Motion Picture News (Jan-Feb 1922)

890 Motion Picture N c w s Short Subject and Late Feature Reviews “ Back Pay ” (Cosmopolitan-Paramount) ur> ACK PAY,” Cosmopolitan’s latest fea ■D ture for Paramount distribution is a heart interest drama with a punch. Fannie Hurst’s gripping story made a good play, but transferred to the screen it makes even a better motion picture. The limitations of the stage prevented the spoken version from scoring with all its abundant highlights. On the silver sheet its vital ingredients are splendidly emphasized. It is the story of a country girl who confessed that she had a “ crepe de chine soul ” and who refused marriage with her boyhood lover because it meant all the ugly, drab things that culminate when wedlock and poverty go hand in hand. And when she finally acquires the lovely, luxurious things of life she takes them, clear-eyed, realizing fully what she is doing. These touches were well established by Fannie Hurst, and Frank Borzage, who directed her “ Humoresque,” has brought them forth in brilliant manner. The picture is worthy of commendation because of this delicate treatment, though there are many other excellent things about it. It is a restful moment to discover a heroine of the screen who adopts the life of “ lily of the field ” without being tricked or deceived. The heroine, Hester Bevins, is a regular girl and real flesh and blood — one that will be recognized as possessing the vices and virtues of a human being and not a handpainted Dresden china doll. The characters are not many and Frances Marion, who wrote the continuity, has established them clearly. There are no various plottings and counter-plottings for the sake of adding the w. k. picturey touch. Miss Marion and Mr. Borzage have seen to it that there is no excess of footage. Seena Gwen makes Hester a lovable figure — one at times pathetic and tragic. Consequently she always plays on the heart strings. And the way in which the girl finally wins redemption and, in her little hall bed-room, faces the spirit of her dead lover with a smile, unafraid because her conscience is easy— such a touch makes a character vital and vivid. J. Barney Sherry as the broker deserves honorable mention. The figure as drawn is also human. Matt Moore is an excellent selection as the awkward country youth. A suggestion creeps in now and then of heavy sentimentality, but Borzage comes forward at the opportune time and saves the human note. — Length 6 Reels. Reviewed by Pearl Gaddis, Modjeska Theatre, Augusta, Ga. “ Prejudice ” (Arista Film Corp. — State Rights Feature) THIS is a dramatic picture visualizing the tragedy which has followed the Jew from the birth of histor}' to the present day. While the theme contains a modern treatment of Jewish persecution under the Czar’s regime in Russia, the thought is conveyed that the visualization is a development of what they have suffered throughout the history of their race. By treating it in modern fashion the author and director have acquainted the Hebrews and Gentiles with the tragedy. It is a simple story, rather complicated through the introduction of many characters, yet one which keeps to its argument with fairly convincing force. The Cossacks pounce upon some innocent offenders and the cruelty culminates in pogroms which were the order of the day a few years ago. Women and children are brutally assassinated along with the men. The principal protagonist is placed against a wall and stoned, but he cries aloud to God for assistance. And it is given him. His tormentors remain to display their humility. As the title indicates, the picture reveals the prejudices of certain races and religions against another. Some may take it as propaganda. But it is fraught with too much tragedy and incident pertaining to persecution to call it anything else than a true visualization of horrible conditions as they once existed in Russia and as they undoubtedly exist now in other quarters of the globe. The atmosphere is well suggested, even though the players are inclined to display exaggerated emotions. Again they suffer from an over-indulgence in the make-up box. But taking it as entertainment “Prejudice” is certain to appeal in quarters where any persecution exists — even though this persecution is merely slumbering. There is no doubt of its appeal in Jewish localities. As for other religions, the disciples or followers will admit that the story is correct. It is certain to inspire charity and sympathy everywhere. — Length, 6 reels. — LAURENCE REID. Selznick News Reel (Current Issue) TO you want to know what the Selznick cameramen are doing? For one thing they were right on the job watching Will Hays affix his signature to his big movie contract. That complete harmony reigned is noticeable in the smiling countenances of Messrs. Zukor, Fox, Goldwin, Lewis Selznick, Myron Selznick, Williams, Quinn, Laemmle, Cochrane, Loew and various others. Restful to the optic nerve is Delysia registering the coyness of the eternal feminine as she smiles for the cameraman and you. She is departing for Europe and Pearl White appears to kiss her good-by. Others sailing for foreign ports are Lillian Russell, who still retains her perennial youth despite her sixty years. The actress is taking up a government position at a salary, it is said, of less than a dollar a year. Claire Windsor is next introduced as the probable choice to fill the chair opposite Chaplin’s at the breakfast table. Miss Windsor is a Seattle society beauty who wields a wicked tennis racket. She admits that Charlie’s feet prevent him from dancing around the court — they might get tangled up. An interesting sketch is the oldest forty-niner who prefers a team of oxen to the flivver. A Parisian shot exposes the side-walk cafe, the midinettes preferring the cold with a warm stove near-by to being shut up inside. A thrilling shot reveals the dangerous pastime of skating to the power of a sail which is guided after the fashion of a sailboat. The reel marks an innovation in titling, the captions being presented as if a part of the day’s news and printed in neat shape. The excerpts take up the smallest possible space and stand out in bold relief against the black. It’s a good idea and emphasizes the shots as being genuinely authentic. — LAURENCE REID. “ The Jungle Goddess ” (15 Episode Serial — Selig-Export & Import) AFTER you have witnessed a portion of this serial and felt its thrills and watched the animals — the equipment of the Selig zoo — you feel like going out in front of the house shouting — “ Hold your horses, here comes the parade ! ” Serials have come and gone, will come and go again, but “ The Jungle Goddess-” quite surpasses them all when it comes to measuring out thrills by releasing a bunch of wild animal stunts. Mr. Selig’s zoo is well known to contain an assortment that Messrs Ringling might envy. Putting them in a serial as the background for sensational incident which has to do with timely rescues — well the spectator is in for open-eyed entertainment. The group of man-eating lions and tigers caught by an intrepid camerman with several close-ups are good for a creeping thrill up and down one’s spine. The onlooker doesn’t have to wait for things to start. The elephants, tigers, lions and apes come on and bring the suspense with them. What matters it if the story is wildly melodramatic. One isn’t looking for the human touch in a serial. What one does expect is unadulterated action. From the moment that the child is whisked up in a balloon and deposited in the jungle — to be adopted by a barbaric race of blacks the spectator is held in a tight embrace of suspense. There is danger, for a religious idol-worshipper would use her as a sacrifice. But she has a champion. Like Daniel the lions avoid her. Which is enough to convince the evil forces that she possesses supernatural powers. Later when she grows to womanhood, the hero comes to rescue her. And the scenes are saturated with rescue thrills. The child has stood between a scientist and a fortune. Hence her riddance. A hefty thrill reveals a big tiger pouncing on a native woman and tossing her to the ground. You have sympathy for the heroine on account of her tiny personality. Between extending her this quality and responding to the thrills — well one has a full entertainment in “ The Jungle Goddess.” Elinor Field and Truman Van Dyke play the leading roles. The atmosphere is well suggested. It is a fascinating jungle picture and exhibitors in the state rights field are certain to lug their money bags to the bank after plaving it. For it is bound to attrack the crowd. — . LAURENCE REID. “ Step This Way ” (Mermaid Comedy — Two Reels — Released Through Educational Exchanges, Inc.) RICH hokum and rough and tumble action characterize this Mermaid comedy, directed and supervised by Jack White. For a start it pokes a little fun at bootleggers. The hootch is transported inside of a baby carriage and everything goes fine until the bottles start to leak. The cops make an early entry into the comedy, and never leave it. There are some circus scenes which provide the best fun. The one best gag is when one of the fugatives jumps through a huge circus billboard and is seen emerging from the open mouth of a huge hippopotamus by a drunk. There are many of the favorite gags brought in, each one varied enough to be good for a wild laugh. — MATTHEW A. TAYLOR. (Short Subject Reviews continued on next page.)