Motion Picture News (Sept-Oct 1921)

ictober 15, i 9 3 i 2047 "DANGEROUS CURVE AHEAD" (Goldwyn) \ pert Hughes Scores Again JVith an Exceedingly Clever i Domestic Comedy-Drama ^HE author of " Scratch My Back " and " The Old Nest " has demonstrated again that he is qviite in a class by himself when it comes " to fasliioninij stories exploiting domestic themes. That he pos•g a marked versatility is evident when his latest opus, " Dangerous re Ahead" is compared to the offerings mentioned above. He has jiped from farce-comedy to the domestic hearth as it is found in the e of an elderly couple whose children have left the old nest with the ity of a bom story teller. Now he takes up the expression of a young ried couple and has shown with remarkable insight, philosophy and or the inner working of the home — the thousand and one trifling inDtB of happy and quarrelsome domesticity. id by exploiting these incidents to the utmost he has steered clear of itrical entanglements except when he employs an arbitrary touch to ^t a dramatic climax. It is the sparkling humor which will fascinate I picturegoer. And this note is brought forth with a ruiming fire of iment — not in the shape of conversation but more in the trend of philoical satire. This " Dangerous Curve Ahead " is exceedingly human, in following the adventures of this average couple — watching the tiffs I le breakfast table — the patching of the quarrel — the rearing of the llren — tliese are enough to send any audience into humorous apprecia\ Certainly the patrons of the Capitol in New York thoroughly en1 themselves. There is a verisimiltude about the story that made f witness feel an actuid participant. And it is this ability to make patrons live his characters that makes Rupert Hughes touch the en springs of humanity a trifle better than his contemporaries, me will argue that he has not been entirely convincing in showing the Ipt transition of the character of the ^vife. Dangerous curves are not k.ing the domestic road which she travels as much as Mr. Hughes R d like to have us think. She has flirted in her youth and her impulses tat direction are the basis of the quarrels. After a lapse of ten years vife has social aspirations which causes a dramatic climax. And the ; shows her being restored to her place in the home when she once *e8 that a dying child might be saved through her presence at the de. This climax does not spoil the story. It is only a minor chord is satirical symphony which efferveses with delightful humor throughhe major portion of the action. The birth of the first child with the ■ ind strutting in the familiar pose is screamingly funny. Again the |;nce of the picture show is hilariously funny. The "midnight marjli" as Mr. Hughes calls the "walking the baby to sleep" and which Is the father stubbing his toes about the room is just one sample e extraordinary human treatment which marks the story as a whole, fairly scintillates with a complete array of lifelike incident. And the are exceptionally clever. The acting of Helena Chadwick as the Richard Dix as the husband, and Lefty Flynn as the danger man is as •ssive of life as a human outlook can make it. The picture is perfectly id and staged.— Length, 7 reels. — Laurence Reid. THE CAST 'Mabee Helene Chadwick yjo'^es Richard Dix Newton M. B. ("Lefty") Flynn •»'>ee James Neill ™»''ee Edythe Chapman • ■ • ■ • • • •-. Kate Lester By Rupert Hughes. Scenario by Julien Josephson. Directed by E. Mason Hopper. Photographed by John Mescall. PRESS NOTICE— STORY jotion picture that will strike home to many young American married couples •angerous Curve Ahead," a Goldwyn feature, written by Rupert Hughes comes to the . theatre next for ' ! Chadwick, called the " most photographed girl in America.'" has the prin•ole. The story of the play concerns the early married life of a small town no was the belle of her community before her marriage to an easy-going tically inclined husband. Inwardly chafing under the restraints imposed by res of the home, and the rearing of her two children, she seizes the oppor ■ to taste again of the butterfly Ufe in society, while her husband is awav • aness. ^' avoids the Dangerous Curve, and is brought to her senses by the illness Httle child, eagerly resuming the yoke of domesticity, is dramatically porwith wonderfully fine human expression — such as Rupert Hughes knows so ow to convey. The picture is splendidly acted and carries a strong flavor ma and keen suspense. It is a picture which serves a message and yet •werfuUy compelling drama. PROGRAM READER li Wghway of love is just one danger curve after another. Dangerous Curve ?• Uid you ever go away on a long business trip and leave your wife behind' 5ut! Dangerous Curve Ahead! If you take your work at the office more than the business of loving your wife— look out! Dangerous Curve "AFTER THE SHOW" (Wm. DeMille-Paramount) Ob vious Story of the Theatre; Fairly Pleasing STORIES of the theatre may be divided like Gaul into three parts — those which feature an actress leaving the warm radiance of the footlights for the glow of the domestic hearth — those which revolve aroimd the "little unknown" who gets a position in the chorus and climbs to the heights through sheer talent and perseverance, and those who get ahead through some unscrupulous manager or " angel," although they may be innocent of the methods which assure their success. " After the Show," William de Mille's newest contribution, is a variation of the latter idea because it carries another central flgure other than the stage-struck girl — this figure being the poor, downtrodden doorkeeper. Rita Weiman, the author, has made a likeable story from these characters, although the plot is familiar and easily anticipated. Really it is quite single-track in development for the interest rests with the extensive breath of sentiment and the pathos which surround the figures like a halo. In not a few places the story becomes quite sticky because of this emphasis of sweet sentiment. Charles Ogle stresses this element to the utmost by playing the doorkeeper with a deeply sympathetic attitude. The stage-struck girl has a difficult time reaching the inner office, but when the old man sees her he elects himself her guardian and sees to it that she is properly protected against all hazards. If she is hungry he takes her to a dairy lunch. If she needs shelter he gladly gives up his room and seeks less pretentious quarters. When the sentiment indicates that it has spent itself, the drama intrudes with the figure of the " angel." Miss Weiman has departed from the usual angle which is to show a lustful manager disguised in sheep's clothing. The "angel" is a manabout-town, tainted with Wall Street money. He is young and assertive. Therefore the plot is convincing enough when he makes a play for the unsophisticated, but wholly charming girl. The call of romance is stronger than the call of protection and she responds and nearly flirts with danger before she is rescued by the old man. His love is so strong that he attempts suicide. And the " angel " sees the light by showing his manly qualities. He gives up his blood in a transfusion operation. The story ended at the old man's recovery, but Mr. de Mille tacks on an anti-climax for no apparent reason. Realizing the shortcomings of the plot he has injected some good incident — some of which reveals back-stage life and a performance. It is well staged and the atmosphere is always correct. Jack Holt and Lila Lee assist Charles Ogle in the biggest part he has ever had, and all acquit themselves creditably. — Length, 6 reels. — Laurence Reid. THE CAST Larry Taylor j^^^ Holt Pop 9 Ma ley Charles Ogle Naomi Stokes Eve Southern Mr. McGuire Carlton King h^'^y ."Shannon Day y^a, ■ Stella Seager Landlady Ethel Wales By Kita Weiman. Scenario by Hazel MacDonald and Viana Knowlton Directed by WUliam De Mille. Photographed by Guy Wilky. PRESS NOTICE— STORY A picture produced by William De Mille and which is said to be as gripping as " Midsummer Madness,'-" as human as '" What Every Woman Knows " and equally as charming as " The Lost Romance " is " After the Show " which has been adapted from a story by Rita Weiman. The picture is marked for its beautiful settings, highly dramatic situations cleverly enacted and faultlessly directed beautiful lightings and other technical effects. A complete musical show sequence is one of the conspicuous features of this story which takes one on an intimate journey back-stage and offers the spectator a peep into the lives of those who labor behind the scenes. It is said to contain great dramatic interest and wondrous heart appeal and certainly is realistically convincing. The featured players have been selected for their adaptability as well as for their talent and among the cast are such favorites as Jack Holt, Lila Lee, Charles Ogle, Eve Southern and others. " After the Show " is one of William De Mille's master productions. PROGRAM READER If you want to make a journey back stage you should see William De Mille's splendid Paramount production, " After the Show," which will be the big feature at the theatre next . The picture mirrors the lives of those behind the footlights, who mask the sorrows and tragedies of their ovim lives with a smile and a song, that the world may be amused. A complete theatre setting with audience hall, orchestra pit, stage and back stage areas, with dressing rooms, vrings, flies and the typical stage accoutrements, was constructed to make the picture as realistic as possible. It is a fascinating picture which grips with its dramatic scenes and is excellently acted by Jack Holt, Lila Lee and others. SUGGESTIONS You can tell your patrons that this is William De Mille'-s production. Which is enough to satisfy them that an exceptional picture will be offered. Make mention that it is adapted to the screen from a story by Rita Weiman. who has been responsible for many fine film successes — among them being Elsie Ferguson's attraction, " Footlights." Describe it as a fascinating story of life behind the footlights— that it is a story of the theatre — that magic land has ever charmed those who do not belong to the acting profession. A very attractive presentation can be made from this picture, an exploitation campaign being conceived after the suggestion of the plot. The title can come in handy in several ways.