Exhibitors Herald (Dec 1921 - Mar 1922)

56 EXHIBITORS HERALD January 14, 1922 than that of Job Armstrong. His daughter, who is engaged to an unscrupulous count who has been sent to wreck the organization of the Armstrong ship yards, dies suddenly. One of his freighters is rammed and sunk in mid-ocean. He receives word that his son, who had charge of a wheat ship which he was sending to a hunger-ridden country, has been killed. Following on top of this are unpleasant labor troubles at the ship yard, and hi3 own ebbing vitality. His large holdings are placed in the hands of receivers and his palatial home is burned to the ground. He finds solace in Pauline, the little French wife of his dead son, and their children, who have come to America. Reduced to the poverty in which he originally started, he still retains his belief in his own strength until his grandchild, who had been playing on the wharves surrounding the shack now his home, is believed to have drowned. The last blow is too much and he bows to the strength of a Greater Power. With a new understanding he is able to win back his former health and happiness. *BETTY COMPSON IN THE LAW AND THE WOMAN (PARAMOUNT-) This is an excellent photodrama, very skilfully produced. There is punch in every scene, wonderful suspense and Penrhyn Stanlaw's direction places him in the front rank of present day producers. Beautifully mounted, beautifully photographed, it will attract and hold the attention of every class of picture-goer. Seven reels. Again does Penrhyn Stanlaws, director of "The Little Minister" and "At the End of the World" command the attention of every lover of better photoplays. We unhesitatingly rate "The Law and the Woman" among the season's best pictures from a romantic as well as an artistic standpoint. We have repeatedly been told that the day of the vampire in pictures is past. This adaptation of Clyde Fitch's most successful stage play ("The Woman in the Case") proves the fallacv of this reasoning when the direction is in the hands of an imaginative and intelligent director. Mr. Stanlaws is an artist to his linger tips and the direction throughout is wholly admirable. The seven reels are knit into a swiftly moving, tense drama, that will strike a responsive chord in every breast. He has apoarcntly made a close study of the screen's needs and he carefully avoids the tedious trial scene, the obvious situations and usual sordidness of tales of this kind, in putting the story on the screen. A word for the cast, too, for seldom does one see such excellent acting as that contributed by Miss Compson, William Carlton, Clco Ridgely and Casson Ferguson. Miss Ridgely was particularly effective in the role of Clara Poster, the vampire. Miss Compson lent unusual charm to the role of Margaret Rolfe, the wife who saves her husband from the electric chair, and the performances of Mr. Carlton as the husband and Casson Ferguson, as the impetuous soldier boy, were both excellent. Henry BarrOWS played Judge Thompson with fine understanding and Helen Dunbar was good as Aunt Lucy. J. S. Stcmbridgc was a Betty Compson and Cleo Ridgely an "The Law and the Woman" (Paramount) detective and Clarence Burton played Bates. The story tells of the return of Phil Long from Paris, having become engaged to a notorious vampire, Clara Foster, who had formerly ensnared Julian Rolfe, now happily married. Phil is Julian's ward and because he is wealthy Clara determines to marry him. Phil and Julian quarrel over the matter in Clara's apartment, and later when Phil is found dead in the rooms, Julian is convicted of the murder and sentenced to death. By assuming the character of a woman of Clara Foster's type, the young wife secures a confession from Clara, who proves to be the real criminal. This occurs a few moments before Julian is being led to the chair and the final scenes are highly dramatic. By all means you want to see "The Law and the Woman." JACK HOLT IN THE GRIM COMEDIAN (GOLDWYN) Effective direction and a fine performance by Mr. Holt make this an acceptable offering. Story by Rita Weiman, said to be her first original screen play, is the familiar plot concerning an actress who tries to shield her conventbred daughter from a wealthy roue. The feature is in six parts. The story of "The Grim Comedian" is told in a narrative form by the principal character to a venerable old man in a chair car, while speeding across country. He relates the story of a minor actress, Marie Lamontc, who gives up luxury, a beautiful automobile, a cozy apartment, all furnished by "Million-Dollar" Martin, that her child, reared in a convent, might not be contaminated by the presence of the roue. Martin meets the girl, however, and a genuine affection springs up for her. On the day they are to elope Marie goes to Martin's apartment, finds her daughter Dorothy in an adjoining room, and in desperation, shoots Martin, wounding him in the hand. "I did not think you would do it," he says, "You've won," and forthwith tells Dorothy he never intended to marry her. Life — the grim comedian — had turned the tables on the millionaire when happiness was within his grasp. Holt gives a splendid performance, as Martin, the wealthy man-about-town and in the hands of a less accomplished actor the play would have fallen flat. Phoebe Hunt plays the actress-mother; Gloria Hope, the daughter, Dorothy, and John Harron is Geoffrey Hutchins, a young artist in love with Dorothy. Bert Woodruff, Laura Lavernie, Joseph Dowling and Claude Payton play minor roles. The piece is nicely mounted and well directed. NORMA TALMADGE IN LOVE'S REDEMPTION (FIRST NATIONAL) Story of a young Englishman's redemption at the hands of an island drudge. Will satisfy Norma Talmadge followers and will be found interesting if not wholly convincing by others. Directed by Albert Parker. Norma Talmadge's latest vehicle presents her in the role of a poor, hardworking girl of the Jamaica isles, left alone by her benefactor, who looks after the welfare and succeeds in reforming a young Englishman on the road to ruin through drink. Most of the scenes are laid in the West Indies, and while the story has been well directed and carefully staged it contains nothing new in the way of plot or climax. It does not compare in dramatic strength or humor to "The Wonderful Thing," Miss Talmadge's last production. It lacks originality and the appeal so necessary to a picture of this type. Harrison Ford appears opposite Miss Talmadge in the role of Clifford Standish, a young Englishman, addicted to drink, who falls in love with his housekeeper and marries her. A small, but adequate, cast appears in support. The island scenes are interesting and give atmosphere to the story. Ginger, a Jamaica girl, secures a position as housekeeper for Cliff Standish, wealthy plantation owner, when Capt. Bill Henderson, with whom she has lived for years, sails for England. She saves Standish from being robbed by a couple of natives and also induces him to give up drink and take an interest in his plantation. Love enters the little cottage and on the day that Cliff's brother arrives from England, they are married. Cliff has inherited a vast estate and they re> turn to England, where his mother and a former sweetheart meet Ginger with carefully rehearsed hauteur. At a card game Ginger discovers an Englishman cheating with marked cards. He is exposed and Cliff and his bride return to their Island home to get away from the pretense and hypocritical society into which she was thrust. THE NE'ER TO RETURN ROAD (EDUCATIONAL) Here's a two reel feature that compares in strength and interest to many features of five or six reels. It is worthy of extra exploitation and the publicity given it will redound to the credit of the exhibitor playing it. "The Ne'er to Return Road" was written by Mrs. Otis Skinner and was the Lambs' Gambol prize play several years ago. Bertram Bracken adapted and directed it and such fine players as Wallace Beery, Walt Whitman, Jack Mulhall, Margaret McWade and Margaret Landis enact the various roles. It is the product of the Selip-Rork studios on the West Coast. The story relates the experience of an escaped convict who is fed and "treated white" by a pathetic old lady at a lonely farm bouse. Touched by her kindness he tells his story and the man he killed in self defense in a saloon brawl proves to be her own son, for whose return she is patiently waiting, and on account of whom he has been serving a long term in prison. The subtitles are lengthy but well written, and the climax is startling.