Motion Picture Classic (Jan-Aug 1919)

! MOTION PICTURE CLASSIC The Celluloid Critic {Continued from page 45) I Rialto Theater protested to us about Charlie Ray in “The Girl-Dodger,” (Paramount). “Gee,” he groaned, “they all like it so much they’re staying for the second show.” Herein Ray plays a college grind, a bespectacled dreamer, who meets the village belle and fancies her a chorus-girl. Later he discovers his error and is invited to a dance given by the young woman. Once at the party, he loses his evening suit trousers under hysterically amusing conditions. Here is a situation such as confronts one in an evening’s nightmare. Ray makes it highly laughable. While not the equal of his hero of “String Beans,” Cuthbert Trotman is nicely humanized by Ray. There are many little details, such as the [ vague look in the grind’s eyes when he I removes his glasses. We like Dorris Lee as the girl and Hal Cooley as the fascinating “gloom buster.” “The GirlDodger” is an ideal celluloid farce and the author, J. G. Hawks, is to be congratulated. We readily concede that “The Girl Problem,” (Vitagraph), is pretty poor drama — but it did rest our eyes. The plot has nearly escaped us, but Corinne Griffith in her variety of gowns \ provides all the dramatic suspense we i desire. Miss Griffith plays a modiste j model who writes short stories in spare moments. To the shop comes Ernest Sanford, successful author, in quest of a model for his satire on femininity, upon ; which he is working. He engages the ! literary manikin, takes her home and, of I; course, falls in love. And everything turns out all right, of course, when the I model dashes off a best-seller, beating ; out her employer-lover at his own game. Mf we remember clearly, Walter McGrail 'was the author and Agnes Ayres the ' society maid engaged to him, but all we ; really recall is the star. The story lacks j, the breath of life, but Miss Griffith ! doesn’t. Which is the lure of “The Girl I Problem.” ■ “The Better ’Ole” is different. For that, many thanks. Filmed in England, it is adapted from Bruce Bairnsfather’s famous cartoons, the same drawings that formed the basis of the stage success ! now running in New York. Bairns! father’s slow-thinking, courageous, blunI dering old Bill, the very spirit of the old ( British army that passed away at Mons, obtained a remarkable vogue early in the j war. In the screen version. Old Bill, with his two comrades, (Bert, always worried over his trick cigar-lighter which never works, and Alf, with his penchant for femininity), move thru a series of lively incidents. Old Bill even foils a German plot to blow up a bridge. But, ! in the main, “The Better ’Ole” concerns (itself wholly with the behind-the-lines, lout-of-thetrench moments of soldier reBaxation. There are many differences of I I method in the production, but, on the P I whole, the Welsh-Pearson Film Com I pany has made quite a workmanlike pro|| {Continued on page 82) SI (Seventy-nine) • I • I • r ».! r« t • Don't Commit A Crime Against The Woman ybu Love No AMOUNT of love will ever atone for the crime you will commit, if you make some pure, trusting young girl your wife when you are UNFIT to assume the duties and responsibilities of a husband and a father. Her whole future life, her body and soul, will be in YOUR keeping; no one will be able to help her if YOU prove faithless to her, trust in you. Don’t put the matter aside, you can’t get away from it; you can’t make any girl happy, if you are weak, impotent, sickly; grouchy with dyspepsia or biliousness, poisoned by constipation, or suffering from any other devitalizing ailment. Stop and think, right now, for HER sake, if not for your own. 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