Motion Picture News (Nov-Dec 1923)

December i , 1923 2591 The Way of a Man (Pathe— Nine Reels) (Reviewed by Roger Ferri) EXHIBITORS are going to like "The Way of a Man" for more reasons than one. It is a complete 10-episode serial of the high class order incorporated into nine reels of exciting entertainment and historical interest. In a way, this is somewhat of an experiment for Pathe has made the Emerson Hough novel into both a feature and serial. However, as a feature it will stand any test. It is meaty, replete with excitement, wholesome humor, heart interest and pathos. What more can be asked? Like most of Hough's works, " The Way of a Man " deals with the pioneers, those warriors who opened the great West, braving perils that have won for them places among the bravest of American heroes. It is a fascinatingly accurate narrative of the hardships encountered by a young Virginian seeking fortune. Audiences will not find this feature lacking in any form of sensationalism or light comedy, for the latter furnishes relief — opportune relief — following a series of melodramatic escapades, such as attacks by the Indians, wild chases, hazardous feats on horesback and on mountain sides and many others altogether too numerous to mention. It is actioif, action, action all through this picture. One would have no trouble guessing it is an adaptation of a serial. The producer surrounded his story with a cast of players who do justice to the Hough characters, for they are human people you see often. Heading the cast are Allene Kay and Harold Miller, who as the daughter of Col. Meriwether, and the Virginian, respectively, are very good, but to Bud Osborne as Gordon Orme, the heavy, must go the greater credit, for despite the disagreeable role he enacts he wins the spectator. Lillian Gale as Mandy McGovern does splendidly. She and Chet Ryan furnish comedy relief that gets over with a bang. Miss Gale, however, is particularly good and bids fair to be heard from in the very near future in comedy character roles for which she seems so excellently adapted. The rest of the cast gives good support. THEME. An adventure-romance of the Great West of the pioneer days dealing with the efforts of a young Virginian seeking money to adjust his murdered father's precarious financial affair and the running down of the actual murderer. PRODUCTION HIGHLIGHTS. The battle between the pioneers and Indians. The particularly excellent locations and historical accuracy with which the entire story is produced and set. Consistent interior sets. The entertaining way in which the many adventures involved are enacted. DIRECTION. Has succeeded in working up interest at a fever heat throughout and brought picture to a thrilling climax. EXPLOITATION ANGLE. A book display in your local stores of Emerson Hough's novel. Sell your patrons on the idea that this feature deals with American history in its most romantic days. DRAWING POWER. Cut down a trifle it should find a spot on any bill. SUMMARY. Pathe's experiment is interesting and gives exhibitors who do not show serials the opportunity to book a feature that is jammed with action and romance, elaborately produced. THE CAST Ellen Meriwether Allene Ray John Cowles Harold Miller Mrs. Cowles Florence Lee Gordon Orme Bud Osborne Grace Sheraton Kathryn Appleton Aubery Whitehorse Mandy McGovern Lillian Gale Andy Chet Ryan By Emerson Hough. Produced by C. W. Patton. Directed by George B. Seitz. SYNOPSIS. When the mysterious murder of John Cowles' father reveals their financial affairs in a precarious state, the young Virginian goes West to borrow money from Col. Meriwether, his father's partner. Ellen, the Colonel's daughter, and John fall in love. Another arrival at the fort is Gordon Orme, who professes friendship for John, but in reality is his enemy. He tells the Colonel that John has a sweetheart in Virginia and the latter refuses to make the loan. His mission a failure, John starts home but meets his mother and Grace, infatuated with Orme. In California, John has discovered gold. Orme plans to rob him, aided by Grace, who is killed in the fight that follows, as is also Orme, who is disclosed as the murderer of John's father. The Thrill Chaser (Universal— 5196 Feet) (Reviewed by Laurence Reid) WITH all the exposures of life in the studios having their innings of late, one would think that no more ingenuity could be expended toward such an idea. But here comes Universal with a bright, though slight little story — which offers a real flash of invention. Instead of showing a film-struck country maiden or a youth from the same rural district, we have a cowboy who would become another Bill Hart — who is obviously disguised here under the name of Bill Bart. The picture doesn't waste any moments getting started — and plants its production incident in admirable fashion. Hoot Gibson has aided a girl enjoying a brief stop-over from her train to catch it via the rear platform — carrying her on his horse. She is a fair visitor from Arabia. Later when he inquires toward a certain celebration being given in honor of a cowboy, he is told that it is a welcome for the movie star who features a stunt previously executed by himself. So he hikes out for Hollywood — or Universal City and is admitted as an extra. Gibson plays his comedy with a good sense of burlesque — and the titles which accompany his journey from set to set are breezy and to the point. The humor is found in Hoot's stupidity in failing to follow the several directors. He spoils numerous properties and finds himself discharged from interiors — all because he is such a boob. But when he doubles for a sheik and vanquishes the enemy he puts himself over with a bang. This is the point for the renewal of the ?omantic interest — which hasn't much opportunity for expression. There are visitors on the lot — the Arabian girl, her father and a friend. They appreciate his skill in doubling and offer him a princely sum if he will double for the prince in far-off Arabia. Which brings on the concluding scenes. And these are not so good, because they fail to carry the spontaneity of the comedy. It is conventional — this finish — showing as it does, a skirmish on horseback with the hot sands forming a background. But Hoot wins the money and the girl. The studio atmosphere is purely local — in that it features Universal stars and directors. THEME. Comedy-drama of cowboy who crashes into pictures and becomes an extra. Is so stupid that he is discharged by several directors, but has an opportunity to double for a star and wins recognition. His work prompts foreign agents to employ him. PRODUCTION HIGHLIGHTS. The fine satire on picture production. The titles. The comedy of Gibson in' working as an extra and being discharged. The good incident. The interest in studio scenes. DIRECTION. Has really got something new out of the idea of picture production — since action does not resemble anything heretofore produced. Builds it well with comedy and satire — which is novel and genuinely funny. Sags a little toward conclusion and introduces a conventional climax. EXPLOITATION ANGLES. Treat it along lines that here is something new and novel. Play up cowboy's experiences in becoming screen actor. Emphasize that spectators will see productions in the making. Play up the film personalities who appear. DRAWING POWER. Should draw well in any house. SUMMARY. A new treatment of the idea of pictures in the making — showing as it does a cowboy becoming a screen actor and doubling as an extra. Genuinely novel until its concluding scenes — and furnishes plenty of humor. THE CAST Omar K. Jenkins Hoot Gibson Olala Ussan Billie Dove Sheik Ussan James Neill Prince Ahmed William E. Lawrence Lem Bixley Bob Reeves Rudolph Bigeddo Gino Gerrado Abdul Bey Lloyd Whitlock By Edward Sedgwick and Raymond L. Schrock. Scenario by E. Richard Schayer. Directed by Edward Sedgwick. Photographed by Virgil Miller. SYNOPSIS. Cowboy places Turkish girl aboard train after wild dash on horseback. Learns of actor getting huge sum for doing same thing on screen and strikes out for Hollywood where he becomes an extra. Is discharged for being so stupid, but doubles for star in dangerous action. Turkish spectators admiring his bravery, offer him princely sum for saving them. He succeeds and wins the girl.