Moving Picture World (May-Jun 1925)

962 MOVING PICTURE WORLD June 27, 1925 “ Peak of Fate ” Dizzy Mountainous Heights in Alpine Region Furnish Marvelous Locale for Suspenseful Drama Reviewed l>y Tom AA’aller This reviewer has never seen a picture, on or off Broadwaj’, which has actually thrilled him more than the “Peak of Fate.” The suspense comes after the first fifteen or eighteen feet. It never lags for a minute after that. Quite to the contrary, it builds up and up until its reaches a grand climax worthy of applause by hands moistened by the tensity of just having been an onlooker. The majestic heights of the Alps, with the clouds breaking about some of their peaks, are gloriously photographed. The camera travels from the base to the tip, depicting walls of sheer rock and the earth thousands of feet below. Witnessing these heights on the screen is like the sensation one usually experiences in his first flight in an aeroplane or the plunge on an exceptionally high roller coaster in an amusement park. But — that which will send a chill up the widest spine on the hottest day is the closeup of professional mountain climbers ascending these treacherous pinnacles of smooth stone, with nothing to aid them but their hands and feet. These mountaineers of the hardy Alpine country overseas accomplish feats on the screen which would make those of the most daring “human fly” in America appear like the ordinary ascension of a flight of stairs. The “Peak of Fate” is further substantiated by being based upon a plausible story, well rounded with human interest. The cast, made up entirely of foreigners, said to be Alpine natives, never obtrudes in the sense that the acting becomes apparent. Every role is essayed so literally that the acting is like the locale. This greatly aids to place the fan in the position of a third party. In other tvords it tends to infuse in the picturegoer the sensation that he as an individual is imperiling his life in the ghastly but beautiful heights penetrating the clouds. The great punch comes when courage is augmented by love and the most daring summit, that of the legendary “Devil’s Needle,” is conquered by the son of a man who had lost his grip with the top but a few feet above his hand. The rescue of his sweetheart from the slight ledge thousands of feet above the mainland after a night spent in this altitude while a blizzard was raging, and the descent the next day under weighty avalanches of the melting snow, make this picture truely the criterion of all that is suspenseful. Cast Luis Trenker and Hertha Stern von Walt her, professional mountain climbers. The names of the other members of the east are not listed. Edited by Eugene Walters and William Brotherhood. Released through F. R. Rogers Motion Picture Corporation. Length, 6.SOO feet. Story The ambition of an Alpine mountaineer is to reach the top of. the “Devil’s Needle,” a peak which has never been conquered. Against the advise of his wife, a woman from the lowlands, but urged by his mother, a native of the mountainous region, he attempts the feat. Almost to the top, he weakens, as a storm swirls about the pinnacle, and goes to his death thousands of feet below. His wife makes her son promise never to attempt this ascension. The lad’s sweetheart, rather than allow outsiders the honor of being the first to reach the top, commences the perilous ascent. She is on a ledge near the peak when the sight of a rival hurling through space weakens her with fear. The mother releases her son of his promise, that he may rescue a life. With the odds of a terrific storm as well as the dizzy height against him, the youth realizes the ambition of his father. “ The Manicure Qirl” Good Acting, Direction and Continuity Serve to Give Real Charm to Trite Paramount Story Reviewed by Ej>es W. Sargent The pure but honest working girl who reunites her wealthy suitor to his wife has served as dramatic material more than once before; indeed it follows closely upon the heels of the-little-child-shall-lead-them foundation. It is commonplace, and yet it has been turned into a remarkably smooth and entertaining story, following the original of the Hattons with a continuity by Townsend Martin that is a model of good craftsmanship. This is not merely a picture that will get by with the admirers of Miss Daniels. They will be delighted with her clever and sincere impersonation of the little Italian girl, for she has rarely done better acting, as contrasted with her usual impersonation as her own self. She gives a reality and sincerity to the character. Bebe is ably assisted by Edmund Burns as her sweetheart and Hale Hamilton, as the wealthy suitor, does some of his best work. 'Most of the burden of the plot is carried by these three, but Dorothy Cumming is capital as the worldly-wise manager of the manicure shop and Ann Brody contributes a fine character bit. Charlotte Walker, in a sob role, plays delicately and surely, and the others all keep in the picture and contribute to the general effect. The story moves smoothly from one development to the other, never very fast, but never draggy, and gains increasing interest almost to the close, with a strong laugh for the fadeout instead of the usual clinch. “The Manicure Girl” is much better entertainment than it sounds. It is not a great play, but it is thoroughly entertaining. Cast Maria Alaretti Bebe Daniels Antonio I.uoa Edmund Burns Flora Dorothy Camming James Morgan Hale Hamilton Mrs. Morgan Charlotte Walker Mother Luca inn Brody Mrs. AA'ainwright Marie Shot well Story l>> Frederic and Fanny Hatton. Directed by Frank Tuttle. Length. 5,959 feet. Story Maria Maretti, apprentice in a beauty parlor in a fashionable hotel, wins the interest of the floor manager who puts her into manicure work. Maria is not particularly interested in the men, for she is in love with Antonio Luca. They are saving up to buy a home and get married but Maria is not wholly blinded to the good points of James Morgan, a wealthy guest who is liberal with his tips. He sends her some flowers and also ten dollars for theatre tickets, since she will not accept his invitation. Tony insists that she return the ten, but she does not do so. Tony takes her to the theatre, where they sit in the top gallery. When they come out the frugal Tony refuses to hire a taxi, even to save a new hat, and while he is chasing his wind-blown hat Morgan sees her and offers to take her home. They stop at a suppei club and when she gets home there is a row with Tony. She finds consolation in Morgan's attentions, but is shocked to learn that he is married. She reunites him with his wife and herself regains the pennitent Tony. “The Verdict ” Truart Offers Exciting Murder Mystery Melodrama With Unusual Cast of Box-office Favorites Reviewed by C. S. Sewell With an unusual cast comprised almost entirely of players whose names have boxoffice value, Phil Goldstone is offering “The Verdict,” a murder-mystery melodrama which is being distributed on the independent market by by Truart Film Corporation. Good suspense is worked up through the true and tried device of pointing suspicion at several different characters, but instead of following this idea to the point that the spectator is bewildered by the conflicting clues, the law is shown as concentrating on the hero who is convicted and sentenced to death. This gives opportunity for scenes which are somewhat morbid but undeniably forceful and melodramatic as the hero awaiting his doom sees others going to their death. A second trial brings out the facts and reveals the real murderer who confesses to save the heroine who has taken the guilt on herself. There is good human interest developed in the pretty little romance between the suspected murderer and the little girl who is the innocent cause of the murder and altogether J. S. Natteford has a story that is good melodrama and holds the interest tensely and is smoothly developed. The observant spectator will detect the use of a number of familiar theatrical tricks to keep up the suspense, but they have been effectively employed and add to the tenseness of the situations. Fred Windermere have given the picture satisfactory direction. With such a cast it is but natural that the work of the players is high-class and all that the audience can desire. From a production standpoint, while the sets are not elaborate they are entirely adequate. The title, and the cast gives fine opportunities for exploitation and the story should hold the majority of spectators and if properly handled “The Verdict” should prove a good box-office attraction for the average house. Cast Victor Ronsard Lou Tellegen His Father Josef Swickard His Wife Mary Astor Carol Louise Lorraine Jimmie ................ . AA illiam Collier, Jr. District Attorney Gaston Glass Convict AA alter Long Lawver Hllliott Dexter Judge George Fawcett Detective Stanton Heck Butler Paul AA eigel A'alet Taylor Holmes Warden Charles Clary Story by J. S. Aatteford. Directed by Fred AA'indemere. Length. 6.150 feet. Story Carol employed In the Ronsard establishment is in love with Jimmie, the bookkeeper and resents the attentions of his emplover A’ietor Ronsard. AA'hen she leaves to marry Jimmy, A’ietor informs her that Jimmie’s accounts are sh»rt and he has been arrested. Carol believes this is a frameup and on A’ictor’s promise to give her the incriminating paper* Carol goes to A_ictor's apartment. A'ictor’s wife returns, The butler calls A'ietor to the door, a shot is heard and A’ietor is killed. Suspicion is built up pointing to Carol. Mrs. Ronsard, A’ictor's valet, a former jail-bird and to Jimmie who escaped from jail and was seen running awav, pistol in hand. Jimmie is convicted but his lawyer gets a new trial because of new evidence. This time, Carol says she is the murderer. The butler, confesses and Jimmie is restored to Carol.