The Billboard 1922-01-21: Vol 34 Iss 3 (1922-01-21)

ee JANUARY 21, 1922 he pOoOarc , “FOOLISH WIVES” cart Laemmle presents “Foolish Wives,’ written and directed by Erich von Stroheim, a Universal “Super-Jewel,’’ produced by tbe Universal Film Manufacturing Co., shown at Central Theater, New York, January 11, Reviewed by MARION RUSSELL A big and colorful picture with a scenio replica of Monte Carlo, finely photographed. But the story simply reeks with scenes of gambling, murder and rape. A liberal dose of f would make it more prosentable to a refined audience. THE CRITICAL X-RAY The entire theme suffers from an exaggerated case of sexval madness. Competent directors do not permit an actor to stand before a roadside crucifix without removing his hat. A competent director would not ask his audience to believe that the heroine, her slender form constantly garbed in evening gowns, would after the Gre incident show her husband a new born infant. This was so utterly absurd that the audience laughed outright and a second later broke into screams of mirth when the husband says: ‘“‘Why didn't you tell me?’’ If there is anything more infantile than this we don’t want to hear of it. Another incongruity that aroused the risibilities of the spectatore was when the same heroine suffers from a sprained ankle and is forced to remain in the but over night with the villain, completely prostrated. Yet the very next morning she is seen tripping lightly home in tight4itting satin slippers without the slightest indication of a limp. The outline of the story, which is placed in a Continental atmosphere, at Monte Carlo, Monaco, concerns two adventuresses and their blackmailing, woman-ruining cad of a cousin, Count Sergius Karamzin. These parasites devote their energies to obtaining confederate money, gambling and trying to ruin the happiness of Andrew J. Hughes, U. 8. Special Envoy to Monaco, and his beautiful young wife, Helen. All the action circulates around these characters apd their nefarious dealings. We do not agree with the producers that this fs a MILLION-DOLLAR picture—far from it. For the settings consisted mainly of a villa by the ses, and the exterior and interior of the Casino at Monte Carlo. The architecture of these structures was cleverly imitated, and with the brilliantly lit gambling salons, the fairy-like lagoons, the promenades filled with gaily dressed people, they helped to comPlete an attractive pancrama of fast life at the famous resort. Many people were employed to ‘‘dress’’ the scene, and herin the director showed discernment by holding interest thruout the kaleidoscopic action. The Pacific Ocean (as this picture was filmed completely in California) supplied a romantic background—but water is cheap in this country. Perhaps large sums of money were consumed thru delays, obstacles and retakes, but otherwise the production did not bear out the assertion of a tremendous investment. We should demand a bill of particulars. The garish scenes were constantly submerged with the sex appeal. That underlying thought never lost itself even in the mire of the swamp, which scene, by the way, wae creditably handled. The titles were for the most part written in rhyme and proved a novelty. But the quarrel lies with the morbidly depraved sentiment conveyed by the char acter of the Count. His conduct is an insult to decent-minded men and women. His insatiate mania consists of debanching the weak and jnnocent. Even his Russian servant girl is not immune to his attacks. For he not only ruins her life but robs her of her twenty years’ savings. Driven to despair, she sets fire to the tower room to which he has lured the silly young wife of the Ambassador, Then she throws herself into the ocean. This character was well played by Dale Fuller, Only we thought she would never set thru emptying can after can of kerosene ol) upon the carpet. The fire scene supplied a melodramatic thrill, for genuine firemen and @ complete fire department were utilized for the sake of realism. One indelicate situation after the other followed, reaching the mit when Sergius enters the bedroom of a half-witted young girl and brutally asssulte her. Her death follows, and, not content with this dastardly act, the director shows other scenes of the half nude figure of the childwoman, revenling the marks of the beast mpon her young neck and shodiders. Yet this picture bears the official stamp of the New York State — Commission!! Why such a_ picture be passed is beyond our compre bension. : Perbaps the censor had gone swimMing when the film wae run off for his special Observation. of course the wretch, Sergius, Meets his Waterloo at the hands of the madame father of the young girl and we are Treated to the edifying spectacle of a black “at licking up the blood of the man before his { carcass is dumped into the sewer. Our only “THE LANE ——. HAD NO TURN” regret is that the sewer did not receive him three hours and thirty minutes earlier, and thus save us from witnessing the nauseating incident, The picture is impossible in its present form, It is over twelve reels in length and the repetitious situations are exasperating at times An opportunity was lost to make this a really impressive picture thro a very much enlarged ego. Less of debauchery in this picture would make a more suitable vebicle for even the average audience, The ability of the cast was the one bright spot, irrespective of the charm of the picture’s environment and embellishments. We cannot accurately estimate the entertainment value, as the audience at frequent intervals gave vent to laughter at the absurdity of certain incidents. We cannot recommend this picture for women and children in the more provincial communities outside of New York. “THE CALL OF HOME” Story by George Agnew Chamberlain, scenario by Eve Unsell, directed by L. J. Gasnier, released by R.-C, Pictures, shown in projection room, New York, Janwary 13. Reviewed by MARION RUSSELL Story of a domestic triangle and the happy conclusion, THE CRITICAL X-RAY There is a thrilling punch in this pictore Which serves to offset the monotony of an ordinarily told drama. The story has very little depth and thruout its running the ultimate conclusion is easily guessed at. The action concerns a newly married couple who arrive at the husband's old-fashioned home in a small town. The wife meets again an old admirer, and, wearying of the quietness of her surrotindings, is beguiled by the complimentary attentions of Alan Wayne. She neglects her home duties, thus bringing a breach between the young couple. Alan, taking advantege of this fact, persuades her to leave with him on a business trip to Canada. Angered over a sudden quarrel with her husband, she goes with Alan as far as the Pullman car. The husband happens to see her enter the train in the company of his friend. Belicring her disloyal, he disappears from sight, but Alix does not go away with her admirer. She comes to her senses ere the train leaves and returns to her home. But the husband sends no word of his whereabouts, and as time goes on a son is born to the couple. Gerry, in a South American town, tries to forget his lost happiness. A letter from his one-time friend informs him that the wife is seeking a divorce, and if he does not enter a protest within three weeks time, Alix will be free to wed him (Alan). This letter drives the wanderer into a more desolate location, where he is instrumental in saving a lot of waste land thra installing irrigation ditches, his knowledge of engineering aiding him in this direction. The girl who owns this property loves him for his kindness and circumstances force a marriage between the two. But Alan, now penitent, sets ont in search of his friend, and while being nursed thru a siege of swamp fever, he imparts the knowledge to Gerry that his wife ig still free and that their son is awaiting his homecoming. Realizing that he is bound to Margarita, Gerry determines to remain hidden, but the overflowing of a dam floods the valley, and the second wife, Margarita, is lost in the great devastation which follows. Gerry being free, then returns to his home and after confessing hig errors, he en by Alix, who has remained faithful during his absence. The acting of Irene Rich was convincing at all times, and the homelike atmosphere whica surrounded the greater part of the picture was very pleasing. The story has no depth, yet its very homely appeal is of a nature that any class of audience can understand. Added to the love romance was an unexpected thrill supplied by the overflowing of the river. This was graphic in its realism and the destraction of the valley was splendidly arranged. This is not a creat picture, but it is good program material, being clean and holding interest thrnout. is forgiy STITABILITY Residential sections. ENTERTAINMENT VALUE Consistently good. OPERATORS TO BE LICENSED A bill is now being introduced in the legislature at Albany by Assemblyman Joseph V. McKee, of New York, which will make it unlawful for any person to operate a motion picture machine without a license. In order to obtain such a permit a person will have to serve as an apprentice to a Heensed operator for at least six months, or have at least six months’ experience before applying for such a licetiee. Adolph Zukor presents Agnes Ayres in “The Lane That Had No Turning,” from the story by Sir Gilbert Parker, directed by Victor Fleming, sceaario by Eugene Maollin, a Paramount picture, shown at Rivoli Theater, New York week of January &. Reviewed by MARION RUSSELL A somewhat morbid type of story to introduce Agnes Ayres as full-fledged star. Also it is rather unfortunate that Theodore Kosloff should run away with the acting honors, But he is a fine pantomimist and deserves credit for an extraordinary portrayal. THE CRITICAL X-RAY If it were not for the wedding scene which occupies the opening situation of the story, we might be forced to say that the entire five reels were consumed in filming the gloomy thoughts of an unhappy man and the tragic results of his affilction. In the Province of Quebec lived Lonis Racine (Theodore Kosloff), whose eonsuming ambition was to become seigneur of the little Province POP of Pontiac. He marries Madelinette (Agnes Ayres), whose golden voice brings fame to her out in the great world, but which leaves the husband to mourn over an inherited affiction of the spine, which in time renders him a hunchback. With his sensitive spirit crushed he dreads to be seen and tries to hide from his wife’s admirers who hail the return of the great singer. But during her absence George Fournel (Mahlon Hamilton) makes claim to the big estate as he has proof that a will ‘was left bequeathing him the property and title. There is also one Tardiff (Frank Campeanu), a revengefol workman, who, thru a fancied wrong, seeks revenge upon Louis. After the high-strung husband has fought a duel with Fournel, the wife, Madelinette, realizes that she must devote the balance of her life to control and comfort the, at times, madman, Louis. She finds the only will in a hidden recess of the old mansion and is tempted to keep its contents a secret for the sake of her husband, but the document is stolen by Tardif and carted to Fournel, who comes to demand his rightful property. Tardiff, gloating over what he has done, informs the jealous husband that Madelinette was with Fournel during her visit to Quebec. He kills the informer and ere Madelinette can intervene to save him he shoots himself. Relieved of her burden Madelinette returns to her career and later rewards the faithful devotion of Fournel by giving him her heart and hand. Thru this somewhat dreary maze the clearent performance of Mr. Kosloff stood out like a black diamond, for he was constantly obsessed by fear, horror and unhappy thoughts. He visualized the various emotions in a most convincing manner. But we cannot say that such material as contained in this scenario affords very agreeable screen entertainment. Mahlon Hamilton, an excellent actor, was almost eclipsed in the small part of Pournel and Miss Ayres did not shine to advantage in any of her scenes. She appeared oppressed by her surroundings, and well might she be, for there was nothing pleasant in the episodes, which lacked the ring of realism, despite the efforts of the cast. There was nothing startling about the settings nor anything out of the ordinary in the camera work. SUITABILITY City theaters. / ENTERTAINMENT VALTP Dull. ADMISSION PRICES CUT In Duluth a number of theaters have reduced the price of admission. A twelve-anda-half-cent cut has been made by the ClintonMeyer Interests at their four houses, and the Lyceum Theater, controlled by Finkelstein & Ruben has reduced the price to 35 cents instead of 40 cents, which has been the top price charged, FILM EXHIBITORS AND PRODUCERS FRATERNIZE (Continued from pace 7) “If the liquor interests had displayed the same wisdom as you there would be no eighteenth amendment. If you do things compelling stricter censorship, it will eventually be harder for you to bootleg films than liquor. If you continue to defy public opinion there will be one end, and one end only. The fate of the motion picture will be the fate of liquor.’ Police Commissioner James W. Inches of Detroit paid a high tribute to the power of the films and voiced the expression of the other speakers in lamenting censorship by incompetent boards. He said: “It is a most interesting thought that the motion picture is a vital part of our life today. When it reaches its full function it will be a wonderful power for good. The automobile and the motion picture have revolutionized our whole existence. The automobile first was used for pleasure; now it is the motive power of the world. Pictures are fim the amusement stage, but they will advance as did the automobile. The motion Picture can post the world on the things the world must know. With the public press it will mould public opinion. It will have a band in the direction of government. We Americans pride ourselves on being the most Progressive people in the world, but no other people abandon government to the officials as much as we do between elections. The film of the future will help to feel the pulse of the public at any time and upon any question. But you must keep this powerful agent clean if you would guard its future development.”’ Preceding the banquet and ball at the Hotel Statler a business session was held in the offices of the Michigaen Motion Picture Exhibitors’ Association, which was in the nature of a house-warming for the new headquarters which @re now located in spacious ground floor rooms in the Hotel Wolverine on Bast Blizabeth street. ASKS AID FOR RUSSIAN ACTORS (Continued from page 7) who have been the art-torch bearers of the theater, forerunners in the mimic world— in which we have all worked, suffered, enjoyed, and all of us loved—many endured privation for—I’m sure, they are in dire need. They are calling to us, the men, women and ehildren of this country who made possible that model of the future theater—the Art Theater at Moscow—and have given us plays of Tolstoi, Gorki, Andreyev, Chekov; the playing of Orleneff, Nazimova; the-dancing of Mordkin and Pavlowa, the music of Tschaikoweky, the singing of Chaliapin, artists, using color and light, vanguard in those vitally important departments of the play world. These people are calling to us for food to keep them alive, clothes to save them from freezing to death. If you will pause and listen they will not call in vain, for no people in the world are so quick to respond to an appeal for help as you are, nor half so generously; this cable is personally an appeal to you. Will you respond? Vill you each and everyone do something to help by giving matinees of your plays in your theaters on the afternoon of Tuesday, January 17, the birthday of that great Friend of Humanity, Benjamin Franklin, and thus help the Society of Friends (Quakers), whe will distribute the aid you supply among our brother and sister artists in Russia? I know it has been a hard year for all connected with the theater, but let us rise above the personal into the universal at this moment of world suffering and help our fellow workers of the mimic world. Will you let me have an immediate reply from you by letter or telephone and do make it one that will enable the ‘Friends’ to cable these struggling, suffering people looking to us for help? ‘The American theater is sending help early in the new year to their brother and sister artists of Russia,’’ and thus increase the enthusiasm that now sustains them. With every good wish for your own happiness in the new year. Faithfully yours, BUTLER DAVENPORT, Director Bramhall Playhouse, 138 East 27th street, telephone Madison Square 2051. The cablegram referred to in the letter reads as follows: “Conditions among operatic and theatrical artists and students at the National schools at Moscow and Petrograd are extremely miserable. They are endeavoring to maintain high standards, but the lack of food makes this difficult. Many of the best singers in Petrograd and the Students at the schools that produced Pavlowa, Mordkin, ete., work all day as common laborers at docks and elsewhere in order to sustain life and then sing grand opera at night. Government here doing everything possible to assist in maintaining entire educational system of their artists and directors. Could you interest theater managers, actors, singers and patrons of grand opera to buy food drafts to be dis» tributed under our supervision, as it is ime practicable to give names of individuals?”* Mr. Davenport also sent a letter to the director of the Art Theater, Moscow, which is as follows: : “Dear Director—Enclosed find a copy of # eable recently received. Also a copy of an appeal I at once sent out to the members of our profession in New York City. “I have already appealed, with success, to our audiences here, and shall continue to do so after every performance in this theater thruout the winter; and organize some special benefit performances as well. “The money procured I shall forward to you (with your permission), to be distributed to the best advantage among the artists of the Russian theater. “It is a privilege to do this, and I pledge my time, thought and energy to bring about results for their ieclief in this hour of great suffering. “With every good wish of my heart for Russian artists of the theater; and sincere appreciation of what the Russian theater has meant, and is meaning, to the theaters of the world, Yonrs faithfully, “BUTLER DAVENPORT, Director."’ The response to the appeal for aid for these Russian artists has met with some success, but not with that which it deserves, according to Mr. Davenport. He hopes that when the fact of the dire need of these starving artists becomes generally known the response will be the generous one that has always answered any appeal for aid made to the people of the theater. Contributions for the relief fund may be addressed to the Treasurer of the Bramhall Players, 138 East 37th street, New York City. le