Motion Picture News (Nov-Dec 1923)

2594 Motion Picture News Twenty-One (Inspiration-First National — 6560 Feet) (Reviewed by Laurence Reid) THIS is a radical departure for Richard Barthelmess — who leaves the costume drama and the studies of homespun realities to take a fling in a study of adolescence. It is considerable picture} in its situations and because of its frail structure has a difficult time sustaining itself. That it does manage to furnish a fair amount of interest is due to a well constructed script and an appreciation by the director for the romantic interludes. These interludes are the saving features of a story which is somewhat unique of design. It never catches the spectator in a tight embrace for the incident is detached. We are presented with a family quarrel to begin with — a husband and wife agreeing to separate, though the latter has the last word in respect to keeping her son. The interpretation of the wife is colorless — and Barthelmess, burdened with a role of a young mollycoddle, does not even attempt to extract sympathy. Such a part would not inspire anyone. The director not having any substantial plot to work with employs a deal of footage over a lawn fete given by the mother. The boy rebels against the artificiality of the occasion and finds a romance with a working girl. And with the introduction of the heroine the picture develops some dramatic punch — for it reveals genuine conflict. The girl's parents have discovered her returning home after a clandestine meeting with her lover — and notice her the recipient of badly needed shoes and stockings. They place a wrong interpretation upon the reason for the gifts and demand that the youth must marry her. Then follows a scene in which the hero's father whips him for disgracing himself. But the lovers have plighted their troth and intend to get married when the boy reaches the age of maturity. He is ejected from home and becomes a taxi-driver and the concluding action is punctuated with melodramatic incident pertaining to a jealous rival who would blackmail the father. These scenes furnish the picturey element, although they usher in a much needed note of suspense. When the boy reaches maturity he claims his sweetheart — and a reconciliation is effected between father and son. The feature is competently acted by Joe King as the father and Dorothy Mackaill as the heroine. Whatever this actress portrays carries a ring of sincerity and feeling. The star is natural and plays the adolescent with authority. THEME. Drama of adolescent youth who is neglected by his father and mother. Develops romance with country girl and her parents place wrong conclusion on their companionship. He is ejected from home, but marries girl. PRODUCTION HIGHLIGHTS. The careful stagingshowing some effective backgrounds. The scene when heroine is confronted by her parents. The scene when hero is whipped and runs away. DIRECTION. Complicated story does not give director a chance to make simple study of adolescent youth confronted with sharp realities. Builds a dramatic scene in revelation of girl's romance. Has staged it well and provides good atmosphere. EXPLOITATION ANGLES. Good opportunities for playing up title. Play matinees for everyone 21 years of age. Play up and star Dorothy Mackall. Use stills. DRAWING POWER. For average houses. SUMMARY. Certainly a queer story which never comes out in the open. The characters never inspire sympathy and appear to be poorly sketched. Plot reveals some effective drama when once started, but early scenes handicap it. THE CAST Julian McCullough Richard Barthelmess Mr. McCullough Joe King Mrs. McCullough Dorothy Cumming Lyonie Willis Dorothy Mackaill Paula Elsie Lawson Peter Strasksi Bradley Barker Mr. Willis Ivan Simpson Mrs. Willis Nellie Parker Spaulding Mrs. Jordon Helen Tracy Scenario by Josephine Lovett. Directed by John Robertson. SYNOPSIS. Boy of rich parents is neglected by both. They separate, but wife keeps the child, who is allowed to drift for himself as he grows to manhood. Has romance with country girl whose parents place wrong interpretation upon their friendship. Youth is informed he must marry her — and he is perfectly willing, but he has to wait until reaching maturity. He wins over his father. The Extra Girl (Mack SennettAssociated Exhibitors — Seven Reels) (Reviewed by Frank Elliott) THIS is the finest characterization Mabel Normand has ever contributed to the screen. In " The Extra Girl," the star eclipses her work in " Mickey," which up to this time has been pointed to as an unbeatable picture. Well her present vehicle overshadows that earl}7 triumph and may be considered a distinct " come back " for Miss Normand. We doubt whether there is a hard boiled fan left who won't welcome " The Extra Girl " witih open arms. And the reason is — it gives one a chance to laugh, yes, several chanes and lucky is the exhibitor who can find pictures that made his patrons shake their, sides with merriment. Mack Sennett has written a wonderful story for Miss Normand. Ii must have been written for her for we can't imagine any other star getting away with the " business " in this picture as well as the refreshingly original Mabel. There is evident everywhere the work of a master craftsman. Pathos, humor, uproarious comedy, thrills, every ingredient possible has been called into service to make one of the " different " pictures of the season. The plot is built around that ever-popular theme — the dash for Hollywood of the country maid intent on climbing quickly to the top rung of fame as a screen star. And in developing the story, Mr. Sennett's story takes one right into the light of the Kleigs and gives some amusing as well as interesting shots of " movies in the making." There are some situations in this picture that should establish a new laugh record. The cast is excellent and Ralph Graves as the rural swain who follows his lady love to the studios and saves the girl and her folks from an unscrupulous swindler, is exceptionally good. The technical equipment of " The Extra Girl " approaches perfection, the camera work especially being of a high degree of excellence. Everyone is going to like this picture. It will make a fine holiday offering for any house. THEME. A comedy drama of " home folks " and Hollywood in which Sue Graham suddenly finds herself the winner of a beauty contest and goes west to win fame as a star but ends up as an " extra girl." PRODUCTION HIGHLIGHTS. The scenes in the old home town and the running away from home of Sue on her wedding day. The scenes in the studios, especially the camera tests of the embryonic star and the dragging around of a real lion by Sue who thinks it is Teddy, the dog with a lion skin on. The characterization contributed by Miss Normand. The fine supporting cast. DIRECTION. F. Richard Jones deserves much credit for the way he has placed Mr. Sennett's story on the screen. He has brought out the Mabel Normand of old and inspired all the other players to give of their best. He has planted pep in every scene and a punch in every reel. EXPLOITATION ANGLES. The title. The star. The Hollywood scenes. Play up the studio scenes, Miss Normand's acting and the fine cast. Put a girl on the street dressed like Miss Normand and have her carry an old fashioned country bag with " The Extra Girl " painted in large letters upon it. DRAWING POWER. Any theatre can show this with profit and we recommend it as a good holiday attraction. SUMMARY. One of the best pictures now on the market. Filled with original " business " and excellently acted by a very capable cast. The views behind the scenes at the Hollywood studios are a big selling point. THE CAST Sue Graham Mabel Normand Dave Giddings Ralph Graves Pa Graham George Nichols Ma Graham Anna Hernandez Belle Brown Charlotte Mineau Phillip Hackett Ramsey Wallace Aaron Applejohn Vernon Dent By Mack Sennett. Directed by F. Richard Jones. Scenario by Bernard McConville. Photographed by Somer Scott and Eric Crockett. SYNOPSIS. Sue Graham, belle of River Bend, is "movie mad." A jealous girl of the town, wishing to get rid of her, substitutes the photo of a beautiful maid in place of Sue's and sends it to the studios. When the photo reaches the coast, Sue is declared winner of the beauty contest and offered a contract. But when she arrives and the " cat jumps out of the bag" she finds she is compelled to take a job as an extra girl.