Moving Picture World (Nov-Dec 1922)

776 MOVING PICTURE WORLD December 23, 1922 from production and acting angles it is well done. It is certainly the best production that Irving Cummings ever turned out with individual honors going to Alice Lake and Milton Sills, the latter playing a role entirely different from the ordinary line and which is bound to increase his popularity, particularly among the fair sex with whom he is apparently extremely popular. Gertrude Claire, as the grandmother, is very human, while Richard Headrick does his usual good work as a child. Ralph Lewis, as “Diamond Jim,” makes his part stand out like some of the gems he wears. Ben Hewlett, as “Willie Boy,” has a disagreeable heavy role, but he enacts it well. There are many pretentious settings mingled with the colorful rural atmosphere that pervades now and then. You should not miss this one if your patrons like crook pictures. The Cast Steve MaeLaren Milton Sills Sally Dolan, known as “Chicago Snl” Alice Lake “■\ViIlie Boy” Toval Ben Hewlett GraiKlnia Mnckaren Gertrude Claire “Jiiuiiiie,” Steve’s adopted hoy. Itlchard Headrick “Diamond Jlin” Fnvre Bal|ih Lewis Based on story I»y Harvey Gates. Produced and Directed liy Irving Cuniiulngs. Length, Six Reels. The Story Sally Dolan, known to the Chicago underworld as "Chicago Sal,” deserts "Dianiand Jim” Favre's cabaret to head "Willie Boy’s” gang of crooks. Tiiey leave for the country to do a ‘job.” Wiliie’s tactics are not to the liking of Sal, who in an effort to save him. iies to Steve Macl.aren and his grandmother, whose earnings Wiliie had stolen. She is sentenced to work out the amount and in time she falls In love with Steve. She is accepted as a member of the househoid. With Steve's love, Sal’s redemption seems assured. There come times ■when she longs for the big city. "Diamond Jim,” hearing that Sal has settled down, visits her. Willie serves as his chauffeur. Steve recognizes Wiiiie as the thief who had knocked him down, but Sal interferes. Sal forces Willie to forfeit the money. He does and she leaves it. Then she decides to return to the city. She participates in one more crime. Meanwhile Steve has followed her to Chicago. He aids Sal to escape, but is arrested on a vagrancy charge, Sal promising to wait for him. Sal returns to the country and there waits for Steve, satisfied that there she has at last found peace, love and everlasting happiness. “As a Man Lives” Serious Story With Tense Climax in American Releasing Corporation’s Offering Reviewed by Mary Kelly Supported by a theme that holds the serious interest of the spectator, and culminating in a climax of more than ordinary tension, “As a Man Lives” will appeal to those who like restrained melodrama. It is melodrama more in motive than in form. There are few, if any big scenes of conflict, but there is an undercurrent of threatened disaster from the start, so that the suspense is assured. The atmosphere throughout is heavy, probably too heavy for the complete satisfaction of all. It is the type of picture which has a definite point to make and proceeds consistently to realize it, possibly at the sacrifice of minor opportunities for comedy, sentiment, etc. The relation between a man’s physical features and his character is the subjectmatter. When he is rejected by a girl because she reads in his face the record of an unwholesome life, the hero of the story goes forth in search of wider experience and in re-moulding his character, changes his looks and becomes attractive to the girl. This same idea is developed conversely as well in the case of a wicked man given a beautiful countenance by a facial surgeon. The clirnax brings the story to a thrilling close. It includes some remarkable shots of a mine explosion and a tense scene in which the heroine and the villain hang over death on a weakened rope. It is at this moment that the wicked man’s struggling soul asserts itself and he relaxes his hold so that the girl may be saved. This has been well done. The director has been successful in making the settings atmospheric. He has used charming, romantic backgrounds in introducing the love motive and has been particularly skillful in suggesting the Apache scenes in Paris. Robert Frazer, Gladys Hulette, Frank Losee and J. Thornton Baston are all in the lead, with the greatest responsibilities upon Robert Frazer. The entire cast shows good directing, and a fine performance. The Cast Sherry Mason Robert Frazer Nndin Mrreilith Glailys Hulette Dr, Rnlpli IVeyas Frank Losee La Chante J, Thornton Boston Henri Cnnilon Alfreil E. WriKht Mrs. John Mason Kate Blaneke A twill Meredith Charles Sutton Babette Tiny Belmont Direetion by J. Senrle Dawicy. PhotoKraphy by Bert Dawley. Length, 0,(100 Feet. The Story Sherry Mason, accused by his father of being a wastrel, lives up to it. He is refused by Nadia Meredith because of an expression on his face that she does not like. He goes to Paris with Henri Camion, his father's legal counsellor, as a guardian. He is involved in a murder in an Apache den and gets several bruises. He goes to I^r. Neyas, a facial surgeon, for treatments. Dr. Neyas, believing that the boy really has character, decides to keep him under his care and experiment with him. He goes back to America with Sherry and the dramatic complications that bring Sherry, Nadia and his worst enemies together comprise the climax. “Peg O’ My Heart” Lauretta Taylor, Stage Star, is Delightful in Pleasing Metro Version of Stage Play Reviewed by C. S. Sewell With Laurette Taylor as the star, “Peg O’ My Heart” achieved a phenomenal success on the stage, playing over two years in New York. This production has been transferred to the screen by Metro and bids fair to duplicate its stage success for much of the charm of the original play has been infused into the screen version in which Miss Taylor is also the star and it was made by the capable director. King Vidor, under the supervision, as we understand it, of the author, J. Hartley Manners. While this is her first screen appearance, Miss Taylor appears perfectly at home an<i she is such an accomplished artist that she does not seem to have experienced any difficulty in mastering screen technique. There is no evidence of camera consciousness or unreality or stiffness in her work, such as is sometimes noticeable with the initial appearance of stage stars. She is a welcome addition to the list of screen luminaries and acts before the camera as if she had been “brought up” in that atmosphere. She has beauty, intelligence and charm coupled with unusual magnetism. By her winsomeness, vivacity and sense of humor she makes delightful the role of the unspoiled Irish girl who is suddenly transplanted into the atmosphere of snobbery and selfishness and wealth in England, and in the serious scenes calling for emotional work she is just as effective. The role of_ Peg is filled with heart interest and delicate humor and immediately wins and holds the audience’s sympathy. In fact, most normal persons will love Peg and the way she so cleverly matches her Irish wit alone against the chilly heartlessness of her English relatives and beats them to a standstill. The story of the picture is pleasing and with strong audience appeal, and though there are certain familiar dramatic devices, it is very human and plausible. Then, too, there is a delightful little romance running through it, which has an odd twist when she comes near spoiling it all with one of her peppy shafts of wit. But it all ends happily, however. King Vidor has excellently directed the production. The home of Peg in Ireland, the little cottage with lake and mountains in the background is truly beautiful and the big English interiors are effective. The sub-titles which appear to be for the most part lines from the play are clever and bring many smiles. About the weakest point in the picture is the ending. After the satisfactory clumination of the romance you see Peg and her father all dressed up in court costume being presented to the King and Queen of England, and somehow this seems as if it just did not “belong.” To eliminate it entirely, would in our opinion, improve the picture. Miss Taylor has been surrounded by a good cast. Russell Simpson as her father and Mahlon Hamilton as her lover, are especially fine and the same is true of D. R. O. Hatswell as a wealthy but not too intelligent young Englishman. Ethel Grey Terry, Nigel Barrie, Lionel Belmore and the others, do effective work. And we must not forget Peg’s little dog, Michael, which adds much to the enjoyment of the picture. “Peg O’ My Heart,” with its simple and appealing story, its blending of pathos and humor, and the charm and artistry of Laurette Taylor should find a welcome on any program and prove a box-office winner. Caat Marprarct O’Connell ( Pee) . . .Lnnrette Taylor Sir Gerald Adair (Jerry) . .Mahlon Hamlllnn Jim O’Connell RiiKKell .Simiinnn Ethel Chlebester Ethel Grey Terry ChriMtian Brent Nigel Barrie Hawks Lionel Belmore Mrs. Chlcheater Vera Lewis Mrs. Jim O'Connell Sldna Beth Ivine Klarlc Chichester D. R. O. Hatswell Margaret O’Connell (Peg as a child), Eileen O’Malley Bntler Fred Hnntly Based on Stage Play by J. Hartley Manners, Adapted by Mary O’Hnra. Directed by King Vidor. Length, 7,iM)0 feet. Story Peg Is the daughter of a poor Irish farmer who has married a high-class English woman, whose family has disowned her. She grows up into a vivacious, fun-loving Imaginative girl and aids her father in his campaign work for the Irish cause. On his death bed, her uncle repents of his harsh treatment and leaves a sum of money to be used for Peg’s education, with the proviso that she be taken in hand by his sister. Mrs. Chichester. Peg goes, taking with her her little dog Michael. The Chichesters are snobs and treat her with small consideration, but with her native wit she frequently gets the best of them. She makes one real friend but is disillusioned when she finds he is a nobleman. Sir Gerald Adair. Conditions get so that she decides to return home, but Sir Gerald follows her and all ends happily. “That Woman” American Releasing Company’s Catherin* Calvert Picture Introduces Nothing New And Is Poor Hoakum. Reviewed by Roger Ferri Catherine Calvert is capable of something better than “That Woman” and American Releasing Corporation which has been releasing a string of consistently good moneymaking productions, which have completely sold that organization to the exhibitor, was handed a lemon in this F. C. Mims production. There is not a single thing new in this film, for it deals with an old, old theme, namely, that of the son of a millionaire, marrying an ex-chorus damsel who has arisen to stardom and the subsequent daddy opposition tactics. It’s poor hoakum poorly done with illogic marring the picture in