Motion Picture News (Sep-Oct 1922)

1296 Motion Picture News “ East Is West ” (Schenck-Talmadge-First National — Seven Reels) (Reviewed by Laurence Reid) THIS play was bound to reach the screen! The favorite story of the unbreakable barrier of East versus West — the fact that it had an unusually long run on Broadway, the fact that it contains a fine romance and atmosphere — these qualities which build popularity have made it one of the hits of the season as a photoplay. It is easily Constance Talmadge’s finest achievement and her greatest portrayal since the mountain maid in “Tolerance.” Frances Marion’s script adheres to the original in all the important episodes and incident. If there is any departure it is to give scope to the camera — such as collecting the Chinese atmosphere and the enchanting scene of the love boat when the heroine is placed on the auction block to be sold to the highest bidder. The picture carries so much charm, so much opulence, that even if you saw the play you are certain to call the new version a greater achievement insofar as its background and atmosphere are concerned. The story of the Chinese girl who escapes from a horrible marriage through the aid of a friendly American youth is familiar to most everyone. How she reaches San Francisco — how she learns American manners and slang — how she nearly becomes the property of the influential king of Chinatown, Charlie Yong — how she is rescued again by her Occidental benefactor and taken to his home and accepted by his parents when it is proven that she is a white girl stolen from missionaries — these points are well established in scenes of perfect continuity. The photography is of a de luxe quality, and through it Constance Talmadge radiates a gifted expression. A black wig cut in Chinese fashion enhances her features. She will delight her following and establish a greater audience for her pictures than ever. • Sydney Franklin has brought forth the glamour of the East in vivid style. His Chinatown is truly atmospheric. And the manner in which he guides the players shows that he had his eye upon the correct dramatic values. Witness Warner Oland as Charlie Yong, the “ heavy ” of the story. This capable character actor, who can interpret the Chinaman more realistically than any other player, will receive an ovation everywhere. Some scenes could be shortened, particularly those which emphasize the comedy relief of the dance hall and Ming Toy’s penchant for chewing gum. In all it is a picture which should make a barrel of money. It carries the breath of romance and charm and we catalogue it as a sure-fire hit. Dust off your S. R. O. sign. Ming Toy . ... Lo Sang Kee. Hop Toy Billy Benson. Jimmy Potter Mr. Benson . . Mrs. Benson. . Charlie Yong. The Cast Constance Talmadge E. A. Warren Frank Lanning Edward Burns Nigel Barrie Winter Hall Lillian Lawrence Warner Oland By John Hymer and Samuel Shipman, Scenario by Frances Marion. Directed by Sydney Franklin. Produced by Joseph M. Schenck. Distributed by First National. The Story — Ming Toy, supposedly a Chinese girl, escapes from her evil guardian through the aid of an American youth. She reaches San Francisco and is introduced as the charge of a friendly Chinaman. Her beauty attracts king of Chinatown, but when he attempts to take her away, the American youth arrives and befriends her. He places her in his home and his parents become reconciled to his desire to marry her when it is proven that she is a white girl. Classification — Romance taking in the Orient and Occident. Based upon elimination of barrier of East versus West. Considerable love interest and some melodrama. Production Highlights — The star’s best performance since “Intolerance.” The fine work of Warner Oland as Charlie Young, approaching George Nash’s portrayal in stage play. The fine atmosphere and photography. In the IVeber and North offering “ The Curse of Drink” Harry Morey, old favorite, is the central figure. West of the Pecos William Steiner Production— Five Reels . (Reviewed by D. I. Gest) <<'\17'EST OF THE PECOS” gives Neal VV Hart plenty of opportunity to show his versatile accomplishments. The story is one that has often been told of the West, the troubles of the early settlers with the outlaws and claim jumpers of the prairie schooner days. But it is very well done. Helen Mayo handles her part very well as does the little prairie child. The story, scenario and direction were all by Neal Hart and of course he has the star part of Jack Laramie, the hero. Hart has a large following among the picture fans, especially in the small towns and neighborhood houses, and they most certainly should have no fault to find with their idol in this one. There is much vigorous action and thrills aplenty. There is plenty of beautiful scenery throughout the picture. The drama is handled with pleasing directness and is not long drawn out. The Cast Jack Laramie Neal Hart Chuck Wallace William Quinn Joe Madison Max Wessel Mrs. Osborne Sarah Bindley June Osborne Helen Mayo Wolf Bradley Ben Corbett Story and scenario by Neal Hart. Directed by Neal Hart. Distributed by William Steiner Productions. The Story — The United States marshall in the southwest learns that a man and son have been killed in a raid by outlaws on their home and that the bandits have carried off the daughter, June Osborne. He rushes his best man, Jack Laramie, to the scene under orders to round up the band at any cost. Jack en route rescues a little girl, whose parents have been killed while crossing the prairie to stake out a new home. Laramie drops into a cafe and there learns the identity of the outlaw gang and the place where June is imprisoned. That night he descends upon the cottage, shoots June’s captor and later brings about the arrest of the other bandits. He claims June for his bride and they decide to take the little prairie girl into their home. Production Highlights— The rescue of the little girl on the prairie by Laramie. His raid upon the cottage where June is held prisoner. The round up of the outlaw band. Classification — Western melodrama featuring the outlaw raids and the stamping out of villainy by government agents. Love interest and thrills abound. Exploitation Angles— Since Neal Hart has a definite following among small town patrons, be sure to play him up. Bill it as an “up and at ’em” western, filled with characteristic action and thrills. Use your cowboy quartette for a prologue. Drawing Power — Likely to please small town and neighborhood houses. If public is not tired of usual westerns this one will get over. “Remembrance” Goldwyn — 5650 Feet (Reviewed by Charles Larkin ) IT is with a deep feeling of reverence that we take our pen in hand to comment on what will undoubtedly be one of the most talked of pictures of the new season. Here is a feature so far above the usual run of filmplays that it sets a new standard. There is only one word applicable to it and that is — masterpiece. This is a photoplay in which “ Dad ” comes into his own. The screen has been inundated with mother stuff. It is therefore eminently fitting that father should have a chance. Well, he gets it in “Remembrance,” which is one of the finest things Goldwyn or any other company has ever contributed to the literature of the silent art. A niche in the film hall of fame must needs be set aside for Claude Gillingwater who as John P. Grout, the “ pop ” of the story, gives the shadowstage one of its truly great characterizations. This veteran actor makes the role a living, breathing thing. One moment our eyes are moist, the next we are taking part in the rare humor of the comedy moments. This is life stripped bare — life as it is undoubtedly lived in thousands of homes in this land. We predict a real reform around these thousand fireplaces after some folks see “ Remembrance.” If ever a film drove home a lesson, a forceful moral, it is this one. All praise to Rupert Hughes for his entertaining story, his transcribing of it to the screen and his flawless direction The cast is one of uniform excellence. Kate Lester does some of the best work of her long career. Patsy Ruth Miller’s smile and charming personality shines throughout the action. “ Remembrance ” has been mounted with unusual care in every detail. The sub-titles are unusually expressive and well worded. The scenes during which “ Pop ” is hanging between life and death and in his delirium tells mother of the old days and how he longs for a word of love are moments that set the heart strings strumming. We recommend “ Remembrance ” as a 100 per cent, picture. It has everything. The Cast John P. Grout. . . Mrs. Grout. . . Mab Seth Smith Georges Cartier. J. P. Grout, Jr. Ethelwolf Grout Elise Beatrice Mrs. Frish Two children . . Claude Gillingwater Kate Lester . Patsy Ruth Miller Cullen Landis . . Max Davidson . . Richard Tucker Dana Todd . Nell Craig ... Esther Ralston ... Helen Hayward f Lucille Ricksen 1 Arthur Trimble By Rupert Hughes. Directed by Rupert Hughes. Scenario by Rupert Hughes. Photographed by Nobert Brodin. Art director, Cedric Gibbons. The .Story-Like many other "Pops’ John P. Grout has grown old and had almost walked into bankruptcy trying to keep his family in style and his sons out of scrapes. One day he became seriously ill and in his delirium calls on God to save him so that he can work and keep his children out of the poorhouse. A\ hen Dad is on the verge of death the family seek the great light. The doctor pulls him through, but the near passing of “Pop” has been the cause of a complete reform of every member of the family. Classification — A wonderful drama of life as it is lived in many American homes. Characterized by masterful acting on the part of every member of cast, Production Highlights — The work of Claude Gillingwater as “Pop.” The fine support given him. The exquisite comedy moments. The Drawing Poivcr — No matter what the size of your theatre, you can put this one on. Large houses should easily be able to show it a week or longer. This is one of the pictures which signalizes the return of real art in the fifth industry. i i i ! ( i i ! 0 t a jl t •i ,a a c 1 1; I n tl Ji v ji Ik o{ St