Exhibitors Herald (Dec 1921 - Mar 1922)

64 E XHIBITORS HERA L I) February 11, 1922 SPECIAL CAST IN RED HOT ROMANCE (FIRST NATIONAL) This is a satirical comedy handled in a manner that makes it an unusual photoplay feature. Aptly advertised as a "story of young love and old hokum" by Dr. Hugo Riesenfeld at the Criterion theatre, New York, where it is playing an extended run. Should be a good money getter. Five parts. "Red Hot Romance," produced by John Emerson and Anita Loos, is a refreshing satire of some of the most familiar situations in the romantic stories about American heroes in mythical kingdoms. The producers-writers have written some of Douglas Fairbanks' liveliest screen vehicles and "Red Hot Romance" is a satire of even these. It is playful, is staged with care, and is an elaboration of most of the serious productions. It has an unusually good cast. It is on five reels and brings together straight photography, cartoons, colored titles and plenty of smart lines. The story centers around a young American, played by Basil Sydney, who receives $50 a week from his rich uncle until he reaches the age of twenty-five. Then according to the will he is to hear of further bequests. The youth is in love with the daughter of an old Virginia family, the head of which has been waiting forty years for a diplomatic post. The young man pawns all his furniture to make her presents. When the day of the big inheritance arrives, the youth discovers that he is to receive $:J.5 a week and must serve one year as an insurance agent to prove his worth before he can secure his fortune. His sweetheart has gone with her father to Bunkonia, in South America, so the new insurance agent sees there fertile fields, and sails with his valet. There he meets the villain, most of the best families, the king — Caramba the Thirteenth — and his cabinet, and insures almost everyone in sight. The villain knows the terms of the will and plots a revolution, knowing that the insured king and cabinet will be the first to die, and thus ruin the insurance agent. The consul is imprisoned by the plotters, the heroine is kidnapped by the villain, and the hero is compelled to save the king, cabinet, heroine and consul for the sake of insurance, love and country. During the revolution the hero is plated in the difficult position of being unable to kill some of the plotters because they carry policies in his insurance companies, but in spite of this handicap everything is brought to a satisfactory conclusion by the arrival of the U. S. marines. Mae Collins plays the heroine, Frank Lalor the king, Edward Connelly the consul, Roy Atwill the villain and all are good. The impossible situations of the -tory arc woven together entertainingly and the picture is well directed and splendidly photographed. A sctne from "Anne of Little Smoky" (Pathe) W INIFRED WESTOVER IN ANNE OF LITTLE SMOKY (PATHE) Western narrative that proves fair entertainment. The excellent acting of the cast, beautiful settings, and some realistic fights are its outstanding features. Adapted from a story by Edward Connor. "Anne of Little Smoky" is the story of a girl in love with a forest ranger whole family violates the law which the government man is there to enforce. The theme is well worked out and while the plot cannot claim particular distinction in the way of originality it provides nevertheless interesting entertainment. The picture has an excellent cast including Winifred Westover, Joe King, Frank Sheridan and Dolores Casinelli. Among the unheralded players in the cast is Ralph Faulkner, who features in one of the most gripping scenes of the picture in a bit of acting that is highly commendable. He is portrayed as a returned soldier suffering from shell shock. During the rescue of a gypsy girl on a stormy night he recovers his mental poise. He portrays the change with vivid realism and fairly emanates the new personality. Little Smoky is a secluded district in the mountains in which the Brocktons have hunted and cut timber to their hearts' content until the arrival of the law in the form of Bob Hayne, a forest ranger. A friendship springs up between Anne, the daughter of the Brockton's, and Hayne. Unknown to Hayne the head of the Brockton family is still stalking deer in the woods. A traveling Gypsy band stops at the village and among them is Gita, a pretty dancer. She becomes infatuated with the ranger and deserts her tribe to stay with him. Hayne, however, loves the (laughter of Brockton and when the Gypsy girl is seen at his cabin the incident is misinterpreted to Anne. Further trouble is aroused between the government man and the Brockton family when the elder Brockton is caught slaying a deer. He manages to destroy the evidence, however, and the case is dismissed. A slurring remark by the ranger following the trial prompts one of the Brocktons to follow him into the mountains and challenge his statement A fight on the edge of a precipice take- place in which Brockton is the loser. An observer reports him as being killed and the Brockton family determine upon revenge. The trail through a stormy night leads to a cabin where the party finds the supposedly dead Brockton and the ranger, together, the best of pals. Hayne had rescued him from a watery grave after his fall. Simultaneously, Tom Brock, the re turned soldier rescues the Gypsy girl who has een attacked by a half breed in her cabin. In the struggle he recovers his mentality and is again the stalwart tighter. The hatred between the Brockton's and the ranger is wiped away, and Anne and Hayne find happiness together. The elder Brockton regards the incidents as a means of restoring his son's health and bows his head in prayer. HERBERT RAVVLINSON IN THE SCRAPPER (UNIVERSAL) This picture will prove a hit with any Irish audience and will probably please others as well. It is from a story by R. G. Kirk and has a fight that alone justifies its title. Moves fast and is an interesting five-reel feature. Directed by Hobart Henley. The principal drawback to "The Scrapper" is that in the opinion of many its Irish propensities will appear overdrawn. The subtitles are written in Irish brogue with the hero showering the heroine with flattery. The theme runs along a light vein all the way through and furnishes plenty of action. Herbert Rawlinson is dynamic enough as a young engineer in love with his boss' daughter. Gertrude Olmstead makes a charming Irish lass. Rawlinson, as Malloy, is given the job of erecting a huge building. The fact that he wears a wrist watch puts him in a unfavoiable light with his boss. When the work appears to be behind schedule he is given a husky Swede as an assistant through the scheming of his chief's secretary. The newcomer proceeds to throw a monkey-wrench into the machinery and finally incites the men to strike when Malloy brings things to a showdown. A fight ensues that isn't a one-two affair. Both men hit the dust a half dozen times and when Malloy finally wins he is "out" on his feet himself. After this he proceeds to carry away the boss' daughter in his usual aggressive manner. The theme is really secondary to the mannerisms and tactics which the director has allowed the hero to take upon himself and if these facts are not too seriously considered the picture will please. In the supporting cast are William Welsh, Frank Lee, George McDaniels, Fred Kohlcr, Edward Jobson and others. NEIGHBOR NELL (PRIZMA) Audiences at the Roosevelt theatre. Chicago, found this novelty one-reel production delightful diversion and applauded it at each performance. It is a unique adaptation of the famous poem, "Neighbor Nelly," and pictures a beautiful suburban home surrounded by beautiful rose bushes. In the cottage lives little Nelly, and her neighbor and companion is an elderly man who finds a renewal of his youthful spirit in the company of his little neighbor. It is beautifully photographed in Prizma colors and the subtitles are in verse. Madge Evans plays the role of Nelly delightfully and lends to the part the necessary freshness of youth and beauty.