The Film Daily (1921)

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Sundav. January 16, 1921 afc^ DAILY Tremendously Spectacular But Lacks Big Heart Interest. Albert A. Kaufman presents "MAN— WOMAN— MARRIAGE" Holubar Prod. — Asso. First National Pict., Inc. DIRECTOR Allen Holubar AUTHOR Olga Scholl SCENARIO BY Allen Holubar ART TITLES Ferdinand Pinney Earle CAMERAMEN H. Lyman Broening and William McGann AS A WHOLE Sumptuous, extravagant production lacking heart interest STORY Built on faith wife has that God will make her husband see the true light. With innumerable excursions into days long gone by showing constant conflict between man and woman PLAYERS Dorothy Phillips, featured, gives best performance of her career, rising at times to splendid heights. Support uniformly excellent. James Kirkwood fine as husband PHOTOGRAPHY Splendid; some gorgeous shots LIGHTINGS Excellent CAMERA WORK Held to high standard EXTERIORS Correct; fitting. Ancient historical backgrounds beautifully done INTERIORS Magnificient DETAIL Worked out masterly CHARACTER OF STORY Good for any housewoman triumphant over all destroying influences and saving her husband LENGTH OF PRODUCTION Over 9,000 feet Standing out as one of the most extravagant productions of the year, Allen Holubar's "Man — Woman— Marriage" offers much to interest the eye. But whether it gets to your heart is another story. Cut from its present form, and tightened up it may. But it is a serious question whether the actual story, heightened as it is by innumerable excursions into the past showing woman dominated and broken by man, the master, has that heart interest so necessary to make a production of this extent the tremendous success its financial undertaking should justify. Certainly Holubar and Al Kaufman, the producer, have spared nothing. Reported that it cost close to half a million in the making, it surely shows tremendous profligacy in expenditure all the way through. Some of the sets. flashed for but a moment, represent tremendous costs. Naturally the ancient periods allowed for atmosphere, and here Holubar has gone to the limit. Particularly so are those sequences showing woman lifted from brute domination by a knight, where he rides cap-apie into the castle and places her bodily on his horse, galloping away; the battle of the Amazons which is going to produce the greatest thrill of the production ; and that where a Christian slave girl awakens in the Emperor Constantine, the desire to have Rome become Christianized through the ennobling influence of love. Then there is a wild orgy where Dorothy Phillips becomes disgusted with her politician husband and leaves him. This is a tremendous setting, with a dance on the table by half naked participants that is sure to be talked about. All through can be s.°c-n the desire to do, to present what was in the director's mind, without regard to cost. But even so the heart interest never quickens. Except at the very end, where, love triumphant, and faith retrieved, the husband awakes to the realization of his wife's great good, and her true worth, and returns to her, after serving a term in prison, is there little to stir to emotions. The finish gives a thrill, the Prizma effect being particularly worth while. Much needs to be done with the production to make it "right." It needs judicious pruning and cutting. There are too many interruptions to the thread of the story by cutting back into ancient history. These could easily be cut down to flashes ; some might be eliminated entirely. By doing this the heart interest might be quickened. And this is surely what the production needs. An excellent cast helps immensely. Miss Phillips undeniably gives the best performance of her career and at times is immense. James Kirkwood is virile and strong as the loving husband, the scheming politician and the man, in the end awakened to his wife's influence and love. J. Barney Sherry is good as the political boss and Ralph Lewis, as Dorothy's father, gives a stern, true performance. Bank on the Women Liking This and Play It Up Accordingly. Box Office Analysis for the Exhibitor. Play up the spectacular touches of this and you can get it over. Holubar has spent a fortune in doing this and it shows. Talk about the Battle of the Amazons. It is one of fte most spectacular sequences you have ever seen. Build up your campaign on the fact that the picture shows the triumph of a good woman over all other influences. That is sure to get your women in. And once you do that the rest is easy. You will have to depend entirely on these two points — the spectacular end of the production and the conflict between evil forces and the wife, and how, in the end, the wife wins out. But these two points should be sufficient. It offers many opportunities for special exploitation, especially among clubwomen and mothers' organizations, and your appeal to them should be strong. Dorothy Phillips may be remembered for her work in "The Heart of Humanity," and so may Holubar, and if so talk about them. Kirkwood is also known to your people. He has done some very good work lately and should be an asset. Catchlines might be used, but it would seem better to build your exploitation along other lines. You can, however, talk about it as one of the biggest spectacles offered in pictures.