Exhibitors Herald (Dec 1921 - Mar 1922)

58 EXHIBITORS HERALD March 4, 1922 DIGES VPICTURES / tAeWEEK DOES the filming of a popular novel stimulate good reading? Maurice Tourneur, the director, who has just made a survey on the subject among libraries and bookstores throughout the country, is 'of the opinion it does. Blue law agitators and would-be reformers have stated from time to time that motion pictures are destroying the American taste for good literature, claiming they poison the minds against the printed word and dull the intellects of picture goers. But Mr. Tourneur's information proves pictures act as a direct stimulus to more and better reading. "All this talk that motion pictures are destroying the desire to read and contributing to mental laziness is tommyrot," says Mr, Tourneur. "The opponents of the screen moan and groan about the public having ceased to read because of pictures and predict that unless something is done within a few years books will sink into insignificance and mental stagnation set in. "This is utterly untrue, motion pictures, particularly those adapted from the works of noted authors, invariably result in a materially increased interest in the works of those authors and a substantial increase in the demand for their books. "If the screen was such an imminent menace to books, publishers, booksellers and libraries would be exceedingly wary about cooperating with motion picture producers and exhibitors, a thing they do quite frequently at present." In the light of the recent demand for certain books such as "Penrod," "The Last of the Mohicans," "The Three Musketeers," "Treasure Island," "A Connecticut Yankee in King Arthur's Court," "Huckleberry Finn," "The Little Minister," "Little Lord Fauntleroy," "Sentimental Tommy" and numerous others novels, all of which have recently been filmed, it would indicate that motion pictures create a demand for wholesome reading. At least Mr. Tourneur's survey so proves. — J. R. M. "CARDIGAN" (American Releasing) is a Messmore Kendal production adapted from Robert W. Chambers' novel popular several years ago. The scenes of this romantic tale are laid in the stirring days preceding the outbreak of the Revolution and special care has been taken to reproduce the dress and manners of those trying days. Many of the scenes were taken on the exact locations of the historical episodes. It is replete with dramatic moments, well acted and very well directed. The feature is in seven reels. "GYPSY PASSION" (Vitagraph) is another foreign importation with a fairly original story, some pretty sets and unique lighting effects. It was adapted from a book "Miarka, the Child of the Bear," and was made by Louis Mercanton. Many picturesque scenes of a gypsy pilgrimage are shown. Till-: BARNSTORMER" (First National) is a travesty on the actors of a bygone day. Charles Ray is cast as a poor farmer boy ambitious to become an actor. He joins a barnstorming troupe and is made man of all work. Pure farce, a little drawn out. Not the best of Ray's recent vehicles, but clean and wholesome. "THE RIGHT THAT FAILED" (Metro) with Bert Lytell as a prize fighter. Another Saturday Evening Post story that makes capital screen entertainment. Directed by Bayard Veiller. Six reels in length. "TILLIE" (Realart) brings to the screen the Mennonite maid and story which served Patricia Collinge as an enduringly successful vehicle in stage form. Mary Miles Minter's smiles give way to tears and her curls disappear under the severe head dress of the order. The, picture is essentially story. The players are called upon to act and do so well for the most part. "EXTRA! EXTRA!" (Fox) is a lively little newspaper story with the likeable Johnny Walker and pretty Edna Murphy in the leading roles. The picture is on a par with their former vehicles and Director William K. Howard has made good use of his material. Five reels: "HIS BACK AGAINST THE WALL" (Goldwyn) is a distinct novelty in a Western story. The action starts on the East Side, New York, and then shifts to the wild and woolly west, where a tailor's assistant becomes an unwilling hero. Raymond Hatton in one of his best roles supported by a very capable company. "HER HUSBAND'S TRADEMARK" (Paramount) tells a story of certain familiar aspects but rearranges incidents pleasantly, making a palatable hour's entertainment. Gloria Swanson is more than usually animated and at least as attractive as ever in the leading role, competently assisted to her points by the consummately despicable performance of Stuart Holmes. Anybody ought to like it. » "RECKLESS CHANCES" (Pathe). This western railroad drama has an interesting story and proves a fairly pleasing entertainment. J. P. McGowan, who directed it, is also the star. The railroad scenes are attractive and realistic. It is five reels in length. "THE CRADLE" (Paramount) follows naturally in the sequence of Ethel Clayton's domestic dramas. It is not as good a picture as her characterization is a performance. The latter will be responsible for whatever success is achieved by a trite story interrupted with veteran and readily foreseen subtitles. Much may he clone with music to help the picture register its points. " I I li: GLORIOUS FOOL" (Goldwyn) is an excellent little comedy-drama full of amusing incident and i 'evcrlv written subtitles. It was directed by I-:. Mason Hopper and ( ioldwyn gave it a good production. Mary Roberts Rinehart furnished the story. Helene Chadwick and Richard 1 >ix have the leading roles. It will satisfy all.