Exhibitor's Trade Review (Nov 1925 - Feb 1926)

February 13. 1926 Page 21 THE GRAND DUCHESS AND THE WAITER Paramount Production. From the Play by Alfred Savior. Adapted by Pierre Collings. Directed by Malcolm St. Clair. Length, six reels. CAST AND SYNOPSIS Albert Durant Adolphe Menjou Grand Duchess Florence Vidor Grand Duke Peter Lawrence Grant Grand Duke Paul Andre de Beranger Albert Durant, a gay philanderer of Paris, sees the Grand Duchess Zenia of Russia in a box at the theatre. He is struck by her beauty, and sends his card to her box. She indignantly discards it. Albert arranges with the officials of the hotel at which tht Duchess is staying to serve her in the guise of a waiter. His awkwardness and mistakes hardly sweeten Her Highness' disposition toward him, though she becomes perceptibly interested in hie strange paradoxical personality. Later she learns that Albert has been secretly helping her out of financial difficulties. She dismisses him, but not before she has revealed her love. Later, Albert finds her starting life anew as hostess in a fashionable inn. He claims her for his own, and she submits. By Michael L. Simmons Rating: Bl Box-Office Highlights: Florence Vidor' s beauty can be compared to a sort of liquid poetry that entrances and dazzles in turn. Her effectiveness in the sensitive role of a Russian Grand Duchess is striking beyond words. She it is who gives "soul" to practically all the situations. These situations have been in some cases brilliantly — and in no case without some distinction and quality — worked out. There is a finesse and lightness of directorial touch which establishes conviction in the character of its people and the luxurious background. Adolphe Menjou delivers his part as only he can. Audience Appeal: There is enough of humor and love interest to inspire some attention among all sorts of movie goers, but it is to the refined, intelligent tastes that the story will primarily appeal. This is the sort of audience that patronized it as a stage play, and though the picturization has enhanced its interest, its appeal is essentially to the same class. How to Sell It: Florence Vidor photographs so beautifully her picture amply displayed in lobby, and reproduced in a throwaway is bound to whet the appetite of onlookers to see her. Bill Adolphe Menjou for all he's worth. Opportune possibilities for tie-ups with kennel clubs, jewelers, and gown shops. THE ROAD TO GLORY Fox Production. Scenario by P. C. Rigby. Directed by Howard Hawks. Length, 5,600 feet. CAST AND SYNOPSIS Judith Allen May McAvoy David Hal« Leslie Fenton James Allen Ford Sterling Del Cole Rockliffe Fellowes Aunt Selma Milla Davenport Butler John MacSweeney Judith Allen's love is shared by two men — her father and David Hale. David and she providentially escape death when their roadster overturns. Judith's great grief caused by the death of her father is increased by the prediction of her physician that she will shortly go blind as a result of the accident. Afraid of spoiling Davidl's life, she withholds the truth and gives him reason to believe she is no longer in love with him. In a raging storm David comes to Judith and is seriously injured by a falling tree. After many days of doubt and fear of losing David, Judith's joy at learning that he will recover, restores to Judith her sight. By Peggy Goldberg Rating: C3 Box-Office Highlights: Lovely May McAvoy as the carefree and vivacious girl is charming. Later robbed of her vision and the companionship of her father, she succeeds in touching the sympathetic chord. In short she plays her role well. An exciting auto ride culminating in a thrilling wreck provides moments of suspense. A raging storm is realistically done. The story is a conventional one, handled in a conventional manner. Drama that never strikes a dramatic tone, improbabilities that will be detected by the most naive, are the outstanding flaws in the production. Bitterness turns the girl into an agnostic; later faith restores her happiness; — an idea which even when properly handled is not absolutely convincing. No degree of subtlety is achieved with the result that the underlying thought of the photoplay fails to register. Audience Appeal: The fundamental elements — a love story, suspense, pathos, a happy ending, should satisfy the less discriminating. How to Sell It: Exploit May McAvoy. Tie up with the Salvation Army. Have arrows with the following inscription, "The Road to Glory," placed in conspicuous positions, pointing to vour theatre. "Find 'The Road To Glory' At Blank Theatre" might be text for ballyhoo in form of sandwich man. COMBAT Universal Production. Scenario by J G. Hawl(s. Directed by Lynn Reynolds. Length, 6,714 feet. CAST AND SYNOPSIS Blaze Burke House Peters Ruth Childers Wanda Hawley Milton Symmons Walter Mc Grail "Red" McLaughlin C. E. Anderson Jerry Flint Charles Hill Mailes Blaze Burke, rowdy lumberjack, is released from jail, in order to serve (z lumber king as "brutebreaker." The lumberman's aid, Symmons, doublecrosses him, and Burke takes Symmons' girl from danger to shelter from a storm in a cabin. Later, he returns the girl to Symmons, who becomes utigallant in his interpretation of the girl's conduct with Burke. Fire breaks out in the forest. Burke rushes to warn Symmons and the girl. Symmons flees bravely to look out for himself. Burke struggles through the flames, bringing the girl to safety, then goes back to look for Symmons. The latter is lost in the flames, and Burke returns to the girl to find that she has learned to appreciate him with tender love. By Michael L. Simmons Rating: Cl Box-Office Highlights: House Peters is convincing in his rugged portrayal of "Blaze" Burke, breaker of brutes, under whose rough exterior lurks a sensitive understanding of the finer things in life. His is a kind splendid animalism that fights life's battles with his fists. And, oh, how his ten bulging knuckles do wreak havoc to all those who try to cross him. The raging passions of great, hulking lumbermen, whose primordial instincts are stimulated by the wild, unfettered life of the forests, registers many stirring moments, both in their fighting and in their playing. Wanda Hawley 's feminine softness against this primeval harshness is a refreshing contrast. A storm scene strikes an impressive note in dramatic tension, and other scenes are pictorially beautiful. Audience Appeal: Should be welcomed by those who appreciate the better kind of melodramas, where sheer action is of more moment than love interest. Admirable for those who crave excitement. How to Sell It: There are many tourist agencies that exploit scenes such as are shown in this film, to attract clients. An excellent chance for tie-ups with agencies of this kind. Flash incidents of the fighting scenes in advance trailer. Have lumber concerns carry displays on their trucks.