The Film Daily (1921)

Sunday, April 24, 1921 sii^i DAILY Surprise Ending Compensates for Otherwise Unattractive Offering Louise Glaum in "I AM GUILTY" J. Parker Read, Jr. — Associated Producers DIRECTOR Jack Nelson AUTHOR Bradley King SCENARIO BY Not credited CAMERAMAN Charles J. Stumar AS A WHOLE Of a type that appeals to a big majority but isn't refined entertainment STORY Has certain degree of dramatic force and a surprise finish that holds it up well; is not original DIRECTION Keeps his audience in ignorance of ending in a way that is effective ; overdoes some bits PHOTOGRAPHY Very good LIGHTINGS Good CAMERA WORK Satisfactory STAR Makes good in unpleasant role SUPPORT Mahlon Hamilton good; George Cooper and Claire DuBrey handle minor roles well EXTERIORS Only one or two unimportant ones INTERIORS Some sets overdressed DETAIL Correct in the main; errors in court procedure CHARACTER OF STORY Wife of prominent lawyer innocent of crime which she herself believes she committed LENGTH OF PRODUCTION 6,500 feet J. Parker Read, Jr.s' latest offering for Associated Producers' release contains the sort of story that still appeals to a good majority of picture patrons usually referred to as "fans." It is typically "movie" in makeup. The offering starts out in promising fashion by marrying a chorus girl that is "different" to a prominent lawyer. Everything is lovely up to this point when the husband's business causes him to neglect his wife, and while he is away she goes to a party with some of her old friends. From this point until the final reel, "I Am Guilty" assumes an unrefined aspect that is far from being the entertainment that educated picture patrons appreciate. There are wild all night revelries in which the director uses poor taste in allowing the women players to carry the "tipsy" business to extremes. Much of this should be cut, particularly one close-ups of a girl who has draped herself across the arms of a chair. A bit of mother love is injected through the scenes between the woman who believes herself guilty of murder and her young son, a most unusual child who begs his mother to show him the "butterfly" on her back, a scar whose evidence she believes will convict her. This is a bit farfetched, and a more appropriate way of having the husband discover his wife's infidelity would be plausible. The best thing in "I Am Guilty," other than Miss Glaum's performance which is convincing, is the manner in which the director works up to the surprise finish and the way in which it takes the spectator completely unawares. The cast as a whole is well chosen. When Robert MacNair learns that his wife is guilty of the murder of Teddy Garrick, whose party she attended in MacNair's absence, the lawyer refuses to act in defense of Dillon, a crook, being prosecuted by the state for the crime. Connie gives her husband the revolver which she claims she used and which was handed to her in Garrick's apartment by someone she did not see, and which she used when Garrick attacked her. MacNeir disappears and Dillon is convicted but at the moment Connie appears and tells the court she killed Garrick. Right on top of her confession, MacNair reappears with a confession signed by Trixie, an admirer of Garrick's, who was hiding in the apartment and fired the shot. The husband explains that his clue was the revolver which had not been exploded. Follows a reconciliation. Exhibitors Should Use Their Judgment in this Case Box Office Analysis for the Exhibitor "I Am Guilty" suggests something of a sensational character, and the picture in the main lives up to the suggestion so that exhibitors will know pretty well whether or nut they want it, because they are the best judge of what pictures their patrons like best. It won't be favorably received by the so-called "highbrow" clientele, but is the type that does a thriving business with "fan" folks and transient houses where you don't have to cater to any particular class. There'll always be some satisfied and some dissatisfied in this kind of an audience, no matter what picture you show, so it doesn't matter. It shouldn't be difficult to get them in if you use the title in connection with the producer's name and the star's. Catchlines used in conjunction with the title can read as follows : "When a crook was convicted of a murder, a prominent lawyer's wife appeared in the court room crying T Am Guilty.' See the astonishing outcome of this unusual case in Associated Producers' latest release, starring Louise-Glaum."