The Moving picture world (January 1920-February 1920)

472 THE MOVING PICTURE WORLD January 17, 1920 band of cowboys in an effort to capture Wang-. The number is full o£ lively action. "A LADY'S TAILOR" (Sennett-Paramount). The popularity of Mack Sennett farces will be enhanced by "A Lady's Tailor," though it is a departure from the customary thing in some respects, an artistic departure in Its way during the opening scenes. Ford Sterling gives a Fashion Revue to a small and delighted audience, in which he deftly wraps and unwraps some ladies of symmetrical outlines. When the unwrapping promises startling disclosures there is much craning of necks and excitement among the male spectators at the Revue. Some of these effects are the same on those who watch the presentation of the farce. Thereafter is the usual mixup of jealous wives and husbands with an athletic mother-in-law in lively evidence. FOX NEWS, NO. 21. — This Interesting number presents a diversified collection of topics in pictorial form. The opening feature shows devastating floods in southern towns and Red Cross relief work. On the trail of Carlisle, the train robber, is also a good subject and there are many others. MUTT AND JEFF'S NOOZE WEEKLY (Fox). — Here is a laughable animated subject, featuring Mutt and Jeff in the act of projecting a burlesque news pictorial. They also appear in the various scenes. The unveiling of a statue, and the fight with the India Rubber Kid are typically amusing. THE GANGSTER'S VENGEANCE (Universal), Instalment No. 14 of "The Midnight Man." — A characteristic chapter of this melodramatic serial. Nell and Jim escape from the house in which they were captives by way of the roof. Later they plunge in an automobile into an excavation, and the final events take place in a packing house, where Jim is suspended at the close over a blazing furnace. The name and products of the Cudahy Packing Company appear quite prominently at times in this number. WHIRLED TO DESTRUCTION (Universal), Chapter 15 of "The Midnight Man." — Some special mechanical devices contribute a number of genuine melodramatic thrills to this instalment. Jim is saved by Nell from the burning pit, only to be trapped later in a small cage, with descending spears threatening his life. Later he takes a dizzying ride on an electric fly wheel. This and other recent numbers have held up the interest in the serial very well. HURLED FROM THE HEIGHTS (Universal), Chapter 16 of "The Midnight Man." — This sees the further efforts of John Gilmore and Morgan to get the mystery ring away from Jim. The latter plays the part of a lighthouse helper on Luna Point, which makes a picturesque setting for the stirring action. Jim is hurled from the lighthouse tower at the close. THE CAVE OF DESTRUCTION (Universal), Chapter No. 17 of "The Midnight Man." — This takes an unusually interesting turn, picturing the opening of the mysterious ring, which discloses where the secret wealth is hidden. John Gilmore and another lose their lives when opening the steel door at th cave's mouth. Jim and Nell enter the cave only to find themselves in danger from a fire and explosion. TOUGH LUCK, (Rolin-Pathe). — A comic number, featuring "Snub" Pollard and a large cast. This gets a good running start and the action continues without abatement till the end. The idea is a funny one; Snub and his girl break a mirror, walk under a ladder, a black cat crosses their path, and they meet a cross eyed man. Some amusing misadventures follow. THE STRIKE OF A RATTLER, (Tempest Cody Series).— A strong two-reel Western, in which Tempest Cody decides suddenly to purchase a beautiful ranch property. She is badly swindled by "The Rattler" and his friends. The real owner appears, after the alleged sale and helps Tempest recover the money. This has a unique plot and contains splendid scenic effects. SHE'S EVERYWHERE, (Universal) .—A two-reel number of The Stage Woman's War Relief series. Montague Love and Enid Markey play the leading roles. The plot is a clever one, and concerns a nervous business man who is pursued by what he thinks are visions of the same girl In many places. The latter turns out to be an authoress who changes jobs frequently In order to get literary material. The number is a very entertaining one. THE BETRAYAL (Pathe). — Chapter 7 of "The Black Secret." This serial continues to make unusual claims upon the interest. One of the best features Is the complex character of Vaux, who turns some new tricks in this Instalment. The number closes with Evelyn and McKay arriving at the forest of Les Errues by the use of an aeroplane and parachutes. The illusion is good and they meet a warm reception behind the German lines. THE ROPE OF DEATH, (Universal). — Episode No. 2 of "The Lion Man." Kathleen O'Connell, who plays the heroine, begins getting into her best stride in this number, which is a very good one for serial purposes. The events of the number, which are full of exciting action. Stella dresses in boys' clothes in order to turn some interesting tricks on the conspirators. THE KIDNAPPERS, (Universal). — Episode No. 3 of "The Lion Man." This gets into full swing and makes a strong serial instalment. It pictures the coming of Stella to a Western town, where she meets Jack Westcott, who has been slated to be killed by Enright and his gung. The two have many adventures in this number, which includes many riding and fighting scenes of a stirring sort, and some splendid scenic effects. Additional Film Reviews Reprinted from Bulletins THE MYSTERY OF THE YELLOW ROOM (Realart). — An Emile Chautard feature produced by Mayflower and derived from a widely-read mystery novel by Gaston Leroux. This Interesting detective story has an unexpected ending. It is visualized capably. The mystery relates to a murderous attack on a girl in the Yellow Room. Her cries call her father to the only door locked on her side. When he finally breaks in and finds her nearly dead her assailant has escaped, though the only window is heavily barred and there are no exits. A good attraction and calculated to hold the spectator's attention closely. — HARRISON. MAKING GOOD WITH MOTHER (Lawrence Grossmith). — A short and amusing comedy of the Grossmith type, with the lead in the role of a stupid, good-natured and wealthy young man on a weed-end visit to the family of his finance. He Is popular in spite of his absent-mindedness and mishaps, but he gets into a predicament by retiring early in the wrong bedroom, that of a young society vamp. The story follows the negligee idea now in vogue in Broadway stage comedies. — HARRISON. BULLIN' THE BULLSHEVIKI (Eff and Eff). — There is every evidence that no expense has been spared in the making of the four-part burlesque, "Bullln' the BuUsheviki." Frank P. Donovan has written and directed the production; and while he has made a commendable effort to convert his theme into an amusing burlesque, he occasionally fails to arrive at the intended comedy. Marguerite Clayton is the featured member of the cast She appears on the scene in the town of Killemoff wearing a suave smile but hiding a ferocious determination to steal from Troitsky certain important papers. The average audience would find many things in this production highly amuslnsr. — MacDONALD. PRETZEL FARMING (Fox). — A Mutt and Jeff Animated, depicting one of Bud Fisher's whimsical ideas. The two raise pretzel bushes, which are Irrigated with 2.76 per cent, beer and produce enormous crops. This is very funny. — McELRAVY. THE ARIZONA CAT CLAW (World). — A five-reel western story of the cattle country, featuring Edythe Sterling, Leo Maloney, William Quinn and others. Cattle stealing is one feature of the production, which is not very strong in continuity, but contains some entertaining melodraatic moments. The number resembles a serial In construction and its chief strength is found in various entertaining stunts and some unusually good scenic effects. A touch of heart interest is woven into the number by the betrayal of a girl named Amelia Young by a mining engineer. The latter is forced to marry the girl at the point of a gun. The production as a whole is one of average strength. — McELRAVY. THE WOLF PACK (Pathe). — October 19. —Episode No. 12 of "The Great Gamble." This shows more of Nell's adventures in passing herself off as Aline and then pictures the trials of Aline and Ralph. — McELRAVY. THE HEART OF THE JUNGLE (Paul J. Rainey). — For real thrills this one-reel picture of big game hunting in Africa beats the best melodrama. A lion hunt with the king of beasts shot within twelve feet of the camera is the final stunt. — WEITZEL. THE BROKEN BUTTERFLY (Robertson-Cole).— A Maurice Tourneur production featuring Lew Cody, with Pauline Stark in the feminine lead. The picture Is excessively beautiful as regards settings, photography and the individual work of some members of the cast, including Pauline Stark and Mary Alden. Lew Cody is not well suited to the role of the composer in love with the simple country gIrL The character is a poorly balanced one, and Is therefore a thankless one to play. — MacDONALD. THE MOONSHINE TRAIL (Pathe). — A six-part production by J. Stuart Blackton and Stanley Olmsted. Sylvia Bremer and Robert Gordon head a large cast, many of whom play interesting character roles. The story deals throughout with the havoc wrought by strong drink on the human family. The first pictures are taken in the Kentucky mountains, showing the destruction of a still and the death of the father and the two sons operating It. The mother and daughter of the still owner then come to New York, and drink plays a strong part in the latter's love affair. The production as a whole abounds In powerful scenes of a compelling, though frequently unpleasant nature, softened by the infiuence of love and occasional touches of real humor. It grips the Interest well and has a certain timeliness that is not to be overlooked. — McELRAVY. THE STREAM OF LIFE (Plymouth).— "The Stream of Life" is a religious conception carefully thought out and well made. It has a powerful appeal for the average spectator, for the reason that its play is principally on the emotiona! side. It tells the story of man from his childhood to his death, showing him first in the simple country life under the Influence of an Ideal mother. When he reaches the ag of manhood, he longs to better himself, an<J begs to be allowed to go to the city, where he becomes in time a successful business man with a wife and child. The mother, left alone on the farm by the death of her husband, comes to visit them. During the period of the visit, the son's child dies. Through this incident both the son, who has long been estranged from the church, and also his wife, renounce the gay life to which they have been accustomed and spend the remainder of their lives in trying to make others happy. — MacDONALD.