Moving Picture World (Nov-Dec 1923)

Newest Reviews and Com menTs EDITED BY CHARLES S. SEWELL “Cupid’s Fireman” Fox Production with Charles Jones Is Appealing in Love Interest and Thrills Reviewed by Mary Kelly Two popular angles of appeal have been played up in this Fox feature, starring Charles Jones — the fireman and the ballet girl. It is a very good program offering. The thrills and keen love interest should insure its box-office success in almost any house. Charles Jones shows his increasing ability in a romantic-hero role. In this picture, which is an adaptation of a Richard Harding Davis story, “Andy McGee’s Chorus Girl,” he has one of the slightly wistful, bigbrother parts which he does so sincerely. His scenes with the child have much wholesome appeal. Little Eileen O’Malley has a most attractive personality and wins without possessing the usual prettiness of the screen child. Most of the action follows the love motive but the fire scenes which come near the end have good dramatic value. Particularly is the climax effective when the floor crashes through, and the hero and the man he is saving disappear. Also there are a few interesting shots towards the beginning showing the firemen jumping from a train..g tower to a net far below. Marian Nixon iyretty and a charming dancer. The aver■"ti^fan will find much to enjoy in this Daddy1;. 2s\ Cast Charles Jones Agnes Evans Marian Nixon Bill, hnshand of Agnes Brooks Benedict Elizabeth Stevens..’ Eileen O’Malley Mother Lucy Beaumont Fire Chief A1 Preemont Old Man Turner Charles McHugh Molly Turner Mary Warren Veteran L. H. King Based upon story, “Andy McGee’s Chorus Girl,” by Richard Harding Davis. Scenario by Eugene V. Lewis. Direction by Williams Wellman. Length, 5,000 feet. Story Andy McGee realizes his long ambition to become a fireman when his mother finally consents. She dies soon after and he finds a little orphan girl who “mothers” him. Andy meets a beautiful chorus girl, takes her home, discovers she is married to a worthless drunkard, and agrees not to see her again. The house where the girl lives catches fire, her husband drunkenly locks her in the room, but Andy climbs up and saves her. Her husband is killed despite Andy’s effort to save him. HetJ^otiWan •put Ustmber FEATURES REVIEWED IN THIS ISSUE Breaking Into Society (F. B. O.) Call of the Canyon, The (Paramount) Cupid’s Fireman (Fox) Danger Ahead (Goldstone) Daniel Boone (Pathe) His Mystery Girl (Universal) Jealous Husbands (First National) Marriage Market (C. B. C.) Old Fool, The (Hodkinson) “Danger Ahead” Phil Goldstone Presents Another Acrobatic Vehicle for Richard Talmadge Reviewed by Mary KeUy Richard Talmadge’s acrobatic skill is as usual the feature of chief interest here. Without his stunts, the story would be hardly satisfying although the acting is good. But the star’s particular talent is a lively asset, giving the picture the thrills and action that will be appreciated in the neighborhood theatre. As a mystery drama, which it purposes to be, it is rather far-fetched. Almost anyone will be apt to note the discrepancy in the idea of burying a stranger instead of the hero, who was supposed to be dead. The subsequent action is based upon the hero “doubling” for himself, and forgetting his past after being injured in the struggle. The scenes showing his escape from the Dago’s gang are first-rate spectacular entertainment. He makes many daring leaps, takes some neat falls and at other times gets into strenuous fights which he makes very realistic. Two splendid character actors, Harry Kirby and J. P. Lockney, are of good support. The picture should do well where the other Talmadge pictures have been popular, although the star is deserving of better dramatic material than this. Cast Bruce Randall Richard Talmadge Mrs. Randall Helen Rosson Todd J. P. Lockney Mahoney David Kirby Mortimer Fred Stanton Story by Keene Thompson. Directed by William K. Howard. Photography by Reggie Lyons. Length, 5,000 feet. Story Bruce Randall is injured after a fight with Mortimer, who has attempted to rob his home, and is reported dead by the police. They bury a man they believe to be Bruce, while Bruce wanders about, unable to recall his past. Two crook lawyers find him, hire him to impersonate Bruce so as to get some pearls in the Randall mansion, and Mrs. Randall believes he is really her husband. He regains his memory in time to defeat the crooks and save his wife’s happiness. “The Call of the Canyon” Jazz and the Call of the West Effectively Contrasted in Paramount Version of Zane Grey Novel Reviewed by C. S. Sewell As suggested by the title, and characteristic of the novels by the popular author, Zane Grey, “The Call of the Canyon” is a story in which the appeal of the great outdoors, the big open spaces, is dominant. It is a virile story with an unusual twist and plenty of action and drama, but the most impressive point in this Paramount production is the grandeur and magnificence of the western backgrounds, the awe-inspiring views of mountains and canyons. No more beautiful or soul-stirring views of nature have ever been screened. Aside from its pictorial beauty, this serves to throw into sharper contrast and thereby increase the dramatic effect, the scenes picturing the mad search for amusement on the part of the jazz-loving, irresponsible section of the wealthy class in the East; for it is to this latter class that the heroine belongs while the hero has heard “the call of the canyon.” It is this conflict that supplies the basis for the dramatic structure, and we follow with interest the working out of the action in which the spirit of the open spaces conquers. There is a rugged strength in the treatment of the theme, and several excellent melodramtic scenes, as for instance the sandstorm in the canyon, followed by a stirring fight between the villain and the hero. This note is evident throughout and has been carried to such an extent that even in the case of the heroine for the greater portion of the film no attempt is made to excuse her actions, and it is only when she realizes what a quitter she has been do you feel any sympathy for her. You are apt to be disgusted with her when she evidences disgust for the things that appeal to the hero and particularly where she characterizes as beastly the fight in which he saves her from the villain. The climax is a deftly handled one, and although it may not ring entirely true to every-day human nature, there is great dramatic force and unusualy well-sustained suspense in the situation where the heroine returns just as the hero is being married to another girl. Your sympathy is kept wavering between your new attitude toward her and your admiration for the other girl, and some are apt to be disappointed when the heroine finds happiness through the sacrifice on the part of the other girl. The picture is well acted throughout by an excellent cast headed by Richard Dix as the hero, Lois Wilson as the heroine and Marjorie Daw as the other girl. The jazz scenes are as effectively handled as the western ones. A novel scene, rich in humor, shows a skunk in action. This will get the laughs. Altogether it is a pic