Photoplay (Jul - Dec 1921)

68 hundred wives seem to have him a bit worried. Tom Mix, they say, staged the big Judean rodeo, and the thrills he gets might lead the credulous to believe that he did a little murdering on his own account. The principal moral lesson is that Los Angeles is a great place to run a lumberyard, a dry-goods store, a paint-house, a carpenter-shop and a decorating business, to say nothing of an agency for extras. The Bara production is still with us. Our bet is that if Theda had been there Solomon would have gone home with her, to walk the pet elephants in the cool of every tropic evening. THE PASSION FLOWER— First National MUCH was expected of this new Norma Talmadge film. It disappointed. To begin with, the play by the Spaniard Jacinto Benevente was more of a study of Spanish creeds and customs, morals and manners, than it was good sound drama. It is interesting to the student; it is not so interesting to the casual reader. A play was made of it; and now — a picture. It may be presuming to surmise that Mr. Schenck bought the film rights because of the intriguing title — snappy, isn't it? — but we have a suspicion that this is so. Herbert Brenon, a good director, presided. The result, on the screen, is a tedious, studied, and uninspired vehicle for the emotional Talmadge. If she had had this material to act in three years ago, she might have made it a sensational success. Today, she is too sure of herself, she has all her emotional tricks too nicely catalogued, to be convincingly dramatic. The picture is overburdened with detail. It seemed that Mr. Brenon had exercised too much care, that the scenario writer had overwritten the continuity; that the sets were Manhattanmade, and the players, even the extras, were puppets, and puppet-like, distressingly unreal. Much has been made of this production by metropolitan critics; but if the expressionsof theaudiences are any criterion, it did not interest. The audience we sat among laughed too long and loudly at a second-rate comedy to have been seriously inspired by the Talmadge interpretation. And it wasn't the fault of the audience. THE CHARMING DECEIVER— Vitagraph A TRITE tale as an excuse for the ingratiating presence of Alice Calhoun, who is earnest and at times convincingly dramatic as the persecuted heroine. We would like to see this new little star in a story which afforded more opportunities. However, it is something to make the best of those you have. WHAT HAPPENED TO ROSA— Goldwyn AN extremely amusing comedy, bordering not infrequently upon the slapstick, and presenting Mabel Normand in a characteristic role, that of a shop-girl who, in her search for romance finds it necessary to slide down coal chutes, swim rivers and generally upset the established order of things. In the type of comedy which she created, Miss Normand stands alone. THE PERFECT CRIME— Associated Producers IF there was a new plot under the sun, we'd say that Allan Dwan had filmed it, with Monte Blue in a Jekyll and Hyde role demanding unusual talent. True, the The Shadow Stage (Continued from page 60) story is highly improbable and at times rather inconsistent, but, unless taken too seriously, it's quite entertaining. Mr. Dwan has rather improved upon the original magazine story by Carl Clausen. THE TRAVELING SALESMAN— Paramount DID you ever hear of slapstick-drama? Neither did we, until Roscoe Arbuckle introduced it, and most successfully in his recent vehicles. He has opened up a field peculiarly well suited to his talents, and should win over many who have scorned his custard-pie offerings of the past. Welldirected and well-photographed, the James Forbes play has gained in comedy possibilities, in its second screening. HIS GREATEST SACRIFICE— Fox HERE, the storm signals are flying during the very first reel, when the film mamma leaves the church choir to enter grand opera, and William Farnum, as the film papa, kisses baby farewell, polishes his revolver and starts upon his twenty-two years of suffering. Said suffering continues until even the scenario writer becomes discouraged and ends things abruptly, pausing only long enough to predict fairer weather. MOTHER ETERNAL— Abramson VIVIAN MARTIN, as the wife of a truehearted piano tuner who comes out loser in a shooting fray, thus placing her and her offspring at the mercy of the cruel world, brings touches of sincerity to the first part of this production but dispels them when she follows the sub-title "Twenty Years Later," her face an astounding study in black and white grease paint. The story is unnatural and illogical. Far too great stress is laid upon the emotional scenes, and our old friend coincidence appears in many forms. Ivan Abramson is producer, director and author. He should have provided Miss Martin with a Benda mask. HANDS OFF— Fox TOM MIX admirers, who delight in seeing this agile horseman risk his neck, will surely be satisfied with the excitement he furnishes them in this picture. His daring is seldom duplicated on the screen. The story is the usual, impossible "western," but Mix believes that the thrill, not the play, is the thing, and has the courage of his convictions. THE WHISTLE— Paramount THIS should stand out as one of the finest contributions William S. Hart has given the screen. The story is rather tragic, that of a plain, middle-aged millhand, who seeks to avenge the death of his son, and the love theme is entirely one of parent love. Such a plot would not make for success in a photoplay, were it not for careful direction, and the dignity and repression with which Mr. Hart enacts his role. A drab picture, painted with brilliant touch. ROADS OF DESTINY— Goldwyn THE success of the multi-story photoplay has never been marked, though this elaboration of the O. Henry story which Channing Pollock adapted to the stage, is unusually well presented. Pauline Frederick is excellent in her four different roles, and the scenery varies from the dance halls of Alaska to the drawing rooms of Long Island. The theory advanced is that it is impossible to avoid or escape one's fate, which was decided at the beginning of Time. John Bowers in Miss Frederick's support. THE LAMP LIGHTER— Fox OF course, you read this Maria Susanna Cummins story, and enjoyed it — when you were ten years old. Shirley Mason is the waif whose cruel grandfather sends her forth into the world unchaperoned at the early age of one day, but who survives to scatter sunshine in true Pollyanna manner. We're sorry Shirley lost the kitten during the third reel. It was holding our interest. THE DANGEROUS MOMENT— Universal A VERITABLE League of Nations— with Carmel Myers as the Italian waitress who throws chairs and things at the Greek villain, and leaps through a skylight into the arms of the American hero. Greenwich Village is the locale, and Marcel De Sano, the young Roumanian director, holds the megaphone. This picture lives up to its title. THE TOM BOY— Fox A MOONSHINE still, hidden away not in the Kaintucky hills, but in a small-town stable! A beautiful girl who isn't the moonshiner's daughter, a hero who comes from the city with a shiny automobile and a waxed moustache, and a villain who works in a freight depot. Surely, the old order changeth, and hardly, it seems, for the better. THE FREEZE-OUT— Universal THIS is one of the best western pictures we've seen recently. Interest is sustained throughout, without resorting to the usual amount of melodrama common to this type of story. Harry Carey is the mysterious stranger who comes out of the nowhere into the here, reforms the town and wins the school ma'am. DUCKS AND DRAKES— Realart HERE is a decidedly clever comedy, in which four men determine to furnish a headstrong young lady with excitement, and succeed in doing so. Bebe Daniels, as the aforementioned h. y. 1. is quite at her best, photographically and otherwise. If you don't take life too seriously, and appreciate being entertained and amused, you will enjoy this film. Jack Holt opposite Miss Daniels. THE HEART OF MARYLAND— Vitagraph THIS famed Belasco success comes to the screen in a photoplay of rare merit, with Catherine Calvert and Crane Wilbur in the leading roles. Much credit should go to Tom Terriss, the director, for having made a costume play in which the characters, not the costumes, command the most attention. The action is smooth and even, building up to the dramatic climax. Altogether, a decidedly worth-while production. DESPERATE YOUTH— Universal THERE'S a title, for you! Another tale of the old South, with Gladys Walton a demure Cinderella in hoop-skirts. The story does not measure up to her usual standard, but is mildly entertaining. (Concluded on page 102)