Exhibitor's Trade Review (Aug-Nov 1925)

September 12, 1925 Page 45 HELL'S HIGHROAD Producers Distributing Corporation Photoplay. Author, Ernest Pascal. Scenario, Leonore Coffee and Eve Unsell. Director, Rupert Julian. Length, 6,084 feet. CAST AND SYNOPSIS judy Nichols Leatrice Joy Ronald Kane Edmund Bums Sanford Gillespie Robert Edeson Anne Broderick Julia Faye Dorothy Harmon Helen Sullivan Judy Nichols loves Ronald Kane. Both are poor and Judy decllnesi matrimonial poverty. Through Sanford Gillespie, experienced girl fancier, she wins opportunity for Ronald, and they are married. He becomes money-mad and devotes all his time to the amassing of wealth. Through Gillespie's machinations he meets a millionaire widow, and financial ambition makes him leave Judy for her. Judy has Gillespie ruin Ronald. In desperation he chokes her after accusing her of being the cause of his moneymadness. Mutual understanding is born, and they begin a new life together. THHE film affords good entertainment. The story is entirely within the realm of possibility. There is ample opportunity for excellent acting, and the production has been staged according to the best Cecil De Mille tradition. There is a sufficiency of subtle comedy, several big dramatic moments, some gorgeous ensembles, and a bang-up climax. "Hell's Highroad" has many pleasant park ing places along its poppy lined length. Especially when an attractive widow worth billions buys the gasoline and aids in avoiding places along its poppy lined length. Esstreet is demonstrated by the fact that Ronald Kane had to walk home after a dizzy spin with his financial flame, Anne Broderick. In the early i sequences we meet Judy and Dorothy, a couple of hard working girls with faces, figures, and ideas above pounding out "Yours received and contents noted" on their typewriters. Dorothy connects first. And her wealthy husband obligingly dies leaving her a feminine Monte Cristo. So when Judy weeps her tale of love blighted because of financial disabilities, the girl friend jumps into the breach with the remark that "us stenogs must stick together." Dorothy secures her chance, and at the, cost of nothing more than promises she secures the business preferment which makes Ronald rich. So these are wed. And then the trouble begins. The slow seeping of gold-dust into Ronald's sou! is well portrayed. Man-like he forgets where gratitude is due, and when the blonde possessor of Broderick's billions calls, he gladly answers. There are some big scenes showing the lavish entertainments staged by the muchmarried siren. The grand ball room of her palatial residence is disguised to represent various environments. One is a circus, with side shows and everything. And the freaks gaze in wonderment at the antics of the "normal" beings, and comment to one another. There is a smashing climax in the sequence where the ruined Ronald finds his wife in Gillespie's rooms. He strangles her, and she protests that she likes it, for it shows that blood has returned to his veins in place of the gold that had contaminated them. The cast is uniformly excellent with Leatrice Joy, and Robert Edeson having a shade the best of it in a close contest for histrionic honors. Edmund Burns is effective, though, and Helen Sullivan quite in character as today's heiress who was yesterday's stenographer. Feature this as a Cecil B. De Mille production, directed by Rupert Julian. Hail Leatrice Joy, and use the pulling title in catch lines, advertising and stunts. CALIFORNIA STRAIGHT AH1AD UniversalJewel Photoplay. Authors, Harry Pollard and Byron Morgan. Director, Harrv Pollard. Length, 7,238 feet. CAST AND SYNOPSIS Tom Hayden Reginald Denny Betty Browne Gertrude Oimsied Sam Tom Wilson Creighton Deane Charles Gerrard Mrs. Browne Lucille Ward Jeffrey Browne John Steppling Mr. Hayden Fred Esmelton James Leo Nomas Tom celebrates his last night of bachelorhood well but not wisely, and ends in a hospital. His fiancee refuses to proceed with the wedding and Tom is not only cast adrift by her family, but also by his own. Disheartened he begins a honeymoon without a bride accompanied in his touring trailer by Sam his valet. En route he meets the girl and her family, rescues her from circus animals which break loose during a storm, and kidnaps her in an elopement. They marry and beat the other party to Los Angeles by several days Here Tom substitutes as driver of his fatherin-law's racer in the motor race at the Ascot track. Of course he wins and is reinstated in the affections of the bride's family and his own. REGINALD DENNY is here again in a riot of fun. This is the type ot vehicle in which he is at his best. And Denny at his best is as fine a drawing card as any screen comedian. The story is logical, and contains all the elements requisite in registering sure-fire at the box-office. There is romance, a world of laughter, the excitement of wild animals escaped, and the heart-stopping thrills that come with the sight of motor cars speeding cometlike round a racing bowl. The picture runs eight reels, and the fact that there is not a" slow moment speaks volumes for the work of the star and that of the director. It would be difficult to imagine a better scene than that showing the escape of the circus animals during a tremendous storm. The "bulls" and the "cats" trumpet and roar, while the occupants of the monkey cages grimace and scream. Quite naturally, the occupants of the automobile camp are in a frenzy of fear. Then our gallant hero to the rescue — brave and funny. It's a big sequence. There are not a few of the so-called minor touches which combined help in carrying the burden of hilarity. The idea of having the hero eke out a living through the culinary ability of his negro valet is fraught with humor. Tom and his colored retainer sell chicken dinners when the gasoline money gives out. Another bit shows Tom rescuing his father-in-law's party from a mud-hole. And, of course, in the process of doing so the irate motor-car manufacturer is accidentally tossed into the puddle. There may be nothing startlingly new in the spectacle of an automobile race. But there is most certainly a quite decided thrill in watching the dare-devils of the track speeding around the bowl with death lurking at every curve. When Tom wins, even the sourhearted father-in-law gives a hearty three cheers, and all but the most blase audiences will join in with a will. Reginald Denny is right up to his usual standard in this latest effort. He offers a very satisfactory characterization of the lovable Tom Hayden, who in search for excitement manages to get himself left flat at the very altar rail. Gertrude Olmstead, in the sweetheart role, lends color and beauty to the production, and Tom Wilson in familiar black-face contributes more than his share of laughs. John Steppling is excellent in the lesser role of Tom's father-in-law. Tell the town you are showing Denny's latest, and one of his best. Feature the circus stuff and the automobile race. Use the title in ad copy and throwaways, and secure window space from garages, automobile supply stores, gas stations, etc. Tie-up with motor-car agencies for street parades and similar ballys. THE COAST OF FOLLY Paramount Photoplay. Adapted by James Creclman from Coningsby Dawson's novel. Scenario, Forrest Halsey. Director, Allan Dwan. Length, 7,001 feet. CAST AND SYNOPSIS Nadine Gathaway} Gloria Swanson Joyce Gathaway J Larry Fay Anthony Jowitt Count de Tauro Alec Francis Constance Fay Dorothy Cumming Cholly Knickerbocker Jed Prouty Nanny Eugenie Besserer Reporter Arthur Hausman Nadine Gathaway deserts her wealthy husband for romance and disappears for twenty-odd years. Joyce, her daughter, grows to womanhood and inherits her father's millions with the stipulation that she remain untouched by scandal. Joyce, a hoyden, "plays around" with Larry Fay, and his adventuress wife sues her for alienation of affections. Nadine, now Countess de Tauro, returns from France to protect her daughter. She "frames" Mrs. Fay in a wild party and forces her to withdraw the suit and give Larry his freedom. She then confesses to her husband, the Count, who springs a surprise by saying he knew the truth all along. She and the Count decide to grow old gracefully and Larry is to marry Joyce when free. HPHEY'LL always walk a mile to see Gloria. And when they watch her characterizations in "The Coast of Folly," they will leave the theatre well repaid for the efforc. In this latest effort, the brilliant star is afforded unusual opportunitiy to display her genius. And not one chance escapes her. As Joyce, the daughter, she is more radiantly beautiful than ever. As Nadine, the mother, she contributes a noteworthy portrayal in the role of a world-weary woman waging a losing battle to retain a youth long since fled. Perhaps the best of the many big scenes is that in which she confronts her former friend, Constance Fay. It is Constance who has made the insinuations that bid fair to, ruin the reputation of Nadine's daughter. And also to deprive her of a heritage of some thirty millions of dollars. She brings into play all the weapons at her command. Finally having her daughter's enemy in her power, she forces her to withdraw all damaging statements and also to give Larry the divorce that will enable him to marry Joyce. Gloria's make-up as Nadine is little short of marvellous. In the double exposure shots it is hard to believe that the wrinkled grande dame and the peach-skinned flapper are one and the same person. In some instances the star's appearance is reminiscent of Leslie Carter, and at times even of the Divine Sarah Bernhardt herself. Not only is her performance of general excellence, but she contributes many minor touches that are perfectly in keeping with the character. Her pathetic love for her latest husband, the Count, is not without its pathos. And there is real drama in the scene where she determines to sacrifice herself in behalf of her neglected daughter. Of course, Gloria's interpretation of her dual life is head and shoulders above her supporting cast. She is excellent in every gesture. Her every action will be remembered by your patrons long after they have left your playhouse. Next best is Alex Francis in the sympathetic role of Count de Tauro. He is a worldly wise old fellow. And he understands women thoroughly, especially the whims and foibles of his wife. Anthony Jowitt, a new comer, plays Larrv Fay, Joyce's lover. He seems rather camera conscious, and renders a stilted performance, never impressing one with his sincerity or realism. The remainder of the cast is up to the mark, with special mention for Eugenie Besserer as the nurse. Feature Gloria Swanson in the brightest lights you can get. Arouse interest in the title. Through your local papers secure the opinions of prominent women regarding Nadine's sacrifice for Joyce. Also regarding the question of divorce. Style shows and window displays will help.