Variety (July 1924)

VARIETY PICTURES W( 7' Jttty 2. 1»24 [THOSE WHO DANCE Thomaa H. Inc« pruentatlon, rol«aalnf throuch Fimt National. 8tary by^Oeorge K. Turner, with Lambert Hllly^r directing. Caat featureii Ttlanche Bweet. Uesala I<ove, Warner Haxtwr and llobert Agncw. Show- Uk »t th» Strand, . New York, week of JuD* 29. Running time, TO minutea. Something of an augmented pro- gram at the Strand this week and the special souvenir Convention program must have proved a tax- ing problem, for the scheduling of the feature had little in common With the actual film, so far as deg- Ignating the characters was con- cerned. This particular vehicle la devoted to bootlegging, but may have a little trouble in getting by the state censor boards because of the man- ner In which the stuff is made, which may be something of an ex- pose, although seemingly exag- gerated. The story's inclination is to evolve a lesson on the folly of . Imbibing in booze of native manu- facture under imported labels. An a program leader the picture as- suredly has pace, and with the in- terest the subject will universally draw, it should prove entertaining. The title was derived from a sub- title quotation and is obviously mis- leading. That the bootlegging In- dustry should have been inferred in the title is apparent v/ithin the first half reel, but the inclination to dodge issues with the various state scissoring detachments may have fiad some influence. With no necessity for resplendent ■ettings and localed In a higher or lower underworld atmosphere, the action mostly takes place within apartments and flats, with the cli- max placed inside of a neighbor- hood dance hall. The getaway Is one more of the •wild youth drinking parties that leads to an Innocent girl being killed when her drunken companion goes blind while driving her home end the car plunges over an em- bankment. During the lllusloning of the 0t party Is shown the "still," the boot- legger picking up the booze and de- Mverlng to the back door. The older brother of the girl, following her death on the operating table, vowa vengeance on ail rUm-runners and Immediately Joins the prohibition torces. On the other side of the scenario Is a kid brother (Robert Agnew) . Who acts as a truck driver for the gang and whose scatheless sister (Ml^s Sweet) journeys from the small town to take him home. Hav- Irtg once run past a police blockade with a "load," the youngster tries U again when accompanied by "Red" Carney (presumably Mathew Betz), leader of the gang, who shoots and kills one of the prohibi- tion men and frames with hia fixed agent on the squad to "plant" the gun on the youth. "Framed" and slated for the elec- tric chair, the sister forces the truth from Carney's wife (Bessie L<ove) and goes to headquarters, where she makes a tieup with the brother (Warner Baxter), who would him- self extinguish bootlegging because of his sistei-. Mathew Betz, as "Red" Carney, If it is ho (for neither the program nor the film substantiates the con- clusion), gives a corking perform- ance that stamps him for predom- inating honors. Both Miss Sweet and Miss Love have adequately taken care of their respective as- signments, while Warner Baxter and Bob Agnew meet responsibili- ties. Frank Campeau, unmentioned In any manner, supplies his usual and reliable vallainy. Hlllyer has turned out a credit- able piece of work, and various touches are certain to attract par- ticular notice. Notably, a youthful couple getting booze at a soda foun- tain and the picturing of Kane and Rose Carney in bed toge'.her, as propaganda for the gang leader to assimilate. Just how often that last scene will get by is, of oourse, ques- tionable. Other than these Insertions, the director has happily dodged the dramatics which could have easily been Included, and beyond the con- stant pulling of a gun on the least pretext by Carney, the picture is pleasingly void of overly empha- sized conduct. The bootlegging thing being a timely subject for some years now, with present conditions still atten- tive to the general liquor situation, points that there ia no reason why this story, and the playing of It, should fall to click. It Is deplorable that the title is misleading, but, even aside from that, the film gives evidence of be about It, and that's the best "plug" yet devised. Bkig. RECOIL J ParkfT ne.-Jd. Jr. production of the Hex llrach story Produced tiy Cosmopoll- tan-Goldwyn and distributed by Metro- OolJwyn. Directed by T. Hayea Hunter. Screen atory by OeraW C Duffy. Reviewed «t the Capitol, New York, Juna 2». Run- ning time, 05 minutea. riordon Kent Mahlon Hamilton Norma .Selbee Uetty Blythe r.aurencc Kncan Marchmont.. .Clive Brook William .So-.'iem Fred Paul Jim Scltiee Krneat Hilllard WINNING HIS WAYj ("Fight and Win" Seriei) Flrat eptaod* of Jack DempMr Mrtal Universal prcductlon and reloaa*: M«a at Ulalto theatre, length atraut 2,000 feot. On a bill with a full-leneth fea- ture, this first chapter of the Uni- versal serial starring Champion Jack Dempsey seemed to have ad- vance interest, but proved rather flat. The outstandlng-novelty Is Demp- sey himself, prettied up with a put- tied and blended nose, so that he looks nothing like the familiar heavyweight Idol or anybody else. To anyone with a memory for faces, and almost every one has a set men- tal Image of such a celebrity, the Ing able to make an audience talki „ j j^ garish. It is Dempsey, and ^ OS XUMES ip'ot^ hire: PRODUCTIONS EXPnolTATIONa PRESENTATIONS JSROOKS ,1«7 B'way. Tsl.6680Psn Notwithstanding the good start Rex Beach gave this picture by fur- nishing its producer with a cork- ing story and not forgetting the excellent touches In the direction of T. Hayes Hunter, "Recoil' can- not claim rank as a money-getter. The first and most Important of • he reasons Is that the Betty Blythe and Mahlon Hamilton name.i pos- sess no great box olfice draught and the second la that the picture itself isn't quite "there." One is Inclined to blame this on the cast more than upon any one else. Neither Miss Blythe nor Mr. Hamilton, the featured people, do any histrionic pyrotecnnios worthy of note, and the fact that it is a short cast piece, with the smaller roles filled out by comparatively unknown actors, works to a disad- vantage. ^ .. Basically "Recoil" preaches the theme that when wronged people wreak vengeance they become wrongdoers themselves. Kent, the hero, has spent 20 years getting rich In South America. Having gotten the money, he wants to live and spend It in the atmos- phere where pink cheeks and white shoulders are plentiful. So he hike.'? to Deauville. There he meets Norma Selbee, a poor girl, who worms her way to the point where she can join his party In the gambling Casino. Two days of acquaintanceship and he pro- poses. One-half a reel and they're mar- ried. In about another reel they're splitting up and Norma ia running oft with L.-iurence Marchmont, a guy who Isn't good at h.andling men, but who can get by with the dames. The husband, finding out through his friend Sothern, who is a detec- tive, that Norma ia the wife of a New York crook and that in mar- rying him she haa committed big- amy, and th.at Marchmont Is a jewel thief, determines to put the screwa on both of them. To do this he tella them that unless they con- tinue living together he'll give them up to the cops. Wherever they go they are shadowed until life be- comes a specter of unpleasantness. In the wind-up they all meet In New York, the woman's husband is killed and Marchmont implicated in the crime, thus clearing the way tor the two sweethearts, who by this time have found they are really In love. Then they hike It back to South America. There Is a decided punch to the story, but its screen continuity ar- rangement disregards that fact. In addition, the oamera worlc Isn't no- table. The seta are taateful, but didn't coat a million. Some of the scenes .are taken in Deauville, but aren't great, at that. The direction is okay. Mr. Hunter haa handled every individual scene well, making it seem a tough break for him that his m.aterial wasn't first r.ate. The subtitles are funny in spots, but run too much to epi- grams in othera. All around they are much better than the pictures, all>eit there .are too m.any aubtitles. "Recoil" la satiafa^fory for the d.aily change linu.sea, Imt n."? first run film fare it leaves much to be de.sired. Sislc. ezoapt that John Bowers U an ex- ceptionally handsome and present- able fellow and player and Invites Interested observation. With the girl comes Alan Hale as her fiance, a deep-dyed wretch who betrays a mountain girl and plots to have the hero murdered. He doesn't get awaiy with It be- cause of some fast hip-shooting. That's about all there is to It. Almost all the action is outdoors and there is no production attempt. Charlotte Merrlam as the wild young thing has some worthy mo- ments, but her pathos la sometimes very glycerine. A program Item that neither helps nor hurts. lAtit. yet It isn't—and it doesn't mlas much of seeming to be a wax fig- ure, animated. This Is a serious blunder. If the purpose was to camoufiage the somewhat distorted nose.caused by punches early In hia career In order to make Dempsey look like a mat- inee idol to the ladies. It misses. He now loses his own personality and what charm goea with It, and takes on no synthetic good looks, for the nose Isn't even a good bit of mod- eling. It is anubby, stubby and palpably phoney. And because Dempsey'a features are so well known the change Is conspicuous and distracting. Dempsey doesn't ajipear in the best-looking physical condition, either. There have been dozens of regular movie stars who played fighters and looked the part mu;4i better than this greatest of all fighters. In the ring he has always appeared browned, fine-drawn and like a tiger. In this film he Is white, flabby and, somehow, so self-conscious of the camera that he looks like a dub actor who never raised his hands trying to do his best in a miscast pug role. In truth, he looks better and reg- isters better In street clothes and In a scene where he Is a laborer in a steel works at night, a genuine and Impressive bit all around. The story is cheesy. "Our hero" is hired as a "set-up" for the heavyweight champion, who is a dissipated rounder, by some crooked ' promoters, and he is "framed" to go In without training. He takes the fight only because his poor old ma is sick and the big- hearted lad needs the money to send her to the country. He saves the villain's kid from being killed by a train and the double-cross la turned, so that Jack gets training and comes Into the ring all fit. Now comes the fight—a two-round affair. Dempsey, not looking hiih- self at all, goes after hi.'j man. The milling is so fast and Indistinct that it lacks all thrill. One would think that at least In this part a Dempsey film would be great, but here it is at its worst. In direction and conception. It is usual for the hero to win. Sometimes, to make It plausible, the dirty dog gets In a few licks, too. If there is one screen actor who might be allowed to win quick, snappy and decisive, it Is Dempsey, who has done just that to the whole heavyweight field. Instead, he Is knocked down twice and the bell saved him while he is unconscious. Later he puts out his man with one punch. He exhibits no ring tricks, no punches that make one gasp, and the fight is not spectacular; not even Interesting, which seems In- credible for a Dempsey film. Anyway, he wins the hsavywelght championship, and that Is the end. It is worth speculating over where the serial will go from there, as it looks as if the climax has been blown in the first episode. There Is no love story at all in his chapter. Carmelita Geraghty, the young leading woman, appears only for a flash as a waitress in the boarding house. The titles have some catchy phrases, but the story is painfully dime-novel. Dempsey, bereft of his Individuality, a disappointment in physical looks, too, neither a film lighter nor a film actor, will not build up as the series unfolds. He will have to get by entirely as a freak novelty. As such the serial may get a wide play. But that is the only angle from which it oan, as judged by the initial release. Dempsey Is .said to be getting a million dollars for his work. If so. of all hia push-over.s. that is the rat's cream. He probably raised the price after he looked at him.aelf in a mirror with that nose. hait. 40-HORSE HAWKINS Universal production, starring Hoot Qib- son. Written by R. U Schrock and In- ward Sedjcwlck and directed by the latter. At the Stanley, New York, one day (June 27). Runs 7S minutes. Bud Hawkins Hoot Qlbson Mary Darling Annie Cornwall Rudolph Catallna Richard Tucker Helen Holmes Helen Holmes Johnny , Jack ESdwards Sheriff Ed Burns Stage Manager EXlward Sedgwick Some time ago Universal discov- ei^d (or thought It did) that Hoot Gibson .could give a fair perform- ance as a boob. Since then it has added a slightly nutty flavor to each ofhis roles; but, for the first tln»e, in "Forty-Horse Hawkins" he has the role of an absolute dope to play. The result Is far from gratifying. One doesn't realize how compara- tively good were Gibson's much- abused straight westerns until he la forced to sit through this drivel. There is no need groing into the dozens of discrepancies and Incon- sistencies of the plot. If being pre- posterous w*re the only thing wrong with the firm, it would not be so bad; but when the episodic inci- dents have all been seen before and better done, there Is no excuse. Gibson Is the man-of-all trades In a small western town. The ancient gag of having him use a different hat for each of his jobs— expressman, porter, waiter, fireman, policeman, et al.—is utilized. The heroine is the leading woman of a one-night-stand theatrical company that hits the village. The perform- ance, with all the old bits of bur- lesque, paper snow, non-working curtains, hissing the villain, and so On, takes nearly half an hour's run- ning time. Not content with that, we have to follow the bumpkin to the city where he has gone in search of the girl, there follows another long- tlrawn-ojit performance, with the heroine now a Broadway star, her hick lover a super, with neither cognizant of the other's presence in the company. How much padding It takes to fill out this le.as-than-meagre plot may only be Imagined. A few laughs have found their way Into the foot- age, attributable for the most part to Gibson's clumsy mannerisms. In fact, he struggles manfully with the puerile script, but only to fair suc- cess. A bright spot is the refresh- ing prettiness and appeal of Anne Cornwall as the actress, while Rich- ard Tucker gets romethlng out of the heavy. "Forty-Horse Hawkins" is one of the poorest Unlversals seen In many a day. It Is suitable only for the Gibson clientele, and even they will have to bd tolerant this time. watcb, fashionable clothes, seems to Im running the show. Then he comes Into a fortune and goes wild. He takes women out and this (s a strong thing in the favor of this picture. It is intense prohibitionist propaganda. ^^ The end of the picture is up to the usual sample of conventional end^ Ings. The feature la a poor story, badly produced. George K. Arthur as the "hero" shows no dramatic ability and his expressions are for the most part purely facial contortions. Flora le Breton as the girl is nothing more or less than a mechanical doU, Several small parts are well played. The whole thing is hopeless. Oore, NEW YORK FILM BIZ (Continued from Page 22) 1 890 on the week. Rialto was some- what better oft with "Unguarded Women" as the offering, the re- ceipt sthere being $13, 100. The Capitol hit the high of the regulars with "Revelation," a pic- ture that did not look any too good from a box office standpoint, but the figures showed $36,400 on the week. The Strand's "Perfect Flapper"- was looked on to do the best busl-* ness of the street because, of the lingering impression Colleen Moore, who ia the star of the film, made In "Flaming Youth." The business was good, all things considered, but not of record-breaking proportions. But when one figures the Strand right in the worst week with al- most $24,000, It cannot be said that the business was bad. NOW PLAYING if Jm Wilson ybioMrSmndal Cosmo Hamiltoti!9 Idferf and qrecAesi novd •» c^n CO/. Grmth I>roduction produced by ^, - Tllfoid Cinema Corpto.v. Released by Producers Distributing Corp mmmmmmmminminmMmi9MmJimM'iii^.^. CODE OF WILDERNESS Albert E. .Smith preHontatlon, Vit.igraph ricture, illrocted by David .Mmlth; »tory by I'harloB Alden Sell/.er; .seen at HI.tIIo Ilex Itari(lei8(>n Jolin Bowers Willnrd M^stnn Alan Hale Ruth Harkne.ss Allen Calhoun Uncle Jephon Otia Harlan Hagitr Charlotte Merriam Aunt Martha Kitty Bradbury This is a regulation western, with the conventional ingredients. It impresses one as having been m.ade about five years ago. for it ia of that vintage. Just a hard-riding ranch af^lr, with an eastern girl inheriting the place and finding a hand.some cow- boy running it. Otis Harlan plays her uncle and Injects some fat ten-^ derfoot comedy, otherwiae It la qiilte without Individuality or hlghlighta LOVE'S INFLUENCE London, June 18. Amid an outcry against sex films, films whose chief claim to popular- ity is nastiness or the undressing of women, we have a film of our own which is eminently pure. Un- der no circumstances would it lead maiden or callow youth from the very straight path nor would it ex- cite any old gentleman to forget his good manners and go astray In Piccadilly. Any more wishy-washy picture than this "Love's Influence" shown by Unity Films has never been seen. It's chief charm is that any audience witnessing it can .sleep without hindrance; even the orches- tra comes under the influence of this masterpiece. The story Is of an originality that was old in drama 100 years ago. To her stern parent comes tho daughter who left home for the man she loved. The stern parent continues stern and refuses to har- bor her. She tells him her husband ia dead and she is in a certain con- dition. The old man is adamant and she goes to an old aervant, where her child is born. After the fashion of village maidens who leave home, having given birth to her offspring, she dies. The years roll by until 18 are told and we find the child as a village bad lad. Ho playa about in the clothes of a youngator who has just been breeched; his bad habits are tho.ae of a naughty child. Then love's in- fluence takea a hand in the game. He meets the village parson's pe- culiarly Immature daughter and "the dawn of love" ri.ses with ap- palling swiftness. The.se two poor tools walk about village streets hand' in hand, and do little else. Anyhow; love's Influence contln- ues and he gets a job In a printer's office. Doing well, the boy gets a Job in a Fleetj^^^rfft office. Within Estimates for Last Week Astor—"The Sea Hawk" (First National) ($1,131; $1.65). Dropped oft about $3,H)00 last week, but showed greater strength than any of other film features In for run at legitimate houses; $12,800 on the week. Cameo—"Girl Shy" (Pathe) (548; 55-85). Drop of about $2,000 here last week; picture In sixth week of 10-week run in small capacity house. Showed $3,985. Capitol — "Revelation" (Metro- Goldwyn) (5,300; 55-$1.65). Last week's returns about on par with previous week, when the house held "True as Steel." Both pictures fell short of the $35,000 mark by a cou- ple of hundred dollars. Seemingly this indicates about as bad as the liig house can do, and If so it is an Indication it has built up a remark- able regular clientele. Last week $34,600. Cohan — "The Ten Command- ments" (Paramount) (900; $l-$2). Took $2,000 tumble last week, when receipts were $7,978, as against $9,875 week before. Picture to re» main here until end of August. When It win move. to Criterion to continue. Criterion — "Dorothy Vernon of Haddon Hall" (Mary Plckford) (608; $1.65). Fell oft almost $2,600 last week, getting shade better than $3,500. Although soheduled to re- main here until end of August, does not appear picture can stand strain of another eight weeks through hot- test time of year unless unusual comeback at box offlce. Liberty—"The Thief of Bagdad^ (Douglas Fairbanks) (1,234; $1.6S- $2). Experienced worst week since opening, receipts dropping over $4,000 against previous week. This week showed comeback first three performances and Jumped about $800 over what similar three last week were. Rialto — "Unguarded Women" (Paramount) (1,960; 66-85-99). Held top of two Paramount houses last week with $13,100. Not looked upon as good business for summer. Rivoli — "Changing Husbands" (Paramount) (2,200; 65-86-99). Hit low for four big plsture houses of Broadway with $10,803. Picture should on Its merits have pulled better. Strand—"The Perfect Flapper" (First National) (2,900; 35-55-76). With Colleen Moore at head of cast expected to almost duplicate the triumph of "Flaming Youth," and fore part of week looked a» though it would, but toward end slowed up and finished with $23,771. ^':?'\mv FAMILY IN AUTO CRASH Danbury, Conn., July 1. Yves Do Villers, of New York City, American representative of the Centimeter Cinema Company of Prance, was dangerously Injured when his automobile skidded and overturned while he was en route to this city from Rldgefleld. De VUlers was plnn d under the car but his wife, their two children and Patrick Dunn, the chauffeur. were thrown clear of tlfe car. D* Villers was operating the car n-d was descending a sharp incline when the accident occurred. All in the party were cut and bruised, and wore taken to the has a wrist Danbiiry Htyiplt^iH.^