Motion Picture Classic (May 1921 - Dec 1927)

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Tear out this ad now as a reminder. <« l T SHOUT t * **I hear you. I can hear now as well as anybody. * How ? ’ With THE MORLEY PHONE I’ve a pair in my ears now, but they are invisible. I would not know had them in, myself, only that I h.ear all right /" The Morley Prior\e for the E A F is to the ears what glasses are to the eyes. Invisible, comfortable, weightless and harmleu. Anyone can adjust it. Over one hundred thousand sold. Write for booklet and testimonials. THE MORLEY CO.. Dept. 792. 26 S. 15th Street. Phila. High School Course in 2 Years You can complete thiS simplified High School Course at home inside two years. Meets all requirements for entrance to college and the leading profassiona. This ana thirty-six other practical course* are described In our Frea Bulletin. Send for it TODAY. AMERICAN SCHOOL _ D«pt.H.762f Pra»ol * 8Cth ** CHICAQO^ CLASSIC The Celluloid Critic ( Continued from page 45) must not forget to award first honors to Walter Long. The latter is sufficiently serious, in a brow-beating way, to lift him clear into the spotlight. Bull Montana could not have done any better. There is a quota of Fairbanksian thrills and no mean supply of comedy gestures. Long’s heavy earnestness when he is about to be executed — an earnestness carrying bewilderment, as if asking — “what’s all the shootin’ for?’’ — is an uproariously funny moment. Melodrama and the balancing romance figure in giving the picture its correct shading. Wally has lost some of his dash, but the picture is complete with action and photographic appeal — thanks to James Cruze and his cameraman, so the star’s being off form is nothing to make an irritable fuss over. Richard Harding Davis’ story makes good film reading. Another Paramount, “If You Believe it, It’s. So,” attempts to be a blood relative to “The Miracle Man,” and naturally succeeds in only being a poor stepchild. There is the same bid for humanity, the spiritual flavor, the powerful love theme and impressive symbols,but Perley Poor Sheehan’s story nowhere approaches it. True a picture of a crook’s regeneration hits a popular note and in all probability this one will interest those who are not searching for the perfect jewel. One feature — the conspicuous one, incidentally, is its fine cast containing Thomas M&ighan, than whom there is no better disciple of crookdom on the screen, Charles Ogle, Pauline Starke with her wistful expression, Joe Dowling, who appears to have been employed to portray a mild sort of patriarch, and Theodore Roberts. The resourceful Theodore, playing a part similar to the charlatan of the old-time medicine show, carries ofif the humor as usual. He is an itinerant preacher here, his top-hat, Chesterfield coat, and a full-grown crop of flowing whiskers giving him a fit masquerade of his real profession — a crook of yesteryear. Those whiskers are not to be brushed aside lightly. He is qualified to become a member in good standing of the House of David. The plot ? Merely a crook reforming too early — without any motive apparently, transplanting himself to the honest soil of the country and possessing enough confidence in himself to believe in the virtues. Hence the title. Some homely touches compensate for a story which carries no driving power behind it. Anyone blessed with a good memory will recall Theda Bara’s version of the vampire in Fox’s adaptation of Porter Emerson Browne’s play, “A Fool There Was,” inspired from Kipling’s poem. And the new expression which Fox has made falters in its inaccurate psychology. Can you imagine a level-headed business man — one wrapped up in his family — falling for the eye-play technique of a coy flapper? Yet that’s what happens here, with the result that the plot is marred by false motivation. Estelle Taylor is a censor-proof adventuress, and before the story is completed you feel like putting the intrigued financier in the class of foolish “fall guys.” He gives up everything ; in fact, becomes a sodden drunkard, for no purpose apparently, inasmuch as scenes which should be relevant to his disgrace are never shown. There is too much suggestion. And several gaps do not help matters any. The wife stalks back into her husband’s life — then conveniently leaves him for a moment so that the seductive girl may continue her amour. She tips him over a banister and the wife becomes a widow. Flirtatious girls would need to have more variety to catch the cagey man that Lewis Stone represents. The sets are lavish enough, but why the depth ? Why build them as big as a convention hall ? There is dignity here and there and a few compelling moments. The Bara picture was far more impressive. Marshall Neilan has advanced. further the past year than any of his contemporaries which come to mind. You, who see “Fools First,” will admit that he can get more out of plain, bottle-in-bond, unadultered melodrama than any director on the screen. This First National picture is a gripping, absorbing tale which crashes thru like a surging tide, carrying the spectator thru a series of scenes undeniably dramatic and compelling. It is a maelstrom of emotions inspired from witnessing the “open sores” of life — treated sometimes crudely, but more often subtly with ever an eye upon the melodramatic thrills. It features much physical action and the “gas-house” killings could be eliminated without robbing it of its vitality and vividness. It is a graphic realism particularly in its revelation of underworld life. Two conspicuous incidents? Watch for the propped-up corpse who is camouflaged as a live crook when the police enter the door! Watch for the novel manner in which the crooks carry their tools — in musical instruments. Marion Fairfax wrote the scenario from a magazine story by Hugh McNair Kahler. And it is a compact, ever progressive piece of writing. The interpretation is adequate and more than adequate in Claude Gillingwater’s character portrayal. Here is an actor to be trusted with any role. And Raymond Griffith’s “Wofi” is a perfect study. Another melodrama bearing the First National trademark is Allen Holubar’s “Hurricane’s Gal.” Curious fellow this Holubar. He believes in crowding in every conceivable melodramatic device for the sake of giving you a three-ring circus and all the attractions of the sideshows, to say nothing of the menagerie. (Eighty-two)