The Film Renter and Moving Picture News (May-Jun 1923)

May. 12, 1923. w Productions. | Week's Pictures. halite should be a good reception for this series of Edward Godal’spictures, and their release fortnightly from October 1 next will be welcomed by all those who wish to open well with. the winter season, : The Girl in the. Taxi. A highly diverting picture, with parts tor Mr. and Mrs. Carter de Haven. : RELEASED BY ROSE FILMS. Length, Five Reels. Release Date, September 8, 1923. ——— : VERY amusing comedy admirably adapted for the screen. It has all the elements of a good French farce of the Palais Royal tradition, and is acted with the requisite © gusto by all concerned. Its chief fault lies in the casting of the chief character. Mr. Carter de Haven is supposed to represent a youth still in his teens—the “ baby ”-of the~family—who, quite by accident, strikes up an acquaintance with an amorous married lady in a taxi. But, beyond’ the fact that he’ is short and agile, there is not much in Carter de Haven to suggest youthfulness, and rather lessto suggest innocence. He looks what lhe is—a well-sensoned screen actor who, in his time, ‘has played many parts. So that when we see him being fussed over by his mother, or trying to wheedle more pocket-money out of his father, we do not find him very convincing. Apart from that drawback, ‘‘ The Girl in the Taxi” is a certain mirth-provoker, and it is worked up to a crescendo of humorous excitement. The lady met by our young hero turns out to be the wife of a perfume manufacturer who,.for some strange reason, turns up at odd times in the uniform of an admiral. In this bo is supposed to strike terror. into. all beholders. Tis wife gives a rendezvous to her would-be lover in a private room at a smart restavrant, whither, also, arrive the young man’s father and an elderly friend, both on amorous pleasure bent. The various surprise entrances and exits of the party constitute the main part of the fun. It is the old ‘* night out "? theme with several comic variations. The lady darts in and ont of a curtained aleoye to dadge her ferocious husband, who chases her lover round the restavrant when he discovers his game. Eventually a policeman joins in the pursuit, and it is throuch his intervention at a critical moment of tho “ explanations '’ that the reputation of everybody is saved: The final scono is very rich comedy indeed—the situation for the masewline members of the party being complicated by the fact that the waiter of the night before has been engaged as butler of the honschold during their shsense. In the end, of course, a very innocent complexion is nut on their joint escapade hy the alib lies of the policeman aforementioned. ‘* But how did you gct him to tell that tale? '' asks the embarrassed father of his precocions son, ‘' Oh, that was easy,” replies the latter, “T gnve him your watch.’” “Tf the laughter evoked at the trade show by this, on the whole, well-acted drollery is any criterion of the general amusement the production will create in the kinemas, exhibitors will he on a good thing in booking this latest Rose release, THE FILM RENTER ‘&:MOVING PICTURE NEWS.” 38. Scenz rzom “Tue Propican Kyieur.” The Prodigal Knight. A well:produced subject with an all-star cast—Great ‘technical proficiency but poor-story. RELEASED BY FAMOUS-LASKY. Length, ‘7116 feet. Release Date, October 29, 1923, HE production and acting merits of this latest offering from Famous-Lasky are rather more striking than its story. A picture which presents such truly famous players as Wallace Reid, Gloria Swanson, Wanda Hawley, Bebe Daniel, Elliot Dexter, and Theodore Roberts can certainly claim distinction on the-histrionic side.. Its method and style, too, are admirably finished and polished; the settings are lavish and the photography tke last word in perfection. The story alone is on the weak side, being more in the nature of a series of disconnected episodes than a continuous and well-knit drama. This criticism, however, is directed.against its technique rather than against the actual story material, which will doubtless find favour with all who care for the kind of sentiment in which it is soaked. Anatole de Witt Spencer is a romantic young man with a passion for rescuing lovely ladies. in distress. Naturally, his wife (who is also lovely), does not share this emotional ideal, and, in her situation the sympathies of all sensible people will be strongly with her. Anatole expects rather too much. He expects, for iustance, that his wife ought to. jump. at, the chance of helping ee ee eee ae ree pe Re! Ae re “Bory bynn ov “Tae Sacririce.”’