Motion Picture News (Jan-Feb 1922)

640 Motion Picture News Short Subject and Late Feature Reviews 44 Her Mad Bargain ” (Mayer — First National) IF you can make yourself believe that a struggling young artist (struggling for recognition, that is, but very wealthy) would become so deeply interested in a model, fleeing the caddish advances of another artist, that he would give her fifty thousand dollars to keep her from killing herself — why, you’ll like “ Her Mad Bargain ” — which, by the way, may be what is called a “ good box-office title.” The story concerns Alice Lambert, brought up in the lap of luxury as the adored ward of a very wealthy woman. The woman’s niece Ruth resents the luxuries lavished on Alice, and, at her aunt’s death, Ruth loses no time getting rid of the interloper. Alice makes her way through the stages of selling her beautiful clothes, of being a dress-model, pursued relentlessly by her employer, to that of artist model when she is pursued even more relentlessly by her artist-employer. This brings her to the door of the philanthropic artist, who bribes her with fifty thousand dollars not to kill herself, but to take a year to prove the truth of his theory that money will not buy happiness. The end is already in sight. There is a little newsboy who brings on a moment of pathos, and a few other characters — and that’s about all. Miss Stewart looks beautiful, wears some stunning gowns, and therefore, the picture has feminine appeal. The cast includes Anita Stewart, Helen Raymond, Gertrude Astor, Walter McGrail, Adele Farrington, Ernest Butterworth and Arthur Edmund Carew. Edwin Carew directed. Length 5 reels. — PEARL GADDIS. Reviewed at Atlanta, Ga .) 44 The Fountain of Youth ” (Ivan Abramson-Graphic-State Rights) AN allegorical adaptation of Faust has been made for the screen by Ivan Abramson which because of its unique photography and the power of suggestion conveyed through its array of scenes is certainly entitled to recognition by exhibitors. That it carries box-office value cannot be denied. In the first place the story and opera of Faust are well known to everyone ; in the second place any wide awake showman should be able to exploit it by synchronizing it with the operatic setting. “ The Fountain of Youth ” is a fantastic design to say the least. Almost all of the action is presented in an allegorical pattern with trick photography being effectively used. By its very design the spectator is disarmed from being analytical. He must simply accept it as a novelty. But beneath its shadowy, its ghostly composition, there is food for thought. The moral is dominant as it is in the operatic story. The hero sells his soul to Satan in return for worldly power and pleasure. And as he accepts his responsibilities the thought grows that his attempt to find a material satisfaction is futile. The hero must find a spiritual significance in life if he is to rise above the power of evil. Satan gives him opportunities to find passion, love, conscience and remorse. He is impatient to see into the unknown and the transitions which he experiences enable him to conquer life for a while. But the bargain is made and he is compelled to pay. Mr. Abramson has achieved some startling effects with his interiors. It is almost as if he waved the magic wand and presto 1 — the photographic tricks befuddle the eye. Pictorially the offering will be appreciated. The sets are truly fantastic and for the most part have been deftly handled. The interpretation is taken care of by Russian players whose gift of pantomime is adequately expressed. Faust itself is so complicated for the average layman that its appeal along strictly dramatic lines is negligible. But the spectator in search of novelty will react to it — because of its fantastic design — Length, 6 Reels. —LAURENCE REID. 44 The Glorious Fool ” (Goldwyn) "CpVERYBODY who has ever read one of Mary Roberts Rinehart’s delightful stories of life as lived among the doctors, nurses, probationers and, incidentally, patients, of a big hospital, will know that the subject is one which is far from being gloomy or depressing. And “ The Glorious Fool,” her first motion picture on this theme, proves it all over again. Of course, a lion’s share of the credit for the picture should go to the two featured players, Helene Chadwick and Richard Dix, who are rapidly becoming favorites in this line of work. The titles are in Mrs. Rinehart’s favorite style, the direction (for which' thank E. Mason Hopper) is smooth and even, the entire cast distinguish themselves, and the picture, as a whole, is a sure-fire hit. It is the story of little Jane Brown, probationer, and Billy Grant, a wild young scapegrace, who is brought to the hospital as a patient following his theft, while intoxicated, of a trolley-car and his subsequent attempts to drive it. From the opening scene, in which Jane Brown and Billy Grant together, face death for the first time, until the finish, when the swinging doors of the ward close on a perfectly good kiss between the two, there isn’t a dull moment. As in all of Mrs. Rinehart’s work, there are a few tears, a good many smiles, lots of pleased chuckles, and not a few down-right hearty laughs. If they liked “ Dangerous Curve Ahead,” they’re going to like this ! The cast includes Helene Chadwick, Richard Dix, Theodore von Elz, Kate Lester, .Otto Hoffman, Patricia Palmer, and George Cooper. E. Mason Hopper direetted. Length, 5 reels. — PEARL GADDIS. ( Reviewed at Atlanta, Ga.) 44 The Touchdown ” (Century Comedy — Two Reels) FOR the first reel of this Century comedy, there is released as snappy a line of rural hokum as has been flashed on the screen in some time. And when it comes to the country gawk, Lee Moran can portray the part with genuinely humorous burlesque. His aw'kward manner — his height and general countenance — all these fit in making him a colorful prototype of the bumpkin. The author and director has evolved some new hokum for the Ford and the subtitles are snappy enough to make an undertaker laugh. But the minute the rube reaches college, the spontaneity misses fire and what is revealed is rather old stuff, with little humor. The getaway from the farm is done with a comic effect. When college is reached, the plot is fashioned around an initiation into the inner circle of the dormitory. The hayseed’s rival expends a deal of energy in embarrassing him. In time he has his revenge. The final scenes show a novel touch when the hero scores one touchdown after another by simply running with the ball. Then he is photographed against one of the circus side-show mirrors. —LAURENCE REID. 44 The Playhouse ” (Buster Keaton Comedy — First National) THE stage cannot hold much illusion for the screen spectator now — what with the various stories written around the life back-stage. Buster Keaton, realizing the comedy tricks of such a life, has incorporated them for his newest offering entitled “ The Playhouse.” Any of those who saw him in “ The Boat ” are apt to be disappointed if they try to measure its fun with that lively number. Yet there is enough humor expressed to make it a really comic treat. Trust Keaton to find the high spots of such a plot as indicated by the title. Life back stage is broadly burlesqued with considerable ingenuity of stunts. He is made up to represent a number of characters, a few of which are spectators in the theatre. He doubles — even triples and quadruples in brass, as it were. He becomes the prop boy and messes things up for fair. A diver is appearing in a tank. Can you guess what Buster does? You’re right. He busts the tank and the pent-up waters flood the stage, the orchestra pit and the house proper. This is cutting up didoes with a vengeance. And shows how far Keaton will go to provide amusement. He disregards expense. Follows some funny business, after which the comedian exits himself through being chased by a giant. “ The Playhouse ” is certain to score everywhere. Keaton’s comedies don’t come too often to be called just average. They are way above such a category because they are conceived and executed with well thought out ideas, painstaking in detail, and carefully rehearsed. At least that is the impression one gains after seeing them. Length 2 Reels. — LAURENCE REID. I i I i i I i : ! I i i i ! ! i i 44 Fur Coats and Pants ” (Star Comedy — Universal) PERHAPS it has never entered the office boy’s head to make capital of his boss’ revolving chair. But when he sees this comedy he is apt to execute the idea — that is if he lives up to the orthodox representation of always creating mischief or finding a way to avoid work. Here it is the book-keeper’s chair which is utilized for a put-and-take top. The boss discovers the thing and cleans up the board. After this novel introduction the comedy twists around a fur coat. First, a blind man mistakes the wearer for his dog and the subsequent business finds the frankfurters alive when the coat passes. The comedy is not so lively as its introductory scene would indicate and it must be put down as only mildly amusing. Ethel Tears is the heroine and Bert Roach the comedian. Length 1 Reel. — LAURENCE REID.