The Film Daily (1923)

THE Sunday, May 20, 1923 <^ DAILV Impressive Presentation But Too Much Footage "THE PRODIGAL SON" Stoll Production — Release undetermined DIRECTOR A. E. Coleby AUTHOR Sir Hall Caine SCENARIO BY A. E. Coleby CAMERAMAN Not credited AS A WHOLE Impressive presentation of Hall Caine's forceful story with the interest somewhat lessened because of length STORY A strongly dramatic story, considered Hall Caine's masterpiece, given fine production DIRECTION Very good on the whole; cutting makes continuity poor at times PHOTOGRAPHY Very good LIGHTINGS All right PLAYERS An entire English cast very well chosen in the main EXTERIORS Unusually fine; include shots in Iceland, Paris and Nice INTERIORS Suitable DETAIL Entirely too much CHARACTER OF STORY Tragedy results because of faithless husband whose brother sacrifices his entire life for the other's happiness LENGTH OF PRODUCTION. .. .About 10,000 feet When Stoll Films of London made "The Prodigal Son," one of the greatest of Hall Caine's works, popular twenty years ago, it was expected to be a big picture. It is, but its tremendous length and tiresome detail plus the cutting necessitated to bring it down to the length of an evening's entertainment has resulted somewhat disastrously for the production The film was released in London in two sections shown on succeeding nights. As presented here it is complete in a ten-reel version. The story, which was tremendously full of detail, has been followed closely and the finished result is a production that in spite of its excellent presentation and many dramatic climaxes wearies by the vast amount of footage. The American editors have made the mistake of trying to clip scenes instead of removing entire sequences. This helps little, and at times proves annoying. There is no relief, not a laugh, which adds to the sombreness of the production. The exteriors throughout are exceedingly good. There are numerous fine locations, including some splendid shots in Paris, one in particular showing the exterior and interior of the famous Church of the Madeleine, another shows the River Seine with the Eiffel Tower looming in the distance, and still another the Casino at Nice. Many scenes taken in Iceland, a new location for the setting of a screen story, are also particularly interesting and beautiful. The players on the whole are exceedingly sincere and the work of Stewart Rome as the elder brother is genuine and forceful. Louise Conti, as the mother, is not particularly well-suited. Colette Brettel is sweet as the wife and later her daughter. The first half of the picture seems, in spite of its less dramatic scenes, to be more interestingly presented than the latter half, which is inclined to jump over great spaces of time with only a title ; for instance, after Oscar escapes from the Casino where he has won illegally at baccarat, you do not see him again for sixteen years, and then he is scarcely recognizable. The ending is too long dragged out, but has been given the necessary happy touch with the saving of the old farm from the sheriff by means of the money left by the unrecognized prodigal son. Might Prove a Good Attraction If Gut — Be Careful Box Office Analysis for the Exhibitor Those who like a strongly dramatic story with a moral may be well pleased with this, and those who desire something different in atmosphere and locations may find this entirely satisfying. It is a really big picture handled in a way that will impress and after it has been cut from its present tiring length it might prove an excellent attraction. Feature the fact that it is the first picturization of the popular novel, and has been made abroad on the actual locations mentioned in the story. The cast contains no names known here, but you can promise some very good dramatic work. This picture was made on a large and probably expensive scale and if and when released may be brought to you on a high valuation. Because of this you had better make certain of seeing this before you finally complete negotiations.