The Billboard 1921-10-29: Vol 33 Iss 44 (1921-10-29)

EPS ares es ee OCTOBER 29, 1921 [a The Billboard 99 “THE SWAMP” It has thrills enough to make it exciting, comedy enough to make it amusing, pathos “TO A FINISH” Story by Sessue Hayakawa, directed by Oolim enough to make it engaging and interest enough Directed by Bernard Durning, starring Buck Campbell, adapted to the screen by J. Grubb Alexander, starring Sessue Hayakawa, released by R.-O. Pictares Corp., shown at projection room, New York, October 21. — Reviewed by MARION RUSSELL The title refers to a squaid location in the tenement district. Sessue Hayakawa does not enter the story until late and his scenes are limited, whereag Frankie Les, as the child, Buster, constantly takes the center of the stage, THE CRITICAL X-RAY The story depends primarily apon its heart interest, but the action is exceedingly slow and possesses no particular novelty. Mr. Hayakawa ig a talented actor but it is only toward the end of the picture that he is given a chance at all to demonstrate his ability. We may say that gimplicity is the keynote of this story, for it features a young wife deserted by her faithless husband and left to bring up théir young sop in deplorable conditions. The child is a precocious lad and he!ps to eke out a miserable existence by selling papers on the streets. A Chinaman vegetable peddler becomes interested in the little chap and in this way fis made welcome at the shabby rooms occupied by the delicate mother. She falls very ill and it is thrn the devoted care of the Chinaman that her life ‘Ys saved. Wang then learns that the father of Buster ig about to marry a S0ciety girl. He disguised himself as a fortune teller and attends a reception in tWe. big house. The betrothal is announced. Wang evneses the man, Wellington, and the engagement is immediately broken. A former sweetheart of the mother, Mary, arrives as a rent collector and their broken romance is patched up with happiness looming in the future for the tirea little woman. Wang, realizing the difference in caste between them, takes his faithful horse, Bimbo, and returns to his native land to wed one of his own people. A trained horse performs some amusing feats thet are sure to attract laughter anywhere. Pathos fills many reels of the picture and it is owing to the quiet yet forcible interpretation given by Mr. Hayakowa and Bessie Tove that the picture will attract that class of audience which prefers heart interest to action, Frankie Lee is a fine manly little chap and his sereen career looks most promising for the future. In fact it seemed to me as if they were boosting the little fellow with ultimate stardom in the perspective. The settings were of the poor and shabby kind, with just a scene or two in the fashivnable residence of the society girl and for the main part the picture relied upon its simple Derrative, which showed the sorrdws and struetles of the deserted wife. We must not fail to comment upon the emotional ability of Bessie Tove. She has the power to extract or rather to draw tears in the most simple scenes but we would like to have Mr. Hayakawa in a scenario in which he could demonstrate to greater advantage his well known geniug for pantomime. . SUITABILITY Residential sections. Children will like this Picture very much. ENTERTAINMENT VALUB About the average. “BY RIGHT OF BIRTH” Story by George P. Johnson, scenario by Dolores Mitchell, directed by Harry Gant, produced by the Lincoln Motion Picture Co., featuring Clarence Brooks, Anita Thompson and Webb King. to make it more than entertaining. SUITABILITY Any audience. ENTERTAINMENT VALUB Way above the average of Negro pictures. A very pretty story, nicely told and well a with a pleasant surprise at the ish, — The Lincoln Company has come thra with a Wonderful picture, considering the limited amount of experience the Negro actors and actresses have had to show their ability on the Screen, In this picture they have many noted screen &rt'sts, and beside people of international reputation the little Lincoln Players give a good acccunt of themselves, The story is one that has many openings to inject all kinds of propaganda, but the company evaded every chance to aNow anything to apDear on the screen that would cause any feeling °r create any race prejudice whatever, much to their credit. Other companies producing Negro pictures might try the same thing. The work of all of the artists deserves praise, but Anita Thompson, Clarence Brooks, Webt King, Beatrice George and Minnie Provost must not be passed without special mention. The photography is way above the average and the scenes alone enhance the value of the Micture to such an extent that with the action , *ach scene carries the picture is made gripping, ; “THEODORA” _—e Presented under the direction of S. L. Rothafel, matografica Italiana, ture, scenario by A, Carlucci, directed by Commendatore Ar produced by Unione CineGoldwyn Pic turo Ambrosio, shown at Astor Theater, New York, week of October 16. Reviewed by MARION RUSSELL eclipses ing the sensus age. Thic daring, colossal and vivid spectac’e shown in America, The picture is pack “Theodora’’ the greatest cinema of the all work of this character ever Astor Theater daily.. The conof public opinion pronounces by Rita and love enit role. will, the crowds, lowed by andience orm esses, onnades, as old as thrn the multuous, once lose eany did the role drenuk fo business dora” to will net architecture are only found in a country seems incredible that the camera, the guidance of a master director, could! have visnalized all this grandeur, this tn THE CRITICAL X-RAY Tt is impossible to do justice to this stuPendous picturization of an early period in the world’s history. There is such constand action that the story is secondary to the construction, but nevertheless the marvelons interpretation of “Theodora’”’ given Jolivet keeps the spectators ever mindful of the tragedy that her intrigue of power brought upon her own head. This actress has achieved a veritable triumph in interpreting this artfol and difi So clever have been her efforts in this characterization that she actually attracts sympathy for the crafty courtesan who swayed an Empire by her imperious Perhaps the greatest asset of this picture js the mobilization of thousands of people; of incessant movement, which, despite its almost chaotic action, something pertaining to the central theme. Particularly impressive was the gathering at mammoth those ancient days of Byzantinom (or ConStantinople as story being placed in the early years of the sixth century—the is significant of Hippodrome where in it 1s called today)—the massing of huge the dramatic intensity of certain episodes which occnr in this location, fol the loosing of hungry lions into the arena, where many {innocent victims lost their lives, causing the spectators to shudder in horror. Scenes like this reach the apex of screen perfection and aronsed the to wild enthusiasm. There is a riot of extravagance displayed in the court scenes, yet even this is overshadowed by the magnificence of the palace, villas, enormous court yards, dungeons and Pastoral scenes on the outskirts of Rome overlooking the Lake of Albono. pictured the ancient pine trees and somber Italian Here is centnr'es old, forming a back ground snch as has never been depicted in any picture made in America. The exquisite gardens filled w'th statuary, marble colpavitions and other examples , of ancient Rome. It fs this ravish ing and picturesque background which causes one almost to forget the conflict of emotional love, hate and@ avarice which sweeps picture like a whirling wind. It under whirling, riotons action and never its continnity of thenght and pur pose. We might object to the inferiority of the lover-hero, Rene Maupre, who physi not seem to be of the tyre to attract the hanghty Empress, tho he played his role with all the vehemence necersary. The length of the cast prohib'ts further personal mention, excepting a reference to Furrocio Biancini as Jnstininn, Emperor of the Roman Empire, who fitted well into of the perplexed King, The greatest compliment to be paid ‘*Theodora’® Hes in the fact that, despite the length of fits ten reels, one’s attention was concentrated to an almost painful extent. The silence was broken only by fervent ontbursts of applause. Otherwise. the public every scene with avidity. The firm of Goldwyn showed wonderfu! acumen when it brought ‘‘Theothe Uniteqa States. The picture a fortune. SUITABILITY The whole country should be given an opportnnity te view this picture. ENTERTAINMENT Above par. VALUB Jones, five-reel Fox picture, shown at New York Theater, New York, October 19. Reviewed by MARION RUSSELL The story features fast riding and the ability of the hero to fight his way out of one predicament into another. Nothing very original in the conception. THE CRITICAL X-RAY The audience was greatly amused at the fiumerous knovkout blows which sent the hero sprawling into all sorts of shapes, yet in a swift manner he extricated himself and went on for another blow. The picture is merely a series of rough and tumble fights between the hero and the villain, and its incessant repetition palled upon the audience. A bit of love story is the connecting link between these fistic encounters, and tho some of the blows, such as being struck on the skull with a glass bottle and various other blunt instruments, being enough to kill a man, were not sufficient to subdue him, the hero bobbed up again with marvelous ability, thus provoking laughter and making a comedy of what might have been a tragedy. Buck Jones is the rapid, fearless rider, and pictorially the picture is enhanced by some very thrilling outdoor scenes. A chasm over which the hero makes his way on a rope, one end fastened to the saddle of his faithful horse and the other end attached to a tree on the opposite side, afforded a big thrill, for the hero was in danger of death at the hands of an unscrupulous wretch who shot at him while the dangerous crossing was being made. ‘ As the above description proves, the picture is laid in the Western country and has to do with the cattle-rustling villain who frames the hero, and. there is also the love of the sheriff's daughter, which is one of the factors in the controversy over stolen property. The role of Doris was played by Helen Ferguson, who has somewhat lost her appealing beauty, at least in this picture her eyes and features do not register as finely as in former releases. Buck Jones had nothing to do but fight every sixty seconds of the minute, and so we cannot judge of his acting abilities, SUITABILITY In locations where the Western film is a novelty. : ENTERTAINMENT VALUB Ordinary. “PETER IBBETSON” Presented by Adolph Zukor, a George Fitzmaurice production, based om thé novel by George Du Maurier and the play by John Nathan Raphael, scenario by Ouida Bergere, starring Elsie Ferguson and Wallace Reid, shown at Criterion Theater, New York, week of October 16, Reviewed by MARION RUSSELL A cinema achievement, glorifying the story that reaches the depths of the soul, holding the audience tense with emotion. A veritable triumph for Elsie Ferguson and Wellace Reid. THE CRITICAL X-RAY ' The screen version departs somewhat from the arrangement of the spoken drama, cleaving closer to the brighter side and relaxing on the morbid s‘tuations during the many years of the hero’s incarceration in prison. In the present instance the story shows many delightful episodes of the childhood of Peter. Then on to his unhappy youth, when defending the sacred name of his beloved mother, he kills h's profane uncle, blasting his life and that of the Duchess of Towers, whom, as the tender l'ttle Mimsie, he has always loved. While the poignant emotion is intensified in the scenes between the lovers, there is but a moment at the finale which shows the return of the spirit of the now dead Mimsie with the soothing linés—"‘The world calls us dead, my beloved, but we have only begun to live.”’ Perhaps it wll never fall again to the lot of Wallace Reid to enact a character in which the actor has such tremendous opportunities to visnalize all the feelings and sentiments which reach the heart. Personally we never believed the smiling, gen'al young actor could so eclipse his own !dentity and become the lonesome, heart-hungry youth, Peter Ibbetson. But he has accomplished this an@ more, he has given an interpretation entirely of his own conception, . é Elsie Ferguson seemed fairly to throb with emotional suffering. She was the very. embodiment of the saddened Duchess of Towers, longing to comfort the boy playmate of her youth. Quaint, whimsical, elusive at times, she held our eye and appealed to our senses with a power we could not resist. All around me in the crowded auditorium men and women were gently sobLing, or coughing down their ‘rising tears, for it seemed not like a photo graphic vision, but an actual happening of life’s tragedy. The bouffant gowns, many of voluminous circumference, suggested the broad hoop skirt; the odd shaped little basques, the tiny parasols, all contributed ,te make Miss Ferguson’s appearance blend with our recollection of Du Maurier’s immortal story. Mr. Reid, too, looked startlingly youthfnl in the tight trousers, odd frock coats and white stocks which apperta‘ned to that period. Other important characterizations were contributed by Montague Love as the egotistical Colonel Ibbetson. His makeup and acting were flawless. Two children, Nell Roy Buck, as the child Mimsie, and Charles Eaton, as little Gogo, who in later years became Peter Ibbetson, were remarkably natural in their behavior and aroused immediate sympathy for the characterg in the eurly stages. All the settings were appropriate to the tender little story, flaskbacks being used frequently with the aid of double éxposure to show the vision of Peter walking in the garden search ng for his dear ones, An altogether beautiful picture which has a very strong appeal to intellectual clientele, SUITABILITY All theaters. ENTERTAINMENT VALUD High. BUSINESS CONDITIONS ON WEST COAST FLOURISHING (Continued from page 96) away by any other form of amusement—at least not for many years to come.” “Have you had any trouble with the Blue Law in Los Angeles?” “No, we keep our houses open Sundays and every Sunday morning we give concerts. These start at 11 o’clock. The seats are reserved and are sold out completely before the doors open. Our program is varied. One Sunday we give an Italian Concert and another Sunday an Irish Concert and so on, which attracts the different classes. The auditors may remain for the regular afternoon performance if they so wish. This hag been going on for the past two years and has proven most successful. We have a 100-piece orchestra which supplies music for all these occasions and we have had nothing but words of appreciation from our patrons.” “In Los Angeles, where the film colony is so strong, have you noticed any disastrous effect of the recent Arbuckle scandal upon the theaters?”’ “No, because we have ceased to run his pictures and there are generous-minded people who believe that the decent living, hard working members of the “screen should not be made to suffer for the misdeeds of those whose corrupt habits brought disaster upon themselves alone.” “Have you enjoyed your visit to New York, Mr. Grauman?” “Yes, indeed, I have accomplished all that I came for and besides learned a great deal of your methods in conducting first-run houses on Broadway. The Capitol is a structure of magnificence and the brillant presentations reflect great credit upon the management. I also think Dr. Riesenfeld is a wonderful man, and it is due to his genius that the three theaters, under hig management, are now the leaders in your city. In fact all your theaters are wonderful. They convey the last word {im artistry and thelr programs are snappy and up to the minute.” “Do you use any special presentation when offering features at your theater in Los Ange ‘les?”" “Yes, we have tried to arrange @ program that will have the spirit of the feature that is to follow. We surround it with al! the colorful anq lighting effects possible to obtain. This usually creates talk and supplies splendid exploitation. But no matter what accessories or other effects we may utilize the picture must be of a caliber to stand up—head and shoulders above everything. If the picture is not of high quality, all the exploitation and other e«xpensive adjuncts go for naugbt.”” “Are you contemplating building more theaters?” “Yes, I am putting one up in Hollywoo) and we, have been, for the past year and a half, working on Grauman’s Metropolitan Theater, which is situated at 6th street and Broadway. This theater reaches the apex in M. P. theater construction. The house will seat 4,400. There will be stores under the building Intended for small artistic shops and the building will contain 400 offices above. Underneath the theater will be an arcade and twenty-five of these smal! shops will have prominent space. The entrance at 6th street comes out on Hill street, the arcade continues thru to Broadway. There will be three entrances: a 90-foot entrance at 6th street, a 40-foot entrance at Hi!l street. and the Broadway entrance is 50 feet wide by 175 feet in depth. This ts exceptionally large, as you know, but the magnificence of this entrance alone will be a great attraction to the THE KITE MAN J. H. WILLIS, 220 West 49th Street, New York City j