Moving Picture World (Nov-Dec 1923)

— — Newest Reviews and Com menTs EDITED BY CHARLES S. SEWELL “The Eternal City ” Modernized Version of Hall Caine Novel Is Pictorially Beautiful and Has Strong Audience Appeal Reviewed by C. S. Sewell In screening “The Eternal City,” Sir Hall Caine’s celebrated novel which was written many years ago, the story, with the consent and collaboration of the author, has been brought up to date and we find the hero, David, as a leader of the Fascisti in their successful struggle with the “Reds.” There are shots of Mussolini, the leader, and even a flash of the King of Italy, as well as scenes showing the triumph of the Fascisti. Against this thoroughly modernized background we follow the tempestuous romance of David and Roma to its ultimate happy outcome. While many who have read the book may probably regret the changes in the story, for the large number who are unfamiliar with it, the bringing of the action up to the present time and having it deal with events which have been widely publicized in the press will add additional elements of interest. "The Eternal City” is a big production and one which should have a strong audience appeal. There is a strong love story which reminds one of the old adage that true love never runs smooth ; the element of patriotism is also an outstanding one, and the point that Rome is “the eternal city” is strikingly brought out, for against the ruins of another civilization we see the action of modern romance and political upheaval. There is effective drama in the romance of David and Roma, and in the conflict between Bonelli, who is behind the Reds, and David, as a leader of the Fascisti, both loving Roma. There is excitement and thrills in the big, swirling mobs as they rush through the streets of Rome, and suspense in the scene where they entirely fill the ruins of the coliseum awaiting David, who has been trapped by Bonelli. In filming this production, which First National is distributing, an American cast was sent to Italy under the direction of George Fitzmaurice, with the result that the backgrounds are absolutely authentic. Great care was used in their selection and the scenes have been beautifully photographed with the result that they form a beautiful and striking point in the appeal of the picture. The action of the picture is concentrated in the hands of but few characters. Barbara LaMarr as Roma does effective emotional work and was an excellent selection for the role. Bert Lytell gives a good portrayal of the role of David, while Lionel Barrymore in the unsympathetic heavy role of Bonelli gives a fine performance. Entirely satisfactory is Richard Bennett as the whimsical scapegrace Bruno and Montagu Love as a prominent “Red.” Cast Donna Roma Barbara LaMarr Baron Bonelli Lionel Barrymore David Rossi Bert Lytell Bruno Richard Bennett Based on novel by llall Caine. Scenario by Ouida Ber^ere. Directed by Georgy Fitzmaurice. Length, 7,SOO feet. Story David, a waif, is taken in tow by Bruno, a tramp, and is later adopted by Roma’s FEATURES REVIEWED IN THIS ISSUE Around the World in the Speejacks (Paramount) Anna Christie (First National) Crooked Alley, The (Universal) Eternal City (First National) Stephen Steps Out (Paramount) Thrill Chaser, The (Universal) Twenty-One (First National) Vincennes (Pathe) When Odds Are Even (Fox) Wild Bill Hickok (Paramount) father, as the little girl wants a playmate. Bruno is given a job in the vineyard. When the great war breaks out. David and Bruno join the army and David is reported as dead. Roma, with a talent for sculpture, accepts help from Baron Bonelli, goes to Rome, and as Roma Valonna achieves great success. David returns and is unable to locate her; joining the Fascisti, he becomes Mussolini’s right hand man in his campaign against the Reds, who are causing strikes and terror. David, believing the Valonna woman is Bonelli’s mistress, denounces her. She goes to David, denies the accusation, and they make up. Bonelli, who is secretly the power behind the Reds, determines to break up this affair. He tells Roma it is he who is responsible for her success and arranges with the Reds to capture Rossi and cripple the Fascisti movement. In a fight Rossi kills Bonelli and, leading the Fascisti, entirely overpowers the Reds. Roma takes blame for Bonelli’s murder, thereby convincing David she has not betrayed him. David hastens to shoulder the blame himself, but is pardoned for his service to Italy, and he and Roma finally find happiness. “The Thrill Chaser” Universal Production for Hoot Gibson Keeps Up Fast Pace of Entertaining Action Reviewed by Mary Kelly Between the Hollywood scenes in the first half and the Sheik atmosphere in the last, this picture keeps up a highly entertaining trend of action. Hoot Gibson is at his best. This attraction is above the average program picture and should please beyond the star’s usual clientele. In addition to a good supporting cast, a number of screen celebrities are seen. A light touch of comedy, broadening now and then into burlesque, colors the entire picture and makes it very agreeable entertainment. Clever subtitles add to the amusement. The hero’s experiences in the making of various moving pictures which he succeeds in ruining are full of the awkward blunders that make Hoot Gibson effective. As a Roman guard, he has one or two really hilarious scenes. Mary Philbin, Norman Kerry, Reginald Denny, Hobart Henley and King Baggot, Edward Sedgwick and Laura La Plante are seen in studio scenes for brief moments. They increase the picture’s appeal and have no obtrusive effect on the actual trend of the story which is entertaining from start to finish. The desert scenes and the seige of the town furnish a picturesque and melodramatic close. Billie Dove, playing opposite the star is charming and beautiful and the picture has all the important factors of a popular attraction. Cast Omar K. Jenkins Hoot Gibson Sheik llssan Janies Neill Olala llssan Billie Dove Prince Ahmed William E. Lawrence Lem Biacley Bob Reeves Rudolph Bigeddo Gino Gerrado Abdul Bey Lloyd Whitlock Story by Edward Sedgwick and Raymond L. Schroek. Scenario by E. Richard Schayer. Direction by Edward Sedgwick. Photography by Virgil Miller. Length, 51!)«! feet. Story Omar K. Jenkins reads Omar Khayyam but he doesn’t know what it’s all about until “Thou” appears. Omar helps her and then goes into the movies. From the stunt of ^doubling" for a timid star, he goes to the faster adventure of “doubling” for a sheik *in Arabia. There his “Thou” 's the important factor in a thick plot. But “Thou” is a very appreciative Arabian sheik-ess and Omar isn’t alone in his battle. “Vincennes” Intensely Interesting Subject Is Third Number of Pathe’s Historical Series Reviewed by Mary Kelly One of the deeply affecting situations in history gives this third number of the “Chronicles of America” series a great realistic force. It is another credit to the producers, the Yale University Press. It shows a splendid appreciation of the drama in the development of America, which, without the slightest resort to hokum, is tremendously appealing and thrilling. The gallant campaign of George Rogers Clark, who faced the opposition of the British and the Indians in claiming the Northwest for America, is an intensely interesting subject as treated here. In the first reel the dangers of the proposed expedition are suggested in an impressive incident. A man, accompanied by his wife and two sons, proceed on horseback to make their home in the West against the advice of friends. Only one of the party, the elder son, lives to tell of the Indian massacre which befalls the family. From then on, the greater issue of the nation’s progress claims the interest. Clark’s expedition to Vincennes, undertaken in the dead of winter with miles of swamp land to traverse, hunger, sickness and Indian treachery to contend with, and finally the fight with the British who were in possession of \ incennes, is a picture that no one should miss. Leslie Austin gives a splendid interpretation of this role. Robert Gaillard is a commanding, interesting figure as the British Military Governor, Henry Hamilton, and a brief impressive glimpse of Patrick Henry is afforded by the performance of William Walcott. “\ incennes,” in three reels, is shorter than the first two of the series, but includes fully the same amount of dramatic interest and action.