Motion Picture News (Mar-Apr 1924)

April 26, 19 2 4 Borrowed Husbands (Vitagraph — Seven Reels) (Reviewed by Frank Elliott) MILDRED K. HARBOUR, who writes those euterlainiiii: tales of snappy doings among the idle rich, and, who has quite a following among the newspaper readers of the nation, is responsible for this story of domestic complications in the upper strata <>t society which should please the women folks and those who seek light and fluffy diversion in their celluloid fare. The acting is the big feature of this picture. The plot, while not being startlingly original, is entertainly developed and succeeds in holding the interest, although the picture would be improved if edited down about a reel. The production has been given a distinctly high class setting, the interior especially being very satisfactory and artistic. The theme is rich in tense situations, the first occurring when the husband sees the message in a gift book from " the other man " to his wife which causes a rift in the sails of the marital bark. There is also a big thrill in the sequences leading up and the actual wrecking of a motor car with two occupants as the machine climbs the Adirondacks and at a sharp curve, skids and goes down the slope. Romance teems throughout the plot or perhaps we should call it love making — between other women's husbands and other men's wives. The scenes between Florence Vidor and Rockliffe Fellowes being especially well acted. Miss Vidor will put over most any him with her personal charm and appealing interpretations. She stands out every moment during her work in this picture. Mr. Fellowes gives a very fine characterization of a talented surgeon who is also skilled in the ways of wooing. The rest of the cast is adequate. The picture is brought to a dramatic climax when the surgeon, finding that he has been cornered by the federal authorities for poisoning his mistress, successfully performs a dangerous operation and then takes his own life. The production, technically, approaches perfection. THEME. A society drama dealing with the complications ensuing when friends introduce the wife of a departed husband as the most attractive widow in town and then proceed to give her a "borrowed" husband. PRODUCTION HIGHLIGHTS. The acting of Miss Vidor, Mr. Fellowes, Mr. Williams and the rest of the cast. The wreck of the auto when it plunges down the mountain side. The love scenes. The dramatic climax. DIRECTION. Has made a satisfactory picture out of an ordinary story. Has been fortunate in having such excellent players to work with. Has put over several well aimed punches and brought the tale to a peppy climax. Might have speeded up the action in the early reels. EXPLOITATION ANGLES. Tell your patrons that the author of this story is the same that writes all those newspaper tales for them. Play up the names of Miss Vidor and Messrs. Williams and Fellowes. Tell them about the auto wreck and the intimate love scenes. DRAWING POWER. Suitable for second class, downtown houses, larger community theatres and the towns. SUMMARY. This is a good program picture acted by a cast of well known players and you have a popular star to play up in Florence Vidor. There is punch, romance and drama in it. THE CAST Nancy Burrard Florence Vidor Dr. Langwell Rockliffe Fellowes Major Desmond Earle Williams Gerald Burrard Robert Gordon Edith Langwell Kathryn Adams Constance Stanley Violet Palmer Reeve Lewis Alcheus Lincoln Fleurette Claire DuBrey Peggy Lewis Charlotte Merriam Curtis Stanley J. W. Irving By Mildred K. Barbour. Directed by David Smith. Scenario by C. Graham Baker. Photographed by Steve Smith. SYNOPSIS. No sooner has Gerald Burrard gone on a South American scientific expedition than his wife. Nancy becomes involved in a flirtation with several men, one the husband of her friend and the other a major, the latter becoming quite infatuated with her. He believes her to be a widow. Nancy learns of an affair between Dr. Langwell and Fleurette. The latter, however, is injured in an auto accident and dies. Dr. Langwell then attempts to make love to Nancy, telling her that Gerald has sent money to Fleurette. In South America the major learns that Nancy is married when he meets her husband who he tells to hurry home. On his arrival all is explained. Dr. Langwell takes his own life, when he learns that the federal authorities have discovered that he poisoned Fleurette. L921 The Age of Desire (First National — Six Reels) (Reviewed bj Frank Elliott) AKATHKK weak and tiresome story ot the "mother love" type whicfa is quite a disappointment after some of Frank Borzage's former offerings. About the only saving qualities of the picture are its large and artistic interior sets and the acting of a few members of the cast. It is too bad that Mary Philbin doesn't have more to do as exhibitors might then feature her name in the lights which would help her recent successes. However, the little that is given to Miss Philbin to do is done well. Myrtle Steadman is really the star of the feature, but overdoes her part of a mother who married wealth and deserted her son but found that money failed to bring her happiness without her son. fiiiss Steadman fails to make her scenes with her new found son convincing. There is a garden party with some bathing beauties doing their srtuff thrown into the picture. It has nothing to do with the story but we suppose the producers thought they had to do something to fill out the required footage. There is an appealing scene when the deserted son, brought up by a crook and developed into a criminal, confesses to his little sweetheart that their home has been bought with stolen money and that he is a thief. William Collier who interprets the role of the son does too much posing instead of acting and therefore does not win much sympathy for his part. Josef Swickard is the one bright spot in the picture. He, at least, acts lifelike. Edith Yorke does well with her role of grandma. There is a bit o' moral to the story but on the whole it is decidedly preachy material and is suitable only for the smaller houses in the towns and some neighborhood houses. It is O.keh for second class downtown theatres that change their programs often. THEME. A drama of mother love in which a woman finds that wealth without her son, whom she deserted when she married a millionaire, fails to bring her peace and contentment. PRODUCTION HIGHLIGHTS. The acting of Mary Philbin. The scene in which the millionaire finds his wife in the arms of the son thinking the latter "the other man." The gowns worn by Miss Steadman. The artistic and elaborate interiors. The scene in which the hero tells his sweetheart he is a crook. The statisfactory climax. DIRECTION. Shows nothing to stamp it as being off the beaten path. Has been handicapped with a weak story. Has put some heart appeal into some of the scenes, but on a whole has failed to keep up the interest in the theme. EXPLOITATION ANGLES. The title. The names in the cast, especially Mary Philbin. Play up the moral of the plot which shows that money cannot offset mother love. Photos of Miss Steadman in her striking gowns might be used to advantage in some fashion store tieups. DRAWING POWER. Might go in some program house, but is suitable for the towns and neighborhood theatres. SUMMARY. This picture has few redeeming qualities. Its plot is mediocre and tiresome having few bright spots and only a very few convincing dramatic situations. Mary Philbin is in the cast but having little to do she is unable to awaken much interest in her work. The interiors are quite elaborate and artistic. And that 's that. THE CAST Marcio Josef Swickard Ranny at 21 (son) William Collier, Jr. Malcolm Trask Frank Truesdell Ranny at 3 Baby Bruce Guerin Ranny at 13 Frankie LeeDan Reagan J. Farrell MacDonald Margy at 10... Mary Jane Irving Janet Loring Myrtle Steadman Ann Reagan Aggie Herring Margy at 18 Mary Philbin Grandma Edith Yorke By Dixie Wilson. Directed by Frank Borzage. Scenario by Mary O'Hara. . Photographed by Chester Lyons. SYNOPSIS. When Janet Loring marries Malcolm Trask, a millionaire, she deserts her son, who becomes the tool of a crook seeking to blackmail the wealthy mother. The mother, desiring her son's return in later years, advertises for him and the crook sends the boy not knowing he is the son. The lad takes money from the mother, but after she convinces him that he is her son he confesses all and is eventually taken into the millionaire's heart and wins a sweetheart and a little home.