Exhibitors Herald (Dec 1922 - Mar 1923)

February 3, 1923 EXHIBITORS HERALD 55 R E V I E W S SPECIAL CAST IN GIMME (GOLDWYN— RUPERT HUGHES) )ne of those pictures that make , you glad you're in the industry. Regular folks in a human story. Written by Adelaide and Rupert Hughes. Directed by Rupert Hughes. Excellent photography. Length, 5,770 feet. THE CAST Fanny Daniels Helene Chadwick Clinton Ferris Gaston Glass Mrs. Roland Ferris Kate Lester Clothilde Kingsley Eleanor Boardman Claude Lambert David Imboden Mrs. Cecily McGimsey May Wallace Miss Annabel Wainwright Georgia Woodthorpe John McGimsey H. B. Walthall Lizzie Jean Hope It is more than gratifying to be priveged to see such a film as "Gimme," a loldwyn picture, written and directed by Rupert Hughes. The most prejudiced ritic of the "movies" would have to dmit that here is a genuine story told in lotion pictures, and told entertainingly nd convincingly. That a writer of Lupert Hughes' ability should turn his nquestioned talent to writing a story irectly for the screen, and then direct it 3 entertainingly, should make everyone i the business feel proud. A capable cast illustrates the Hughes ory. Headed by Helene Chadwick as anny Daniels and Gaston Glass as linton Ferris, with Kate Lester playing linton's haughty mother; H. B. Wallall as John McGimsey; Eleanor Boardlan as Clothilde Kingsley, a society 10b; David Imboden portraying an motional interior decorator, Claude ambert; Georgia Woodthorpe as a rich Id maid, and May Wallace as Mrs. Mciimsey, the cast is eminently satisfac>ry. The theme is an ever-present one mong married folks — the ancient and ever-yet-universally-settled one of just ow money shall be handled so that either the wife's pride nor the husband's ocketbook suffer unduly. A girl who as earned money and had the handling t it before marriage finds it desperately ird to have to ask her husband for ioney after the minister has kissed the 'ide. As for the story, — Fanny Daniels :ts a job with Claude Lambert, an inrior decorator at forty dollars a week, laudc would like to include pleasure, ich as hand-holding, with business but anny rebuffs him and he promises to : good. Clinton Ferris falls in love with Fanny, ' the disgust of Clothilde Kingsley, who ould have no aversion to spending the erris millions, and to the dismay of his other, who can see in Fanny only a rtune hunter. Clinton marries Fanny, king his mother's refusal to give him cent, philosophically, and manages to 'ake a living on the curb. He has never had to think about money and it doesn't occur to him that his wife is humiliated every time she has to ask for money to pay bills. She has borrowed five hundred dollars from her former employer who becomes revengeful when he discovers what she has used it for — a trousseau to wed his rival. Clinton, off on business, gives Fanny a blank check, which she later fills in for Lambert, as he is getting ugly about the money. Clinton misunderstands: she leaves him and goes back to her old job. There are some very natural touches in this separation, in fact the entire story is unfolded with commendable naturalness and restraint, and enlivened with Rupert Hughes' human comedy. Drama comes into its own when the husband follows his wife and Lambert to an empty house and there trembles in the air a portent of tragedy, but explanations come in time, and, comprehending the rock on which their matrimonial barque almost split, Clinton agrees to treat her as a partner. Delightfully done, and a credit to the industry. JACK HOLT IN NOBODY'S MONEY (PARAMOUNT) A snappy crook-politics comedy drama without a break in interest or amusement. An up-to-date picture of an up-to-date story by William LeBaron. Scenario by Beulah Marie Dix. Directed by Wallace Worsley. Six reels. Jack Holt's steadily building popularity should take added impetus from this photoplay. It is as good as "Making a Man," in many respects better. It is a realistic story of American municipal politics with adventure, physical violence, craft and cunning interwoven in nice admixture. The thing gets off to a flying start and never lags for a moment. Jack Holt is easily the big figure, but a host of excellent players set a warm pace for him. Julia Faye is effectively though briefly present. Charles Clary is calmly potent as the heroine's father, the heroine's obligations being adequately discharged by Wanda Hawley. The bulk of the work falls to a number of male players who in every case satisfy. Any small American city is the background. Any small politician is the villain, and any upright citizen is the hero, in this case unidentified until the last subtitle. A more or less reformed crook, others who have not reformed, and several plain people make up the immediate circle of principals. The introduction is novel and amusing. And throughout the action of the picture that humorous note is maintained constantly. The story is never taken too seriously, though always seriously enough to insure wrapt attention. Jack Holt's advance during recent months has been a constant one. Paramount seems to have found just the type of material he requires and there seems no end to the supply. This picture should be widely advertised. It has ample qualifications for satisfying patrons such advertising attracts. CASEY JONES JR. (EDUCATIONAL) This Mermaid comedy, produced by Jack White, starring Lige Conley, resembles a serial in the number of hair-raising stunts performed by the comedian and his company. There is a comical looking locomotive, an exciting chase with bandits, and a sure-fire finish that equals anything ever staged by a comedy director. Lige is commissioned to speed up the service of the Speed-Ball Express, a train that gathers much moss as it rolls along. A bandit gang robs the express car but Lige saves the money by riding over the car tops on a bicycle and unhooks the engine. Finally he drives the locomotive through a building and carries the bandits away stunned, on the cowcatcher. Jack Holt and Wanda Hawley in a scene from "Nobody's Money" (Paramount)