The Moving picture world (June 1922)

June 17, 1922 MOVING PICTURE WORLD 655 Newest Reviews and .Comments * The Woman Who Walked Alone" Dorothy Dalton Featured in Paramount Picture That Holds Interest During Every Foot. Reviewed by Fritz Tidden. John Colton's well-known story, "The Cat That Walked Alone," has been picturized by George Mel ford, and with the substitution of "Woman" for "Cat" in the title Paramount releases it. The firm can be justly proud of this feature. There is much about it to recom- mend it as an exceptionally good picture, be- sides its having box-office possibilities. "The Woman Who Walked Alone" is a vital film play constructed, directed and acted with keen intelligence. Everything has been done with genuine technique. Which means that the picture is thoroughly worth while. And it is no rash prediction to say that this feature will meet with positive success before any type of audience. The story, which is unfolded in excellent continuity, although the plot at first is some- what involved, is packed with drama. This keeps the tension high and as the picture progresses the spectator completely loses him- self in the melodramatic problems that con- front the chief characters. An unusually strong cast of well-known players has been assembled and the personality which these performers radiate does much to raise "The \Voman Who Walked Alone" to a plane that is higher than the average. The acting of these same people leaves nothing to be desired and they contribute a glamour of reality to the story that is gratifying. Miss Dalton, the featured member of the company, who appears with her bobbed hair enveloped in a blond wig and is strikingly good looking, has seldom if ever done better work. The Cast The Hon. Iris Champneys.... Dorothy Dalton Clement Gaunt Milton Sills Earl of Lemi.ster E. .T. Radcliffe Muriel Champneys Wanda Hawley Marquis Champneys Frederick Vroom Marchioness Champneys Mayme Kelso Otis Teardley John Davidson Sir Basil Deere Harris Gordon Schriemann Charles Ogle Hannah Schriemann Mabel Van Buren Jock MacKinney Maurice B. Flynn Mombo Cecil Holland Earl's Butler John MacKinnon Muller, Iris' Maid Temple Pigott Adapted from John Colton's Story, "The Cast That Walked Alone." Scenario by Will M. Ritchey. Directed by George Melford. Length, 5,947 Feet. The Story The story centers around four figures. Iris Champneys, her sister, Muriel; Gaunt, a chauffeur, and the Earl of Lemister. Gaunt was employed by the earl, and. not knowing that Iris is engaged to the rich old noble, was discharged for placing the car at the girl's disposal. Before going to South Africa he stands at the gates of Westminster to see the wedding procession, and the bride throws him a rose. Seven years later the two meet again in Africa—Gaunt trying to escape the police, and Iris operating a tavern on the African caravan road, a resort for the mounted police. Gaunt became entangled in a fatal domestic quarrel when the dusky wife of his employer, a cattle raiser, fell in love with him. Iris had fled England when she was found in the room of an ad- venturer who used her sister's letters for blackmail purposes. A black servant recognizes Gaunt as an escaped slayer and tells the secret to Iris, who urges that the police be called. She first plays cards with her victim to keep him at the tavern—then seeks means for his escape after she sees the withered flower from her bridal bouquet. She sends him ' 'Domestic Relations Katherine MacDonald in Conventional Drama Distributed by First National. Reviewed by Mary Kelly. As a portrait of Katherine MacDonald, "Domestic Relations" has higher artistic merit than many of her recent offerings because her performance strikes a deeper note of sincerity. The picture considered as a whole, is one of those smooth-running productions that has a certain pictorial glamour surrounding a con- ventional plot. It does not, at all points, survive a keen analysis. Where superficially attractive enter- tainment is preferred, this will make no differ- ence. But to those who like convincing action, the story betrays a striking weakness in con- nection with an important crisis. This is due principally to a lack of resourcefulness on the part of the author in the development of an idea, which, in itself, is not implausible. This criticism hinges on the immediate de- cline in the career of a neglectful husband who has divorced his wife on circumstantial evi- dence. The fact that his personal life, has ruined his success as a judge may be plausible, but it has not been made so. This part does not register as a natural process of events. The star's beauty is, as usual, a compelling attraction. The cast has been chosen with dis- crimination and a vivid touch is accomplished by Barbara La Mar in a drab role. The photog- raphy is splendid. The Cast Barbara Benton Katherine MacDonald Judge James Benton. .William P. Carleton, Jr. Joe Martin Frank Leigh Mrs. Martin Barbara La Mar Sandy Gordon Mullen Pierre George Fisher Doctor Chester Brooks Lloyd Whitlock Story and Scenario by Violet Clarke. Direction by Chet Witney. Length, 5,192 '^eet. The Story Judge Benton neglects his wife who is deeply in love with him, and carelessly sub- jects her to the attentions of an artist, whom he does not suspect of any personal interest in his wife. About this time a laborer is tried for beating his wife because he believes she is untrue to him, and the Judge sentences him to a year's imprison- ment. When he finds that the artist is at- tempting to make love to his wife, he re- fuses to near her explanation and secures a divorce. The man whom he has condemned returns from his imprisonment with the in- tention of getting even with the Judge. Mrs. Benton hears of it and warns her husband, pointing out that he is treating her in the same way that the laborer treated his wife. The Judge forgives her, and does not prosecute the laborer for attempting revenge. Proprrnm and Kxploitation Catehlines; The Story of a Rich Wife and a Poor Wife, Both Accused of Disloyalty by Their Husbands—the Poor Man Beats His Wife, the Rich Man Divorces His—the Lives of the Two Women Are Far Removed—But They Touch Sympathies in Their Troubles and Both Find Justice. away on horseback and leads the police on a different trail. But Gaunt finds money in his pocket and returns to fling it through the window. Captured by the police, the girl and the police officer toss a coin to see who shall have the prisoner, the officer making one stipulation—that the girl shall marry the man if she wins him and have a bare chance to escape. She wins and the police chaplain performs the ceremony. Gaunt re- fuses to leave without his wife and the pair flee, an accident finally throwing Gaunt again into the grip of the law. But Iris, hoping to save her husband, rides ahead and forces a confession from the dusky woman who had been responsible for the fatal shooting. "Channing of the Northwest" Eugene O'Brien in the Glamour of a Mounted Police Role in Selznick Release. Reviewed by Mary Kelly. In appraising the box-office worth of a feature of this type, the popularity of Eugene O'Brien is the safest criterion. Impersonally considered, the story of the Northwest mounted police is, by now almost devoid of novelty. "Channing of the Northwest," however, comes close to being an exception to this generaliza- tion. It has been carefully built so as to keep the personality of the star prominent at all times, and as this characterization is somewhat of a departure for him, the picture is not with- out newness. Eugene O'Brien gives an unusually success- ful performance. He is a romantic swash- buckler with an assured equestrian ease and a confidence in the perfection of his uniform, that is contagious. He is picturesque to the last degree. His admirers will be sure to enjoy this role. The picture works up to a climax that is done with remarkable smoothness and an under- current of suspense, the more effective because of its subtlety. This is the scene of the boot- legger's hiding in the girl's cabin. Norma Shearer's acting in this rather strenuous situa- tion is exceptionally clever. Her personal charm is a factor that will be recognized,'too. The Cast Channing Eugene O'Brien Jim Franey Gladden James Jes Driscoll Norma Shearer Tom Driscoll James Seeley Sport McCool P. C. Hartigan Cicily Varden Nita Naldl McCool's Man Harry Lee Buddy J. W. Johnston Channing's Uncle C. Coulter Story by John Willard. Scenario by Edward J. Montague. Directed by Ralph Ince. Length, 4,725 Feet. The Story Channing, the pride of the feminine por- tion of Piccadilly, becomes infatuated with one of the dancers in the Gaiety Revue. His uncle threatens disinheritance and the girl gives him up. Channing goes to Canada and is detailed to arrest the smugglers. He falls in love with Jes Driscoll, who is befriending Jim Franey, an admirer who is in with the smuggling gang. She attempts to mislead Channing in his search for Franey, but Channing discovers his horse and detects Franey's presence. Before he can arrest him, however, Franey dies from the effects of a wound and Channing, more in love with Jes than ever, because of her loyalty, asks her to marry him. Progrram and Exploitation Catchline.s: Canada Was a New Camping Ground for the Handsome Young Don Juan of Piccadilly—Detective Smugglers Was a New Thrill—and Jes Driscoll Could Make Anyone Forget His Troubles! "Hair Trigger Casey" This was formerly reviewed by Moving Picture World, under the title of "Immediate Lee," as it was called previous to the reissue. As explained in a review appearing in the issue of November 25, 1916, it depicts the story of a man's revenge upon the man who scarred him for life. The locale is Western and Frank Borzage, who is both director and star, is the compelling personality of the feature. He is assisted by Ann Little and Jack Richardson. —M. K.