The Moving picture world (January 1924-February 1924)

Newest Reviews and Com menTs EDITED BY CHARLES S. SEWELL "The Yankee Consul" Douglas MacLean's Newest for Associated Exhibitors Is an Exceptionally Humorous Farce Reviewed by C. S. Sewell Associated Exhibitors has taken the theme of a musical comedy which was popular several years ago and by building up the action considerably has made it into a rattling good farce comedy with Douglas MacLean in the stellar role. It is chock full of material that will cause spontaneous laughs and there are some thrills, too, and it should prove a big hit with any type audience. It is a worthy successor to this star's pictures, "The Hottentot" and "Going Up," and even promises to eclipse them as a laugh-getter. The one purpose of this picture is to produce laughs and it certainly succeeds. The theme of a wealthy chap bored with life, who finds himself in a situation where he has to pose as the American consul in a South American republic and gets mixed up with conspirators, is a good one for this purpose. An excellent scenario has been provided and Director James W. Home deserves credit for the manner in which he has injected the laughs where they are least expected and in getting every ounce of fun possible out of the theme. There is of course the usual romance, but it takes an unexpected twist, and to cap the climax there is a totally unexpected development at the end which adds to the hilarity. Douglas MacLean has shown himself a master of farce and he was never more congenially cast than in this picture; his actions and facial expressions are highly amusing. Patsy Ruth Miller is entirely satisfactory as the girl, but she has very little to do. The remainder of the cast is entirely satisfactory. There is unusual snap and speed to this comedy and an abundance of good humor. If your audience enjoys laughing, don't hesitate to grab "The Yankee Consul," for if your competitor beats you to it you will be sorry. So numerous are the laughs that it would be impossible in this limited space to try and enumerate them. Cast Dudley Alnsworth Douglas MacLean Margarita Patsy Ruth Miller Jack Morrell Arthur S. Hull Leopoldo Stanhope Wheatcroft Donna Teresa Eulalie Jensen Don Rafael George Periolat John J. Doyle Fred Kelsey Admiral Eric Mayme Purser Ij. C. Shumway Servant Bert Hadley Based on musical comedy by Henry Blossom, Jr., and Alfred G. Robyn. Scenario by II. Griffith and L. Milestone. Directed by James W. llornc. Length, (1,148 feet. Story Dudley Ainsworth has too much money and no interest in life. His friend Morrell gets him a job which takes him aboard a ship. Finding the ship has sailed, he Is confronted with a maiden in distress and with the situation where he is forced to pose as the American consul to a South American republic After various adventures aboard ship he finds himself in the midst of a con FEATURES REVIEWED IN THIS ISSUE Conductor 1492 (Warner) Daddies (Warner) Ladies to Board (Fox) Next Corner, The (Paramount) My Man (Vitagraph) Peter Stuyvesant (Pathe) Three O'Clock in the Morning (Burr) Yankee Consul, The (Associated Exhibitors) White Sin, The (F. B. O.) Wcman Who Sinned, A (Finis Fox) spiracy involving the girl whom he seeks to rescue and also a chest of gold around which the conspiracy centers.* He sends for the U. S. fleet and its arrival complicates the situation. But it is all straightened out in a novel manner. He finds the entire affair was a frame-up to give him an interest in life, but he gets the girl just the same. "Three O'clock in the Morning" Constance Binney in C. C. Burr's Exceptionally Interesting Flapper Picture Reviewed by Sumner Smith "Three O'Clock in the Morning," a C. C. Burr picture distributed by Mastodon Films, Inc., is one of the most human pictures of the current flapper type. On second thought, we would like to say, as an individual opinion, that it is more human than any other of its kind that we have seen. It impresses us as a sure box-office bet for every theatre, large and small, city and village. The stony is not new. In fact, it at no time departs from routine lines. The person who would fail to guess its outcome belongs on the mailing list of real estate firms selling Florida lots six feet under water. But Director Kenneth Webb's treatment of the story is so smooth and convincing, it is so remarkably well scened, and the acting is so human, that the picture scores in a way to be envied by directors who force situations for the sake of dramatic effect. You're sure how this one will end, but, somehow, the suspense, or the interest, isn't impaired in the slightest. "Three O'Clock in the Morning" is an indictment of heedless flappers, the jazz babies whose vitality seems to be highest around 3 a. m. But it's pure narrative drama without any stressing of the moral, so that the moral is forced home without the slightest suggestion of preaching. And unlike the "pictures with a purpose," its jazz scenes don't seem a darn sight more realistic and human than the serious note finally developed. Also, though the ending is conventional, it has a decided kick because of the atmosphere of realism. Constance Binney does delightful work. She is refined and refreshing and true to life as the flapper. Her dancing, whether on top the mahogany table or in the cabaret scenes, is a treat. In the latter scenes the Bambalina Girls from "Wildflower" appear and the settings are exquisite. Mary Carr and Edmund Breese are very effective as the father and mother. Of the rest of the oast, which does uniformly good work, Edna May Oliver as the maid stands out. We hope to see much more of her in comedy parts. Beside the exploitable title, which is that of the famous old song, there are exploitation possibilities in the way the picture has been scened. It is difficult to see how Director Webb could have improved upon these. They amount to a trip around New York, with views of Broadway, the night life, country homes on the outskirts and the environs of the Harlem River. And no scene is introduced except as a background for action ; the story keeps moving at all times. Cast Elizabeth Wlnthrop Constance Binney Mr. Wlnthrop Edmund Breese Mrs. Wlnthrop Mary Cnrr Betty Ednn May Oliver Clayton Webster _ _ . Richard Thorpe Hugo Von Strohm . William Bniley Mickey Flynn Russen Grlffln Adapted by Gerald C. Duffy from Mann Page's story. Directed by Kenneth Webb. Photographed by Jack Brown and W. C. McCoy Length, 0,203 feet. Story Unwilling to part from her Jazzy companions and submit to home discipline, Betty Wlnthrop goes to New York to support herself. After privations she obtains a featured dancing position in the Cafe Grotesque through the influence of Hugo Von Strohm, a wealthy man. Clayton Webster, her erstwhile fiance, in the meantime makes a success as an engineer. He goes to New York seeking a reconciliation, takes Betty out in his car and runs down a child when she "steps on the gas." The child recovers but Betty refuses to heed the message of this symbol of "speeding," though Webster goes to prison in her place. Betty Anally learns her lesson when Von Strohm makes improper advances and is reunited to her lover. "Conductor 1492" Newest Johnny Hines Feature Comedy for Warner Brothers Looks Like a Fine Audience Picture Reviewed by C. S. Sewell Johnny Hines' newest feature for Warner Brothers is a snappy fast-moving farce comedy written by Johnny himself that should delight any type of audience. As Conductor 1492 he is at his best in the role of an Irish lad who makes good in the land of promise — America. This picture carries the tang of Old Ireland with its wit, light-heartedness and pathos. There are thrills, too, and strong human in