Motion Picture News (Jan-Feb 1923)

January 2 7 , 192? 471 " The Pilgrim " Chaplin-First National — 4300 Feet (Reviewed by Laurence Reid) WE will advise you right from the start that Chaplin's latest is not another " Shoulder Arms," nor can it be mentioned in the same breath with "The Kid." And we feel safe in saying that our opinion will be upheld by the great army of fans who storm the box-office to see what the gifted comedian offers in " The Pilgrim." Don't misunderstand us. We don't mean to infer that the picture is of an inferior quality. Far from it. It possesses a succession of highly amusing gags indicating that Chaplin has not gotten out of touch with what constitutes amusing burlesque. The Chaplin of " The Pilgrim " is the Chaplin of old. By that we mean that he employs some of his funny slapstick ideas of his Essanay days. To be truthful we would say that he uses more familiar gags than original ones. Yet he is so much the artist that one stays to laugh. It may be that the clergy in some instances will voice their disapproval of burlesquing the cloth. Yet Chaplin's picture will be accepted by the majority of clergymen as sheer burlesque, enacted with a fine sense of the ridiculous. He plays an escaped convict here — who disguises himself as a minister when the good man leaves his clothes behind him while taking a swim. The Chaplin feet are much in evidence and so are all his quaint mannerisms. There is low comedy and high comedy, all of which is pretty well balanced. There is a well established touch of pathos because certain incidents reveal lifelike slices of everyday existence. Chaplin fills a vacancy in a church and the subsequent scene is excruciatingly funny. His text is on " David and Goliath," but the sermon is principally pantomime. When he is finished he bows and makes his exit in genuine vaudeville fashion, returning for applause and making his bow. Another high spot shows him being entertained at the girl's home. The family album scene is a nifty and the gags which introduce the " give and take " play between an old-fashioned visitor and the parson are sure of uproarious laughter. The mother admonishes her terrible kid to " go play with the gentleman," while Chaplin advises the youngster to " go play with mama." Here is the comedian at his best. When the mother is out of sight, the kid gets a vigorous Chaplin kick. The closing scenes represent some familiar touches — the derby hat being carved at the dinner — to mention one — and some amusing by-play with a thug. We'll put it down as sure-fire. The Cast The Pilgrim Charles Chaplin The Girl Edna Purviance Her Mother Kitty Bradbury The Deacon '...Mack Swain The Elder Dash Loyal The Boy Dinky Dean His Mother Mae Wells Her Husband Sydney Chaplin The Crook "Chuck" Reisner The Sheriff Tom Murra^ Written and directed by Charles Chaplin. Released by First National. The Story — Escaped convict steals parson's suit of clothes and disguised as minister accepts vacancy in Texas church. Doesn't know how to put over a sermon except in vaudeville style. Is entertained at dinner and finally exposed as impostor and crook. Sheriff takes him to boundary line and turns him loose. Classification — Comedy filled with many new gags and a few old ones. Conceived and directed by Chaplin. Production Highlights — The moments when Chaplin calls upon his art to register pathos. The scene when he is in the pulpit. The comedy antics with the little boy. Exploitation Angles — Here is Chaplin and of course he will draw the crowds. Might use stills of him. Play his name — that is sufficient. Drawing Power — Not another classic like " The Kid," but star will pack 'em in everywhere. " Fury " Inspiration Pictures, Inc. — 8709 Feet (Reviewed by Charles LarkinJ DICK BARTHELMESS has left the Blue Ridge for the blue waves and it is a welcome change. As "Boy" in this intensely interesting story, Mr. Barthelmess adds another laurel to his histrionic wreath, as the critics say. "Fury" is one of the most colorful sea dramas ever put on the screen. The picture has a big appeal because it is "different" in mounting and scenic background. The producers have been unusually successful in transferring the atmosphere of London's Limehouse district to the screen, while the marine end of the production is good because the company has "shipped" on a regular old sailing schooner. Another feature worth mentioning is the artistic as well as literary titling. These titles add much to the entertaining quality of the picture. ^From a photographic viewpoint, also, "Fury" is a notable work. The cast is one of uniform excellence. The care with which the personnel was selected is evident. No finer actor could have been found for the role of "Dog" Leyton than Tyrone Power. Dorothy Gish as Minnie, a waif, is a delight and recalls her character work in "Hearts of the World." Dorothy is a real asset to this offering. Pat Hartigan in the heavy role of Morgan is convincing at all times as a rowdy of the seas. Not since "Tol'able David," has Dick had a chance to put up such fistic battles as he presents in this vehicle. His fights with Morgan are the last work in realism. The picture opens with a thrilling battle between two terrible looking brutes. These scenes drag the audiences to the edge of the seats and we predict that most folks will remain there most of the time this one is unwinding. While the action is tense the picture is not without its comedy relief. "Fury" is well worth while. It is fine screen entertainment. The Cast "Dog" Leyton Tyrone Power Morgan Pat Hartigan "Boy" Leyton Richard Barthelmess Looney Luke .....Barry Macollum Mr. Hop Harry Blakemore Yuka . ...Adolph Milar Zece Ivan Linow Miss Matilda Brent Emily Fitzroy Tillie Jessie May Arnold Minnie, a waif Dorothy Gish Mrs. Ross Lucia Backus Seger Looney Luke's Girl Patterson Dial By Edmund Goulding. Directed by Henr> King. Photographed by Roy Buerbough. The Story— In spite of his father's treatment of him and his hatred of women, " Boy " Leyton continued to love his parent. "Boy" is in love with Minnie, a slavey at the boarding house. Morgan, the villainous first mate also wanted Minnie, who consented to run away to Glasgow with Boy." Morgan tells the father of the boy's intentions. The father launches into an attack on the name of the girl and is delighted when " Boy " wants to fight him. The father, dying, confides in " Boy " that his mother had run away with another man and makes him swear to " get " that man. Classification — A thrilling drama of the sea, abounding in melodramatic situations. Production Highlights — The characterizations offered by every member of the cast, especially Barthelmess, Tyrone Power, Dorothy Gish and Pat Hartigan. The realistic mounting given the picture, a real old windjammer being used for most of the exterior? Some more of those " Tol'able David " kind of Barthelmess fistic fights. Henry King's direction. The success with which the atmosphere of London's Limehouse district has been transferred to the screen. Exploitation Angles — Try and build a "sea" atmosphere into your lobby by the use of life preservers, ropes, oars, a man dressed up in oil skins, etc. Barthelmess and Gish are popular names. Play them up. Tell the folks of the thrilling fights and the fine sea scenes. This one will stand up under your best plugging. Drawing Power — Suitable for audiences most anywhere " Nobody's Money " Paramount — 5576 Feet (Reviewed by Charles Larkin) T N this picture Jack Holt leaves the field of heavy character portrayal and jumps into a comedy drama role in "Nobody's Money," which was one of last season's stage hits in New York. It is a story that lends itself admirably to picturization. Two newspaper men have written a book which becomes immensely popular. They have given a fictitious name to the author. Suddenly this "author" is wanted by everybody — by the government to explain his income tax, by the governor to explain a certain libelous article. The newspaper men are quite perplexed as to how to produce the writer, when along comes Holt in the character of a book agent with his safe-blower friend. Holt consents to impersonate the author for a consideration— all the money the newspaper men have to their credit. In his new role, the book agent becomes acquainted with the governor's daughter and eventually becomes the brains of the governor's campaign for re-election. Holt is given many opportunities for bringing laughs from the audience, especially in his efforts to keep his pal from carrying off everything but the governor's home. The settings are attractive, those in the governor's home being quite lavish. One of the big moments of the picture comes when Drisco brings the editor of the local sheet to the governor's home and dares him to open a safe in which, Drisco charges, reposes some $20,000 in graft which he alleges he gave the governor. The safe is opened, but the money is gone. Our safe-blowing friend has beat them all to it. It later develops that the maid was bribed by Drisco to plant the coin. No one will claim the money, so it becomes "nobody's money." Hence the title. The coin is used by the book agent to finance the governor's campaign. The Cast Mrs. Judson Josephine Crowell Carl Russell Robert Schable Frank Carey Walter McGrail Martin Miller James Neill John Hamilton Webster Jack Holt Eddie Maloney Harry Depp ?race Kenda" Wanda Hawley Aunt Prue Eileen Manning Governor Kendall Charles Clary Annette. . . julia Faye Burt L. Drisco will Walling ' dapted by Beulah Marie Dix from the play by William Le Baron. Directed by Wallace \\ orsley. Photographed by C. Edgar Schoenbaum. The Story— A book entitled "The Breathless Bridal," having attained unprecedented popularity, the authors find that they must produce the fictitious author. An income tax man promises jail for someone unless this demand is met. Along comes a supposed book agent. He assumes the role of the author and makes his pal, his secretary. Becoming acquainted with the governor's daughter, when she visits him to get a retraction of a libelous article about her father written under the name of the famous author. The book agent gets in solid with the executive and eventually manages his campaign for election. Classification — A comedy drama based on a well received New York stage success. Woven against a political background. Production Highlights — The scenes in which the book agent is persuaded to assume the role of the famous author. Jack Holt's work as this book agent. The fine cast. The reception in the governor's home. The barbecue to boost Candidate Dubb. The political parade and the scenes in which the book agent swings the enemies over to the side of Governor Kendall. Exploitation Angles — The title should suggest various tie-ups with banks. Drawing Power — A good program picture that should find a welcome place on any screen.