Photoplay (Jul - Dec 1920)

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It has fun with you, with me, and even with the solemn man who plays the trombone in the orchestra. In it, we meet Estelle Taylor as a sprightly vamp. If sirens were not out of 'tylc (on the screen) we"d term La Taylor •!)c empress of them all. We won t spoil t surprise of this satire by pinning it to .iper. A thrill is handed all inlanders in iiose scenes showing for the first lime on my screen a close-up of Ziegfelds Midnight Frolic, with a gorgeous glimpse of the stately Dolores. This is Broadway — the very l)realh of it. The third of the three acts is by far the best. It is the most gruesome tragedy the screen has known. It is not entirely original in conception, with all due respect to the programmed authors of it. Once French, this plot of the paralytic old father who watches his only son murdered by an unfaithful wife and her lover is peppy pabulum for the picture-goers accustomed only to sugarcoated se.x drama. Marc McDermott, after a long absence, returns to films as the father, giving the best performance of his career and pretty nearly the best characterization of its kind in celluloid. Harry Sothern, nephew of E. H., is reminiscent of Raymond Hatton as the son. Earle Metcalfe comes back with a bang as the young gangster-lover — a capital performance, this. Estelle Taylor, the same ,-ensuous young woman of act tv o, has her first big role here. This beautiful newcomer has a vast dramatic reserve; she fairly hurls herself upon a part and tears it to pieces. 'With very careful direction she should go far. Vou will gasp, you will shudder all the way through this three-ring circus. For once the advertisements have not exagcerated. The suspense is well sustained — :o \ell that you could hear the proverbial pin Irop if it ever did, not to mention smoth1 red shrieks from the women and soft-pediled profanity from the men. William Fox aIU make money with this one, as he has A iih so many others. But this time he earns ;i. He ha? not attempted here to sugar-coat 'sis sex-theme or veil his violence or mask iiis melodrama. It is as frank and unashamed as the above alliteration. .\nd we would advise you not to miss "While New I York Sleeps," providing you're equipped with I shock-absorbers and check your nervous .~>-tem with your hat. It's a real thriller. THE BRANDED WOMAN— First National THIS is pretty poor stuff for even the most enthusiastic Norma Talmadge fan. They have been giving one of our best emotional actresses the cheapest of material for a long time now. It is not because it isn't well mounted — it is. .\nd not because Miss Talmadge isn't very beautiful and superbly dramatic and intensely emotional — she is. And we can t blame her supporting cast, either — for it includes such fine players as Percy Marmont. It is. as usual, the >tory that is at fault — and perhaps it is because her managers insist upon presenting lur only as a more-sinned -against -than-sinning heroine that Norma is continually cast in this sort of role. You will be disappointed in this we;!k. doctored drama, but— -go lo le the gowns. HONEST HUTCH— Goldwyn Is Will Rogers your favorite actor? Well, he's one of ours, and he is better than ever — more human, more humorous, and more varied in "Honest Hutch ' than he has had a chance lo he since "Jes" Call Me Jim " He's a lovable shiftless soul, is Hutch; and E»i«7 »il»«T:iMiniiil 111 riJOTOrLAY JilAtJAZINK 1» gUBmntPid.