Motion Picture News (Jan-Feb 1922)

February i8, 1922 1153 Late Feature and Short Subject Reviews 44 Julius Caesar ” (Produced in Italy — Distributed by George Kleine) THIS re-edited release does not need to be announced as Italian product. It is typical Italian in its spectacular scenes, in some of its photography, in the types that make up the cast. The life of Caesar, as history has handed it down, offers too much material to be expressed in one photoplay. This is the sole reason why this picture cannot hold the interest at a high j pitch throughout. It embraces Caesar’s domestic, political, and military life. On the other hand, it does offer genuine entertaining incident. For example, there is the scene of the murder of Caesar, closely following Shakespeare. It makes splendid screen drama. The old Roman I senate is lavishly reproduced. The picture starts with Caesar as a young man of twenty. It shows his unfortunate marriage to Cornelia, and his exile by Sulla. The action skips twenty years and the next sequence shows his struggle for political supremacy. The intricacies of the first Triumvirate and the quarrel with Cato are shown as clearly as possible. Then the hero is followed to Gaul where he wages his campaigns. Battle scenes play a large part in this sequence. There are hundreds before the camera in some scenes. Then comes Caesar’s return to Rome, where he is acclaimed by the populace, although termed traitor by the Senate. He is afforded a “ triumph ” and there is another beautiful scene of spectacular magnificence. Finally comes the murder in the Senate and Marc Antony’s funeral oration. The downfall of the plotters is not followed further. All this is excellently done. The production is certainly of educational value as well as being entertainment. The role of Caesar is played by Anthony Novell! in a convincing fashion. Other players, especially those in smaller parts, overact, according to American standards. It is in six reels, and covers the life of Caesar from 80 B. C. to 44 B. G— . MATTHEW A. TAYLOR. 44 Should a Wife Work ” (J. W. Film Corp .-State Rights) AFTER witnessing this picture for the best part of an hour and a half, the inquisitive nature of the title may not bring any response from the spectator, the reason being a profusion of confusing scenes. If this offering were reedited, trimmed of its extraneous scenes, and some of the sequences put through the “re-take” mill, it might carry some convincing quality as a story. As it is at present there is revealed a deal of illogical action cluttered up with long drawn out scenes and a mass of captions. It is an involved story and being so complicated should have been told through bold strokes with detail entirely extracted. The spectator has a difficult time catching the gist of it. The theme purposes to tell that a woman is entitled to a career, but this idea isn’t established until a wealth of introductory matter has slipped through the machine. There is contrast and abundant conflict but it takes a long time in getting started. Two college chums enter the concert field, one to take up a career, the other, through generous impulses, to assist her struggling husband to keep the wolf from the door. The young inventor’s employer attempts to com promise his wife through her repelling his advances. The story becomes highly involved as it develops that both husbands are lacking a single attribute of character. The inventor learns that his wife is supplying him with money. This piques him to the extent that he allows her to shift for herself, while the other becomes a worthless cad. This modern social problem remains unanswered— principally because there is nothing tangible to grasp in the story. The production is not meritorious, there being samples of poor photography and the staging, considerably oldfashioned. The story seems forced, which discounts the apparent sincerity of the cast, which comprises capable players such as Walter McEwen, Louis Kimball, Stuart Robson and Edith Stockton. The title suggests exploitation possibilities and mentioning the cast will help a great deal. The picture, re-edited, has a chance to stand alone. Otherwise it should be presented on double feature day. — Length, 7 Reels. — LAURENCE REID. 44 The Ranger’s Reward ” (Two-Reel Western-Universal) THIS is a vest pocket edition of the ranger formula and introduces Art Acord and his horse. The star gets a job with the rangers through his skilled horsemanship. He wastes no time in falling in love with the daughter of the captain of the troop. The father is trying to track down a band of smugglers whose secret rendezvous is a border hotel. The girl borrows the hero’s horse and is kidnapped by one of the villains— their object being to force her father into easing up on his vigilance where their smuggling is concerned. The crooks then demand that the captain withdraw his forces. He refuses and a fight is about to start when they tell him if he pulls a gun he’ll never see his daughter again. Meanwhile the heroine has been able to secret a note in the horse’s bridle and send him for aid. The climax reveals an adequate rescue scene. The offering carries an old story which because of its fast action is good enough to please the average patron. — LAURENCE REID. 44 Years to Come ” (Hal Roach Comedy-Pathe) THIS is one of the best comedies which Snub Pollard ever made. The trick “ business,” the gags, and situations, are rather novel and each and every one support the theme and are not dragged in by the heels for the sake of hokum and laughter. “Years to Come” presents the women wearing trousers while the men are bedecked in the garb of femininity. Snub is attired in a modish (?) gown with frills and laces and his duty is to take care of the house, cook, sweep, etc., while Marie Mosquini plays the part of the tired business woman. She lives up to the traditional breadwinner. She does not bring any candy or flowers. And when an accident happens to the coffee she leaves the house to seek solace at the club. Meanwhile Snub is weeping away when a croney enters and tempts him with a bottle of pre-volstead stuff. High jinks follow when wifey returns home. The comedy is snappily developed and, reallv, a bright filler for any program. — Length, One Reel. — LA URENCE REID. — 44 Loose Change ” (Hal Roach Comedy-Pathe) pALL PARROTT and lil’ Sunshine Sammy, A the ebony juvenile, carry the comedy burden of this burlesque which has to do with a bank robbery. The robber enters and his command of “ Hands Up ! ” causes the cashier to obey with alacrity. However the latter presses a pedal with his foot which releases the thief through a trap door into the police station below. The crook discovers himself before the sergeant’s desk and there is no waste of time as the officer gives him a crack on the head and presses another pedal releasing the robber into a cell below. If the thief keeps passing through trap doors he might bob up in China eventually. It develops that his gang attempt to avenge their comrade. Meanwhile the pampered son of the president finds a map indicating buried treasure. He starts digging tunnels under the bank and into the vault where he discovers heaps of money. The subsequent scene is good for a big chuckle. The prexy and his son not only discover that they have dug into their own vault but encounter the gang of thieves at the same time. The situations are broadly burlesqued and give rise to many amusing incidents.—Length, 2 Reels.— LAURENCE REID. 44 The Dumb Bell ” ( Century-Universal) TTARRY SWEET, the comedian of this effort plays an ambitious commuter. He learns that a man with a child in his arms is the only man capable of getting a seat on the 5:15. So he purchases a huge doll. When he arrives in his home town he tries to get rid of the doll, but a policeman seeing a little baby on the depot platform thinks it is Harry’s che-i-i'-i-ld, which the cop saw him get rid of. Harry is forced to take the doll. The comedy, which does not carry much variation, proceeds with its romantic interest. The commuter’s sweetheart will not listen to his explanation, and it is only after much trouble and perspiring on the star’s part that the lovers are eventually brought together, and Harry’s plight is really understood. This is not as funny as some recent Centurys but it carries enough high spots to register O. K.— LAURENCE REID. 44 The Night Attack ” (Two-Reel Western-Universal) THIS runs typical to form. Which is to say that it carries a concentrated line of Western action having to do with a group of outlaws and a vigilance committee determined to capture them. The heroine is told by the upholders of the law that it is a man-size job — this hunting of outlaws. This is discouraging to the girl. It develops that the chief villain attempts to have him join his forces— he posing as a minion of the law. But she frustrates his advance. She eventually notices some mysterious action concerning the villain and rides forth to investigate. And before she knows it she is caught in the trap of the robbers. The hero and his vigilantes come to the rescue and the love note is heard when the smoke of battle is cleared away. Eileen Sedgwick makes an attractive heroine. — LAURENCE REID.