Motion Picture News (Nov-Dec 1923)

December 1 , 1923 2593 Wife in Name Only (Pyramid-Selznick — Five Reels) (Reviewed by Frank Elliott) THE players are the real feature of this production. The story is not startlingly original, in fact the path -which the plot follows has been somewhat beaten down by similar and earlier scenarios. It is of the eternal triangle type, but here we have two women after the man instead of the usual two men and the woman. However the admirable cast has made a good program picture out of the meagre material at hand. To begin with the personnel boasts such names as Edmund Lowe, Mary Thurman, Tyrone Power, Florence Dixon, William H. Tooker and Edna May Spooner. Mr. Lowe will soon be much talked about because of his work in " In the Palace of the King," and in this Pyramid picture he gives an excellent account of himself. Beauty is furnished by the Misses Thurman and Dixon, and comedy by Arthur Housmam The picture is artistically if not elaborately mounted and there are a few " big " moments. The climax has a punch and gives an unexpected twist to the story which in a way is a saving grace. The picture is adapted from the book by Bertha M. Clay who has taken as her theme — " Hell has no fury like a woman scorned." The scenario has been well prepared by Peter Milne, all the situations being clearly defined, while the action runs along smoothly right up to the climax when what threatens to be embarrassing situations are satisfactorily explained and true love wins out — as usual and as is demanded. There is real drama in the situation in which the bridegroom discovers that he has just married the woman whose father (the other woman declares) murdered his mother. "Wife in Name Only" as a title, comes from the the fact that the bride is forced to live alone in a lodge while her husband investigates the story that her father was his mother's slayer. THEME. A society melodrama in which one woman in a fit of jealousy tries to wreck the lives of two young people because the man she loves has wedded her companion. PRODUCTION HIGHLIGHTS. The acting put over by the well known players. The scene in which the hero finds he has married the daughter of the man who murdered his mother. The climax in which it is explained that the girl is not the daughter of the murderer but the offspring of a former marriage. DIRECTION. George Terwilliger has presided in able manner at the small end of the megaphone in this cast and has worked like a Trojan to put over a plot worn thread bare. He has put several punches into the picture and some real pep into the climax. EXPLOITATION ANGLES. Play up the stars in the cast. They are all well known and we would advise telling the folks that Edmund Lowe is the actor now winning fame in " In the Palace of the King." DRAWING POWER. Suitable for houses showing program pictures, second class down town houses and neighborhood theatre. SUMMARY. A picture that is saved from mediocrity by a very fine cast of well known players. The production boasts of some artistic interiors and several attractive exteriors. The climax is somewhat unexpected and is a redeeming feature. THE CAST Norman Arleigh Edmund Lowe Madaline Dornham Florence Dixon Phillipa L'Estrange Mary Thurman Victor Harwood Arthur Housman Sam Dornham Tyrone Power Margaret Dornham Edna May Spooner Mrs. Hemingway Ora May Jones John Dean William H. Tooker By Bertha M. Clay. Directed by George Terwilliger. Scenario by Peter Milne. Photographed by A. R. Mariner. SYNOPSIS. Deals with Phillipa L'Estrange, a wealthy and beautiful daughter of the " 4O0 " and her love for Norman Arleigh. When she discovers that the latter's affection for her is only that of a brother for a sister, she becomes enraged and plans revenge. She introduces Norman to Madaline Dornham, whom he regards as " his ideal," and they are married. After the wedding, however, Phillipa informs Arleigh that his bride's father murdered his mother. But it all turns out O. K. when it is disclosed that the girl is not the daughter of the murderer. Judgment of the Storm (Palmer-F. B. O.— Seven Reels) (Reviewed by Frank Elliott) 44 JUDGMENT of the Storm" has every quality that goes into I making a fine production. To begin with there is a real story to tell and in the telling the audience is treated to a series of episodes that are filled with dramatic T. N. T. There is more entertainment in this picture than in several productions we've seen that cost close to the million point and once seen are soon forgotten. This picture did not cost a million dollars and does not rely on elaborate settings to put it over. It has a plot that is off the beaten path, a plot which has so much " meat " that the director has been able to inject a punch in each reel big enough for the climax of several ordinary photoplays. In fact the thrilling situations come so thick and fast that one wonders what is going to be left for the climax and then we go hurling into a series of tense scenes that will drag the most jaded fans to the edge of the seats. The best snow storm scenes since " Way Down East " are pictured here and if you think you have viewed blizzards, well, " you ain't seen nothin' yet!" Heart interest has been built into this feature from beginning to end. The action Hows smoothly at all times and there are some scenes that will hold you in a vise-like grip, for instance the situation in which the boy meeting his mother for the first time in three years, believing her to have been abroad, finds her really to be the owner of a gambling den in which there has just occurred a murder and a suicide. There are any number of similar big scenes. As for the cast it is a wonderful one. Lloyd Hughes is an ideal selection for the role of John Trevor and gives a fine characterization. Myrtle Steadman is most appealing as John's mother. Lucille Rickson, the little girl of yesteryear, is now a real leading lady and will win admirers through her work in this picture. George Hackathorne and Claire MacDowell also contribute effective roles. THEME. A gripping drama dealing with mother love and how a son is put to the acid test when he discovers that his mother is a gambler and responsible for the death of his sweetheart's brother. How he offers himself in place of the man who is killed in his mother's gambling den and proves his real worth when he risks his life. PRODUCTION HIGHLIGHTS. The storm scenes. The scenes attending the murder and suicide in the gambling den. The excellent cast and the work of each individual of the personnel. The rescue of the brother and twins and John's mother. The powerful climax. DIRECTION. Del Andrews has contributed his best work to the screen in this picture. He has transplanted a wonderfully appealing scenario to the screen in a wonderfully fine manner. He has inspired his players to live their parts. He has eliminated all bunk and has planted real punches. EXPLOITATION ANGLES. This is the Palmer Photoplay prize scenario written by the wife of a Pittsburg factory worker and we understand that an extensive publicity barrage is to be laid down on this one, including local newspaper inserts with which exhibitors should tie up. Play up the wonderful storm scenes, the great cast and story. DRAWING POWER. It should be enthusiastically received everywhere. SUMMARY. An example of how good a picture can be made when there is a bang-up story to start with and a talented cast to enact the various roles. This picture is going to be talked about and if you want to give your patrons a treat book it. THE CAST John Trevor Lloyd Hughes Mary Heath Lucille Rickson Mrs. Norman Trevor Myrtle Steadman Bob Heath George Hackathorne Mrs. Heath Claire MacDowell Martin Freeland , Philo McCullough Dave Heath Bruce Gordon The Waster Casson Ferguson The Twins F^k^Darrow By Ethel Stiles Middleton. Directed by Del Andrews. Scenario by Ethel Stiles Middleton. Photographed by Henry Sharp and Max Dupont.