The Moving picture world (May 1922)

418 MOVING PICTURE WORLD May 27, 1922 Newest Reviews and. Comments "Silas Marner" A Beautifully Adequate Translation of George Eliot's Masterpiece — The Product of Associated Exhibitors. Reviewed by Mary Kelly. Adhering to a high standard of faithfulness and art, the picturization of George Eliot's distinguished work, "Silas Marner" holds out big promise to the exhibitor who books it with full appreciation of its values. It has a sincerity that goes far deeper than the average program feature. Consequently it deserves unusual care in exploitation. Without dazzle and without sensation, it is a simple, devout tale with a decided appeal for the one in search of superior entertainment. The difference between this and the ordinary picture should be capitalized, however, or the full merit of the production will not be realized. With the possible exception of the somewhat long and formal opening, there is not a moment that does not command serious interest. The first part, characterizing the village of Lantern Yard, and treating of Marner's disappointing love affair might be curtailed for the sake of speeding up the action. The spirit of the novel has been interpreted with fine insight. George Eliot's understanding of human reaction to misfortune and to good fortune permeates the screen version, and gives it an indefinable power. It has the solemnity of a religious creed combined with the simplicity and heart appeal that one expects to find in a tale of homespun folks. A tribute to beautiful directing! Craufurd Kent, in the title role, goes through the gradations of character transformation in a way that is vivid and at the same time restrained. Space affords only a general praise of the several excellent performances by other members of the cast. Marie Edith Wells, as Nancy Lammeter, is a delightful new addition to the list of attractive screen actresses. George Fawcett is splendid. The desired effect of quaintness in the matter of costumes and English village settings has been successfully achieved. The photography is unusually good. The Oast Silas Marner Craufurd Kent Sarah Marguerite Courtot William Dane Robert Kenyon Sally Oates Nona Marden Elina Tampscum Ricca Allan Jem Rodney Austin Huhn Squire Cass Anders Randolph Godfrey Cass Bradley Barker Dunsey Cass Charles Coghlan Nancy Lammeter Marie Edith Wells Dolly Winthrop Alice Fleming Dr. Kimble George Fawcett Eppie j Helen Rowland ( Jean Girardin Aaron John Randall Adapted from the Novel by George Eliot. Scenario by Frank Donovan. Directed by Frank Donovan. Length, 6,344 Feet. The Story Silas Marner's was a heart filled with love for his fellowmen. When the deceit of his best friend robbed him of his simple, childish faith and trust, he sought seclusion and became eccentric and miserly, old beyond his years. Then even his gold, the only thing he loved, was taken from him, and lite was barren beyond endurance. As if to replace in his heart his gold and show him the folly of his solitary life, there came to his warm hearth a foundling. Her mother had died in the snow at his door. He was allowed by the townspeople to keep her, and all the wasted and repressed love of years he lavished on the child, who grew to beautiful young womanhood, adoring her daddy Marner. Then, a third time, it seemed as though he would lose all, for the girl was claimed "White Hell" A Charles E. Bartlett Production That Furnishes W orthwhile Entertainment Reviewed by Roger Ferri. The adventures of the Royal Mounted Police always manage to furnish the foundation for interesting tales and "White Hell" is no exception. In the first place, "White Hell" goes the ordinary Northwestern dramas one better, for there is a twist to it that is novel and diversifying to the extent that it makes worthwhile entertainment. Scenically beautiful and photographically well done, this Charles E. Bartlett production should appeal to every moving picture fan who delights in seeing the finer qualities of man depicted on the screen. There are many interesting charaters, all characteristic of the Northwest. "White Hell" will be welcomed by the showman, because it offers no end of exploitation ideas. The author has furnished a leading male character that should inspire the trained publicity man to write yarns that will have no trouble finding their way into print. This picture bubbles over with human interest from start to finish. There is plenty of excitement. But it is the realism, the true-to-lil'e in the far North, that makes the most appeal. Mr. Showman, if you want a thrilling picture that breathes the life of realism, with adventure, nifty photography and picturesque background, don't overlook this bet. You won't regret booking "White Hell," but go the limit on exploitation. There is plenty to work with — good story, good title and a peach of a picture. The cast is a good one-. Richard Travers as David Manley is satisfactory in every way. Ruth La Mar as Wauna, the Indian girl, is a complete success and, although she had little to do, she does her work so well that she stands out most conspicuously. The rest of the cast does consistently meritorious work. The Caat David Manley Richard Travers Helen Allen Muriel Kingston Hart Sonley Jack Baston Wauna Ruth La Mar Henry Allen Charles Graham Jim Harry Foulds Direction by Bernard Fiekel. Length, 6,100 Feet. The Story Jim is made an orphan by the death of a mother wronged by Hart Sonley. David Manley comes to Jim's rescue when the saloonkeeper is severely thrashing him. Jim is adopted. Hart is in love with Helen Allen, who idolizes David. Sonley forces Helen's father to consent to a wedding, threatening to expose a past wrong committed by the old man in the event of a refusal. Wauna, a sad Indian, befriends David, whose enmity for Hart increases when he learns that the girl he loves is being forced to marry him. One day David is shot in the back. He is nursed by the Indian girl. Helen believes he is in love with her. Developments further complicate the situation. Finally David decides to square matters with Sonley and subjects him to a severe beating. The latter tries to shoot David, but Jim, who is on guard, pulls the trigger, fatally shooting the villain who later confesses to the betrayal of a squaw. Thus Helen, who has by this time learned the truth, and Dave are reconciled with Jim happily looking forward into the future. Exploitation Angles: Sell Travers, as suggested by the reviewer, and play heavy on the snow lobby, which is a best bet this time of year. Build something you can work over and use again if you have nothing left over from last year. by her father, whose secret marriage had preyed heavily on his mind during the years, but the girl proves her devotion to Marner. "The Primitive Lover" Spriglitly Comedy Starring Constance Talmadge, Released by First National. Reviewed by C. Walter McCarty. The vivacious Constance Talmadge, in her own inimitable way, dashes througli several reels of enlivened fun in "The Primitive Lover," a comedy which puts to the test the old belief that man wins woman's love mainly by caveman methods. The film is a delicious travesty on many a "man and his mate" story, and the atrocities often perpetuated in the latter are shown up with amusing skill. It is a riot at times. The very beginning is a burlesque on the ordinary movie of "strong passions" and the humor increases as the story progresses. Miss Talmadge is the willful young wife, of the flapper variety, of a very tame husband. One of the best scenes shows the spirited Miss Talmadge being thrashed and paddled by her ex-husband. One wonders after seeing this part of it how many present-day actresses would undergo such handling even for the sake of so amusing a picture. Another scene, showing how an old Indian Chief "tames" his score or so of wives, is also one of the choice bits of the picture. Miss Talmadge is very ably supported by Harrison Ford as the husband, and Kenneth Harlan as the novelist. The subtitles are an entertainment in themselves. The Cast Phyllis Tomley Constance Talmadge Hector Tomley Harrison Ford Donald Wales Kenneth Harlan "Roaring Bill' Rivers Joe Roberts Indian Herder Charles Pino Indian Chief Chief Big Tree Mrs. Graham Matilda Brundage Judge Henseed George Pierce Attorney Clyde Benson Adopted from the Play, "The Divorcee," by Edgar Selwyn. Scenario by Frances Marion. Directed by Sidney Franklin. Length, 6.172 Feet. The Story Phyllis has always dreamed of gallant knight in armor. Circumstances put the alternative directly before her, for one of her suitors is a thoroughly practical business man who pooh poohs romance and nonsense. The other thinks women are susceptible to the glamor of force and decides to try his method. When both of them try out their schemes they find themselves pitted against each other with results that are decidedly ludicrous, but immensely beneficial as far as Phyllis is concerned. The desirable object of their affection learns a few lessons about every day life and comes to a saner understanding of women's sphere In the world. Exploitation Angles: "See Connie Talmadge spanked" should sell this story for you, if you play It strong enough. A lesson to husbands on how to make their wives behave is another good idea, and whoop this up. too. Jazz and you can pack them in and bring them out satisfied. "The Wise Duck" This is a novel and unusually interesting Sunshine comedy featuring Charles Conklin. It gives evidence of extensive time spent to good advantage in the training of ducks, who vie with Conklin for chief honors, and really show such fine directing that one is disinclined to believe the popular fable of the dumb duck. The webfooted comedians take part in a little drama that is a part of an alcoholic dream of one who had dipped unwisely into a powerful home brew. A Fox subject. — M. K,