Picture Play Magazine (Sep 1920 - Feb 1921)

mm ii iiiiiiiiiiiiiiiii!iiiiii!iiiiiiiiiiiiiiiiiiiiuiii!iiiiii minimi n mi iiKmimiimmiiimiiiiiimiiiii muni i mi uuuiiiiiiiiiiiiiimim! imiiinnii imiEiiiiiiiiiiimiimiiiininiuiiiii iinnim uiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiii memo The Screen in Review Criticism and comment on current releases. lllllliimilllllllQUIIllllIM By Agnes Smith FOR more than a year the prospect of Otis Skinner in a screen version of "Kismet" has been a mere fascinating promise. The screen rights were purchased, Mr. Skinner was duly persuaded to sign on the dotted line, and plans were made for the production. Because there were several hitches in the proceedings, certain wise men in the motion-picture business declared that there would never be no such fillum. But behold ! Here is "Kismet," produced by Louis J. Gasnier for Robertson-Cole. Presented with more than Oriental splendor, it comes along to brighten screens that have been colored drab by too many hit-and-run melodramas, too many dull problem plays, and too many sleek comedies of enterprising voung success experts. Along comes "Kismet" to give a jog to your imagination, to take you to faroff brilliant and impossible lands, and to tell you a fascinating story of the country of the "Arabian Nights." On the stage "Kismet" was a. bird of fine feathers that roosted long on Broadway. With due apologies to Mr. Morris Gest, it was far more enchanting than all the "Chu Chin Chows" "Ban and "Meccas" that have followed it. When Mr. Skinner announced that he was going to wind it into reels, we had our doubts. Nothing is more depressing than a spectacular play gone wrong. We feared that "Kismet" would be stripped of its Oriental flavor, and that it would turn out to be one grand circus, with nothing but plenty of real camels and Oriental dancing girls to recommend it. As for Mr. Skinner, there was the fear that it would be hard to teach an old dog new tricks. But Mr. Skinner is a canny gentleman. I suspect him of studying studio tricks and film technique. Most of these "distinguished recruits from the legitimate'' do not. At least, they don't until the)' have learned a few hard lessons in the bitter school of experience. If Mr. Skinner never appears in another picture, h( goes into the screen Hall of Fame. Even if you don'l care especially for "Kismet" you will be repaid foi having seen Otis Skinner. His performance of Hajj, the beggar, who crams the adventures of a lifetime into one day, is a marvel of virtuosity. Hajj is a liar, a villain, a thief, and a murderer. He is a typical Oriental hero. The Western world admires the upright man ; the East reverences the subtle old scoundrel. The action of Edward Knoblock's play is literally a moving picture. To write like an Irishman, it was a moving picture even when presented on the stage. Elemental and melodramatic, it has elements of real poetry and greatness. The knock of fate gives the picture rhythm, and this rhythm has been retained in the scenario prepared by Charles Whittaker. "Kismet" is, then, a jewel of a picture. Its success ought to prove to producers that a little imagination is worth a ton of rehashed plots. Mr. Skinner and Mr. Gasnier have succeeded where many have failed. This business of adapting stage plays to the screen is a risky one. For a time, pro ty Pulls the Strings" will appeal to those who find the ordinary movie too boisterous and crude. ducers were bent on corralling all the cash-register successes and the market, and canning them like peas. The object was to line up as many well-known names as possible and let the public take the consequences. Immortalizing famous actors in famous roles has been a popular business. Some of this immortalizing didn't take ; the immortals emerged with more notoriety than reputation. Do you remember Mary Garden in "Thais," and Mrs. Fiske in "Vanity Fair?" Bunty Pulls the Strings From Goldwyn comes a creditable adaptation of a stage success. "Bunty Pulls the Strings," being fragile, has been handled with care. It isn't just one wild roar of a laugh after another, but it is a comfortable sort of comedy. It is so pretty, genteel, and refined that it could be shown at an) church on a Sunday night. Bunty, you may remember, was the winsome Scotch lass who pulled the strings so effectively that she patched up a family quarrel and smoothed over a family scandal. An outrageously bossy little person, but lovable and feminine. Bunty and her relatives care no more for money than does the average film producer. Graham Moffat pokes fun at the Scotch, mild, good-humored fun. This gentle satire, set in idyllic settings, gives the picture a demure charm. I think that it will appeal especially to those persons who find the ordinary movie much too boisterous and crude. Leatrice Joy, as Bunty, is all smiles and dimples. Miss Jny is headed straight for electric lights. Raymond Hatton plays Weelum, Bunty's unromantic suitor. Mr. Hatton can be so funny without trying that we wonder why other comedians have to try so hard. Cullen Landis gives another excellent youthful characterization as Bunty's brother. The picture was directed by Reginald Barker.