Moving Picture World (Nov-Dec 1927)

December 17, 1927 MOVING PICTURE WORLD 25 London After Midnight Lon Chaney, with Henry B. Walthall, and Good Cast, Hit High Level in Thrilling Murder Mystery Plot Metro-Goldwyn-Mayer Presents Lon Chaney in “London After Midnight” Story and Direction by Tod Browning THE CAST: Burke Lon Chaney Licille Balfour..— Marceline Day Sir James Hamlin Henry B. Walthall Arthur Hibbs Conrad Nagel Miss Smithson Polly Moran Bat Girl , Edna Tichenor Length, 5,687 feet Burke is a Scotland Yard detective who uses hypnotism t at help unravel crime. In the Roger Balfour murder, Burke succeeds in fastening the crime on Sir James Hamlin, by using hypnotism, five years after the crime has been committed. Sir James is in love with the young ward of his friend, Balfour. During the unraveling of the plot, everybody falls under suspicion, possibly with the exception of the guilty man. THERE are moments during the onward sweep of this Metro-Goldwyn-Mayer offering when one feels that the essentials that make for mystery and creepiness have been carried a bit further than we have hitherto noted. Frankly, no one can possibly suspect in the beginning that Tod Browning, clever both as an author and director, would disclose Lon Chaney as one of the cleverest of New Scotland Yard operatives. Yet this is the denouement, and the elements of mystery are cleverly explained away in the last few feet of the film. Hypnotism enters into the plot. Mr. Chaney’s role of a detective shows him, finally, as dabbling in hypnotism five years after a murder has been committed, in order to work out a logical solution and apprehend the murderer. Mr. Chaney’s excellent work is materially aided by that grand master of screen acting, Mr. Walthall, who is uncovered at the end as the murderer of Roger Balfour. Mr. Nagle remains in the picture from first to last, with Marceline Day, a charming girl, daughter of the murdered man, interested in apprehending the murderer. Polly Moran furnishes the comedy. Mr. Browning’s direction is good. “London After Midnight” should be an All-Day Box-Office Draw. — HAST. French Dressing Spirited, Sophisticated Comedy Drama Brilliantly Presented By Fine Quartette ; Direction By Dwan T EAVE the kiddies at home, and give the grown-ups an opportunity to enjoy this well-constructed picturization of a cross-section of American domestic life worked out in the shadows of the Paris divorce courts. A French gentleman and an American husband meet, but no shots are fired. No blood is spilled. It is the new day, and a sort of arbitration is resorted to, with splendid success. “French Dressing" is a comedy drama, and should not be confused with French farce or the heavier sophistication of many of the best “French stories.” From the boxoffice window angle, this should be a profitable booking, if properly advertised and exploited. Mr. Warner makes his role wholly human, and meets every requirement of the story’s twists with a fine artistry. The role is a very difficult one, as may be imagined. Miss Wilson’s opportunity seems to be always present, for she changes from the quiet, shrinking Boston wife to the effervescent American girl “doing” Paris, rising to each succeeding mood or fancy with a charm and verve one must admire. Miss Wilson’s transition from quiet gowns and long hair to a modish bob and those new French “creations” will enthuse your women patrons — and the men, too. Mr. Brook is the French gentleman, with much money, eager to entertain the charming young American friend of the dashing Mrs. Nash, and one always expects him to give an excellent account of himself. In this instance, Mr. Brook does not disappoint. Miss Tashman adds the paprika to the plot, and her stock in these roles soars to a new high level. Her Mrs. Nash is a gem of acting. “French Dressing” Will Put the Paprika into Your Show. — HAST. Robert Kane Presents “French Dressing” Story by Adelaide Heilbron Directed by Allan Dwan A First National Picture THE CAST: Phillip Grey H. B. Warner Cynthia Grey Lois Wilson Henri de Briac. Clive Brook Peggy Nash Lilyan Tashman Length 6,344 Feet Phillip and Cynthia Grey are a wealthy, prosaic Boston couple. The hotels being crowded, Mrs. Nash is taken in by her former girl chum, and during the night the latter, with Phillip, raid the ice-box of chicken and wine. Cynthia awakens, and reaches the kitchen just in time to see her husband kiss Peggy. Cynthia hurries to Paris for a divorce. But she loves Phillip. Peggy doesn’t ! The latter joins Cynthia, and together they “plot” to win back the husband. Cynthia is won back by Phillip. Mrs. Nash, the Reno divorcee, captures Henri. Honeymoon Hate Florence Vidor Pleases In a Light Comedy In Which Personality Counts More Than Plot Adolph Zukor and Jesse L. Lasky Present Florence Vidor in “Honeymoon Hate” Story by Alice M. Williamson Directed by Luther Reed A Paramount Picture THE CAST: Gail Grant Florence Vidor Prince Dantarini Tullio Carminati Banning Green William Austin Miss Molesey Effie Ellsler Bueno Genaro Spagnoli Length, 5,415 Feet Gail Grant, daughter of a Pittsburgh multi-millionaire, marries Prince Dantarini, an Italian nobleman who is retailing the contents of his palace as an aftermath of the war. There is a clash of wills in which Gail seeks to dominate through arousing his jealousy, but Dantanari wins — at least for the time being. QEEKING to disarm criticism, the author of “Honeymoon Hate” deliberately makes a copy of “Taming of the Shrew” one of the plot-properties of her story, which follows the Shakesperean pattern very closely. Prince Dantarini, in reduced circumstances, following the war, tames the daughter of a Pittsburgh steel man. The plot is laid very thin, and there is comparatively little suspense, but Miss Vidor carries it through to mild success through the sheer force of her personality, aided not a little by some admirably restrained comedy contributed by Effie Ellsler, and humor of a broader type offered by William Austin as the silly-ass suitor for the hand of the heiress. Neither, however, is permitted to trespass upon the precincts of the star, and Miss Vidor carries the bulk of the work, and very competently does she accomplish this. Her costumes are unusually beautiful, and the photographer has done his best by her. The entire plot of the story is comprehended in one of the sub-titles in which a minor character explains that Dantar ini’s ancestors used to import tigers for the pleasure of taming them. It is a farce of the clash of wills in which the man wins, though there is the feeling that the taming has not been permanently made. With the scenes laid chiefly in Venice, effective use is made of the canals and very beautiful interiors compete with the artificial exteriors. “Honeymoon Hate” is good entertainment, but no triumph. — SARG.