Photoplay (1923)

Saves Your Picture Time and Money PHOTOPLAY^S SELECTION OF THE SIX BEST PERFORMANCES of the MONTH Charlie Chaplin in "The Pilgrim" Florence Vidor in "Alice Adams" Emily Fitzroy in "Driven" Syd Chaplin in "The Pilgrim" Charles Mack in "Driven" Elinor Fair in "Driven" Casts of all pictures reviewed will he found on page io8 DRIVEN— Universal HERE is the celluloid surprise of the month. Charles Brabin's picturization of a magazine story by Jay Gelder will challenge comparison with "Tol'able David." Which is unfortunate, for it deserves to stand upon its own feet. Brabin has taken a mountaineer household of ignorant, untutored moonshiners — whose horizon is the treetops of the neighboring hills — and made a vital tale. Moreover, he has developed and told his story with fine dexterity—and the best cast of the month. The story centers around the younger o' the family — a weakling and a dreamer — who comes to love an orphan waif. There is no smashing finding of a new self. The boy is well nigh broken upon the wheel of life. But fate, in the hands of the grim old mother, intervenes. Maw sells paw and the boys to the "revenueers" — and with the blood money sends Tommy and Essie on to the railroad leading to outer civilization and happiness. All this is told in a curious slow tempo that may be disconcerting to lovers of speedy entertainment. But it permits of singular character analysis. We recommend "Driven" to those who are interested in the best on the s'lversheet. "Driven" is worthy of your attention. The acting, as we have said, is superb. Particularly fine is the superb figure of tragedy enacted by Miss Fitzroy as the mother. Miss Fitzroy was the unforgetable sinister landlady of "Way Down East." And Mr. Mack, borrowed by Mr. Grifhth, reveals a finely attuned sublety of characterization. His is a poetic touch. Most of all, "Driven" will lead us to watch Mr. Brabin's future work with high interest. It proves him a director of fine potentialitv. THE PILGRIM— First National CHARLIE CHAPLIN'S latest is in four reels and. considered as a comedy, it is deliciously funny. As an expression of the Chaplin genius, however, it is somewhat sketchy. The great comedian might have developed a big thing of it. Such classics as "The Kid" and "Shoulder Arms" can't happen every day. Charles appears as an engaging convict who masquerades in a minister's clothes and becomes the spiritual adviser of a small town — for a while. His adventures with his flock are not sacrilegious if you have a sense of humor. Charlie is artless; he wears, as usual, the naive air of the well-meaning man who has been forced into compromising situations through no fault of his own. There are several uproarious episodes, and one bit, a pantomime sermon on David and Goliath, that is unforgettable. THE VOICE FROM THE MINARET— First National ROBERT HICHENS' novel serves as a vehicle for the reunion of Norma Talmadge and 'Gene O'Brien, once termed " the perfect screen lovers." Their lovemaking does not strike us so strongly these days but we doubt not that the fans will welcome them with enthusiasm. Maybe the lack of response is due to the old fashioned qualities of the tale; the old, old story of the old man's young wife who longs for youth and love. And once again youth and love are personified by a chap headed for the ministry. So there is a lovely renunciation scene and — whether or not Hichens planned it — an ultimate happiness when the unscrupulous philandering old husband expires. Such qualities as are possessed by "The Voice From the Minaret" come from its background of the Sahara. [continued on page 70] 65