Motion Picture News (Nov-Dec 1923)

2596 Motion Picture News Anna Christie (Thos. H. Ince-First National — 8 Reels) (Reviewed by Laurence Reid) THOMAS H. INGE has approached Eugene O'Neil's prizewinning play, " Anna Christie," with deep appreciation of its soul-stirring story, its vigorous dramatic sweep, its very human attributes — and its vital characterization — and the result is a triumph for his skillful treatment. O'Neil, a daring playwright, does not conceive plays for the sensitive moralist. Being sincere with himself he sketches life as he sees it. That life may be raw — but it is vivid and moving — and compelling. His tense drama of the sea and sailor-folk is as characteristic of its figures as a keen observation and a faculty to point the truth can make it. And one is swept up into the tide of emotions which move them. Ince has kept faith with the play — right down to the most unimportant detail. And if the vitality of the spoken line is missed, compensation is effected through the powers of the camera to catch a genuine atmosphere. So we pay our respects to Mr. Ince for his accurate picturization of a life-like drama. He has been as daring as Mr. O'Neil. He has disregarded censorship in shaping his scenes and sticking to the plot — and those states controlled by the censor's iron hand will be the losers. No sentimentalities here; no sugar-coated conventions eitner. It penetrates into the cross-currents of the human heart — showing a superstitious, child-like old man of the deep who ridiculously tries to defy it with a futile cry : " Dat old devil sea !" He would keep his daughter away — away from ships and sailor-folk. And the drama embraces one with its emotional sweep as the girl joins him aboard his coal-barge, defiant of men — and yet succumbing to the call of the heart and youth. The other vital figure is the rescued sailor-man — a swaggering, blustering coal-stoker — who listens to no entreaties from the father and his daughter. Ince makes you feel O'Neil's psychology of distressed souls — that emotions guide the heart and mind. And his players have caught his enthusiasm and act as if inspired. One's feeling is akin to pity for the distraught girl who is unsuccessful in keeping her life of sin sacred to herself. One pities the old skipper — a drinking, cursing playboy of the deep. He is a pathetic figure when overcome with grief because of his girl marrying a sailor-man. Blanche Sweet's emotional gifts give her the opportunity to enact her greatest role — and she plays with a remarkable depth of sympathy and understanding. George Marion's study of the old skipper (the role he played on the stage) is a perfect bit of characterization, while William Russell as the sailor-man abandons himself to a vigorous portrayal— easily his best performance. THEME. Drama of sailor-folk, introducing old skipper determined to keep his daughter from the sea and its dangers. She joins him — a social outcast — and defiant of men, and the call of the heart beckons. PRODUCTION HIGHLIGHTS. The faithful adaptation. The titles — many taken from play. The dramatic building of plot. The exceptionally fine acting. DIRECTION. Has contributed a real achievement — a picture marked by direct treatment of plot and situations. Has worked carefully toward climaxes — and never goes astray from original. Has inspired players. EXPLOITATION ANGLES. Feature author, director and players — mentioning that picture is adaptation of prizewinning play. Play up the call of the sea. Great chance to play up psychology of plot. Put on effective prologue. DRAWING POWER. Should appeal with any type of audience. SUMMARY. A most faithful adaptation of play — exceptionally well directed — and carrying fine sweep of emotional conflict. A picture, revealing a sound story — one which touches the depths of human emotions. Finely acted. THE CAST Anna Christie Blanche Sweet "Chris" Christophersen George Marion Matt Burke William Russell Martha Eugenie Besserer By Eugene O'Neil. Scenario by Bradley King. Directed by John Griffith Wray. SYNOPSIS. Old skipper hasn't seen daughter since she was child. She writes from farm that she will join him — as contact with men has made her an outcast. He tries to protect her from the sea and its sailor-folk, but while defiant of men, she falls in love with sailor. During an argument she confesses her gin, but fhf> sailor forgives her and shows his love by offering to marry her. Wild Bill Hickok (Paramount — 5500 Feet) (Reviewed by Laurence Reid) HE just stood right out thai^ in the square and with guns apopping and belching fire and you would have thought he had a machine gun — as he never once stopped to reload. This shot of Bill Hart standing there exposed shows up the melodramatic conveniences of this story — and any person with a knowledge of firearms knows constant trigger work — without a let-up — is piling it on a little too thick. Yet at the same time, " Wild Bill Hickok " is interesting because of its star who stages a come-back in the type of role which made him famous. It is no different in outline. Really it is cut from the same identical pattern which established him as a star back in the Triangle days, though the two-gun fighter here is not a bad man. Wild Bill Hickcok was a real character in the early days of western frontier towns — and he cut forty-six notches in his gun before he threw his cartridges away. And Bill Hart has written a lively tale of quick trigger fingers, owned by one of the most picturesque heroes of western lore. His interpretation is the same. He employs the same shy, awkward expressions — and when his guns speak, his lips compiess. When love comes to him — he registers pathos because the romantic interest must make him a pathetic figure through the hopelessness of loving a married woman. This part of the picture is unimportant. What the spectator will delight in is Bill's gun play. There, he crouches and the bullets find their marks. But he could easily be dispatched by a quickshooting enemy whenever he raises his arms to the sky. Every discerning spectator will notice his failure to cover himself. In view of what has raced across the screen in the shape of westerns, this picture looks considerably old-fashioned. But it has Bill Hart — and he strives so well to be convincing — that we remain to pass him encores. There isn't a noticeable let-down in the action — which revolves around the cleaning up of Dodge City, Iowa, when it was a frontier town. Prior to the cleaning up business, Bill puts on some lively incident when he defends himself against stage-coach robbers. His pinto pony is in the picture — but its chief properties are his two guns. Hail to Bill Hart's come-back. THEME. Western melodrama which treats of two-gun man's exploits in cleaning up frontier town. Develops romance with married woman, but realizes the hopelessness of his love. After settling dispute with bad man, he leaves town. PRODUCTION HIGHLIGHTS. The gun-play— with Bill Hart back in the type of role which made him famous. The quick action and suspense. The several gun fights. The poker game. The good support. The lively incident. DIRECTION. Bill Hart's former director has given us a typical Hart picture. Has introduced lively incident, which while conventional, sustains the interest. EXPLOITATION ANGLES. Tell them that Bill Hart comes back in the type of role which made him famous. Play up title. The story is founded upon actual exploits. DRAWING POWER. Should draw with Hart's followers— and all admirers of westerns. SUMMARY. A typical Hart western showing his prowess in gun-play — with plot developed according to conventions. Unrequitted love features romance — which is also characteristic of the star's pictures. THE CAST Wild Bill Hickok William S. Hart Calamity Jane Ethel Grey Terry Elaine Hamilton Kathleen O'Connor Jack McQueen James Farley Bat Masterson Jack Gardner Clayton Hamilton Carl Gerard Col. Horatio Higginbotham William Dyer Bob Wright Bert Sprotte Joe McCord Leo Willis Gambler Herschel Mayall By William S. Hart. Scenario by J. G. Hawks. Directed by ClitT Smith. SYNOPSIS. Two-gun fighter wins recognition and wholesome respect for his quick trigger fingers. Is made deputy in frontier town and figures in cleaning up the community. Retires from active gun fighting for a time, but returns to it to rid town of vicious character. Develops romance but his love is hopeless since woman of his affection is mamec*