Exhibitors Herald (Dec 1921 - Mar 1922)

70 EXHIBITORS HERALD January 28, 1922 AGNES AYRES IN THE LANE THAT HAD NO TURNING (PARAMOUNT) An excellent picturization of a thrilling story by Sir Gilbert Parker, marking the starring debut of the beautiful young actress who had the leading role in "The Sheik." Continuity, settings and photography more than ordinarily good. Directed by Victor Fleming. Five reels. "The Lane That Had No Turning," the Paramount picture from the story by Sir Gilbert Parker, has two points of special interest — first, it is the premier starring vehicle of Agnes Ayres, who gained fame by her portrayal of the leading feminine role in "The Sheik," and second, that it presents Theodore Kosloff in his first leading role, one which gives the young Russian pantomimist and screen actor an opportunity for almost unsuspected dramatic powers. The story is laid mostly in the Canadian village of Pontiac where Madelinette, played by Miss Ayres, married Louis Racine. As the wedding announcement is made that the Seigneur of Pontiac died intestate and, inasmuch as no will was found, the bride is to receive $10,000 so that she may continue her operatic studies. Tardiff, a former servant of the Seigneur, mocks Louis' new title and hints that a will is hidden somewhere and is certain to be found. Tardiff's interruption of the festivities results in a fight in which Racine is flung against a tree and injured. Racine's injury brings on a family heritage and he gradually becomes hunchback, which creates fear in his heart that his young and beautiful wife will turn from him when she returns from her operatic successes in Europe. When Madelinette does return she is horrified by the hump on the unhappy man's back, but decides to give up her career and remain with him to make him happy. She finally discovers the lost will and while hiding it again she is seen by Tardiff. who steals it and carries it to the real heir to the estate. On her plea the real heir, a young Englishman, destroys the document. Tardiff hastens to Racine and whispers malicious statements regarding the Englishman and Madelinette. A double tragedy follows, Racine killing Tardiff and then taking bis own life, to escape pursuers. A romance springs up later between the Englishman and Madelinette and they are married. The part of the hunchback, played by Kosloff, is one of the outstanding features of the picture. His brillant acting, coupled with the touch of sympathy for the man's misfortune, draws attention away from the fine work with which Miss Ayres invests her role. Mahlon Hamilton and Frank Campeau, respectively, are good as the dignified Englishman and the hunchback. Victor Fleming, the director, and Eugene Mullin, scenarist, have given the story a sympathetic handling, and in lighting, settings, photography and continuity, the production is good throughout. TRY AND GET IT (FOX) Every company now has made at least one comedy in which the comedian cavorts around on the iron trestle work of a new building. "Try and Get It" is the latest and it is quite as funny as the rest of them, although there is too much sameness to all of them. The tossing of hot bolts, riding up and down elevators, spilling mortar, and falling from high places furnishes the thrills and the laughs in this Fox Sunshine comedy. CONWAY TEARLE* IN SHADOWS OF THE SEA (SELZNICK) The lure of the sea and the exploits of a gentlemanly adventurer who metes out punishment in his own unique way are embraced in this Tearle picture. It abounds in action, a great part of which takes place on board a ship. The story, although inclined to be weak in parts, is entertaining and the surroundings in which it is set adds to its attractiveness. Directed by Alan Crosland. Five reels. Conway Tearle in "Shadows of the Sea" (Selznick) Conway Tearle is seen in another of his sterling roles. As Captain of a roving ship he is a gentlemanly adventurer always in danger of capture because of his activities in aiding various countries. He is grim an,d determined and the story has an atmosphere of suspense. This, however, is not emphasized enough at times. There are shootings, fights and chases along the sea coast that make the production a swiftly moving affair. The photography is excellent and the scenes of the sea and aboard ship form natural attractions. Doris Kenyon has the feminine lead opposite Tearle. Arthur Hosman, Craufurd Kent and Jack Drumier also carry important parts. Activities open in a resort in the Far East, where Tearle, as Captain Carson, is discovered by authorities and forced to flee. He takes with him a derelict whom he has befriended and who later becomes one of his staunch supporters. .Arriving on the California coast with his crew, coast guards are waiting and a light follows in which Tearle and his men are separated. In endeavoring to escape he comes to the home of Dr. Jordan, where he sees a beautiful girl in a young man's arms. He is wounded attempting to get back to his ship and the next day defies capture to have his wounds attended by a physician. He meets the beautiful girl and learns that she is the doctor's wife. The young man is introduced as the physician's assistant. The significance of the scene he witnessed the preceding day dawns on him. To repay the doctor for his favor he tells the assistant to leave the house at once. The assistant lures the girl to the boat landing, where he pleads with her to run away with him. The doctor and Carson arrive on the scene and a struggle follows in which the doctor is killed by his assistant. Carson takes the girl and the young man on board his boat fearing the guilt for the murder may be attached to his crew. As punishment he places them in the same cabin with virtually no freedom. The girl fights the yong man when he attempts to make advances and Carson becomes convinced of her innocence. He determines to return to California but finds that the crew has been incited to mutiny by the first mate who proposes to take the woman. A fight follows and Carson and his men win. He tells the girl of his plan to take her back to California but she refuses and confides that she prefers to sail the seas with him. SPECIAL CAST IN CAMERON OF THE ROYAL MOUNTED (HODKINSON) This is another good story of the Northwest Mounted Police type and with better exhibition values than most of those which have gone before. Has good heart interest and plenty of thrills, is well directed and well photographed. Pictures based on Northwest Mounted Police seem to have the vogue just now with a lot of theatregoers, and "Cameron of the Royal Mounted" is a notable addition to the list. Made in six reels by Ernest Shipman for Hodkinson distribution, this thrilling picturization of Ralph Connor's stirring story promises to be an attraction of no small merit. With most of the mounted police stories good riding and hard fighting appear to be the chief requisites, with the love interest played as a side issue — there chiefly because every picture must have ramance and to have romance a pretty heroine is important if not absolutely necessary. In "Cameron of the Royal Mounted" the love interest is a big factor in the story and exceptionally well done. The story opens in the dormitory of a college in Scotland, where Cameron, careless son of a strict Scotch father, is gambling and drinking. In payment of a gambling debt Cameron gives Potts a check for fifty pounds, which is later raised to five hundred pounds. Cameron is confronted with the raised check and owing to his drunken condition is unable to say that he is not guilty of the crime. Cast off by his father, he goes to the Canadian Northwest, where he meets Mandy Haley, played acceptably by Vivienne Osborne, and the two fall in love. After a series of adventures Cameron feels that the crime with which he is charged prevents him from marrying the girl, and he goes further into the wilds, and finally joins the mounted. Mandy also finds her way there as a nurse in a hospital and then follows a series of thrilling deeds of heroism, in which Cameron is sometimes uppermost and sometimes not, but which finally ends with all the villains foiled and bravery, virtue and love triumphant. f Gaston Glass is well cast as "Cameron' and his excellent work as the hero is helped out by his good looks. As "Raven." a gentleman by birth but a bootlegger and gambler by choice, Irving Cummings carries off the part with much of the good acting which has made him liked in other pictures and in several Broadway productions. The casting of the entire picture is to he commended, as is also the direction and photography, j "Cameron of the Royal Mounted should prove an alluring box office attraction.