Motion Picture News (Nov-Dec 1923)

2480 Motion Picture News Pioneer Trails (Vitagraph— 5500 Feet) (Reviewed by Laurence Reid) THE spirit of '49 is expressed here for a reel or two — expressed in a covered wagon train and a subsequent massacre by the redskins, after which the story develops from a very oldfashioned theme with villainy and virtue in sharp conflict — villainy being triumphant until the concluding scene when it takes the count. It's a story which might have offered some suspense some years ago, but in this day with countless plots of its kind ground through the mill it presents nothing of suspensive value. There's a dime novel quality about it in the manner in which the heroics are displayed. The moment that the girl is rescued by a daring young horseman one can anticipate every move. This youth is the only surviving member of the pioneer train — a youth adopted by a family of a later caravan. The girl is accompanied on the coach by her father and an oily lawyer whose object is matrimony. The latter two are also rescued when the stage tips over on a mad dash along a mountain road. Then the conflict is introduced — a crude, artificial, melodramatic conflict which presents the hero's foster-mother being killed by the villain and the young man being accused of the crime. There isn't one single surprise in these sequences. Indeed the plot smacks of nickelodeon days. The hero must be persecuted by the camp dwellers to give the story a melodramatic sting — so that when he does triumph he may wear a bigger halo. A posse in such a plot never gives credit to a man's character. So the stranger in their midst — the oily lawyer — is allowed to get away with his villainy until the final scene. The wagon train sequence is the only highlight — and while it is patterned after James Cruze's big opus — it, nevertheless, is well developed. The comedy relief is often tedious because it is offered by a talkative character. The acting is praiseworthy. In fact it affords about 90 per cent of the interest, Cullen Landis playing the hero with fine naturalness in spite of its heroic demands, and Alice Calhoun giving a charming rendition of the heroine, though the emotional opportunities are few. The atmosphere is good enough — and so are the titles. The faults are a moth-eaten plot — and an orthodox treatment of it. THEME. Melodrama of camp settlement of California with sole survivor of wagon train of '49 rescuing a girl and developing a romance — a romance frustrated for a time by the villainous tactics of a disappointed suitor. PRODUCTION HIGHLIGHTS. The wagon train episode, showing the circle of death and the massacre by the Indians. The good acting furnished by Cullen Landis, Alice Calhoun and supporting cast. The courtroom scene, introducing a comedy note. DIRECTION. Is burdened with moth-eaten story— which doesn't carry a single note of suspense or surprise. Treats it in conventional manner with emphasis placed upon conflict between hero and villain. Adds a thrill with Indian massacre and the stage-coach rescue. EXPLOITATION ANGLES. Title might come in for special exploitation and you may ballyhoo the pioneer wagon idea. Play it up as melodrama of California during gold rush. Feature the principal players. DRAWING POWER. For program houses. SUMMARY. An old-fashioned obvious story which carries two or three interesting scenes — such as an Indian massacre and a rescue, but which offers no suspense and is treated after the manner of such pictures that were offered several years ago. THE CAST Robert Dale j c u Landis Jack Plains J Rose Miller Alice Calhoun Philip Blaney Bertram Grassby ' Easy Aaron" Cropsey Otis Harlan Rodney Miller Dwight Crittenden Mrs. Salter Virginia True Boardman "Laundry Lou" Aggie Herring Parson Nelson McDowell Bill Slater W. J. Dyer Picturized by C. Graham Baker. Directed by David Smith. SYNOPSIS. Sole survivor of Indian massacre of wagon train is adopted by other pioneers and grows to manhood. Operates his foster mother's mine. Goes to rescue of passengers in runaway coach and finds romance. Girl finds shelter at his home and responds to his advances — which arouses jealousy of an admirer. The latter causes youth to be charged with murder, but he is vindicated. Flaming Youth (First National — 8434 Feet) (Reviewed by Frank Elliott) WE believe that this picture will be one of the biggest box office attractions this season. If ever there was a film play that was " in style " this is it. They're all crying for entertainment like this — lots of pep, moments that border on the gasping point, jazz, a snappy story, pretty women, dashing heroes, gorgeous settings and for good measure a thrill ever and anon. It is a difficult thing in commenting on this picture to keep from waxing over-enthusiastic on the work of Colleen Moore, who as Patricia Fentriss eclipses all her former characterizations and paints a portrait of that modern institution — the flapper — that is without parallel in screen history. We doff our hat to Miss Moore and feel sure that the nation's picture fans will soon be discussing nothing else but her " chefff d'ouvre." As for the supporting: cast it contains Milton Sills, Elliott Dexter, Myrtle Steadman, Sylvia Breamef and others, all of whom register in excellent manner. A lot of folks will expect to see some sensational scenes similar to those described in the book, but they'll be disappointed. The one scene so filmed, that of the dedication of the bathing pool where the guests jump in " en deshabille " is " shot " in silhouette, an excellent idea. The settings are beautiful, some of the interiors being unusually elaborate. There are many big moments and the climax in which "Pat" finds herself trapped on a yacht and is forced to jump into the sea to save herself carries the picture in fine shape. The story drives home a lesson to this jazz-mad age and helps one to easily picture the abyss toward which present day social levity is dashing a certain class of the nation's youth. " Flaming Youth," is a distinctly high class, entertaining picture and will send away everyone who sees it thoroughly satisfied and will start the grey matter working in heads of many to whom the story will strike home with much force. THEME. A society drama dealing with the weaknesses of our modern social fabric and setting forth in vivid manner the career of one Patricia Fentriss, a flapper who craves love and attention. PRODUCTION HIGHLIGHTS. The characterization contributed by Colleen Moore. The lavish interiors. The bathing pool party. The " petting " parties. The scenes aboard the yacht and the heroine's jump into the sea. DIRECTION. Has certainly accomplished wonders with Colleen Moore and he has handled all the other parts in a masterful manner. He keeps the action speeding along at a high rate, not allowing the interest to lag one moment. He has allowed no objectionable material to creep in EXPLOITATION ANGLES. Here's a picture that will stand up under the biggest advertising campaign you may plan. The book has been read by millions. It has been published in serial form in the newspapers. Plaster the town with the title. DRAWING POWER. Will tax the capacity of any house if properly advertised. SUMMARY. One of the " different " pictures of the season, the kind that folks fight to see. Featuring a characterization of a flapper without parallel in film history. A high class, lavishly mounted production THE CAST Patricia Fentriss Colleen Moore Cary Scott ..Milton Sills Doctor Bobs Elliott Dexter Dee Fentriss , Sylvia Breamer Mona Fentriss Myrtle Steadman Connie Fentriss Betty Francisco Ralph Fentriss Phillips Smalley Jamieson James Walter McGrail Monty Standish Ben Lyon Fred Browning George Barraud Warren Graves John Patrick Leo Stenak Gene Carrado Annie Gertrude Astor From the novel by Warner Fabian. Directed by John Francis Dillon. Scenario by Harry O. Hoyt. Photographed by J. C. Van Trees. SYNOPSIS— Tells the story of the romance and lives of a modern society mother and her three flapper daughters, emphasizing the career of the youngest, Patricia, who kisses them all and then falls in love with one of her mother's former suitors. Brings into relief the wasteful lives of a certain class of our present generation.