Moving Picture World (Nov-Dec 1927)

lovember 5, 1927 MOVING PICTURE WORLD 23 Cocktail of Temperament” Fine in “Forbidden Woman” “The Forbidden Woman” Pathe Photodrama Shown at “Paramount” Has All Requisites for Popular Appeal a PICTURE for intelligent audiences which F* contains the requisite for sure-fire popuar approval as well, this one appears to be a good bet for any type of house. It is brimful of the sort of suspense which basts only where incessant danger threatens :he leading characters. There is a pronounced ! dement of mystery. A tale of burning passion is poetically told in actionfull sequences, and there is a resonant note of brother-love to add :o the cumulative thrill. Jetta Goudal, excellent actress, is the “heavy” and the only important feminine character. Depite the fact that she is a spy and the ;ause of the misunderstanding between the jprothers which almost costs the life of one and ruins that of the other, there is a certain sympathy built about the character. And seldom has the exotic star been better cast than in this mystery woman role. Director Stein has succeeded in holding his big scenes well in hand, so that each comes with a mighty rush. And the climax holds a surprise as well as a final dramatic thrill. Victor Varconi and Joseph Schildkraut share honors as the brothers — one the husband, the other the lover of Jetta Goudal, “The Forbidden Woman.” With these “Itfull” players in the predominating roles, it is not difficult to visualize the power of the love triangle which the story creates. There are several especially effective sequences filmed against the beautiful backgrounds of moonlit sea and desert. The continuity is smooth; the photography fine. The title and the star names in the cast offer exploitation possibilities aplenty, and the publicity accorded the recent warfare between France and the Riffian tribesmen presents an attractive angle. An interesting arousing idea would be to ask in ads whether the audience considers the ending happy or unhappy. Forbidden Fruits are Sweetest and “The Forbidden Woman” Should be Box-Office Sugar. William C. DeMille Presents Jetta Goudal in “The Forbidden Woman” Story by Elmer Harris Directed by Paul L. Stein Produced by DeMille Pictures Oorp. Distributed by Pathe CAST: Zita Jetta Goudal Jean La Coste Joseph Schildkraut Colonel Gautier Victor Varconi Sheik Ivan Lebedeeff Length — 6,568 Feet Zita, a Morrocan spy. weds Gautier to obtain. French military secrets. En route to Paris to join him, she meets and loves La Coste. Subsequently the two men turn out to be brothers. La Coste spurns her, and in revenge she frames him as a traitor. At the last moment she relents and faces the firing squad in La Coste’s place. The brothers are reunited. “The Angel of Broadway” Dramatic Pathe Photoplay at “Colony” Points Moral in Strong Religious Theme William Sistrom Presents Leatrice Joy In “The Angel of Broadway” With Victor Varconi, May Robson and Clarence Burton Story by Lenore J. Coffee Directed by Lois Weber Produced by DeMille Pictures Corp. Distributed by Pathe CAST: Babe Scott.. Leatrice Joy Jerry Wilson Victor Varconi Big Bertha May Robson Goldie Alice Lake Gertie Elsie Bartlett Lonnie Ivan Lebedeff Capt. Mary Jane Keckley Herman Clarence Burton Length — 6,574 Feet Babe Scott, a night club dancer and entertainer in New York, adopts the costume of a Salvation Army girl for an act at the club. She visits the mission., for "color” and meets Jerry Wilson, a truck driver and friend of the army captain who trails her to the night club and finds her imitating the army lassies, Jerry oasts her aside, to find her later at the bedside of Gertie, a girl of the streets, who, dying, seeks someone to pray for her. Jerry overhears the prayer, and finds his sweetheart cares more for the army land himself than for the night life. \\7 ITH a strong boost for religion, and ' " another for the Salvation Army, this one should make an especial appeal to the church element. And at the same time, there is nothing in it that seems a preachment. On the contrary there is an abundance of lively stuff, the locale shifting from Salvation Army headquarters to the “Alla Ba Ba” night club, which offers a vicarious thrill to those denied the pleasure of being greeted “Flello Sucker” in person. The moral tone is good, as the sincerity of the soul-savers is offered in contrast to the tawdry tinsel of the cabaret. The idea for the story may have emanated from sources having to do with the New York Salvation lassie who was widely publicized as Broadway’s Angel, and the yesteryear song about “Salvation Nell” who made all the sugar daddies “join the army” seems among those present. For the heroine, prior to her reclamation, paraphrases the Army’s hymn “Follow Me” in her “wow” act in the night club. Leatrice Joy attains some fine dramatic heights in her portrayal. May Robson impersonates the hostess who wants everyone to “give the little girl a big hand,” and Alice Lake is excellent as a rheumatic shimmy dancer who weds a millionaire through the discussion of their mutual ailment. Victor Varconi and Elsie Bartlett contribute creditable performances. The tragedy and pathos is relieved by comedy both in the Army chapel and the night club sequences. Tie-up with the Salvation Army on this one. And don’t overlook the doughnuts that have come to be synonomous with it. Give the women a special play on the strength of the fact that the author, the star and the director are all women — Leonore J. Coffee, Leatrice Joy and Lois Weber. There is, of course, the invitation to the night club idea. There are some strong names in the cast. And when you use them don’t omit Alice Lake, it is her comeback. Showmanship will make “The Angel of Broadway” a Box-Office Angel, Too. Leatrice Joy “Stops the Show” With Fine Display of Talent