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December 18, 1920 MOVING PICTURE WORLD 913
Newest Reviews and, Comments
John Blanchard Emmett King
Bellboy Eugene H. Klum
Story by Jean-Jose Frappa and Henry Dupuy Mazuel.
Scenario by Charles L. Bryant Directed by Ray C. Smallwood Length, Six Reels The Story.
"Billions" are not to be expected in the Russian colony of New York, but large wealth has made the New York home of Princess Triloff frequented by artists and musicians who appeal to her temperamental nature. Her deepest love, however, is for poetry, and it amounts to a passion so far as the poems of Owen Carey are concerned. She does not wish to be disillusioned by meeting him personally, but, finding that he lives in a Greenwich Village garret, she manages to help him by paying for the publication of his latest book. He sends in acknowledgment a first copy inscribed to his "Unknown Patron." Among his impecunious friends is Manners. The latter is present when the poet becomes heir to the vast fortune of his uncle Krakerfeller.
The poet decides that he will assume the name of his uncle and confer his own on Manners, making the latter his private secretary. Under the name of Krakenfeller the poet is being bored to death at a fashionable resort in southern California, when the Princess arrives and registers under an assumed name. He falls in love with her 3./ the first uncalculating woman he has met, but is chagrinned to find her giving preference to his secretary. She is bright enough to get at the truth by engaging herself to the false poet, and she thus discovers a plot to compromise the real one at a country inn, where a girl is to enter his
bedroom, force a scene and either achieve marriage or be paid a handsome some of money to avoid scandal. The Princess goes to his rescue and accomplishes It in a highly original way after securing a bedroom adjoining his own.
She unfastens the door between, and, at the critical moment, when the adventuress is screaming for help in his arms, the Princess slips in lightly clothed. When the door is broken open, the adventuress and her confederates are completely discomfited, for there is the Princess in the millionaire's bed. Even this daring sacrifice is unavailing, for the poet's fortune has been diverted to charity by a later will. He returns to his garret and his work. The Princess follows him. He loves her, but her wealth is in the way until a messenger comes to say that the Soviet has confiscated her "Billions."
Program and Exploitation Cntchlinesi A
Romantic Comedy with Nazimova in Adventurous Girlhood Role. A New Nazimova Picture Adapted from a French Drama.
Nazimova in a Story About Art. She Had Billions But He Couldn't Marry
Her Till She Got Rid of It. He Fell in Love with the Princess and
She Fell in Love with His Secretary — A
Nazimova Production About Art.
Exploitation Angles: About the best way to handle this is to frankly admit that the last two or three Nazimova pictures have not been up to standard, and then acclaim this as one atoning for the others. Give an. idea of the locale and get them interested in the scene at the inn without telling just what happens.
"To Please One Woman"
Lois Weber Production Depicts Tragic Effects of One W Oman's Selfishness. Released by Paramount Reviewed by Mary Kelly. Essentially a drama of human errors, Lois Weber's "To Please One Woman" shows how perverted womanhood brings unhappiness into the lives of many, causing the unwary to commit mistakes that result in their own ruin. The poison of this woman's selfishness infects almost everyone with whom she comes in contact. On account of her, her husband takes his life, the other man almost sacrifices the love of a good woman, a girl's heart is broken and a young boy takes a dangerous ride that results in his death. Thus, the story has rather a doleful trend, and in its introduction of the deathbed scene of the boy-hero, is unnecessarily morbid. The acting during this emotional scene, and directly after, would be more effective if more restrained, and the whole would be more balanced if a saving scene of humor had left its trace here and there.
Careful attention has been given to the settings. The selfish woman's home has been lavishly described, with magnificent exteriors and ornate interiors, bespeaking a vast outlay of expense. Her elaborate gowns aid in putting over'this effect of selfindulgence and satiety. In quiet contrast is the simplicity and homelikeness of the other
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