Motion Picture Classic (Jan-Aug 1919)

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Writ© Send me particulars F handsome book, FREE ARTIST'S OUT \ "How to Become an FIT Offer and free 'book V Artist." Don’t delay — write, or send "How to Become an Artist." coupon, at once. Address Name \ WASHINGTON SCHOOL OF ART, Inc., 1146 H Street, N. W.. City State. ...... .A, Washlnntnn n. i MOTION PICTURE The Celluloid Critic — {Continued from page 47) Kay Laurell, whatever you may yet say of her limitations, sinks her own identity in giving a relentless performance. And we ask you to watch for the little differences in detail. Hearken, ye Marguerite Clark fans ! Her latest, “Three Men and a Girl,” (Paramount), held over from last summer for some reason or other, is an idyllic little story of distinct charm and appeal. And the Marguerite Clark you and I have loved is here, vivacious and fascinating as of yore. Based on Edward Childs Carpenter’s story, “Three Bears,” it relates the tale of three woman-hating young bachelors who dash away to the woods to be far from femininity, only to have their paradise invaded by Miss Clark. The inevitable, of course, happens. Richard Barthelmess is delightful as the bear who wins Miss Goldenlocks. The other bears are played by Percy Marmont, who is excellent, and Jerome Patrick, who is heavy and out of spirit. “Three Men and a Girl” is a celluloid bonbon. Micky Neilan, who has Irish imagination and humor, used both in directing it. Norma Talmadge is advancing gloriously. There is no other word for it. Never was she better — photographically or dramatically — than in “The Probation Wife,” (Select). And never was a star more handicapped by a loose and trite scenario. Jo Mowbray, the innocent ward of a woman who keeps a risque resort, is sent to a home for wayward girls. She escapes and is befriended by a young author, who, to prevent scandal, marries the young woman. Then he promptly thinks himself in love with another woman. But Jo arouses his jealousy and wins him back. Here are two fine old themes joined with part of a third to give Miss Talmadge a varied role. The star is a fairly dazzling Jo, and she overrides the creakiness and weaknesses of the script with fine spirit. Indeed, she gives considerable shading to the development of Jo’s character. The screen has its army of ingenues, but we know of no one who can play the matured young woman with the lure of Miss Talmadge. Alex B. Francis presents the role of a kindly old friend admirably, while Thomas Meighan is a rather stogey author-husband. A word of compliment to Director Sydney Franklin upon his handling of the star. When the war ended we had hoped that the spy and the bomb would disappear. But producers have simply changed the Hun into a Bolshevik and retained the explosive. Consider “Boots,” (Paramount). This is outrageously impossible melodrama, but it has the finely unrestrained Dorothy Gish and the finely restrained Richard Barthelmess. Dorothy prevents a Bolshevik lady from putting a bomb under the hall wherein presides the king of England— and she prevents the lady after the most vivid feminine fist fight we have ever observed. Barthelmess is a young Scotland Yard detective. If you can believe that ingenues and Bolsheviki wander around in secret passages under Windsor Castle, or wherever it is that the king mingles with mere plebeians, you can accept “Boots.” It has a good measure of Gishish humor. And again the Bolsheviki appear in “The Woman on the Index,” (Goldwyn). In this production Pauline Frederick photographs better than for many moons, while her playing, too, measures up better. The photoplay was written by Willard Mack from a melodrama which attained no particular vogue a year or so ago. A hectic story it is, of a guileless young woman who marries a young thief without realizing his perfidy. When the police are about to arrest him, hubby shoots himself. One of the confederates falsely accuses the wife of killing him, but after a time she is acquitted. Without telling of her past, she marries a wealthy man. Later the very police captain who persecuted her enlists her services as a spy against some deadly Bolshevik agents. One of the agents discovers her past and threatens to tell hubby No. 2. What will she do? But everything turns out well and the wife becomes a regular heroine. Nowhere is “The Woman on the Index” anything but mechanical melodrama. Willard Mack is a studied scoundrel as the Bolshevik agent and Wyndham Standing an Arctic husband. Billie Burke’s “Good Gracious, Annabelle,” (Paramount), based on Clare Rummer’s light and frothy bit of whimsy, is rather boring. The comedy of the irresponsible Annabelle has certainly gained weight while en route to the screen. Some one is very much to blame. Fantasy has been transferred into fact, whimsy has been taken literally, until a gossamer story rumbles along as lightly as a ten-ton truck. Miss Burke isn’t particularly spontaneous anywhere^ and the lighting thruout the production is wretched. The ParamountArtcraft folks should certainly look to their Eastern studio lighting. Picture after picture seems to be suffering in this respect. After interviewing Elsie Ferguson, we can hardly bring ourselves to the point of criticizing one of her photoplays. But one’s duty must be done. “The Marriage Price,” (Artcraft), is second-rate stuff. It is an involved story of a wealthy girl who marries a Western Wall Street plunger, fancies that she doesn’t love him and discovers, after nearly ruining him, that she does. Miss Ferguson doesn’t photograph with her usual beauty in “The Marriage Price.” Indeed, something appears to be the matter with the photography. Lionel Atwill makes a rich idler stand out, while Wyndham Standing is his phlegmatic self as the hubby. Maurice Tourneur has hunted another Drury Lane melodrama to cover in his latest production, “The White Heather.” This is all about an unscrupulous Scotch (Eighty-eight)