The Moving picture world (November 1920)

November 6, 1920 MOVING PICTURE WORLD 111 means something is different from the garden variety. Uniformly good work is done by Miss Allison's supporting cast. Wallace MacDonald as Gerry Rhinelander West, her sweetheart, is thoroughly capable, and John Elliott, Winifred Greenwood, Emanuel Turner, Ruth Stonehouse and Lester Cuneo furnish the best kind of a background for the two principals. The special art interiors by Sidney Ullman, which show Greenwich Village very much as it is, even to the impassioned poet and the prizefighter who thinks all women "fall" for him, are particularly interesting. In spite of the price of print paper we rise to remark again that it's a thoroughly enjoyable story. Cast Theodore Hayden May Allison Gerry Rhinelander West. .Wallace MacDonald Uncle Chandler John Elliott Mrs. Hayden Winifred Greenwood "Gunboat" Dorgan Emanuel Turner Ruby Joyce Ruth Stonehouse Raoul Uhlan. Lester Cuneo From the story, "The Waffle Iron," by Arthur Stringer Scenar»o by A. P. Younger Directed by Philip E. Rosen Length, Six Reels The Story Theodore Lorillard Hayden — called "Teddy" for short — fulfills expectations when she grows up into a girl hard to manage. She has a will of her own, and when her boy sweetheart kisses her she slaps his face. At the age of eighteen all she thinks of is freedom and fun. She motors in a racing car and aeroplanes until her mother, on the verge of a nervous breakdown, starts off with Teddy for the Adirondacks. Teddy gives her the slip and begins adventuring in Greenwich Village. In "The Pirates' Den" she meets bobbed hair and "souls," and the experience fascinates her. She strikes an acquaintance with Ruby Joyce, a regular villager whose affinity is "Gunboat" Dorgan, a pugilist, fits up a studio and begins turning out "masterpieces" with the brush at the rate of a dozen or so a week. Quite by chance Teddy meets Raoul Uhlan, a portrait painter, and he, like all other men, is interested in her. While pretending to teach her how to paint, he kisses her. She drives him out of her studio in a fury, believing all men alike and quite forgetting her modest, clean-minded sweetheart, Gerry Rhinelander West. Uhlan returns full of confidence and is beaten by the pugilist, who, misunderstanding Teddy's gratitude, kisses her. Again she rails against men. Uhlan, knowing her people are well off, brings suit for damages suffered at the hands of Dorgan. Meanwhile Dorgan borrows Teddy's auto and runs into a flivver. The owner of the flivver takes the number of the offending car and sues Teddy. Ruby Joyce, Dorgan's "affinity," believes he has "shaken" her for Teddy and sues her for alienation of affections. In short, Teddy is in a pretty mess. Her relatives refuse aid but send her to her sweetheart who settles -the suits and presses his suit — at least successfully. Program and Exploitation Catchlines: She Thought That All Men Were Alike Because They All Tried to Kiss Her. Story About a Rollicking Tomboyish Girl. May Allison in an Adaptation of "The Waffle Iron." Exploitation Angles: Play up on the title even above the star, for the title will lend itself to a variety of novelty advertising stunts. Get the title fixed and then use Miss Allison for a second charge. If you have sold the title, her name will make them realize that the vehicle is just the thing for her. Give a brief sketch of the story in your ads, but hold mostly to the title. Play up the kiss angle to the younger folks. "Mad Love" A Victor Kremer Production Featuring Beautiful Lina Cavalieri Reviewed by Louis Reeves Harrison. A French story of a woman's mad in fatuation by Jean Rameau, the highest values of this Victor Kremer production, are those of the operatic star's grace of movement and charm of personality and artistic treatment, especially in beautiful backgrounds and settings. This treatment is so emphasized in a succession of picuresque exteriors and elaborate interiors that the story seems made of the fantastically insubstantial dream-stuff of pure romance. Had Cavalieri been a little less operatic in her studied poises and poses, "Mad Love" might have gained by a charm of naturalness, such as is shown by the other characters. It is a case of the support being more convincing than the star, because she permits her method of expressing her sense of beauty to become that of obvious effort. Aside from lovely Lina's moments of painful self-consciousness, "Mad Love" is an enchantment of beauty. On this account, as well as the general sincerity of purpose in story and treatment, the Victor Kremer production may be classed as good entertainment. Oast Genevieve De Miralez Lina Cavalieri Benedict Lucien Muratore The Story. "Mad Love" is unknown to Benedict when he is expelled from a Trappist Monastery in France, because he has taken an interest in Genevieve de Miralez. Her love for him is so pure that she secures him employment on her mother's estate and seeks to advance him by asking her youthful aunt, Rosa, to secure a position for him as private secretary to her invalid husband. Rose consents and it thus happens that she and Benedict are thrown into a dangerous intimacy. Half in fun, to try the young man out, and half in earnest, Rosa makes love to the young private secretary, though aware that he has given his heart to her niece. Benedict is deeply embarrassed because Rosa's niece is his fiancee and her husband his friend. The young man is placed in a position of perpetual torment until his grandfather dies and leaves him a handsome estate of his own in the French Riviera. He invites his invalid employer and Rosa to accompany him to the formality of taking possession of his new property. He also writes loyalty to Genevieve, but these letters are intercepted by infatuated Rosa. A crisis arrives when Genevieve and her mother come to the scene unexpectedly. Rosa seeks to revenge herself by appearing in disordered attire and her hair down in Benedict's rooms. Genevieve is hearthroken. Tragic result of this folly is the jealousy of Rosa's husband, who shoots her and kills himself. She recovers from the wound of her outraged husband's shot, and realizes that she must make amends. Genevieve is about to enter a convent when Rosa goes to her and confesses that she alone is guilty. She brings the loving young people together and leaves, chastened in spirit and deeply saddened by the consequences of her "Mad Love." Program and Exploitation Catchlines: A French Story About a Woman's Mad Infatuation. Line Cavalieri in a French Love Drama. A Jean Rameau Story. Exploitation Angles: Offer this as a French novelty with Cavalieri. It may be necessary to remind your patrons that the star was formerly with the Metropolitan Opera Company and was known as the most beautiful woman on the French stage. Make your audiences appreciate the novelty of the offering and stress the French origin. "Food for Scandal" Realart's Filmization of Paul Kester's Play a Picture of Rare Delight Reviewed by J. M. Shellman A picture of rare delight is Realart's screen adaptation of Paul Kester's play "Beverly's Balance," which has been appropriately renamed "Food for Scandal " One of its principal attractions lies in the brilliant yet subtle flashes of humor that unexpectedly pop out at you throughout the production. The observer is carried from one situation to another, his interest ever increasing, the sub-conscious feeling that tragedy is pending serving to heighten expectation. This tragedy never develops. The Work of Miss Hawley Harrison, Fred Terry, Lester Cuneo and James Cruz, is of the best sort, and Ethel Gary finished acting is contributed by every other member of the cast. James Cruze has done a piece of convincing direction in this play. You are intrigued into believing you are looking out of a window at the actors by the excellent photography, and the night scenes are particularly effective. The sets are tasteful and in keeping with the play; the continuity runs smoothly and evenly and the sub-titles are clear and concise. New effects in art-title work are worked out and constitute another outstanding feaure. They give the play even greater entertainment value. As a box office attraction this picture should be a winner. Cast Sylvia Figueroa Wanda Hawley Watt Dinwiddie Harrison Ford Nancy Horner Ethel Grey Terry Jack Horner Lester Cuneo Senora Maria Serra Margaret McWade Paola Minnie Provost Count Tizapitti Juna de la Cruz Padre Sidney Bracey Story by Paul Kester. Scenario by Edith Kennedy Directed by James Cruze. Length, Five Reels. The Story Sylvia Figueroa is the daughter of an American heiress and a Spanish cattle baron. Her parents are dead when the story opens and the ranch where she lives with her old aunt is falling into decay, the fortune of the Figueroa having been spent. Sylvia loves Watt Dinwiddie, a struggling young lawyer who has gone to San Francisco to establish a practice. After Watt's departure Sylvia hears from him irregularly and then not at all. So she is dumfounded to hear the Padre, upon his return from a visit to the city, tell her aunt that Watt is making a great success of his law practice. Sylvia resolves to go to the city herself and earn her living as a choir singer. After weeks of vain search for a position, Sylvia is forced to accept a place in the chorus of the "Vanities." She makes a great hit. A few days later she awakes to find "Maybelle Flowers," which is her stage name, heralded in the papers as "The Kissing Girl." "The Vanities" has phenomenal box office receipts that night, but at the close of the performance Sylvia gives up the position that is so distasteful to her. Watt has a wealthy friend named Jack Horner, who is short on family. His wife has asked him to get her a divorce and let her marry a nobleman. Sylvia pretends to be a co-respondent for a fixed sum, when she finds out that Watt is really "on his upper" and Horner asks her to help him get the divorce. The complications that follows convince Hoerner's wife that her present husband is better than a dozen nobleman and Watt learns the cause of Sylvia's scandalous conduct. Program and Exploitation Catchlines: Would You Accept the Position as Paid Co-Respondent in a Divorce Case If the Man You Loved Objected? See "Food for Scandal." A Fascinating Comedy with a Dash of the Dramatic, Seasoned with Pep, Ginger and Punch. How Did Watt Dinwiddie Get His First Client? Well, She Wasn't a Vamp, But She Helped and He Didn't Know It. "Food for Scandal" Explains It All. Full of Breezy Humor That Will Waft You Through Seventy-Five Minutes of Delightful Enjoyment. Exploitation Angles: Play up Miss Hawley and tell the fact that this is Paul Kester's play. You can also do much with the new title, for it can be twisted in a variety of ways.