The Film Daily (1920)

30 ^1 DAILY Sunday, September 12, 1920 Pleasing Western with Well Sustained Climax Joe Moore and Eileen Sedgwick in "LOVE'S BATTLE" Climax Film Corp. — State Rights DIRECTOR Not credited AUTHOR Not credited SCENARIO BY Not credited CAMERAMAN Not credited AS A WHOLE Moderately entertaining western with good comedy introduction STORY Preaches against conviction on circumstantial evidence; pretty good suspense in climax sequence DIRECTION Has some rough edges but the action is treated with good effect PHOTOGRAPHY Satisfactory LIGHTINGS Satisfactory CAMERA WORK Average STARS Very likable SUPPORT Satisfactory EXTERIORS Western INTERIORS Good particularly in regard to jail scenes DETAIL Fair CHARACTER OF STORY Heroine's efforts to free hero after he has been convicted for murder on circumstantial evidence LENGTH OF PRODUCTION About 4,500 feet Joe Moore and Eileen Sedgwick who recently made their bow as co-stars in "The White Rider," another state rights production, again have the principal roles in "Love's Battle," a western picture that, while not high class in the pictorial sense of the term, contains many pleasing moments and works up to a climax in which the suspense is quite well sustained. The opening scenes are in the nature of very good comedy. Moore is introduced as a young hobo, Smiling Joe Wiley and the first scene shows him reclining in a hammock beneath a speeding freight car. His business in this bit and the subtitles are good for laughs. Subsequently Joe gets thrown off and lands at the feet of another hobo. This bit also gets over as good comedy. They show some more good light stuff when Joe, hungry, pulls a fake holdup in the western restaurant and wins the admiration of all the cowboys. Later he is revealed as a full fledged westerner and soon after there is the usual scene in which he rescues the heroine, Kate, from a runaway horse and then beats up the villain. Of course these episodes mark the beginning of the romance. The melodrama enters when the villain robs the bank and kills the cashier, successfuly fastening the blame on Joe. He is convicted on circumstantial evidence and sentenced to die. Kate goes to the governor and begs lor a pardon and discourses on the unfairness of circumstantial evidence. When the governor remains abdurate to all her please she tears her clothing, throws her arms around his neck and calls for help. The governor's wife arrives on the scene as well as two policemen and suspect the worst. This situation convinces the governor that circumstantial evidence isn't always right. Then the sheriff arrives with the villain's dying confession of the crime and there is the mad automobile dash to get to the prison before Joe hangs. The suspense of the climax is inclined to drop a bit here inasmuch as the telephone could easily have been used to notify the jail, while the director hasn't built up the familiar situation in top-notch style. The stars do very pleasing work, Moore showing to better advantage in his moments of comedy. In future productions more of this element might be introduced as he seems to be thoroughly at home in light episodes. Miss Sedgwick is appealing in her emotional scene with the governor and does good work throughout. Others are G. A. Williams and W. C. Fellows. Some Exhibitors Will Find This Very Satisfactory Box Office Analysis for the Exhibitor "Love's Battle," is a generally pleasing picture. A little more polish on its rough edges and it would measure well with the average westerns of the times. As it is, it ought to please the audiences of the smaller theaters and those whose policy is a daily change or a double feature program. There is no reason why Joe Moore shouldn't come up in the ranks of stars. A little more careful treatment and he would win a good following. He seems to have the comedy sense and his light scenes at the outset of "Love's Battle" hit the mark nicely. In advertising this you might build your arguments around the circumstantial evidence idea. Lines such as, "Should a man be convicted for murder on circumstantial evidence?" and "Should a man in an incriminating position be assumed innocent or guilty when the evidence is purely circumstantial?" could be used in working up interest in the theme of the picture.