Exhibitors Herald (Jul-Sep 1921)

NORMA TALMADGE IN THE SIGN ON THE DOOR (FIRST NATIONAL) Splendid adaptation of the Channing Pollock stage success. Gives Miss Talmage an opportunity to act such as she does not often get. Her work and that of the supporting cast is of the highest order. "The Sign on the Door" is a photoplay, adapted from a Broadway success, that proves it is not necessary to change a plot and rob a story of its superior points in order to make it into screen material. Here is swift moving drama, convincingly acted, written by a dramatist that knows the tricks of the trade. There is a smashing climax and unique situations not met with in the ordinary adapted story. Miss Talmadge is at her best and gives a performance that will long be remembered among the vast repertoire of screen plays in which she has appeared. The cast includes also a long list of screen favorites, all exact types for the parts and artists as well. Lew Cody, in an important role, is a lovable villain and while the part wins him little sympathy, his work, nevertheless, is finished and artistic. Charles Richman. as Lafe Regan, gives one of the best performances of his career. He has a difficult role and gets all there is possible out of it. The story is strict melodrama, one concerning a girl who works as a secretary in the office of a rich man with a noaccount son. The son endeavors to add the girl to his long list of conquests and string of broken hearts. He induces her, against her better judgment to go to the opera, and from there to an after-thetheatre place to dine. The girl, innocent in the ways of the world, and especially of the set in which Devereaux is a figure, trusts him, and is led into a private dining room, where she is induced to partake of an intoxicant. It is a questionable, though smart resort, and watched by the police. A waiter, assigned the private room, sees that the girl is unused to her surroundings and deducing that she does not know where she is. plans to get Devereaux out of the room long enough to tell her. She is about to leave when he returns, but diplomatically feigns a headache, incurs his anger and protests against his forced attentions. In the midst of a scuffle there is a lond knocking at the door. The place is raided. The girl is caught in a flash-light photograph with Devereaux and is taken to the station and then we hear no more of her until we find her as secretary to Lafe Regan, a wealthy, influential and prominent widower, of spotless reputation. They are married, and the girl-wife assumes the role of mother to Regan's daughter. Then the cause of the final intrigue is the attention of Devereaux to the daughter, the embarrassing position of the young wife, and the disastrous outcome. Devereaux induces the debutante to come to his apartment, alone. But the foster mother, in order to prevent the inevitable, sacrifices herself by going there first, and compromising herself irreparably, until, after many exciting, intensely dramatic happenings, the villain is wiped out and the family reunited. A sure-fire interest holding entertainment, in six reels. ALICE BRADY INLITTLE ITALY (REALART) Interesting story of a picturesque village and its many amusing characters. Star gives clever performance and shows serious thought has been given part. Photoplay by Peter Milne, from Frederic and Fanny Hatton story. Directed by Gilbert Warrenton. Alice Brady in the role of a young Italian girl, gives a splendid characterization in "Little Italy" an original story by Frederic and Fanny Hatton. She is ably assisted by Norman Kerry and George Fawcett. There are many clever subtitles sprinkled through the picture and the characters are true to life. "Little Italy" should prove entertaining to most screen patrons. It is the story of a feud between two Italian families, a quarrel started years before in Italy, and which remains active after those who had the original misunderstanding have been at eternal rest for many years. Marco Mascani. at the head of one of the contesting families, has a beautiful daughter. She has a mind of her own, and does not fancy marrying the young man her father has picked out for her. She spurns his unwelcome attentions and, after seeing Antonio Tumillo, handsome, debonair son of the contesting family. Rosa decides that if he were other than a Tumillo, he would be her ideal of a man suitable as a life companion. Antonio has been engaged in a more serious fight, one involving nations and summoning all eligible native born Italians to the army. Upon Tony's return to America he is surprised to learn that the family feud is still on. Nevertheless, the Mascanis still hate the Tumillos to the extent that when the handsome hero is identified with the name. Rosa buries her admiration, sacrificing sentiment at the altar of family tradition. About the time Antonio returns to "little Italy", Rosa's suitor presses his would-be winning ways and endeavors to force his attentions. He finds himself unable to match Rosa in cleverness, but when her father joins forces against her, she declares she will marry the first single man she meets on the street, upon leaving her home. The first one happens to be Antonio Tumillo. Rosa searches for an excuse, finds none, and the wedding takes place. Having fallen in love with her at the start, the news of her declaration and the results, were welcome enough to Antonio, but, following the marriage, he has a disagree Norma Talmadge and Lew Cody in a tense scene from "The Sign on the Door,: the adapted Charming Pollock play (Associated First National).