Exhibitors Herald (Dec 1921 - Mar 1922)

66 EXHIBITORS HERALD February 11, 1922 FLORENCE LAWRENCE IN THE UNFOLDMENT (PATHE) This is a strong photoplay with a lesson as its objective. In order to accomplish this end the narrative appears farfetched at times but as a whole it effectively attains its purpose. The six reels hold the attention; there is an abundance of excellent acting and a variety of scenes and appealing situations. Six reels. George Kern's production "The Unfoldment" has as its basis the thought that if we could see ourselves as others see us the revelation would materially affect our lives. In order to portray this bit of philosophy a motion picture is made within the main picture in which the characters of the first part of the story see themselves on the screen under different circumstances but in positions relative to those they occupy in the principal story. The change is somewhat of a jar to the continuity but this is really excusable in the fact that the result obtained is impressive and wholly to the point. The picture has a wide range of scenes and numerous dramatic incidents. The theme readily lends itself to many angles of exploitation. Faith, hope, courage and the suggestion of a Stronger Force are elements portrayed appealingly to the emotions. The cast in the various exacting roles includes Barbara Bedford, Charles. K. French, William Conklin, Albert Prisco, Lydla Knott, Raymond Cannon, Murdock MacQuarrie and Wade Boetler. Katherine Nevin and her brother, through adversity, are forced to go to work in a newspaper office. James Osborne, the publisher, is a hard principled, relentless person, whose daughter is the recipient of the only tenderness he evinces. The city editor, Charles MacLaughlin, and his brother, a cripple, are embittered against God and the virtues of life. Katherine's entire surroundings bring her in contact with persons whose views of life are expressed in iconoclastic terms. The publisher is nursing a secret dread of a once prominent politician whose career he was instrumental in wrecking. The editor is a disbeliever in a Greater Power because of the deformity with which his brother is afflicted. The brother himself sees only the darkest aspects of life and broods over his physical handicap. Jack Nevin, her brother, is in love with the daughter of the publisher. When Osborne finds him at his home with his daughter he attempts to beat him, and his daughter, in an effort to intervene, falls down a flight of stairs and is hopelessly crippled. As dramatic editor of the paper the girl is assigned to make a motion picture, showing a politician, which the paper is backing, in various philanthropic deeds and actions. Instead she makes a picture entirely different in which she pictures the publisher, the city editor, his brother, and the crippled girl in their true characters and attitudes. All are present at the initial showing. The effect is far-reaching in its scope. Hatred and vengeful thoughts arc overcome. Osborne realizes his true character and mends his ways. MacLaimhlm and his crippled brother take renewed faith in the Deity with the result that the brother conquers his deformity. The inspiration works a miracle on Osborne's daughter who becomes able to walk once more. With a new understanding MacLaughlin wins the love of the girl he had previously sought to gain through brutal force and strength. JOHN GILBERT IN GLEAM O'DAWN (FOX) Interesting story photographed in the picturesque settings of the Canadian woods. Plot holds suspense and is effectively carried out with the excellent acting of John Gilbert and Barbara Bedford. Directed by Jack Dillon. Five reels. Harry M. Palmer of the Liberty theatre, Washington, Ind., where "Gleam O'Dawn" had an early showing, in writing about it to the "What the Picture Did for Me" department, says, "Exceptionally good Saturday night attraction for us. Gilbert has pleasing personality and crowds seemed to like him. Barbara Bedford also good." "Gleam O'Dawn" was adapted from the novel by Arthur Goodrich. The story has some unusual angles. An excellent cast appears in support of John Gilbert and Barbara Bedford ; especially good was Wilson Hummel, as Pierre, who portrays a half-witted old man in a striking manner. Other principals are Edwin Booth Tilton, James Farley and John Gough. Silas Huntworth, who is living alone with his a 'opted daughter, in a cabin on the banks of a river, is threatened by two men who are after his land. He is being attacked by them when Gleam O'Dawn, a passerby, enters the cabin and saves him and the girl from further punishment. The two men become fast friends when they discover their mutual interest in art and O'Dawn is invited to remain at the cabin. He falls in love with Nini, Huntworth's adopted daughter and the two are happy until Pierre, the crazy old man, employed by Huntsworth meets O'Dawn. The old man, who has been playing the part of a half-wit for year's to wreak vengeance on Huntsworth for an old wrong recognize^ O'Dawn and tells him the story of his mother's death shortly after his birth through want, caused by the desertion of the father years before. O'Dawn. who cherishes his mother's image on a knife he carries, demands to know who the man is. When he learns it is Huntsworth whom he has grown to like he becomes strongly embittered against the man. Finally sensing his hatred Hunts A scene from "Gleam O'Dawn" (Fox) worth goes to him and demands an explanation. O'Dawn is about to kill him when he learns that his father cherishes the memory of his mother as much as he does and that an attack of illness was the reason he was unable to return to her after starting on a quest of gold in the north. With the understanding the men are reconciled and as Pierre is about to kill Huntsworth himself when the vision of the man's former wife appears to stay his hand. After that O'Dawn and Nini find happiness together. POLA NEGRI IN THE LAST PAYMENT (PARAMOUNT) This marks the first appearance of the noted European film star in this country in a modern role — the story of a woman of the Latin Quarter, and is in marked contrast to her other productions backed by massive settings and gorgeous costumes. A smooth running and interest holding picture. George Jacoby director. Six parts. Pola Negri won her first great successes on American screens in historic or fantastic parts in productions like "Passion," "One Arabian Night," and "Gypsy Blood," and makes her debut in a modern role in "The Last Payment," as a woman of the Latin Quarter. There are no massive settings to serve as a background and the drama takes its force directly from the star. It was directed by George Jacoby, and is remarkable in that it has but one important woman role. The leading male part is taken by Henry Liedtke, who appeared with Pola Negri in "Passion." "The Last Payment" is an excellent example of the modern fiction of Europe — of the school which avoids happy endings. The star is seen as Iola, a beautiful woman of the Latin Quarter, who has married a rich cattle owner of South America in order to live in peace and happiness. But the arrival of a young Parisian whets her interest again in the old haunts of Paris and when her husband is slain in an uprising of laborers, she is again thrown on her own resources. She travels to Paris with the voung business man and on her arrival "is sheltered by the youth's father. Here she meets a former husband, secretary to her host. The former husband, by his wife's extravagance, had been led to defaulting trust funds. Her host and his son fall in love with her and the former husband stands like a Nemesis in the background. On the night of a carnival at which the young woman is made queen of the festivities, the secretary confesses his past to the voung man. telling of his imprisonment for larceny and his efforts to live down his past. The young man steps to a box at the carnival and sees his father embrace the young woman. So horrified is he at the sight and his own unrequited love that he commits suicide almost at their feet. The woman is feted and showered with flowers until the grim tragedy drives her from the ball room into the night. She is confused in her •-tcps and falls before a train — making her last payment. The action is simple and direct and develops smoothly to the climax. The popularity of the star should make rata an attractive booking feature.