The Film Daily (1924)

«■ THE mmnk DAILV Thursday, October 2, 192 Newspaper Opinions "Dante's Inferno" — Fox Central AMERICAN — * * * A modern story has been added to the Italian poet's classic. * * ♦ Dante's "Inferno" seems * * * to be the illustration of a bad dream. Even with such modern folk as Ralph Lewis, Gloria Grey and Joseph Swickard, we realize that we are seeing something unreal. One thing — the shortness of the picture is a virtue, there is not too much of either hell or life here on earth to become tiresome. BULLETIN—* * * The photography, the spectacular settings, the arrangements of these diabolical scenes are really marvelous. « * * DAILY MIRROR—* * * Director Henry Otto has visualized the Inferno with rare impressiveness — according to Dante's description of it — but he has destroyed its effectiveness by too much repetition. The modern story woven throughout the film is oppressive and unpleasant, and in the end it all turns out to have been a nightmare. Cameraman Joe August has executed some marvelous photography in the Inferno sequences. This, in itself, nearly serves to make the picture one not to miss if you are interested in startling effects. * * * EVENING JOURNAL—* * * Spectacularly, the photoplay is interesting, showing the various punishments that might be conceived to fit the various crimes. * ♦ * There are all the picturesque circles of the Inferno ; every pissible penalty inflicted on shrinking transgressors. • • * EVENING WORLD—* * * The director has reveled in the traditional terror of hell, he piles horror upon horror with the most naive and innocent delight. It is a pictorial orgy of blood-stained furies and boiling pitch, of bat-winged fiiends and harpies and everlasting flames, and through it all the white, writhing figures of the damned "blown like cranes upon a mighty wind." * * * GRAPHIC—* * * has thrills aplenty for those who like the grotesque and fantastic. It also offers some interesting examples of the triumphs and tricks of photography. * * ♦ MORNING TELEGRAPH—* * * "Dante's Iixferno" * * * is an amazing affair. Henry Otto * ♦ * has handled his big scenes wtih astonishing skill and has presented remarkably vivid pictures of the hereafter, down below. Of course, there is a modern story interwoven with Dr. Dante s immortal allegory. » » » "Dante's Inferno" teaches the lesson of goodness in ^he ancient fire and brimstone methods, but it is a vivid picture and most startling at times. The spectacular moments will astonish one. * * * POST — * * * As picture entertainment, however, it is very interesting. A modern story runs parallel to the poet's conceptions of the torrid regions, the two being very deftly interwoven, so that the interest in each is maintained to the end. The scenes in hell are remarkably well done, and, even though you never lose the sense of make-believe, you are often impressed with the sincerity of the producer's effort. * * * SUN — * * * You will enjoy "Dante's Inferno'' as an unusiial spectacle of un»ven merit. But if you value pour peace of mind at all, don't take any intoxicating drinks before you enter the theatre — unless, of course, you are just dying to be sent away for a cure. For Sale TWO KNOCKOUTS The Picture Rights of "MARY MINDS HER BUSINESS" By George Weston. This story appeared in the Ladies' Home Journal and is now pubUshed in book form. ALSO "LITTLE BOSS OF BIG BEN" By Kathleen Eggieston. An Argosy story. If interested wire, or write National Film Corporation of America Santa Monica Boulevard and Lodi St. Hollywood, California A Questionnaire In an effort to make THE FILM YEAR BOOK, 1925, more than usually attractive exhibitor readers are requested to fill in the following questionnaire and forward the information to this office. Exhibitors are urged to furnish this information at the earliest available moment, bearing in mind that the replies can be changed for corrections, etc., up to November 1. What star proved your most popular box office attraction during 1924?What director's production proved most popular with you during 1924? What three feature productions gave the best box office satisfaction during 1924? What three short subjects gave the greatest box office satisfaction during 1924? If you own or operate two or more houses please give names and locations. What first run houses do you operate? Your name, address, etc. Address all replies to THE FILM DAILY, 71 West 44th St., New York City, Department YB, TIMES — * * * A modern story is ably entwined with the action of the peregrinations of Dante, and now and again one is relieved to be brought back from hell to the world. * * * Henry Otto * » * made this amazing pictorial effort * * • It is imaginative and almost uncanny, redeemed by the interludes of the everyday world, in which there 'S some happy comedy .* • * WORLD — •* * * an astounding and remarkable film. I think it is most important as an exhibit of lighting, grouping and photography. ♦ ♦ • * * * The scenes of spiritual torment which tramp the screen * * * are as completely worked out and as finely fantastic as anything I have ever seen. "The City That Never Sleeps"— Famous Players Rivoli AMERICAN—* * * The City That Never Sleeps," for a picture of that type, is above the ordinary. * » • * * * James Cruze's direction and his cast far out-weighed and trivialties of plot. » » ♦ * * * Louise Dresser ♦ * • plays the mother with e-xceptional understanding. Anyone who enjoys melodrama will make no mistake in visiting the Rialto this week. * * * a melodrama so well done it may even convert those who do not care for this type of picture. BULLETIN— In "The City That Never Sleeps" liquor plays a prominent part. Hell's Kitchen ♦ • * fumfsTies the setting for the story. * * * played by a capable cast headed by Louise Dresser * * * and Ricardo Cortez « * * It is a strictly modern picture and holds the interest of the audience throughout. The climax of the picture is especially well done. DAILY MIRROR— "The City That Never Sleeps' is clean. With such a title, James Cruze's latest ♦ ♦ ♦ should really have a generous dash of the risque. It unfolds a dramatic story of mother love. * * * The story itself * * * is tiresome, but Director Cruze has succeeded in adroitly lifting it from the ranks of mediocrity by those deft little touches of which he has proven, himself a master. • ♦ * DAILY NEWS—* * * A rather satiny picture for Mr. Cruze to attempt, with little humor but lots of gorgeous clothes and not a few cocktails. EVENING WORLD—* * * It is an old plot, but it has been directed with humor and imagination by James Cruze, and Louise Dresser as the mother makes it genuine and touching. Virginia Lee Corbin played the daughter as if she were made of golden flax and sawdust and lots of pretty porcelain. * * ♦ HERALD-TRIBUNE—* * * Years ago, when we used to see obscure "movies'" in outlying theaters, we have encountered ingenues like this one, but, thank God, not for a long time I However, a picture cannot be without interest when it has such nice people as Louise Dresser, Ricardo Cortez, Kathlyn Williams and Pierre Gendren. They almost made you believe in "The City That Never Sleeps." • • • MORNING TELEGRAPH—* • * Th production is enlivened by some distinctiv I details of direction which always mark Jam Cruze's pictures as out of the ordinary. * * POST — * * * a typical program picturt which means that it is "average" havin some good and some bad features. Louis Dresser, who plays the leadnig role, savi it from a total eclipse by her very intelliger work ; without her, there wouldn't be muc in it worth talking about. • ♦ * TELEGRAM— » • » The picture is sturdi propped up by flashes of dancefest ai drinking parties, luxurious bachelor quarter raids, courtrooms and all that moral par. phernalia by means of which the movin pictures depict and deplore the tide an backwash of city life. It is quick an dramatic in its telling. • * * TIMES—* • • The theme is interestin and quite logical as to argument. * * • Although this is indubitably a melodr. matic effort, it is nevertheless a stron entertainment through Mr. Cruze's imagini tive and clever direction. There are seem of a decade and a half ago when the corni saloons thrived * * ♦ which are faithful! produced. And, as a contrast to these, i the latter part of this picture there are s quences showing the modern cabaret. * * WORLD— * * * The early sections of a this, down town in the family saloon, ga\ indications that an excellent film would d' velop. But on the way uptown the pli lost its way, slowed up, and roused itsc only partially at the climax. Ricardo Cortez coped ably with the oi role of villain. Virginia Lee Corbin was a that the word flapper used to suggest.