Motion Picture News (Jan-Feb 1922)

644 Motion Picture News “DON’T GET PERSONAL” (Universal) Star Scores in Episodic and Sketchy Comedy THERE is not a deal of weight to this offering. In fact it is brittle and episodic in construction, offering no more than a series of pretty pictures of the personable Marie Prevost, who flits around in true flapper style, wearing an array of pretty costumes and cutting up didoes like a true daughter of Eve. The plot is merely a skeleton which has to do with an untamed Broadway chorine journeying to the country and finding mischief. She only stops in her playful pranks when she bows to the call of romance. Miss Prevost is assisted by a couple of competent comedians, Roy Atwell and T. Roy Barnes. In fact they keep the comedy moving and manage to extricate a deal of humor of a light fashion from the naive scenes. The director, not having any working plot to build from, has merely posed the players in attractive postures — with the star leading the field. The heroine flits in and out of French windows and doors and runs up and down the stairs. She has for a companion, Teddy, the great Dane. And the dog is really instrumental in bringing the hero and heroine together. There is one comic effect which has to do with the girl stealing an electric which takes her to a fashionable road-house and compelling the hero to take it back alone. The power gives out on a steep hill and he is forced to push it up the grade. There is a slight note of melodrama observed in the attempt of a portly vamp to intrigue the rich Mr. Atwell into matrimony. The Broadway girl plays him against Mr. Barnes, but in the end accepts the latter. By keeping the star in every scene the director has managed to keep the spectator at attention. Miss Prevost can stand by herself with such a magnetic personality. Barnes manages to embrace his few opportunities for comedy. His antics are engaging throughout. There is a spirit of good-natured slapstick about the offering which helps it over the light spots. One cannot object to Miss Prevost’s presence. She is always restful to the optic nerve. And some baldheaded bounders whose vision is weak may develop good eyesight through watching her adapt herself to her scenes. She wears no bathing suit here, but that is no indication that she will fail to do so in the future. The picture is prettily staged and bounds along easily. It will not tax the spectator. Its spirit of youth and fun will compensate for lack of substance. Length, 5 Reels. — Laurence Reid. THE CAST Patricia Parker Silas Wainwright Emily Wainwright Horace Kane John Wainwright Maisie Morrison Arabella New Jane New Jimmie Barton By I. R. Ving. Scenario by Doris Schroeder. Directed by Clarence Badger. Photographed by Milton Moore. .... Marie Prevost . . . George Nichols . . . Daisy Robinson Roy Atwell ...T. Roy Barnes Del Lorice Sadie Gordon . Alida B. Jones Ralph McCullough PRESS NOTICE— STORY A zippy comedy-drama of a Follies beauty who breezed into an aristocratic family and started a storm that subsided in a double wedding — that is “ Don’t Get Personal,” which comes to the theatre next with the former bathing Beauty, Marie Prevost, as the star. The plot carries an undercurrent of truth in it despite the frivolities of the piquant adventures of the heroine who is sent to the aristocratic family by her father in order that the change of environment may enable her to forget Broadway. If it proves anything, it is that a new atmosphere always contains dangers, even though it may be a simpler atmosphere than one is accustomed to living in. The heroine’s chief temptation is to meddle in the love affairs of other people. Before she extricates herself she is herself caught in the throes of romance. Her chief meddler is a big dog who starts the youth dodging until he dodges into her tight embrace to avoid disaster. Miss Prevost presents her charming personality in scenes which are rich with humor and romance. Her assistants include the capable comedians, T. Roy Barnes and Roy Atwell. PROGRAM READER Do you know a pretty girl who craves to protect nice, inexperienced young men from dangerous vamps? There’s such a girl in “ Don’t Get Personal,” the Universal feature which appears at the theatre next with the charming and talented Marie Prevost as the star. The actress has the time of her life in meddling in other people’s love affairs. Having charmed Broadway, she moves to the country for a change of environment. And she brings a big dog with her. Well, she gets sinto a peck of trouble, but has a great time before she capitulates to the call of love. She offers good advice not to get personal unless you are equipped with plenty of beauty and personality. T. Roy Barnes and Roy Atwell are in the cast. Enough to state that the picture is in capable hands. SUGGESTIONS A snappy line of posters, catch lines, briefs, throw-aways and door-knob hangers should be exploited for the feature — which is a snappy, zippy comedy-drama of a New York showgirl who breezes into an aristocratic home and proceeds to meddle in their private love affairs. You can feature it as light, but wholly entertaining. Play up the star and exploit the feature as one that is carrying Marie Prevost ever forward. Establish the fact that she is rapidly becoming a popular favorite. Of course don’t neglect to exhibit a line of stills showing her in a various array of costumes. Mention that the picture carries a fine cast featuring T. Roy Barnes and Roy Atwell. A light and breezy prologue can be exploited. CATCH LINES Marie Prevost, the star with the form divine, supported by the humorous T. Roy Barnes will appear at the next . See this picture. She brought her Broadway manners into a peaceful country home. What happened? See the zippy comedy-drama, “ Don’t Get Personal.” the patron to see a rich entertainment for received payment. This can be worded out to resemble a receipt for merchandise purchased. “RECEIVED PAYMENT” (Vitagraph) Heart Interest Story with Dramatic Flourishes THIS Vitagraph picture, written by John Lynch, carries all the ingredients for popular success. Carrying a strong note of heart interest as its dominant note it is well balanced with a good vein of romance, a few dramatic strokes and some intimate scenes of life back-stage. And gracing it all is the charming personality of Corinne Griffith. The title is misleading and does not carry out its suggestion— that it might be a finance story of Wall Street Really the plot is centered about a conscience-stricken old man, who because of the wrong he tendered his daughter is determined to make amends to the latter’s child. The idea is so compelling with him that he broods constantly and his butler is commissioned with the task of locating the heiress and bringing the grandfather back to health. The director has not clearly established two of the characters. A secretary and a mysterious woman are quartered in the house. While their purpose is to complicate matters and intrigue the old man out of his money, in reality they do nothing of the kind. And when the secretary attempts to shoot the woman one wonders at his motive because he has shown no particular affection toward her. In fact he has attempted to assert his personality upon the heroine. The girl is really the butler’s daughter, and the good servant realizing that his master must have an heiress passes her off as the grandchild. She does not take kindly to the new life because she has been told of her “ grandfather’s ” cruelty toward her “ mother.” But a scene is introduced which shows her surprising the butler reading some old letters which prove her to be his daughter. Unwilling to impose further she returns to the stage and is starred in a ballet. It is opening night. The old man has not been informed of the true facts, but when the secretary, in a stage box, attempts to shoot the other woman, the butler intercedes and receives the fatal bullet. He makes a full confession and the old man appreciates his loyalty and the girl’s sincerity. He has grown to love her as his own child. The picture may be called a society drama with stage trimmings. It moves with creditable action, revealing good contrasts, some conflict and moments of deep pathos and heart interest. The hero is really a negligible character here, the bltler carrying the dominant role. But the note of romance is introduced in convincing style. It never seems arbitrarily added for the sake of balance. The director has staged the picture with proper atmosphere, the stage scenes being full of color and charm. It is a story which is logical in every particular. Miss Griffith gives an appealing portrayal of the heroine, while Charles Hammond as the butler, and David Torrance as the aged aristocrat, give effective performances. — Length, 5 Reels. Laurence Reid. Celia Hughes Cary Grant . . Daniel Milton Dunbar Andrew Ferris Roger Dayne Felice Huxley Mrs. Starr Starr THE CAST By John Lynch. Directed by Charles Maigne. . Corinne Griffith . . Kenneth Harlan ■ . . David Torrancq . . .William David Charles Hammond .... Henry Sedley .... Regina Quinn . Dorothy Walters Dan Duffy PRESS NOTICE— STORY “ Received Payment,” which comes to the theatre next , is a typical Corinne Griffith picture. It presents a combination of chorus girl and society atmosphere and is offered by a cast second to none. Such well known players as Kenneth Harlan. David Torrance, William David and Charles Hammond support the attractive star. The picture is based upon a story by John Lynch with the action taking place for the most part in Mrs. Starr’s theatrical boarding house, the Milton home in Washington Square, New York, and the auditorium of the Colgonda roof. The heroine, Celia, returns to her boarding house after a successful season on the road and is offered a contract to star in the roof garden show. She signs it, but her father informs her that she is the granddaughter of Milton and must assume her position in the world. Complications follow and at a time when things are moving smoothly, Celia decides to leave the Milton household and fulfill her contract. At the premiere performance a tragedy occurs in which several wrongs are righted and Celia finds that real happiness grows out of great sorrow. The picture is well staged and the story unfolds with ever increasing interest. PROGRAM READER Love will find a way! It’s a time-worn adage, but true in all ages and climes. It is a vital subject with young and old and the foundation of most stories. Corinne Griffith in “ Received Payment ” illustrates this old adage from a new angle. The tale is full of love, emotion, action, suspense and human interest. It is truly something different. It is a story of a toe-dancer who received a contract to star in a big New York production and then found herself a society leader, grand-daughter of one of Gotham’s most aristocratic families. It presents a contrasting of society life with that in a theatrical boarding house. Miss Griffith is surrounded by a cast of screen favorites. The picture will be presented next SUGGESTIONS Present this picture as a story of society and stage life — of a young girl who found the way to love after experiencing great suffering and sorrow. You can put over an effective prologue with a ballet dancer being featured. The background can be the entire stage with a pretty set or curtains enclosing it. Any lithographs or stills you offer with Miss Griffith appearing in ballet costume will excite interest. Bill it as an appealing romance which contains plenty of heart interest and the contrast of the ways of society and the ways of the stage. The title suggests many ideas for novel exploitation.