The Film Daily (1926)

TKC iJS^ DAILV Newspaper Opinions New York "The Black Bird" M.-G.-M. Capitol AMERICAN—* * * Lon Clianey is at his best in crook roles. "The Black Bird" is not a second "The Unholy Three." But it is the same type of story, smoothly directed, well cast. * ♦ * DAILY MIRROR—* • • In its way, it is a superb screen offering. It throbs with primitive emotions. Its action swirls in the cesspool of hate, love, fear and subordinating emotions. * * * DAILY NEWS—* * * An interesting story. The squalor of the London slums is well depicted in scenery and by some exceptionally good character people arrayed as "background" for thie principals. * * ♦ EVENING JOURNAL—* * * Browning has picked startingly unusual types for the picture. * * * But it's the weird atmosphere and the creepy thrill of Limehouse that makes it all so thrilling. If you like crook play, you'll stay to see this one a second time. ♦ ♦ • EVENING WORLD—* * * Unless 1926 is a' year of most unusual pictures, "The Blackbird" will be a strong contender in the lists of best pictures. It is the picture of the month by a comfortable margin. • • • HERALD-TRIBUNE—* * * "The Black Bird" is a fascinating picture, at least 100 times better than "The Tower of Lies." * * * Renee Adoree is charming ♦ ♦ ♦ Lon Chaney is a generous star to have Miss Adoree in the picture. She almost steals it away from him. » » * MORNING TELEGRAPH— * * * Chaney's characterization is replete with deft touches. He can toss away a cigarette in 3! manner to send a shiver down the spine of the apprehensive ; can pluck a ^aisy from Miss Adoree's bouquet with a sinister implication that cannot be put into words. * « « POST — * * * Lon Chaney, as usual, is blest with a most effective contrasted dual role — that of a Limehouse crook, who masquerades as his brother, the crippled "Bishop" of the neighborhood welfare mission — and Mr. Browning has seen to it that a story of more than a little interest accompanies his setting and his star. * • • SUN—* * * His (Tod Browning) exceptional talent for eerie, malevolent melodrama is visible in almost every scene of "The Blackbird," and perforce, it is the best of its kind since Mr. Browning made screen history with a few unholy grotesques from a sideshow. * * • TELEGRAM—* * * Lon Chaney, while he does not approach the nadir of repulsiveness which he achieved in his Phantom makeup, still contrives to be commendably sinister. * * » TIMES—* * * Tod Browning, who produced "The Unholy Three," strikes the gong again with a production which possesses a streak of "Jekyll and Hyde," glimpses of "Limehouse Nights" and incidents of Hornung's "Raffles." * * * Mr. Chaney's depiction of the two types of crook is one of the finest exemplifications of screen artistry one would hope to behold. * * » WORLD— * * * Mr. Chaney acts as himself, a thug, and his brother, a Bishop, and unjoints himself to beat the very devil in arriving at grotesquerie in makeup. Still. Mile. Fifi (Renee Adoree) is, to my way of thinking, far the most interesting person treading the screen where "The Blackbird" is showing. * • • "Memory Lane" First National Strand AMERICAN—* * * A picture that is just so much candy to wives and an equal amount of poison to husbands. The number of husbands who are going to sink way below the zero mark in their wives' estimation because of "Memory Lane" is appalling. Sweetness simply oozes out of its every reel. * • • DAILY MIRROR—* * » The story, fea turing Conrad Nagel and Eleanor Boardman, scales into the bantam class, being amazingly light and lilliputian in plot. Eleanor Boardman contributes a graceful, lovely performance as the girl Mary, beloved by two men. * • * EVENING JOURNAL—* * * It's a simpel tale about two boys and a girl, and is mildly enjoyable. There is some delightful pantomime when the neighbors start gossiping, and all the players are well cast. * » * EVENING WORLD— * * * Every one connected with this production deserves full credit, but Director John M. Stahl probably earned the credit for all. See "Memory Lane" — particularly if you are in the habit of damning the movies for their manifest sins. "Memory Lane" is different. * * * GRAPHIC—* * * The settings are attractive and the production is well directed. It would have to be, for such a slim story poorly handled would be banal. Incidentally there is the sweetest baby in this picture that we've ever seen on the screen. « * » HERALD-TRIBUNE—* * * That master of comedy, John Stahl, has fashioned one of the saddest picture-plays we ever saw. * * * It is a story of a girl who marries the man she respects instead of the man she loves. * « * MORNING TELEGRAPH—* * * Some "dififerent" shots of the cutest year-old baby ever seen on the screen. * ♦ • The scenes in which he (?) appears are delightful, and it's a great pity that they are so few and are preceded by so many feet of utterly actionless and uninteresting film. • » * PlOST — * * * Eleanor Boardman, Conrad Nagel and William Haines deport themselves well enough throughout the not very exciting proceedings, making "Memor> Lane" just one of those nice, sweet pictures, restful to the eyes. * * * TELEGRAM—* * * Is good enough entertainment * * * and it contains the best work that Conrad Nagel has produced in some time. * • * TIMES — * * * An amusing, smoothly running small town comedy *, * * In it a baby shares honors with the natural and charming Eleanor Boardman. * • * WORLD — * * * Among the illustrious sob sipters of the current year may be noted in heavy red ink "Memory Lane." * * • It is perfectly true that this may represent a slice of life in the towns out yonder, but it seems pretty dull stuff to me. * * * "The Song and Diance Man" Paramount Rivoli DAILY MIRROR—* * • Is good all around hokum, sliding helter-skelter-ish from "sob" to love spirited action. * * * DAILY NEWS—* * * The picture is well worth viewing, however, if for no other reason than to watch Bessie Love dance the Charleston. * • * EVENING JOURNAT.— * * * The film follows the George M. Cohan play faithfully, and there is plenty of color and entertainment. * » * EVENING WORLD—* * * In this oicture, Mr. Brenon made particularly effective use of close-ups, showing how one character and another reacted to dramatic moments in the action. "The Song Dance Man" is good entertainment of the lighter sort. • ♦ • HERALD-TRIBUNE— • * * No great contribution to the art of the motion nicture is this "Song and Dance Man," but aided considerablv by the attractive performance of Tom Moore in the Cohan stage role, it does manage to be. despite its sentimental exaggerations, reasonably pleasant entertainment. * * * MORNING TELEGRAPH— * * * Proved agreeable entertainment. In fact, some of the titles contributed more than that. The audience freouently laughed heartily at them. But there always seemed a let-down when the action was resumed. * * * POST — * * * Measures up verv well indeed to the old movie formula : "Give 'em a tear and then a smile, then another tear and another smile, but end up on a smile." » * ♦ SUN — * * * In its motion picture reincarnation, borders at times on conventionalities, although it is a passably entertaining production. • * • TIMES — * * * The story of which, except for a few good comedv interludes and an occasional flash of originality, is iust about what one might expect from such a title. It contains spongy sentiment without much that could be construed as suspense. * » » WORLD — * * * Mr. Brenon has made excellent use of fleeting incidents which spell out the characters of his people. A practice all too seldom engaged in. if I know anything about directors of the cinema. And largely because of this he has given to the screen an almost continuously entertaining play. • • » GRAPHIC—* * * There is much "back stage" atmosphere, which is always intriguing, in this picture, many beautiful girls and gorgeous gowns. Yes, Herbert Brenon has done another good job in directing his latest film. * * * SUN — * * * Innocent and harmless, meek and mild — that string will describe "The Song and Dance Man," a movie version of George M. Cohan's play. * ♦ * Probably its one authentic gleam, its one spark, is the Uather ingratiating performance given by Tom Moore, as Happy Farrell, the vaudeville trouper of the title. * ♦ ♦ Out-of-Town "Clothes Make the Pirate"— 1st Nat'l Capitol, St. Louis GLOBE-DEMOCRAT—* * * Leon Errol is the principal figure in the entertaining satire, in which there is not a dull moment. » » # POST-DISPATCH— * * * Clothes may make the pirate, but they do not make the play. Nor will a pair of collapsible legs support a feature length comedy. These reflections must come to anyone who has seen Leon Errol's disappointing performance. * « * STAR—* • • The story is fun clear through, and amply fills its mission of ushering in Laff Week at the Skouras houses. Leon Errol of the famous comic legs is the transformed Tidd. * * * TIMES—* • • There are a goodly number of laughs in "Clothes Make the Pirate." And the action is effected by a minimum of slap-stick devices. * • * "The Keeper of the Bees"— F. B. O. Strand, Detroit FREE PRESS—* * * The picture is notable also for its scenic views, providing a picture that will delight the eye and appeal to the intelligence of an audience as well. * * * St. Louis, St. Louis GLOBE-DEMOCRAT—* * * As it stands, the film is good entertainment. There is just enough of the old-fashioned home and living atmosphere to make it interesting. • • ♦ PiOST-DISPATCH— * * * There are two long death scenes, plenty of bees, an uncommonly picturesque setting and an always entertaining story. • * * STAR—* • • All are related in pictures with much of the charm of the original novel. Lovely rustic scenes and seabeach views abound. • • • TIMES—* * * A strong vein of humor threads the story, despite the affluence of pathos and sob stuff introduced by Clara Bow, who does a death-bed scene. • • • "Lights of Old Broadway"— M.-G.-M. New, Baltimore AMERICAN—* * * But after all its Marion Davies you're going to be thinking about when you leave. Marion who can make you weep and forget it with laughing. * » * "The Only Thin?"M.-G.-M. State. St. Louis GLOBE-DEMOCRAT—* * * It is sentiment, clumsily and unhealthily handled ; the only reason for its scoring at all being some artistically designed sets. Conrad Nagel and Eleanor Boardman. • • • STAR— • • • The story is depicted with a background of glitter and pageantry, and an accompaniment of quick passion that sweeps the lovers off their feet and will not be denied • • • TIMES— • • • Elinor Glyn's greatest glories are not so apparent in "The Only Thing, • « • but the picture is not without merit. The author and the producer have sought to put a thing into pictures that goes very much better in printed words. • • • "The Road to Yesterday"— Prod. Dist. Corn. Caoitol. Cincinnati ENQUIRER—* • * Embodies all those elements of popular anneal which usually may l)e found in a De Mille feature — picturesque settings, throbbing romance, a bit of humor and spectacular scenes ♦ • * TRIBUNE—* » * It is the delirium or dream or nightmare section of "The Road to Yesterday," showing at the Caoitol this week, which makes the picture worth seeing. Here melodrama and tragedy join hands for an effective episode. * * * Friday, February 5, "Sally of the Sawdust"— M.1 Madison, Detroit FREE PRESS—* * * is lackin many little touches of pathos and < tinguishing marks that set Griffith aj : other directors, but it is a picture entertain and delight from first to la NEWS—* * * There is more la, the picture than in any Griffith has e and the customary melancholy colo: works is surprisingly absent. * * • "The Splendid Road"— First Circle, Indianapolis STAR—* * • There is somethir every minute and those who like t of picture with a strong love stor; background will thoroughly enjo Splendid Road." "Sporting Life" — Univers Piccadilly, Rochester DEMOCRAT— ♦ * * The play, a on the screen, is what may be terme( fortable melodrama ; one doesn't think much. * * * JOURNAL—* » * Melodrama, but intelligent, plausible melodram; since andiences seem to love me "Sporting Life" ought to please. * TIMES-UNION—* * * Maurice 1 has been very successful in his dire the old Drury Lane success, and it 1 given elaborate setting and good photi "Steel Preferred"— Prod. Dist. Fay's, Rochester DEMOCRAT—* * * A romance steel industry with a picturesque bac and exciting melodramatic scenes. • HERALD—* * * Melodrama wit of realism in its background and mv ring action. * » ♦ "The Unguarded Hour"— First Rivoli, Baltimore SUN— • * * Doris Kenyon is opposite the stern Mr. Sills in a p( would better have been given to sol hoyden as Colleen Moore, to meni first name that comes to mind. Miss is such an attractive and utterly I creature that we hate to see her a such things. * * » "Wages for Wives"— Foi Fox, Philadelphia BULLETIN— Guy Bolton's stage "Chickenfeed" comes to the screen " "Wages for Wives," and it is a corkii^ comedy. * * PUBLIC LEDGER—* * * The kept well in control and Mr. Born brought out the simple, homely cobI everj^day life to a fine degree. * "The Wanderer"— Paramoi Adams, Detroit ii FREE PRESS—* * * "The Wan^i not a great photoplay, but it is pl«| entertaining throughout, with a nun scenes that while they may shock t sophisticated, will afford an interestin(| of the female form, because little to the imagination. * * • "We Modems"— First Nat Arcadia, Philadelphia BULLETIN—* * * With Colleen, portraying one of her finest character!! this is a spell-binding picture which ii woven about a London background. * * PUBLIC LEDGER— * * * The uni story of a flighty, thrill-seeking girl missing having her wings singed befot ing to realization of the true worth of hie, conservative husband is frankly littl than a backdrop against which the St display her graces. • * * Regent, Rochester DEMOCRAT— • * * Falls below tl entertainment standard we have come pect of this little player's (Colleen films. * • • HERALD—* * * She does a grd of grimacing, but fails to make thi acter at all human. The picture is fair to Colleen Moore. * • * JOURNAL—* * "The picture, intensely interesting, is saved by the and charm of Colleen Moore, who gi^ other good picture of a hare-braineiw ^.. ^H*^i^ ll