Motion Picture News (Sep-Oct 1922)

1295 September p , 1922 Reviews of the Latest Features -.Conducted by LAURENCE REIDi w Fortune’s Mask ” Vitagraph — Five Reels (Reviewed by Charles Larkin) THE fact that the action is kept moving swiftly is a saving grace in this picture. One doesn’t stop to consider the impossibility of many of the situations. Earl Williams has been given a good role in this picturization of a popular O. Henry tale. He gets a lot out of the character of “ Dicky Maloney,” who returns to his father’s land to “ kick out ” the gang of intriguers. The selection of Patsy Ruth Miller for the principal feminine role was a fortunate one. Patsy makes an ideal senorita and she is one of the bright spots of the picture. The settings, while not elaborate, are adequate. The costuming is correct in detail, especially the uniforms of the officials. There must have been a rush on the medal market when this picture was made. The sessions of the cabinet resemble an Odd Fellow grand lodge. There is some quick love making in the film. This at least speeds up the action. “ Dicky ” meets the heroine and marries her all in the course of a few feet of film. We have seen some stories that Patsy is one of the few actresses who has never been kissed on the screen. This production puts the damper on that story. The way “ Dicky ” knocks the police and “ army ” about the landscape will amuse the proletariat. He just pushes the “ army ” about at will. He also shows some of our embryonic second story workers how easy it is to get out of a cell. The action is a trifle too obvious in spots, but the climax is a real surprise and well worked up. Oliver Hardy as the Commandante is amusing at times. There are a few thrilling moments, especially the capture of the spy and Dicky’s escape from jail. “ Fortune’s Mask ” is a fair program picture. The Cast Ramon Olivarra, alias “Dicky Maloney” . Earle Williams Pasa Ortiz patSy Ruth Miller Losada Henry Hebert General Pilar Milton Ross Madame Ortiz Eugenie Ford Vicenti Arthur Tavares Espiration Frank Whitson Chief of Police Oliver Hardy Captain Cronin William McCall Adapted from O. Henry’s “Cabbages and Kings.” Directed by Robert Ensminger. Scenario by C. Graham Baker. Photographed by Steve Smith. The Story — The familiar tropical republic dot. The president is murdered. His son is arought back from the States incognito. Under the name of “Dicky Maloney,” he becomes the dol of the people. After a series of thrilling adventures, the son is acclaimed the “man of the hour” — and president. Classification — A fast moving romance with a tropical locale, filled with the impossible, but nevertheless entertaining. Production Highlights — The murder of the [^resident starts the picture off with action. atsy Ruth Miller’s characterization of the kenorita. The capture of the spy. “Dicky’s” l,k Ibscape from jail. The surprise climax. Some M I fair exterior sets. ■— Exploitation Angles — The tropical atmosphere of this picture will give you an opporunity to decorate your lobby in Spanish :ashion, palms, flags, ticket-taker dressed in miform of Central American officer, the main reature of which is usually about a million nedals and a bright sash. Dress your girl ishers as Spanish senoritas. A Spanish dance )rologue will be appropriate. The star’s popularity and Patsy Ruth Miller’s following. Drawing Power — Suitable for second class, lowntown houses, neighborhood theatres and mall towns. REVIEWED IN THIS ISSUE Fortune’s Mask — Vitagraph The Heart of a Texan — Steiner (S. R.). The Light in the Dark — First National. West of the Pecos — Steiner (S. R.l. Remembrance — Goldwyn. Saved bv Radio — Russell Productions (S. R.). Top o’ the Morning — Universal. The Valley of Silent Men — Paramount. “ The Heart of a Texan ” William Steiner Production — Five Reels ( Reviewed by D. I. Gest ) THERE is nothing startlingly new in “ The Heart of a Texan,” a typical Western melodrama of the cattle-rustling days. However, there is plenty of action crowded into its five reels and it should take well with lovers of Westerns. Neal Hart in the chivalrous role of “ King ” Calhoun has many opportunities to display his ability as a two-fisted fighting man and with the shooting irons. The plot of “ Heart of a Texan ” is too apparent, and too inconsistent at times, from a strictly technical viewpoint. But those things are too deep for Western fans. Action is the thinv with them and there is action aplenty in “ The Heart of a Texan.” The Cast King Calhoun Neal Hart Pete Miller William Quinn Ma Jackson Sarah Bindley June Jackson Hazel Maye Link Yakima Conutt Commanche Horse Ben Corbett Author — James Britton. Scenario by Paul Hurst. Directed by Paul Hurst. Distributed by William Steiner Productions. The Story — King Calhoun, son of an old Texan family, learns that outlaws are preparing to raid the Jackson ranch and carry off June, the beautiful daughter of Ma Jackson. Previously Calhoun had saved the girl from the leader of the outlaws. With volunteers recruited from neighboring ranches Calhoun prepares to defend the Jackson home. Amid the attack he rides off with a dummy. The outlaws, thinking he has June, pursue. Learning of his ruse they are determined to kill him, but he gets back to the ranch and saves June as his men rout the outlaws. Production Highlights — The seige of the Jackson ranch. Calhoun’s flight with the dummy as the outlaws give chase. Classification — Western melodrama filled with the usual stock situations. Exploitation Angles — Bill this as a vigorous type of western melodrama. Make use of the title for a tie-up with your paper. A cowboy executing lariat stunts will help in a prologue. Drawing Power — This will please the average follower of Westerns. Neal Hart has a following and in using his name prominently where you are sure of him — you should get adequate returns. Don’t promise them anything big. Line-up of Fifth Avenue Coaches loaned to accommodate children invited to “For-getMe-Not,” at the Criterion Theatre, New York. “ The Light in the Dark ” First National — 5600 Feet (Reviewed by Lillian Gale ) u'-pHE LIGHT IN THE DARK ” may A be described as a thoroughly satisfactory production founded upon a worth-while story, incorporating a popular theme, from which the title is taken — a photoplay teeming with romance and equipped with enjoyable melodramatic incident. Surrounded by a flawless cast, Hope Hampton delivers the best characterization of any role assigned her to date. She has been supplied with a starring vehicle that offers a star part which has brought out evidence of her ability as an actress to compare favorably with her acknowledged beauty. Miss Hampton’s improvement over previous efforts is bound to command favorable comment. • Foremost, considering the production as a whole, is the introduction of a color process unprecedented in perfection. It is used, in this instance, to accentuate the sub-plot or integral story from the main theme. It is likely to create a sensation and inasmuch as it registers color as accurately as the eye, it illustrates Miss Hampton’s natural coloring and displays this attribute to extreme advantage. Needless to say, the photography is necessarliy A-l to keep an even pace with the reel of color work. The story is an interesting departure from the cut and dried starring vehicle, insomuch as it has required a cast and real players. For instance, the role of Tony Pantelli, a thief by nature and choice, but with a heart of gold, is a “ made to order ” for Lon Chaney, who delivers his usual splendid performance. Then comes a toss-up for favor between Dore Davidson, who makes a small part stand out with marked distinction and Edgar Norton, valet to a man of wealth and fancies, ably portrayed by E. K. Lincoln. This picture will appeal, primarily, to patrons who seek altogether clean entertainment, but which has not suffered a loss of character because of an attempt to avoid censors. It is romantic enough for the young, serious enough for the studious and produced with marked consideration for picture goers who demand the best. The Cast Bessie MacGregor Hope Hampton J. Warburton Ashe E. K. Lincoln Tony Pantelli Lon Chaney Mrs. Templeton Orrin Theresa Maxwell Conover Mrs. Callerty Dorothy Walters Detective Braenders Chas. Mussett Peters Edgar Norton Jerusalem Mike Dore Davidson Story by William Dudley Pelley. Directed by Clarence L. Brown. Photography by Alfred Ortlieb. The Story — Has to do with accident of poor girl, who finds home with rich people responsible for misfortune. Brother of rich woman trifle’s with affections of the girl, tires and seeks diversion abroad. Poor girl, forced to fight for existence, meets professional thief in third-rate boarding house where she lies ill. Meantime, rich man has returned with cup alleged to have healing power, which introduces the theme of the Holy Grail, and illustrates the power of Faith. Classification — Romantic, historic, yet thoroughly modern drama, cross between society drama and life in the underworld. Production Highlights — Entire reel which tells integral story of Holy Grail. Another big moment when police raid pawn shop. Well worked up suspense when Tony makes second theft of cup.