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FREDERICK JAMES SMITH
Top, Betty Compson and Theodore Kosloff as the dancer-crooks of the melodrama, “The Green Temptation.” This affords Miss Compson opportunities to look decidedly attractive. Left, Marion Davies in “Beauty’s Worth.” Below, Colleen Moore and Ralph Graves in Rupert Hughes’ Irish opus, “Come On Over,” an entertaining if inconsistent entertainment
whole family. Discarding this piffle, you will find “Hungry Hearts” to be vital and real. And if you can sit dry-eyed thru the court-room scene, you are either made of stone — or a landlord.
“Hungry Hearts” is directed with fine discretion and sympathy by E. Mason Hopper and the acting, particularly in two instances, is genuinely brilliant. You doubtless were won by Vera Gordon’s mother in “Humoresque,” but the toiling mother of Mme. Rose Rosanova in “Hungry Hearts” is infinitely more human. Here is a superb performance, for Mme. Rosanova makes the woman live thru every moment of the seven reels. And Helen Ferguson’s playing of the . daughter is a mighty fine thing, a characterization which stamps her as the ablest young character actress in all our films. Bryant Washburn is cast for the comparatively minor role of the collector-hero and does it with just the right touch.
And E. A. Warren as the father is excellent.
Be sure to see “Hungry hearts.” It is one of the big things of the cinema year.
Second place this month we give to Charlie Chaplin’s new two-reeler, “Pay Day” (First National). Now “Pay Day” is not to be mentioned in the same breath with the finer Chaplin comedies, such as “The Kid,” but it is ingenious, carefully considered and highly amusing.
To be sure there is more of adroit comic device than of the soul in “Pay Day.” There is more broadness than subtlety — and yet there is something vital. “Pay Day” is the tragedy of every downtrodden married male. In it Chaplin puts all the timid resistance of all the hapless husbands of history— ^and its inevitable failure. “Pay Day” is just a day in the life of the usual baggytrousered and clerby-hatted Chaplin hero, this time a bricklayer who shyly sighs for the daughter of the brutal boss. But they are only sighs, for there is no escape from the czarina of the home.
■ Into the two reels Chaplin puts a lot of rough comedy. There is an amusing trick moment with Charlie at the receiving end of a ton or so of bricks tossed to him by his co-workers. And another when he attempts to board a crowded street car. You will find “Pay Day” diverting but not noteworthy. Alas, we have come to expect so much of Chaplin !
“The Green Temptation” (Paramount) is a wandering sort of melo-dramatic piffle in which the attractive Betty Compson has some highly ( Continued on page 88)
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