Exhibitors Herald (Apr-Jun 1922)

June 3, 1922 EXHIBITORS HERALD 55 GARETH HUGHES IN DONT WRITE LETTERS (METRO) Another "Saturday Evening Post" story with the humor well brought out and enjoyably acted. One of the best vehicles Gareth Hughes has had under the Sawyer-Lubin Productions. Directed by George D. Baker. Five reels. There is a distinct place for light, sparkling comedies such as "Don't Write Letters." Gareth Hughes succeeds in putting the necessary human touches into the role of an undersized, bashful youth who falls in love with a romantic young girl, in this adapted Blanche Brace story and good judgment was displayed in writing the subtitles. The picture is a novelty, in a way, also, with the unique first reel showing in welldrawn cartoons the method of carving love letters on stone and the dire results of getting slapped on the head with one of these missives; and then a mediaeval love scene where a Romeo brings down the wrath of Juliet's father by writing notes to her and handing them up over the balcony, only to fall in father's angry hands. The story is a trifle draggy toward the end, where the docile haberdashery clerk gives way to the stalwart hero of the Argonne, and it is padded with amusement-park scenes. On the whole, there is sufficient first-rate comedy to carry it over these rough spots. Book it, it will not disappoint. The story concerns Bobby Jenks, clerk in a department store, who pictures himself a hero in love with a beautiful girl. He is handicapped when he enlists, however, by his size, and is consigned to the mess shaGk. He orders a blouse from the supply room and as a joke is given a size 44 instead of one 34. While kicking it about in his disgust, he finds a letter in the pocket written by a girl in the factory, asking "the big fellow" who finds it to write. Bobby enters into correspondence with her — Anna May Jackson, of Flatbush, Brooklyn, N. Y. — but when the war is over and he returns to New York he dreads telling her the truth. Therefore he introduces another soldier to Anna May. She refuses to marry the substitute and forgives the real Bobby Jenks for his deception, because, anyway he "must have been a good mess cook." Others in the cast were Bartine Burkett, as Anna May; Herbert Hayes as Richard Jenks, the Westerner; Margaret Mann as Aunt Jane; Victor Potel, as an awkward lover, and Lois Lee as his sweetheart. GLADYS WALTON IN THE TROUPER (UNIVERSAL) A story of the stage, of a downtrodden wardrobe girl and her ultimate come-back. Interesting, principally because of Miss Walton's clever characterization. Five reels. As a picture of small town life, of the tribulations of a little wardrobe girl, and a peek behind the scenes of the town "opera house," this is fairly interesting. Otherwise there is much straining for humorous effects; too much beating and rough handling of Miss Walton, and a threadbare "vamp" finish that reminds one of many other stories filmed before. Miss Walton is as pleasing as ever and puts zest into her work. The other characters are well played, especially that of the town youth, who is robbed by the leading lady of a cheap show troupe. The whole has been well staged, and exceedingly well photographed. Advertise it as a comedy-drama of stage life, and exploit it with a bandwagon balahoo, which is the opening scene of the play. The little wardrobe mistress is in love with the leading man of the "Curse of Drink" Company, and in return for slaving for him gets a photograph of her hero. In the small town where they play a week's engagement, with a daily change of bill, she has little time for anything else but press clothes. The leading lady entices the son of the local banker to her hotel room and later gets his keys to the bank. Her husband robs the vault and is about to make off with the receipts from the show, when the wardrobe girl warns the police, she having heard their plans while locked in a closet. They are captured and she finds happiness with the town youth. Hoot Gibson in a scene from "Step on It.'* (Universal) HOOT GIBSON IX STEP ON IT (UNIVERSAL) A refreshing Western drama, crammed full of action, gun play and wild riding with a pleasing love story running through it. Much rugged Western scenery and the naturalness of star's performance will make a strong appeal. Directed by Jack Conway. Five reels. Courtney Ryley Cooper furnished this cowpuncher story, originally titled "The Land of the Lost." It makes an unusually fine story for Hoot Gibson, as it is full of incident, dramatic situations and several big "punch" scenes and a novel twist to the story lifts it above the usual run of Westerns. There is a slight stressing for comedy effect in the early footage, but once the story gets under way Director Conway has developed it into a swiftly moving, sure-fire tale that will satisfy the majority of patrons. The photography is excellent, especially scenes of a burning barn and the escape of the hero. Also where Gibson stands off the gang single handed while the heroine rides for aid. Vic Collins is continually losing cattle, but is unable to trace them beyond a stream that skirts his ranch. Lafe Brownell, an officer from Texas sent to trace cattle thieves, tells Vic that the new telegraph operator, whom Vic has become interested in, is at the bottom of the thefts. He follows her to a nearby ranch and finds the bed of the stream dry, because the water has been shut off at a sluceway. Thus his cattle had been driven across and the water turned on again. He is captured by the thieves and threatened with death, but the girl rides to his ranch for help and it develops she mingled with the gang to get evidence to clear her brother's name of being a thief. Hunter Comedy Opens At New York Cameo Star in Person at Showing of American Releasing Attraction "The Cradle Buster," starring Glenn Hunter, an American Releasing Corporation attraction, had its initial presentation at the Cameo theatre, New York. Mr. Hunter made personal appearances and entertained with a comedy monologue. Is a Favorite in N. Y. Glenn Hunter has been a favorite with New York theatregoers since establishing a reputation as a portrayer of adolescent youth in the title role of Booth Tarkington's stage play, "Clarence," and his later success in a role of the same type in support of Billie Burke in "The Intimate Strangers." Marguerite Courtot in Cast "The Cradle Buster" is a comedy which is said to be the best laugh picture of its type since "Twenty-three and a Half flour's Leave," and having, in addition, a touch of sincere and real pathos. The story it tells is of a youth who has been mothered to distraction. On his twentyfirst birthday he resolves upon a declaration of independence of his own and cuts loose. What follows is declared to put the kick into the picture. A cast, including Marguerite Courtot, Wm. H. Tooker, Mary Foy, Lois Blaine, Osgood Perkins, and others, support Mr. Hunter. All Ducks Not Stupid Fox Comedy Indicated Ducks and geese, for some unaccountable reason, long have been regarded as the most stupid of Mother Nature's feathered children. That this belief is a false one is demonstrated in the Sunshine Comedy to be published by William Fox soon, called "The Wise Duck." Many ducks perform unusual feats in this film, it is said. GLENN HUNTER, a featured player in American Releasing Corporation's "The Cradle Buster."