Motion Picture News (Jan-Feb 1922)

540 Motion Picture News Late Reviews of Latest Pictures 44 Orphans of the Storm ” (D. W. Griffith) THE Griffith of the spectacle has returned to the screen. The standard bearer of the celluloid drama who flashed his genius in “ The Birth of a Nation,” “ Intolerance,” and “ Hearts of the World,” has again demonstrated that he has no superior as a painter of rich and panoramic canvases. His versatility is not confined entirely to sweeping scenes, for he can become the intimate artist at will. His “ Orphans of the Storm,” founded upon the play of Kate Claxton’s “The Two Orphans,” is a stirring spectacle. But even though be feasts the eye with truly eloquent scenes, he is at the same time able to draw the spectator right into the heart of intimate emotional drama. Such is Griffith’s power as a dramatist. A picturesque panoramic view will be followed by delightfully intimate by-play or a mere sketching to enrich the pattern and give it a complete color scheme harmoniously arranged. Griffith has shown here that he can put on a costume picture and make it vibrate with life and color. Form is everything to him. He will be accurate always. It has been suggested that American’s cannot put on moving epochs of history as they pertain to the European continent— that we are unable to catch the psychology of the times. But after all, isn’t it merely a question of accepting the foreign ideas because the German, or Frenchman or Italian is better acquainted with the subject? Must we absorb centuries of culture before we are able to accomplish anything worth while? Mr. Griffith disproves this theory as far as the screen is concerned. The stickler for accuracy cannot heap censure upon him. He has drawn his design only after the most painstaking research — if we are to believe the data printed on the program. And when the subject takes form and color we are compelled to believe that everything is as authentic as research can make it. So much for accuracy. The director has plunged into the French Revolution, relying for much of his detail upon Carlyle. While this momentous period was merely suggested in the spoken play, “ The Two Orphans,” here it is revealed with all its pomp and ceremony, its stark tragedy, its vivid kaleidoscope of frenzied life. The Revolution draws the two orphans who carry on the drama proper — draws them into a seething maelstrom of disaster. The spectacle is never a thing apart from the intimate story of these beloved characters. From the time when the babies are rescued from the steps of Notre Dame and grow into young womanhood — the one stricken with blindness, the other caring for her sister with tender devotion — to the day that they leave for Paris in order that the sightless one may recover her vision — their lives are filled with stirring chapters, some of which are tinctured with deep pathos, others charged with happiness. They are guileless little creatures. The one who can see is coveted by an aristocrat and she is torn from her adopted sister to please his vanity. Thus romance is born. It happens that another aristocrat, a friend of the common people, rescues her and places her in a safe retreat. It is here that Danton, — the thundering orator, who with Robespierre presided over the destinies of the French after the fall of Louis XVI — is protected. And when her life is pledged to the guillotine along with that of her lover because she violated a law regarding the harboring of aristocrats — it is Danton who argues and pleads and rides to their rescue. Here is the Griffith of the climax. One expects a sweeping, soaring finish to his pictures. “ The Birth of a Nation ” had it. So did “ Intolerance ” and “Way Down East.” If the effect gained here is not so richly emotional as found in the last-mentioned play — it is because the thrilling scenes are not exactly heightened with suspense. Griffith resorts to his familiar execution— the switching of the camera — which is to show the figures in distress balancing each other with their storms of distress. Danton rides like a demon and the convict carts jog over the road. With the outcome anticipated the event is so compelling that one is quite overpowered at the skill with which it is executed. There are other scenes highly eloquent. The storming of the Bastile, the raging mobs drunk with a newfound freedom, the battle in the square, the intimate scenes revealing the tragedy of the orphans — and that impressive moment when Henriette hears the blind girl's voice and is prevented from reaching her — these are color and dramatic scenes which embellish this canvas. The lawn fetes are magnificent. Here is an old world atmosphere splendidly created. The richness in the lives of the aristocrats is revealed in all its mad orgy, dress and carelessness of waste. The settings, while not so suggestive of breadth and space as some of Lubitsch’s, are in keeping with the drama and the period. It is the interpretation that the picture fails to approach the German conception of the Revolution. Lillian and Dorothy Gish as the or phans, give appealing performances — wistfulness and naivete being charmingly expressed. Joseph Schildkraut, as the young aristocrat, carries on the role as if to the manner born. But Monte Blue’s study of Danton comes too closely upon Emil Jannings’ interpretation and suffers as a consequence. He acts with authority, but loses something in spontaneity. Sidney Herbert as Robespierre suggests the wily politician of history. Lucille La Verne as an old hag, Sheldon Lewis as her son, and Leslie King as the commoner who becomes the leader of the Tribunal, give emphatically vivid performances. Creighton Hale contributes a humorous touch in highly creditable fashion. The array of extras certainly provide a picturesque background. The director has employed his fused color scheme at times. This touch with the other richly photographic mediums, such as the close-up and the long shot and the soft focus, serve to feast the eye with their appealing effects. — LAURENCE REID. 44 Once Upon a Time ” (Henry Bollman-State Rights) HERE is a feature difficult to classify. Sponsored by Mrs. Ruth Bryan Owen, the daughter of William Jennings Bryan, it reflects ambition upon her part to find a niche in screen expression. It is a feature which cannot be taken too lightly even though it assumes an amateurish dressing in most every particular. Certainly anyone who has something to say to the screen public should be allowed to say it. And when Mrs. Owen has mastered the techni cal angles of production and assembled a group of players thoroughly grounded in the art of film expression— she is certain to be heard from some day. “Once Upon a Time” is a fanciful Arabian Nights story which carries the familiar intricate pattern — but which is too complicated for an assembly of amateurs to interpret in the proper spirit. Mrs. Owen has acted in the capacity of director, and while she has staged the picture in creditable fashion — still the wealth of Florida scenery as found at Cocoanut Grove does not offer many directorial barriers to leap. A huge estate, dotted with lagoons and flowerbeds— and the Cocoanut Grove itself make a charming setting. Against it me Community Players residing there at the winter colony are colorfully garbed and for amateurs, fulfill the demands of their roles in fairly adequate fashion. They are self-conscious, but a continuation of their services will remedy this fault. The story is told principally through a great wealth of subtitles. Were the continuity more compact or if the action told the plot, the subject would strike a higher average. This will doubtless get over in certain localities. Any exhibitor catering to society cliques should find it worthy of booking. Certainly it contains plenty of charming exteriors. Mrs. Owen should be encouraged to keep at the task. The big success may be found in some later picture. — Length, 4,700 Feet.— LAURENCE REID. 44 Determination ” (U. S. Picture Corp.) THE long advertised product of the United States Picture Corporation — namely, “ Determination,” has reached the screen. And though it has been exploited extensively there need be no fear on the part of the exhibitor that it has been inflated too highly. At the Maryland theatre in Cumberland, crowds literally stampeded themselves to view the feature and when they made their exit they registered satisfaction over its meritorious qualities. The outstanding highlight of the production is the element of action, which while melodramatic to the core is sufficient to score anywhere. Any exhibitor who wants to furnish his patrons with plenty of action need look no further than “ Determination.” The direction of the offering has been intrusted to James W. Martin, who has endowed it with a production highly artistic. A competent and well balanced cast interprets this vital story — a cast that includes Al. Lincoln, Corinne Uzzell, Irene Tams, Maurice Costello, Walter Bingham, Barnard Randall, Gene Burnell, Mabel Adams, Bryon Russell and many others. Each is typical of the character impersonated. Mr. Lincoln in the dual role of John Morton, the English mission worker, and as James Melvale, his twin brother, brings forth a characterization equal to any ever seen on the screen. Mr. Costello acts with authority the part of the detective from Scotland Yard. The actors portraying the “ dope ” characters from London’s Whitechapel are also clever. If the Cumberland patronage is any criterion the picture is certain to find success everywhere. — Length. 11,500 Feet. — Reviewed by John E. Barrett, Cumberland, Md.