Universal Weekly (1923-1925)

38 Universal Weekly December 20, 1924 THE MOVIE CRIT ■floot" Appears In Fast-Moving Drama LOVERS of fast-moving western stories will be more than satisfied with Hoot Gibsons' latest thriller, "The Ridin' Kid from Powder River," which opened Saturday at the Cameo Theater. Hoot is more than good in the role of a man in search of the murderer of his foster-father. Aside from really good acting, the story itself is unusual and has a flavor of originality about it. It is the best this western star has appeared in for some time and should serve to enhance the popularity which is already his in large measure. The direction, by Edward Sedgwick, is well handled. Instead of searching for his man throughout the entire length of the picture, as is the case with so many pictures of the western type, Hoot finds him in the early sequences of the story and devotes the remainder of his time in winning the love of the girl, whom he supposes despises him. Naturally, in the end, he wins her but the circumstances of his courtship form an interesting story. There is also a he-man fight and fast riding, which will be popular. There are several wonderful shots of cattle drives in this photoplay which are exceptionally beautiful and many of the pictorial effects, as a result of the clever photoplay and the hugeness of the "wide, open spaces," render the production "different." Gladys Hulette, playing opposite Hoot, is fairly adequate in a role which does not permit more than average acting. Her screen presence is pleasing, however, as is also Gertrude Astor's. An unusual performance is given by TuUy Marshall. In this play his part is somewhat different from his usual roles and as a result, his characterization is especially notable for its cleverness. Walter Long is his usual villainous self and acquits himself satisfactorily. The rest of the cast are all adequate. A "Col. Heeza Liar" cartoon and a Century comedy complete the program— Los Angeles Times. ^^Love and Glory Most Unusual By POLLY PARSONS TIME was in the show business when the following was not only an amusing anecdote but typical of the show business. A young man in a stock company, after observing a middle aged woman attempting the coy ingenue and men past the prime of life essaying to portray youth at its first blooming, asked the director if he might play an old man's part. So persistent was he that eventually the director angrily inquired why he was so anxious to portray old age. "Because," answered he, "the young people will have to play the old parts, all the old people want to play the young parts." But of the movies that at least is untrue. It has become quite the vogue for the youngest of your youthful stars to essay the makeup of very old people. One of the loveliest old ladies, and the most accurate as to makeup and gesture, is that given by the radiant Madge Bellamy in "Love and Glory," a Universal Jewel production, scheduled for early showing at the Merrill theater, which was given a pre-view recently. Not that the brown eyed beauty is a granny all the way through the picture. It is just in the final episodes that she appears, gently aged, and very realistic. Not even the charming old woman that Norma Talmadge made in "Secrets" is better than this piece of work of Miss Bellamy. Wallace MacDonald and Charles De Roche are also called upon to give portrayals of age but to the glory of the feminine sex be it said that they can not touch Miss Bellamy's work. The story itself is a unique one, adapted from the story "We Are French" by Perley Poore Sheedan and Robert H. Davis. Rupert Julian directed the production and has provided picturesque atmosphere. The episode where Anatole, captured by the Arabs, is ordered by the chieftain iiiiiiiiiiiiiiiiiniiiiiiiiiiiiiiiiiiiiiiMiiiiniiiiiiiJiiiiiiiiiiiiiiiiiiii Jack Hoxie Is Star In Cameo Film CARl L:0— "The Western Wallop," Universal production featuring Jack Hoxie. Margaret Landis has the leading feminine role. PLENTY of thrilling episodes are packed into the feature photoplay showing at the Cameo theater this week. "The Western Gallop" begins with scenes in the penitentiary and jumps from there into the realms of western melodrama. It is the story of a man convicted of manslaughter who is paroled and who eventually becomes acquainted to blow the French retreat but who takes the bugle and sounds the French charge instead to the ruin of the Arab hosts is magnificently thrilling, and but one of several unusual features.— The Milwaukee Sentinel. Mary Philbin In ''Rose of Paris'' THAT subtle European flavor which first made its appearance in photoplay technique a year or so ago is breaking out again. You'll find it in "Rose of Paris" (the title doesn't mean a thing,) which Irving Cummings directed, and which is now on view at the Cameo Theater. Mary Philbin is the star, doing some of the best work she has offered since "Merry Go Round." A new Mary it is, practically, for she plays in a much lighter vein, and she conveys much more feeling, and she has developed into much more of a beauty. "Rose of Paris" is from a French novel, "Mitsi," which had quite a vogue last season. It isn't much, as plots go; screened novels seldom are, but it offers this one character of the little girl raised in a convent, and then thrust forth into the world practically alone. Love comes, of course, but things do look serious for a while. One of the brightest characterizations in the picture is that contributed by Rose Dione as the cafe keeper. She has great talent for this type of part and for others, also, judging from her work here. Others in the cast include John Sainpolis, Cesare Gravina, Robert Cain and little Doreen Turner. The added attractions include a Century comedy that is funny in places and which boasts a young leading lady, Wanda Wiley, who shows promise of success in more serious efforts.— Los Angeles Daily Times. w'ith the daughter of a wealthy cattle owner. His timely rescue of the rancher's payroll from the hands of bandits wins him a position as ranch foreman. His parole from the penitentiary is kept secret from the rancher's daughter and the restrictions attached to the parole lead to many complications. However, as the saying goes — everything comes out all right. "The Flower Girl," featuring Baby Peggy, is also on ^e bill. — The Los Angeles Record.