Moving Picture World (Nov-Dec 1927)

December 31, 1927 MOVING PICTURE WORLD 3i Chicago Phyllis Haver Fires a Shot That Rings Around the Country’s Box-Offices THAT TRIAL by jury is the “berries,” when the life of a blond is at stake, is aptly illustrated by Phyllis Haver whose performance in “Chicago” will have to be reckoned with when the best of the year is compiled. As Roxy Hart, seductive innocent-eyed hoyden, whose trigger finger was quicker than her sense of remorse, Miss Haver had a job cut out for her in which histrionic acrobatics of the widest range test her powers. This test she meets with superb facility, flying from the trapeze of. one emotion to the swinging bars of another, here resting in the security of her devastating pulchritude, there veering sharply aloft to a tempo of hysteria— and, oh, well, it’s just a circus! Pathe Exchanges, Inc., Presents “Chicago” With Phyllis Haver and Victor Varconi From the Stage Play by Maurine Watkins Directed by Frank Urson THE CAST: Roxy Hart Phylis Haver Amos Hart Victor Varconi Roxy’s Lawyer Robert Edeson District Attorney Warner Richmond Roxy Hart kills the man with whom she has been having an affair, but is staunchly defended by her husband, who tries to take the blame for the crime. In jail, she is more interested in the publicity she is getting than in sentiments of remorse. Her husband, in order to raise sufficient funds for defense, steals. In court, a grand farce is enacted, in which justice is sold down the river to pulchritude, publicity and ballyhoo. Roxy is acquitted, to face the world alone, minus the warm glow of the limelight. A circus! But, oh, what a gorgeous parade for teasing the well known movie fan’s susceptibilities. Broad banter and sly digs chase each other all over the arena in showing up the petty foibles of modern institutions. Those who have seen the stage play, “Chicago” need no selling talk on the corking “theatre” with which this theme abounds. To others, let it be said, now, that it was the most penetrating, albeit jolly, satire on the superflapper’s relation to the American scene that has come across the boards in some time. Picture the additional opportunities that the camera generally affords, the chance for broader perspective in settings and in the antecedent history of the characters, and you have an idea of just how much the effects of the original have been enhanced. But all this is still dealing in generalities. To take one specific instance, there is a court scene in which the fair heroine faces “twelve good men and true,” men presumably eager to see justice done, but who steer the torturous course of law guided by the witchery in the baby stare and voluptuous figure of the defendant. We see a cool keen-minded lawyer, expert in calculating the effects of feminine lure on the minds of poor besodden man, whispering instructions to his client, like a prompter in a show giving cues to members of a cast. This scene is “punched” home for a knock-out — nothing like it in films for months. Phyllis Haver, with the help of Robert Edeson as her attorney, makes this cry “Uncle, Enough,” and what have you. Of course, the whole picture isn’t ot a piece with this pulverizing burlesque. If it were it would be priceless. There are twists, in which deadly seriousness seems the object of the story. These digressions prove distracting and give the good parts a burden of over-ripe melodrama to carry along. There are enough of the good, however, to effectually put the real nonsense on the paying side of the ledger. Frank Urson, the director, has done a painstaking, laudable job in the sequences adhering to the original play. Robert Edeson had little trouble adding the necessary masculine pungency as a foil to the star’s vivaciousness and pathos. Victor Varconi in the sympathetic role of the much abused but faithful husband, elicits deep commiseration. Touches of reporters’ tactics, high life behind the bars of a jail, murderesses and husband-poisoners competing for publicity honors, and other satirical embellishments, tend to add drollery and humor to the piece. “Chicago” should enjoy a following among all cities of America, great or small. — MIKE. Short Feature Reviews Sword Points Educational — Two Reels IUPINO LANE has tossed off a -* pippin in two stanzas, a box-office clean up, one that at moments burlesques Doug Fairbanks at his briskest and incorporating laugh making sequences until one marvels at the elasticity of the two-reeler. Set against a background of sixteenth century environment in France, Lupino Lane gets away to a typical Lupino Lane start with an early rush that does much to speed up the narrative and keep the action at high speed throughout. As an unfortunate soldier of fortune, Lupino brandishes a sword (a trick sword) with all the flair of the niftiest of the four Musketeers, and when “cornered” in the onrushes he exceeds the wildest expectations by the suddenness of his novel disappearances. The role of the Viscount DeBrey is played by Wallace Lupino, and, as may be anticipated, the brothers have “their moments” when spills and drops and varied forms of acrobatics take the place of chases. Briefly, the plot narrates the attempt of anti-royalists to intercept a message in the possession of the king’s messenger, who arrives at the inn. Lupino, obliged to work for his grub, has been sent into the wine cellar by the inn-keeper, and the star’s efforts to draw six tankards of wine results in the demolition of many large casks, and our hero is soon plunging about in the cellar waistdeen in red port (maybe). Back on the inn floor again, the villains fall on the King’s messenger, and Lupino, who has discovered a diagram disclosing various wall panels that open and snap shut escapes. In the midst of many rough ups and downs, Lupino Lane hands “the papers” to the king’s messenger, only to be told that the papers he had fought for were copies of originals safely in the messenger’s care all the time — and the girl is the messenger’s wife. One sword-fighting sequence is unique. Book this by all means. There It Is Educational — Two Reels THIS is the first of the Charley Bowers comedies to be made under the roof of Educational’s West Coast studio, and leaves nothing to be desired in the way of novelty and sure-fire laugh stuff. The novel features are concealed by “the Bowers process” (which we do not attempt to place under the inquisitorial microscope— anyway, let your patrons marvel, as we did!). Bowers, who is featured, has Kathryn McGuire for his leading lady, and Kathryn is both beautiful and talented. Buster Rrodie, Melbourne McDowell and Edgar Blue are in the supporting cast. At some time in the presentation you discover that the house in which so many funny things happen is a sanitarium where insane people are harbored. The Fuzz-Faced Phantom is an oddity from any angle you view it. It is “It” of the title, and moves, creeps, flits or passes on wheels, carts or what-not at crucial moments and the effort of the Scotland Yard detective (Bowers) to fathom the mystery is nullified every time “It” appears. As Charley Mac Neesha, of Scotland Yard, Bowers does his stuff in kilties, and with his matchbox novelty, “MacGregor” (which may be anything from a mechanical toy to any one of a dozen deceptions in trick photography — again we leave it to you to decide for yourself!), Bowers gets many laughs. The bag-pipes that get up and walk out of the picture ; the FuzzFaced Phantom ; the trick wall panels; “MacGregor,’’ novelty of story and excellent acting throughout combine to give showmen a tworeeler that meet every advance promise made by the organization headed by Mr. E. W. Hammons. H. L. Muller has directed and photographed this rare treat, and is entitled to every bit of praise accorded a di rector who has “made good.” The reviewer, whose work, after all, is merely advisory, advises you to book this gem. Fashions in Color Educational — One Reel ’ I 'H I S McCall Colour Fashion News item will entrance your women patrons, beyond the shadow of a doubt. Hope Hampton, who wears the most expensive creations in a charming way, displays twenty of the most modish gowns, wraps, coats and undies (and hats, of course) from world famous modistes. Represented in this list we find Paul Poiret, Boue Soeurs, Lanvin, Lelong, Redfern, Jean Patou, Drecoll, Jenny, Baboni, Charlotte, Martial et Armand and Philippe et Gaston. The color work is very well done, and Miss Hampton is in excellent spirits for her brief appearances before the camera. Felix the^Cat Educational — One Reel FELIX the Cat in “Behind the Front,” takes Felix right up to the front lines trenches, where he pals with the boys, and executes some novel twists, such as using sausages in a machine gun to rout the enemy, and a solo raid on the enemy’s food stores to relieve his suffering comrades. Pat Sullivan maintains his high level of attractiveness in this cartoon.