The Moving picture world (September 1921)

446 MOVING PICTURE WORLD September 24, 1921 Newest Reviews and Comments Conducted by EDWARD WEITZEL .Associate SdLtor "Th j Affairs of Anatol" Typical Dc Mille Production with Eleven Stars Is Box Office Attraction of First Magnitude Reviewed by Fritz Tidden Should that famous Austrian, the good Dr. Arthur Schnitzler, view the Cecil B. DeMilleJeanie Macpherson-Paramount version of his celebrated play, "The Affairs of Anatol," he would probably turn pale and then surely recognize as the last remaining shred of his work the title of the picture. That is absolutely all there is left of the brilliant, cynical, ultrasophisticated continental comedy. What has happened is that the name of Dr. Schnitzler's play has been borrowed for the time being with Jeanie Macpherson going ahead and writing an original scenario. The result, nevertheless, is a picture that will meet with sure, widespread success. Not only will it earn popular approval but primarily, it is a positive, enormously strong box office magnet due to the fame of its title, the eleven stars, the fact of its being a DeMille production and the advance country-wide advertising that has preceded its release. Although a Broadway showing is not always indicative of the attitude of the country, such a run determines a great deal. "The Affairs of Anatol" played two big houses simultaneously and both houses were hanging up records when Moving Picture World went to press. And the sentiment seemed to be that it wasn't "The Affairs of Anatol" but it was a fine picture. The picture is a typical DeMille production — lavish in the extreme, what everyone but those who make it think the night life on Broadway in the six cylinder set is like, intimate mingling with the fast boys and girls and, it cannot be reiterated too often, picturesquely bizarre in costumes and settings. Miss Macpherson's story is interesting and the eleven stars interpreting it to its best advantage, with Gloria Swanson doing the best straightforward piece of acting and with Wander Hawley thoroughly consistent in a difficult character part. The gingerbread art (gosh!) titles are a jarring note. The Cant Anatol De Witt Spencer Wallace Reid Vivian — his wife Gloria Swanson Max Runyon Elliott Dexter Satan Synne Bebe Daniels Abner Elliot Monte Blue Emilie Dixon Wanda Hawley Gordon Bronson Theodore Roberts Annie Elliot Agnes Ayres Nazzer Singh Theodore Kosloff Orchestra Leader Polly Moran Hoffmeier Raymond Hatton Tibra Julia Faye Dr. Bowles Charles Ogle Dr. Johnson Winter Hall Suggested by Arthur Schnitzler's Play, "The Affairs of Anatol." Scenario by Jeanie Macpherson Directed by Cecil B. DeMille. Length, 8,806 Feet. The Story. The story deals with an impressionable young man of wealth who finds time to Interest himself in the affairs of others and who learns by practical experience that it pays best to attend to one's own affairs and let others do the same. He is married but being susceptible to the troubles of those who come in contact with him he tries to straighten out the difficulties in which they find themselves. The first is an old school friend, a young girl who is about to slip along the easiest way. The next Is a IN THIS ISSUE "Beating the Game" (Goldwyn) . "Camille" (Metro). 'Martin Johnson's Jungle Adventures" (Exceptional). 'Good and Evil" (Warren). 'The Girl from God's Country" (Warren). 'Man and Woman" (Jans). 'Footfalls" (Fox) One Wild Week" (Rcalart). 'No Woman Knows" (Universal) . The Affairs of Anatol" (Paramount). 'Moonlight Follies" (Universal). ' Steelheart" ( Vitagraph) . ' Where Men are Men" ( Vitagraph) . 'The Princess of New York" (Paramount). 'Major Jack Allen's Animal Pictures" (Pathe). 'The Vengeance Rider" (Ay won). 'The Shadow of Lightning Ridge" (Ay won). "The Toreador" R. H. Burnside, who is wholly responsible for the successful entertainments presented at the NTew York Hippodrome, is acknowledged to be one of the shrewdest showmen in the business. In this year's show at the mammoth playhouse he wished to start off with a film comedy, basing the idea on the psychology of "beginning with a laugh" He selected the Fox-Clyde Cook comedy, "The Toreador," for the purpose, and his choosing this particular film is the best recommendation for the comedy that can be thought of at present. "The Toreador" fulfills its purpose in making them laugh. It is funny from first to last. What more could be said of a comedy? Its humor is derived from two sources, that of situation and of the ability as a natural comedian of its chief player, and neither is crass nor vulgar. It will make any type of audience laugh heartily, spontaneously and continuously as it did the fairly general audience at the Hippodrome the afternoon it was seen for review. And it should be mentioned that both the children in the audience and those that were taken there by them responded. The plot is inconsequential. The locale is Spain and the "story" has to do with bull fights and love and all that goes with both. The intrepid Clyde Cook is ably assisted by Ed Kennedy, Jim Donnelly and Lois Scott. Jack Blyston is responsible for the especially proficient direction. — F. T. farmer's wife who has appropriated some money her husband is keeping for a church fund. Another is a roof revue star who is trying to get together enough money to have her ex-soldier husband operated upon for a serious shrapnel wound. In attempting to help these women he gets himself in hot water with his wife, but after the last episode he returns home disgusted with his philanthropic work and seeks peace at his own fireside. He and his wife patch up their quarrels and are content to live for each other. "Camille" Xazimova's Production of Dumas' Famous Play Is Filled with Modern Symbolism Reviewed by Edward Weitzel. There is no denying that the Nazimova production of "Camille" is interesting. It is filled with modern symbolism, which is expressed in the settings and the acting of the star and her supporting company. There are scenes that suggest the lost souls in Dante's "Inferno," and the human interest that gave the stage play its long life doesn't get much of a chance to make itself felt. In other words the story, in its present form, stands a good chance of shooting over the heads of the common mob, which James Huneker always insisted does not care for symbolism. The screen story has the advantage of unfolding with the directness of the stage play, and the unpleasant incidents are handled with discretion. Nazimova's performance of the title role is more original than the impressionistic stage sets. Her "Camille" is a creature of quickly varying moods, which she expresses by freakish costumes and theatric poses. This conception she projects on to the screen with consummate skill. Rudolph Valentino is a handsome and forceful Armand Duval and seems strangely out of place in the fast company to which Gaston introduces him. The rest of the cast is excellent. The Cam Camille Nazimova Armand Duval Rudolph Valentino Count de Varville Arthur Hoyt Prudence Zeffle Tillbury Gaston Rex Cherryman Duke Edward Connelly Nichette Ruth Miller Olimpe Consuelo Flowerton Canine Mrs. Oliver Monsieur Duval William Orlamond Screen Version from the Novel of Alexander Dumas, the Younger, by June Mathis. Directed by Ray C. Smallwood. Cameraman, Rudolph J. Bergqulst. Length. Six Reels. The Story. Marguerite Gautier, a notorious woman of Paris, who is known as Camille, meets Armand Duval, and the two fall in love. Marguerite gives up her old life, and the pair are happy until Armand's father comes to her and says that she is ruining Armand and destroying the happiness of his sister. Marguerite decides to give up Armand, and returns to Paris. Here she takes up her old way of living and accepts the protection of the Count de Varville. Armand meets them at a gambling house. Marguerite will not tell Armand of her reason for leaving him, and he denounces her before the crowd. Always frail, her grief hastens the fatal malady that is killing her and she dies in Paris aa Armand, at home, is given a letter by his father that explains the sacrifice she has made for the man she loves. Program and Exploitation Catchllnea: Nazimova Production of "Camille" Released by Metro Is Filled With Novel Sets and Out of the Way Bits of Business. Exploitation Angle*: Circus this story In a double sense, for it must be widely exploited to bring in the money it can pull, and It should be sold as a polite freak rather than a translation of the story to the screen. Take the general attitude that we cannot expect Nazimova to play the ordinary Camille and you'll have the keynote of your advertising.