Motion Picture News (Nov-Dec 1923)

2482 .1/ otio n P i c t it r e News In the Palace of the King ( CosmopolitanGold wyn — Nine Reels) (Reviewed by Frank Elliott) THIS is one of the most gorgeously mounted productions it has been our pleasure to view in many, many months. All praise to Lmmet J. Flynn for his masterful transplanting to the screen of F. Marion Crawford's famous novel. It is a picture that sets a new standard for massive scenic investiture, both interior and exterior mountings being built on a scale that will make most audiences gasp at the splendor and luxury of it all. Here we have a combination of a popular story, cast of real stars and background of kaleidoscopic grandeur. Any picture with such a combination of ingredients is an assured success before it hits the shadow stage. The story, as most readers know, is set in the court of Philip II of Spain and in a period when sinister intrigue was at its height. So tense is the action throughout the entire picture that its somewhat lengthy footage is not noticed in the least. The whole plot moves swiftly to a logical and impelling climax. The costumes are unusually gorgeous and correct in design. The lavishness of attire of the various characters will undoubtedly be a subject of wide comment. The palace set is one of the largest ever built for a motion picture and the courtyard, ball-room, parade grounds and side view with the massive palace walls and stairs are simply knockouts. For color there are the harems of the Moors, the victory festival and the battles between the Moors and the forces of Don John. Audiences will find plenty of dramatic situations — in fact there are several in each reel. No review of this picture would be complete without paying homage to the work of the various members of the cast. Blanche Sweet as Dolores Mendoza is excellent and reminds us of her work in the days of " Judith of Bethulia." Edmund Lowe does the best work of his career as Don John. Sam de Grasse contributes a masterpiece of character work as King Philip. Hobart Bosworth as the redoubtable warrior, Mendoza, is an imposing figure. Pauline Starke as Inez, the blind girl, and Aileen Pringle as Princess Eboli have the other important parts and do exceedingly well in them. THEME. A spectacular love drama of medieval Spain dealing with the plottings in the court of King Philip, the love and sacrifice of a soldier for his daughter and the romance between Dolores and Don John, brother of the king. PRODUCTION HIGHLIGHTS. The massive sets. The battle scenes. The attack on the Moors. The ball in Don John's honor. The excellent characterization. The gorgeous costuming. The victory festival. DIRECTION. Has judged his dramatic values accurately. Undoubtedly knew his script word for word for there is a wonderful unity of action and characterization throughout the picture. EXPLOITATION ANGLES. Play this one up as one of the greatest spectacles of the screen. Flash the big cast in your ads and in front of the house. DRAWING POWER. For the best houses. SUMMARY. A decided acquisition to the ranks of this year's better pictures. Wonderfully well produced, excellently acted and directed and mounted in lavish style. THE CAST Dolores Mendoza Blanche Sweet Don John Edmund Lowe Mendoza Hobart Bosworth Inez Mendoza Pauline Starke King Philip II Sam de Grasse Perez William V. Mong Princess Eboli Aileen Pringle Adonis • • ■ .Lucien Littlefield Gomez Charles Clary Alphonso Harvey Clarke Eudaldo Tom Bates The Queen Ena Gregory By F. Marion Crawford. Directed by Emmet Flynn. Adapted by June Mathis. Photographed by Lucien Andriot. SYNOPSIS— Philip of Spain, jealous of Don John, his brother, whom he plans to marry to an English princess, sends him to fight the Moors, hoping he will not return. Don John is in love with Dolores, daughter of Mendoza, a general who opposes the match believing Don John is only playing with the girl. Don John returns victorious. In a quarrel with the king John is stabbed and left for dead. To save the king, Mer^or? tn'-rs t!,e blame for the supposed murder. Dolores, however, threatens to expose the real murderer unless the king pardons her father. He signs the pardon. It is later found that John is not dead and the king consents to the wedding. The Mail Man (Emory Johnson — F. B. O. — Seven Reels) (Reviewed by Frank Elliott) EMORY JOHNSON has packed just about everything possible into this thrilling tale of the lives of two of Uncle Sam's postmen. Starting out with a series of scenes showing the home life of the men who wear the gray uniform of the postal service and which tugs at the heart strings, he has proceeded to unfold an absorbing story of the lengths to which these men will go to protect the mails. First we have a robbery of a post office in which most of the place is blown up. Then when this is cleared up and the heroes rewarded we are treated to a series of some of the most tense scenes pictured in many moons, the attempt of a derelict craft to hold up a mail ship which is frustrated when what seems to be the whole U. S. fleet, aided by airplanes and submarines, goes after the boat and unloads enough ammunition to sink the British fleet. Not satisfied with these big scenes, Mr. Johnson has kept up the tense suspense by introducing a situation in which the son is convicted of murder and the father reaches the prison on the moment of execution to find his son pardoned. This is a picture that is going to " get " everyone who sees it. It overflows with heart appeal, is jammed full of dramatic fireworks and has a cast which puts over the story in Al shape. Ralph Lewis as Bob Morley the postman, and Johnny Walker as his son, do some wonderful acting and will win many new friends. All the other members of the personnel lend admirable support to these two stars. There are many fine night shots. The photography is unusually artistic and the continuity clear from beginning to end. As for exploitation this picture has a tie-up possibility in every few feet. The big point, of course, is the mail men angle. The more you spend on this one, the more you'll get out of it. THEME. A melodrama dealing with how the postman lives and then puts him as well as his son into a story which sets forth the lengths to which these faithful Federal employes go to serve Uncle Sam. PRODUCTION HIGHLIGHTS. The post office robbery and blowing up of the safe. The chase of the yacht by the fleet of battleships, airplanes and U-boats. The acting of Ralph Lewis and Johnny Walker. The many fine night shots and camera work. The overwhelming climax. DIRECTION. Emory Johnson has sure put over a winner here. He has produced a box office picture that can really boast of having everything. He has been able to put a punch in each reel and built the whole up to a tense climax. Has inspired his players to live their roles. EXPLOITATION ANGLES. This is one of the prize exploitation pictures of this season. The big angle is the tie-up with the local post office employes. Tie up with your radio clubs and stores, the local navy recruiting office, and many other angles. DRAWING POWER. This is a box office picture and will jam most houses if exploited in a big way. SUMMARY. One of the kind of filmplays that have everything. Jammed with tense situations and thrilling scenes. Rich in exploitation possibilities and should be a winner. THE CAST Bob Morley Ralph Lewis Johnny Morley Johnny Walker Little Betty Martha Sleeper Mother Morley Virginia True Boardman Little Virginia Josephine Adair Harry, her Brother Taylor Graves "Red" Morgan David Kirby Stephen J. Nelson Hershall Mayall Errick O. Kranz Hardee Kirkland Governor Bryson Wilbur Higbee Admiral Preston Richard Morris By Emilie Johnson. Directed and produced by Emory Johnson. Photographed by Ross Fisher. SYNOPSIS— Deals with Bob Morley, a veteran postman and his son Johnny who is promoted to a mail ship for faithful service. Johnny is thrown into the seas by the cook who attempts to rob the mail and is picked up by the craft attempting the robbery. From this ship Johnny radios to the U. S. fleet which gives chase. But Johnny is convicted of murdering the ship's officer and is only saved from execution by a last minute confession of the real culprit.