Exhibitor's Trade Review (Mar-May 1922)

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March 18, 1922 EXHIBITORS TRADE REVIEW 1101 Newspapers Hail ^^oFable David" Magazine and Photoplay Critics Throughout Country Praise Barthelmess — First N ational Picture Laemmle Announces Six Jewel Pictures for Next Season Having made plans to release Priscilla Dean in Wild Honey and Harry Carey in Man to Man this spring with the possibility of putting out one more Jewel picture during the summer, Carl Laemmle now at Universal City has turned his attention to the production of Jewel pictures for the fall. Mr. Laemmle is undecided whether to put out eight or twelve Jewels for the season of 1922-1923, but whether it will be eight or twelve Universal is in a particularly advantageous position as far as the first six are concerned. Three of them already entirely completed and three are either in work or in preparation at Universal City. Those completed are: House Peters in The Storm, a picturized version of Langdon McCormick's and George Broadhurst's New York theatre success. The Storm is Reginald Barker's first production for Universal. Prominent in the cast are Matt Moore, Virginia Valli, Josef Swickard, James Alamo, Leonard Clapan, Frank Lanning, Gordon McKee, Jean Perkins. Priscilla Dean in Lass O'Lowrie's is a picturized version of Frances Hodgson Burnett's famous story of the Lancashire coast mines. The production was directed by Hobart Henley and prominent in the cast are Robert Ellis, Wallace Beery, Beatrice Bernham, Katherine McGuire, Fred Kohler, Frank Lee and Emmet King. Human Hearts has proven so unusual in every way, it is stated, that Mr. Laemmle, who originally intended to put it out this spring, feels that it would be an injustice to the picture and to exhibitors to release it without a proper and sustained advertising campaign on its behalf. House Peters plays the famous role of Tom Logan, and others in the cast are Russell Simpson, George Hackthorne, Edith Hallor, Ramsey Wallace, Mary Philbin, Gertrude Claire and George West. The production was made by King Baggot. The three production on which work is starting at the present time are as follows : The Suburban Handicap, based on Charles T. Dazey's old-time melodrama, for which a scenario is being prepared by George C. Hull. King Baggot is assisting him and selecting a cast for the picture. The second is Booth Tarkington's novel. The Flirt. This will be adapted by A. P. Younger, and given in charge of either Barker or Henley. The third production is a Prscilla Dean, Under Two Flags, which has just been started at Universal City under the direction of Tod Brovraing. In addition to this, Erich von Stroheim, producer of Foolish Wives, is making his selection of a story from possibilities which have been_ suggested by authors and by the scenario departments of the Universal for the last two months. A Correction The story now being filmed by the Edwin S. Carewe Pictures Corporation is / Am the Law and not Hell's Highway, as stated in last week's issue. I Am the Law, according to a statement from Affiliated Distributors, Inc., is adapted from a book by a prominent author whose name will be divulged later. Raymond L. Schrock wrote the continuity of I Am the Law, but it is stated that his story, Hell's Highway, is not the production now being filmed on the Coast by the Carewe company. The furore created by Tol'able David, Richard Barthelmess' initial production as a First National star, upon its first showing in New York, where it won the praise of magazine and newspaper critics, is being duplicated in other cities and towns. The success of Tol'able David is graphically portrayed in the following opinions of newspaper critics in various parts of the country: Philadelphia North American — "A superlative production of an excellent story with a superlative cast Richard Barthelmess adds many new laurels to the many he already has. Throughout the entire film there are innumerable little touches of sweetness, naturalness and wickedness that are so often left out and which add so much to the artistic value of a production." Philadelphia Inquirer— "The photoplay is a masterpiece of direction, whose main virtue is the effect of absolute simplicity and trueness to life which it makes on the spectator. The entire cast is one that ranks unusually high in producing an effect of satisfactory realism." Philadelphia Evening Ledger — "Tol'able David is another of the American producers' answers to the threat of foreign superiority. By it Henry King, the director, reaches a niche occupied by the screen's best directors. It is doubtful if ever a story of its kind has held such sway over an audience's feelings." Philadelphia Record — "Richard Barthelmess did a remarkable thing — he made his first stellar picture one of the notable creations of the screen." Philadelphia Evening Bulletin — "Smooth, slender, soft-eyed Richard Barthelmess, who never heaved a hairy chest or glared a cave-man glare, is the hero of about the most gripping, exciting, sit-onthe-edge-of-your-seat, feel-dry-in-the-backof-your-throat cinema melodrama the screen has yet seen in Tol'able David. Atlanta Journal — Tol'able David may be labeled one of the best pictures that has come to the Criterion Theatre this year," Baltimore Sun — "Perfection is a ticklish word to handle, and one chews his pencil long and reflectively before applying it to any handiwork of man. But we think we have discovered a rare instance where it may be employed with fullest justification. We refer to the photodrama, Tol'able David, which comes dangerously near being the finest film by, of and for Americans ever produced in this country." Baltimore American — "Tol'able David is a fine film with a smashing climax." Detroit Journal — "If you care for good acting, Richard Barthelmess in Tol'able David should satisfy you completely. His screen adaptation of Joseph Hergesheim GYPSY PASSION ADAPTED FROM , cJEAN RICHEPINS FAMOUS GYPSY STORY The Child oF hhe Bear COMING^ TO the; BROADWAY & 47*-' STREET er's story is one of the really fine pictures of the year." Detroit Free Press — "Tol'able David is intensely interesting, gripping in spots and one that will touch the heart as few plays of recent showing have done. Barthelmess does some of the best acting in his career and gives ample proof that he is ready for stardom." Detroit News — "The story is one that touches almost every human emotion. It is difficult to find a flaw in Barthelmess' personal characterization." Cincinnati Times-Star — "Tol'able David" is more than 'tol'able.' It is certainly the best thing that came out of the movie factories in 1921, and, in the opinion of this reviewer, has not been excelled by any photodrama in any other year." Cincinnati Post — "Seldom has there come to Cincinnati screens a more smashing, powerful film story than Tol'able David. In all, it is an exceptional story." Cleveland Plain Dealer — "Here is a picture that builds to immeasurable heights. It never wavers. It is Barthelmess at his best, and the second best film in 1921." Buffalo Times — "Tol'able David ranks far ahead of the season's offerings." Kansas City Star — "It is unusual for a film these days to be of the sort that will draw well at the box-office and also draw favorable comments from critics. Such is the case with Tol'able David. It is a treat to vdtness a picture so well directed, for one thing." Omaha World-Herald. — "An almost perfect motion picture, Tol'able David,' which is shown this week at the Rialto. The entire picture is most exciting." Los Angeles Times — "One of the greatest pictures of the year." Los Angeles Examiner — "The picture abounds with exceedingly human flashes, and it stays always within the realms of the entirely possible. It is these things which lift it far above the ordinary films of similar character, and give promise of making it rank among the best pictures of the year." Los Angeles Herald — "Tol'able David will provide the Kinema audiences with some fine bits of acting, human interest pathos and true-to-life characters, each of whom has been cast by an unerring director." Los Angeles Express — "A remarkable picture and a remarkable story from the standpoint of fidelity to type, environment and acting ability is Tol'able David." Los Angeles Record— -"Too much praise — and it's well earned, too — cannot be accorded Dick Barthelmess for his charactization of David." Indianapolis Star^-Times — "Personally I never have enjoyed a picture any more than I did whiile witnessing Barthelmess in Tol'able David. Don't dare to miss it at the Circle this week if you enjoy real, honest and human entertainment." Columbus Dispatch — "Barthelmess in Tol'able David is a real success." Ohio State Journal (Columbus) — "Don't miss this picture. It is one of the best of the season." San Francisco Examiner — "Such a climax as in this Richard Barthelmess film is rarely seen in a photoplay." San Francisco Call — "Without a reservation of any sort, I desire to go on record as commending Tol'able David as one of the best picture, plays ever screened." San Francisco Chronicle — "Tol'able David is a thing to give one faith again in the screen and its possibilities. There isn't in its eight reels where the spectator, critical or lay would suggest a change. Scenically and photographically the picture is magnificent."