The Film Mercury (1926-27)

Hollywood, Calif. Page Eleven THE FILM MERCURY, FRIDAY, MARCH 26, 1926 VIEWS AND REVIEWS “THE BARRIER,” from the story by Rex Beach. A Metro-Goldwyn-Mayer picture, directed by George Hill. Critical Analysis. To the not-too-critical audience this is very good entertainment. Rex Beach plots, as in this picture, are based on rather unpsychological fiction. Here, he causes to become involved the affections of what is supposed to be a blue-blooded Virginian and a half-caste Alaskan girl, which may, or may not, be plausible. It is all according to the gullibility of the audience, or the reader. Hill’s direction shows a not unusual capability. Norman Kerry doubtless makes a convincing German or suave Austrian officer, but with his debonair, sophisticated manner, even to the glistening and much brushed hair, he does not seem the ideal type to portray the role of an rugged American army officer in the far North. However, he enacts the role assigned to him in a very credible way. Marceline Day pleases with her youngish charm and lack of sophistication, and with a little more experience to her credit she has much promise. Emotionally her histrionic ability is in the making. This is apparent during tense moments of the play. That the momentous discovery of gold should serve only as an excuse to bring the lovers together is wasting what might have been a thrilling sequence. The enfoldment of the lovers could have been more easily accomplished without this sequence, however. Box Office Angle. As this comes under the heading of good entertainment, and is a Rex Beach best-seller, it is easy to exploit. The average exhibitor should find this is a good get. — R. H. W. “THE GRAND DUCHESS AND THE WAITER,” a Paramount production, directed by Mai St. Clair, featuring Adolphe Menjou and Florence Vidor. Critical Viewpoint. Mai St. Clair continues to direct delightful and frothy pictures. His latest opus “The Grand Duchess and the Waiter” is like a cream puff, enjoyable, and does not leave a heavy taste. But from the time Adolphe Menjou, as the waiter, kisses Miss Vidor and they are discovered by the grand duke, the story merely becomes silly. The picture should end there. The spectator feels the film is continued because it has not reached the number of feet re « quired for release. Despite this flaw, it is an enjoyable picture, aided by the capital performances of Adolphe Menjou and Florence Vidor. Box Office Angle. All Menjou fans will enjoy this film. It will gain new admirers for Miss Vidor, and especially please high grade audiences. — A. L. * * * “THE FIRST YEAR,” a William Fox production, directed by Frank Borzage, featuring Matt Moore and Katherine Perry. Critical Analysis. “The First Year” is an intimate photoplay of the trials and tribulations at the beginning of married life. It is a delightful film and has followed the play quite closely. The audience enjoyed it thoroughly. It is a relief to see a story dealing with the average home life instead of the usual balderbash that is served us. Matt Moore is splendid as the husband; Katherine Perry is attractive and competent as the wife. Box Office Angle. Every type of audience should enjoy this film. Frank Borzage has directed it intelligently and humorously. —A. L. WHEN YOUR PICTURE IS READY FOR TITLES— DWINELLE BENTHALL 228 MARKHAM BLDG. GLadstone 4809 Lankershim 243-J “THE UNCHASTENED WOMAN,” a Chadwick production, starring Theda Bara. Directed by James Young. Critical Viewpoint. This picture marks Theda Bara’s return to the screen, after an absence of seven years, and it certainly will not help her to regain her former popularity with the public. Miss Bara does not play her old type of vampire, but appears as the neglected wife. It seems as though those responsible for the production were undecided whether to make a drama or light comedy! out of the picture. If they had stuck to the light comedy they might have had something out of it, but when the thing becomes dramatic, they get a good laugh — but not when they expected it. The action is slow and poor editing of the picture is in a great way responsible. The titles are very poor and detract. Miss Bara seemed charming at times, but the bad lighting detracted much. Box Office Angle. Can’t tell. It might draw on the curiosity of the public wanting “THE BLACKBIRD,” an M.G.-M. production, starring Lon Chaney, directed by Tod Browning. Critical Viewpoint: — A highly entertaining film for most audiences, in spite of the improbabilities of the plot. Not as effective as “The Unholy Three,” but maintains the interest throughout. That a man could do the things ascribed to the dual role portrayed by Chaney is manifestly impossible, if one wishes to become severely critical. The public, however, has become accustomed to viewing Chaney in this sort of thing and will no doubt swallow it without becoming skeptical. Making allowances for the generous use of dramatic license to which Tod Browning has helped himself, “The Blackbird” may be rated as a movie above the ordinary. Box Office Angle. Cashing in on Chaney’s immense popularity, exhibitors should find this an unusually good bet. It will please almost any type of audience. — T. L.