Exhibitors Herald (Dec 1921 - Mar 1922)

68 EXHIBITORS EERALD January 28, 1922 "FOOLISH WIVES" (Continued from fvge 50) court at Monaco. The envoy, according to the story, is a prominent attorney and a man of wealth and culture according to American standards. The von Stroheim conception of a man sufficiently big to be America's ambassador is that of a lout wearing his first evening clothes, scraping and bowing to nobility, and finally when in the august presence of the Prince of Monaco, making a search through all his pockets for his credentials, at last unbuttoning his vest and finding the papers in an inside pocket of that garment. This, and several other incidents will likely be construed as an uncalled for belittling of things American. This may be advisable in order to secure the proper Continental flavor, and again it may be only the viewpoint of an Austrian director, but the picture would be greatly improved from an American viewpoint to have enT dowed an American ambassador with at least ordinary dignity. . The scene of the story is laid in Monte Carlo and the action transpires in five days. Count Sergius Karamzin and two pseudo Russian princesses by devious methods make the acquaintance of the American envoy and his young wife, and use 'them to further their swindling schemes. The Count makes love indiscriminately to almost every woman in sight, ranging from the imbecile granddaughter of a counterfeiting conferedate and an ignorant scullery maid, to the wife of the envoy. His five days wooing of the American woman winds up in a gorgeous fire scene, with the count deserting and firemen rescuing the woman. There are too many threads in the devious and somewhat impossible plot to narrate it in detail but the denouement brings the death of the Count with bloodcurdling nicety, and the awakening of the American woman to the fact that an American husband is a pretty good man after all. Some of the best acting of the picture is done by Dale Fuller as the maid, and Caesare Gravina as the old counterfeiter, grandfather of the imbecile girl. Miss Dupont is pretty and pleasing as the foolish wife of the envoy, and Maude George and Mae Busch give good impersonations of the general conception of bogus Russian princesses. In spite of too much von Stroheim, too much footage and an unnecessary belittling of Americans and American ideals, "Foolish Wives" will rank as a great picture and will undoubtedly prove a money maker for exhibitors, regardless of whether or not Mr. Laemmle gets back his million dollars.— JOHN S. SPARGO. SPECIAL CAST IN ACE OF HEARTS (GOLDWYN) A melodramatic story of a band of fanatical foreigners who plan the destruction of a man of wealth and one of their own numbers. Written by Gouverneur Morris. Directed by Wallace Worsley. Six reels. A scene from "Ace of Hearts" (Goldwyn) With Lon Chaney, John Bowers and Leatrice Joy in the leading roles, "Ace of Hearts" promises much in the way of an interesting photoplay, but Gouverneur Morris' story is only a recital of the movements of a gang of plotters. The big scene at the end is well enough done and compels a certain amount of admiration for the producer. Director Worsley's direction is good all through and there is real imagination in details of production. Leatrice Joy, as the Queen, Lilith, is pretty and natural and never overacts; John Bowers gives a splendid interpretation of the hero role, Forrest, and Lon Chaney shows much subtle cleverness, as Farralone, in love with Lilith. Others in the cast are Hardee Kirkland, Edwin Wallack. Raymond Hatton and Roy Laidlaw. Forrest and Farralone, members of the cabinet of a dethroned queen, are in love with her. She is surrounded, however, by a band of fanatical social reformers, who plan the death of a wealthy man. Forrest is selected as the man to kill him. and also to sacrifice his life for the cause. Lilith asks him if it will give him more courage if she marries him. They are married that night and love teaches them that hatred and destruction are wrong. Lilith beseeches Forrest to flee with her but he knows he cannot escape the vengeance of the band. He goes to the restaurant, where he is employed as waiter, to carry out his plan and the sight of two young lovers at the table near the victim causes him to lose his nerve. The band draws cards to see who shall execute the death sentence against Forrest and Lilith, and Farralone gets the ace of hearts, the fatal card. He has promised Lilith to protect Forrest and sets the time fuse on the bomb and a few seconds later an explosion wrecks the room where the drawing took place and kills the entire band. Lilith and Forrest flee to another country and find peace and happiness together. Thr Montr Carlo ut used for "Fooliih Wivrn" (Universal) THE LEATHER PUSHERS (UNIVERSAL) In acquiring "The Leather Pushers," ;i scries of twelve two-reel subjects writirn by If. C. Witwer, and which orig inally appeared in Collier's Weekly, Universal displayed keen showmanship. The first two episodes of the series, each a complete story, were shown privately at the Blackstone Hotel, Chicago, last week, to trade and newspaper representatives, sports writers and critics and all were unanimous in their praise of the pictures. They are the real goods in screen entertainment. The Witwer stories are being put into picture form by the Knickerbocker Photoplay company, headed by H. L. Messmore. Harry Pollard directed them under the supervision of Mr. Witwer. the author. Reginald Denny is featured in the series, in the role of a young college man and football star. He is good looking enoueh to hold the screen without being a strong man, and although a splendid athlete, he does not swagger. Helen Toombs plays opposite the star and others in the cast are Sam J. Ryan. Hayden Stevenson and Charles Ascott. Ascott plays the role of "Tin Ear Fagan," a training quarter hanger-on, and furnishes much of the comedy. Sam McVey is a trainer and many other wellknown figures in sporting circles participate in the ring battles. The first story concerns a young college man engaged to a society girl who is compelled to enter the prize ring when his father's finances are swept away in Wall Street. The first episodes are called "Round One" and "Round Two." There are two realistic and well staged bouts with as much suspense and excitement attached to them as in the recently pictured championship battles. It is no effort to get interested in the pictures. They furnish fine entertainment and should prove popular with any class audience. SPECIAL CAST IN WHY MEN FORGET (R-C PICURES) Stock situations and mediocre story here. Narrative of the rise and fall of a laboring man given to making impassioned speeches. Five reels. "Why Men Forget" may interest those who are concerned with the laboring man and his problems. Some may find a lesson in it. We doubt, however, if it will be found entertaining to any others. The trite story, the indifferent performance of t,he unknown players and the lack of new and interesting situations are an almost unsurmountable handicap. There is nothing, as a matter of fact, in the picture which is the exception to any rule. Complications follow one another in orderly manner and finally everything is smoothed out and ends right where it started. The story concerns Richard Mutinicr, who is discharged for taking up the time of the men in a factory while listening to his socialistic utterances. He hires a hall and denounces wealth in no uncertain terms. He becomes suddenly wealthy and the possessor of a beautiful home through the death of an uncle. Then he proceeds to forget his old sweetheart, Emma Vine, and marries a society girl, Adela Waltham, who has formerly been engaged to Hubert Eldcn, a lounge lizard. The uncle's will is found and the estate, it is disclosed, belongs to other heirs. Richard returns to his Fast Side home, where his former friends mob him, and at last he finds comfort in the arms of Emma Vine. Milton Romer plays Richard, Eveline Brent is Emma and Bettina Campbell is cast as Adclia Waltham. No director or producer is given.