Exhibitors Herald (Jul-Sep 1922)

40 EXHIBITORS HERALD July 8, 1922 SPECIAL CAST IN UP IN THE AIR ABOUT MARY (PATHE) Five reels of comedy-drama, with a dash of slapstick, inconsequential as to story, but forming as a whole a light and pleasing program entertainment. Unusually fine photography abounds and there are several situations of rather certain mirth-provoking qualities. Story and direction by William Watson. Joe Moore and Louise Lorraine in "Up in the Air About Mary" (Pathe) Many pretty shots in the country and along the seashore make "Up in the Air About Mary" the type of photoplay that is most welcome during the hot period. The story itself is not especially new and is more a combination of incidents of the comedy type that at intervals borders on the slap-stick. The picture moves swiftly and the comedy theme renders it a number of pleasing phases. The photography stands out conspicuously embracing a number of unique shots. In the cast are Joe Moore, Louise Lorraine, Robert Anderson and Laura Lavernie. Robert Anderson does fine work in the novel role of Algernon Emptihead, a suitor sponsored by the parents of a self-willed girl. The story opens at Secor Villa where Moore, as a farm hand, is spending his vacation. Miss Lorraine, having escaped marriage to the unwelcome suitor by leaping out of the window while the bridal guests waited, is another vacationist arrival. The two enjoy themselves about the farm washing pigs, sewing pants for little chickens who perform queer antics when so garbed, and until the irate parents and the jilted suitor arrive they have a good time at the seashore. Moore then follows the girl and rescues her from a framed-up kidnapping but fails to receive due credit when Algernon swings a chair off his head and makes the girl believe that he rescued her. Out of gratitude she consents to marry him but as the knot is about to be tied Moore sweeps down in an airplane and carries her off. It is then revealed that he is quite wealthy whereupon Mamma professes that she always did favor him as a son-in-law. BILLY BEVAN IN "OH! DADDY" (FIRST NATIONAL) This comedy follows closely the formula of several other Mack Sennett ribticklers, with Billy Bevan and Mildred June the center of attraction. Billy is the successful suitor for Mildred's hand and there is the wicked villain lurking in the shadows as usual. The scene where Bevan attempts to burst into the room where his wife and the villain are fighting, is a good travesty on the oft-repeated locked-door melodrama stuff. Then there is Teddy, helping with the family wash, and three intelligent and well-managed youngsters who get into all sorts of mischief. The fun is kept at a good pace and the comedy is clean throughout. SPECIAL CAST IN THE HALF BREED (FIRST NATIONAL) Adapted from Oliver Morosco's stage success this melodrama affords fair entertainment. The human appeal is more or less pronounced and there is a good thrill near the end where the cattle stampede and the hero escapes across the border with the girl. Adapted and directed by Charles A. Taylor. Six parts. The fact that there have been so many screen plays along the same lines as "The Half Breed" of late years, is going to detract from the interest this former stage success might have otherwise created. It is very well acted by a typical Morosco cast, including Wheeler Oakman, as the lead; Ann May as Doll Pardeau; Mary Anderson as Evelyn Huntington; Hugh Thompson in the role of Ross Kennion; King Evers as Dick Kennion; Joseph Dowling as Judge Huntington; Lew Harvey as The Snake; Nick DeRuiz as Juan Del Rey; Eugenie Gilbert in the role of Marianne and Carl Stockdale as John Spavinaw. The difficulty about filming a play which depended almost entirely upon mental struggle and well written dialogue was here experienced by Director Taylor. The picture apparently has been assembled from vast footage and the early part is like a rambling series of episodes, all connected, but without grip or real punch. The stampede and the hero's rescue of Doll by the timely arrival of a freight train which cuts off his pursuers, are well handled and furnish plenty of thrills, but for the most part the triangle love affair and other situations are familiar stuff to most picture patrons. The shifting from one girl to the other is not convincing nor are most of the love scenes. Delmar Spavinaw is in love with Evelyn Huntington, but the girl's father is opposed to the match because he is a half breed. Evelyn's other suitor is Ross Kennion, a widower with one child, and owner of a tract of land which Spavinaw insists belongs to his Indian mother. Evelyn is sent to school. To Doll Pardeau she confides her fascination for the half breed. At vacation time they go to the Huntington estate where Kennion has also come and where, too, Spavinaw follows. He presses his suit on Evelyn, and arranges an elopment, but Doll, knowing that her friend really loves Kennion, insists that the girl cancel the arrangement. When Judge Huntington at open-air court eventualy decides to evict the squaw, the Indian blood comes uppermost in the half breed. With Juan Del Rey, a cattle rustler, he plans a triple vengeance. Through an ambuscade Kennion is wounded and relieved of the paper which gives him title to the land. These are turned over to Spavinaw, who orders a raid on Huntington's cattle that night, while he himself goes to kidnap Reunion's young son. On arrival at Kennion's hut he finds Evelyn there and decides to run with her over the border, too. The arrival of the sheriff prevents him and he is forced into flight. Hard pressed he meets Doll Pardeau lost in the ranges. She binds his wounds and together they ride for the border. Meanwhile the rustlers have stolen the cattle, but in the fight there has been a stampede. Pursued by the sheriff and his posse, imperilled on the other side by the plunging cattle, man and girl ride for life; and just as their flight seems hopeless a freight train comes up, leaving cattle and sheriff's posse on the other side as the train winds slowly past while they seek safety over the border. MARIE PREVOST IN HER NIGHT OF NIGHTS (UNIVERSAL) An acceptable light comedy-drama. Adapted from a "Snappy Stories Magazine" story with the coquettish Miss Prevost carrying off the honors and helping in no small measure to make the picture bright and likeable. Directed by Hobart Henley. Five parts. In spite of a rather thin story, not greatly distinguished by new situations or action, "Her Night of Nights" is far superior to several of this little star's previous vehicles. Interest is kept centered on Miss Prevost and though the first part is conventional it leads one to expect better things later on. Unfortunately, the plot is an old one and the picture's chief appeal is the heroine, her pretty clothes and the very excellent supporting cast. As light comedy-drama it is entertaining, but don't promise too much. There is plenty of opportunity to tie up with local merchants displaying pretty gowns and a fashion show could be staged with it, if this has not been overdone. Molly May Mahone is a cloak model for Bradley & Co., and assists the firm after hours by entertaining out-of-town customers with Bradley, Jr. She meets a country bumpkin one day and befriends him, much to young Bradley's disgust. They become engaged and plan upon buying a bungalow, but on the day she is to meet Jerry Trimble, her sweetheart, he is detained at the office and she spends her savings for a fur piece. They quarrel and that night she agrees to go out with young Bradley for a night of gayety. Young Bradley's wife, however, attends the same party and destroys Molly May's dress and she is glad to return to the protecting arms of Jerry, while the Bradleys tear up the summons Jerry has served in their divorce proceedings and are reunited. Marie Prevost in a scene from "Her Night of Nights" (Universal)