Moving Picture World (Sep-Oct 1923)

.72 MOVING PICTURE WORLD September 15, 1923 “Why Worry,” Harold Lloyd’s Latest Feature Comedy, Gets High Praise from Critics So far as New York audiences are concerned Harold Lloyd’s mind may be at ease about “Why Worry?” The Strand Theatre’s pre-release engagement beginning on Sunday, September 2, won this summing up statement in an extended review printed in the New York World: “ ‘Why Worry?’ is easily the funniest thing to be seen on a screen in town. It stood them up at the Strand yesterday, and yesterday was very much a day to be spent lying down at the seashore.” Further, the World says: “We can recall no picture coming from the Lloyd studio which has been more thoroughly filled with gags than this. Most of them are enormously laughable incidents, and the one in which Mr. Lloyd and his faithful brigade of twro defend themselves against an army of bloodthirsty Paradiso outlaws is one of the funniest things he has ever done. The scene is extraordinary for its originality.” “The picture is filled with new and ludicrous stuff,” says the Tribune. “When Harold sees a native come reeling toward him propelled by the fist of a rival he thinks it is a new tango. . . . Another brand new situation occurs when Harold and his nurse and Colosso are being attacked in a fort and they have no firearms. Colosso lifts a huge pipe onto the top of the wall, nurse bangs many a mighty bang on a drum, Harold throws cocoanuts into Paradise’s army, and Colosso blows smoke from his cigar into the pipe for effect. There are plenty of cocoanuts, so the army thinks it is being fired on by cannon and flees.” “As an antidote for the blues, and a campaign against the ‘Always Ailing League’,” writes H:d ti Clyse B yx Office Proving so popular that ticket selling had to be stopped on more than one occasion, D. W. Griffith’s “The White Rose,” was held over for a second week at the Strand Theatre, New York, and played to capacity audiences nearly every day of the two weeks’ run. A few days after the engagement began Joseph Plunkett, managing director of the Strand. wrote to Hiram rams ol United Artists as ows: “D. W. Griffith’s 5 White Rose,’ even with summer weather, is doing than a winter business, •ad to stop selling tickets light, Wednesday. The picture itself is a great success with our audiences, and the business is getting bigger and bigger.” Helen Pollock in the Morning Telegraph, “the picture’s service is great enough to warrant the erection of a statue to Mr. Lloyd by an appreciative public. . . . Air. Lloyd has extracted from the theme by Sam Taylor, Ted Wilde and Tim Whelan every grain of amusement there is in it.” Evening World: “Harold Lloyd, always a prime favorite with us, is back again, this time at the Strand for a fortnight’s stay in his latest farcefilm, ‘Why Worry?’ And take it from us, if you see Harold in this, his most uproarious farce for months, you won’t have a cause in the world to worry. It is a laugh from start to finish; not one of those little giggly sort of laughs, but one long, uninterrupted guffaw. See ‘Why Worry?’ and grow fat.” “For the first anniversary of his debut in the field of feature length, or six reel, comedies,” says the Evening Telegram, “Harold Lloyd has produced a Jackie Makes Chicago House Work Overtime According to word received from Clayton E. Bond, manager of the First National’s Chicago Exchange, Jackie Coogan in “Circus Days” is daily proving to be one of the most sensational box office successes in the film history of the Windy City. Mr. Bond’s letter states that the Coogan picture, following its engagement at the Balaban & Katz Chicago Theatre, opened on August 27 at the Tivoli and Riviera Theatres for full week runs. “In the case of both openings,’’ says the First National manager, “a line extending for two blocks awaited the picture. Within less than an hour after the opening both houses were forced to close their box offices owing to the terrific jam in the lobbies. “This office has just been advised by Mr. Max Balaban that both the Tivoli and Riviera, for the first time in their histories, will open their doors in the morning during the run of “Circus Days” as a means of coping with the tremendous demand for seats. “The Coogan picture is also riding on a wave of popularity in the outlying towns.” California Theatre Adopts The California Theatre, one of the foremost theatres in Los Angeles, has announced a radical change of policy. It will give performances only once in the afternoon and once in the evening, just as is done on the legitimate stage. The California Theatre since its inception has had the same policy as similar first run theatres all over the country of running continuous performances. The prices will scale down from $1.65 top. The new policy will go into effect when Cosmopolitan’s magnificent production, “Little New Policy Old New York,” opens there on September 21. A statement by Fred Miller, manager of the California, made known the reason for the change of policy. “In my opinion,” Mr. Miller said, “the motion picture art has at last reached the stage where such truly worth while pictures as ‘Little Old New York’ deserve just as dignified a presentation as stage plays. It is our intention to book for the California Theatre nothing but the finest attractions that the film market has to offer and to give them adequate presentation.” Gilbert in Fox’s “The Exiles” for October new brand of comedy film, ‘Why Worry?’ at the Mark Strand Theatre this week. Within the period of a year he has given such admirably fine works of laughter as ‘Grandma’s Boy,’ ‘Dr. "Jack,’ ‘Safety Last’ and ‘Why Worry?’ which is without question his greatest achievement to date.” “Oh, What a Sock Gloom Gets From Mr. Lloyd,” is the twocolumn head for Irene’s review in the New York Daily News, in which she uses these expressions: “We made note of exactly twenty-one shrieks, eighteen loud laughs, four screams and an uncountable number (we assure you this is not our fault) of seemingly senseless giggles and gurgles. We partook in the shrieks, laughs and giggles. . . . Wuxtry! Harold Lloyd is at the Strand! Why worry about anything else?” Blackton Penciling Own Production J. Stuart Blackton is supervising the editing of “On the Banks of the Wabash,” the special feature which he will release through Vitagraph at this company’s studio in Brooklyn. This super feature will enjoy exploitation aid throughout the country. Members of the Indiana Societies in New York and Chicago have expressed their enthusiasm and appreciation of this screen memorial to Paul Dresser, author of the song, “On the Banks of the Wabash,” which inspired Mr. Blackton’s photoplay. The film production was arranged by Air. Blackton through the offices of Edgar Selden and the scenario was written by Elaine Sterne. The cast includes: Alary Carr, James Alorrison, Burr McIntosh, Lumsden Hare, Mary AlacLaren, Aladge Evans, George Neville and Marcia Harris. Looney Leaves F. B. O. Jerry Looney, well-known continuity writer, once assistant to June Alathis, and continuity and original story man for Griffith in the earlier days of pictures, has severed his connections with the scenario department of the Film Booking Offices. Looney will enter the free-lance field of continuity writing. “The Exiles,” a story by Richard Harding Davis, will furnish John Gilbert, the Fox star, with his next vehicle. It will have an October release. The production will be the star’s first under the star series which was announced recently by the Fox organization following the institution of the no-programpicture policy. Edmund Mortimer has been assigned to direct Gilbert, who a few days ago completed work on “Cameo Kirby,” the Fox special from the play by Booth Tarkington and Harry Leon Wilson, which also is scheduled for distribution about the middle of October. Also in the cast are : John Webb Willion, Fred Warren, Betty Bouton and Alargaret Fielding. John Russell wrote the scenario. Vignola’s Biggest Robert G. Vignola’s next Cosmopolitan production, “Yolanda," now in the making, promises, according to reports, to be the director’s crowning achievement. Alore than half done now, indications are that “Yolanda” will be Air. Vignola’s biggest and best production, even surpassing the highly successful “When Knighthood Was in Flower.”