Variety (March 1921)

Friday, March 25, 1921 PICTURES =E =e* $1 A YEAR MAN. Franklin Plnney. .Rosco* "Fatty" Arbuckle Fo g gy Bruot .*••••••.■•«....».««... Ltlla l>©e Kat« Connelly Winifred Greenwood Tipton Blair, a Socialist J. M. Dumont The Prince Bdward Sutherland Colonel Bruce Edwin Stevens General Oberano.... Henry Johnson ——— * Jesse Lasky "presents" Roscoe ("Fatty") Arbuckle In the Para- mount feature, this week's attrac- tion at the Rlalto. ft is hard to clas- sify, partaking of diverse elements s f a Harold „ I4oy,d .. comedy, .tflcjk photography, boisterous farce and romantic comedy. Perhaps the com- prehensive name "picture comedy" would cover the,ground. Where it pretends to anything above the grade of slapstick it is dull, but there are passages of far> tastic nonsense which are amusing, and from the first to the last a good many honest laughs are registered by rather clevei, Jazzy titling. All in all the title writer gets the lion's share of credit, although the rotund comedian is not without honor of his own. He has a breezy way of getting over rough stuff that is en- gaging, and in the present instance makes no pretense of legitimate in- tent. It is just an unrestrained effort to make laughs by any device short of breaking crockery and spilling a custard pie around the cast. Wal- ter Wood wrote the scenario, ap- parently under general orders to go as far as he liked, and James CrUze, as the director, took up the mei.y work from that point. The partner- ship was ingenious and in a work of clowning for laughs got ove. Ave passable reels with a whoop-hurrah finale in a free-for-all. "Fatty" appears as a small-town laundry impresario who worked as an amateur sleuth during the war and bores his friends thereafter telling about his adventures. He makes a nuisance of himself in the yacht club and Iiia fellow members put up a Job on him. A foreign prince is about to visit the town, and the frame-up is to make "Fatty" believe he Is to be kidnapped and lured to a haunted house. A par- lor Bolshevist in the club is involved in the scheme, but he intends to kidnap the prince in dead earnest. Meanwhile all the younger set of the club makes court to "Fatty's" sweet- heart, and "Fatty" gets into a Jam with her papa, who is a real Secret Service man detailed to protect the visiting prince. It turns out (wonder if "Just Sup- pose" inspired this) "Fatty's" sweet- h?art meets the prince and runs off with him on a motor escapade; "Fatty" is lured to the haunted house and the prince reaches the same rendezvous, where both the club Jokers and the accomplices of the parlor Bolshevik are assembled. There follow all manner of ridic- ulous complications. The practical Jokers setae "Fatty" and terrify him with all sorts of ghostly manifesta- tions, such as self-opening doors, trap-doors that gape at his feet, weird noises and apparitions of faces in the dark. When the nightmare is at its height the real Bolsheviks arrive on the heels of the prince and all forces plunge into a .rough-house carnival upstairs, downstairs and in the garret, until the police arrive and capture the badly battered jokers and real kidnappers. "Fatty," victorious, departs with his sweet- heart to be the guests of honor at the prince's royal banquet, sweetie's papa being at length reconciled to the good humored, bungling hero as a son-in-law. The trick stuff in the haunted house is funny and so are several of "Fatty's" maneuvers to outwit his rivals, such as sending tl e~i off in his speedboat, after starting the engine and whisking the belle back to the dock as the boat sweeps out of control. It is fast, sust ned nonsense, better adapted to the amusement of Juvenile audiences than the adult crowd at the Rlalto, where the Monday evening showing was exceedingly slim. Another thing about "The Dollar a Year Man- is that it does not fit into a program with a two-reel comedy. "The Jockey," an especially in- genious Fox comic with Clyde Cook, was the comedy in the bill anC the two subjects made rather a lop- sided show with no dramatic values to give it balance. Rush. WITHOUT LIMIT. Ember Kdwarda ....Anna Q. Nilsaon David Marlowe Robert Frazer ltfo Ket\ Aiar»ow*........;..F'f*i(u troitrux Mrs. Marlowe ••■••...Kate Blancke Clement Palter ...Cl.arles Lane Bunny Flab Robert 8chable Charley Thomae W. Roas The Landlady..... ...Nellie Anderson THE LOVE SPECIAL. Jim Glover, railroad engineer. >•••••*••••••*•••< Wallace Reld Laura Oage Agnes Ayres President Oage Theodore Roberts Allen Harrison, director...Lloyd Whltlock Mrs. Whitney Sylvia Asbton William Bucks William Oaden Morris Blood Clarence Burton Z«ke Logan...., Snita Edwards "Gloomy .......Ernest Butterworth Toung Wi'low. .....Julia Faye Stenographer Selma Maja opposite Kirkwood, does some ex- cellent work. This young woman is making rapid strides towards star- dom. Bcenicly the picture has strength, but, regardless of its appeal in many ways, the story holds it back. "Without Limit" is a visualization of "Temple Dusk," a short story by Calvin Johnston, published in the Saturday Evening Post last October. Sawyer & Lubin produced and George D. Baker directed the pic- ture, which is in six reels and dis- tributed by3ietro. In fictional form the story was notable for its charm, the authoritative manner in which its theme was trected, the convinc- ing note of human Interest that characterized its narration and the unusual qualities of entertainment it contained. It led the Post the week it appeared and caused con- siderable comment through the fact of sits being "away" from the gen- eral run of tales of Broadway life appearing regularly In the maga- zines, most of them written by "au- thors" whose knowledge of the real Broadway could be written on the back of a postage stamp. "Temple Dusk" was different, but it had one fault, and the plcturiza- tion has the same—both hold so much material the action at times is abrupt. In magazine form this was due to the condensation into a short story of a plot that encompassed enough for a six week's serial. In visual form the story could have been better told in eight than in six reels. Not that "Without Limit" isn't a good picture. It is. But it could have been a better one even in the six reels it embraces. The film follows the fiction ver- sion closely, bringing out vividly for the better part the human charac- teristics of the persons involved in the simple problem presented. The hero is a good-for-nothing son of a poor clergyman, the heroine a lazy grafter who permits her clergyman father-in-law to support her for four years on his slender pastoral stipend, and the villain a wealthy woman chaser. The dominant trait of these four is selfishness. Con- trasted with the three "bad" people and one "good" one is a gambler— cynical, worldly and keenly intelli- gent, but with a philanthropical streak in his makeup that prompts him to take up the burdens of others. He's the real hero. In his portrait of the gambler Charles Lane realizes the complete significance of the character, shad- ing his work to a nicety and domi- nating every scene he appears in. Bob Frazer is the dissipated son of the clergyman, playing with ease and repression, and Anna Q. Nils- son is the girl, whose hasty consent to a hastier marriage causes a Gettysburg full of trouble. The nat- uralness of her performance is com- mendable. Robert Schable makes the villain lifelike, as does Frank Currier, playing the minister. Thos. Ross and Kate Blancke in contribu- tory roles both play with case and distinction. "Without Limit" has to its advan- tage that it tells a story of real depth, although a bit sketchily in one or two spots, but notwithstand- ing any slight shortcomings it may have it is head and shoulders above nine-tenths of the films supposedly depicting phases of Broadway life. In a production way it shows evi- dence of a heavy financial outlay. The gambling house scenes are ac- curate, and while not holding any- thing of a startling scenic nature or lighting effects the general en- semble comes up to requirements. The picture was well received at the Capitol Sunday afternoon. BelL THE BIG PUNCH. Buck Buck Jones Hope Standish Barbara Bedford Flash McGraw George Slegmann Jed, Buck's brother Jack CurUs \ Jack: Metfonald (Al Fremont Buck's Mother Jennie Lee The Sheriff Edgar Jones Dance Hall Girl Irene Hunt JIM THE PENMAN. James Halston Lionel narrymore Nina HronBon Doris Kaiikui Uarun Hartfeld An-lers Randolf Louis Percival Douglas MacFher»on Agnes Ralston Gladys I^enlis Lrfml Drellncourt Arthur Rankin rapt. Redwood Charl^a Cnghlan E. J. Smith J. P. LanVy Enoch Ltronson Ned Burton It Is rare that a cowboy hero can get away from his constituted char- acter, but in "The Big Punch" (Fox) Buck Jones does it with un- expectedly good results. He ap- pears here as a religious student and subsequently as a circuit rider, making a convincing picture of a clergyman. The story is stereotyped in plot, being the narrative of a good brother who strives to save a bad one and gets a term in prison for his pains, only to ceme forth, re- deem himself and claim the *rirl, who in this case happens to be a Salvation Army lassie. Despite the antiquity of the motif "The Big Punch" is a satis- factory program feature and will be especially pleasing to the family theatres, where the audiences pre- fer their adventure sugar-coated. Jack Pord, who directed the picture, has done a neat Job and maintains splendid atmosphere throughout. He Introduces some fast action and faster riding in two or three places and has brought out the human in- terest phase of his story convinc- ingly. This is especially true of the place where the pennyweight Chris- tians turn up their noses and "walk out" on the new preacher simply because he has been a prisoner. The comedy spots in the picture help it considerably and there is no dearth of pathos. Buck Jones gives a capital per- formance, and the three men closely associated with him contribute some fine character work. The mother and the dance hall girl also are to be commended. The picture is smooth throughout, the photography and lighting being excellent. ROBERT EDGAR LONG •- ROBERT EDGAR LONG, for three years General Eaatcm Press Representative for D. W. GRIFFITH* pro- ducer of 'The Birth of a Nation," "Hearts of the World." "Broken Blossoms," "Way Down East" and other super motion pictures, has resigned from his association with Mr. Griffith and is now in business for himself. Jesse T.asky, fn presenting "Wally" Reid as a construction en- gineer m arf adaptation fi-om tkufwM fa*?*.**** <%**»*•**«« novel, "The Daughter of a Mag- nate," by Frank H. Spearman, has provided the male star with a pic- ture that may pass.as an average program feature and be acceptable to the Reid "fans." It will never cause comment to arise concerning the merit it contains, either as to direction, action, interest or photog- raphy. The scenario was done by Eugene B. Lewis, who evidently didn't give Frank Urson, the director, an over- abundance of material with which to work. Either that or the original story lacked body as a novel. Cer- tainly the cast, which comprises enough known ability, must have found '* easy going in the making, as they have all gone through tue identieal action time and again, and it is in that respect, the repetition of many dims that have gone before, where most of the fault will be found. It's a railroad story, having to do with Jim Glover (Reid), a con- struction engineer of the road, as- signed to guide the president's (Theodore Roberts) party over an inspection tour of a section of the line for the ultimate purpose of building a short cut that will shave five hours off the time to the coast. The party, including Laura Gage (Agnes Ayres). the magnate's daughter, his matronly sister and Allen Harrison (Lloyd Whltlock) a new director o( the line. Glover is told to hop on the spe- cial car after just returning from a 96 hours' Job in damming a river and preventing the trackr from be- ing carried away. The gathering stops off at a resort which is de- cidedly dull, and the daughter stages a charity bazaar to liven the place up. It looks like a flop until Glover puts across a fake hold-up that has the men redeeming their valuables at the stipulated sum stated by the instigator of the af- fair. This party, incidentally, al- lows for the only comedy and spe- cial interiors. Immediately after the framed stick-up Glover is called away to direct the excavating of three men caught in a cave-in with the pres- idential party following up to offer congratulations when the work is successfully completed. The engi- neer then leaves the party for a few days, and during that time the daughter. Laura, discovers Harri- son is making an attempt to jump her father's option on the land re- quired to complete the proposed short cut and starts out in a bliz- zard to reach him at a town further down the line. Meets Glover at a station on the way, and as he's about to set out for the same des- tination aboard an engine, she ac- companies him. The ride through the storm follows, in which there is a sad lack of suspense despite the supposed running into a snowdrift, another train coming against them and the raging of the elements. The windup is satisfactory, as Glover is on the spot with the option and grabs the girl. Mr. Roberts, as usual, gave a sterling performance and runs Reid an even race for honors. Miss Ayres impresses with her photo- graphing value, though not to the extent she did In "Forbidden Fruit," and played easily here in a part not calling for any especial effort. Others who showed to advantage were Mr. Whltlock as the heavy, Snitz Edwards in the key character, a rube farmer possessing the needed spur of land, and Julia Faye, who flashed on long enough as a widow during the hotel scenes, making a play for the railroad president, and succeeded in bringing to the role at- tention it might otherwise have missed, though entirely subordinate to the plot. "The Love Special" shapes up as a fair feature for the better houses which will neither better nor Injure Mr. Reid's prestige on the screen. but should make it easy going for THE UNKNOWN WIFE. Just another of the numerous va- riations of the "Turn to the Right" plot. It opens with Donald Grant released from prison after serving liis time, determined to go straight, Is met by his two old cronies—com- edy types just as were used In "Turn to the Right," and like the piece, he refuses to listen to temp- tation. He goes to a small town, falls in love with a nice girl, the New York detective recognizes him, but gives him a chance, the two pals continue their old life, one is captured and tho other killed try- ing to escape, and so on. Obvious, elemental, mawkish twaddle, rath- er well played for popular appeal by Edith Roberts and Casson Fer- guson in the leading roles. The feature runs less than an hour, but it seems like twice that amount of time. It is a Universal, directed by Wil- liam Worthington, scenario by Wal- lace Clifton, from a story by Bennett Cohen. Jolo. Mr. Long will act as personal representative and counsel in Advertising, Exploitation and Publicity for Producers, Di- rectors and Artists of the stage and screen. Headquarters have been established in Suite 605 Fitz- gerald Building, 1482 Broadway, New York City. Tele- phone, Bryant 6380. BY APPOINTMENT ONLY i»i¥ frex. ieiea*e, it it sbJYrTCTbe sQ- "fott thtHplay move?, Along with perior to this one. mm *m* +~ THE SCOFFER. Hampered by a story of undue morbid cliaracter, "The Scoffer," a First National production featuring James Kirkwood, has as its main assets a capable cast and excellent photographic work. The director has wasted much energy on a story that will appeal to but a small por- tion of the picture-going public. The tele centres around a young surppon who is wrongfully sen- tenced to five years' imprisonment as the result of an illegal operation performed by a rival. Upon his re- lease life holds nothing for him and ho 5" ks solace in the west, liuw- iVi r, scoffing at Cod and th'. world In general. The ln< vitable occurs when a woman makes him ate th« light. There l? considerable action, but tho continuity Is not always of the beat. Alary Tuurman. playing the lead ALL DOLLED UP. At very rare Intervals Universal turns out a good picture, and "All Dolled Up" is one of them. Us value lies chiefly in the personality and youthful spirit of Gladys Wal- ton a young woman who gives every appearance of being destined for a big place in the sun of pic- ture popularity. In addition to the star the story is Ingenious and the direction of Rollln Sturgeon far above what is usually offered In a Universal product. The story is a comedy melodrama, and Miss Walton is called upon to put up a couple of fights, which she does with all the vigor and pep of a Fairbanks. She Is a little de- partment store clerk, who saves a rich spinster from a pickpocket, and later If Instrumental in thwart- ing a plot to blackmail the woman. Under the capable hand of Stur Whitman Bennett has turned tha famous old melodrama Into a screen story that interests but does not grip in the way the stage version did, at least to a theatregoer of ten $*uth ago.- Th* raoMf is net-tho vps* ducer's nor is it the star's, for Lionel Barrymore gave one of his polished interpretations, but, rather, the trouble is that the "punch" of the play does not thrill in its film form and all the exaggerations of the melodrama of a generation are over- emphasized in tho screen medium looked at with a modern eye. As a commercial attraction, how- ever, it has fine possibilities as a box-office attraction. At the Strand, New York, Sunday the feature dem- onstrated its ability to draw. The afternoon and evening were mild and June-like, but the theatre was) nearly filled during the "off show,* between 5.30 and 7.30. The combi- nation of the famous title and the presence of Barrymore doubtless was sufficient to arouse public In- terest These revivals of success from the past generation are seldom happy, anyhow. In the present case the' characters of the old play are sadly unconvincing. The audiences of these daye demand a good deal more realism in story and character than the Victorians. They demand to be convinced and are acutely alive to theatrical absurdities. They, too, are sophisticated In "crook" stories, thanks to a long and thorough edu- cation in underworld operations. Both the stage and magazine fiction have played their part to this end. It was all very well for Jim tha> Penman to succeed In a long aeries of forgeries that brought him untold wealth, but Just to be told he did so was scarcely enough. The audienoa wanted to know how ft was aooom- • plished. It was a little too brusque to see Jim forge a "cheque" for $500,000 and then enjoy the in-gotten pro- ceeds. A modern scenario writer would have shown the whole proc- ess of ingenious accomplishment of the fraud. In the same way the old . playwrights appear Co have taken a -*$ good deal of license In making co- incidence work for their peculiar purpose, such as the easy introduc- tion of the detective Into the house- hold of the forger. Still Mr. Bennett has dealt gently with the play. The structure of the original piece has been followed, closely for the most part, especially as to the passages leading up to the big scene—the chain of evidence A leading up to the wife's realliatloi*Ol that her husband is a criminal. Thia*^ classic bit of play construction has been quoted for a quarter of a cen- tury as a unique dramatic contriv- ance, a gripping passage in which there is scarcely a spoken word. On the stage it may have been tre- mendously effective, but on the screen, where drama seems to re- quire a certain element of physical action, it does not hold. Mr. Bennett has made some effort to bring the story up to date, as, for, example, where he has the young detective claim acquaintance with Lord Drellncourt on the score of having met him "in a German detention camp." But this modern- ity couldn't have been carried too far and Mr. Bennett has skillfully refrained from making it too mod- ern. The Btyles of clothing are of no period or of any. There are" no motor cars in evidence and in gen- eral the period has been quietly dis- regarded. Mr. Barrymore'e playing of the famous role Is intelligent, as always. In the hands of a less polished play- er the whole thing might easily have been made absurd. Doris Rankin la an especially beautiful Nina, a part in which she it peculiarly at ease. She is beautiful in repose, but when demand is made upon her for expression she somehow fails to convince. Douglas MacPherson was rather a pale Percival. The feat tiro is offered as a First National attraction. Rush. rapidity and sequence to Its climax, where the only false note creeps Into the story. That is the an- nouncement by the spinster that she intends to give the heroine and her ehauffeur sweetheart a million doV* lars—Just like that. Untypical of Universal pictures, this.one- bjas..some, attractive sets, and the photography and the fight- ing are above the average. All classes of audience will like the picture, but It will make special appeal In the neighborhood houses. /? HOTEL HOLLYWOOD THE RENDEZVOUS Ol TBEATHK ALI BUT f m immuixii) mis aNOKMCfl camfobwia. vfc