Motion Picture News (Jan-Feb 1922)

556 Motion Picture News “GLEAM O’DAWN” (Fox) “MORALS” (Realart) I\ew Star Does W ell in Frail Character Study THIS picture is the occasion to introduce a new star in the Fox constellation. His name is John Gilbert, who has achieved some fame with character roles in such pictures as “ Shame.” It is too early to appreciate his ability as a stellar figure, but he gives evidence in “ Gleam O’Dawn ” that he is gifted with a share of histrionic talent — enough in fact to warrant a future popularity. The picture given him for his “ try-out ” is not heavy drama. Indeed it is not much more than a sketch which contains but a single dramatic situation. Naturally much of the incident is repetitious. Since it revolves around the clearing up of a youth’s identity and his promise to himself to avenge his mother’s wrong — a mother he has never known — one can see that it does not get off its single track. True, there is a note of romance which provides a happy interlude and gives it some balance. For the most part, however, it tells its little story without any variations of plot or incident and one anticipates the ending far in advance. In a setting of the Canadian woods comes an artist who is called Gleam O’Dawn, since he has never known his identity. The other figures are a wealthy recluse — in reality the youth’s father — who is also gifted with the brush, the latter’s adopted daughter, and a quaint fiddler who is somewhat unbalanced. The old musician has sane moments regarding the youth’s identity. And the latter recognizes in time that the wealthy recluse is his father. He has been told a story of cruelty toward his mother. It is hardly convincing when the young man vows vengeance upon a man for bringing sorrow to a woman he has never known. He is about to mete out punishment when the other man details the secret of his life. The aged fiddler happens upon the scene and sufficient explanations occur to clear the atmosphere. Meanwhile the romantic note is finding expression — through shy glances and trysting places and secret nooks and walks. There is a quality of suspense attached to the hero which lifts once his identity is established. But the figures stand about and converse and by this padding the slight dramatic note is not given much place in the action. Two mysterious figures are introduced in the opening scene, but they are eliminated quickly when the hero punishes them for intruding in the girl’s cabin. The characters are few and the subtitles many. However, the picture gives Gilbert a chance to prove his mettle in a character role. Barbara Bedford makes an appealing heroine. Wilson Hummell as the fiddler, and Edwin Tilton as the recluse are inclined to overact. The picture is adequately staged against charming and picturesque backgrounds. Tt is mostly a feature of exteriors. — Length, 5 reels. — Laurence Reid. THE CAST Gleam O’Dawn Nini Caleb Thomas Gordon Thomas, his son Pierre Silas Hunt worth By Arthur Goodrich. Scenario by Jules Furthman. Directed by Jack Dillon. Photographed by Don Short. John Gilbert ...Barbara Bedford James Farley John Gough ...Wilson Hummell Edwin Booth Tilton Appealing Picture — Well Adapted, Staged and Acted THIS Realart offering is an adaptation of William J. Locke’s charming story, “The Morals of Marcus Ordeyne,” which created a wide demand when it was published a few years ago, and which upon the speaking stage met with popular favor as interpreted by Marie Doro. A better selection could not have been made than that of May McAvoy to appear in the charming role of Carlotta — the girl raised in a Turkish harem but who escapes to the Occident and is befriended by a bachelor who possesses an indifference to women. One may appreciate the subtle quality of romance in this situation. And trust Miss McAvoy to discover every whim and impulse in^the drawing. The role is similar to her Grizel in “ Sentimental Tommy ” in its wistfulness and appeal. Or perhaps it is the manner of the star’s interpretation. Whatever it is, she makes the part wholly lovable and endows it with an appeal that is irresistible. Can you imagine a grimy bachelor resisting the frank innocence of such a girl? He attempts to establish barriers. He will not countenance any of her whimsicalities. But in the end he succumbs to the call of youth and the force of love. Many patrons will be familiar with this picture if they have read the book or seen the play. But even these folks will respond again. Why? Because the romance is so emphatic. And the picture as a whole is blessed with so many interesting highlights. Miss McAvoy may have appeared in roles which carried a more appealing quaintness. But she is endowed with enough gift of pantomime to charm even the most jaded picturegoer. Certainly she has opportunities here. It is a picture that is finely adapted. There is much of Locke’s charm of situation about it. Also the characterization is well established. The director has brought out all the little details besides giving substance to the broader scenes. Pictorially the offering is a gem. The interiors are well conceived and executed with fitting harmony. “ Morals ” possesses considerable human interest. It may be light in the general aspect of its theme but there is no denying its power to please anyone in search of innocent entertainment. Another point in its favor is its exploitation angle. Any exhibitor with half an eye will be able to put over an effective prologue. An Oriental scene — some Oriental dances and similar ideas would aid tremendously in giving it value. Certainly it looks like a money maker. In mentioning the cast William P. Carleton deserves praise for his portrayal of the bachelor. It is a finely shaded performance. — Length, 5 reels. — Laurence Reid. Carlotta Sir Marcus Ordeyne Sebastian Parsquale Judith Mainwaring . Antoinette Stinson Harry Handi Mrs. McMurray . . . THE CAST May McAvoy William P. Carleton Wm. E. Lawrence Kathlyn Williams Bridgeta Clark Sydney Bracy Starke Patterson Nicholas de Ruiz Marian Skinner By William C. Locke. Scenario by Julia Crawford Ivers. Directed by William D. Taylor. Photographed by James C. Van Trees. PRESS NOTICE— STORY A new star in the person of John Gilbert will appear at the theatre next in “ Gleam O’Dawn,” based upon a novel by Arthur Goodrich, author of the stage success, “ Yes or No.” Mr. Gilbert has reached stellar heights through his splendid work in “ Shame ” and “ Gleam O’Dawn ” presents him with opportunities to show his skill at interpretation. The story depicts for a background the Canadian woods and the star assumes the role of an artist who accidentally runs across his unrecognized father, a man who had deserted his mother before he was born. By the time that Gleam O’Dawn has learned the identity of his father, he has fallen in love with an adopted daughter of the latter. This precipitates a situation that is tense with dramatic sweep. The story offers considerable pathos and human interest through the introduction of a certain derelict named Pierre, supposed to be slightly demented. It is by means of this figure that Gleam gathers the information of his identity. The youth, determined to avenge his mother, prepares to kill his unrecognized father, but the girl intervenes. Eventually there is a complete reconciliation. The picture presents fine backgrounds and the acting is always adequate. PROGRAM READER Another new star is in the picture firmament. He is John Gilbert. He will appear at the theatre next in a Fox production entitled “ Gleam O’Dawn,” based upon a novel of that name by Arthur Goodrich, author of “Yes or No.” Mr. Gilbert created such a good impression in “Shame” that it was only a question of time before he would be made a star. The picture is a human interest story which calls for a great deal of naturalness for the interpretation. He hated his father — yet when they met in the Canadian woods hate died and a man was reborn. It is a stirring story enacted against beautiful backgrounds. Barbara Bedford is the leading woman. SUGGESTIONS Here you have a new star to exploit. The patrons who are in a search of new faces will react to your suggestion to come and see the capable John Gilbert, who created such a favorable impression in “ Shame.” You can tell that the story is by Arthur Goodrich, author of the stage success, “ Yes or No.” Bill it as a tense drama filled with a fascinating romance. Tell your crowd that they are certain to like the star, the story, and the beautifully photographed Canadian Northwest scenery. Mention that Barbara Bedford is in the cast as leading woman. Your patrons will remember her first starring venture, “ Cinderella of the Hills.” For a prologue — an atmosphere set would be in harmony. PRESS NOTICE— STORY Picture audiences that enjoy a plot that is different should not fail to see “ Morals,” which will be shown at the theatre next and . This is a screen version of Locket’s popular novel, “ The Morals of Marcus Ordeyne,” and stars the appealing favorite. May McAvoy. It is said by those who have seen the picture — that Miss McAvoy is delightful as Carlotta, the little Anglo-Turkish harem girl who enters into the conventional life of staid Sir Marcus Ordeyne and proceeds to shatter all of his pre-conceived notion^ concerning womanhood. Carlotta embarks upon a series of adventures which invite her into a deal of complications. Her utter frankness and innocence and appeal are enough to fascinate the staid Sir Marcus. Those who admired the work of the star in “ Sentimental Tommy ” will have additional cause to commend her appealing charm in “ Morals.” William P. Carleton is an excellent choice as Sir Marcus, while others who contribute noteworthy performances are Kathlyn Williams, William E. Lawrence, Sydney Bracey and Marian Skinner. Like all William D. Taylor productions, the offering is admirably staged — the details of costuming and settings being correct in appointment and atmosphere. PROGRAM READER Almost as appealing and whimsical a heroine as Barrie furnished her in Grizel of “ Sentimental Tommy,” is the role of Carlotta, from Locke’s immortal “ Morals of Marcus,” in which May McAvoy is to be seen this coming in “ Morals,” at the . As a young English girl who lived from infancy until she was grown in a Turkish harem, and then was suddenly transplanted into the atmosphere of sophisticated London drawing-rooms, Miss McAvoy gives an impersonation of rare charm and appreciation of comedy values. Her beauty has many opportunities in a wide range of costumes from the fantastic garb of the harem to the latest modes of the modern society girl. Come and be genuinely entertained. SUGGESTIONS Realart is supplying a number of one, three, and six-sheets for this feature, which more than anything else will acquaint the crowd with the values of the offering. It is a romantic adventure of an English girl raised in a harem who escapes and finds happiness in London. The picture suggests a rich prologue — which can feature a harem scene with the ensemble' of girls properly attired in Turkish costumes and a talented dancer interpretating an Oriental dance. Of course the star should come in for some special billing. Her past performances entitle her to considerable praise. Street stunts are suggestive, too. Also a tie-up with book-stores. THE WILLIAMS PRINTING COMPANY. NEW YORK