Variety (November 1921)

riday, November 25, 1921 PICTURES «r JUTLAND Produced by Ideal and offered by •gcVtlonal. -The v Battle of — S» is put of the Rlalto'a MOLLY O Jut- pan VK in9 xviauu a pit)- un this week. It le fair, even Ecinating. entertainment, but hls- Scally. as Billy Sunday would 5 It is the bunk. In fact, British Sooaganda has never done any- 3nir quite so porfect or quite so awful Here in small space you ulve set before you an example of hat governments have to do to eD the masses (and their children nd their children's children) In line behind the ruling, and very neces* ary power. So give the author of Mi film. Gen. Sir George Aston, K. C. B„ credit. The battle of Jutland was fought May SI, 1916. Preceded by Admiral toper's flying squadron, the Ger- nan High Seas Fleet came out that orning and were engaged that fternoon by Admiral Beatty, then commanding the English battle cruisers. These are lightly armored, heavy gunned ships of great speed. They did fairly well with Hipper, but encountering the heavier Ger- man ships coming up from the rear auffered a set-back. Beatty's own flagship, the Lion, went down with hers, the British commander shift- ing his flag and heading north, lead- ing the Germans after him till all came in touch with the advance of the Grand fleet. This advance was led by Rear Admiral Hood, who went down on the Invincible In the ant charge. Right here Is an Interesting point. The British after the battle com- plained of low visibility, but this film shows the German ships were against the light, though their com- mander may have figured the wind, would blow obscuring smoke toward the British. In any case it was not long before Sir John R. Jelllcoc British commander-in-chief, with all the dreadnoughts, goth the range, _ and Seheer. the German commander- in-chief, withdrew behind a smoke screen through which he sent his destroyers to attack the British line. This torpedo attack occurred after seven that evening. The film quits here, merely stating Jellicoe moved to'avoid this attack. Skipping sev- eral hours, it states that in the morning the Germans slipped through the whole British fleet into Wllhelmshaven. This is the first time we have ever seen It implied that the British fleet got between the German fleet and its refuge at Wllhelmshaven at any time during this battle. The Helgoland strong- hold Isn't shown in this film. Get- ting anywhere near it would have been difficult work for the British. Meanwhile*what really happened during those several hours skipped in the film? If memory serves -correctly, the Marlborough was torpedoed and Jelllcoe's move- ment was a "strategic withdraw- al" to th • north, which carried the great dreadnoughts far out i- touch. Concerning this move- ment briefs have been filed both by British and American experts that ran in tone all the way from the bitter to tho derisive. Both British and American critics have accused Jellicoe of running away. An American flag officer told this writer the wrong side got the better of the battle. Right here is where, and certainly as a result of. this move- ment Jellicoe lost supreme command and Beatty succeeded to it. Plenty has been said In defense of Jellicoe. He preferred to keep all that stood between the British em- pire and defeat in being as a poten- tial menace, but if he had sailed in and won, the war would have been measurably nearer an end, the frightful issue decided two years earlier than it was. As noted, the film did not picture this debatable maneuvre. It draws a veil over it It ends with a picture of the King and an insert of his message to Jellicoe, in which he de- clares the Germans avoided the battle they had long prayed for, and so for purposes of propaganda the impression is perfectly created that the handling of the British Grand Fleet was all that it should be. From the King's statement it is lnferen- tlally evident why the Germans so criticised their own commander for failing to press the German ad- vantage. Furthermore, two more Interest- ing points are left unexplained by this film. The Germans picked up British survivors after the contact in which the smoke screen was used. In the Skagerack, far to the north, German ships were sighted the following morning, June 1, by Danish lookouts. All this hr.s been taken as presumptive evidence that the Germans followed '.' e British all night and that Jellicoe retreated before them to the north, but the film neither assert:- nor denies this. For purposes of propaganda this s all right—in England. In Eng- land it is necessary to present that Point of view; but in this country the exact truth, or nothing, should be presented, particularly in a the- atre. The exact truth because this ► country la governed by popular vote; theatres and pictures form the opinions that direct those votes, and " they are wrongly directed, the country will suffer. The truth makes i.icn free. It creates an intelligent •>ody politic. It lessens mob rule. Lccd. Molly O Mabel Normand Tim O'Dair Ucorse Nichols Mra. Tim O'Dair Anna Hernandei Bill? O'Dair Albert Hackett Jim Smith Eddie Gribbon Dr. John 8. Bryant Jack Mulhall Fred Manchester Lowell Sherman Miriam Manchester Jacqueline Logan Albert Faulkner Ben Deely Mrs. Jas. W. Bobbins Gloria Darenport The Silhouette Man _.Carl Btockdale Antonio Uaclffalupl Eugenie Besaerer "Possession.'' a French production, made by Louis Mcrcanton in Paris and distributed* T5y Robertson-Cole, is founded on Anthony Hope's novel, A production that can be ex- ploited into a box office attraction by the exhibitor. Not a whale of a picture, but one that Is strong enough to permit of a campaign that will compel audiences to step up to the box office. Mack Bennett Is the producer and the picture has Mabel Normand, of "Mickey" fame, as the star. Sen- nett was also the producer of "Mickey," and it was a long while before that production got under way, for none of the regular releas- ing organizations of the time would take it, but finally when it was slipped over as a states right pro- duction it proved a veritable clean- up for those who took a chance. "Molly O" was originally made for Associated Producers, but with the amalgamation of that organization and First National the latter stip- ulated that they were to have the right to accept or reject whatever they wished of the A. P.-made pro- ductions. They exercise the right to take "Molly O," and therefore it. is being marketed as a First National picture. It is on Broadway for a special run of four weeks at the Central theatre. The reason for that may be that the Strand, which is the First National franchise house, de- cided not te, run the picture, or per- haps it may run it after the Broad- way flin has created a vogue for It. This seems rather doubtful, because the Central is only a* stone's throw from the Strand and the most direct opposition to the big house. The picture seems to have been chopped all to pieces as far as the last 1,500 feet are concerned. The fore part of the story is one of those sweet little Cinderella tales, somewhat of the "Irene" type, that is ended when the hero marries the little heroine, but in addition to this a couple of thousand feet have been tacked on that are totally unneeded. It carries the story along after picture. Desmond's personality counts, H. H. Van Loan's story is straightaway and full of action, the climax gets you, and tho photog- raphy is A-l. Joseph J. Franz di- rected. Bud McGraw is sent to the border to enlist with the patrol, as he grows restless on his father's ranch. On the way he meets a girl under plausible and romantically exciting circumstances, and then hooks up in a fight, one, two, three, with his future cronies. From then on "Three Musketeers" stuff, "One for all, and all for one," making an amusing finale when the three kiss Bud's girl. Before then. In some convincing scenes, they save her from a Mex bandit, with a chase and a rescue along. the approved lines. Mr. Desmond's support is all sat- isfactory. The feature is a high- grade first run offering. Leed. POVERTY OF RICHES John.Colbjr Richard Dlx Katherlne Colby Leatrice Joy Tom Donaldson John Bowera Orace Donaldson Lioalee Lovely Mra. Holt Irene Rich Lyons DeWItt Jennings Stephen Phillips Dave Winter Hendroa Roy Laldlaw Edward Phillips, Br John Coaaar John In prologue Ftankle Lee Katherlne In prologue Dorothy Hoghea with their money and Is prevailed upon by Stinson to leave the coun- try with her sick brother. Lost in the desert, Duke succeeds in roping a strayed horse, rides to the rescue, retakes the money, jumps from a bridge to the train and grabs Stin- son. He jumps into the river, Duke after him. The fight can be imag- ined, with Duke getting the girl. The best Western in an age. This Jones Is a whale of a man, simple and natural besides, a genuine pic- ture personality. Leed. LADIES MUST LIVE Christine Bleeker Betty Compson Anthony Mulvaln Robert Ellis[ Ralph Lincourt Mahlon Hamilton Barbara Leatrice Joy William I loll ins Hardee Klrkland Michael LePrlm Gibson Qowland The Gardener Jack Gilbert Mra. Barron Cleo Madison Edward Barron Snitz Edwards Nell Martin Lucille. Button Nora Flanagan Lule Warrenton Max Bleeker William Mong The Butler J/ck McDonald Nancy Mareia Manon Ned Klegg Arnold Gregg A woman denied the expression of maternal love Is the basis of this feature, which takes as its theme the question of whether success in the form of business and social ad- vancement is to be preferred to the wealth of a family with youngsters to clamber on one's knee and tiny hands and Angers to muss one's hair. As a picture the feature will stand as one of those productions that can be handled either on a sensational scale—a sort of "Where Are My Children?" idea—or Just as a fea- ture that Is slightly above the usual run of program features. Either way the picture is going to have its effect at the box office. The Leroy Scott story. "Mother Love," was adapted to the screen by the author, and Reginald Barker was tho directing force behind the fllm- Izatlon, and because of that "Pov- erty of Riches'* carries the brand "A Reginald Barker Production" of Goldwyn release. Ordinarily handled, the picture would have been just a program fea- ture, but the manner in which the the marriage of the girl and tho usual clinch is avoided at the finish, wealthy hero, and ft is clipped in I and the fact that the ending is not sections with the titles carrying the | a happy one, pulls this from the rut yarn. Incidentally that titling re- flects credit on John Gray. . "Molly O" has the name role played by Mabel Normand, who is the daughter of a Tad family in a big town. Her dad is a day laborer, ma takes in washing to help along the cause, and Jim Smith has been picked to be Molly's hubby. He Is a husky who works In the same ditch with dad. Molly, how- ever, has other ideas, and she man- ages to capture the wealthiest young bachelor in town. He is a doctor, and they meet in a tenement where there is an infant 111. He takes her home In his car, and a few Sundays later they meet in church. He again takes her home and stays to Sun- day dinner. Yes, a regular boiled one! After it Is all over, dad fells the wealthy young doc that he has been trying to raise a respectable family and that he'll be Just as well satis- fied if doc will forget the address. But the church is giving a charity ball, and Molly steps in at the proper moment to lead the march with the young Prince (who Is the doc) In place of the girl he is en- gaged to. The latter, who has been out on the balcony spooning with her.real love and has missed the cue for the march, breaks off the engagement then and there, and Molly steps right In. But when she gets home that night dad is waiting for her with a strap and turns her out. She then turns to the doc, who marries her that night That logically should have been the finish of the picture, but the producer thought a few thrills were needed, and he padded out a few airship scenes and a couple of coun- try club bits and little things like that They weren't necessary at all, but they place tho picture In the class of the big Drury Lane mellere, and as such will help the box office angle in the factory and tenement neighborhoods. For the big houses it will be en- tertaining at that, for Mabel Nor- mand does manage to get to the au- dience, for the role in the first part of the picture has lost none of the charm that the Cinderella theme ever has had. F. Richard Jones, who directed "Mickey," is likewise responsible for "Molly O." There Is nothing to rave about In direction in this picture and the photography hasn't a chance for medals, but the picture will Ret patronage. Fred. FIGHTIN* MAD nii'l MvCJrow William Prsmond !'•■»: K>' Hughe* Virginia Brown Fa I re Kilorn Graham Doris Pawn Nlta d*» Carina Rosemary Th«*hy James Mctiraw Joseph J. D»wlinK Francisco Luzuru WiIlium I*awr<-nce Howard Graham Kmmctt C King Am>s Rnwson Jack Richardson Obadiah Brrnnan William J. Pyer Micah Hlajrin* Bert Llndley Colonel (iatoi tScorge Stanley Captain Farley Vernon Snlvelcy of regular releases. Both story and direction are exceptional In those two particulars. Richard Dlx and Leatrice Joy, who play the leads, are first shown as children of about six years of age, boy and girl sweethearts. A brief prolog is employed for this purpose. Then they are shown on the day the heroine celebrates her twenty-first birthday. On the same day the hero Is Informed of his pro- motion In the iron works—the pro- motion that the pair have been wait- ing for that they might marry. With the promotion there comes the ad- vice of the office manager that a young man owes It to himself to put up a front, appear a success if it takes his last penny, and the world will believe that he Is successful. The hero takes this as his creed, and although his wife wishes for chil- dren to liven up their home, his atti- tude Is that they must wait until they are on Easy Street. When that time Anally does ar- rive some four or Ave years later the wife Is Injured In an auto srn^sh-up, and as a result of her Injuries the possibility of a family is denied her. Running parallel with the pictured life of this pair of people is that of another, the husband being a fellow employe. They have two children, and while they are not quite as ma- terially successful, their existence Is the happier in the end. The con- trast Is skilfully drawn and effec- tively shown on the screen. The combination of Richard Dix and Leatrice Joy in the leading roles is a happy one. Dix has a leading role, which Is almost a heavy, and therefore a difficult one for him, but he comes through with flying colors. Miss Joy is really a delight and acquits herself nobly. She has one of those speaking faces that are cer- tain of success on the screen. John Bowers and Louise Lovely have the roles of the "other couple," han- dling them skilfully. The balance of the cast Is ade- quate and the photography and lightings excellent. Fred. BAR NOTHIN* Duke Travis Buck Jon«»» Bess Lynne Ruth Rcnlck Harold Lynne Wm. Buckley Stinson Arthur Carew Bill llarli.sa James Farley This Metro with William Des- mond at the Rialto is a first-rate A poach of a Western, Fox prod- uct Ktarrlng Puck Jones, running 4.300 feet and every foot worth while. Tho story Is by Jack Strum- wasacr and Clyde C. Westover, and the scenario by the former. Edward Sedgwick directed. Jones himself, with his faculty for seeming the real thing rather than an actor, stars for a fact, and the whole support pleased, Ruth Renick and Buckley particularly, which Is one way of saying Arthur Carcw was a satis- factory heavy. The Lynnes have a valuable ranch which dishonest cattle people want. But rough and ready Duko comes to their rescue as foreman, sells their cattle, only to be lassoed and dragped to the desert. Meanwhile, t'-r girl Is persuaded he has run off Bearing In mind this Is a May- flower production, written and di- rected by George Loane Tucker, based on a novel by Alice Duer Mil- ler, accepted for distribution by Paramount and shown at the Rlvoli, it Is undoubtedly the worst produc- tion offered the first run public in many a moon. It takes an inter- minable time to get started, at no time are you quite sure what it is i all about, and It never proves its dimly apprehended point. Mr. Tucker, perhaps, had a moral in mind. Telling a story dramatically is what screen productions should do. What this picture might have had Is a fashion display, but now that it is released all its fashions are out of date. Besides, the gowns are too low cut and in very bad taste. What the production has is a cast Betty Compson is named as star, but is lost in the shuffle, first honors going to Leatrice Joy. A minor characterization of an old roue always trying to buy women was superbly realised by Snlts Ed- wards, and the rest of the troupers! aro treated fairly enough when you say they did adequately with the absurdly conceived parts handed them. Whatever Mra Miller wrote,] It Is doubtful her book is so full of caricature as this picture, which as- sumes society is made up of a lot bf people who think of nothing but profitable marriages. This is the general assumption In "Ladles Must Live," but the story of it as told in the press book differs from the hel- terskelter tale told on the screen, arguing there 'as an orgy In the cutting room. We see a little shop girt helped with $1,000 by the wealthy Lincourt She Is contrasted with poor little Nell, who is sent to Jail because a man buys her a square meal. Once out, she gets a job as kitchen maid, but is pestered by the butler. The undergardener loves her, but re- fuses her, so she drowns herself. The body Is carriedrinto the living room and the scrubwoman points at all the well dressed women stand- ing about and delivers herself of a series of moral precepts. Taking these to heart these silk-gowned ladles all do the right thing forth- with. Before the tragedy an aero- plane has brought two men from the clouds to the house party. Both are presumably wealthy, so the women set their traps for them. On* of them is a roughneck, so grabs the lady he wants and rushes off with her in a motor, followed -by Anthony and Christine. Anthony's idea Is, of course, to prevent "the worst," but he has hard luck and ends up by having to spend the night in a mountain shack alone with Christine. At this point alarmed exhibitors Will catch their breath—but no! The two come out as pure as they went in. In fact, there is enough purity in this film to suit a woman censor in Kansas-* more than that, it is convincing. Who in this moral republic has sunk to low as not to believe that he (if he's a he) and she (If she's a she and beautiful as Betty Compson) would triumph over the promptings of evil If misfortune gripped them as It gripped these two young and noble souls In "Ladies Must Live." However, while this picture may not suit the sophisticated, .it Is well to remember New York is not all America. In a country where novels by Harold Bell Wright sell to a mil- lion, "Ladies Must Live" may still make money—and the backwoods wonder what it's all abcut and if "8assicty" people are really like that. Lccd. a ranch—that la, be is being paid to work, but spends his time thrum-* ming a home-made guitar. He Is literally kicked off the place by the owner, taking with him his trick mule. Joining a circus, he once more meets tho daughter of the de- posed president of the aforesaid country, her father and her fiance, th j latter a villain plotting to defeat the ex-presldent's efforts to win back his leadership and to steal the girl without giving the "old man" a look-in. With the aid of his mule and a trick horse. Mix does a number of clever feats of horsemanship in the circus, is selected by the girl's fa- ther as the leader of his army bent on his restoration to the presidency, and Mix goes through a series of thrilling and romantic escapades be- fore winning out for father and leading the girl to "the old hitching; post" Viewed from the standpoint of burlesque, the feature Is very laugh* able, but there is a possibility that Mix's admirers may resent his own refusal to take himself seriously. In which event the experiment might react on his future "dead straight*** productions. The cast, production, direction and lighting are on a par with Mix'sj other feature presentations. Joto. HUSH MONEY Evelyn Murray .J Alice Bra4? Alex. Murray George Fawcett Bert Van Vleit Lawrence Waaat Bishop Deema Harry Benbasn ROUGH DIAMOND TTank Shrrman Tox Mix (tlnrla Ciomez Eva Novak Manual Garcia Sid Jordan Eedro Sai-hrt Edwin Brady Eincliuno (Jouicz Hector Sumo In T*>m Mix's latent Fox produc- tion, directed by Sedgwick, he per- petrates what is tantamount to a burlesque on his usual "Western" stuff. Although done seriously, with satirical, facetious sub-titles, it amounts to a take-off on the hack- neyed plot of the gallant hero of the "Prisoner of Zemin" type who cap- tures a throne and restores its for- mer occupant to the highest olflce in tho lnnd. thereby winning for him- self the beautiful princess. In thin instance the mythical country is called l.mgravia and Is palpably meant for Mexico, with its revolu- tions and counter-revolutions. It opens showing Mix working on "Hush Money" is a Realart pro* ductlon, written by Samuel Merwin, one of the leading short story writ- ers of the day, and directed by, Charles Malgne. It is a light story, but-an Interesting vehicle for Alice Brady, who wears some beautiful clothes and has an opportunity to prove that she can handle sentU mental comedy neatly and convinc- ingly. The real star, however. Is George) Fawcett, who has a part made to order for his peculiar gifts as a character old man. Fawcett, who stands alongside Theodore Roberta In the portraiture of this type, plays one of those grouchy old boys whose bark is worse than his bite, and who always comes around after his tirades to agree that he is In the wrong and begs forgiveness. His part as the rich banker is an espe- cially sympathetic and amusing one* and he gets all there Is in It. The cast Is small and the story? told simply and straightforwardly* but the production has been han- dled painstakingly. The back- grounds, most of them interiors in the heroine's luxurious home, are unostentatiously rich but still con- vincing. The usual studio attempts to picture modern palaces of the] wealthy look Just what they are, a make-believe film setting. These look real. The whole production has the air of genuine elegance. The) acting is natural, easy and appro* priate to the ensemble. The story has to do with the ad- ventures of Evelyn Murray, daugh- ter of a sort of J. Pierpont. Driving In the city with- her fiance, she runs over a waif named "Pipe" McGuiro. The .man insists that she run away and avoid arrest. She consents, but a garage mechanic learns what has happened and blackmails her fa* ther. The newspapers report that "Pipe** has been taxen to the hospi- tal badly hurt, but father forbids her to go to his aid, as she wants to do. Father has contributed a large sum to a church memorial to be devoted to settlement work, and Bishop Deems preaches a sermon on social service and the selfishness of the rich, while stirs Evelyn's conscience. She appeals to the bishop with her troubled conscience, and he recom- mends that she go to tho hospital and do what she can for her unin- tentional victim. Father learns of this development and berates her. So does Bert, the nance. Evelyn breaks her engagement and runs away from home, taking refuge with the bishop and devoting herself to helping "Pipe" through his illness. For this the 'tanker revokes his gift to the memorial. Crusty old father misses the girl sadly and appeals to the bishop to find and restore her to his lonely home, but Evelyn holds out until dad comes to her terms, which are that he reinstate the gift to the church (more hush money) and live more unselfishly. Bert is also re- established as betrothed on condi- tion that he receive "Pipe" Into the family and be more human there- after. All of which makes a satis- factory ending, with the Lady Bountiful In the middle of the pic- ture and dad, the benevolent Santa, Claus, looking on. Rush. The Cosmopolitan is making "Just Around the Corner" with Frances Marlon directing. Her husband, Fred C. Thompson, is in the car^t. Also Margaret Seddon, Lewis Sar- gent, Slgrld Holmwqulst, Edward Phillips. The Cosmopolitan's pro- duction of "Walllngford" will be shown simultaneously the week of Dec. 4 at Rialto and Rivoli, New York. Charles Dana Cibson, the artist and proprietor of "Life," is going into film production. He has a one- teller consisting of amusing say- ings from "Life," drawings of the Cib.son girl and views of Mrs. Gib- son, the original. MrS. Gibson 1* one of the I^anghorne girls and a sister of Lady Aster.