The Film Daily (1922)

THE ■S&H DAILY Sunday, October 15, 1922 Unusually Powerful Dramatic Entertainment In Film Version of Stage Play and the exceptionally capable and well suited cast that he has selected. The material must have presented difificulties in adapting it for the screen but Clift has Constance Binney in "A BILL OF DIVORCEMENT" Ideal — Associated Exhibitors — Pathe DIRECTOR Denison CHft AUTHOR Clemence Dane SCENARIO BY Adapted by Denison Clift CAMERAMAN Not credited AS A WHOLE About the most powerful and vivid straight dramatic offering that has reached the screen this season; a mighty fine presentation of stage play STORY Stark drama bared of the sugar-coated covering; a real wallop in the theme DIRECTION Has handled material that must have presented difficulties, excellently ; probably the best English production that has come over PHOTOGRAPHY Good LIGHTINGS All right generally; occasionally too bright STAR Gives a splendid performance SUPPORT. .Fay Compton's work well worth seeing; her portrayal is admirable; others excellent EXTERIORS Many beautiful shots INTERIORS Very good; the opening shot of the Cathedral magnificent DETAIL Given good attention CHARACTER OF STORY Wife granted divorce from husband declared incurably insane is stunned by his return, cured, on eve of marriage ; her daughter sacrifices her own happiness to remain with father LENGTH OF PRODUCTION About 6,000 feet It has been conceded that "A Bill of Divorcement," the play in which Allan Pollock starred last winter, was one of the most powerful dramatic pieces that the stage has ever seen. It is more than likely that the film adaptation, made in England by Denison Clift, for Ideal, will occupy the same position here upon the screen. For sheer dramatic entertainment, minus the sugar-coated trimmings, "A Bill of Divorcement" can hardly be surpassed. All credit is due Denison Clift who made the picture adhered strictly to the original without elaboration or revision. The development is smooth and logical. The continuity is very good. Clift has also provided an excellent production, probably the best that has yet come here from the English studios. There are numerous beautiful exterior shots and the interiors are in keeping with the atmosphere. The photography is all right and the lighting too, with the exception of a few sets that are too bright. A few of the titles might be rewritten. It is somewhat surprising that Clift succeeded in telling the story as comprehensively as he has without using many more sub-titles. But there is no trouble to follow the story. It is always definite. The characterization offered by Constance Binney may be the best thing she has done so far. The development of the character, that of a modern young lady with the modern view of things, contrasted with the girl she shows herself to be later on — when she sacrifices her own happiness for that of her mother's, is really worth while. And too much cannot be said about the excellent performance of Fay Compton, the wife entitled to a divorce under certain laws protecting the woman married to a man declared incurably insane. The individual types ^re well suited and splendidly handled. Malcolm Keen, who played the role of Hilary Fairfield on the English stage, has the same part in the film. Story: A bill provides that after a certain length of time the wife of a man incurably insane is entitled to a divorce. Meg Fairfield secures a divorce from her husband, Hilary and is about to marry Gray Meredith when Hilary returns, cured. Sydney, daughter of Hilary and Meg, is engaged to Kit Pumphrey, son of the parish rector who refuses to permit his son to marry Sydney when he learns her mother is divorced. How Sydney sacrifices everything that her mother may find happiness and remains with her father completes the story. You Can Promise the Most Unique Self -Sacrifice Theme They Have Ever Seen Box Office Analysis for the Exhibitor It is doubtful if you have ever had anything as strictly or powerfully dramatic as "A Bill of Divorcement." And it is a fine picture, one that is going to start them talking because of the wallop that it contains. If ever there was dramatic punch, this has it and for those who favor dramatic entertainment, it is going to prove a great success, undoubtedly. The best angle to play up is the remarkable selfsacrifice of the daughter. If you can give them an idea of what it is about without letting them in on the whole story, do so. Let them know that it has to do with a young girl who sacrificed her own happiness to make her mother happy and to protect her father. The picture will probably be well patronized wherever the stage play has been seen and you might play up the title prominently. You could also interest them from another angle if you see fit. The question which the story raises relative to a wife bound by the marriage law to a man declared incurably insane. It is more than likely that you can start some interesting discussions by raising this point. Use the name of Constance Binney, the best known of the players, but promise them fine work, giving Fay Compton the mention she deserves.