The Film Daily (1919)

Sunday, May 11, 1919 vk4t A!LV 19 Political Trickery is Basis for Drama With a Number of Tense Moments Frank Keenan in "The Master Man" Frank Keenan Productions — Pathe, Distr. DIRECTOR Ernest C. Warde AUTHOR F. X. James SCENARIO BY Jack Cunningham ;AMERAMAN Charles Kaufman AS A WHOLE Melodrama dealing with crooked politicians, forcefully presented by star and supporting company. 5T0RY Not always plausible in development DIRECTION Generally keeps acting in natural mood. PHOTOGRAPHY Very good ,J(iHTINGS. . . .Some artistic effects in night scenes CAMERA WORK Composition of scenes is well judged. STAR Acts with restraint and succeeds in suggesting the personality of a political boss. JUPPORT Joseph J. Dowling, Joseph McManus and others fit in well with the characters conceived by the author. EXTERIORS Not often needed NTERIORS Sets usually made to contribute to the atmosphere of the story. DETAIL Little out of the ordinary CHARACTER OF STORY Nothing objectionable LENGTH OF PRODUCTION 4,870 feet rlllS unquestionably comes under the head of a strong photoplay, dealing with grafters, crooked Politicians and fraudulent schemes as they may be forked by an organization which has gained control \f the government in a state or city. Altogether, the -tuthor presents a choice assemblage of unscrupulous tarasites, with one or two honest folk,' standing out ill the stronger by reason of the contrast, and Director Ernest C. Warde has produced a picture that holds (he attention by reason of its melodramatic force and n atmosphere of mystery successfully maintained. j Of romance there is little that rings true, although he suggestion of a love story is introduced in the Ittachnient that Frank Keenan, as "The Master Man," rorms for Kathleen Kirkham, the ward of a wealthy steel mill operator, who is hand in glove with the political ring under the directing genius of Keenan. This heart interest element in the story is pretty much lost sight of, however, in following the intricacies of a plot thai has to do with the operations of the "machine" crowd. Mr. Keenan knows how to get full value out of a character such as that as "The Master Man." He always acts with an expressive restraint that helps to give an air of reality to incidents which might otherwise seem overdrawn, and in dramatic clashes where a less skilled actor might strain too hard to register. he produces his effects without resorting to heroics. Naturally, there is not much in the nature of Unpolitical boss to arouse sympathy, until the reformation in the last, reel, so Mr. Keenan does not play with that end in view; but "The Master Man" does stand out above his fellow conspirators as a dominant person whose control of the situatiou is easy to credit. The nature of the principal character is not long left in doubt after the opening reel in which he commissions one of his hirelings to secure papers in the possession of the governor, who is independent of the "ring" crowd. The atmosphere in these scenes, supposed to transpire on a stormy night, heightens the effect of the dramatic happenings consequent upon the effort to secure the papers, and the shooting of the governor under circumstances making it appear that a reform senator is responsible for the murder. This is the foundation for a plot of many twists and turns with the brain of "The Master Man" always the guiding factor, until the assassin's confession makes it imperative for Keenan to disappear if he is not to be implicated in the crime. He goes to a state sanatorium where his death is officially reported, prior to his reappearing under another name as a mill worker. He does not allow his true identity to become known until Kathleen Kirkham is in danger of being convicted for killing the mill owner on their wedding night. Quite a bit is made of the trial scene, with Keenan as foreman of the jury bringing in a verdict of "not guilty" and then, in a dramatic fashion, wringing a confession of guilt from the girl's father. Some of the action seems rather forced and improbable, but the intensity of the scenes should be enough to carry them across. Included in the cast are Jack Brammall, William V. Mong, Hardee Kirkland and J. Barney Sherry. Play Up the Political Angle of the Story in Your Exploitation Box Office Analysis for the Exhibitor I' As a Box office attraction, "The Master Man" should |ot be difficult to handle successfully. It has most of joe qualities needed for a political meller appealing A a crowd that likes sensational happenings, and does Bt bother too much about looking into the plausibility f everything that transpires on the screen. ■ Probably the character of the boss politician is better suited to the acting method of Frank Keenan than post of the figures he has recently portrayed, although lis pictures, as you may have found, have been genially acceptable. Call the attention of your folks to feme of his past productions handled by Pathe, such ■ "The Midnight Stage," "Todd of the Times," fcoaded Dice" and "The Bells," and then go on to Ksure your patrons that if they want to see Keenan in one of his most congenial roles they should not miss "The Master Man." Exploit the picture as a story dealing in a forceful way with political intrigue, and showing the harm of "boss" rule. Work along the political angle in catchlines something after this order: "Do you know who really runs your local government? If you think it, isn't important that you should go to the polls on election day, see 'The Master Man,' a powerful drama exposing the vices of a political ring." Another one might read: "Who is the power behind the throne in your city? If you want to get an insight into the methods of wiley politicians, see Frank Keenan as 'The Master Man'." Announce the production as one of the Frank Keenan Star Series, produced by Frank Keenan Productions, Inc., and directed by Ernest C. Warde.