Exhibitors Herald (Oct-Dec 1922)

December 16, 1922 EXHIBITORS HERAlI) 57 George Nichols and part of the all-star cast in "The Flirt" a new Universal special FLORENCE VIDOR IN CONQUERING THE WOMAN (ASSOCIATED EXHIBITORS) This is a good entertaining feature, built along a theme that is familiar but which is at the same time thoroughly pleasing in its unfoldment and picturization. David Butler plays the hero role and is well cast. The picture was directed by King Vidor from a story by Henry C. Rowland. Six reels. This newest Florence Vidor feature should not fail to register pleasantly with any audience. While the story is somewhat inconsequential and its angles tamiliar, there is a genuine, pleasing vein to it that makes the picture satisfying entertainment of a light, easy-to-follow variety. The story is laid against a picturesque background — a far-away island, where love comes to two people left to themselves. Unlike similar tales, however, they are not stranded without food and shelter but with full equipment, even down to a baby grand piano. Miss Vidor is pleasing and winsome at all times and in selecting David Butler to star opposite her in the role of the hero Director Vidor made a particularly effective choice. In this story the two make a great combination. But a resume of the plot is necessary to glean the nature of the theme, although its entertainment lies in the many details pleasingly and effectively worked out. Judith Stafford, as played by Miss Vidor, is a self-willed impetuous American girl, who, while abroad becomes engaged to a French count. The girl's father disapproves of counts and their type in general and wishes his daughter to marry a Westerner, son of an old friend of his. Consequently he shanghais both the girl and the boy off to a deserted island where they are forced to live for several months. Obstinate at first, the girl refuses to be driven into making the best of the island life, but is conquered finally by gentle tactics and the two fall in love. The count's effort to kidnap her from the island is frustrated in the end and the girl realize* true happiness lies with her American sweetheart. STAN LAUREL IN MUD AND SAND (METRO) "Mud and Sand" is the closest burlesque we have seen. Its sets might b<the sets used in making "Blood and Sand." its scenario is a practical condensation of that script. Its every incident is lifted bodily from the Valentino picture, parodied deftly and exchanged for a laugh. Very few of the bits in the big picture are omitted. Stan Laurel, as Vaseline, amateur and later professional bull fighter, enjoys himself thoroughly at the expense of Valentino and imparts a great deal of his enjoyment to his audience. McVickers theatre, Chicago, audiences roared at it for one whole week. To anybody that has seen "Blood and Sand" it should prove what vaudeville terms a "wow." To others — but then, we saw "Blood and Sand.'' Who did not? AGNES AYRES IN A DAUGHTER OF LUXURY (PARAMOUNT) A stock picture of average quality. Story dramatic, with only occasional appeal. Agnes Ayres obviously ill at ease under burden of entertainment. Made from "The Impostor," a stage play by Leonard Merrick and Michael Morton. Directed by Paul Powell. Six reels. "A Daughter of Luxury" is a fair picture. Agnes Ayres is the best part of it. doing her part as well as it might be done. Edward Martindel and Sylvia Ashton stand out from a cast of comparative unknowns in slight relief. The choppy sequence gives players little chance to act. The story is the ancient and familiar one of the young lady temporarily in financial straits who permits herself to be mistaken for an heiress and poses as such to gain food and shelter, while complications gather about and precipitate the disclosures which mark the ending. Advertising may more profitably mention merely that it is from a stage play, "The Impostor," by authors named above. Miss Ayres lives up to the promise of the title, wearing gowns well and enacting her role admirably. That much may be promised patrons. Probably no more than that should be promised, for while the picture has no single serious flaw it does not afford satisfying entertainment. VIOLA DANA IN JUNE MADNESS (METRO) A George Crosby story adapted to the screen by Harry Beaumont. It has its moments of good comedy, but as a whole does not compare with star's recent vehicles in audience appeal. Six reels, and could have been told in five. There is plenty of action in "June Madness" of the rushing in-and-out type, but it is not always very convincing and does not score heavily as comedy. The story is a familiar one, that of a head-strong rich girl, whom a doting mother wishes to marry off to a non-essential lounge lizard, but daughter has fallen in love with a handsome orchestra leader, and after many tantrums, a balking at the altar and a conveniently arranged escape from the church, it all ends happily. Miss Dana is Clyde, the society girl; Bryant Washburn the jazz king. It is all well staged and well photographed and the business of the bride tripping when coming down the church aisle and getting a black eye, was genuinely funny. There is a draggy finish, however, and a long drawn out "fake" raid on a road house. The titles, too, are weak. The one big talking point is the star's name. GLADYS WALTON IN A DANGEROUS GAME (UNIVERSAL) This slight comedy-drama adapted from Louis Dodge's story "Gret'n Ann" proves good entertainment of a simple kind. It is an expose of spiritualists in the latter part, but a rambling story otherwise. Directed by King Baggot. Five reels. Gladys Walton's antics will prove quite amusing no doubt to the majority of picture goers and a unique twist in the storynear the end saves it from being too obvious. Miss Walton works hard to be cute, almost too hard at times. In her support appear such well known players as Spottiswoode Aitken, as her aged father; Otto Hoffman, Rose Gore, William Robert Daly, Kate Price, Robert Agnew, Edward Jobson, Anna Schaefer, Christine Majo. Harry Carter and Jim Gibbs. The whole thing is slight but there are some amusing situations, especially where Gret'n An exposes the tricks of the fortune tellers. Settings, lighting and photography are excellent. The story concerns Gret'n Ann, left alone in the world when her father dies. An aunt and uncle take her home, but she runs away and is befriended by a railroad brakeman with ten children. Here she makes her home for awhile, then runs away again and finally finds a home with a wealthy bachelor, who sends her to school and finally proposes marriage to her. When he sees she is really in love with a youth whom he has also educated, he gives them his blessing. The seance at which Gret'n Ann saves Peter from being swindled is one of the picture's high points.