Exhibitors Herald (Dec 1924-Mar 1925)

January 3, 1925 33 EXHIBITORS HERALD The Big Ones of 1924 By T. O. SERVICE Not that time hangs heavy on her hands^ but Virginia Vance of EducationaUCameo comedies, fills up the year glass for another twelve months. Looking back after browsing along the Street of Good Cheer for twelve months one realizes the past year brought out many outstanding pictures. No two picture fans would agree on what the best ten or the best fifty pictures of the year were. It’s difference of opinion that makes horse races, but there were certain pictures which stand out in one’s memory long after hundreds of others have been forgotten. It is these few productions I want to name after seeing something over 300 of them. First and foremost, the one that made perhaps the deepest impression upon me was “The Iron Horse.’’ This Fox production is big in more ways than one. It was directed by John Ford, whose previous work had not commanded much attention, and, like “The Covered Wagon,’’ presents a vivid picture of the early history of America. It was interesting from the first foot and by adroit handling the story builded to a mighty climax that fairly drew audiences out of their seats. The story, too, was broken up by many pleasant bits of humor and the handling of that one dramatic moment, where the door of the Western saloon swung open and every man inside had his hand on his gun, will live long in film history. You might take exception to “Corporal Casey’’ wearing the same uniform for seven years, but perhaps they made better clothes in those days, who knows? The picture was historically correct, even down to portrayals of President Lincoln, Buffalo Bill, General Dodge and others of those brave pioneers who played important parts in opening up the West. And it brought J. Farrel MacDonald to the front as a comedian of rare attainments, ably assisted by Madge Bellamy and George O’Brien. Douglas Fairbanks, with his “The Thief of Bagdad,’’ a fanciful and spectacular picture that outranked anything he has ever done in grandeur of sets and beauty of execution, added his bit to the Street of Good Cheer. This Oriental fairy tale, with the quite modern Doug, doing seemingly impossible things, captivated the public and the crowds flocked to see it. It was built for entertainment purposes, but it also teaches a splendid lesson — that happiness is something to work for. Raoul Walsh directed this opus which cost a barrel of money to produce and looks it. The effects with the magic carpet and the white horse galloping through the clouds were splendid pieces of work. The whole thing was an artistic triumph. * * ♦ In the frenzied dash to produce timely and what is supposed to represent present day American life, with its jazz, swimming pools and midnight parties, what a relief was “Abraham Lincoln.” There was a difficult job for any director, picturing the whole life of Lincoln, his struggle for an education, political career and his death. George Billings’ portrayal of the martyred president was one of the finest bits of acting ever screened. Goldw3m issued a picture last March called “Wild Oranges” that struck this writer as unusual. It was a story by Joseph Hergesheimer, the same who wrote “Tol’able David,” you remember. “Wild Oranges” was so well planned, directed and acted it left a lasting impression upon almost everyone who saw it. The story interest centered around a homicidal maniac who dominated a household living in the Georgia swamp country, and there was one of the most realistic and stirring fights in it ever staged, where a disappointed, lonely man comes along and beats the maniac into submission. Frank Mayo and Charles “Buddy” Post staged the fight, and it was some fight. The return of Valentino in “Monsieur Beaucaire” was a signal for the ladies to turn out en masse. Famous Players made the Booth Tarkington story into a most artistic production and Rudolph added the necessary romantic touch to the famous story. Sidney Olcott in directing did not overlook a bet and he was furnished the best in lighting effects and photography. It far outshines Valentino’s earlier efforts in artistic merit, although he does not appear as daring nor as dangerous as in “The Sheik.” During the year we were privileged to witness the work of many noted foreign directors working with American players and with all the resources of our American film concerns back of them. Ernest Lubitsch showed what he could do with both in “The Marriage Circle” and in “Three Women,” Warner Brothers pictures. The former will doubtless receive the greatest amount of favorable criticism, but there is no question that this director knows his business. Rafael Sabatini’s stories of the Spanish main found favor with picture fans during 1924. “The Sea Hawk” and .“Captain Blood” both scored, notwithstanding many skeptical exhibitors’ expressions that the public was tired of costume plays. First National handled “The Sea Hawk,” which presented Milton Sills and Enid Bennett in the leading roles. It was a colorful, interesting tale, and Frank Lloyd accomplished wonders with his ponderous ships and hundreds of galley slaves. Another popular author, A. S. M. Hutchinson, whose “If Winter Comes” was one of the outstanding successes of last year, contributed a story which was an interesting and appealing character study in “The Clean Heart.” J. Stuart Blackton made it for Vitagraph and it scored heavily with this writer. Percy Marmont, Otis Harlan and Marguerite de la Motte had the principal roles. There’s one scene, where Harlan saves Marmont from the rising tide when both are trapped in a cove, that shows masterful direction. “Beau Brummell,” with John Barrymore, played a brief but very successful engagement at a downtown theatre in Chicago, and received more favorable comment than anything this sterling actor has ever done. There were other excellent actors assisting Barrymore ; Willard Louis was great as the Prince of Wales, but Barrymore dominated the picture and it deserves a place among the year’s best. Harry Beaumont directed. If Paramount had not made “The Covered Wagon,” undoubtedly “North of 36” would have been acclaimed as great a picture. Here is another epic theme, a tale of the early days of Texas, but a swiftly moving story and one that grips you with its humor and intensity. Lois Wilson, Ernest Torrence and Jack Holt are the principal figures around which the story revolves, but, like First National’s “Sundown,” cows play an important part. * * * And now we come to the comedies. Buster Keaton’s best was “The Navigator,” a cleverly conceived story of two people stranded on an immense liner, adrift at sea. A corking good comedy with much of this comedian’s best stuff in it. Douglas MacLean scored, too, with his “Never Say Die,” an adapted stage farce that held your attention through six reels. Universal is on the right track with Reginald Denny. His “Oh, Doctor” is one of the best things this actor has had. We would be remiss in our duty did we not mention Our Gang. This bunch of youngsters, under the direction of Bob McGowan, have become a national institution. How they think up all the “gags” used for exploiting them is more than I can see. Each one “tops” the previous effort and there seems to be no limit to those kids’ possibilities. Of the actors who came to the front during the year Glenn Hunter perhaps made the greatest strides. He had a “rep,” of course, as a legitimate player, and he didn’t get so far with “West of the Water Tower,” but he scored mightily in “The Silent Watcher” and in “Merton of the Movies.” * * ♦ First National accomplished wonders with Corinne Griffith in “Black Oxen.” H. C. Witwer contributed Cosmopolitan’s greatest success, “The Great White Way,” which should prompt them to make more of these modern comedy-dramas. “Janice Meredith,” while interesting, was heavy and somewhat lacking in sincerity. Gloria Swanson made great advances during the year in “The Humming Bird” and “Manhandled,” but was obviously misdirected in “Wages of Virtue.” Fox has a wonderful bet in George O’Brien, and his work in “The Man Who Came Back” marks him as one of the biggest stars on the Fox roster in dramatic roles. Willard Louis was another who scored in {Continued on page 87)