Exhibitors Herald (Dec 1924-Mar 1925)

50 EXHIBITORS HERALD March 21, 1925 “THE TRIBUNE” IS RIGHT THIS TIME In the course of a long and splendid editorial on “Quo Vadis,” The Chicago Tribune says, “One reason the picture is great is Emil Jannings. We think he is the greatest moving picture actor of the day. He is Nero in ‘Quo Vadis.’ In ‘The Last Laugh,’ now being shown in New York, he is the do^prman of a great Berlin hotel, probably the Adlon. Both pictures were shown at once in New York and critics who are not moved much by anything they see could not believe that Nero and the doorman could be the same man. “John Barrymore is great, but he is John Barrymore, whether as Mr. Hyde or Hamlet. Mary Bickford is Mary Bickford, Doug is Doug, whether as Robin Hood or D’Artagnan; Elsie Ferguson is Elsie Ferguson and Maude Adams is Maude Adams. Jannings is Nero. He is the doorman. He is not Jannings at all. That is his genius.’’ The Tribune, not always too sure of itself when it speaks of pictures, is right this time. What it says of Mr. Jannings I echo, adding that his performances in the two pictures named are greater than both these great pictures. I hope nobody brings Mr. Jannings to America. They wouldn’t know what to do with him in Hollywood. The sterling stuff he has to sell is not in demand out there. They buy it in Europe. ' In “The Last Laugh” Mr. Jannings is an old man, wrecked on the rock of physical decay, demoted from one menial position to a position more menial, rescued (with appropriate apology by the director) at the end by a trick of chance. The picture is told without subtitles, but that point should not be mentioned. It stays in the mind of the spectator, standing between him and the story, and if he does not know there are no subtitles he will not notice their absence. The picture is made with many deft directorial touches and the minutes of its passing seem seconds. It is finished too quickly, which is the test of tests. You must not miss it if you would keep abreast of pictures. “Quo Vadis” is another foreigner you must see to be well informed. In the natural comparison with the version made some years ago this is as far superior as the years would argue. There are the massive sets, the myriads of people, the rushing action — all bound together in such a continuity as rarely comes from across the pond. It is a big picture finely done, with Jannings’ Nero Chicago First Runs (Week beginning March 8) RANDOLPH : “The Monster,” Metro-Gold wyn, CHICAGO: “As Man Desires,” First Na tional. STATE-LAKE: “Her Market Value,” Pro ducers Dist, Corp, ROOSEVELT: “Quo Vadis,” 3d week. First National. McVICKERS : “New Lives for Old.” Para mount. ORPHEUM: “Charley’s Aunt,” 5th week, Producers Dist. Corp. MONROE: “Dick Turpin,” Fox. outstanding because of its excellence and for no other reason. The last paragraph of The Chicago Tribune’s editorial is something else to think about. It reads : “‘Quo Vadis’ and ‘The Last Laugh’ are foreign made, the one in Italy, the other in Germany. They may be forerunners of a competition which will either stimulate or hurt American production. They represent the best in moving picture drama and they draw. They mean big money to the producers. Excellence is not dying of starvation. That is encouraging. Excellence and a sell-out going together.” “Excellence and a sell-out going together” is indeed encouraging, but we’ve been getting to that rapidly in recent months. That’s the great good news of this season. These pictures are not, however, forerunners of a competition to worry about. The belief that these or others may be is a common one among persons viewing their first few European productions. The fact is that these are the best of the European pictures. Match European and American product on a picture for picture basis and the true condition of affairs becomes evident at once. Here’s One to Make ’Elm Cry Fox’s variety reel, “From Mars to Munich,” is going to bring up the much mooted question, “Is the Volstead act all wet?” This particular novelty is a well photographed and cleverly titled reel of a supposed visit of a native of Mars to Germany, where the Wurtzberger still Bows and folks quaff the cup that cheers. It shows the immense barrels used to transport beer, how it is made, and how the Germans drink it. There wasn’t a dry eye in the projection room the day I saw it with a group of Chicago exhibitors. “ENTICEMENT” NOT ENTICING ^I^ HERE are better uses for the talents of such players as Mary Astor, Ian Keith and Clive Brook than they are put to in “Enticement,” a picture which is anything but enticing to me. The same applies to the workmanship involved, splendid workmanship in every sense. It’s a shame to waste this stuff, badly needed as it is in so many pictures, upon an unnecessary story. Unnecessary is the word. The story isn’t exactly dirty, at least no dirtier than they’re running these days, but there wasn’t the least occasion for telling it. It doesn’t leave a thing with you but disappointment, disappointment that all the good little things in the picture didn’t total a better whole. It’s an English society story, not as bad as the one in the newspapers. LON CHANEY SCORES IN “THE MONSTER" I^ HERE’S a thrill a minute and plenty of comedy in “The Monster,” Metro-Goldwyn’s screen version of Crane Wilbur’s stage play. It starts out with plenty of pep and is steeped in mystery. At times it is quite gruesome but the humorous incidents tend to relieve the tense moments and it all ends in a light and airy vein. Lon Chaney, aS the crazy doctor, gives a splendid characterization and Johnny Arthur as an amateur detective gives a very clever performance. Gertrude Olmsted is the girl in the case. The piece is full of mysterious doors, spooky dens, faces peering through peep holes, with poisoned incense burning in the grate. There’s a remarkable dream 'sequence, and a horrifying death chair incident. “LEARNING TO LOVE" RATHER LIGHT STUFF ^ I^ HE latest John Emerson and Anita Loos vehicle for the vivacious “Connie” Talmadge w'as made to order and therefore fits the star to a “T”. It isn’t highly original in theme, telling of a young flirt who vamps her school teacher, has a couple of puppy love affairs with school boys and finally succumbs to her handsome guardian. The plot and final outcome is disclosed in the subtitle which states that “she must marry the first man whose name she is connected with in print,” and she straightway tips off a scandal sheet that she has stayed all night in her guardian’s apartment. Tony Moreno is good as the guardian, while John Harron, Ray Hallor, Byron Munson and Wallace MacDonald are the other suitors. Not many genuine laughs, however.