blair takes the letter away from Andy and returns it to Roma. The Red Cross and the Liberty Loan drive* are now in progress. Because Uncle Sam looks so much like our Uncle Sam his services are solicited to appear in the various rallies dressed in the well-known clothes of Uncle Sam. Roma appears as Columbia. And then comes word that Uncle Sam's son has been killed. He takes his loss bravely and appears that evening, as scheduled, at a Liberty Loan meeting. The war is over. Congress is arguing over the League of Nations. LTncle Sam writes to Washington and says that if the league is vetoed he will kill himself as a sacrifice to atone for the ignominy of official Washington. This is taken as a joke. But when the league vetoed Uncle Sam wraps himself in his flag and commits suicide. This story of self-sacrifice sweeps through the country. The league is adopted. Years later Roma becomes a United States representative at the league's meetings abroad. Dorothy Phillips in ONCE TO EVERY WOMAN Six-part drama; Jewel-Universal Directed by Allen Holubar Published in October. OPINION: Allen Holubar is credited with both the authorship and direction of this production. In beginning his work he laid his groundwork slowly but surely, developed his story carefully and unhurriedly, and when he reached his last two reels he came into his own and put over his message so effectively that "Once to Every Woman" is a success. "Once to Every Woman" is another way, in this instance, of saying love. In his manner of demonstrating that love comes only once to every woman. Mr. Holubar did not undertake anything strikingly original. Yet, what his simple story lacks in originality is more than made up for by its dominant human note. "Once to Every Woman" is human, through and through. It is the story of a selfish country girl who forgets her generous, worshipful, old folks at home in her moments of success when she is the rage as an opera star, but who returns to those loving, welcome arms when her voice and friends have left her and she has discov DEAD MEN TELL NO TALES