The Moving picture world (January 1926-February 1926)

656 Moving Picture World February 13, 1926 "The Song and Dance Man'' — Paramount Herbert Brenon Production of Cohan Stage Success Is Even Better Than the Original Comedy Drama LIKE many plays originally done for the stage, George M. Cohan's character study, "The Song and Dance Man," gains much in its screen version, since much can be shown that is merely referred to in the stage version. When "Happy" Farrell tells of the death of his partner; we move from the dressing room to the stage with the pair, and all through the story there is a similar gain in atmosphere and a reduction in the talk. The result is excellent entertainment and Herbert Brenon has been very successful in his handling of the scenario. The story is advanced smoothly and while there are no "big" scenes, the interest is early caught and is held to the unexpected climax. "Happy" Farrell is a very real man to those who know their vaudeville : the song and dance man whose eyes are ever on Broadway though his abilities hold him to "the sticks." He fails when he gets his long Reviewed by Epe« W. Sargent OASTi "Happy" Farrell Tom Moore Leola I>ane Bessie Love Jo.seph iMiiirdock HarrlKon Ford Charles Nelson Norman Trevor Fred Carroll "Bobby" Watson Jane Rosemond Josephine Drake Inspeetor Craie George Nash Tom Crosby William B. Mack Mars. Lane Helen Llnroth Ma Carroll Jane Jennlnss Based on play by George M. Cohan Scenario by Paul Schofleld Directed by Herbert Brenon coveted trial on Broadway and, disappointed, he turns to a commercial career and makes good, only to be drawn back to the homeland of the stage. "Happy" is a real person, stressed a little to meet the exigencies of dramatic construction, but still convincing, and he should make friends among all classes. This is not one of those "it's good if your patrons like this sort thing" stories. It should make a very broad appeal. Tom Moore closely follows the author in the latter's depiction of the role, but is at his best when he momentarily forgets his model, for he loses naturalness in his imitation, but he holds the interest at all times. Bessie Love is scarcely the ideal type for Leola, though she handles the role well and certainly does a snappy Charleston. Norman Trevor is excellent as the theatrical magnate, but Harrison Ford is swamped by an artificial role. George Nash and Josephine Drake in minor roles, contribute not a little to the comedy. More comedy comes from the sub-titles, most of which are taken from the play manuscript. "The Song and Dance Man" is not a "wow" to borrow from the song and dance vernacular, but it is a sound and entertaining offering, well developed and even better staged. "Queen of Diamonds"— F. B. O. Fast-Moving Story Involving Stolen Diamonds Presents Evelyn Brent as Star in Dual Roles HER NEWEST starring feature in the series for F. B. O., "Queen of Diamonds" gives Evelyn Brent the opportunity to appear in dual roles, as a stage star who is in league with diamond thieves and as her chorus girl double who foils the conspiracy. When Phillips, a diamond thief, makes arrangements with Jeanette Durant, a stage star to take charge of stolen diamonds, a rival thief kidnaps her and through a ruse gets Jerry, the chorus girl to pose in her stead. The plan almost works, but Phillips kills the other thief and Jerry finds herself suspected. While posing as the star she meets Ramsey a producer and carries through the deception to aid her pal, a struggling RerTiewed by C. S. Sewell OAST: Jeanette Durant } Ex^lyn Brent Jerry Lynn ) .Mrs. Ranuey Elsa Lorimer Ramsey Phillips Smaller I-e Roy Phillips W. N. Bailey David Hammond Theodore Von Eltx Story and Scenario by Fred Myton Directed by Chet WIthey playwright to get a hearing for his play. When the police begin to close in on her, Jerry arranges an interview with Phillips in which he incriminates himself and Jeanette. The producer agrees to take the play and to star Jerry in it. Chet W'ithey has given this melodramatic theme good direction, and while the story is not always convincing, and there is practically no suspense as to the final outcome, good dramatic tension has been developed that holds the interest in the plot development. "Queen of Diamonds" will probably prove satisfying entertainment for Evelyn Brent's fans and lovers of melodrama in general, for the story moves forward as a good pace and never gives the attention a chance to lag. Evelyn Brent provides sufficient contrast in the two roles, and gives a good performance. The cast gives her good support, headed by Theodore Von Eltz as her playwright-sweetheart. "The Black Bird"— M-G-M Lon Chane}^ Gives Remarkable Performance of Two Different Roles in Gripping Storj' STARRING Lon Chaney and directed by Tod Browning, the Metro-GoldwynMayer production, "The Black Bird," offers unusually tense and gripping entertainment, somewhat similar in type to "The Unholy Three" in which this combination scored a tremendous success. The action is laid in the Limehouse district of the slums of London and concerns Dan, a notorious crook, whose brother, known as the "Bishop," conducts a mission. Dan, who is separated from his wife, falls in love with Fifi a dancer, and a swell crook, Bertie, is his rival. Bertie wins Fifi's love but Dan double-crosses him and uses every means his crafty brain can suggest to outdo him but fails. Finally, the police close in on Dan and his secret is discovered, that in reality he is also the "Bshop." He dies from Reviewed by C. S. Sewell OAST: The Black Bird , „ _K n. Lob Chaney The Bishop West End Bertie Owen Moore Fifi Renee Adoree Polly Doris Lloyd Shadorr .\ndy 3f,cLennan StoiT and direction by Tod Brownlns an injury sustained by a fall and leaves the road clear for Bertie to marry Fifi. Naturally, there is no sympathy established for Chaney as Dan, but in this part as the misshapen Bishop, he having abundant opportunities, does some of the very best work of his career. His handling of both of these roles is superb. Audiences are early let in on Dan's secret and it is a marvelous piece of work to see Chaney make his changes from one role to tlie other, twisting himself and apparently throwing one arm and one leg out of joint. His death in great agony is a rather morbid touch but is the climax to a fascinating character study that is really the work of genius. Chancy dominates the story, but Renee Adoree gives an exceptionally fine performance as Fifi, and Owen Moore is excellent as the gentleman crook. Tod Browning's direction of this picture is flawless, the sets, atmosphere and types of the Limehouse district are convincing and a study in themselves and, although the story is melodramatic in type, it is filled with dramatic situations that grip the attention. He early builds up strong dramatic tension and suspense and holds it to the end.