Motion Picture News (Jan-Feb 1923)

February i o , 1923 705 " The Love Letter " Universal — 4426 Feet (Reviewed by Laurence ReidJ BACK to the type of story in which Gladys Walton is at her best, the Universal star has in "The Love Letter" a picture which contains all the earmarks of success. It carries not only a line of action which offers adventure, but is embroidered with a neat little romance inspired through a mash note. What happens here could reasonably happen when hearts are young and adventure calls. Gladys Walton can play the shop girl to the life— and not exaggerate the type. And she will intrigue you as a romantic worker in an overall shop who tucks away a mash note in a pair of overalls which eventually reach a young blacksmith in a small hamlet. The latter's friends send back a reply, the contents of which read: "I am worth a million dollars, and I want to get married quick." But the girl, inadvertently, shows the note to her tough and crooked sweetheart. He dominates her because she fears him and is forced to play the part of a " plant " in a bold robbery of a modiste shop. There is some good incident exposed here and the atmosphere is first rate. The girl has her wits about her when the police get on the job and passes herself off as one of the dummy figures on display. The tough youth is sent up the river and our heroine packs her grip, puts on her Sunday dress and beats it for the blacksmith's village. She conquers him in no time and not being a bad girl there is no striving toward her redemption. A marriage is performed and the baby brings further happiness and everything is looking rosy until the shadow from the past appears. The toughie, having served his term, arrives to take her back with him. He has his " gat " in his coat pocket and the girl, knowing his desperate character, saves her husband by declaring her love for the crook. It is a bluff but it works, especially when the crook sees her bidding the baby good-bye. Having drawn the figure of a Madonna when he was a good church member, the appeal of the mother and the babe influences him to go straight. There it is in a nutshell— not much originality, but packing a lot of human interest and lifelike touches — to say nothing of humorous moments. George Cooper is excellent as the crook. The Cast Mary Ann McKee • Gladys Walton Kate Smith Fontaine Le Rue Red Mike George Cooper Bill Carter Edward Hearne Rev. Halloway Walt Whitman Mrs. HoUoway Alberta Lee M.s. Carter Lucy Donohue By Bradley King. Scenario by Hugh Hoffman. Directed by King Baggot. Photographed by Victor Milner, Produced by Universal. The Story — Girl in overall factory sends mash note in pair of overalls which eventually reach blacksmith in farming community. She is under the domination of a young crook and after helping him engineer a robbery for which he is caught and sent to prison, the girl leaves the city and goes to the blacksmith's town. She wins his love and marries him and is happy until the crook, released after serving his term, comes to take her back. She bluffs her way out and finds happiness with her husband and the crook goes straight. Classification — Crook melodrama balanced with romance — on the " Turn to the Right " theme. Production Highlights — The atmosphere of the slums. The scene when the girl poses as a dummy model. The scene when she arrives in the small town. The climax when the crook would take her back with him. Exploitation Angles — Story suggests a live campaign built around title and the idea of mash notes inspiring romance. Play up Gladys Walton as having an ideal picture for her talent here. Drawing Power — Good for any second class and neighborhood house anywhere. Also suittable for small town houses. -J f Scene from " Some Service," Universal one reeler. 44 Money, Money, Money " B. P. Schulberg-First National — 5995 Feet (Reviewed by Laurence Reid) SMALL TOWN snobberies will doubtless be familiar to enough people in the country to insure a realistic appeal for this picture in many theatres. There are some beautiful sets, a fairly thrilling climax of an automobile ride through a storm and a few whimsical touches in the direction. As for Woodrow Wilson's favorite actress — well, she has lost nothing in the way of pulchritude. With this said it must be added that " Money, Money, Money " is a relapse from the promises established by the star's recent pictures, " White Shoulders " and " The Woman Conquers." It is not that the newest release is without appeal, but rather that the other two features seemed at least to have brought Miss MacDonald out of the ranks of mediocrity into which she has slumped again in this offering. It will doubtless pass as a pleasing offering where the star is popular. However, it will not live up to expectations if unusual promises are made for it. It is a program picture of average qualities— nothing more — presenting as it does average acting and an artificial story that misses fire more often than it strikes it. Miss MacDonald has been so accustomed to being screened in beautiful clothes that it is interesting to note that she can be almost, but not quite, as beautiful in the gowns of a retail merchant's daughter. The difference becomes noticeable when, as the inheritor of a small fortune, her father is able to dress her becomingly. Something of a play is made on doughnut making in developing the love story and this, together with the charm of the star, are the points of appeal to be made to the public. The attempts to inject comedy by showing the newly rich father making his faux pas in society do not belong. There is no subtlety attached to the development of it. As a whole the story is obvious. The star manages to retain her poise so that after an all-night drive through a torrential downpour she is still immaculate to fly into her lover's arms in the morning. The Cast Priscilla Hobbs Katherine MacDonald George C. Hobbs Carl Stockdale Mrs. Hobbs Frances Raymond Lennie Hobbs Paul Willis Mr. Carter Herschel Mayall Mrs. Carter Brenda Fowler Caroline Carter Margaret Loomis J. J. Grey • Charles Clary Reggie Grey Jack Dougherty By Larry Evans. Scenario by Hope Loring. Directed by Tom Forman. Released by First National. The Story — Treats of small town snobbery. The poor family becomes rich and the haughty aristocratic family which snubs them endeavors to make amends. A banker aids a manufacturer in getting a poor man's business at a reduction. He tries to put over a fake inheritance deal which turns out to be insignificant, but the tables are turned eventually when the banker's son marries the poor girl. Classification — Society drama revealing conflict of wealth and poverty. Production Highlights — The auto scene. The The climax. The beauty of the star. Exploitation Angles — This title suggests a snappy teaser campaign. You might co-operate with banks, etc. Suggests ballyhoo stunts. "Java Head" Paramount — Eight Reels (Reviewed by Charles Lark-in) «(")H, EAST is East, and West is West, ^— ' and never the Twain shall meet," sang Kipling in his ballads, and on this theme have been constructed no end of film and stage plays, but to George Melford goes the honor of placing on the silver sheet a version off the beaten path, a masterful adaptation of Joseph Hergesheimer's Saturday Evening Post story. This production will create no end of comment. It is the climax of Melford's career as a director. It is the making of Leatrice Joy. It is a scenic delight, most of the feature having been staged in quaint old Salem, the New England coast and the historic locale of the book. It is a picture that boasts a cast of unusual excellence. We recall few productions wherein is set forth such a wealth of character paintings. Leatrice Joy's unique portrayal is nothing less than a personal triumph for the star. Had she been a native princess she could not have been better. But it is only one of the fine bits of acting. Jacqueline Logan, Raymond Hatton. George Fawcett, Frederick Strong, Albert Roscoe and Rose Tapley give convincing performances. The real Salem exteriors are a delight to the eye, as are the correct old New England interiors and costumes. The Chinese settings are elaborate, well staged and colorful. The great care given to detail is evident throughout. The picture shows an utter disregard for expense. Of moments dramatic there is a full quota and these are recorded in a vivid manner. The climax showing the breaking down of Edward Dunsack's dope-crazed mind, the visit of Taou to Nettie's sickbed and her taking of her own life by swallowing an overdose of opium pellets just as the pipe derelict is about to attack her, sends the picture over with flying colors. The photography is flawless, the subtitles intelligently written and artistically mounted. The scenario by Waldemar Young is excellent and shows a deep reverence for the original story. " Java Head " will probably rank as one of the best things Paramount will offer this year. It should find a welcome where high class productions are appreciated. The Cast Taou Yen Leatrice Joy Netie Vollar Jacqueline Logan Jeremy Ammidon Frederick Strong Gerrit Ammidon Albert Roscoe William Ammidon Arthur Stuart Hull Rhoda Ammidon Rose Tapley Laurel Ammidon Violet Axelle Sidsall Ammidon... Audrey Berry Camilla Ammidon Polly Archer Barzil Dunsack George Fawcett Edward Dunsack Raymond Hatton By Joseph Hergesheimer. Directed by George Melford. Scenario by Waldemar Young. Photography by Bert Glennon The Story — Believing that a quarrel between his father and the grandparents of his sweetheart has destroyed all possible chance of future happiness, Gerrit Ammidon sets sail for Shanghai. There he becomes mixed up in an attack on a Manchu princess, whom he marries to save from death. He returns to his Salem home with his Chinese bride. His old sweetheart is heartbroken Nettie, the sweetheart is injured and Gerrit is persuaded to visit her. He confesses his love. The Chinese girl learning of the great love between the two, takes her own life. Classification — An unusual screen painting of the " East Is West " type of story, filled with colorful character portrayals. Production Highlights — The work of Leatrice Joy as Taou Yen and the fine supporting cast. The wonderful settings in the exact locale of the story. The Chinese settings. The arrival of Exploitation Angles — Dress your ushers in Chinese costumes. Decorate your lobby in Oriental style. Put on an atmospheric prologue. Drawing Power— Should be a big drawing card anywhere, anytime.