Exhibitors Herald (Dec 1921 - Mar 1922)

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60 EXHIBITORS HERALD March 25, 1922 NAZIMOVA IN A DOLL'S HOUSE (UNITED ARTISTS) Henrik Ibsen's notable domestic drama makes fitting screen vehicle for Nazimova. Reappears in role she made famous upon the stage. Director and scenarioist have followed stage version carefully. Charles Bryant director. Seven reels. Nazimova"s first independent vehicle, and her initial production for United Artists, will undoubtedly please her large following and while the Ibsen story is a trifle out of date, it provides the star with one of her best roles and as a result she shines with renewed lustre. Few stage plays have withstood the rigors of reproduction three times upon the screen, it having served as a vehicle for Elsie Ferguson and also Dorothy Phillips. Nazimova in a scene from "A Doll's House" her first independent production for United Artists. Little or no attempt has been made in the present instance to give it the original atmosphere or locale. There are wrist watches and other modern things introduced and the introductory subtitle states it might happen in any town anywhere. Its message, though, is undeniable and for readers of Ibsen it will give a full measure of satisfaction. The titles throughout arc taken from the play and the producers have given it the original forceful ending — "the slamming of a door that was heard around the world" when Nora insists upon being "a human being" and goes out to begin a new and independent life. Nazimova's Nora is a delicate and very human portrayal. She is a trifle more boisterous perhaps than we would have her, while impersonating Tcrvald's playful wife, but in the tragic moments she cxprc-vi ". all the poignant, pent-up feeling of a misunderstood wife with considerable feeling. Alan Hale was excellent in the role of the heartless, domineering Ilelmer. A better character actor could not have been chosen. Phillip deLacey was Ivan; Barbara Maler was Emmy; Nigel deBrulier, Dr. Rank, and Wedgwood Newel] a typical Krogstad. The settings picture a simple home and the story follows the play closely, showing Helmer ill at home. He is ordered by Doctor Rank to a southern clime. Nora forges her father's name to a note to raise the money to save her husband's life. Six years later, when she has but one more payment to make on the note, Krogstad threatens to expose her unless she intercedes and prevents her husband discharging him from his position in the bank. Nora begs to have Krogstad remain. Her husband learns her reason and accuses her unjustly. When Krogstad returns Nora's note marked "paid" Helmer is overjoyed that his own refutation is saved, and agrees to forget the past. Nora, however, decides her first duty is to be a human being and leaves her husband and children and as she walks out into the storm declares it is "the end and the beginning." DUSTIN FARNUM IN IRON TO GOLD (FOX) An unusually interesting and fastmoving Western story with one or two surprises effectively staged. Star in role of bad man driven to become an outlaw presents a heroic and pathetic figure. Directed by Bernard J. Durning. Five reels. While there are many familiar situations in "Iron to Gold," the author, George Owen Baxter, has introduced a sufficient number of novel and unusual incidents to offset these, and besides being a very well photographed and directed picture, contains many exceedingly well drawn characterizations. Farnum's role is that of a rough, bighearted miner, who is robbed by his partner. He shoots the man and then escapes to the mountains and becomes an outlaw to escape an unmerited prison term. He plays the role of Tom Curtis in his usual convincing, forceful manner, and is accorded excellent support by Margaret Marsh, William Conklin, William Elmer, Lionel Belemore, Dan Mason, and Glen Cavender. Elmer contributed a pleasing bit as Bat Piper, a gunman, and Dan Mason's portrayal of Lem Baldwin, a hotel proprietor, lends comedy relief to an otherwise tense drama. The villain role is well handled by William Conklin. Anne Kirby and her husband go west to look over his mine. Two outlaws attack them while out riding, and Anne is carried off to a cabin in the mountains. While the outlaws fight for possession of Anne, Tom Curtis, another outlaw, appears upon the scene and drives them both away. He is about to accompany her back to safety when he learns that she is the wife of Kirby, his former partner, who had robbed him of his share in a valuable claim. One of the bandits waylays them and after knocking Curtis out rides off with Anne. Curtis shoots him but is severely injured. Anne nurses him for a week in his cabin where her husband and Ihe sheriff find her but Curtis escapes. Curtis then decides to give himself up. Anne having learned the truth about her husband, leaves him. Kirby hires a New York gunman to kill Curtis, but when Kirby attempts lo kill the gunman, he turns the tables on him and kills Kirby. Anne returns to her home in the East after making Curtis her partner in the mining interests and there is every reason to believe he will soon be her partner for life. DORIS MAY IN BOY CRAZY (R-C PICTURES) A mildly amusing little story well suited to this star. Will please where there is no demand for logic or plausibility. A flapper in a flapper role. Directed by William A. Seiter from Beatrice Van's story. Five reels. At a downtown Chicago theatre, where "Boy Crazy" was shown last week, a lady in an adjoining seat declared this Doris May in a scene from "Boy Crazy" (R-C Pictures) picture a "silly lot of stuff." However, while it lacks plausibility in parts, is somewhat short on plot and has a tendency to drag in one or two scenes, it will do doubt meet all requirements of the Doris May fans. She plays the role of . Jackie Cameron, in her usual vivacious manner, and with the aid of Fred Gambold, Jean Hathaway, Frank Kingsiey, Harry Myers, Otto Hoffman, Gertrude Short and Eugenia Tuttle is able to sustain the interest throughout the five reels. Nice photography, splendid lighting and pleasing sets help out materially. The story opens with Jackie playing Juliet to a half dozen Romeos. When her father's general store is threatened with bankruptcy she borrows $:i,000 from old Skinner, the town millionaire, and builds up a fine business as an up-to-date haberdashery. Across the street is a rival concern, a ladies' millinery shop, conducted by one, J. Smythe from Paris. Kidnapers plan to capture old Skinner's daughter and overhear her say she is about to buy a dress displayed by Smythe. Jackie buys the dress, however, and she is locked in a deserted house and held for ransom. Smythe, who has fallen in love with Jackie, comes to her rescue and she saves him from a severe beating by dropping jugs upon the heads of the thugs. f