Moving Picture World (Nov-Dec 1923)

December 29, 1923 MOVING PICTURE WORLD 835 ture that should appeal to the majority of patrons and prove a good box office attraction. Cast Glenn Kilbourne Richard Disc Carley Bnreh Lois Wilson Flo Hotter Marjorie Daw Haze Ruff Noah Beery Larry Morrison Ricardo Cortez Tom Hotter Fred Huntley Mrs. Hotter Lillian Leighton Aunt Mary Helen Dunbar Lee Stanton Leonard Clapham Charlie Oatmeal Ralph Yearsley Virgil Rust Arthur Rankin Based on novel by Zone Grey. Scenario by Doris Shroeder and Elfrid Bingham. Directed by Victor Fleming. Length, 6,893 feet. Story Many years after the world war, Glenn Kilbourne, who, has been gassed, returns to New York and finds his fiancee, Carley Burch, a leader in a wealthy, ultra-jazzy crowd. Disillusioned and disgusted, Glenn has a relapse and is ordered to go to Arizona, where he hears the call of the canyon and his dislike of the New York idle set increase. Fearing she will lose him, Carley goes to the canyon but she becomes disgusted with the rough, uncouth life and returns east. Going to visit a friend of Glenn, who is in the hospital, she is made to realize what a quitter she has been. She again goes to Arizona and arrives just as Glenn is being married to Flo Hutter. Just at the last moment, Flo sees Carley, whom she knows Glenn still loves, and, insisting that she take her place, leaves the church. Lee Stanton, who has always loved Flo, is waiting and receives her in his arms. “His Mystery Girl” Herbert Rawlinson Starred in Light Comedy Drama by Universal Reviewed by Mary Kelly Herbert Rawlinson tries something slightly new here — a characterization of a womanhater. It should be a fairly good program number, as it has a pretty heroine, a number of light complications and some scenes of action. The farcical note predominates although there is an alleged mystery motive. As a whole it is hard to definitely classify the picture, as it is something between comedydrama and burlesque. It is frankly indicated at the beginning that the subsequent action is a frame-up on the hero. As the spectator knows that all of the other characters are only hired performers, there is naturally very little suspense and realism. If a few unexpected complications had been introduced so as to break the effect of everything being staged, the picture would have a stronger appeal generally. The hero's meeting with the lady in distress, the theft of the diamonds in her purse and the final climax in the deserted house where he is summoned to save her are frankly part of the frame-up. There are comedy touches but not in abundance. The drama seems rather too simple to hold the attention of a certain class of fans. However, most of the scenes have a pleasing note and the lightness will appeal to some audiences. Cast Kerry Reynolds Herbert Rawlinson Gloria Bliss Ruth Dwyer Laurette Sligsby Margaret Campbell Benn Bliss Jere Austin Dick Reynolds Ralph F. McCullough Valet William Quinn Story by Marion Orth. Scenario by William Wing. Direction by Robert F. SillPhotography by William Thornley. Length, 4,487 feet. Story Kerry Reynolds, guilty of much seriousness and little play — finds his roommate having a good time, with the assistance of a gay gang. Dick tells him he’ll be in the graveyard pretty quick. Kerry goes to a doctor and sees a girl with tears in her eyes. In a hotel lobby he sees the girl again. She leaves her handbag on a “divan.” He picks it up — immediately two house detectives chase him. He lands in a lonely house at night with ten men to lick. Dick chases him everywhere. Meanwhile friends laugh “up their sleeves,” for it is all a frame-up — but all ends happily. “Daniel Boone” Pathe Offers Fourth Number of “Chronicles of America” Series — In Three Reels Reviewed by Mary Kelly In the early settlement of what is now Kentucky, which furnishes the basis for the fourth of the “Chronicles of America” series, the same simplicity and dramatic strength that made the first three successful is found. Its realism gives it a distinct advantage with critical minds. It offers substantial entertainment to those who do not depend upon sensationalism and exaggeration for thrills. There is a quiet thrill, however, in the story of the defense of Boonesboro. Daniel Boone’s lonely journey to found this town in 1775, his resurcefulness in eluding the Indians and his persistent fight with only small aid to keep the settlement from the Indians and the French spy is ' a story of considerable suspense. It works up to a good climax when the Americans dig a counter trench to destroy the enemy who has been digging an underground approach to the walled town. The Indians, already superstitiously afraid of Boone, are sure that he resorts to witchery. They give up just before he is forced to, because they think he is receiving supernatural aid. Elmer Grandin plays the part of Boone with dignity and effective mental poise. All of the acting is carefully done and shows great sincerity in the directing. “The Old Fool” Hodkinson Production Effectively Plays Upon Sympathy for an Old Man Who Is Mistreated Reviewed by C. S. Sewell In the Hodkinson production, “The Old Fool,” effective use is made of the innate feeling of rebellion in most of us at the sight of an old person being mistreated, with the result that strong sympathy is aroused for the character in the title role and the picture is vested with more than an average amount of human interest. This is the dominant idea in a story which starts out in the East, switches to the Mexican border and introduces familiar screen situations, such as a smuggling plot to get guns into Mexico, in which the sheriff is the leader of the gang, with the coincidence of having the man who mistreated the old fellow back East as also mixed up in the plot. While the story is not especially strong or convincing, it serves the purpose as a vehicle for playing up the title character who figures prominently all through the picture. Even the title “the old fool,” applied to him in derision has a strong sympathetic note. The manner in which the old man, almost childish in his actions, accepts his ill-treatment and repays good for evil will get a strong hold on the average spectator, and the way in which he continually harks back to the days of the civil war, each time exaggerating his exploits, has strong appeal. The scenes where he meets a veteran who was on the other side and they “fight” over and over the big battles of the civil war, almost coming to blows, will appeal to the majority of patrons. In addition to this, there is a pretty little romance of a conventional type, considerable action with a western atmosphere and an out-of-the-ordinary climax in which “the old fool” is the dominating character. The picture is capably acted, and backed by its strong human interest note and sympathetic angle, it should prove a good box-office attraction in the average house. James Barrows gives a fine characterization in the title role, with Lloyd Hughes capably cast as the one member of the family who does not consider him a burden. The remainder of the roles are in competent hands, with Louise Fazenda contributing some amusing comedy touches. Cast Grandad Steele James Harrows Peter Steele Henry Hunt Henry Steele Jimmy Mason John Steele Lloyd Hughes Dora Steele Barbara Tennent Mary Manners Betty Francisco Pete Harkins Ben Hendricks, Jr. Dolores Murpby Lonise Fazenda Larry Bellows O. V. Harrison Pop Hardy Monte Collins Rogers Tom Mean Story and scenario by J. C. Fabrini. Directed by E. D. V entu rinl. Length, 6,147 feet. Photographed by Ned Van Buren, Story Grandad Steele is considered a burden by everyone in the family except his grandson John and his little great-granddaughter Emily, who like to listen to his stories of the" Civil War. As a result of a row with h' father over his treatment of the old ma^John leaves home and goes to Texas, gettlhc a job on the Baredo Blade. John is suddenly called home on the death! of his father and finds he has been cut off and Granddad Steele left in his charge. He takes the old man to Texas with him, where the old fellow has a wonderful time agair “fighting the war” with an old Confederat It develops that the sheriff is mixed with a gang who are smuggling across border rifles and ammunition secured John’s brother. John helps to quasL^ plot, but the sheriff escapes and ^/.ttac*. John’s sweetheart Mary. John arrives in time to rescue her but the sheriff again seeks to escape. He is killed, however, by Granddad with h!<= old civil war sword. “Breaking Into Society” Film Booking Offices Releases Hunt Stromberg Comedy Starring Bull Montana Reviewed by Mary Kelly Hunt Stromberg is presenting Bull Montana in a feature-length comedy on the social blunders of the “O’Tooles of Tin Can Alley.” It is comedy of the broad, obvious type and will appeal to patrons who have shown a liking for this style of entertainment. There is hardly enough original material for a five-reel subject. For instance, bad table manners have been burlesqued so often that unless there is a preponderance of new ideas, such a scene is apt to seem rather HetJjtotJUaii $ut 3teunber