The Film Mercury (1926-27)

Hollywood, Calif. THE FILM MERCURY, FRIDAY, JUNE 11, 1926 Page Eleven — ==^v VIEWS AND REVIEWS "IT’S THE OLD ARMY GAME,” a Paramount production, directed by Edward Sutherland, featuring W. C. Fields with support of Louise Brooks, Blanche Ring, William Gaxton and Mary Foy. Critical Analysis — Regardless of your troubles, worries, cynicism, and allied shortcomings, this will serve to bring you back to normal. The picture was designed to make you laugh and to this end, it more than succeeds. The humorous situations made possible by no other than our capable veteran comedian of the stage, Mr. W. C. Fields, keeps the audience in an uproar from the beginning to end — I might add, this is a most unusual comedy because of it’s laxity in forced gags so commonly noticed in other comedies. A new actress has broken into pictures in the name of Louise Brooks, she shines like a gem in the rough. Much is to be credited to the director for making “The Old Army Game” clear and appreciative to an audience looking for motion picture entertainment. Box Office Angle Not a war picture, but one of the best comedies of the year. Play it and watch the dollars roll in after the first night. — W. R. S. * * * “THANK YOU,” a screen version of the stage play by the same name. Produced by Wm. Fox, directed by John Ford and adapted by Frances Marion. Critical Analysis: This is a pleasing bill of entertainment too far fetched in propaganda and a little behind times to assist poorly paid ministers so typical in small towns of yesteryear. Aside from this, it is a clear portrayal of the hardships suffered by the clergymen of days gone by with a pleasing story of human interest true to life situations, properly interwoven. Drama and comedy intermingle throughout the picture with such delicacy that one can not help but like it. It is very well directed and acted by a cast of players picked for their par ticular type and not for box office value. Box Office Angle: A sure fire box office picture that will go over anywhere. It has plenty of heart interest, pathos and laughs, which will please the children as well as grown ups. — W. R. S. * • • “THE MASKED BRIDE,” an M-G-M production directed hy Christy Cabanne and starring Mae Murray with support of Francis X. Bushman, Roy D’Arcy, Basil Rathbone, Pauline Neff and Chester Conklin. Critical Analysis: Again we have Mae Murray portraying the role of a French dancer — the same old goulash, but this time a trifle sour because Miss Murray is allowed to occupy about 95 per cent of the film, the other five per cent being devoted to conservative titles that try to be Frenchy but miss their mark, and in no way do they blend with the subtle action of our vivacious Mae. The picture as a whole could be well termed a classic in lingerie, which was apparently designed to please the Butter and Egg men. Story was either weak or director allowed star too much footage to delineate a series of whimsical characteristics that become boresome to the audience, especially those who know Mae Murray’s work. Work of supporting cast, as much as we see of it, is very well done. The best thing that could be said about this production would be the photography. It is par excellent, showing Mae Murray more beautiful than she was ever photographed before. Box Office Angle: This is the type of picture that made Mae Murray famous and if your audience is not tired of seeing her in the same role, this no doubt will be pleasing. It is pleasingly entertaining and for those who like Mae, will be able to see plenty of her in the role of the masked bride. — W. R. S. * * * “THE MIRACLE OF LIFE,” produced by S. E. V. Taylor with an all star cast including Percy Marmont, Mae Busch and Nita Naldi. Critical Analysis: The greatest miracle that could happen to this picture would be for your audience to like it, or at least, understand what it is all about. Production starts out to hold your interest and succeeds for the first two reels, then it becomes a mass of conflicting situations that keep you guessing until the last sequence when you discover it is all a dream. How this ever escaped censorship is a question. It is life, true enough, but too daring for the unsophisticated. Exhibitors who have respect for children under 18 will not tolerate their patronage to this one as it is a bold exposition of race suicide that succeeds in pointing out a good example of the dangers behind such practice. Picture is poorly edited, making it inconsistent and hard to understand. Settings are grotesque and overdone to make it look like money. Photography is so bad that every detail is lost in the long and medium shots. Continuity irregular and unnecessary situations dragged in for no other reason than to pad for length. In spite of all this, Percy Marmont and Mae Busch gave a wonderful performance. Box Office Angle: To the speculative exhibitor this might appeal, but to the more conservative would suggest passing it up. However, in any event, if you must play it, admit only those who have passed their majority. This is not the type of picture that will be tolerated in small towns. — W. R. S. “PLEASURE BUYERS,” a Warner production, featuring Irene Rich, Clive Brook, June Marlowe and Don Alvarado. Directed by Chet Withey. Critical Viewpoint. “The Pleasure Buyers” had an idea that might have proved entertaining had the direction been better. It is a mystery tale and could have been quite thrilling if the suspense had been properly handled. Irene Rich is very lovely to the eye and that is some compensation, but her performance is not up to the standard of this capable actress. Clive Brook does all that is possible with his role. Don Alvarado looks highly decorative, does some capable acting and shows promise. The audience appeared mystified to the end, and that was the object of the picture. Box Office Angle. It would be wise to play up Irene Rich’s name. This is an average program film and should be presented as such; an audience will neither enthuse nor be resentful over “Pleasure Buyers.” —A. L. SCREEN FINDS ! 1925 Sally O’Neill (M-G-M) Don Alvarado (Warner Brs.) Gilbert Roland (Lasky) 1926 Barbara Worth (Universal) NOW WATCH Lotus Thompson Nina Matleva Audrey Ferris IVAN KAHN Hollywood News Bldg. GRanite 7284 FRANCES AGNEW Present Address: Atlantic Ocean via Panama Canal Arriving FIRST NATIONAL STUDIOS, N. Y. C., June 18 To write special feature script — A. L. 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