Motion Picture News (Nov-Dec 1923)

November 24, 1923 2483 The Virginian (Preferred— 8010 Feet) (Reviewed by Laurence Reid) COUNTLESS pictures of a plot similar to "The Virginian" have raced across the screen since it served as one of the principal •western patterns, but none have contained a better flavor of storv interest, sharply drawn characterization, quiet humor and human touches as this new film version of Owen Wister's vital yarn. The idea has become very familiar, but it has been treated skillfully so that its highlights are ever prominent. The figures appear genuine and the picturesque life they follow is at all times real. One may call it a cattle-rustling story — with the customary romance to give it balance but there are no hectic melodramatic fireworks to take away its humanities. The central figure arouses keen interest because of the slow, easy-going manner and the romance which envelops him isn't hurried. It has a very definite place here — without overwhelming the conflict. The adaptation is exceptionally faithful to the book — even to visualizing the shuffling of the babies at the barbecue. And it keeps faith when the Vriginian is forced to hang his best pal. The spectator will be thoroughly absorbed with the treatment of the story and will be highly interested in the exteriors. The background catches deep plains and high ranges, suggesting a perfect atmosphere for this vivid opus of the low country. We know what is coming with every scene — having read the book and seen a former film version of it, and while the suspense is eliminated, nevertheless, we pay good attention, held by the human touches, the development of the romance and the character drawing. The picture is finely played by Kenneth Harlan in the title role. He never overstresses a single scene. His moments of pathos when delirious from his injury give it real quality. And the supporting players are always in character, particularly Pat O'Malley, Russell Simpson, Raymond Hatton and Florence Vidor. The types who aid in the atmosphere have been selected for their adaptability. Very few westerns can stand comparison with it in its characterization, detail and backgrounds. THEME. Western melodrama featuring cowboy from Virginia who wins girl's heart against her will, and disillusions her by leading a posse and exterminating cattle rustlers. She rescues him and love conquers. PRODUCTION HIGHLIGHTS. The faithful adaptation. The humorous incident. The wonderful backgrounds. The development of the romance. The pursuit and capture of rustlers — and the necktie party. The good performances. DIRECTION. Has humanized Wister's story with lifelike touches. Has selected a most competent cast and players act splendidly. Develops plot well — and brings out full flavor of book. Is given to holding scenes too long — so that action drags throughout. EXPLOITATION ANGLES. Play up that picture is film version of well known novel. Give it big space in your papers and advertise it as one of best westerns ever made. Mention the players. Put on atmospheric prologue, featuring cowboy quartette, etc. DRAWING POWER. Good for any house, anywhere. SUMMARY. A fine western, faithful to book, rich in locations and atmosphere, and finely acted. Theme is old, but clever treatment gives it breadth and color. Action drags, scenes being held too long. Needs editing to six reels. THE CAST Virginian Kenneth Harlan Molly Woods Florence Vidor Trampas Russell Simpson Steve Pat O'Malley Shorty Raymond Hatton Judge Henry Milton Ross Uncle Hughey Sam Allen Spanish Ed Bertram Hadley Fat Drummer Fred Gambol From novel and play by Owen Wister and Kirke La Shelle. Scenario by Hope Loring and Louis D. Lighton. Directed by Tom Forman. SYNOPSIS — Cowboy rescues girl and falls in love with her. Threatens to win her love, but she is defiant until she appreciates his manly qualities. Is chosen to head posse to capture rustlers — and discovers his best pal a member of the band of cattle thieves. Is forced to hang him, which disillusions girl. He pursues the ringleader and is wounded, but girl rescues him and nurses him back to health. He conquers his enemy — and love triumphs. Our Hospitality (Keaton-Metro — 6220 Feet) (Reviewed by Laurence Reid) BUSTER KEATON'S latest burlesque of a familiar formula does not carry the mirth provoking possibilities of some of its forerunners. We have our doubts whether a " take-off " of the Southern feud story could ever be made consistently humorous — because of its melodramatic character. Keaton relies almost entirely upon property effects and some typical incident to generate the laughs, but there is too much footage devoted to these effects — and repetition eliminates the humor after the first surprise. The first scenes plant a characteristic feud — with Keaton introduced as the heir of one of the feudists, though living in New York at a time when the metropolis was a thriving village. He is dressed in the period of 1830 — high beaver hat, et al. And the subsequent action, taking up two or three reels, shows his chief property effect — that of a Dewitt Clinton type of train which " choo-choos " along at a speed of eight miles an hour. It offers a laugh here and there — particularly when a dog who is tagging it, manages to get ahead of the train. Some trick stuff is exposed when the switch fails to work and the ears get away from the engine. It is ingenious, but it does not measure out spontaneous laughter. The picture is punctuated with too much straight drama — and it follows a single track without many variations. While it shows some ingenuity in the property inventions, the humor is not abundant. The star has his wife, Natalie Talmadge, and Buster, Jr., in the cast. The atmosphere and detail are the best points of the comedy. It should have been done in three reels. THEME. Burlesque of Southern feud melodrama with son of a feudist winning daughter of rival feudist thus settling the dispute. PRODUCTION HIGHLIGHTS. The ingenuity of the property effects, the train being a reproduction of what carried travelers in the early part of the nineteenth century. The comedy hokum on the train. The laughs concerning the dog beating the train. The atmosphere and details. DIRECTION. Follows along single-track scheme, using too much repetition. Should have employed more variety in train scene. The feud scenes are played too straight. Succeeds in lending some humor to story — particularly in intimate details. Might have employed the revenuers and moonshiners in emphasizing the pursuit and capture touches. EXPLOITATION ANGLES. Keaton has a well established following. Tell them that this presents Buster in a new burlesque — and feature him in the clothes of 1830. Use stills — and get out all your paper. Tell them that the entire Keaton family appear in the picture. DRAWING POWER. Star's popularity will attract them anywhere. SUMMARY. Not so substantial with humor as some forerunners. Follows along single-track and releases a few laughs, but the laughter isn't continuous. Would look better compressed into three reels, thus doing away with repetitious detail. THE CAST William McKay Buster Keaton Virginia Canfield Natalie Talmadge The Baby Buster Keaton, Jr. Lem Doolittle, Engineer Joseph Keaton Aunt Mary v Kitty Bradbury Joseph Canfield Joseph Roberts James Canfield Leonard Clapham Lee Canfield Craig Ward Clayton Canfield Ralph Bushman John McKay Edward Coxen Rev. Benjamin Dorsey Monte Collins Mrs. McKay Jean Dumas Sam Gardner, Conductor James Duffy By Jean Havez, Joe Mitchell and Clyde Bruckman. Directed by Buster Keaton and Jack Blystone. Photographed by Elgin Lessly and Gordon Jennings. SYNOPSIS. The last of the McKays is sent to New York to keep him out of the feud with the Canfields. When his mother dies he goes to his birthplace to dispose of the estate — and travels via one of the earliest trains— the year being 1830. A fair traveler, who is a Canfield, occupies an adjoining seat — end they strike up a friendship which terminates in matrimony after McKay has experienced several adventures pertaining to the feud. The quarrel between the rival families is ended.