Motion Picture News (Jan-Feb 1922)

January 21, 1922 643 THE SIN FLOOD (Goldwyn) A Rare Treat for the Discriminating; Fine Entertainment for All GOLDWYN’S picturization of the stage play, “The Deluge” “ Synafloden,” Henning Bergsen’s wonderful drama, makes as dramatic and as human a piece of celluloid as has been seen in some time. Calling Bergen’s drama “ wonderful ” is not for want of a better word — there is hardly another way toi •describe it. Taking a fact of human psychology, developing it from a plot situation which is decidedly novel and intensely interesting, proving it by diversified characterizations all laboring under the same emotion, “ The Sin Flood ” could not possibly have turned out to be anything but an itneresting picture. But Goldwyn has gone further. It can honestly be said that the most has been made out of this drama; every iota of interest squeezed from it. It is exceptionally well acted, and it is a feature that requires consistently good work from every member of its cast of principals. On the stage the drama did not end happily for the two principals. It was too real, too human. All the characters, suddenly reformed in the face of certain death, drift back to their old evil ways once they have won the battle with Death. In the picture the leading man and heroine alone keep to the ideals which have been reborn in the face of danger. Thus the picture is saved from leaving a depressing effect and at the same time the semi-cynical touch, which is also a most convincing touch, is not lost. In a Mississippi town there is a basement cafe. The storm breaks, the flood alarm is given, and locked in this air and water-tight room are seven or eight characters; the town drunkard; a degenerate preacher, a crooked lawyer, two exchange traders who hate each other, a down-and-out actor, a seedy engineer, a miserly saloon-i keeper, a thieving bartender, a man who has deserted the girl who loves him, and that girl. Death seems certain; they will suffocate Their characters suddenly change. They forgive one another and pledge to a “ brotherhood of love.” Rather than suffocate, they take their last farewells and fling open the door. But the people are walking above; the water has receded. Immediately they revert to their former characters. The brokers continue their crooked business battle. The saloonkeeper collects for the food and drink. The drunkard is thrown out, and the street preacher again begins to drink. Only the two young people have learned the lesson. They are to marry. Not a flaw can be found in the development of the story. The logic is absolutely convincing. And all the power that this dramatic situation suggests is there. No one of the cast should be selected as outstanding, but those two favorites, Richard Dix and Helene Chadwick, will not disappoint any of their admirers. Every one of the all-star cast gives a most intelligent interpretation. “ The Sin Flood ” is a picture which will be a rare delight to the discriminating, and one which will hold to the very final moment, every picturegoer. — Length, 6,500 feet. — Matthew Taylor. THE CAST Billy Bear Richard Dix Poppy (of the chorus) Helene Chadwick O’Neill James Kirkwood Swift John Steppling Frazer Ralph Lewi* Sharpe Howard Davie* Stratton . . • , Will Walling Nordling William Orlamond Charlie Darwin Karr Higgins Otto Hoffman Levee Louie L. H. King Story by Henning Berger. Continuity by J. G. Hawks. Directed by Frank Lloyd. Assistant director, Harry Weil. Cameraman, Nobert Brodin. a The Sin Flood ” (As reported to the Motion Picture News by E. R. Rogers, managing director of the Tivoli Theatre, Chattanooga, Tenn., after the picture’s run last week.) When an original screen story comes along too much praise cannot be given it. “The Sin Flood” swells the tide of better pictures. Henning Berger’s “The Synafloden,” intelligently and artistically adapted to the screen by Director Lloyd, is a story powerful and unsual and far off the beaten path of screen entertainment. It contains a message for the public good and gives an exhibitor something to work with for the good of the industry, as well as being an incentive to do the utmost in exploitation and presentation. Its super-character delineation and dramatic power makes a human document with all the elements of screen entertainment. Richard Dix and Helene Chadwick procure a firmer grip on stardom. “The Sin Flood” breezes along like a southern zephyr, develops into a hurricane and exits with a booming sigh. The director has kept the suspense well sustained throughout. Henning Berger shows life. He has dared to disclose the inner man, and Director Lloyd has caught his meaning. It is the kind of a picture that will get somewhere and make friends for the exhibitor. — E. R. Rogers. “THE LANE THAT HAD NO TURNING” (Paramount) Heavy Story of Revenge and Self-Sacrifice IT is a question whether this story would have been screened if Sir Gilbert Parker’s name had not adorned it. “ The Lane That Had No Turning” carries a fragrant title suggestive of romance and summertime, but it stops there, and what is revealed is a morbid, depressive story of a sensitive husband who, suffering an injury, becomes hopelessly crippled, and his wife, who sacrifices an operatic career to bring him some measure of happiness in his affliction. The story starts out like a whirlwind suggesting that it might unfold action tense and interesting. But when the husband meets with his injury the suspense is lost and never regained despite the violent scenes which occur later. The hero has become a power in the community through the death of the Seigneur. The wedding feast — a scene of quaint atmosphere is being celebrated. A drunken lout, without any real motive for his vengeance, strikes him, with the result that the affliction of his ancestors visits him. Fearing the worst, he sends his wife to Europe to pursue an operatic career; the while he works to make himself more powerful in the affairs of the community, trusting to this power to make his wife remain steadfast after she has learned of his condition. There is another figure who commands little sympathy even though he is the rightful claimant to the property. He intrudes time and again, and in the end comes into his possessions — even to the extent of winning the affection of the cripple’s wife after she has become a widow. It seems like a sop thrown to sentiment or romance to find her encouraging him. There are a number of violent scenes, for the cripple endeavors to kill his rival — does succeed in killing the man who gave him his injury, and finally kills himself in a moment of frenzy — when his tormentor informs him that his wife is unfaithful. You want to extend sympathy for the unhappy woman, but somehow she doesn’t inspire you with any such quality due to Parker’s drawing. He knows his French Canada like no other author. In the respect of atmosphere he is interesting. But there isn’t a single vein of humor in the entire picture. Agnes Ayres makes her first appearance as a star, and while she fails to reach emotional heights succeeds in registering her charming personality. It remains for Theodore Kosloff as the cripple to flash the best performance. He positively makes the part uncanny and yet at the same time keenly sensitive. A little actory at times but quite convincing withal. Had the other man been drawn less arbitrary — had he figured more in the action as if he were a cital part of it, Mahlon Hamilton would have made the character appear more logical. — Length, 5 reels. — Laurence Reid. Madelinette . . . Louis Racine George Fournel Joe Lajeunesse Tardiff Marie Havel M. Poire Gov. General . THE CAST By Gilbert Parker. Scenario by Eugene Mullin. Directed by Victor Fleming. Photographed by Victor Warrenton. Agnes Ayres Theodore Kosloff Mahlon Hamilton . . .Wilton Taylor . . Frank Campeau ..Lillian Leighton . . . . Charles West ...Robert Bolder Fred Vroom PRESS NOTICE— STORY Admittedly one of the most charming of screen players, Agnes Ayres, new Paramount star, is said to achieve a triumph in her first stellar vehicle, “ The Lane That Had No Turning,” which appears at the theatre next . This is a dramatic picture based upon a story by Sir Gilbert Parker, the scenes of which are laid in French Canada. Miss Ayres portrays a highly emotional role with exquisite depth of feeling and is supported by such competent players as Theodore Kosloff, Mahlon Hamilton, Frank Campeau, Lillian Leighton and others. The story concerns the marriage of Madelinette to Louis, and his supposed inheritance of an old estate in French Canadian precincts. He is injured and develops a cripple, but his wife sticks by him until he, himself, ends it, and she marries Fournel, the rightful owner of the property. It is a romantic story with tense situations ever dominant. It is fraught with the spirit of self-sacrifice. The picture has been handsomely staged and directed in adequate fashion. PROGRAM READER The lovely lady of the screen — the beautiful and dashing Agnes Ayres is coming to the theatre next in her first starring venture, “ The Lane That Had No Turning.” This charming actress has won recognition through seasons of exceptional performances. She appears as a star in Sir Gilbert Parker’s vital and throbbing story of French Canada — which concerns a woman’s self-sacrifice to give up all for the man she married — a man who became a cripple. The picture presents a feast of beauty in more ways than one. The enchanting backgrounds are set off with thrills. The story sparkles with dramatic moments and with a great inspiring love. Don’t miss it. SUGGESTIONS Since this is Agnes Ayres’ first starring venture, it would be a good point to emphasize this in all your notices. Play up that she is radiantly beautiful — that she is one of the loveliest ladies of the screen. Make mention that she has scored through many photoplays — many of which will be remembered because of her sterling work. After which you can present stills of her and tell that Gilbert Parker wrote the story. You can feature the fact that the author knows French Canada like no other writer. And tell that this story is a fascinating one which contains dramatic moments and a great inspiring love. Feature that the plot is founded upon a woman’* sacrifice for her husband. Mention that Theodore Kosloff and Mahlon Hamilton •re in the cast.