Motion Picture News (Mar-Apr 1923)

March 31, 1923 1571 Pre-release Reviews of Features " The Spider and the Rose " Zeidman-Principal — 6800 Feet (Reviewed by L. C. Moen) THE effects of Benny Zeidman's association with Douglas Fairbanks show plainly throughout The Spider and the Rose." Zeidman has built a production on the type of those Fairbanks made a few years ago — a romantic, devil-may-care sort of melodrama, crammed with action, and with an athletic and intrepid hero who fights his way through all manner of hazards and handicaps for the sake of an oppressed people and the girl he loves. It is laid in one of the most colorful and romantic settings and periods in American history — in California in the days of Emperor Maximilian I. Against this magnificent background is enacted a lively tale of intcigue and revolution. Zeidman has assembled a truly steller cast for the production. Alice Lake, Gaston Glass, Joseph J. Dowling, Noah Beery, Alec Francis, Louise Fazenda, Frank Campeau, Robert McKim, Richard Headrick, Otis Harlan, Andrew Arbuckle, Edwin Stevens — here are names to conjure with! Gaston Glass is not, to our mind, ideally cast as the strenuously athletic type of hero, but this is more than atoned for by the excellent types in the various character roles. Noah Beery as the Maitre, a French soldier of fortune, is a vivid and picturesque figure. Robert McKim is a smilingly unscrupulous villain, who almost compels admiration for his finesse and his suave villainy. Alice Lake is a charming senorita — the " rose " of the story, McKim being the "spider." The cast, as a whole, performs capably and provides a wide assortment of interesting portrayals. Once it gets under way, the story moves swiftly, and there is ample incident and action, finishing in a whirlwind of riding and fighting. Interest holds up well for the most part, and the pictures strikes us as excellent audience material. The Cast Paula Alice Lake Don Marcello, a child Richard Headrick Don Marcello Gaston Glass The Governor Joseph J. Dowling Mendozza Robert McKim Maitre Renaud Noah Beery The Secretary Otis Harlan Don Fernando Frank Campeau The Priest Andrew Arbuckle Good Padre Alec Francis Bishop Oliveros Edwin Stevens Dolores Louise Fazenda Adapted from a story by Gerald C. Duffy. Directed by Jack McDermott. The Story — Son of Governor of California, in early days, joins revolutionists to oust scheming secretary, who deceives Governor and oppresses people. His sweetheart, thinking to save him, inadvertently betrays him to authorities, and revolutionists are imprisoned, believing hero a traitor. He is thrown into the sea, but is saved. He effects the escape of his comrades and in a thrilling finish ousts secretary, who has usurped governorship, and returns his father to office, winning the girl. Classification— Romantic melodrama of early California. Production Highlights — The colorful atmosphere. The beautiful garden scenes. The firing squad sequence. The uprising. The rapid finish. The work of Noah Beery and Robert McKim. Exploitation Angles — The outstanding exploitation feature is the strong cast, with many names familiar to every picturegoer. Other exploitation stunts, in the way of street stunts, lobby displays and prologues may be built up around the Spanish atmosphere of early California. Drawing Power — Should appeal to practically any type of audience. A scene from " Two Stones With One Bird," fourth of the " Fighting Blood " Series for F. B. O., featuring George O'Hara in the H. C. Witwer " Fighting Blood " stories. " The Lion's Mouse " Hollandia-Hodkinson— 5200 Feet ( Reviewed by Laurence Reid) THEY'VE attempted to show a mystery melodrama here, but have only succeeded in showing a crazy-quilt the action of which is at odds and ends, so much so, that we defy any spectator to know what it's all about. The continuity is choppy and the direction is bad, consequently the players are up against it in trying to be convincing. The picture was made in Holland and it bears all the earmarks of being a shoddy foreign production. The plot has to do with the persecution of a girl and the attempt to blackmail her and her brother. In fact the latter doesn't make an appearance until the happy ending when his name, Stephen, proves to be the magic word which solves this puzzle. If the director intended to mystify an audience he has succeeded admirably, for with the opening shot we discover a girl bounding into a man's compartment in an English train, pleading for protection of herself and her valuable package which looks as if it might contain the fatal papers. Incidentally these papers are never disclosed. It takes two weeks to get these perfect strangers married after which the husband gets suspicious of his wife's action. Several characters are introduced in a haphazard fashion, one of whom carries the plot along in her attempt to deliver the package or get it or recover the jewels or deliver them. She picks a man's pocket to get the keys to his private safe. Watching her work, one would believe that they are deadly enemies. Yet when she has a distressing moment, trapped by some arch criminals, she telephones for him, pleading that he is the only man she can trust. And a romance blooms for her. The incident is topsy-turvy throughout. The picture is badly edited and poorly titled. To find out what it all means we are forced to read the synopsis. The Cast Roger Sands Wyndham Standing Beverly White Marguerite Marsh Clo Riley Mary Odette Justin O 'Riley Rex Davis Directed by Oscar Apfel. Photographed by Peiko Boorsman, Mack Van Lior and Jan Smit. The Story — Girl is forced to use extreme measures in protecting her brother. She rushes into matrimony, but her package of letters are stolen as well as the jeweled necklace her husband gives her. Eventually the criminals are captured and all ends well. Classification — Mystery melodrama. Production Highlights — The efforts of the players to appear convincing. Exploitation Angles — Picture carries snappy title. Use it for a teaser campaign. Drawing Power — Only suitable for double feature day in second class downtown houses. "The Fourth Musketeer" F. B. O.— 5500 Feet (Reviewed by Laurence Reid) IJ C. WITWER, the author of the *■ several series of pugilistic stories which have made rattling good two-reelers, has come forth sponsoring a feature length picture, "The Fourth Musketeer," which also recounts the adventures of a prizefighter. For two or three reels it carries the spontaneity and verve of the short pieces, then it sags in interest because it appears padded and some incident is introduced which seems forced and arbitrary. After the pugilist has climbed the ladder to success by knocking out his rival, he is all set to retire through the wishes of his wife and take over a country garage. But his opponent in the ring has an invalid mother whose health demands that she take up her abode in California. He pleads to have the boy with the knock-out punch throw the fight. But the latter shows his generous nature by loaning him the money, thus sacrificing his opportunity to engage in business. Up to this point the picture carries a good atmosphere, generating a wholesome human interest as well as some snanoy incident. But after the sequence is over the story loses its sustaining quality because the plot develops a triteness which weakens it. The owner of the garage kindly takes the young man's note and he opens his shop. Which is the opportunity to stir up some conflict in the home. The socially ambitious wife who has been a "square shooter" steps out of character and hobnobs around with a young bounder of the jazzy set and she feels ashamed that she's married to a pugilist. We cannot reconcile ourselves to society people accepting the wife of a pugilist into their inner circles. The story is sketchy here and finishes with the wife appreciating her husband after he has saved a social dowager's jewels from being stolen. A front page story in the paper makes her mishtv proud of him. William Scott makes a more convincing prize fighter than Johnnie Walker, whose features are a trifle too refined. The others in the cast haven't many opportunities to do anything except pose. An obvious little story which is good for three reels. The Cast Brian O'Brien Johnnie Walker Mrs. Brian O'Brien Eileen Percy Joe Tracy William Scott Mrs. Tracy Edith Yorke Jimmy Tracy Georgie Stone Dan O'Reilly James McElhern Mike Donovan Eddie Gribbon Gerald Van Sicklen Philo McCullough Mrs. Rector Kate Lester By H. C. Witwer. Adapted by Paul Schofield. Directed by Wm. Kerrigan Howard. Photographed by Wm. O'Connell. Produced by F. B. O. The Story — Pugilist is successful in ring encounter and retires. He loans his winnings to rival and gives his note to garage owner, thus providing opportunity to engage in the garage business. His wife neglects him to take up with social activities but she learns to appreciate him when he recovers some stolen jewels and shows his courage. Classification — Drama of prize-ring balanced with heart interest. Production Highlights — The prize-ring scenes. The scene when pugilist loans money to his rival. The climax when hero recovers jewels. Exploitation Angles — Best angle is to exploit author, featuring his two-reelers, "The Leather Pushers." If the star has a following, play him up. Title suggests a teaser campaign. Drawing Power — Should prove suitable for small downtown and neighborhood houses.