Moving Picture World (Nov-Dec 1923)

Newest Reviews and Com menTs EDITED BY CHARLES S. SEWELL “Under the Red Robe” Cosmopolitan Offers Magnificent Version of Historical Novel of France in the Days of Cardinal Richelieu lit viewed l>y C. S. Sewell FEATURES REVIEWED IN THIS ISSUE Heralded as what is believed to be the first motion picture costing $1,500,000 to produce. Cosmopolitan is presenting “Under the Red Robe,” an adaptation of Stanley Weyman’s popular historical novel, for an indefinite run at the Cosmopolitan Theatre, New York. With what is said to be absolute accuracy to the original, whole blocks of Paris streets of the seventeenth century have been duplicated together with rooms in the palace of King Louis XIII at Fontainebleau, even including two famous paintings by Rubens, as well as the magnificent exterior and the entrance hall and grand staircase of Cardinal Richelieu’s palace and the interior of another famous palace. Against such backgrounds are large numbers of women gorgeously gowned according to the elaborate mode of the period when the king thought more of the grandeur of his court than he did of statecraft and when Richelieu even undertook to surpass him in the grandeur of his entourage. There are also a great many men-at-arms in the gorgeous liveries of king and cardinal with their coats-of-arms, magnificent laces and embroideries that vie with the gowns of the women. The story is one of intrigue which involves the plotting of the king’s brother to secure the throne, and of the king’s family to end the almost despotic sway of the powerful cardinal. Through the assistance of a dashing soldier of fortune, the cardinal succeeds in winning out against his enemies. The romantic interest is supplied by a love affair between the hero and the sister of one of the plotters. The title refers to the cardinal’s garment. It will be seen that the story follows along somewhat familiar lines for historical costume romances. While interesting, it somehow does not seem to develop any very great punch or powerful hold on the spectator, although there are several effective individual scenes, as for instance the running fight of soldiers on horseback in a shallow stream ; the attempts of the faithful retainer to save his master, ending in the servant and a soldier plunging over a high cliff ; and the touching scene where Richelieu, temporarily shorn of power, finds himself deserted by his army of sycophants. It would seem that greater stress has been placed on the magnificence and accuracy of the production for its drawing power than upon the dramatic values of the story, but by no means is the story uninteresting. This same idea would also appear to be responsible for the fact that in bringing out the other elements of the picture so much footage has been used that the hold of the story is weakened, with the result that there is an impression of too great length, which judicious cutting would improve by tightening up the action. A newcomer, John Charles Thomas, well known as a singer in concert work and in light opera, has the role of the swashbuckling hero and creates a good impression. Alma Rubens in the leading feminine role, with quite limited opportunities, does ef Barefoot Boy, The (C. B, C.) Flaming Youth (First National) Leavenworth Case, The (Vitagraph) Mask of Lopez, The (Monogram) Our Hospitality (Metro) Pleasure Mad (Metro) Steadfast Heart, The (Goldwyn) Under the Red Robe (Goldwyn) Virgin an. The (Preferred) Way of a Man, The (Pathe) White Tiger (Universal) You Can’t Get Away With It (Fox) fective work. The other featured player, Robert B. Mantell, the well-known stage tragedian, appears as Richelieu, and while he gives a good performance, does not seem at all times at ease before the camera. Gustav von Seyffertitz is excellent in the role of Cion. The lesser roles are creditably portrayed by a well-selected cast. Cast Gil Beranlt John Charles Thomas Cardinal Richelieu Robert II. Mantell Renee Alma Rubens Father Joseph Sydney Herbert Duke of Orleans William H. Powell Duchess of Che vreuse. ... Genevieve Hamper Kin;*; Louis XIII Ian MaeLaren Anne of Austria Mary MaeLaren Marie de Medici Rose Cogrhlan I)e Coeheforet Otto Krngei Mine, de Coeheforet Evelyn Gosnell Cion Gustav von Seyffertitz Luis Martin Faust Captain La Relic Vrtliur Houseman Jean Charles Judels Captain of Cardinal’s Guard. . Vndrew Dillon Captain of King’s Guard \rthur Dewey Lieutenant of King's Guards ... Sidney Booth Based on novel by Stanley Weyman. Scenariozed by Bayard Veiller. Directed by Alan Crosland. Photographed by H. Wenstroin and G. Warren ton. Length, feet. Story Just at the time that Cardinal Richelieu had risen from an obscure priest to be prime minister of France under the weak, foppish King Louis XIII, Gil de Berault, an impecunious gentleman noted as a swordsman, disregards the Cardinal’s orders against dueling but is given the chance to save his life if he will capture de Coeheforet, who is plotting against the king. Gil sets out on his mission and captures de Coeheforet. but, falling in love with his sister Renee, sets him free and returns to the Cardinal to take his medicine. In the meantime the king's brother, the Duke of Orleans, causes the weak king to dismiss Richelieu, but gets in a fight discovers proof that Orleans is a traitor, and when this is presented to the king, Richelieu is returned to favor and Gil is praised for his great service to the crown and “sentenced” to marry Renee. “The Leavenworth Case’ Vitagraph Offers Absorbing Entertainment in Screen Version of Famous Mystery Reviewed 1, > C. S. Se„ell During her long career as an author of mystery stories which have achieved great popularity, Anna Katherine Greene has probably written none which is more baffling than one of her earliest works “The Leavenworth Case.” This story has been transferred to the screen with unusual fidelity by Charles Giblyn as a Whitman Bennett Production and is being released by Vitagraph. Almost at the first flash you find yourself face to face with a seemingly unsolvable mystery and from then on, with no waste footage, your interest is held tensely until the final and thoroughly satisfactory solution. The tremendous suspense of the original story has been even increased in the screen version, with the result that you find yourself continually on the alert, watching the unfolding of the story and waiting intently for the explanation of how and by whom the mysterious murder was committed. Few will be able to guess with any degree of certainty the identity of the guilty party. Here is absorbing and exciting entertainment for all who like a good detectivecrime-mystery story — and who does not? Xo matter if it does follow along somewhat familiar lines. Credit should go to Director Charles Giblyn for the manner in which he has handled this] production ; there is excellent continuity and a heightening interest, with no side issues to divert your attention from the main problem. Seena Owen in the leading role, as the niece under suspicion, gives a fine performance and Martha Mansfield is satisfactory in the ' unsympathetic role of the other niece. . Wilfred Lytell as a mysterious character and Bradley Barker as the hero do good work.l Paul Doucet as the secretary is. however,! at time camera-conscious and inclined to] overact. Don’t overlook this one as a box-office i bet. if jour patrons like mysterj stories. Cast Eleanor Leavenworth Seena 0„en Mary Leavenworth Martha Mansfield Anderson Wilfred Lytell Raymond Bradley Barker Harwell Paul Dcueet Leavenworth William Waleott Dinah Francis Miller Grant Thomas Fred Miller Based on novel by Anna Katherine' Green. Directed by Charles Giblyn. Length, feet. Story When Ira Leavenworth, a rich old recluse, fails to appear for breakfast, his two nieces. Eleanor and Mary Leavenworth, with the aid of his secretary. Harwell, break into the sound-proof study and find Leavenworth dead, a bullet hole in his head. Suspicion points to Eleanor and then turns to a mysterious visitor who had spoken with Leaven worth before he was slain. Raymond. Leavenworth’s attorney, and who is in love with one of the nieces, intercedes with the District Attorney and gets him to delay ' making of arrests. He then engages one of the most famous private detectives in New York to conduct an investigation. Eleanor is cleared of the crime and the real culprit confesses.