The Photo-Play Journal (Jul 1919-Feb 1921)

r— October, 1920 63 SHIPWRECKED AMONG CANNIBALS {Continued from page 62) never been farther from the United States than Martha's Vineyard. Savage customs and life are shown in detail. But many of the scenes, supposedly genuine, were obviously faked, with the result that the spectator feels that his intelligence has been made light of. An interesting experiment in subtitlesbacked on motion pictures instead of still photographs — enhances the beauty of the film. A COMMON LEVEL (Burton King) A weird combination of an interesting story of Attila the Hun, directed by the famous Italian, Ambros, and a farcical melodrama woven into the Italian tale by the American director, Burton King. Edmund Breese plays the leading role in the American part of the film. Claire Whitney does good work as the heroine. The unevenness of the picture points to carelessness in handling. HUMORESQUE ( Paramount-Cosmopolitan) New York City has set its stamp of approval on "Humoresque" by giving it one of the longest runs ever recorded for a feature picture produced without any previous ballyhooing and with no great names attached to it. "Humoresque" is adapted from Fannie Hurst's novel of that name. It is a story of the ghetto in which all the characters are Jews. Directed by Frank Borzage, though featuring Alma Rubens, it was carried away by Vera Gordon, who plays the part of the mother of the slums. Her characterization of the eternal mother has been placed in the annals of motion picture art as the finest type ever seen on the screen. And the picture seems to appeal to all classes of Jews and of Gentiles. Telling the tale of the mother who lives in her son, whose wish to see him famous is finally granted only to have fate destroy the agent of his fame, it has a universal appeal. Realism, honest humor and simple pathos crowd the picture, which sets the highest mark since "The Miracle Man." Vera Gordon never played in the pictures previous to her work in "Humoresque," although she had won fame on the speaking stage as a character woman playing mother parts. She has already established herself through this single photoplay and looms up as perhaps the most significant newcomer to the ranks of screen players in the last year. Gaston Glass as the son is convincing, and Dore Davidson as the father ably supplements Miss Gordon's excellent work. Alma Rubens, the featured player, has little to do but does that little well. L TRUMPET ISLAND (Vitagraph) Here is a picture made without sparing expense, with plenty of extravagant interiors and many beautiful exteriors, with a cast that is pleasing throughout — yet. it fails miserably. As midsummer entertainment it may please many, but as a serious photoplay drama, such as it is intended to be, it lacks realism, and is entirely unconvincing. The reason : a typical old-fashioned motion picture plot, containing all the ingredients of the old "cast on a desert island" story. The failure is partly due to the fact that the audience is never in suspense as to the outcome. Fate instead of being inscrutable reveals her film hand at the start and the only interest is maintained through a faint desire to see how the poor hero and the beautifulmarried-to-a-roue heroine will finally come to the fade-out clinch. Marguerite De La Motte is extremely good to look at as the heroine, and Wallace MacDonald plays the hero with much spirit. In the unsympathetic heavy role, Arthur Hoyt scores brilliantly. 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