The Moving picture world (February 1920)

816 MOVING PICTURE WORLD February 12, 1921 Newest Reviews and Comments Conducted by EDWARD WEITZEL ,j%ssociate Sditor Sidelights and Reflections A correspondent, writing to the dramatic editor of a New York daily, takes a view of the usual attitude of writers of stage criticism that will apply quite as forcibly to the screen reviews of the daily press of the city. The person who has been thoughtful enough to send in an example of the way a play and its performance strikes the average patron of intelligence deserves a vote of thanks from the manager of the company, and it is hoped that supporters of the screen will occasionally take their pens in their hands and write letters of a similar nature to the papers that still insist upon ignoring the wishes of the public and giving unfavorable reviews of pictures that please the men and women who pay their good money for the seats they occupy. * * * The old axiom that a thorough "panning" by the New York critics meant the play would score a hit with the paying public was not always a safe guide, but it proved true often enough to account for its becoming a stock phrase. The box-office reports of the first run movie theatres here show that professional opinion is often widely at variance with the tastes of the cash customers for whom the pictures are made. The reason for the reviewers' failure to agree with the supporters of the screen is cleverly hit upon in the letter which inspired this reference to the matter. * * * After stating that he enjoyed every minute of a play that had been condemned by the dramatic writer of the paper to whom he addressed his letter, the correspondent added the following paragraph : "Now, I realize that I arrived at this play in a mood directly. opposite to that in which the experienced critic came. But, though I looked with the fresh, innocent eyes ofa yokel, I know many things about plays and acting and literary practice that yokels do not know. Your critic, however, writes as one who knows too much. He writes as one who has seen all the actors and read all the plays, and his tone is the tone of a heavy-eyed, heavy-hearted person, without illusions or hope or faith." The gist of the whole matter is in that sentence: "Your critic writes as one who knows too much." The communication closes with this paragraph : "Of course I realize that you cannot employ a country boy, with his fresh outlook on things, to write your dramatic criticisms. But would it not be a good, helpful idea for your critics, and for all other dramatic writers, to try to see things with fresh eyes, to drop this overcaution of theirs, to remember that all writers are borrowers, that every actor has his good points as well as his weak ones, that verbal slights must hurt and discourage aspiring workers (when unaccompanied with the counterbalance of praise), and that no human being is good enough or wise enough to administer untempered justice?" The Saenger, the new picture theatre building at Monroe, La., owned by the Saenger Amusement Company, will open early in March. IN THIS ISSUE "Wing Toy" (Fox) "The Kentuckians" (Paramount) "The First Born" (Robertson-Cole) "A Connecticut Yankee in King 'Arthur's Court" (Fox, on Page 805) "The Fire Cat" (Universal) "My Lady's Latch Key" (First National) "The Love Slave" (Herz) "The Kentuckians" Paramount Presents Monte Blue in a Realistic Picture of American Life Reviewed by Louis Reeves Harrison. "The Kentuckians" is a sincere attempt to do more than merely reflect the surface of our national life — it tries consistently to get beneath the surface and, like the greatest dramas, reveal the causes of human growth. It is a picture of Americans in evolution, giving one perspective of our complex existence, and it is successful in treatment with one grave exception. That exception is the introduction of a revolver duel between two leading characters at ten paces in which neither receives a scratch. This unnecessary scene, having no effect on the main line of action, seriously injures the very ideals which the leading characters are struggling to establish. Besides, it is one of those perilous incidents in a serious story which is liable to cause a laugh and lessen interest in the outcome. Aside from this blank cartridge exchange of shots, ordinarily relegated to farce, the treatment is not only impressive, but superb in some of the grand interior ensembles. An admirable quality of "The Kentuckians" is the typing. It is of the highest order as a rule, and this means the selection of several score of people who hold the mirror up to nature. Monte Blue is every inch a tall Kentuckian of the mountains, and his interpretation is thrown into powerful contrast by the fine acting of Wilfred Lytell as a representative of the Blue Grass aristocracy. The two men are admirably balanced against each other, splendid specimens of youthful egotism struggling to give itself noble expression. These two hold attention through sheer force of personality and represent in their characters almost the sole element of true drama in the story. They held a large audience at the Rialto Theatre and, with their exceptional support, provide a high quality of entertainment. The Cast. Boone Stallard Monte Blue Randolph Marshall Wilfred Lytell Anne Bruce Diana Allen Mace Keaton Frank Joyner Governor ' J. H. Gilmour Colton — Journalist John Miltern Jake Stallard Thomas S. Brown Boone's Brother J. W. Johnston Constable Russell Parker Young Keaton John Carr Young Stallard Albert Hewitt Ma Stallard Eugenia Woodward Uncle Cadmus Wesley Jenkins Mrs. Marshall Grace Reals Directed by Charles Maigne. Scenario by Frank W. Tuttle. Author, John Fox. Length, six reels. The Story. "The Kentuckians" of mountain and those of Blue Grass plains are represented in the Legislature respectively by Boone Stallard and by Randolph Marshall, both young and ardent, both in love with the Governor's daughter, Anne. Stallard inspires her by his fiery defense of the mountain people, though he is an uncouth genius. Marshall is a gentleman of splendid family, whose refinement and culture is taken as a matter of course. Anne is discontented with him. because of his easy poise and disinclination to appear at his best in the legislative duel with Stallard. Marshall has been denouncing the mountaineers and their feuds as a disgrace to the state, when he decides to go amongst them for personal observation. He comes upon Stallard getting the worst of an encounter with some lawless characters and takes the side of his rival in a fight they Jointly win. On returning to Anne. Marshall does not mention saving Stallard. That information comes from the young mountaineer himself, operating against him with the girl. She begins to see that she has not done Marshall justice. It is Marshall who obtains from the Governor a commutation of sentence for the brother of Stallard, a murderer condemned to pay the death penalty. It is the quiet and modest fellow of high intelligence and social position who shows himself the superior in magnanimity to the flaming young Stallard. To Marshall, In the end, Anne turns as the better of "The Kentuckians." Program and Exploitation Cntc-hlinea: A Story of Real American Life in the Course of Evolution. Adaptation of the John Fox Drama. Monte Blue in a Story of the Blue Grass Plains. Exploitation Anelen: Play on Monte Blue and interest in the local color, as suggested that this Is not the usual feud story, but by the title, but give emphasis to the fact something different. Play heavily on this or the title may keep some away who will enjoy the novelty. "Wing Toy" Five-Part Fox Production Features Shirley Mason in Engaging Story of Chinatown Reviewed by Robert C. McElravy. A strongly entertaining story has been provided for Shirley Mason in "Wing Toy," a five-part Fox subject. She plays the role of a girl raised in the Chinese district of an American city by an old Chinese laundryman. The plot is one of quite obvious quality, since it develops that the girl is of American birth and there is the usual American hero, but this does not disturb the fact that the tale gets hold of one and has strong dramatic moments. The Chinatown settings are pleasing and the story is unfolded in a leisurely manner, with just the right degree of increasing interest as it proceeds. Shirley Mason plays excellently in this, and the picture should be listed among her successes. She is demure, bewitching and sincere in her acting. Edward McWade plays Wong with intelligent sympathy and Harry S. Northrup is domineering and hateful as Yen Low. None of the principals entirely look the parts of Orientals, but this is not essential to carry the illusion and is naturally not to be expected so far as Wing Toy is concerned. The story has dramatic moments, but is not to be classed with the tragic. It is