Exhibitors Herald (Apr-Jun 1922)

BETTY COMPSON IN GREEN TEMPTATION (PARAMOUNT) A story of Paris before and during the war, with a post-war ending in America, introducing picturesque characters, highly melodramatic incidents and many surprise situations. French Apaches, society folk and cosmopolites are involved. An entertaining picture that should draw. It is six reels in length and was directed by the late William Desmond Taylor. Betty Compson does her best work since "The Miracle Man" as the Parisian dancer, whose major profession is that of burglaress, in this highly colored story of the Paris underworld and elsewhere. Theodore Kosloff contributes a strong characterization as a malignant Apache chief. Mahlon Hamilton portrays with proper reserve a secret service man, whose identity is not revealed until the closing footage. Others in the cast satisfy. The early reels are best. Apache customs color an effective introduction of characters. A note of mystery is brought in with the beginning of a struggle between forces of right and wrong. Enough action for a feature length production is presented before introduction of a war sequence which contains trench stuff admirably staged. The original struggle is carried through this period and into a post-war sequence laid in America, where a happy ending is broueht about in melodramatic fashion. The star is cast as Genelle. Apache, burglaress and, in her published identity, dancer idol of Paris. Failure of an attempt to steal a jewel known as "The Green Temptation" results in discovery of her double life and pursuit by authorities. War comes and she finds concealment and regeneration in nurse work. The principal characters come to America after the war and Genelle thwarts the efforts of her former Apache leader to obtain the jewel. At his death she finds happiness in the love of a British secret service agent who has figured mysteriously but vitally in the story from the beginning. Don't Chaplin LEATHER PUSHERS (UNIVERSAL) "Round Three" of the popular H. C. Witwer stories, being distributed by Universal is the prize one of them all so far. There's real comedy in this brief but graphic tale of the downfall of a ring hero, who is called a "pork and beaner" by his best girl and declares he is through with women forever. The fight, though short, is the liveliest of the series, and the comedv business introduced in the ring, by serving tea, spraying the pugilist with perfume, etc., gets a good hand. Charles Chaplin in "Pay Day." (First National) CHARLES CHAPLIN IN PAY DAY (FIRST NATIONAL) let anybody tell you Charlie 'is slipping." Go and see "Pay Day" and judge for yourself whether this genius of the camera cannot devise more original stuff in two reels than the average come dian does in twenty. "Pay Day" is just full of chuckles and unique, quietly performed stunts that never once miss fire or go wide of their mark. It is one of the best things he has ever done. He wrote the story, from his own observations we take it, and directed it in his own way, with all the Chaplinesque touches. He furnishes excellent propaganda for traction committees in cities suffering from overcrowded trolley cars, and the suffering strap-hangers will get the point of his joke. The cast includes Phyllis Allen, as an austere wife; Mack Swain, as the Foreman; Edna Purviance as the Foreman's daughter, and his brother, Sydney Chaplin. Swain makes a splendid foil for the serious Toiler, as depicted by Chaplin, and, as in his previous productions, everything is so nicely timed the interest does not lag for a moment. The business of catching the bricks will doubtless be copied by other comedians — Chaplin stunts always are — but it will take unusual dexterity to duplicate his tricks. Chaplin is a horny-handed son of toil. He arrives late for work, but appeases the foreman's wrath by handing him a lily. He starts excavating, throwing about two ounces of dirt out of a hole with each upheaval. He is transferred to the brick-laying department and catches bricks in ever} conceivable manner. Lunch time comes and he gets a meal from various sources, as the elevator speeds up and down. It is pay day and he draws his money. His wife, however, is waiting outside the gate for him and his attempts to hide some of his money fails. He visits his favorite backalley saloon, where the hours fly quickly and as he attempts to put on his overcoat he gets his arm in the sleeve "of another customer and is dragged away. He tries to get on a crowded trolley car but loses his grip and finally mistakes a lunch wagon for his conveyance. Arriving home he tries to sneak to bed. His wife wakes up and he attempts to cover things up by dressing again for work. Dead tired he prepares to go to sleep in the bath tub, which apparently is full of soiled linen, but he finds the clothes are being held up by a full tub of water and he nearly drowns. "Pay Day" is Chaplin at his best. There are numerous opportunities for exploitation that will reap big returns, and the musical accompaniment must not be overlooked in putting the picture over. SPECIAL CAST IN COME ON OVER (GOLDWYN) Rupert Hughes' pleasant little tale of quaint Irish folk makes capital entertainment. Beautifully photographed, superbly acted and very well directed. Certain in its appeal with better class audiences. Directed by Alfred Greene. Six reels. If you want a real, honest-to-goodness story of real people doing natural things, then book "Come On Over." It's as wholesome as a Spring shower, as joyous as a bubbling brook and it fairly sparkles with quaint humor and Irish brogue. We have had many, many stories of the Emerald Isle, but none more fascinatingly told than this Hughes concoction, with its spitfire heroine, its stalw-art, sincere hero and the many real people who surround them. There's a genuine treat in store for those who do not crave the sensational in pictures. There are tears mixed with laughter, with the lighter scenes predominating and no especial play for sentiment. Much could be written of the performances of Colleen Moore. Ralph Graves, J. Farrell MacDonald and Kate Price, all splendidly cast and excellent types. Miss Moore's interpretation of Moyna is a classic and her playing oc this role is most delightful. As the forlorn little girl left behind by her big-hearted lover she presented a wistfully pathetic figure, which strongly reminded one of Griffith in its toning. Ralph Graves made an ideal Shane: MacDonald's Morahan was a true-to-life bit, and James Marcus, Kathleen O'Connor and Eleanor Hancock contributed much to the picture's success. Then, too. the picture was beautifully photographed — the work of L. W. O'Conn ell, a Chicago boy. Many of the out-ofdoor scenes resembled exquisite paintings. Moyna Killiea bids a fond good-bye to Shane O'Mealia when he sets sail from Ireland for America. He promises that he will soon send for her. But three vears slip by. He has ill luck in New York, where he loses one job after another. Another girl falls in love with him, besides, he having helped her father reform from drink. Finally Moyna comes to America with the Morahans and, misunderstanding Shane's interest in Judy Dugan, flies into a tantrum. It all ends happily, however, and the clever ending is one of thp important features of the picture — there is no conventional "clinch" finish.