Motion Picture News (Jan-Feb 1923)

704 Motion Picture News " Poor Men's Wives " Preferred-Al Lichtman— 6700 Feet (Reviewed by Laurence Reid) THIS picture is a sort of sequel to the producers' " Rich Men's Wives," and from the subject matter involved it might be cut from the same cloth— the only difference being that the earlier release did not contrast the sordid side of life. It is an ambitious effort to make capital of a moral — that the every work-a-day family should be content to be humble and not strive to imitate the manners of the rich. " Rich Men's Wives ' showed a wealthy man turning his wife out of home for being over-friendly with a tango artist; "Poor Men's Wives" shows a hard-working, rough and ready taxi driver turning his wife out of doors for robbing him to pay for a gown which their children ruined— the gown having been sent on approval that it might be worn by the pleasure-loving wife at a lavish ball. A good deal of the picture is given up to moralizing and it often appears illogical. Yet in its favor are some effective touches emphasizing the craving of the poor, downtrodden wife to share the fortunes of the rich. The authors have presented nothing new, nor has the director in his treatment of the theme, yet the picture maintains the interest because of the incident and color. Color? There is a rich amount of it in the ball episode, which is one of the best individual scenes which have come to the screen in some time. We might say that it doesn't exactly fit the story— we might say that it more properly belongs in " Rich Men's Wives"; nevertheless it points the way to a melodramatic conflict when the taxi-driver discovers that his wife has been there and misunderstands the situation enough to turn her out. The plot develops that the heroine and the wife of the rich bounder are chums. The latter envies the poor girl because she has complete possession of her husband, a man who delights in playing with feminine hearts. It is an effective scene which shows the poor wife's children ruining her dress, thus precipitating a more or less convincing climax and moral. Barbara La Marr as the chauffeur's wife appears genuine except in a few fleeting moments when she is called upon to overact. David Butler is convincing as the husband, while Betty Francisco and Richard Tucker as the rich people are always in character. The picture is well staged and has a definite audience appeal. The Cast Laura Bedford, afterward Laura Maberne Barbara La Marr Jim Maberne David Butler Claribel Betty Francisco Richard Smith-Blanton Richard Tucker Apple Annie ZaSu Pitts The Heavenly Twins Muriel McCormac Mickie McBan By Agnes Christine Johnston and Frank Dazcy. Directed by Gasnier. Produced by Preferred. Released by Al Lichtman. The Story — Laura marries taxi-driver; Claribel marries a wealthy man about town. The poor man's wife is happy with her husband and children until her friend arouses her envy with her luxuries. Laura gets a gown on approval from store to wear at lavish ball and her children ruin it. Unable to pay for it she steals from her husband's earnings and is ejected from home. The taxi-driver eventually learns of his wife's sincerity and forgives her. Classification — Drama of triangle situations showing contrast between wealth and poverty. Moral emphasized. Production Highlights. — The acting of the four principals. The hall scene. The climax when taxi-driver distrusts his wife. The incident pertaining to ruination of dress. Exploitation Angles — The title suggests a campaign. Also a prologue might feature a dance suggestive of the moth and the flame. Also might present a fashion parade. Drawing Power — A good audience picture for most any house. Scene from the Universal Chapter Play " Around the World in Eighteen Days." "The Wolf's Fangs" Producers Security — Five Reels (Reviewed by Laurence Reid I THE North country is the background tide and according to the title one may expect to see considerable play with the knife. It does not disappoint in this respect, tor French Canadians wage their battles with it. The plot is orthodox since it presents a villain known as the " Wolf." Eugene Waitsr started tnis fashion when he wrote the play of that name. So the Canuck after big game — whether the stakes are women or tbe animals which furnish expensive furs — is invariably called the " Wolf." But this story uncovers a new twist. Actually the hero gets the worst of it for a time. He is captured by the villain and tied to a kitchen chair in the cabin. Wuh him out of the way, the desperado is free to marry the girl. And the bonds are tied with the sanction of the priest. You will rub your eyes in seeing this surprise. The author has gotten away from the beaten track thus far in an attempt to be original. These tales must have conflict. Well, there is plenty of it. The action unfolds the triangle in another way, too. You will find the villain's wronged sweetheart and her devoted admirer on the job to frustrate the scamp. So the admirer kills him. Then the heroine, now a widow, effects the release of her lover and the same priest without arguing the pros and cons of the matter, unites them. There you have it in a nutshell. It is a raw, crude melodrama, yet, because of its primitive action, it is going to make the red-blooded boys and girls sit up and take notice. Most of them will like Nancy Deaver's portrayal of the heroine and will be fairly satisfied with Wilfred Lytell as the hero. Life is supposed to blend with nature's vivid backgrounds in the North country. In this respect the picture is consistent. The high spots of the feature are found in the atmospheric exteriors — and the fact that, for once, the hero takes the count. At that, the author may have come far nearer the truth than most people who enjoy triumphant virtue suspect. A stark-naked title adorning a stark-naked melodrama. The Cast Austin Rockford Wilfred Lytell Yvonne Beauvis Nancy Deaver Henry Beauvis Charles Macey Jules Lafleur Walter D. Greene Florette Racine Manila Martin Jacques Garnier... Berthold Crawford By Marion Brooks. Directed by Oscar Apfel. The Story — French Canadian villain known as the "Wolf" is determined to have the girl of his heart. He manages to capture the hero and keep him out of the way while he marries the girl with the sanction of the priest. However, the " Wolf's " discarded sweetheart and the latter's devoted lover upset the villain's plans. The suitor kills him whereupon the widow is made happy with the hero. Classification — Melodrama of familiar plot laid in French Canada. Hero and villain in a battle for the girl. Production Highlights — Nancy Deaver's appealing performance. The exteriors. Exploitation Anglcs^-M'ight put out a teaser lampaign using the title and a drawing of a wolf's head for copy. Play it up as vital story of the North. Suggests atmospheric lobby display if you care to go in for it. Drazving Poiver— Second and third class down town houses. " Adam and Eva " Cosmopolitan-Paramount — Eight Reels (Reviewed by Charles Larkin) AFTER all, it's in the way you produce it. Here Cosmopolitan ha^ cakea an average story, spilled a fortune on its transplantation to the shadow stage, and still another fortune on gowns to adoin the star, Marion Davies; assembled a cast, each member of which is an ideal type for the part given and then as a climax engaged that master of scenic background, Joseph Urban, to put on the finishing touches. The result is highly satisfying. Most folks are familiar with the story, which enjoyed a long and successful stage career. It is a tale that is rich in comedy appeal and Cosmopolitan is to be congratulated for having selected Tom Lewis for the role of James King, the Wall street broker whose family's extravagance almost brings about his ruin, who has a daughter expert in tae spending of hard earned money, who puis an employe in his place to take care of his offspring, and then hies himself to South America to recuperate. While he's gone the employe reforms the whole family — by allowing the " news " to " leak out ." that the old man is ruined, and forcing them all down on the farm — to work. The story gives Marion Davies an opportunity to startle picture audiences with gowns, jewels and expensive motor cars. She takes full advantage of carte blanche on the money bags. T. Roy Barnes as the live wire employe who is given the role of " Father " during the old man's absence lends admirable support to the star. The big feature of this production is its scenic mounting, both interior and exterior. There is one series of brilliant views showing a garden party which develops into a Venetian fete. The climax comes in a pageant that will bring the " Ah's " and " Oh's " of surprise from most audiences. Robert Vignola's good direction is in evidence at all times. The Cast Eva King Marion Davies James King -Tom Lewis Adam Smith T. Roy Barnes Uncle Horace William Norris Lord Andrew Gordon Percy Ames Dr. Delamater William Davidson Adapted from the play by Guy Bolton and George Middleton. Directed by Robert Vignola. Scenario by Luther Reed. Photographed by Harold Wenstrorri. The Story — James King finds that his daughter and her useless friends are eating away the family fortune. He's disgusted as the bills bury him. He puts an employe in charge of everything and goes to South America. The employe finding that he is powerless to stop the flow of money outward, tells the guests at a brilliant garden fete that Dad is broke. It's a fib, but it has its effect. It all ends with the gang going to a farm, getting busy and making good and Eva finding her Adam in the employe. Classification — Pure farce comedy that is not without its appeal because of its elaborate setting. Production Highlights — The gorgeous gowns worn by Miss Davies. The humor which Tom Lewis draws out of the role of James King. T. Roy Barnes as " Father." The brilliant settings by Joseph Urban, especially the Venetian Garden scene. The snappy and well worded subtitles which add much to the enjoyment of the picture. Exploitation Angles — Marion Davies has been widely heralded as the star of " When Knighthood Was in Flower." Therefore play up her name big in all advertising and theatre front displays. The title suggests tie-ups. So do Miss Davies' elaborate gowns. Photographs of them in connection with a fashion store display should be easy to put over. Drazving Pozvcr — This one should be acceptable in first run houses in the larger cities and because of its light comedy should be well received.