Motion Picture News (Mar-Apr 1923)

April 7, 1923 1691 " The Queen of Sin " Ben Blumenthal-State Rights — Eight Reels (Reviewed by Laurence Reid) AN Austrian importation is " The Queen of Sin," with which is interwoven " The Spectacle of Sodom and Gomorrah," and according to the program announcement has been cut from eighteen reels to eight to meet the view of American minds and which elaborates upon the vital statistics of its production— such as the mention of 200,000 costumes, 13,000 wigs, 38,000 pairs of foot coverings, 700 rugs of medieval weave, 500 pairs of curtains which were assembled, manufactured or rented for the picture. And after absorbing these figures, one naturally sits back, anticipating a gigantic spectacle. Unfortunately the spectacular side of the picture is burdened with a poorly constructed story which features one of the oldest formulas of the screen — that of the mercenary mother who marries her daughter off to the highest bidder, thus bringing tragedy into her life. The motivation is unsound, for there is no indication that the girl is a vampire in the introductory shots — when she indulges in romantic expression with her lover, a poor and humble artist. The moment that she is married she plots extreme vengeance. She will strike the multi-millionaire spouse through his son. The story, having been edited and re-titled, loses its force and logic. And many of its captions miss the mark being burdened, as they are, with high-sounding morals and dramatic values which do not belong. The story would have registered better had it been intrusted to skillful interpretation. Lucy Doraine in the title role is not able to suggest any of the emotions which she is called upon to express. Later, however, as the queen of the ancient capitals which were destroyed because of their sin, she is much more in character — disguised as she is in regal splendor and not called upon to register anything but passion. The spectacular scenes are not introduced until the second half of the feature — and they do much to compensate for the modern story and its bad interpretation. Many of the sets are positively stupendous in design and one catches the spiritual note as the cities fall. A vast horde of extras are employed and seeing them run for their lives as the temples and columns topple over and fire and brimstone descending upon them, one is carried along in quite a fervor of excitement. Doubtless fear of censorship made the modern story incoherent. Taking ten reels out of a picture might almost indicate disaster for it. The Cast Jackson Harber George Reimers Edward Harber ( ,„ , A Goldsmith from Galilea ( Walter Slezak Miss Mary Conway 1 The Wife of Lot \ Lucy Doraine The Queen of Sin J Mrs. Agathe Conway, her mother .Erika Wagner A Priest Tutor at Cambridge ) «. , . , The Unknown Wanderer \ Michael Varkony, Harry Lighton. a Sculptor / Kurt Ehrle Lot S ' I The Story — Treats of girl who is sold by her mother to highest bidder, thus causing her lover to attempt suicide. The girl plots vengeance against her rich husband, striking him through his son. But in a dream she discovers a conscience. The story carries a parallel with the ancient downfall of Sodom and Gomorrah. Classification — Modern triangle based upon daughter-sold-to-highest-bidder theme. Linked up with spectacle of downfall of Sodom and Gomorrah of Biblical history. Production Highlights — The spectacular scenes of the ancient story. The impressive sets, most of which are massive and colorful. Exploitation Angles — Play up its spectacular appeal. Use title for a teaser campaign. Drawing Poiver — The spectacular side of picture will appeal to any crowd. " Suzanna " Allied Producers and Distributors — 6500 Feet (Reviewed by Laurence Reid) MACK SENNETT wrote this one as well as supervising the production. Naturally, anyone familiar with the producer's comedy values might wonder if he is not having some fun on an old theme. The story is a variation of the ancient and accepted locket formula. The child who grows up a social outcast is not identified through the gold or brass emblem but through an obliging servant coming forward and relieving himself of the secret that the babies were exchanged at birth. There it is in a nutshell. Sennett tells his story against a Spanish setting in the early days of California and tells it well, notwithstanding its familiarity. You may know what is coming far in advance, but he gives it enough Spanish sauce and paprika to interest most anyone not too far advanced in the technique of the screen. Mabel Normand has the title role and while she doesn't suggest a Spanish peon or one of the F. F. V.'s of early California aside from her picturesque attire she does manage to inject enough of her distinctive comedy touches to make it an acceptable drawing. To be frank it is the humor which provides the saving grace of this picture the story of which features two Spanish dons who have pledged their son and daughter to one another. But the youth rebels and falls in love with the lowly peon who works on his father's ranch. And so to the conflict when a toreador, played with adequate color by Leon Bary, attempts to win the picturesque peon for himself. Meanwhile the spectator is being treated to some typically Spanish customs — such as the fiesta, the bull-fight (taken from a news strip) and the courtship via the guitar. The characters are dressed accordingly. The stage is all set for the wedding of the toreador and the don's daughter. Mind you the peon has learned that she is of noble birth, but the conventions of the Noble Sacrifice must be obeyed. The rebellious son steals the girl from the altar and carries her away on horseback. Which introduces a vivid thrill when the two rivals fight on the edge of a cliff. Not so much in its story, but produced with a typically Sennett touch. George Nichols doesn't have much opportunity to act as one of the dons. The Cast Suzanna Mabel Normand Don Fernando George Nichols Ramon, his son Walter McGrail Dona Isabella, his wife Evelyn Sherman Pancho, the Toreador Leon Bary Don Diego Eric Mayne Dolores, his daughter. Winifred Bryson Ruiz Carl Stockdale Alvarez Lon Poff Miguel, his son George Cooper Indian Minnie Herself Black Hawk ...Himself By Mack Sennett. Directed by F. Richard Jones. Produced by Mack Sennett. Released by Allied Producers and Distributors. The Story— Treats of days of Spanish colonization in California. Suzanna is the daughter of Spanish don but is ignorant of fact that she was kidnapped during infancy and reared as peon on ranch of Don Fernando. The latter's son is pledged to the daughter of Don Diego, but he rebels and kidnaps Suzanna. Her identity is established and the other girl weds the toreador. Classification — Romantic comedy-drama carrying theme of girl kidnapped in infancy and brought up as servant. Production Highlights — The atmosphere and color. The settings. The good work by George Nichols. The thrill when rivals fight on edge of cliff. Exploitation Angles — Give picture a Spanish setting in prologue, featuring dancers and musicians. Play up cast. Bill it as a Mack Sennett production. Drawing Poiver— Should draw in most any house. " Souls for Sale " Hughes-Goldwyn— 7864 Feet (Reviewed by Laurence Reid) YOU might call this, Rupert Hughes' latest, a feminine " Merton of the Movies " — you might call it a hodge-podge of every conceivable camera trick which goes into the composition of a picture — and after you are through trying to define or describe it, you will find yourself up a tree. It defies being called anything but a tricky novelty — a takeoff one moment of how photoplays are made, and shifting into a sort of grotesque eternal triangle. Hughes is surely the magician here — and he pulls the tricks out of his hat or rather his megaphone with all the easy hokum of a Hermann. It is our opinion that he directed this picture with his tongue in his cheek for back of it all is a satirical thrust aimed at heavy villainy as it is exposed in too many of our sexational (to quote the author) dramas. He never becomes intimate. His scenes are too crowded for such a touch. And though he points a moral at the end, it seems unconvincing in view of the maze of sequences in which the characters are piloted before the climax. Mr. Hughes starts off by showing a runaway bride who, after leaving her husband in a Pullman, accidentally meets a picture company making a "sheik" story in the California desert. What follows is her rise to stardom, punctuated with her spouse's adventures in evading the law. He is painted as a criminal whose profession is matrimony. He marries his wives, insures their lives, then kills them off. And the couple do not meet again until the climax. Meanwhile Hughes is kidding the picture people, kidding himself, kidding the public, kidding the idol-worshippers who write to the stars, and having a lot of fun out of it. He takes us on various sets, introduces us to a galaxy of celebrities during their luncheon hour and follows through with some humorous thrusts aimed at the society drama and a few other formulas, not forgetting the circus story which he employs to furnish a highly melodramatic climax. A real storm washes out the artificial storm and lightning strikes the big top, setting fire to it. The murderous husband expiates his crimes by saving his runaway bride from the wind machine. The huge propeller strikes him and he lives just long enough to seek forgiveness and receive it. There is so much in this picture that it resembles a three-ring circus. Consequently the story is often lost. It could stand editing, thus making the scenes more compact. The camera work is splendid and there are some exceptional shots of the desert — as well as some intimate scenes of studio atmosphere. The Cast Remember Steddon Eleanor Boardman Robina Teele Mae Busch Leva Lemaire Barbara Le Marr Frank Claymore Richard Dix Tom Holby Frank Mayo Owen Scudder Lew Cody And twenty-eight other players. Written, adapted and directed by Rubert Hughes. Produced by Goldwyn. The Story — Girl, a newly-wed, has intuition that husband is a sinner, so runs away and stumbles upon moving picture company taking scenes in the desert. She is given encouragement and soon rises to the top. Her husband returns after a colorful career in crime to save her from death. Classification — Humorous and melodramatic novelty of picture life in Hollywood. Production Highlights — The comedy moments. The titles. The exceptional photography. The good work by Lew Cody. The climax showing the burning of the circus tent. Exploitation Angles — Feature the author and director, placing stress upon efforts towards originality. Make a play upon little and feature the large cast. Play up the Hollywood atmosphere. Draiving Power — Should go big anywhere.