Exhibitors Herald (Dec 1921 - Mar 1922)

58 EXHIBITORS HERALD January 14, 1922 TOM MIX IN SKY HIGH (FOX) A good Western which has the extraordinary added attraction of having been photographed in the Grand Canyon of Arizona. This locale provides a superlative background for a swift-moving Mix melodrama that is interspersed with a variety of thrills that will keep a Mix audience on the edge of their seats. Exhibitors who have this subject coming to them on contract should immediately do two things: First, congratulate themselves on their good fortune, and secondly, determine immediately that, despite the fact that it will reach them as a program subject, it is a picture to be exploited as a special. A great many special productions that have proved satisfactory attractions have far less in the way of extraordinary features than this picture. "Sky High," produced under ordinary circumstances, would have been a thoroughly acceptable subject; with, however, the Grand Canyon as a background revealing many striking shots of this scenic wonder and providing a perilous terrain for Mix to perform upon, it is a picture that merits special consideration. A great opportunity will be missed if exhibitors do not capitalize the exclusive views of the Canyon that are worked into this picture; people everywhere, of all classes, will be interested in them, and regardless of how high may be your recommendations there will be none who will not feel after seeing this picture that they have witnessed an unusually interesting picture. In "Sky High" Mix is even a little more daring than usual. He presents a series of stunts that set a fast pace for this class of work. The picture was directed by Lynn F. Reynolds and is in five reels. The story is adequate to carry the action and is concerned with the adventures of Mix as a federal agent, seeking to prevent smuggling across the Mexican border. The supporting cast, headed by Eva Novak, and including J. Farrell McDonald and William Buckley is satisfactory. MISS DU PONT IN SHATTERED DREAMS (UNIVERSAL) A story of a Parisian sculptress of the upper set who falls in love with an Apache. Some interesting scenes and fights in an underworld resort are its outstanding features. Adapted from a novel by Maud Annesley. Directed by Paul Scardon. Five reels. With the possibilities embraced in the subject at hand, that of a young society sculptress longing for romance of, the cavemen style, and with Herbert Heycs in the cast to excellently portray that type, it appears that a more interesting production should have resulted for Miss Du Pont. The fact that the hero is an Apache and continues to remain as such until very near the end seems to have confined the possibilities of the story. Incidents, revealing the finer character of the hero and his task of winning the love of the star, which would have permitted of greater and more e.ffective acting by both and at the same time heightened the interest of the story, are conspicuously missing. Louis D.u Bois and his pal are caught in the act of robbing the home of Marie Moselle, a sculptress. She calls the police but decides to save Du Bois to pose for her work. As the work progresses she becomes interested in Du Bois, much to the chagrin of Theophile Grusant, a polished society suitor for her hand. She sees in the model, the caveman for whom she has yearned, but stoutly denies that she could love him. Love of adventure prompts her to ask Grusant to take her to the notorious Apache cafe, where the model rescues her from the attentions of one of the crowd. One day he visits her again, determined to carry her away. She shoots him. Then she becomes remorseful, and finally seeks his house, where she nurses him back to health, and learns that she loves him. The police commissioner, after a search for Du Bois, finds the two together in the house, and informs her that Du Bois is not a real Apache but a nobleman who sought the underworld after escaping from an institution where he was convalescing from shell shock sustained during the war. SESSUE HAYAKAWA IN FIVE DAYS TO LIVE (R-C PICTURES) The adaptors have made a delightfully entertaining screen play of the love story of a poor Chinese artist for a pretty little Chinese girl, betrothed to an ugly old mandarin. It has a dramatic and satisfying finish and is gorgeously mounted. Directed by Norman Dawn. Six reels. Adapted from the story "The Street of the Flying Dragon" by Homer Lea, Miss Eve Unsell and Garret Ford have built up a particularly pleasing and interesting Chinese love tale which serves Sessue Hayakawa well as a vehicle. The entire cast is composed of Orientals and the action takes place in a Chinese city. The many unique sets showing beautiful gardens and crowded streets are very picturesque and form a fitting background for the sweet love tale the picture unfolds. Sessue Hayakawa has the role of Tai Leung, a poor artist who paints vases; Tsuru Aoki (Mrs. Hayakawa) appears Miss duPont in a scene from "Shattered Dreams" (Universal.) opposite him as Ko Ai a Chinese girl betrothed to a wealthy money lender, by her guardian, because of money he has borrowed from him. George Kuawa and Goro Kino, splendid types, appear in the latter roles. Tai Leung befriends Ko Ai when she is knocked down by a passing vehicle and he returns a pig which she has lost in the melee. Her guardian orders him from the place but his love for the pretty little Chinese girl grows stronger each day and he makes love to her by stealth through the barred window of her room. To satisfy a debt Ko Ai is betrothed to a wicked old money lender. Tai becomes desperate on the day set for Ko's wedding and learning that a notorious thief "The Canton Wolf," who is to be executed, will turn over his ill-gotten wealth to anyone who will take his place on the day of execution, Tai goes to him and agrees to become his substitute in five days in return for his gold. He thereupon showers Ko Ai with jewels and money and wins her guardian's consent to marry. The five happy days of their honeymoon slip by rapidly and on the last day he tells her of his sacrifice. She agrees to die also. Tai goes to the prison to fulfill his promise but is saved from the executioner's axe by the death of "The Wolf" from cholera. He rushes back to his cottage just in time to save his bride from death from inhaling a poisonous incense. WILLARD-DEMPSEY FIGHT PICTURE (HALL-ELLIOTT) If there are any details regarding the Jess Willard-Jack Dempsey championship fight on July 4, 1919, about which you are in doubt Tex Rickard's official film of the big battle will help set you right. The picture now being presented at the Bandbox theatre, Chicago, comprises a complete story of the contest in which Dempsey became the world's heavyweight boxing champion, from the time the two fighters set up their training camps until the victorious Dempsey is carried out on the shoulders of his admirers. Without doubt the most important feature in a film of this nature is the photography. Clearness of the film and general handling of the photography are the factors that reveal the real points of interest. The average fight fan who did not attend the fray at Toledo undoubtedly has in mind such questions as: Was Willard in shape for the battle? or, was it a left hook to the jaw followed by a r'ght to the heart that sent Willard to the mat in the first round? Were Willard's seconds justified in throwing in the sponge after the third round? To these questions he will be able to form a well defined opinion after viewing the screen story of the bout, and Frank G. Hall, who filmed it. It is apparent that Tex Rickard gave due consideration to the value of a well^ crooned version of the scrap. During the three rounds of fighting, with one or two minor flashes excepted, it is possible to see exactly what happened in each round, blow for blow. The two men are well in the foreground and before the focus of the camera at all times. The film is clear and distinct. It is doubtful if any but the holders of the very best scats at the big arena obtained as good and detailed a view of the fight as the camera offers. The film is beinp distributed in the East by Frank G. Hall and throughout the Central West and all states west of the Mississippi by Clyde Flliott Enterprises, Chicago.