The Moving picture world (September 1923-October 1923)

October 27, 1923 MOVING PICTURE WORLD 747 pretty little romance becomes the victim of intrigue, villainy and even torture before he finally triumphs. John Robertson has finely directed the production which is produced on an elaborate scale with large sets representing streets in old England and scenes in and around a huge feudal castle with the players in the gorgeous costumes of the period, the star's modest garb being in striking contrast to the others. From the standpoint of story interest, direction, drama and audience appeal, "The Fighting Blade" is one of Barthelmess's best pictures. It should delight his followers, increase his appeal among picture audiences, some of whom may not have liked the "drab" atmosphere, of his former pictures, and should prove a big box-office attraction. The star's portrayal of the hero is excellent and the same is true of Dorothy Mackaill in the opposite role. There are many scenes which are not only highly dramatic but filled with well-sustained suspense. Prominent among these is the situation, handled with fine discretion so that it should offend no one, in which the heroine saves the star's life by hiding him under the mattress of her bed and then feigns smallpox to frighten away the searchers. High class performances are also given by Lee Baker, Morgan Wallace, Bradley Barker and Allyn King in unsympathetic roles as royalists and by Marcia Harris as a maid and Frederick Burton as Oliver Cromwell. Cast Karl Van Kerstenbroock Richard Barthelmess Earl of Staversham Lee Baker Lord Robert Erlsey Morgan Wallace Watt Musgrove Bradley Barker Oliver Cromwell Frederick Burton Viscount Carisford Stuart Sage Lord Trevor Philip Tead Bob Ayskew Walter Horton Thomsine Musgrove Dorothy Mackaill Charlotte Musgrove Allyn King Joan Lay cock Marcia Harris Story by Benlah Marie Dix. Scenario by Josephine Lovatt. Directed by John Robertson. Length, 8,720 feet. Story Karl Van Kerstenbroock, a famous Flemish swordsman, comes to England, is insulted by Watt Musgrove, a Royalist bully, and challenges him to a duel. To save him, Watt's sister Thomsine disguises as a boy and pleads with Karl. Watt fails to show up but his cousin, Lord Erisey, seeks to have Karl arrested. Karl finds out that Thomsine is a woman, and in seeking to return to the city they are lost and come to Cromwell's headquarters. Karl joins the Roundheads and Thomsine is sent back home. Karl is sent by Cromwell as a spy to Staversham castle, the home of Thomsine's fiance's father. His presence is discovered. He is condemned to death and is tortured. Thomsine saves him by hiding him in her bed. He escapes and returns to the castle with soldiers, captures it and rescues Thomsine from a forced marriage with the Earl of Staversham. "Pioneer Trails' Vitagraph Production Hat Cullen Landis and Alice Calhoun in Romantic Drama of Early Weit Reviewed by Mary Kelly Vitagraph has handled a spectacular period in American history in a way that means stirring entertainment for the masses. "Pioneer Trails" has action, melodrama and heart interest in goodly portions. It is something more than what is usually known as a Western and therefore its appeal is not limited to the theatre which favors Westerns. It has every indication of being a fine box-office attraction. As an introduction, there are some effective scenes showing the early migration to California. The caravan of pioneers is besieged by the Indians, who encircle their camp in spectacular style, furnishing really the most impressive scene in the picture. With this as a background, the story of the lone survival of a small boy is pictured. From this point the production is more or less conventional but has vigorous action and the performance of Cullen Landis to give it vitality. There is a rescue of a runaway, a murder, an exciting escape and a melodramatic trial scene. Cullen Landis and Alice Calhoun play the featured roles with sincerity and spirit. Their romance has that picturesque appeal of the early days of continual suspense when guns were quicker than the law. The atmosphere is consistently crude and the beauty of the production lies in the exterior locations. A bit of novelty is offered in Otis Harlan's interpretation of the friendly philosopher. David Smith, the director, deserves credit for endowing the picture with plentiful speed and action, a type of entertainment that is in wide demand. Cast Robert Dale! Cullen Landis Jack Plains ) Rose Miller Alice Calhoun Philip Blaney Bertram Grassby "Easy Aaron" Cropsey Otis Rarlan Rodney Miller Dwight Crittenden Mrs. Salter Virginia True Boardman "Laundry Lou" Aggie Herring Parson Nelson McDowell Sheriff Joe Rickson Scenario by C. Graham Baker. Directed by David Smith. Length, 6,920 feet. Story The lure of gold draws Robert Dale, his wife and their son Jack over the prairie. The party is attacked by Indians and all are killed save Jack, who is only four and cannot remember his last name. He is adopted by a Mrs. Salter, a member of another party, and reared as her own child. The story moves to twenty years later. An unique situation forces the heroine to do much of the love making, as the hero believes himself to be beneath her rank. The film is replete with thrills containing a runaway stage coach on a narrow mountain pass, a leap over a ravine and other daring adventures known to the West in the early 70's. "The Dancer of the Nile" F. B. O. Release Featuring Carmel Myers Is Unusual and Interesting Reviewed by Mary Kelly The first King Tut feature has arrived. F. B. O. is releasing a production by William P. S. Earle that answers this description in detail. It has been done with exceptional care and furnishes atmospheric entertainment that will interest both those in search of novelty and those who admire a dignified, smooth performance. In exploiting the King Tut angle, there will be no danger of misleading your patrons. The picture attains a remarkable degree of realism as a story of Egypt and While in certain instances painted backgrounds appear to have been used they have been cleverly executed and for the most part there are no effects which tend to dispel the illusion. The production accomplishes its purpose in being a picture of a people of appearances and customs decidedly out of the ordinary. The story is interestingly and dramatically told. It relates the jealous love affair of a cruel princess who discovers that the charms of one of her dancers are greater than her own and sentences her to be sacrificed to the crocodiles. It has more of the character of a legend than a modern drama. But the dignity and grace of the action, the appeal of the love affair as effected by Carmel Myers and Malcolm MacGregor and a certain suspense that is felt throughout should insure its popularity. A number of settings are particularly impressive. The interiors of the palace, the effects of great height and distances, the decorations of Egyptian art, the garden scenes are all done in good taste. Small details in the matter of costuming are interesting. June Elvidge and Sam de Grasse are intensely effective in heavy roles. "The Dancer of the Nile" is not a super picture but a good box office attraction with an unusual note. Cast Arvia Carmel Myers Karmet Malcolm MacGregor Pasheri Sam de Grassi Prince Tut Bertram Grassby Princess June Eldridge Mimitta Iris Ash ton Based upon novel by Blanche Taylor Earle. Scenario and direction by William P. S. Earle. Photography by Jules Cronjager. Length, 5,787 feet. Story The Princess, who is ruling in the absence of her father, falls a victim to the beauty and courage of Karmit, Prince of a neighboring kingdom. When she invites Karmit to the royal gardens, he is smitten with the charms of Arvia, a dancer. The Princess sentences Arvia to be given as a sacrifice to the crocodiles. The High Priest discovers that Arvia is his daughter, and saves her. He sends Karmit to her, and the two find happiness in his kingdom far from that of the Princess. Prince Tut, in turn, marries the Princess, and upon the death of her father. Prince Tut becomes King Tutankhamen. "Shattered Reputations" Lee-Bradford Release Features Jackie Saunders and Johnnie Walker Reviewed by Mary Kelly As this picture both from the standpoint of story and performance does not surpass the mediocre mark, it is more especially suited to the double bill, or to the smaller theatres. It has a few effective touches but on the whole lacks the strength that would make it generally impressive. The self-sacrificing sister and her weak brother are familiar screen characters, and their story here is in most circumstances the usual one. The brother is lured into commiting burglary and the sister shields him. Jackie Saunders plays the girl in rather pleasing manner and wins a number of laughs by some of her eccentric movements. Her close-ups are not entirely satisfactory and their frequency calls attention to this fact. The photography seems imperfect. Johnnie Walker's personality is attractive as usual although his part is small. Cast Henry Wainright Johnnie Walker Sis Hoskins Jackie Saunders Dave Hoskins John Mordaunt Joe Hoskins Alfred Lewis Charles Osborne Fred Stonehouse Stephen Wainright Arthur Bowan Fannie Wainright Helen Grant Vasco de Gama Byles Torrance Burton Story and direction not credited. Length, live reels. Story When coal is discovered on Dave Hoskins's land, the family, including himself and his son and daughter, Joe and Mul, go to the city. Joe acquires some bad associates and gets into jail for committing robbery. Mul keeps the truth from her father. Joe escapes and is forced into another robbery, but shielded by Mul. Her interest in him is misunderstood by Osbore, who has fallen in love with Mul. But Joe's death brings about Mul's explanation to Osborne and they manage to keep the unpleasant truth from Mul's father. New Broadway Theatre Lee Ochs, owner of the Costello Theatre, 23 Fort Washington avenue, New York City, is preparing to build this winter a first-run Broadway picture house to seat 1,576. It will be located at 1662 Broadway, less than a block from the Capitol. Features will be a radio broadcasting station and an electric sign only a foot smaller than that adorning the Criterion front for "The Covered Wagon." The cost is set at about $600,000 and it is said a long-run policy will prevail. The Piccadilly Holding Company and the Piccadilly Theatre, Inc., have been organized.