Motion Picture News (Nov-Dec 1920)

November 27,1920 4151 " Skyfire (Featuring A~eal Hart — Independent Film Association — Chicago ) THE small exhibitor whose patrons are composed of the working classes, especially those who do manual labor and whose minds are not developed along educational lines, can book this feature with safety for it will give his audiences the entertainment they desire. Although its story is illogical, its continuity rather jumbled and the acting of the " tentwenty-thirty " variety, it has strong dramatic moments, a few thrills and love interest. The locale is laid in the Northwest and brings the French settlers and the mounted police again into action. Neal Hart, the star, who also acted as director gives himself plenty to do as a member of the "mountys," getting his man or men every time he wants to. And he doesn't have to shoot them either. When the time comes he " battles " his man or men, throws them to the ground, disarms them and " puts on " the handcuffs. Then again when hotly pursued by the villains, he does not hesitate to jump from the top of a mountain as high as the Himalayas, breaking his fall by landing on a tree which bends and places him safely on mother earth. The villains attempt to follow and by means of a rope attached to the saddle of one of their horses, let themselves down over the mountainside. The rope breaks and the " bad men" after their aerial flight land on the ground. They are not badly hurt, however, for they put up a good battle before succumbing to the " irons." That is just what they like in many of the smaller houses where story, continuity and subtitles take second place to dramatic action and thrills. A good cast for this type of picture supports Hart, among whom are Lew Bates, Hugh Saxon, Artie Artigo, William Quinn and Rita Pickering.— FRANK LEONARD. 44 Pretty Lady " (Sunshine Comedy — Fox — Two Reels) u pRETTY LADY " has plenty of bathing A girls, and more of a story than usual. It is fairly quick moving, and uses a detective with varied disguises, many swinging doors, and the customary chase to get the laughs. One gag stands out especially. A Ford is being driven down the street. It hits the corner of a building, divides, and keeps running along in two sections. Probably two camouflaged motorcycles are used to get the effect. The story deals with a couple who fail to pay their rent and their beach bungalow is leased to another. It is a case of two couples living in the same house, each believing they are the sole occupants. Complications ensue in an al most unending succession. Bobby Dunn plays the detective, who is engaged to keep an eye on the wife to obtain testimony for a divorce. Of course, he watches the wrong wife. The high spot in the comedy is the end of the chase. When the four characters climb up the side of a high city building, dash along the edge of the roof, and swing across a tenstory chasm by means of a thin rope. It has all been done before, but it is as thrilling as any audience will want. In the cast are Slim Sommerville, Ethel Teare, Marion Aye and Bobby Dunn. J. G. Blystone directed.— MATTHEW A. TAYLOR. 44 The Sin That Was His " (Selznick — Six Reels) (J'TpHE Sin That Was His," starring William A Faversham, proves a good picture can be made without a love theme. This offering should be remembered because it breaks away from accepted screen tradition — and exploits one of the biggest things in life — religion. Every emotion — except love — is depicted from the opening when the star, as a notorious gambler of the Canadian woods, turns atheist, following the first good deed he has done in twenty years, through a period when he masquerades as a priest in a small town in Quebec to escape a murder charge, until the end when he finds his spiritual self. The picture is superbly acted by Mr. Faversham and his competent assistants. The element of doubt and the tense sequences spell a strong flavor of suspense. The setting is simple, thus preserving the atmosphere of the story. The theme is quite gripping and should have a universal appeal. The author and star deserve commendation — the one for providing a story which is unusual, the other for giving it a perfect interpretation. — ELSIE LOEB, Cleveland, Ohio. 44 Neighbors " ( Buster Keaton Comedy — Metro — Two Reels) FEWER comedies of recent date are full of such a number of good gags. The laughter may at times descend to a ripple or few chuckles, but it never entirely ceases, for " Neighbors " slows up for never a minute. Buster Keaton and Eddie Cline have kept up the pace they set by " One Week." Keaton continues his serious-faced humor and adds a few acrobatic stunts. The action is laid in the tenement district of a large city. Buster is in love with the girl next door, but their respective parents are always at swords' points. After a riot of fun there is a "roughneck" marriage scene. The bride is given away by her 200-pound father, who smokes a cigar and wears his small derby a la the Prince of Wales during the ceremony. " Giving her away " means sending her forward with a vigorous push into the arms of the bridegroom. The guests all carry bricks and clubs behind their back. The groom has a great deal of trouble when his belt breaks. He steals the minister's belt, which causes more embarrassment. Finally the ceremony is continued with all concerned seated on the floor. You can't help pleasing your patrons with " Neighbors." Its tempo breaks all the speed laws and the whole thing is irresistible. It is another case of a comedy worthy to be featured with the average five-reel picture. — MATTHEW A. TAYLOR. 44 Youth's Desire " (Forward Film Distributors, Inc. — State Rights) HERE is a picture, while not a worldbeater, which should entertain, because of its clean, clear-cut comedy, its "old home " atmosphere, its pleasing cast, and lack of outstanding flaws in production, and its human and straightforward sub-titles. It has no drama at all, being laid in a small town where the hero, a simple country lad, who has as his rival the debonair young salesman in the local haberdashery. It is this youth's desire to fly. Although scoffed at and ridiculed, he builds a " monoplane " in his father's barn. The whole town turns out on the stubble field, now a " flying field," to watch the first flight. The mayor makes an address, and is induced to be the first passenger. But the " monoplane " turns out to be nothing more than a motorcycle, with crudely made wings extending far on either side. Instead of rising gracefully in the air, as the young inventor expects, it bounces along the stubble field to the great delight of all except the pilot and the first passenger. But the coming ace is not discouraged. He goes to the city, and works as a mechanic in an aviation plant. The girl believes he is an aviator and comes to see him. In order to keep her devotion, he plans a fake start which develops into anything but a fake, and the huge plane rises in the air. In his ignorance he goes through the stunts of an experienced ace, and when he makes a safe landing, the girl's father relents. Of course, this last episode is tiighly improbable. The idea of a novice handling a machine like a veteran went very well in a musical comedy such as " Going Up," ind it passes here, for the reason that " Youth's Desire " is more farce comedy than comedy drama. For instance, no audience could take seriously the hick constable, who is a burlesque type pure and simple. Joseph Bennett is entirely satisfactory as the young aviator, and the long shots of his flying are thrilling. Edith Kent is attractive as the girl. The story is from the pen of Philip White. Length 5 reels. MATTHEW A. TAYLOR.