Exhibitors Herald (Oct-Dec 1922)

November 11. 1922 EXHIBITORS HERALD 55 R E V I E W S JACKIE COOGAN IN OLIVER TWIST (FIRST NATIONAL) Truly a fine combination — Charles Dickens' "Oliver Twist" and Jackie Coogan. A combination that will draw the regulars and bring out the once-in-awhiles. A picture that will add much to the screen's prestige and go down in cinema history as one of its finest achievements. The natural, boyish charm of Coogan as "Oliver" establishes him as the screen's greatest child actor. Eight reels. Directed by Frank Lloyd. IT is but fitting to publish "Oliver Twist" in November — the month of Thanksgiving. It is going to mean much to the box office and to the motion picture industry in general. It was a happy thought to cast our leading screen comedian in this Charles Dickens classic. He fits the role perfectly and with his quaint little mannerisms and his wistful smile, he'll win new friends while retaining the thousands upon thousands of old ones. The illustrated editions of Dickens' masterpiece pictures Oliver as a lean, lanky lad, but we rather like the Coogan version best. It's hard to sympathize with a skinny boy, but you do sympathize — unless you have a heart of stone — with this screen Oliver. You sympathize with him in the workhouse, the smallest of the lot, who is chosen by ballot to ask the beadle for more gruel; when he is apprenticed to the old undertaker, and later falls into the clutches of Fagin. And how you rejoice when finally he is rescued from Sykes by the kindly Mr. Brownlow and given a real home. You see the story has been followed meticulously, just as you would have it. The real surprise of the picture is Lon Chaney's "Fagin." Here indeed is a wonderful piece of acting. His characterization and make-up are perfect. George Siegmann was old "Bill Sykes" to a "T," and Gladys Brockwell a convincing "Nancy." The kindly "Mr. Brownlow" was capably played by Lionel Belmore, always in the part, and Edouard Treboal made a capital "artful Dodger." In fact, everyone fitted perfectly into the picture. Director Lloyd cleverly planned each scene and the atmosphere of London's squalid Field Lane was well simulated and offered marked contrast with the genteel home of Mr. Brownlow and Rose and Aunt Mary. Even "Bill Sykes' " bulldog. "Bullseye" was true to Dickens' story. A variety of exploitation stunts suggest themselves to the astute exhibitor contemplating playing this open market feature, and with the producers' cooperation it should prove a big moneymaker. The name of Jackie Coogan is sufficient to draw them in but you can promise them more this time — Jackie Coogan plus Charles Dickens. — J. R. M. THOMAS MEIGHAN IN THE MAN WHO SAW TOMORROW (PARAMOUNT) Another delightful comedy-drama, splendidly acted and produced with unusual skill and care, extending to the smallest detail. Three stories, vividly pictured, while the hero is under hypnotic influence. Meighan is given good support by Theodore Roberts and Leatrice Joy. Direction by Alfred E. Green. Seven parts. This adaptation of Perley Poore Sheehan and Frank Condon's story makes decidedly interesting screen fiction. The love affairs of a handsome young Englishman, with a lady of the South Sea Island and a society beauty of London, and his ultimate decision forms the basis of this interesting tale. The story has a pleasant atmosphere, the colorful South Sea scenes contrasting pleasantly with scenes of London and India. The dream incident is a trifle draggy, as was the London society part, but the scenes of wild, primitive life on the islands and aboard ship make up for the story's sluggish moments. Meighan's acting is clear and decisive throughout and his Burke Hammond is as pleasing a role as he has ever had. Leatrice Joy puts the necessary fire and dash into her work as Rita, and Theodore Roberts, as her father, a gruff, old sea captain, almost ran away with the show. June Elvidge was the English society lady, Eva Novak a vengeful Russian princess; Lawrence Wheat a London swell, and John Miltern v/ere all good and gave finished and clever performances. " The story concerns Burke Hammond, who upon being thrown out of his hotel, finds shelter with an English sea captain who deals in "rubber and rum." Burke falls in love with Rita, his daughter, much to the disgust of the first mate, a treacherous member of the crew. Rita and Burke row out to an anchored yacht, and while Burke is on board he is attacked by sailors and knocked unconscious. The yacht belongs to friends, however, and he is taken to England. He is soon enmeshed in society's whirl and becomes a power in European diplomatic circles. While visiting a friend who professes to tell what the future has in store, Burke pictures his life with Rita and also with an English society lady, and he quickly decides happiness lies with Rita. The mutiny of the captain's crew, led by the first mate, and their ultimate defeat forms the stirring finish to this interesting Para> mount production.