Motion Picture News (Jan-Feb 1922)

January 14, 1922 553 “HAIL THE WOMAN” (Ince-First National) “JUST AROUND THE CORNER” (Cosmopolitan-Paramount) Powerfully Human Document — Exceptionally Well Acted THAT Thomas H. Ince and C. Gardner Sullivan are unbeatable as a combination is proven in “ Hail the Woman,” which will be accepted as one of the really outstanding pictures of the year. Mr. Sullivan has long been recognized as a master writer of the photoplay. His gift 01 expression — his skill at making moving pictures from simple themes — pictures which make the spectator feel through their power of suggestion — these qualities are demonstrated again in this exposition of the wrongs inflicted upon woman by man. He has taken an old theme but by embroidering it with human touches, dramatic sequences and situations that progress with compact unity — he has brought forth a document that is vital with life. Mr. Sullivan is too keen a dramatist to miss fire with his subject. Whatever he writes upon is always interesting. “Hail the Woman” is something of which he should feel highly proud. The same feeling should be expressed by John Griffith Wray, the director, and Mr, Ince, the supervisor. They have cooperated in the most efficient manner. Here is a theme showing the intolerance of man for woman. The central figure is a stern, unreasonable unyielding Puritan residing in a snug community of staid New England. His motto is, “ Men and their sons first.” The wife is a pathetic creature; the daughter, the household drudge — ever lonely, ever pathetic, too. The son is the favorite. And he is being groomed for the ministry. But he falters, thus showing that he is human. The victim is a forlorn, hapless slip of a girl — whose vicious father is bought to spare the shame. Words cannot express the tense little scenes of this puritanical father and his son or the other father and his daughter. She steals away in the night and rears her child in poverty and distress. Meanwhile the stern parent’s daughter is misunderstood and driven from home. Her spirit is too proud to crush. Through her generosity she is able to radiate sunshine in the life of the pitiful little mother. But the burden of the latter is too great. After her death the daughter takes care of the child. The story progresses with stark realities. One forgets time and place in feeling the tense situations — the utter pathos of the lives of the unfortunate women who have suffered through the bigotry and cruelty of one man. Mr. Sullivan offers a plea for womanhood. He has placed woman on a pedestal. Not through preachments, but through stark realities does he enable us to see the light. There will not be many dry eyes after viewing this eloquent feature — which soars and vibrates with such human moments. The mute tragedy in the lives of the women is vividly expressed. Tense is the scene when the young minister mounts his pulpit and acknowledges his wrong. He sacrifices his profession because he sees the light and becomes a man by accepting his responsibilities. And the unyielding father, bent and sorrowful now, admits his crime toward humanity. When one has taken into consideration the minute details, the atmosphere of the home, and accepted them as genuine — one must turn to the eloquent acting of Theodore Roberts, who in his portrayal of the bigot, outdoes himself in character interpretation. He is not the humorist here — but a lifelike representative of what he portrays. Every shading is keenly emphasized with just the proper touch. Florence Vidor lends a spirituality to the role of the misunderstood daughter, while Madge Bellamy as the wronged girl gives a dumb pathos to her portrayal. Tully Marshall as her father is cunning and cruel. A fine bit of pantomime. The other players enact their parts creditably. It is an inspired picture from every angle. Hail Messrs. Ince, Wray and Sullivan — and Theodore Roberts. — Length, 6 reels. • — Laurence Reid. THE CAST Judith Beresford David Beresford Oliver Beresford Mrs. Beresford Nan Higgins “ Odd Jobs Man ” Joe Hurd Wyndham Gray Richard Stuart Mrs. Stuart The Baby David, Junior By C. Gardner Sullivan. Directed by John Griffith Wray. Photographed by Henry Sharp. Florence Vidor Lloyd Hughes . . .Theodore Roberts Gertrude Claire Madge Bellamy Tully Marshall Vernon Dent ...Edward Martindel . . . . Charles Meredith ..Mathilde Brundage . . . .Eugenie Hoffman Muriel Frances Dana PRESS NOTICE— STORY Hail the Woman,” Thomas H. Ince’s intensely dramatic picture which comes to the theatre next is a powerful production of universal appeal, built on the theme of modern American womanhood. It is from the pen of C. Gardner Sullivan, one of the most talented writers for the screen, and it has been directed by John Griffith Wray under Mr. Ince’s supervision. The story deals with Oliver Beresford, a grim and bigoted New England farmer, whose uncompromising creed — ” Men and their sons first,” disposes harshly of woman’s destiny. Beresford’s son who is studying for the ministry, secretly marries Nan, and their uni°n js about to be blessed with a child. The elder Beresford learns of the girl’s condition and of his son’s responsibility. He buys off her father and Nan is driven from home. His own daughter is driven from home through a combination of circumstances and good fortune enables her to care for Nan’s child after the death of the mother. Time passes and eventually Judith becomes the triumphant woman. Her father has a change of heart and the brother assumes his responsibility. The play is charged with tense situations and is splendidly acted by an all-star cast. Heart Interest Story — Great Human Appeal ALL the ingredients to construct a pleasing photoplay, have been generously used in preparing the Cosmopolitan feature, “ Just Around the Corner,” a story of people in every day life, the kind who make it possible for their more prosperous neighbors to enjoy comfort and luxury. Away from the “ society drama,” it aims at the heart of everyone who has even a deeply buried sentiment, telling the story of a widow of a working man, her family of the working class. It is comedy melodrama, with pathos galore. Starts right out to tell the story and loses no time. The important characters are introduced with a clever view to building up sufficient interest that hasn’t a chance to subside during the screening of a romance of New York’s lower east side; and when it is over, make one glad to have seen it. It depicts the maternal instinct of a delicate mother, the protecting fist of a little brother, the natural yearnings of a pretty sister to be “ like other girls.” Adapted from Fannie Hurst’s “ Superman,” for which Frances Marion wrote the scenario and then directed the picture, the tale has been told in an unusually effective way. A competent cast are entitled to a great deal of the praise. The characterizations all of superior merit. On the east side of New York lives a family of three. The girl, a factory employee; the boy, a Western Union messenger, and the mother a willing devotee to the proper upbringing of her children. Through the offices of a “ girl friend,” the daughter secures a new line of endeavor, that of becoming an usher in a downtown theatre. Her mother would rather she did not work at night, but true to1 modern trend, daughter takes position anyway. It is there she learns how to imitate the cheap, tawdry women with whom she comes in contact, and to know a dressed-up human parasite, who boasts of the occupation of a “ ticket speculator.” The mother senses the fact that the newly annexed has other than good intentions, where her daughter is concerned, insists upon his coming home with daughter to an “ after-the-show ” spread, which she prepares time and again, only to be disappointed. Always, the young man finds an excuse. One night, he prevails upon the daughter to go to a dance hall, where a contest is being held, which, in his colossal conceit, he expects to win, with the help of a pretty youngster as a partner. Conscience directs her homeward, especially since she knows her mother is not so well, but he wins, and instead of reaching home in time to minister to her mother in the last hours, she arrives almost too late. The mother’s confidence that the “ young man ” will be with her daughter, becomes a dying obsession, so the brother directs his sister to “ go and get him.” She fails in her undertaking, but is fortunate to find an improved substitute, who agrees to act as the girl’s fiance until the mother passes away in peace. In the end it becomes a reality, and some months later, we see the couple preparing to entertain little brother, grown up. Very entertaining, sentimental comedy-drama, with hardly a “ dry ” moment, in six reels. — Lillian R. Gale. Ma Birdsong. . . . Jimmy Birdsong. Essie Birdsong. . . Joe Ullman The Real Man. . . Lulu Pope Mrs. Finshreiber Mr. Blatsky THE CAST Margaret Seddon Lewis Sargent Sigrid Holmquist Edward Phillips Fred C. Thomson Peggy Parr Mme. Rose Roseova William Nally PRESS NOTICE— STORY “Just Around the Corner,” the Cosmopolitan-Paramount motion picture that comes to the on , is a story of the East Side of New York, with its joys, its sorrows and its strivings. The original entitled “ Superman,” was written by Fannie Hurst, author of the Cosmopolitan record picture, “ Humoresque.” The scenario was written by Frances Marion, who earned her enviable reputation as a writer of this necessary pattern, after which a photoplay is made, by a long period of service for Mary Pickford productions. In this instance, Miss Marion directed the picture, as well. It is full of human interest, pathos, fulfillment of the modest hopes of those who live a work-a-day life, viewing their prosperous neighbors from “ Just Around the Corner.” Don’t miss it. PROGRAM READER The appeal of “Just Around the Corner,” which the management of this theatre will take pleasure in presenting on , is said to be irresistible. The story is one of those which, because of its human qualities, impresses itself indelibly upon the mind and affects the emotions by its convincingness and power. It is not a story of “ society,” with silk and satin dressing, it is a story of the working class, depicting their natural inclinations, their heart aches and joys " even as you and I.” It is of universal appeal. A Cosmopolitan-Paramount production, which is a recommendation in itself. CATCH LINES Do you live “ Just Around the Corner ” from the rich? Do you live “ Just Around the Corner ” from the poor? Wherever you live, whatever your walk of life — you five “ Just Around the Corner ” from a drama of fife, that is happening every day. See “ Just Around the Corner ” — a motion picture worth while.