Motion Picture News (Jan-Feb 1922)

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February 25, 1 9 2 2 1273 “I CAN EXPLAIN” (S-L-Metro) “GLASS HOUSES” (Metro) Contains Enough Action for a Serial THIS picture is apt to be a tough one for the spectator to define. It carries all the earmarks of broad burlesque, not only because of its lively action which releases a sample of slapstick, but because the players act in a spirit of mock-heroics. Which is to say that they exaggerate. If the purpose is to have fun with the old-time comic opera revolution then George D. Baker, the director, has succeeded admirably. If he has attempted to be serious— then one must be inclined to say that he has “ overshot.” The subject-matter is not entirely fitting to Gareth Hughes’ personality. While he plays a browbeaten character, who is persecuted by a jealous husband, the part does not permit him to flash his individual talent for expressing pathos and sympathy. Somehow you gain the impression that one of a dozen second-class comedians could have done it just as well. The action opens on the golf links with the jealous husband arriving in time to catch his wife in a compromizing situation with his junior partner. After the necessary explanations, the youthful hero is caught again in his office — whither he had gone to recover some innocent letters from the wife. More choking and chasing action. In the interim there is a scene showing Hughes being punished by his sweetheart’s father and a jealous suitor. The sequence following depicts the state-room of a boat bound for a Central American republic — with the hero “ shanghaied ” by his partner. The wife is aboard too. It is action and more action. And the burlesque enters when the boat docks. The president of the republic is plotting with his generalissimo, and a kittenish vampire is also employed. There is some humor revealed in the “ red tape ” business of passing the quarantine doctors. It is broad slapstick, for characters toss each other about and a general hustle and bustle starts everyone scampering about on the dock. This sequence is followed by a lavish interior with some intimate touches between the characters. Continuity does not seem to be present in the action to any extent, because of the hectic action which is abundant throughout. With the South American scenes over with, the mild hero returns to his native town in time to rescue his fiance from a hateful marriage. His pet phrase is I can explain ” whenever his partner stops his persecution for the wee part of a minute. There is no time wasted in this offering. It keeps moving at breakneck speed — in typical farce measure. This is why one must accept it lightly — as a picture bordering the domains of burlesque. There is not much entertainment value, but at least it will suffice as a fairly interesting release. Hughes needs quieter pieces — such as “ Little Eva Ascends.” Length, 6 reels. — Laurence Reid. THE CAST Jimmy Berry Gareth Hughes Betty Carson Bartine Burkett Dorothy Dawson Grace Darmond Howard Dawson Herbert Hayes Will Potter Victor Potel Uncle Henry Nelson McDowell Juan Pedro Vistuano Gardez Edward Wallock Miguel Albert Breig General Huera Harry Loraine Carmencita Gardez Tina Modotti Lopez Sydney Dalbrook El Pavor Stanton Heck Rev. Mr. Clark William Brown By Edgar Franklin. Directed by George D. Baker. Photographed by Rudolph Berquist. PRESS NOTICE— STORY “ X Can Explain ” is the title of the Gareth Hughes picture which comes to the theatre next . In this comedy-drama which borders upon burlesque, the talented star, who is gifted enough to appear equally at ease in farces as well as in serious stories, plays the part of a browbeaten young man who is junior partner in a firm, the senior of which is a jealous husband. Whatever the youthful hero does, his partner places a wrong conclusion upon it. He is intensely jealous of his wife. And he catches the hero with her on several occasions. Tiring of having to watch his young partner, the other has him “ shanghaied ” aboard a boat sailing for some South American port. There is an exciting time on board — for the persecuted youth is forced to keep hidden and suffer the insults and tortures of his strong, heavy and jealous partner. Arriving at the port, there is more excitement when the quarantine officials refuse to allow entry to the city. The story follows with a duel between the partners, the younger being vamped by a passionate senorita. In good time, he returns to his home town and marries the sweetheart who waited patiently for his homecoming. The picture is adequately staged, is acted by a large and competent cast and is said to afford novel entertainment. PROGRAM READER If your partner discovered you with his wife and he happened to be much larger than you and threatened you — would you stop and explain, or would you run for dear life. Here is Gareth Hughes who is persecuted by a jealous husband — his own business partner incidentally — and because of his diminutive personality in comparison to his partner — is forced to be humiliated time and again. He always objects and says “ I can explain.” But it is of no use. The jealous husband refuses to listen to reason. Come to the theatre next and see the comedy sketch entitled “ I Can Explain,” with Gareth Hughes in one of his characteristic performances. This star has made rapid strides. Surely you cannot forget him in “ Little Eva Ascends.” So come and see him in a novel entertainment. SUGGESTIONS If you have had any success with Gareth Hughes pictures, it is well that you exploit this as up with the others in point of comedy appeal. While it isn’t in the same class as “ Little Eva Ascends,” it contains enough sure-fire hokum and comedy to succeed almost anywhere. Describe it as a fast-moving comedy-drama of a busy youth who is kept on the jump avoiding a jealous partner and husband. The latter is frightfully jealous and he always manages to place a wrong conclusion upon the scene whenever he sees his wife with the youth. Tell that it is a picture which will chase the blues away. Bring forth the title in a snappy teaser campaign. Interesting Little Farce-Comedy With Viola Dana Putting Over a Clever Character Sketch THIS farce-comedy places Viola Dana in a character sketch which enables her to flash a talent heretofore undiscovered. While it is improbable and carries a few flaws if you examine it closely, still it manages to exude a deal of charm, romance and happy higb jinks — the latter touches having to do with an irrepressible hoyden masquerading as a prim teacher to a wild youth who needs repression. The director, Harry Beaumont, has paid careful attention to the tempo, the action fitting perrectly and keeping up its pace without undue exaggeration. Money has been spent upon this feature, for there are at least fifteen lavish sets — to say nothing of a small army of extras providing atmosphere and an array of costumes which might have come from some fashionable Fifth Avenue shop. Miss Dana is a society girl who is introduced as a Russian dancer at a private fete. And she will surprise her public through her ability to execute the native dance. When she learns that her fortune is gone, she resolves to go to work and applies at an agency, attired as a prim, old-fashioned intellectual. The hero’s aunt has threatened to stop his income unless he mends his ways. And she thinks the best plan is to employ a monitor who will teach him deportment and a knowledge of books. Miss Dana certainly scores in her interpretation. She never steps out of character. The plot swings into its substance when the heroine steals away in the night, enters her own home and is mistaken for a well-known thief. The hero has also disappeared from his bedroom window. This gives them a chance to appear compromised when they find themselves together in the garage where they had gone to spend the night after realizing that the doors are locked. The aunt, seeing them in the morning, thinks they have eloped and is joyful to think that her nephew has shown such good judgment. He is pleasantly surprised when his bride joins him as a modern, up-to-date flapper. The subsequent sequences clear away the complications resulting from the husband mistaking his wife for the thief — for she has lugged home a suitcase of her own treasures and the Jap butler has discovered them. The sick-room scene is inclined to be a bit draggy, but it all ends happily. The picture is excellently lighted. Miss Dana’s personality being revealed in several soft-focus effects. “ Glass Houses ” is breezy and full of peppy jazz — an ideal vehicle for the star. Gaston Glass, while he acquits himself in creditable fashion, appears more at home in straight dramatic parts. Length, 5 reels. — Laurence Reid. THE CAST Joy Duval Billy Norton Aunt Harriet Cicily Duval Mrs. Vicky Orville King The Lawyer By Clara Genevieve Kennedy. Scenario by Edith Kennedy. Directed by Harry Beaumont. Photographed by John Arnold. . . . .Viola Dana . . . Gaston Glass . . Mayme Kelso . . Helen Lynch • Claire Du Brey Ellsworth Gage • John Steppling PRESS NOTICE— STORY The leading attraction at the theatre next is “ Glass Houses,” with Viola Dana as the star. In this story the vibrant Metro star has an ideal vehicle for the expression of her exuberant personality. It is a role that enables her to interpret a colorful character sketch — that of a prim and prudish young teacher to a youthful collegian who needs suppression. The heroine realizing that her fortune is gone, applies for a position as maid, servant or social secretary. She is disappinted to learn that her modern clothes and style won’t do. So she returns disguised as the aforesaid young, old maid. The story carries several comedy highlights chief of which introduces the young people confronting each other in a garage after they have both stolen away from the house in the night and found the doors locked upon their return. The girl, carrying a suitcast, makes the aunt place a wrong conclusion upon the scene. She thinks the young people have eloped. The youth is disappointed in being compelled to marry the girl, but he is pleasantly surprised to discover her as her former self. The picture unfolds a deal of charm and comedy and contains a wholesome romance. It is lavishly staged and directed in a capable manner. PROGRAM READER People in glass houses shouldn’t throw stones. And glass houses are awfully breakable. The aunt thought her nephew safe from temptation — what with the presence in the house of a prim disciplinarian. But the girl has occasion to steal away from the house, and the youth breaks his bondage and also escapes. When they return in the morning the aunt thought she spied a fine romance. So she arranged a marriage. This is the brief outline of “ Glass Houses,” the peppy, jazzy comedy which comes to the theatre next with Viola Dana as the star. This picture will afford a novelty to the patron and many will be surprised to see that Miss Dana displays a talent heretofore undiscovered. Come and see for yourself. Gaston Glass is the leading man. SUGGESTIONS This picture is lavishly staged and carries all the good qualities of a stimulating story. Play up that it offers the star one of the most appropriate roles of her career. Tell them that Miss Dana will surprise her following through her talent as a dancer and also as an actress who can interpret character. Emphasize the title and play it up for its novelty. Describe it as a picture which travels on high, releasing a wealth of comedy, high jinks, romance, sentiment and story interest. A prologue can feature an ensemble richly staged with the central figure being a Russian dancer interpreting native dances. Mention that Gaston Glass, hero of “ Humoresque,” is in the cast as leading man. CATCH LINES See “Glass Houses.” Oh Boy! — What a jazzy, peppy picture. You’ll say that Viola Dana is there as a dancer and as — . Come and see for yourself.