The Film Daily (1921)

Sunday, April 24, 1921 iMi DAILY Adaptation of Well Known Stage Play is Disappointing Elsie Ferguson in "SACRED AND PROFANE LOVE" Wm. D. Taylor's Prod. — Paramount DIRECTOR Wm. D. Taylor AUTHOR Arnold Bennett SCENARIO BY Julia C. Ivers CAMERAMAN James C. Van Trees AS A WHOLE Quite a disappointment in view of the success of the stage play STORY From Arnold Bennett's play; doesn't register as entertainment as screen vehicle DIRECTION Doesn't make the most of star's ability and is frequently inconsistent PHOTOGRAPHY Good LIGHTINGS Satisfactory CAMERA WORK Adequate STAR Isn't always photographed to advantage and isn't given proper opportunities SUPPORT Conrad Nagel does the best work; others satisfactory EXTERIORS Few of them INTERIORS All right DETAIL Fair CHARACTER OF STORY A woman of many love affairs finally realizes happiness with her first lover LENGTH OF PRODUCTION 5,964 feet Those who saw Elsie Ferguson a few years ago in the stage play from Arnold Bennett's novel, and who have been anticipating her appearance in the screen version are due for a disappointment in William D. Taylor's production. The atmosphere of the film is heavy and there is little relief for your entertainment. During the run of the picture the audience is treated to one suicide by drowning, another by shooting, two apparently natural deaths and one near death when the Diaz, the once famous pianist, drinks poison after firing a shot at the woman he blames for his downfall. All this isn't pleasant to say the least, even considering that two of the deaths are merely referred to in titles. Miss Ferguson doesn't seem to have been given the opportunities to show what she can do. Her performance seems to be a series of interruptions and she might almost be called a "travelling heroine." Perhaps Arnold Bennett's original heroine did equally as much wandering but it doesn't fit in well for a screen adaptation. The star isn't always photographed to the best advantage but otherwise no fault can be found with that phase of the production. There are several inconsistencies which they fail to give any reason for, namely, the heroine's self acknowledgment that after all the years she really loves the Diaz, although when he attempts to make love to her she gently repulses him with "remember we arc only friends." Other incoherent bits are noticeable. It doesn't seem stretching a point to say that Conrad Nagel gives the best performance in the picture. As Diaz, the famous pianist, he is hardly recognized as the staid barrister of "What Every Woman Knows." His make-up is excellent. Carlotta Peel, brought up by a maiden Aunt with maiden ideas, unknown to her Aunt attends a musicale given by Diaz. After the performance she meets the artist and later succumbs to the strains of "Sampson and Delilah," played by Daiz. Carlotta spends the night with Diaz and returns the next morning to find her Aunt dead. She doesn't see Diaz again, and in after years, Carlotta, n< \, v. w li i :-" \vn novelist, ; loved by her publisher, Ispanlove, whose wife commits suicide because of her husband's affair with Carlotta. Ispenlove then kills himself. After another lapse of time and in a new locality, Carlotta encounters Diaz, a victim of absinthe. She nurses him back to health and his gift of playing is restored. Carlotta is now happy with her first love. Use Names But Don't Make Promises Box Office Analysis for the Exhibitor It probably won't be difficult to get them in if you just announce the title and the name of the star, but it's another thing whether or not they'll be satisfied with Wm. Taylor's production of "Sacred and Profane Love." On the other hand folks who admire Miss Ferguson may accept the picture because of her work, but even they will perhaps admit that she hasn't been given the .opportunities which she requires to acquit herself properly. Apparently casual observers in the audience at the Rialto where the picture was shown, were heard to remark regarding the inconsistencies in the production. One or two explanatory titles would relieve this condition in the more prominent instances. There are plenty of exploitation angles to work with but it would be well to use only the title and the star's name and if they like it, all right ; if they don't, you won't have to take back any promises.