Motion Picture News (Nov-Dec 1922)

3384 Motion Picture News 44 Conquering the Woman ” Ideal-Associated Exhibitors — Six Reels (Reviewed by Laurence Reid) TP HIS is a familiar story with an equally familiar setting. We have with us the proud and haughty daughter of a democratic father who is so patronizing that he determines to cure her. She arouses his antagonism through her foreign manner and a foreign fiance in search of a rich dowry. So the father places her aboard a merchant ship with a cowboy friend as her companion. And the boat reaches the familiar setting — the desert isle. The plot may be anticipated through the title even before the first caption appears. But once the first scene arrives there is no surprise and very little suspense. The girl is shocked over the rough manner of the cowboy and he is equally shocked with his haughty companion. However the call of romance is heard and the young people respond. Under its influence they fall in love and the girl learns something of humi^ty and a few things concerning raw realities. They don’t want to be rescued. Eventually the French count returns and kidnaps the heiress, leaving the cowboy alone on the island. This also re-introduces the girl’s father who accompanied by the cowpuncher pursues the kidnapper and the daughter is rescued. The picture, while directed by King Vidor, who when given a chance can show something in the way of imaginative ideas, does not leave its orthodox groove. Here he seems to be overpowered with a conventional plot and characterization. He has managed to make it entertaining through most of its scenes because of some progressive action, the fine atmosphere and backgrounds, but he will have to answer for dressing up the isle like a beach at a private bathing resort. Florence Vidor is always appealing in her roles and again flashes her charming personality and her sincere talent, while David Butler is thoroughly at ease as the cowboy. The story moves along with credible speed and should prove acceptable with audiences who are not fed up with ancient formulas. If we must have old-fashioned plots, let is at least have them dressed up as good as the one found in “ Conquering the Woman.” The Cast Judith Stafford Florence Vidor Tobias Stafford Bert Sprotte Aunt Sophia ..Mathilda Brundage Larry Saunders David Butler Shorty Thompson Roscoe KarnS Count Henri Peter Burke Sandy MacTavish Harry Todd By Henry C. Rowland. Scenario by Frank Howard Clark. Directed by King Vidor. Photographed by George Barnes. The Story — Treats of a spoiled society girl who acquires foreign manner and a titled fiance. Which is not pleasing to her father. To break his daughter’s spirit he places her aboard a merchant ship with a cowboy friend of his for a companion. And both are stranded on a desert isle. The girl is offended with the cowboy and his rough manner and he is offended with her patronizing manner. Eventually they fall in love. The titled fiance appears and kidnaps the girl but the father and the cowboy pursue and rescue her. Classification — Desert isle locale, with plot based upon democratic father determined to cure his daughter of her haughty, patronizing ways. Comedy and adventure dominant. Production Highlights — The good exteriors. The sincere work as usual of Florence Vidor and David Butler. The atmosphere. The romantic interest. Exploitation Angles — Title suggests a teaser campaign with women’s shops. Play it up as story of girl being tamed through contact with raw realities. Drawing Power — Good for neighborhood houses Estelle Taylor, Wallace Beery and Forrest Stanley in a scene from “ The Attic of Felix Bavu.” A Universal production. 44 Wasted Lives ” Second National — Five Reels (Reviewed by Lillian Gale) THERE are enough good points in connection with “ Wasted Lives ” to warrant its meeting with general favor, provided it is not offered as anything more than a good program picture. The story does embrace a sort of dynamic theme, which with skilled direction and an adequate cast might have been made into a picture much above the average. As it is, it carries considerable appeal and a generous portion of human in-’ terest From a production standpoint, there are some well designed and splendidly balanced interiors, a few delightfully pleasing exteriors, including one garden scene of remarkable beauty. The photography also is commendable throughout. There are sequences embracing heart-rending incidents identified with the late world war, which have an important bearing upon the story, and which are cleverly blended to avoid leaving depressing effect. Presenting a worthy moral, the picture is also thoroughly clean and may be described above the average as modest entertainment. The work of little Phillippe de Lacy, as the four-year-old son of a successful surgeon, offsets the weak endeavors of the rest of the cast to be convincing. The Cast Randolph Adams Richard Wayne Dorothy Richards Catherine Murphy Doctor Wentworth Winter Hall Mrs. Jonathan Adams Lillian Leighton Madge Richards Margaret Loomis Ned Hastings Arthur Osborne Noah Redstone Walt Whitman Bobby Adams Phillippe de Lacy Mrs. Hastings Fannie Midgley Directed by Clarence Geldert. Produced by Mission Film Corporation. The Story — Two men of wealth and position love the same girl. One showers her with attention, while the other divides his interests, being a young surgeon who wishes to devote his skill to the relief of suffering among crippled children. The girl marries the latter. His wealthy mother finances a hospital for children, where the little unfortunates are cured of divers ills, and treated with music in place of drugs. Meanwhile, a son has been born to the couple, and when he is about four years of age, his famous father is called to the colors. Dr. Adams saves many lives of maimed men, suffers himself from shell shock and is reported dead. His mother in rebellion, withdraws her support from the hospital. Later, suffering from accident is carried there herself, just as her son returns from France. While seeming to be without life, she is revived, all are reunited and the surgeon re-established in his beloved life work. Classification — Society drama, embracing the old triangle situation, but also touching upon a new and worthy theme. Production Highlights — Scenes in hospital. Hay-ride and picnic for children. Return of the surgeon from world war activities. Scene showing women at home busy at Red Cross work. Exploitation Angles — Touch upon the theme of relieving suffering among innocent children, embracing a tie-up with music stores 44 Garrison’s Finish ” Allied Producers and Distributors Corp. — Eight Reels (Reviewed by Charles Larkin) TACK PICKFORD stages a comeback in this picture. It is quite the best role he has ever had and Mary’s Brother takes advantage of the many opportunities offered in an absorbing story to put over some sure fire stuff in the way of realistic fights and thrilling horse riding. The production is notable for its “ shots ” of some real racing classics. The running of the Metropolitan Classic at Belmont Park, New York, and the Kentucky Derby at Louisville are both shown with all their exciting incidents and vast crowds. The story is adapted from the novel of the same title and is a work vibrant with action. The picture opens with a bang and closes with some “ edge of the seat ” scenes when the camera records the actual running of the racing classic below the Mason-Dixon line. The exteriors, many of which were staged in and around Louisville, are gems of the photographic art. The cast is a good one. Madge Bellamy in the leading supporting role is a refreshing actress. No one could ask for a more villainous villain than Clarence Burton portrays and his co-worker in crime, Lilly Allen, is admirably portrayed by Ethel Grey Terry. Charles A. Stevenson and Charles Ogle are other prominent members of the personnel. As for dramatic situations, “ Garrison's Finish ” can boast of a full quota. The scenes attending the attempted “ kidnapping " of the Colonel’s entry in the derby and the hero and the race between the two factions, with Billy and his mount aboard a motor truck and the villains in a “Henry Built,” will stir the most jaded fan. The winning of the Derby begins the picture to a highly satisfactory climax. The subtitles are fine. They were written by Jack’s sister, sometimes heard of as Mary Pickford, who also acts in the films. The Cast Billy Garrison Sue Desha Colonel Desha Major Desha Mr. Waterbury Crimmins Sue’s friends Lilly Allen Judge of Race Course Col. Desha’s trainer Billy’s mother Jack Pickford Madge Bellamy Charles A. Stevenson Tom Guise Frank Elliott .... Clarence Burton J Audrey Chapman ‘ ( Dorothy Manners .... Ethel Grey Terry Herbert Prior Charles Ogle Lydia Knott Based on W. B. M. Ferguson’s novel of the same name. Directed by Arthur Rosson. Scenario by Elmer Harris. Photographed by Harold Rosson. The Story — Billy Garrison, “framed" by a couple of shady racing folk, is charged with “ pulling ” a race. He is suspended. Attacked in a saloon, he is injured and loses his memory. Found in a park by two vagrants with a card in his hand bearing the name and address of girl who has fallen in love with him, he is taken South to the home of the girl, whose father is a racing enthusiast. Here he is able to redeem himself and ride the Colonel’s horse to victory in the Kentucky Derby and win the girl. Classification — A tale of romance and adventure in the horse racing world. Production Highlights — Some of the best racing scenes ever put in a screen play, including views of the actual running of the Kentucky Derby and the Metropolitan Handicap at Belmont Park, New York. The thrilling race between the villains and Billy as the latter tries to get Rogue to the track and the villains try to prevent it. The exterior scenes in Dixie. Exploitation Angles— Might fix up a horse in racing regalia, put a fully clothed jockey astride and start him through the town with appropriate advertising. Drawing Power — There is no reason why livewire exhibitors shouldn't turn this feature into a Yen’ successful box office attraction anywhere.