Moving Picture World (Nov-Dec 1922)

774 MOVING PICTURE WORLD December 23, 1922 “The Hottentot” Ince Comedy, Released by First National, is a Knockout and Should Prove BoxOffice Winner Reviewed by C. S. Sewell William Collier’s farce comedies on the stage are always good, and one of the best of them, “The Hottentot,” has been transferred to the screen by Thomas H. Ince with Douglas MacLean in the leading role, and is being distributed through First National. It is one of the very best and most highly amusing comedies yet brought to the screen. The humor is clean and refreshing enough to suit the highest class patronage, but at the same time some of the situations are so hilariously funny that they will provoke gales of laughter from any audience. In addition this picture contains one of the finest and most thrilling horse races conceivable. It differs from the regulation horse race, as it is a cross-country steeplechase race, around sharp curves, across fields and rough ground, over obstacles such as hedges, rail and even picket fences, with wide water jumps, etc. This race has been finely handled and photographed and there are a number of thrilling spills. Also, one of the cleverest scenes in the picture occurs near the end of the race, combining a thrill and a laugh, where MacLean is thrown from the horse and almost trampled on and immediately remounts. The way he gets back on that fast-moving horse should make anybody laugh. The story is also about horses, and while it was a success on the stage it should be a greater one on the screen; in fact, it is essentially a screen story for the camera has pictured in full many of the most humorous and thrilling situations which could only be suggested on the stage because of space limitations. The situation where the hero, who is deadly afraid of horses is catapulted into the air when his auto strikes a big stone in the road, and he lands on a horse’s back is about the most genuinely funny and unexpected situation this writer ever saw. It is thrilling, too, for the hero and others are chasing the heroine’s runaway horse and regardless of his handicap he saves her. In fact, a striking point in the picture is the-clever manner in which the thrills and humorous situations have been intermingled. Douglas MacLean was an ideal selection for the leading role, Madge Bellamy is charming as the girl and Raymond Hatton does his usual effective work in a character role. The remainder of the cast are entirely satisfactory. The title of the picture is the name of an exceedingly spirited horse that everyone is afraid to ride. The hero, who is afraid of horses, is mistaken for a champion rider, and is forced to make good. This furnishes the farce comedy complications on which the plot hinges; of course, it is all done for the girl in the case. With its ideal combination of thrills and laughter, “The Hottentot” certainly looks like a big box-office winner. It is the kind of picture your patrons will recommend to their friends, so don’t be afraid of this one. Cast Sam Harringrton Douglas MacLean Peggy Fairfax Madge Bellamy Mrs. Carol Chadwick Lila Leslie Ollie Gilford Martin Best Mrs. May Gilford Stanhope Wheatron Swift Raymond Hatton Major Reggie Townsend .. Dwight Crittendon Perkins Harry Booker McKesson Bert Kindley Based on stage play by Victor Mapes and William Collier. Directed by J. W'. Horne an«l Del Andrews. Length, feet. Cameraman, Henry Sharp. Story Sam Harrington, wealthy young yachtsman, calls on friends on Long Island and finds himself with a select circle on Long Island who seem to think of nothing but horses. Harrington, however, is intensely afraid of horses. He is attracted to a girl whose horse runs away and he follows in an auto, an accident throws him onto a horde’s back and he saves the girl. Acclaime'd as a hero he is mistaken for a celebrated steeplechase rider and forced to ride a particularly unmanageable steed, “The Hottentot.” Of course he is thrown, but he gets away with it. The girl desires that he ride her mount. Bountiful, but the horse eats so many apples and drinks so much water it cannot run. P.'ather than disappoint the girl, Harrington buys “The Hottentot” and rides him to victory in a thrilling steeplechase, winning the coveted cup and the girl as well. “A Front Page Story” Vitagraph Presents Excellent Cast in Exceptionally Good Comedy Drama Reviewed by Mary Kelly This is an exceptionally good comedy drama. As a newspaper story, it is distinctly superior and Vitagraph is to be congratulated for its production. In any community it should be a success and live up to its title, proving to be “A Front Page Story” in your theatre records. Politics and the small town newspaper prove lively subject matter. There is so much good comedy in the picture that it will be popular for this, if for no other reason. But there are other reasons, such as a capable cast, expert directing and smooth continuity. The comedy is derived from very human, natural situations. For instance, the carriage of a faithful flivver parts company with the wheels just when the owner is down to his last cent; the mayor and the editor of the Gazette never meet without threatening each other’s lives; the hero who is obliging about everything except firing himself brings them together against their will and pop has a flashlight taken when they shake hands. It is done wit'n a snap and originality that anyone will appreciate. A few shots of a composing room and realistic settings throughout give the picture an atmosphere that is the more enjoyable because so frequently missing from newspaper stories. The cast has an abundance of fine talent. Edward Norton goes about the business of being a co-editor of a newspaper with a manner of agreeable stubbornness that is most entertaining. His acting is delightfully natural. The mayor and the publisher are played by Lloyd Ingraham and James Corrigan, respectively, and their impersonations of the two unfriendly enemies will appeal to anyone with a sense of humor. Edith Roberts is wistful and charming. Buddy Messenger adds his enthusiastic bit. Everywhere there is evidence of imagination and good workmanship. Cast Rodney Marvin Rdward Horton Mayor Gorham Lloyd Ingraham Matt Hayward James Corrigan Virginia Hayward Fdith Roberts Don Coates W. IS, La^vrence Tommy Roddy Messenger Mrs. Gorham Mathilde Brnndage Siizenne Gorham Lila Leslie Jack Peeler Tom McGuire Story by Arthur Goodrich Scenario by F. W. Beebee Direction by Jess Robbins Photography by Vernon Walker Length. 0.000 feet. Story Edward Norton hears a vague account of a dispute between Mayor Gorham and Matt Hayward from Hayward’s daughter, Virginia. She is employed by her father on his paper the Gazette, a sworn enemy to the Mayor. Norton outwits the Mayor and buys from him a note that would have endangered the fortune of the Gazette. Norton realizes that the only remedy for the situation is to get the two men to shake hands and be friends. He gets himself a job as partner to Hayward and then in a puzzling series of maneuvers acomplishes his purpose. He almost loses all his friends, including Virginia, in the process, but his final victory makes him a hero In the eyes of all. ‘The Beautiful and Damned’ F. Scott Fitzgerald Novel Furnishes Theme for Warner Production Starring Marie Prevost Reviewed by Roger Ferri In reading F. Scott Fitzgerald’s novel, “The Beautiful and Damned,” one winds up the stormy romance of Gloria and Tony with our adventurers moving forth into a world of wealth, but with their future happiness a matter of personal conjecture. Not so with the Warner Brothers’ screen version of this popular novel. On the screen one sees the wiser Gloria and Tony starting on a journey that promises everlasting happiness — and that is as it should be, for tragic or questionable conclusions involve too great a speculation, and, after all, “The Beautiful and Damned,” while produced to entertain, to the trade and exhibitors in general, is merely a merchandise, the commercial value of which gauges its worth to the theatre owner. Insofar as entertainment is concerned, “The Beautiful and Damned” won’t disappoint anybody and it will surprise everybody, for adapting the story to the screen was by no means a task of simplicity. On the contrary, there were any number of questions that had to be taken into consideration. And these thoughts as they weighed on the adapter’s mind must have multiplied the problems, for there are tendencies in the original script that mislead and tempt the director. The nature of the screen adaptation is an object of curiosity to all who have read the book and none of these will be misguided or disappointed, for the reason that while, for drama’s sake, certain liberties had to be taken, the fact remains that the Warner production is a boxoffice attraction. With the Fitzgerald story for the ground work, William A. Seiter constructed a vehicle that stands up solidly. There are tense moments that enliven the picture to the extent that one who read the original story is book form, must admit that the picture is more convincing, more true to life. However, exhibitors’ interest alone must be considered, for the public will demonstrate its verdict at the box office. Yet, the qualification of the picture, its ability to entertain to the point where the first-nighters will talk and encourage others to see it must be analyzed carefully, for to properly cash in on this production the exhibitor must unloosen the band around his pocketbook and spend in proper exploitation. Gazing at the picture from the angle of exploitation one readily sees any number of hints that lend themselves to advertising. There are characters that can be capitalized upon, but more than anything else there is a sermon delivered that, carefully handled, should contribute materially in bringing patrons to your box office. So that “The Beautiful and Damned” to the exhibitor who has learned the real value of meritorious exploitation, is a big picture. To the exhibitor who demands largely upon word of mouth advertising, this production will not prove an unwise investment. On the contrary, the nature of the story, as it has been adapted to the screen, is such that will arouse much talk, for it involves a timely question, which is novelly worked out to the satisfaction of everybody. The story is well told, smooth and given elaborate scenic backgrounds. Some of the settings are especially luxurious. The photography and direction are good with the^ lighting effects worked to advantage. There is one sequence, in particular, that will stand out above anything else in the production. This pertains to a scene enacted at a drunken party that nearly ends in a tragedy. In the course of the merriment, Adam Patch, the wealthy grandfather of the ^endthrift Tony, appears on the scene. Disillusioned, he leaves the crowd. Grief