The Film Daily (1922)

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h Some Short Reels "With Stanley in Africa" — Universal Type of production 18 chapter serial At the end of the 19th century the attention of the entire world was directed to Stanley's expedition into darkest Africa in search of Dr. Livingstone. Stanley was at the time correspondent for the New York Herald in Paris when James Gordon Bennett, Jr., son of the owner of that paper, commissioned him to find Livingstone. It was 1871 and the slave trade with "the dark continent" was still flourishing. In spite of emancipation in many countries there were powerful forces active at the time attempting to keep slavery alive. Livingstone had opposed slavery in the very country from which slaves came. But in 1871 many believed him already dead, and only vague' reports of his existence reached the outside world. Stanley had verj' little information to go by; unknown dangers awaited him. Besides the elements of nature such as wild beasts, swamps, jungle, hostile natives, fever, deadly insects and reptiles, Stanley had the forceful opposition of the rich slave traders and their agents. Determination and pluck and carried him on, his goal ever before him — "Find Livingston." Such is the historic framework upon which has been built the latest Universal chapter serial. The facts are well adhered to and the scenes a fair representation of Africa before civilization reached it. A little romance has been added to heighten the interest and some drama with sure-fire stuflE inserted but the main facts are held well in the foreground. The adventurous expedition and the character of Africa provide plenty of room for thrilling action involving the beasts of the jungle and the savages of the land. George Walsh and Louise Lorraine are the featured players. George Walsh takes the part of the young scientist who is sent to accompany Stanley, while Louise Lorraine is engaged by a pro-slave newspaper to trail the expedition. William Welsh, Gordon Sackville and Charles E. Mason are included in the cast. The production was directed by Edward Kull and photographed by Jackson J. Rose and Layton Moore. There are many points of interest in this chapter-play that the exhibitor can advertise to his patrons. Besides the historic interest, which many of the older folks will recall as having thrilled them years ago, the exhibitor has a setting that is filled with excitement and mystery. There is the terror of the head-hunting savages, the weird orgies of the cannibal worshippers and their lust for human fleas, the strange wild beast of the jungle, the slave markets and the schemes of the traders and the first class romance of a daring, red-blooded white man piercing the unknown and battling the forces of nature to rescue a lost missionary of distinction. "The Bashful Lover"— Ay Vee Bee— Pathe Type of production 2 reel comedy Ernest Truex is the star in "The Bashful Lover," a mild two-reel comedy. The situations are old and the comedy work tame. The story is told of a poor little fellow who is being forced to marry the big hefty woman because she is the choice of his aunt. An entertainment includes a lot of aesthetic dancing, and somehow or other the dancers get into the little fellow's room and use it for a dressing room. The aunt enters and complications follow. Then the young man falls in love with the star dancer and they are married in the vestibule after both doors are locked upon their pursuers. At most, the entire action in "The Bashful Lover" consists of walking or running. Little attention has been paid to comedy detail or attractive gags. "The Phantom Terror" — Navy Feature — Universal Type of production 2 reel drama "The Phantom Terror" is a story of the sea but is different from the usual marine drama. It has the romance that is associated with the sea, and at the same time it contains as many thrills as the average western. This combination makes an entertainment picture that is attractive and satisfying. It is full of action, punch, daring and presents some novel shots and situations. A good deal of the interest in "The Phantom Terror" is centered upon the submarine scenes which show the boats in action both above and beneath the surface of the sea. The hero allows himself to be shot through the torpedo tube and climbs aboard the mystery ship from which he is able to wireless for aid. At the naval base the emergency signal is received and no time is lost in rushing to the rescue. One or two splendid shots follow showing the large fleet of U. S. submarines plowing through the high sea in battle formation. In the meantime the hero is fighting the terrible crew of "The Phantom Terror" single handed. He mounts the mast and climbs the ropes, fighting his way to the top holding off the gang till aid arrives. A shot across the bow forces the surrender of "The Phantom Terror." Back home in the little fishing village a girl awaits the arrival of the hero who has now proved his metal. Jack Perrin plays the role of the sailor boy fighter, and Gertrude Olmstead has the part of the girl. The offering is away from the usual and is filled with sure fire stuff. The fights will thrill almost any audience, and the naval attack of the government boats will bring down a good deal of applause. This attempt to break away from the cowboy stuff will be welcomed by many, especially as none of the excitement or thrills that go to make a good western are lost in this naval drama. "Stage Struck"— Hal Roach— Pathe Type of production 1 reel comedy "Stage Struck" is full of fun and has some clever comedy gags. "Snub" Pollard waits at the stage door with the other Johnnies while Marie Mosquini plays the role of the temperamental leading lady. The cop on the beat dresses himself in woman's clothes and allows the Johnnies to follow him to the ice cream parlor across the street, but as soon as they enter he locks the door and reverses the ice-cream sign allowing it to read — "City Jail." "Snub," however, did not follow the crowd but worked his way into the theater and climbed under the waves on the stage spoiling a thrilling rescue. Then the hero quit and "Snub" takes his hand at acting. The climax comes where a box of fire-Works is set off from the balcony of the theater by the jealous hero. This is followed by a series of amusing slap-stick stunts. The action is speedy and the entire production above the average of the series. Few of the gags are really new, but they are all done in an attractive manner and will provoke laughter. "The Bear and the Bees" — Aesop's Fables — Pathe "The Bear and the Bees" is another one of Paul Terry's funny offerings. While the animation is good and some of the action funny, it is not up to the high standard set by other numbers of the series. Mr. Bear has a very nice time in the world playing his little guitar and getting hit in the head with pots, pans and cocoanuts. Mr. Bear then gets away with a barrel of cider and finally tackles a hive of bees. It is here that he meets his Waterloo. The moral derived from this little story is: "Evil gain brings pain." The concluding shots show the bear swimming in the water to rid himself of the bees.