Moving Picture World (Nov-Dec 1923)

406 MOVING PICTURE WORLD November 24, 1923 to work in a department store where the price of respectability becomes too high, is the heroine of this story. Circumstances, such as her broken health and the man’s inability to get a divorce from his wife, who wants the social prestige his name affords her, have considerable weight in directing the sympathies toward their unconventional life together. It has throughout a saving Strain of wistfulness and pathos. It is this emotional quality and a good taste in appointments that almost overshadows the fact that the character of the story is not strong. This will probably not be generally observed, as the style is entertaining. Percy Marmont’s performance has that sympathetic appeal and understanding that has always distinguished him. His gift for stirring the emotions is active even when the immediate situation seems a bit forced. Betty Bouton is a new actress of great charm. She is pictorially pleasing and dresses most attractively without any excessively showy effects. The picture has been beautifully staged and photographed. Cast Charles Hemingway Percy Marmont Henry Adams Malcolm McGregor Jill Maekie Betty Bouton Jane Maekie Barbara Tennant May Maekie Grace Morse Mrs. Hemingway Clarissa Selywn Charles Hemingway, Jr Charles Cruz Story by Gouverneur Morris. Scenario by Robert X. Lee. Directed by Rowland V. Lee. Cameraman, G. O. Post. Length, 0,152 feet. Story Of the three Maekie girls, who suddenly lose their social positions, Jill proves the least able to make a fight for existence. Her health and spirits break down while clerking in a department store. Hemingway, the owner, feels deeply sorry for her, and recognizes in her the type of woman which he craves. His wife is not interested in him except for the material advantage, and when she refuses to divorce him Jill goes to him anyway. Hemingway, already weakened by a great strain, dies. Jill leaves the country, meets a young man who falls in love with her because of her seeming purity, but her happiness is short lived, as she is forced to tell him the truth and a break is inevitable. “White Tiger” Priscilla Dean Starred in Crook Drama of New Character Made by Universal Reviewed by Mary Kelly Tod Browning’s latest crook drama for Universal is somewhat of a departure. For the greater part, it is minus the expected action and thrills. It seems to have another purpose which is not at all times perfectly clear, but which is principally to afford an intimate character study of three crook types. As the average patron’s taste runs more in favor of melodrama, especially in this kind of subject matter, “White Tiger’’ is not altogether satisfying as an attraction for the majority. It is vague in purpose and passive in mood, compared to the Universal-Jewel standard. It does succeed in presenting a new angle of underworld psychology. The private life of crooks, their attitude toward each other and the atmosphere in which they live is pictured in greater detail, and more authentically, no doubt, than in the usual “thriller.” It does not have the familiar idealistic trend in this respect. There is no bond of love or loyalty between them. Here is the point referred to in the title. “White Tiger” is the hating, fearful soul of the crook which has no real friend and is friend to no one. In order to be sufficiently clear and impressive, a study of this type needs an abundance of humor and color. Priscilla Dean, Wallace Beery and Raymond Griffith are contrasting, vivid types for the main trio. At times their performances are full of interest. But through no fault of their own the attention of the spectator lags, at times, for lack of really human touches. Priscilla Dean is charming in certain scenes, particularly in the beginning. Here the mechanical chess man is an interesting novelty, giving the picture a bit of real color. Cast Sylvia Donovan Priscilla Dean Wallace Beery Dick Longwortb Matt Moore Roy Donovan Ray Griffith “Count” Donelli 1 Hawkes | Story anil direction by Tod Browning. Scenario by Tod Browning and Charles Kenyon. Photography by William Fildew. Length, 7,177 feet. Story Sylvia Donovan, Roy Donovan and Count Donelli, three international crooks, come to America to make a clean-up. Although Sylvia and Roy are brother and sister they are unaware of the fact. Donelli knows the relationship, but keeps it quiet for reasons of his own. It was Donelli, then known as Hawkes, who had betrayed the pair’s father to the police twenty years before. In America they rob the home of a wealthy man through a ruse by which Roy is concealed in an automatic chess-player and smuggled in. The trio flee to the north woods with the loot. Each crook mistrusts the other and all sit for sleepless nights and days watching and waiting. Roy and Sylvia return the gems after Detective Longworth’s promise to help Roy start anew. Donelli flees into the night and later is found dead of exhaustion. Sylvia marries Longworth. “The Mask of Lopez” Fred Thomson Featured in Monogram Western With Good Action and Suspense Reviewed by Mary Kelly Enthusiastic admirers of Western drama will enjoy Fred Thomson’s first feature, “The Mask of Lopez,” which Monogram is releasing. It is a fair example of a favored form of entertainment — the picture with intrigue, suspense, riding and fighting. It is not an exceptional picture of its kind, but it is interesting and lively and the smaller theatre which flourishes on Westerns should find it worth while. Fred Thomson is a stunt actor of considerable ability and rather pleasing personality. He impersonates an ex-convict to get a job on a ranch owned by a pretty girl whom he wants to serve. The foreman is a cattle rustler and the story relates how the hero trails him and is trapped. Albert Rogell has given it good direction, investing the scenes with a good deal of life and spectacular value. One of the thrills for the fan is the fight between the star and Frank Hagney, who plays the heavy. This is intensely realistic and long drawn out. The climax has good suspense, showing the cattle rustler outwitted and forced by the hero to adopt his disguise and meet the doom which he had planned for the innocent man. Silver King, a beautiful white horse, is an interesting figure in the drama. Hazel Keener is attractive as the heroine and the others, too, are well chosen. Cast Jack O’Neil Fred Thomson Richard O'N'eil Wilfred Lucas Angel Face Harry David Kirby Doris Hampton Hazel Keener Steve Gore Frank Hagney Lopez George Magrill The Matron Dot Farley Shorty Fee Wee Holmes Dick Bob Reeves The Mexican Dick Sutherland Silver King By Himself Story and scenario by Marion Jackson. Directed by Albert Rogell. Produced by Harry J. Brown. Length, 4.SHM1 feet. Jack O’Neil learns that Doris Hampton offers special jobs on her ranch to released convicts, out of sympathy for them. He impersonates a convict, starts working for her and discovers that her cattle are being stolen by Steve Gore, her foreman, whose mask creates great mystery. He accuses Jack of being the thief, but Jack discovers Steve’s hiding place and outwits him when Steve attempts to destroy him. Doris rides up at the critical moment, bringing enough help to save the day for the innocent. “Pleasure Mad” Reginald Barker Production for Metro Features a Truthful Performance by Mary Alden Reviewed by Mary Kelly With an appeal very much like that of “A Woman’s Woman,” which had the same star, this Metro release with Mary Alden can be well recommended to women patrons. Miss Alden plays another mother-and-wife role in her smooth, intelligent manner, and the character of the picture will insure its success almost anywhere. Aside from the main theme, the jazz angle will interest another class which might not be so deeply moved by the familiar idea of the old-fashioned mother and her ultramodern husband and children. The idea is entertainingly treated by Reginald Barker. The younger fans will appreciate the gay parties and the youthfulness of certain parts of the picture, as personified chiefly by Norma Shearer, who plays the daughter. But the greatest appeal is the sympathetic performance of Mary Alden. The quality of her work is so good that the triteness of many of the situations fades from mind. Because of her the basic idea is made to seem real — that a woman is unable to keep pace with her husband’s prosperity and consequently drives him and the children into dangerous pursuits. Without her acting, neither the role nor the story would be as convincing. It is the type of story which features pleasing settings and clothes to advantage. Norma Shearer dresses attractively and adds a piquant touch which nicely balances the rather somber appeal which Miss Alden makes. It is interestingly done and should be satisfactory program entertainment in a majority of houses. Cast Hugh Benton Huntly Gordon Marjorie Benton Mary Alden Elinor Benton Norma Shearer Howard Benton William Collier, Jr. Geraldine De Lacey Winifred Bryson Templeton Druid Ward Crane John Hammond F'rederick Truesdell Hulda Joan Standing Based upon novel, “The Valley of Content,” by Blanche L'pwright. Scenario by A. P. Younger. Directed by Reginald Barker. Photography by Alvin VWyekoff and Norbert Brodin. Length, 7,547 feet. Story Marjorie Benton finds that luxury is not always easy to adjust one's self to, after her husband makes a fortune and they live in a city mansion. He turns to another woman for sympathy and when the break comes his daughter clings to him because he understands her, she says, while the son stands by his mother. His daughter goes on a party and is locked in a room by her host. Her father and his sweetheart are among the guests and her father hears his daughter calling for help and rushes to her aid. He shoots the man and is arrested, but word comes that the man has recovered and the family is now united on a sure foundation of better understanding. “The Barefoot Boy” Whittier’s Poem Makes C. B. C. Attraction of Great Sentimental Appeal Renewed by Mary Kelly Sentiment of a sort that will bring a tearful response from virtually every woman in the house gives “The Barefoot Boy” an undeniable appeal. It is an attraction that will register most deeply in heart interest. But it has good comedy and melodramatic values as well. Whittier’s poem suggested the idea of a