Variety (March 1925)

VARIETY P I CT U RE § Wednwday. Ifarch 25,1925 thoM places In the desert where a booin has collapsed and everyone has pulied up stakes. They and a lone Chinaman are the sole Inhabit- ants of the Uttle town. Forced down in the midst of a rainstorm, the pilot-hero meets the girl, and later, when she runs out of medicine for her father, she signals him in his daily flight, and be stops and prom- ises to return the next day with a prescription fliled for th« old man. But on that trip he is attacked by two planes fllled with aerial mail rob- bers, and they force him down Just outside of the ghost city. Gun play and hand-to-hand combat follow, but the hero manages to win out in the end. The open scenes give an idea of the territory covered by the mall fliers, the shots being taken from a plane. It is a good atmospheric touch. DouKlas Fairbanks, Jr., has the role of a youthful hanger-on about the mall air port, and scores in a comedy way. He does one bit In escaping from a h-lo of tough char- acters that suggests his dad in adeptness. Mary Brian plays oppo- site the young Fairbanks. Fred, J X CAFE IN CAIRO Producers" DIstributlnir Corparatlon pic- ture, suii^rvlsed by Hunt Htroitiberg and directed by Chet WUhey. Prlocitla Dean •tarred. Foilnded on th* novel by IzoU Forrester. BuoDins tline, 95 mlnalea. Kalda , Prlscilla Dean Barry Braxton Robert EUio JaradI Carl Stookdale Batooka ....Evelyn Selbie Kail , Harry Woods Tom Hays John Steppllng Rosamond Carmen Philllpfi Col. Alastair Larry Steers Zvelyn Ruth Kln« PriecUlft Dean i« being widely ad- vertised as "Empress of the Ele- mental Emotions." To use some more alliteration, it can be expkiined that the difference between "Ele- mental Emotions" and "Primitive Passions" is nux vomica and void. On the basis of this exploitation, her recent vehicles have been bi- zarre propositions showing her as the freak woman with a Great Love. This time she is a cafe dancer In Cairo, a white girl, the tool of unscrupulous Arabs. Taken by an Arab who witnessed the death of her father and mother, she is raised In his family, .ignorant of her iwrentage. When the desert trljjes start an uprising, a young diplomat Is found to hold a paper greatly desired. And because Naida haa wiles, she is sent to get the paper. She gets it—and love hits her a swift one, so she doesn't give the paper to the chieftains. Thereupon her foster-father gets sore and attempts to force her to marry Kali, a sensuous member of the ehief troupe. But she rebels and when «ent to the Palace of Stars on the Nile where maidens about to be wed are sent for rest and nwdita- tion, she gets a message to him— and he busts In fhe sacred doors and does his stuff. But he is nicked by the villains and nearly drowned when the girl dives from a high tower and brings him to the sur- face. Then, rescued in a swift motor boat race, they sail away to get married. ' Miss Dean plays the girl and does her work well. Rol)ert Ellis as tho hero Is also good, while the vaflous native types are chosen with dis- criminative care. So the cast is okay. The same thing goes for the production, solid and elaborate In spots, indicative of considerable care and money. But the scenario is weak and wobbly, and the story so shot full of inconsistencies that In toto it lines up as a fair out-of- town program picture unworthy of being branded as a "special" release. It isn't big city flcBt run stuff but (hUt in that group one peg below. With an air-tight scenario and a concentration of the numerous thrills depicted, this review would have read differently. BiMk. SECRETS OF NIGHT Unlrersal productloii diraetad by Herbert Blache. Krom the play, 'Tha Nl«ht Cap." by Uuy Rolton and Uaz Marcln. Photo- graphed by OUljert Warrenton. fast heftded by Jamea KIrkwocd, Madse Ballemy. Zaau Pitts, Tom WTIion, Roaemary Theby and Otto Hoffman. At tha Broadway, New York, w«*k of March M. Buna about 70 mlns.. The screen's most beautiful actress in her most dramatic story. Playing to big busi- ness now at the New York Strand. WITH AN ALL-STAR CAST LLOYD HUGHES HEDDA HOPPER CLIVE BROOK LILYAN TASHMAN LOUISE FAZENDA GALE HENRY - ^, 4.;<* ROCKLIFFE FELLOWS ^V^^V^ t n-il'lKv. .tByZOEAKINS ' ". \ ' Presente* by^^i* Directed by CORINNE GRIFFITH ROBERT VIGNOLA PRODUCTIONS, Inc. i»liiiUliiViiliiiilhi i >iiiiiMiiiiitltliiUittV ii im * i# "Secrets of the Night" stflirta out to be heavy, involved melodrama, suddenly switches to mystery and ends In a ridiculously farcical vein. Perhaps that's one of the things that U the maUer with it aa a.pic- ture. None of its varying Interests seems to get anywhere. It is an adaptation of the legitimate piece by Bolton and Marcln that under the title of "The Night Cap" en- Joyed a fairly prosperous three months' run at the 39th Street some four years ago. The stage version, if memory serves, had its comic situations sub- servient to the mystery and dra- matic C incidents, and the laughs, while there were quite a few, were merely incidental. The fllm makes the mistake ef trying for comic business primarily and because It is lacking in speed, pep and a cast that fully understands farce playing, it fails to be a flrftt-rate comedy. Nat- urally the dramatic and mysterious sides of the story cannot be ex- pected to flgure much, although at times there is some spooky atmos- phere. ^ The plot treats of the murder of a wealthy banker and the rounding up of, no less than a doxen persons upon whom suspicion equally seems to rest. This was an Ingenious thought long before Barrle ever used it for his "Shall We Jrfn the Ladles?" but the adapter and direc- tor have not worked It up to Its jios- slblUties. At the finish it develops, not much to the surprise of any one, that the murdered man 1« not dead at all, and the whole thing has been a hoax to put across a business deal. This does not explain the majority of the mysterious happenings that occurred earlier in the evening and that Would be excusable under the law of dramatic license were the picture as a whole more enjoyable. The few laughs in the film come chiefly from the antics of an old coioved servant an* a spinster maiden lady (played adequately by Tom Wilson <ind Zasu Pit.ts), who are f»-lghtened out of their Wits. The rest of the cast, beaded by James Klrkwood, Madge Bellamy and Rosemary Theby. seem unabfe as a unit to do anything with their im- possible parts. The fllm has ijost little aside from the "names," as the action is almost wholly within aot overlavlsh Interiors and thefe are no mechanical or scenic effetJts worth mentioning. In the cheaper houses they may think some of the later scenes funny. That and the fact that most audi- ences, no matter Jiow bored, will, for curiosity's saks, want to see how the mystery Is explained, are about the only things that can be said for "Secrets of the Night." pares very favorably with the bet- ter Independent releases. Soaie of the sets are good and Indicate some expenditure on Barsky's part. But the mistake Is la featuring Mac- Donald all over the picture, for as a star he doesn't measure up—even in an independent. Aslde^from that "The Coast Patrol" is competently cast and well acted. 8lak. THE COAST PATROL Bud Baraky . production, atarrlos Ken- neth MacDonald. Btorr by William B. WInjf and direction by Barsky. Cast In- cludes Clatre de I>orer. Kay Wray, Spoils-. woode Altken and Oeno 'Carrodo. Re- viewed March 20 at the Stanley, New York. Running tima, 63 minutes. Bfirsky pulls a nifty In this one. He announces the production of "Bud" Barsky, the personal super- vision of I. J. Barsky and the di- rection of Irving J. Barsky. The dlfl^erence between I. J.,'Irving J. ai^d "Dud" Is the difference between Julian Eltlnge and Bill Dalton. Kenneth MacDonald seems to be the Barsky star. Why Is some- thing else again? As a rule, mo^t of the Independents like Barsky, -Steiner, Carlos, and the rest have stunt men as their main bets. In this manner they are enabled to put out entertaining films at a slight cost. MacDonald, aside 'irdtn being a powerful but awk- ward flghter, possesses little movie value. He acts as badly as n^ost of tlie stunt men, but he hasnU t|ie redeeming- feature of their daring feats,' wbllb In appearance he Is ^eaa-ctit Idokinc without winning any prizes. The story In which he Is starred has him as a revenue agent after smugglers who have made their rendezvous on the Maine coast— one of those towns with the odor of fiah scales at one end of the beach and the flash of headquarters uniforms at the other. And at the flsh scale end of the beach Ih the protege of the old lighthouse keeper. The ringleader of the smugglers sets a trap for her and almost rtilns her life in the good old way made famous by the 10- 20-80 rep shows. With him Is a vampy accomplice who eventually goes ."itraight, while tho revenuer gets the smugglers, the girl and the villain Jumps overboard to save himself a worse death. "The Coast Patrol" was plainly made for the shooting galleries. It Is plainly a 16-cent admission fllm once It strikes its spots. As such it has a good production and a good story. The sub-titles are flaRrantly melodramatic and the acting at times very hammish, but the story demanded that sort of stuff. In general detail this fllm com- - ■ I / . ' ' 1 ' • . • 1 ■ .■ ; ' .• < ' v 1 ' BRANDED A THIEF Arrow Fllm atarrlns Takiina Canutt. A Ben Wllaoa Produotlon directed tor Paul Hlrsch. At Stanley. New York, Karch 1>, one day. Runnlas tloM, 68 minutes. Jess Dean Yakima Canutt Qranddaddy Jim Judge Hamilton "Horse" Wttllaoiaoll Wilbur McQaurh Jeanne Alya Murrell Despite the first name, Taklma Canutt Isn't a Jap star. He's the world's chantvp cowboy, according to his title billing. Apparently Arrow Fllm is entering him against the million and one lesser Tom l^Ixes who seem to have sprung uif since the favorite western star's draw came to be recognized. Canutt ts pretty much like the rest of them In build; he's t«ill, rangy and shuf- fling in his Mralk. His face is pleas- ant but his acting ability not so pronounced. As a rider and flgrhter, however, he holds his own beauti- fully. Therefore he probably quall- fles for the cheap stuff In which he is being starred. The story of this one concerns an old man, the owner of a produc- tive gold mine. The hero Is his friend while the villains are out to murder the old man and slip the blame on the hero. When thay see the old boy give Young Apollo some gold dust for the grand-daughter (and she's the love Interest) they Are at the old man. Thinking they've killed him, into town they frame the youngster for the Job. Things look tough until it Is found the old man hasn't been killed. The rest of the film shows the lone cowboy stalking and defending himself alternately against his three enemies. For comedy, a six-year-old girl with the regulation cowboy lingo Is used to good effect. The kid isn't programed, but she's a blonde with a pug nose and a possibility. But one Interior set was used. The rest was natural background with, the locations good in spots and decidedly poor In others. Direction showed some lapses In allowing far- away shots, while in other Instances the tec;-lflc flght stuff held 4 punch due to the piling of one climax on another. "Branded a Thief" should sell dheaply because it haa the dime cost mark written all over. £ven though fair entertainment, it is far too weak to hold the bill by Itself ex- cept in the smallest of houses, and neighborhoods. Its spot is the shooting gallery, where, bought cheaply. It will sufflce. The thisg to remember about all these minor westerns is that un- heralded stars In makeshift plots possess no drawing power bn their own. glak- SOFT SHOES Steller Productions^ released through Pro- ducers DIstrtbatIng Corparatlon. Under- world comedy drama starring Harry Carey. Directed by IJoyd Ingraham. Story by Hunt Stromberg and Uarvty Oates. At L,oew's New York. March 24. Half of double feat- ure program one day. Running time, 03 mlns. Pat Halahan Karry Carey ralth O'Day Lillian Rich Dummy O'Day « Paul Weigel Quig Uundy Francis Ford Bradley '...,'. .Stanton Heck Mrs. Bradley k...Harriot Hammond The Chicago Kid Jimmle. Quinn Yet Tau So-Jim Mabel Packer....' V Majel Coleman Markham ; .John Stepplliig Hank .,.,i By Himself Comedy dramatic picture with a fast-moving, well written story which Just escapes farce classiflca- tlon. Harry Carey looks better here than In any of his recent releases. He Is surrounded by an excellent cast and a leading woman, Lillllan Rich, who should be heard from. The story concerns the adventures of Pat Halahan (Mr. Carey), a small-town sheriff who goes' to Frisco to spend a legacy. At a res- taurant one night he Is accused by a diner of flirting with his wife. Ijater thtit night Pat captures a pretty girl thief. Faith O'Day (Miss Rich) invading his apartment. He offers to return a brooch she has stolen elsewhere If she will turn straight. She agrees, and he enters 25 J 1 the boudoir xjf the owner ot brooch, only to discover it is woman of the cafe. Her husi detects him, but he escapes Returning to bis hotel I.e si^ Faith explain they are married wS house detectives and police break'ff Faith escapes. Pat visits her at l3 home and meets Qulg Munv (Francis Ford), a gangster, who to after Faith. Pat Impersonates tlS Chicago Kid, a crook, and appears to Join the crooks. Secretly he has warned the police. The gan.stirs dto« cover his falseness when the Reaf> Chi Kid breezes in^ ^ They entice Pat to a cellar anif proceed to beat him up. His allies! the police, arrive in time. Returnlnr to the girl's home he saves her from Mundy, who has gone to square ac- counts with the ; stoolplgeoness Mundy is bumped off by a mystcrlJ ous Chink, who turns out to be'a- detective'watching the gang. The picture will entertain second- string house audiences. It's strong, est assets are speed and excellent continuity, despite the adventurous ' detail crowded in. Evidence of copious cutting visible, with the footage whlttli right down to the bone. Cok. BATTLING BUNYAN C*T>wn Productlona, Inc., starring Wesley Barry In boxing oomedy, from the "Sator' day Evening Post" story by Baymond ° Leslie Goldman. Adasted by JefTenon Mont. Directed by Paul Hurst. Released through Pathe. Running time. M mlna. Battling Buayan Wesley Barrr Peteraon. Landers Btereito Budy i «.,., •pat Kemo ' Molly Oostlgan.' Molly McIomi Johnny Prwitlss Johnny Retaa«D Rellly .Harry MaS Jim Canby^ Frank Campetu Sailor Levln»lty Frankle Fields Tho Stranger.., Chester OonklS The Refere* Al Kaufmnu This is a small town boxing story which will gain the grown-up Wesley Barry many picture friends. Barry has shot up over night Into a tall, gangling youth, but he - hasn't lost his freckles or bis likable ~ screen personality through ado-' lescence. His success in this picture may determine his future screen classifi- cation as a youthful, athletic lead who will appeal to the lovers of youth, particularly those fans not given to over-impartiality toward the cake-eater type of youth to numerous in motion pictures. ^ Barry Is a wholesome looking type of kid, and though not the collar adv. type, arouses Just as much sympathy and feminine ad< miration. In this boxing comedy drama he is introduced as Battling Bunyan, a young mechanic in & small town garage. He is in love with Molly Costlgan (Molly Malone) .and has ambitions to purchase a partber- shlp in the flivver hospital and ' marry Molly. Johnny Prentiss. ■ lightweight champion of the world, meets Molly while motoring through, and afl- tagonizes Bunyan by his attentions. PreAtlss promises Molly he will re- turn, and when Bunyan calls him for undue familiarity he han- dles the apprentice roughly afid drives off. Bunyan's pugnacity attracts the attention of & local flght promoter, who puts him on at the local clUb, where he becomes a comedy card through his awkward and unortKb- dox methods of boxing. He wlM consistently, however, and Is fast approaching the goal he has set, tbe partnership In the garage, when- Prentiss returns and renews his »^- tentlons. to Molly. •, ^ Prentiss is asked to box for Ui* local club, but stipulates he most be handed a set-up. Bunyan .U picked, but refuses to frame any* thincr. Bunyan demands |l,00O Mr the bout, and insists it be on th* level. They compromise by giving hinr^tOO a round. Bunayt takes a terrible beatinf, but lasts four rounds, when the police stop the bout. BunyMi pleads to be allowed to finish, and begs the audience to keep on laugh- ing for a couple of rounds more, but not to stop the bout. He col- lapses In the middle of the speeirtt andT is carried to his dressing room. Molly seeks him and runs Inro Prentiss, who was dressed. The latter tries to force his attentions on her after bis matiager has Ipcked them In th« dressing rooms. She calls for help, and Bunyan staggers out He and Prentiss mix it up behind locked doors, Bunyan sue- .^ NOW BOOKING tA FRANK WOODS •rtouL ricoouoTioN 'EAUTVandthe iADMAN «!9y PETER a KYNE ILLIAM WORTHINOTON