Exhibitors Herald (Dec 1921 - Mar 1922)

52 EXHIBITORS HERALD January 21, 1922 EUGENE O'BRIEN IN CHIVALROUS CHARLEY (SELZNICK) Rather unconvincing, weak plot with star playing hero to half a dozen maidens in distress. O'Brien doesn't fit the "simpleton" role assigned him. Story by May Tully is just a repetition of scenes. Direction by Robert Ellis. Five reels. Director Ellis attempted to make a brisk, amusing comedy-drama of this May Tully story, but it was necessary to pad it out to make the required footage and this almost spoiled the whole idea. There is a long and ridiculous chase scene near the end in which O'Brien uses every vehicle made, except an airplane, in attempting to get away from a lot of comedy cops. There are several amusing complications, a fight or two, and many clever subtitles. O'Brien, however, is not suited to the "simp" role; George Fawcett made a capital grouchy old uncle; Nancy Deaver was pretty and limp, as Alice Sanderson, the girl he finally "rescues" and marries; while D. J. Flanagan, as her father, and Huntley Gordon as Geoffrey Small, had minor parts. Charles Riley, who is known in the West as "Two-fisted" Riley, is nicknamed "Chivalrous Charley" in New York, because he is always coming to the rescue of ladies in distress. His uncle is thoroughly disgusted with him and is constantly annoyed at having to come to Charley's rescue and bail — he is usually in jail — after being imposed upon by some woman. One attractive lady lifts his watch and wallet while he is "protecting" her, and another young lady he keeps in his apartment over night he is forced to marry by her irate father. A long chase follows his rescue of his "bride" from a crook's den and at the finish — fn his uncle's house — he finds that hi uncle "framed" the whole thing in order to cure him of his chivalrous habits. WILLIAM DUNCAN IN NO DEFENSE (VITAGRAPH) A diverting and well acted story of society and political intrigue, replete with dramatic situations. Another angle of the Enoch Arden theme, with a happy and satisfactory ending. Directed by William Duncan. Five reels. Adapted from J. Raleigh Davies' novel, "Pardoned," this story of the Northwest and San Francisco gives William Duncan and Edith Johnson a swift-moving and thoroughly satisfying screen vehicle. There is action from the first foot of film, and one big scene is followed closely with another throughout the four reels. Beautiful scenic backgrounds add to the picture's attractiveness und appeal. A small hut well balanced cast appears in support of Duncan. Jack Richardson having the role of the district attorney, Frederick Apthropc, Henry Hebert is llulst, the heavy, uathtlde I! mintage is a scheming mother, and Charles Dudley, one of the mining partners. Mar Roberts. Duncan haa the role of John Manning, a EUGENE O'BRIEN who is Twofisted Riley in "Chivalrous Charley," his latest Selznick picture. • civil engineer, and Miss Johnson appears as Ethel Austin, a debutante, secretly married to Manning. Manning, an engineer, is not looked upon as a desirable suitor for the hand of Ethel Austin by her mother. He goes to Northern Canada to seek his fortune and while there is accused of murdering his partner, by another partner, Hulst. The real murderer is Hulst. Believing that he has been lost on a boat that is burned. Ethel marries an attorney, Anthrope, who long has sought her hand. Hulst returns home and threatens to expose Ethel's marriage to Manning. Manning appears upon the scene, there is a fight between Hulst and the engineer, and Ethel accidentally kicks a revolver away from Hulst which explodes and .kills him. Manning assumes the blame for the murder and is sentenced to die. Ethel's husband, who has been elected governor, refuses to interfere when Ethel tells him the truth, but when she threatens to kill herself and leave a confession, the pardon is granted. A separation is agreed to. and Manning and Ethel are happily reunited. BARBARA BEDFORD IN WINNING WITH WITS (FOX) A fairly entertaining feature. The story is inclined to run too smoothly to permit of tense incidents as might be expected in a play of this nature. Miss Bedford's acting in her dual role is ecod as is the support rendered by the remainder of the cast. Directed by Howard M. Mitchell. It is evident that Miss Bedford is capable of doing more effective work than is offered her in "Winning With Whs." While the story is undoubtedly a battle of w'ts, it is more of a chronicl!ng of events. The picture, as a whole, mil entertain and hold attention although more aggressiveness could undoubtedly have been injected that would have added to its value. Mary Sudan, while traveling with a mad show, learns that her father has been sent t<> prison for theft by the com pany for which he worked. She visits him in jail, learns his story, and determines to prove his innocence. In the guise of a widow, with money to invest she calls on the president of the mining company which sent her father to prison. She buys an interest in the firm and as a partner is invited to the home of the president, where he tries to make love to her. The junior member of the firm to whom she has taken a liking, arrives on the scene. The two men quarrel. She continues her campaign to prove her father's innocence by overlooking the outbreak of the president and continues to gain his confidence. All the while she has been preying on his conscience through a series of cards reading, "Remember Sudan." The president visits a seeress to relieve his conscience where he, unknowingly, betrays his guilt to the girl. How to pet his confession in writing is her next problem, and when he proposes to take her to South America with him, she agrees. The elopement is to take place at midnight, and knowing there is a large sum of money in the company's safe, she takes a stand on the fire escape, outside the window. The president arrive* and proceeds to ransack the safe. The junior partner also comes to the office to check some books, and the president, wdio has hidden in an adjoining room, steps out and accuses him of stealing the money. Then Mary comes in through the window^ and at the point of a revolver the president signs a confession exonerating her father. She also learns that the younger member of the firm, with whom she had fallen in love, was innocent of any complicity in sending her father to jail. BUSTER KEATON THE BOAT (FIRST NATIONAL) "The Boat,," while not as funny as "The Playhouse," still maintains Kenton's record as one of our foremost comedians. It is good clean comedy all the way through and as usual has a snappy finish. Buster builds a steam launch in the basement of his house but wreck the house trying to get it out. When it is launched it promptly goes to the bottom. However, the family — father, mother and two kids — finally set sail on the broad Pacific, are caught in a severe storm,', in which the boat turns completely over, and the family pushes off in a bath tub and abandons the boat. The youngest child pulls the stopper out of the tub, and it sinks as they kiss one another good-bye, in two feet of water and thc.v walk to dry land. Don't miss this one ROLLIN' STONES (EDUCATIONAL) F.very time Lloyd Hamilton ran th< steam roller over a new hat there wa: a scream of laughter at the Chicago then tre, where "Rollin' Stones," the Mer maid comedy, occupied the bill witl "The Sign of the Rose." Hamilton had some new business in this one, and witl the assistance of an exceptionally ap, small hoy. follows up one laugh with an other. It is sure fire stuff and one of th best he has ever made. The scenes in th cafeteria, where the youngster, who : hiding under Lloyd's raincoat, reache out and grabs a whole meal off the coun ter while the elder man is buying a CU of coffee, are well limed and very fumn By all means book this one for ,a goo laugh.