Screenland (Apr-Sep 1924)

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But there is an elfin quality — how I dislike that expression, but what other one is there? — about the celebrated star which the camera has caught; and it is the excuse for this picture. She is wise to make only one picture a year. I shouldn't care to see a Taylor film as regularly as a Swanson or a Compson. Our celluloid actresses must have more potent personalities than we usually credit them with. Surely no Taylor or Ethel Barrymore could stand the strain of a motion picture appearance every few weeks. To get back to Happiness— there's a corking contribution by Hedda Hopper, who is one of the most distinguished non-starring ladies on the silver sheet. She is never tiresome; and she is pleasant ointment for the optics. Pat O'Malley is good if you like Pat. Hill Billy Refreshingly Different The Hill Billy is a refreshing film. It brings back Jack Pickford, who has been doing little of late except posing for pictures with his lovely wife. Jack loses his well-tailored identity completely and becomes a mountain boy — proving that there's another real Pickford on the screen besides Mary. Not a startling drama, but one you'll like unless you're fed up with feuds, and even if you are you'll find that this is "different" — yes, I mean that. Lloyd Hamilton hi Poor Five Reeler His Darker Self is unique in that it contains the most fearful collection of cunning sub-titles in film history. They are so simply awful that they are almost worth going to read — almost. Lloyd Hamilton may have believed, when he left his comfortable two-reel comedies for a flyer into the five-reel class, that he was advancing. Mr. Hamilton is far too good a comedian for this sort of five-reeler. He has little or no opportunity to display his very definite comic talents. The result is the most dismal "comedy" in years. It concerns itself with chocolate-colored bootleggers. This was the vehicle selected for Al Jolson's screen debut. Now I know why Al went to Europe instead. I don't mean to imply that Lloyd Hamilton couldn't be funny for five reels. He has as much legitimate business in longer films as Buster Keaton. His small cap and large feet are the least of his resources. Given a chance, Hamilton could step into the ranks reserved for the real comedians of the reels. And I just said that those puns were the worst I'd ever read ! Clyde Cook is doing pretty well these days. In The Misfit he displays a real flair for farce. Now that he has returned to the stage in Ziegfeld's Follies I sup pose the films will begin to appreciate him. Singer Jim McKee is chiefly notable for a thrilling spill which Bill Hart and his horse take off a cliff. The star was worried for fear people would think his steed had suffered in the fall so he immediately had a strip of film made to show that Paint was alive and trotting. Phyllis Haver is in it, having made a quick change from her crinolines to a divided skirt, with equally pleasing results. Second Thoughts on America Since the opening night of the D. W. Griffith photoplay, America, the director has stood his story on its head, amputated parts of it and grafted on new scenes and incidents until it is an entirely different drama. The second part of America, as it was shown at the premier, lacked life. Screenland's May reviews called this to your attention. Now Griffith has made over his picture until as it stands today, it is a great and splendid thing — stirring and sweeping from start to finish. He has introduced Lafayette; he has taken out the orgy; he has builded his second act around the attack and the rescue of Fort Sacrifice. Therefore, the criticisms which you read in the last issue have been borne out and when you view America you will see one of the most masterful screen plays ever produced. It is now as mighty as The Birth of a Nation — the only worthy successor to that picture which made film history. Some Poor Ones The Hoosier Schoolmaster receives the celluloid ribbon as the month's — no, year's — Camembert. It is too frightful to be funny. The photography in spots is so bad that the action is almost indistinguishable from the scenery; but unfortunately many of the scenes are all too clear. Henry Hull certainly selects peculiar vehicles for his film appearances. He made his debut in One Exciting Night; and now — but maybe he never goes to see his own pictures. If he sees this one I am afraid he will retire. The best thing about Sennett's The Halfback of Notre Dame is the title. Why didn't Maestro Mack make a real comedy with Ben Turpin in the title role? This is just a weird jumble of scenes which look suspiciously like leftovers. Daughters of Today is another one of those things mortifying the American girl. It tries awfully hard to show that the younger generation is going to the d-v-i-1 ; but it isn't particularly convincing because the boys and girls seem to be having such a good time going there. They don't begin to reform until almost the end of the picture; so if you go in for indictments of flaming youth you may have a good time.