The Film Daily (1919)

tM* DAILV Sunday, January 12, 1919 Unusual Comedy Goes Over Strong on Account of Exceptional Treatment and Fine Acting Dorothy Gish in "THE HOPE CHEST" Paramount. DIRECTOR Elmer Clifton AUTHOR Mark Lee Luther SCENARIO BY M. M. Stearns CAMERAMAN John Leezer AS A WHOLE Light and humorous nearly all the way; a number of scenes register big laughs. STORY Not remarkable in itself, but as handled in adaptation makes basis for high, class comedy. DIRECTION Keeps out of the rut by getting novel twists to situations; never allows action to drag. PHOTOGRAPHY Fine; a number of truly artistic bits. LIGHTINGS Cleverly handled to bring out atmosphere of interiors. CAMERA WORK Successful in shooting scenes from unexpected angles; shows ingenuity and a praise-worthy effort to get away from the conventional. STAR ...... Her eccentric comedy method goes over strong; plays every situation for all there is in it. SUPPORT Richard Barthelmess manly hero; George Fawcett and Sam de Grasse give telling characterizations. EXTERIORS Not many INTERIORS Classy all through; millionaire's home luxuriously furnished. DETAIL Sub-titles help to put humor across; effective flash at end showing players' feet instead of the usual clutch. CHARACTER OF STORY Wholesome comedy romance. LENGTH OF PRODUCTION 4,686 ft. Perhaps Lillian Gish appropriated a trifle more than her share of girlish beauty, but Dorothy sure did get even by grabbing a big piece out of the family funnybone and keeping it for her very own. It runs all through her anatomy and just won't let her arms or legs behave. She's a rag-time comedienne with all the pep of a jazz band, and she's a character actress, too. Some combination, but she's there both ways and that's one of several reasons why "The Hope Chest" is a winner. There are laughs all through this, along with dozens of chuckles, and I don't think they owe their existence Promise Something Different and Give Star a Lot of Boosting Box Office Analysis Really good comedies, given a finished production and appealing to audiences of the better class, are so difficult to find that when something of the calibre of "The Hope Chest" comes along, it shouldn't be missed if you have a chance to play it. You'll find that this picture has genuine individuality, in the way the story is handled and in the acting of Dorothy Gish and the players supporting her. Most folks are looking for something new on the screen and you are perfectly safe in assuring them that this keeps out of the rut all the wav through. The laughs are based on characterization and situations so amusing in themselves that there is no need to rely upon hokum or slapstick stuff to get the crowd going. Miss Gish possesses a contagious animation. From the moment she appears on the screen the to Mark Lee Luther's story, although the plot makes a sufficiently strong skeleton to support the situations devised by a clever scenario writer and Director Elmer Clifton. Treatment and acting are the real factors in making the film the success it seems sure to be. They keep out of the rut by doing pretty nearly everything just a little bit differently. The cameraman shoots from unexpected angles, Dorothy and Richard Barthelmess don't make love like ordinary young movie folk, Sam de Grasse shows something new in the way of a millionaire father who tries to get his son out of an "unfortunate" marriage and George Fawcett as a cheap vaudeville actor, is the most genuine two-a-day comedian that ever jumped a board bill. Dorothy is a ragtime waitress in Papa Sam de Grasse's de luxe confectionery establishment which son Richard is expected to inherit. The trouble is that the son doesn't see anything but Dorothy, from the first time he catches a glimpse of her giving her own interpretation of the latest dancing steps. With characteristic independence, she scoffs at the suggestion of making a date with the young millionaire who becomes all the keener to develop her acquaintance because she's so stand-offish. They pull a novel sort of wooing when Richard follows Dorothy to an excursion beach and finally forces his way into her good graces. These early sequences have plenty of laughs and set a pace which is kept up as the story advances to a hasty secret marriage, followed by the necessity of the boy's breaking the news to father. A sample of the unique humor running all through the film is found in the antics of Dorothy when she is awaiting an introduction to hubby's family. Reverting to her usual habit when she becomes nervous, she does a peppy ragtime dance in the dignified drawing room, not realizing that her newly made relatives are spectators. Papa de Grasse insists that the marriage shall be kept secret and that the girl be introduced as a cousin. Along with the story, as it is adroitly developed to make the most of the complications that arise in the millionaire's home is another plot thread which has a touch of pathos in presenting the relationship of the girl and her lovable old actor-father, delightfully portrayed by George Fawcett, who has a hand in bringing the newlyweds together in their proper relationship. Completing an altogether excellent cast are Kate V Toncray. Carol Dempster and Bertram Grassby. for the Exhibitor. audience inevitably responds to her mood. Then there is just the right touch of heart interest and a suggestion of pathos to give the picture variety. It is doubtful if "The Hope Chest" will mean much as a title to most of your fans, despite its having been published in book form. You might try however, the usual stunt of getting co-operation from your local booksellers, if there is any chance. The real advertising appeal, however, should be worked along other lines with first prominence given to the star who has appeared in so many notable productions and is gaming a still bigger reputation as one of the most distinctive of screen comediennes. Don't forget to mention George Fawcett and others in the cast, for all the players add considerably to the strength of the offering.