Moving Picture World (Nov-Dec 1923)

November 24, 1923 MOVING PICTURE WORLD 405 “Our Hospitality” Buster Keaton’s Second Metro Feature Has Novel Theme and Is Unusually Entertaining Comedy Reviewed by C. S. Sewell Buster Keaton’s second production for Metro, “Our Hospitality,” confirms the impression made by "The Three Ages,” that excellent judgment was used in presenting him in comedies of feature length. It is a picture that should satisfy all kinds and classes of patrons and cause them to leave the theatre smiling, consequently it should prove a big box-office winner. “Our Hospitality” contains melodrama, farce, straight comedy and burlesque, all dovetailing smoothly into an entertaining picture, with a climax that while containing fine touches of comedy goes the average thriller “one better” from the standpoint of stunts and thrills. Aside from its other points of appeal, here is a picture that you can promise your audiences is absolutely different. The introduction of a reproduction of one of the very first railroad trains, with a dinky little engine like the modern stationary engines and coaches that resemble old-fashioned horse-drawn carriages, is a decidedly novel idea and gives opportunities for many original and highly amusing comedy touches. The theme itself, which in a good natured way succeeds in getting a lot of fun out of a Kentucky feud situation, is an unhackneyed one. Buster finds himself in the home of the other faction but “our hospitality,” as explained by the leader, will not permit his being attacked until he leaves. In his schemes to circumvent their vengeance, Buster has a fine chance for the kind of I comedy work for which he is noted. There is a real plot which is never lost sight of, and there is excellent continuity, the comedy situations and chase ending in the big thrill scene where Buster not only is saved by a log to which he is tied getting caught just as he goes over a high falls and his “daredevil stunt” in swinging out and grabbing the heroine in mid-air after she has actually gone over the falls, are consistently developed, none of the action being just dragged in for effect. Buster has a typical Buster Keaton role and gives an excellent performance, his unique type of comedy showing up to advantage, while naturally he is almost the whole show, he is ably assisted by his wife, Natalie Talmadge, who makes a good impression as the heroine, and others whose names appear in the cast, all of whom enter into the mood of the picture and give good performances. This is certainly a Keaton cast, for in addition to Buster and Natalie, Buster Keaton, Jr., as a one-year-old baby, I will especially delight the feminine patrons. Cast | William McKay Buster Keaton Virginia Canfield Natalie Talmadge The Baby Buster Keaton, Jr. Lem Dolittle, engineer Joseph Keaton Aunt Mary Kitty Bradbury • Joseph Canfield Joseph Roberts James Canfield Leonard Clapham Lee Canfield Craig Ward ! Clayton Canfield Ralph Bushman John McKay Edward Coxen Rev. Benjamin Dorsey Monte Collins 1 Mrs. McKay Jean Dumas Sam Gardner, conductor James Dutty Based on story by Jen Haver, Joe Mitchell and Clyde Bruckman. Directed by Buster Keaton and Jack Blystone. Photographed by E. Lessly and G. Jennings, Length, G,220 feet. Story On the death of his father in a Kentucky 1| feud, William McKay, then a baby, is taken i to New York by his mother to save his life. Growing to manhood, he receives a call to return home and claim his father’s estate, j It is now’ the year 1830 and Buster starts out ; on a dinky little train with cars resembling' st,ag-^ coaches. He meets a charming girl, ! and on arriving in Kentucky it develops that I she is a daughter of one of the feudists. McKay is invited to dinner and finds he is in the hands of his enemies who are going to shoot him, but their code causes them to wait until he leaves their home. Then follows a series of humorous situations in which he does all kinds of stunts to either stay there or get away unobserved. Finally he gets away in hoopskirts. A chase follows in which the little train figures, ending in McKay being swept down a stream through the rapids and over high falls. He is saved by a log and later rescues the girl who has followed them. His enemies, returning home, find that McKay and the girl have found a preacher and are being married. Reconciliation occurs and McKay takes from his clothing about a dozen guns that he had swiped from his enemies’ arsenal. “The Virginian” Excellent Production of Famous Novel Offered by B. P. Schulberg Through Preferred Pictures Reviewed by Mary Kelly As entertainment and as a box-office magnet, "The Virginian” is a splendid offering. Preferred Pictures has accomplished something that will interest a tremendous number of fans and readers. The novel by Owen Wister and the play by Owen Wister and Kirke La Shelle reached a high standard of popularity which this new screen version gives ample promise o.f equaling. There is a need of shortening the film in its present condition. It seems far too long, measuring over eight reels and lengthening out certain situations at the sacrifice of their beauty and effectiveness. Kenneth Harlan plays “The Virginian” with an appeal that few can resist. The charm of his performance here should give him a new place among the screen favorites. The romance between him and the “schoolmarm,” played by Florence Vidor, has so many little human touches and such great heart interest that all the fans will love it. Florence Vidor is strikingly beautiful. Tom Forman, the director, has given the production everything that the public expects in a first rate attraction. In atmospheric flashes of comedy, conflict, friendship and romance he has colored the important incidents of the story. Above all, the picture is strong in human feeling. The emotional note in the friendship between the Virginian and his best friend, whom he is forced to send to the noose, is intensely appealing. This is one of the scenes which is too protracted, however. The settings deserve special praise. There are wide, commanding views of the cattle ranges, expertly photographed and lending great picturesqueness to the action. The entire cast is excellent. It is a picture with a deep emotional appeal and is a fine boxoffice offering. Cast Virginian Kenneth Harlan Molly Woods Florence Vidor Trampas Russell Simpson Steve Pat O’Malley Shorty Raymond Hatton Judge Henry Milton Ross Uncle Hughey Sam Allen Spanish Ed Bertram Hadley Fat Drummer Fi*ed Gambol Based upon ncivel by Owen Wister. Scenario by Hope Luring and Kirke La Shelle. Direeted by Tom Forman. Length, S.filfi feet. Story The Virginian and Steve are pals on a Wyoming ranch. When the stage coach bearing the new teacher overturns in the ford, the Virginian rescues her and after some difficulty breaks down her New England conventionality sufficiently to “court” her. His pal, Steve, proves to be a weakling and in spite of the Virginian’s warning joins a cattle rustler and, his friend is forced to hang him along with the others. The Virginian’s sweetheart scorns him for this inhumanity, but circumstances prove that her love for him is greater than any other feeling. “The Way of a Man” Pathe’s New Serial, Released as a NineReel Feature, Has Fine Action Reviewed by Mary Kelly Nine reels of fast action is the condensed and featurized version of the new Pathe serial, based upon the novel by Emerson Hough, “The Way of a Man.” Exhibitors who desire the serial type of entertainment without presenting it on the “installment plan” should welcome this. It should do well where a nine-reel feature is not too long. The episodes have been well linked together so that the form is practically that of the usual feature. Also, the material is well suited to a feature production. It is a story of a young man’s journey across early western trails and there is enough intrigue to make it constantly exciting. Harold Miller, Allene Ray and Bud Osborne play the important roles convincingly. Miss Ray is a pretty, colorful type and should please anywhere. While the entire action is interesting, there are a few big outstanding thrills such as usually conclude each of the chapters when it is shown in two-reel episodes. A party of pioneers have a lively battle with the Indians; the hero and his enemy have a fight that starts in an upstairs room and proceeds vividly to the porch and through a fall onto a covered wagon below, ending with the villain’s dashing escape and neardeath, and the climax shows a dramatic defense of the cabin which the bandits are attacking. Some of the touches show more care and detail than frequently is characteristic of a serial. The atmosphere and characterization is very good. Lillian Gale’s interpretation of a pioneer woman, for instance, gives the picture an excellent bit of local color and a number of laughs. The character of the villain, fluctuating apparently between good and evil, affords unusual suspense. Cast Ellen Meriwether Allene Ray John Cowles Harold Miller Mrs. Cowles Elorenee Lee Gordon Orme Bud Osborne Grace Sheraton Kathryn Appleton Vulierry Whitehorse llandy McGovern Lillian Gale Andy Chet Ryan Rased upon novel by Emerson Hough. Directed by George B. Seitz. Length, 9,000 feet. Story After the mysterious murder of John Cowles’ father, the son starts west to borrow money of his. father’s business partner, Col. Meriwether. He meets the Colonel’s daughter, Ellen, and falls in love with her, not telling her of his fiancee, Grace Sheraton. Gordon Orme, an old acquaintance, turns up. tells Col. Meriwether about Grace, and the Colonel is so enraged he refuses to lend the money. John's mother and Grace have followed John and his mother urges him to try the gold fields. He discovers gold and wins Ellen, after both Gordon and Grace, who is really in love with Gordon, are killed. “You Can’t Get Away With It” Percy Marmont and Betty Bouton Give Performances of Great Charm in Fox Special Reviewed by Mary Kelly Gouverneur Morris’ theme for this story is one of the oldest, but one which never seems to lose its power when treated with sincerity as here. The quality of the acting and the material side of the production will count greatly in the picture’s favor. Percy Marmont and Betty Bouton have a seriousness and charm about their work that makes the story itself seem unimportant. They provide entertainment that in the majority of theatres will be popular. The society girl, left penniless and' forced