Screen Opinions (1923-24)

166 “BOOK THE NEW PERCENTAGE WAY” Our Opinion MORAL O’THE PICTURE! — None. Smart and Humorous Adaptation of Story of Capricious Moods — Masterpiece in Its Own Particular Class Hats off to William DeMille for his skilful visualization of “Rita Coventry.” This production is a combination of beauty and humor, and not in some time has the screen presented a comedy that moves at what might be termed as musical a tempo as “Don’t Call It Love.” The much-talked-of story on which the picture is based looks from the screen mockingly, merrily, jazzily, presenting incidents in the love affairs of a temperamental prima donna in comedysatire style. The exhibitor should note that we have marked the production for adults only. He will find Rita gorgeously but naughtily gowned. Nita Naldi, who plays Rita, has, among other qualifications, a marvelous back to display, and the mistress of the wardrobe has done her duty by it nobly. Nita Naldi also gives a finished portrayal of the role of Rita which she plays with all the naughty naughtiness required of the role, plus gracefulness. And we may say right here that if Miss Naldi’s ability to act can be demonstrated beyond the typifying of vamp characters she will become one of the foremost screen actresses. Rod La Roque is excellent in the role of an Atlantic City piano tuner, whose appearance on the scene spoiled Dick Parrish’s romance with Rita; and Jack Holt gives a good performance as Parrish, made faithless to an over-solicitous sweetheart by the sensuous charms of the prima donna. Rita’s managers, kept continuously in hot water by their irresponsible charge, are capably portrayed by Robert Edeson and Theodore Kosloff. Agnes Ayres gives a convincing portrayal of the neglected sweetheart. The settings, direction, and all technical requirements of the production are up to the minute. The picture is splendidly edited and subtitled. STORY OF THE PLAY Rita Coventry, a temperamental prima donna, is in love with love, and in her search for romance she alights on Dick Parrish, an over-loved lover, whose sweetheart, Alice Meldrum, dances attendance on his every wish. Dick, realizing his position between two loves, decides to go to Atlantic City, and Rita, canceling a concert engagement, persists in motoring there with him. All is going well when Patrick Delaney, a piano tuner, comes into Rita’s suite to tune the piano, and Rita’s vivid imagination thrpws a halo about Pat that completely upsets Dick’s equilibrium. The result of Dick’s awakening is a return to Alice, who now appears in a different light. Dick is forgiven, and Rita goes her merry way looking for other worlds to conquer. PROGRAM COPY— “Don’t Call It Love”— With an All-Star Cast The merry gait at which Rita Coventry, a temperamental prima donna, trips her way along the pathway of romance will amuse you thoroughly. Don’t miss this comedy-satire, one of the best. It’s a William DeMille production with Nita Naldi, Jack Holt, Rod La Roque and Agnes Ayres. “MEANEST MAN IN THE WORLD”— [Cl. B] 65% (Adapted from play of same name) Story: — Lawyer Tries to Win Success Through Meanness, and It Isn’t In His Makeup VALUE CAST Photography — Good — Arthur Martinelli. Richard Clarke Bert Lytell TYPE; OF PICTURE — Humorous adventure. Jane Hudson Blanche Sweet Moral Standard — Average. Ned Stevens Bryant Washburn Nellie Clarke Maryon Aye Story — Good — Comedy-drama — Family. Bart Nash Lincoln Stedman Cast — Good — With Bert Lytell, Blanche Kitty Crockett Helen Lynch Sweet and Bryant Washburn. Carleton Childs Ward Crane Author — Good — George M. Cohan Mrs. Clarke Frances Raymond Direction — Good — Edward F Cline. Hiram Leeds Carl Stockdale Adaptation — Augustin MacHugh. Andy Oakman Tom Murray Technique — Good. Michael O’Brien Forrest Robinson Spiritual Influence — Average. Franklin Fielding Robert Dunbar Lute Boon ..Victor Potel Frederick Leggett William Conklin February 1 to IS, 1924. Producer — Principal Pictures Footage — 6,500 ft. Distributor — First National (Continued on next page) No Advertising Support Accepted!