Motion Picture Classic (Jan-Dec 1920)

MOTION PICTURE The Celluloid Critic's Sklec TION OF THE TeN BeST Photoplays 1. "Cabirin." 2. "Judith of Bethulia." 3. "The Birth of a Nation." 4. "Intolerance." 5. "Broken Blossoms." 6. "The Miracle Man." 7. "The Gay Old Dog." 8. "Shoulder Arms." 9. "Revelation." 10. "PoUyanna." ( Xot ill order of importance) The Screen Year in Review {Continued from page 45) The season's histrionic level has been singularly high. First of all, we place Betty Compson's superb playing of the greedy and sensuous Rose of "The Miracle Man," the underworld girl whose spirit finally awakens. Here was a vibrant and human portrayal worthy of the highest praise. Mary Pickford's dear and touching Pollyanna wrung our hearts. Shall we ever forget the moment when she steps from her wheel-chair and walks ? There were other admirable performances. John Cumberland's lonely and sacrificing Jimmy Dodd in "The Gay Old Dog" was splendid in its subtlety. Charles Ray invested a half-dozen inconsequential plays with life thru his matchless sincerity.' Bert Lytell was excellent as the arch-cynic, Charles Steel, in "The Right of Way." John Barrymore contributed a flashing and haunting performance in the ghoulish "Dr. Jekyll and Mr. Hyde." Then, too. we might mention several of Thomas Meighan's characterizations. Striking, also, were Vera Gordon's lovable Jewish mother in "Humoresque" ; poor little Clarine Seymour's piquant half-caste girl, rife with the love of life, in "The Idol Dancer"; Mae Murray's butterfly Russian in "On With the Dance' ; Mae Busch's playing of the grisette in "The Devil's Passkey"; Myrtle Stedman's sincere Cherry Mellotte in •'The Silver Horde" ; Xoah Beery's wellthought-out characterization of "The Sea Wolf" ; Lon Chaney's remarkable character work in "The Miracle Man" and "X'ictory" ; Gibson Gowland's primitive French-Canadian in "The Right of Way" and Lewis Stone's dual playing in "The River's End." Also we would add Hedda Hopper's playing in "The Man Who Lost Himself." Probably the biggest individual advance of the year— at least in the item of popularity — was registered by Harold Lloyd, whose farces have hit a high aver age. Lloyd is rapidly overtaking Chaplin. Wallie Reid has been growing steadily in favor, now that he is devoting himself entirely to swift-moving comedy. Charles Ray has lifted himself to the acting leadership of the drama, this in the face of fearful vehicles. Richard Barthelmess is fast developing along the lines of romanticism — and he is now a star. Thomas Meighan made steady progress all year. Of the feminine contingent, Clarine Seymour seemed most promising, just when death entered the field. Wanda Hawley, Gloria Swanson, Bebe Daniels and one or two other promising younger folk of the previous year already have their names in stellar electric lights. Constance Binney, to our way of thinking, bids fair to achieve limitless popularity if she guides her celluloid career carefully. Here a few words about the cinema leaders are in order. Mary Pickford did her finest work since "Stella Maris" with "Pollyanna." Douglas Fairbanks is still young America's idol. Charles Chaplin did nothing in particular all year. Here is comic genius going to waste. Please, Mr. Chaplin, do something about Charlie! William S. Hart is still the reforming bad man. His nearest above-theaverage vehicle was "Wagon Tracks," at least atmospheric of frontier days. Xorma Talmadge has had one nambypamby character after another all year. Right now she should be at the zenith of her career. We repeat our words of last year with added emphasis. Miss Talmadge needs real dramatic material or — How long can she maintain her present popularity if she persists in milk-andwater vehicles? Nazimova has done nothing distinctive all year. Here is an instance of temperament running wild. We have well-nigh given up hope of ever seeing another "Revelation." Now for specific comments upon the various releasing organizations : Famous Players-Lasky still easily maintain far and away the best average in general workmanship. The once so popular Marguerite Clark seems to be voluntarily dropping from sight, having deliberately chosen retirement. Elsie Ferguson, sometimes lacking stories and other times failing to have sympathetic direction, has gone backward rather than ahead. Her best vehicle was "The Witness for the Defence," well done by George Fitzmaurice. Charlie Ray was steadily handed inane scripts, but he triumphed thru his own unique ability. Wallie Reid is at last getting the right sort of stuff. Dorothy Gish's bright and boisterous comedy methods did a lot to overcome fearful material. Dorothy Dalton continues her way thru hectic emotionalism, minus her old clinging appeal. Ethel Clayton is still the victim of the scenario department. Robert Warwick, no longer a F. P.-L. star, apparently failed to "get over." \^iolet Heming as yet has not established herself at all definitelv. Brvant ^\'ashburn sud The Celluloid Critic's Selec tion of the Ten Best Bits OF Screen Acting 1. Henry Walthall in "The Birth of a Nation." 2. Mae Marsh in "The Birth of a Nation." 3. Nazimova in "Revelation." 4. Lillian Gish in "Broken Blos soms." S. Richard Barthelmess in "Brok en Blossoms." 6. Charlie Chaplin in "Shoulder . Arms." 7. Dorothv Gish in "Hearts of the W^or'ld." 8. Mary Pickford in "Pollyanna." 9. Betty Compson in "The Miracle Man." 10. Mary Pickford in "Stella Ma ris." denly began to get good stories just before he left the fold. Another "Six Best Cellars" would have lifted him to the forefront of comedians. Mrs. Irene Castle still appears now and then. Enid Bennett has somewhat improved, but at no time has she electrified in anything. The Maurice Tourneur productions have been interesting series of photographically beautiful tableaux — and nothing more. "Treasure Island" was his best, "Victory" his worst. The last completelv missed the spirit of Conrad. Douglas MacLean got away in a flying start with "23j-j Hours Leave" and hasn't equalled it since. Metro — Every effort seems to have been made to put over Bert Lytell, who at first seemed rather light for the big material entrusted to him. But he justified their faith with "The Right of Way" and did very well with ".Alias Jimmy Valentine." Metro believes it has a real find in Alice Lake. So far we pronounce her competent — and nothing more. Metro started the year by seeming on the verge of doing interesting things, but. with the entrance of new capital, the trend is now franklv towards melodrama. We certainly wish they would give better opportunities to May Allison. Viola Dana continues about the same. We have already commented anent Nazimova. Selznick — A youthful battery of stars appearing in passable stories directed by less passable directors. Our chief interest in the forthcoming year centers in William Faversham's work under the direction of Hobart Henley and in what Louise Huff may do. The stolidly piquant Olive Thomas is apparently the most popular of the Selznick constellation, altho the powers-that-be there seem to expect big things of Elaine Hammerstein. We doubt it. Eugene O'Brien — my ! my ! Owen Moore — we like him better than we did last year. First National — Of Norma we have spoken. Constance Talmadge continues along the line of thin-ice comedies, to which she lends a sparkle and verve. {Continued on page 88) (SeventyeigM)