The Moving picture world (September 1923-October 1923)

Newest Reviews and Com menTs "Ponjola" Anna Q. Nilsson Masquerades as Boy in Fascinating Out-of -Ordinary First National Film Reviewed by Beatrice Barrett Starting right off with interesting action the First National production "Ponjola," does not make the audience wait through several hundred feet of introduction of the characters and getting the development under way. You get right into the story in the first scene, it catches the interest immediately and holds it without a break until the end of the picture. "Ponjola" should fascinate any audience and appeal to everyone in that audience, from three angles; first, a story that wanders far from the trite path followed by many picture plots; second, players whose acting is much above the ordinary; third, unusual settings depecting the scenes in South Africa. This well told and carefully worked out story combines an appealing love theme and thrilling adventure. It has many dramatic scenes chief among them being the one in the Count's home where just four hours after their marriage the Countess is told of the other woman and her son, this disclosure resulting in the death of two men. The trial scenes are exceedingly well handled to combine dramatic suspense and excitement with many unexpected developments. Another scene which will grip the spectators is where Desmond poses as Gay to save the sanity of Druro and awaken in him a desire to live. These are the highspots of the story which is underlaid with a constantly moving chain of dramatic situations and events. Anna Q. Nilsson with her hair cut short and dressed as a boy is very captivating. She makes a convincing boy but at the same time never lets you forget she is really a woman masquerading to help the man she loves. She presents exceedingly well a characterization which is unusually attractive. James Kirkwood equals her in a splendid character study and grips the interest and sympathy especially in the scenes of the man broken by fever and drink and fighting to keep his sanity. Here is acting that more than equals Kirkwood's previous fine efforts. Ruth Clifford as a girl who cares more for money than being faithful to her lover adds to the convincing quality of the picture while Tully Marshall makes his small role very effective. Excellent photography and backgrounds of night camps, caravans and kafnr villages help to keep up the atmosphere of "something different." "Ponjola" is a picture that the exhibitor can book with confidence that his patrons will be pleased. Cast Lundl Druro James Kirkwood Lady Flavia Desmond Anna Q.. Nilsson Mrs. Gay Lypiatt Ruth Clifford The Count Tully Marshall Mrs. Hope Claire McDowell The Other Woman Rhea Mitchell Adapted from novel by Cynthia Stockley. Directed by James Young. Length, seven reels. Story Four hours after her marriage the Countess Tyrecastle Is confronted by another EDITED BY CHARLES S. SEWELL FEATURES REVIEWED IN THIS ISSUE Bad Man, The (First National) Courtship of Myles Standish (Associated Exhibitors) Harbor Lights (Associated Exhibitors) Paddy the Next Best Thing (Allied Producers) Ponjola (First National) Rambling Kid, The (Universal) Second Hand Love (Fox) Shifting Sands (Hodkinson) Spanish Dancer, The (Paramount) woman who says Count Tyrecastle is the father of her son, The Count denies the story and in the fight which follows the Count and the woman's brother shoot and kill each other. The Countess is accused of the double murder and despondent is about to throw herself in the river when a man stops her and invites her to dinner. This man, Druro tells her of Africa where she can begin all over and dressed as a man can call herself Mr. Desmond. She goes to Africa. Druro finds his fiancee has married his partner Lypiatt and he takes to drink. Desmond becomes his secretary and when Druro tries to commit suicide, she puts on Mrs. Lypiatt's coat and veil and posing as Mrs. Lypiatt wins back In Druro a desire to live. Lypiatt later attacks Desmond and is struck by Druro, in falling he strikes a stone and dies. Desmond is accused of the crime while Druro is in the hospital. The trial discloses she is a woman. She is acquitted and finds that Druro who has already discovered she is a woman, is in love with her. "The Spanish Dancer" Pola Negri's Newest Paramount Picture Is a Fascinating, Colorful Romance of Old Spain Reviewed by C. S. Sewell With the presentation of "The Spanish Dancer," Pola Negri's third American-made picture for Paramount, showmen are confronted with the unusual situation of two of the new season's big productions being based on substantially the same theme. This picture and Mary Pickford's "Rosita" have as the basic idea a three-cornered romance involving a dancing girl, the king, and a nobleman. In each the nobleman is sentenced to death for acts committed in defense of the girl who, believing she is saving his life, marries him without revealing her identity, learns she has been doublecrossed and is rescued from the king by the nobleman, who through a ruse has been saved. Here, however, the similarity ceases for the development of the story, the explanation of the action, the characterizations of the players and the general handling of the theme is along entirely different lines. Director Herbert Brenon has made "The Spanish Dancer" a colorful production, finely mounted with big scenes of the splendor of the royal court and of the populace on a carnival day. It belongs to the romantic type of drama suggestive of a light opera. There is rapidity to the action with a snap and verve and almost a musical rhythm to many of the scenes. Pola Negri has a congenial role as the fiery, vivacious gypsy dancer and it is doubtful if a more picturesque and swashbuckling type of hero has ever appeared on the screen than Don Cesar de Bazan as portrayed by Antonio Moreno. It is the type of production that gives you the impression that its big idea is to entertain and is not to be taken seriously; this is due largely to the handling and the atmosphere of the picture, for the motives for the action are clearly developed. The net result is a picture that holds your interest and fascinates you with its buoyancy of spirit, fine acting and picturesque surroundings and which will afford excellent entertainment for the majority of audiences. It should therefore prove a big box-office success, particularly with audiences who are fond of romantic swashbuckling stories with plenty of action. The work of the entire cast is good and they all appear to have caught the spirit of the picture. Pola Negri has the dash and the fire of old and better opportunities along this line than in some of her other pictures. She gives a splendid performance. Antonio Moreno is the ideal type for the role of the dashing Don Cesar, and makes him a fascinating character. Wallace Beery is effective as the King and makes much of rather limited opportunities. Adolphe Menjou gives a good performance as Don Salluste, the scheming courtier, and Kathryn Williams makes a dignified Queen, while Gareth Hughes lends many touches of pathos as an ill-treated, friendless boy. Cast Marltana Pola Negri Don Cesar de Bazan Antonio Moreno King Philip IV Wallace Beery Queen Isabel Kathlyn Williams I.azarillo Gareth Hughes Don Salluste Adolphe Menjou Marquis de Rotundo Edward Kipling Don Balthazar Carlos Dawn 0»Day Cardinnl'H Ambassador. .Charles A. Stevenson Juan Robert Agnew Based on stage play, "Don Cesar de Bazan," by Adolphe D'Ennery and S. T. Dumanolr. Adapted by June Mathia and Beulah Marie Dtx. Directed by Herbert Brenon. Length, 8*434 feet. Story Maritana, a Spanish gypsy dancing girl, aids Don Cesar to escape from the King's soldiers when he is about to be siezed for debt. They agree to meet in Madrid at the fiesta but in the meantime the dissolute King has seen Maritana and sent his soldiers for her. In attempting to rescue her, Don Cesar violates a royal edict and is sentenced to death. Don Salluste manipulates events so that Maritana, heavily veiled, marries Don Cesar on promise his life would be spared. Don. saying he is taking her to her husband, takes her to the King. A boy whom Don Cesar has befriended takes the bullets out of the guns with which the Don is to be shot and thus saves his life. Don Cesar, learning he has married Maritana, whom he loves, goes to her rescue and Is fighting a duel with the King when the Queen arrives. Maritana saves the situation and manipulates matters so that the queen's jealousy is allayed, and the King Is so pleased that he gives the couple his blessing and restores Don Cesar's estates.