Wid's Filmdom (1920)

[ae Some Short Reels “An Eastern Westerner’—Pathe Winding his current series for Pathe, Harold Lloyd appears in still another setting. This time he rides westward where he again gets into an uncomfortable mess, and once more draws many laughs with his nonchalant manner. Frank Terry has furnished a story which in construction is similar to many others that the bespectacled comedian has used. As usual, a big chase comes at the climax, but it is a funny chase—one that abounds in little tricks and bits of business that amuse. There are numerous laughs—touches that provoke mirth, and although this is not the best of the series, it is up to the average maintained. Opening with a cabaret scene, in which Lloyd insists upon shaking the shimmie, the action shifts to the west. Here a wicked saloon-keeper and leader of a masked band determines to remove Lloyd for interfering with his plans. The chase finds the star eluding his pursuers in various ways and eventually he manages to give them the slip and get the girl. His flirtation with an escorted woman, mistaking the touch of a trombone for a forward move upon her part, is a laughable bit. The scene at the poker game has some novel stuff in it and the chase keeps the grins coming. Generally, a safe bet.” “Treat "Em Kind”—National-Goldwyn Laughs are included in plentiful numbers in this two-reeler which stars Neal Burns. Humorous bits have been distributed judiciously over the comedy which, with careful cutting, -would be certain of success almost anywhere. Its main fault is that they have dragged it out beyond its natural conclusion, with the result that the closing footage is rather tiresome. At the start, the church scene is quite funny, with the antics of a pair of youngsers provoking mirth. They have satirized several of the characters, but have avoided overdrawing them, with the result that that scene registers effectively. Burns, who has the role of the upright young man, upon observing that the girl he loves cares more for various sinners, whose evil habits she takes it upon herself to correct, than for him, effects a “souse” and the theme is woven about the manner in which he finally wins her hand. The added material could be dropped to advantage. “Bray Pictograph,” No. 435—Goldwyn Phrases of an ambiguous nature, in most cases bordering upon the vernacular, are picturized in the opening portion of _ this Bray reel. After that comes a portion showing the elec trical mechanism, worked by waves, invented by a Californian. Shown with unusual clearness, that part holds interest. Antigua, a town in the British West Indies, in which most of the work is done by children, is seen in the section which follows, and “Spring Fever,” a Jerry on the Job cartoon, winds up. The latter ranks with the better cartoons of this series and concludes the offering nicely. “The Third Eye’—Astra-Pathe Practically all of the features essential to the success of a serial are to be found in Pathe’s newest drawn-out drama. H. H. Van Loan has provided a story in which numerous complications appear, a tale that is replete with ingenious situations, has an element of mystery that serves its purpose and keeps the spectator in suspense. Technically, the production reaches the desired standard. The photography and lightings are satisfactory and the settings expertly staged. What makes it especially interesting at the start is the fact that a considerable part of the initial episode takes place in a picture studio. The average serial follower is a fan of the type who usually takes a great deal of interest in everything connected with films in any way. Placing the action in the place where the photoplay is manufactured adds a touch that will make a favorable impression. Eileen Percy and Warner Oland are featured in the offering, the latter as usual assaying a heavy role. The former in the character of a screen star holds her end of it up excellently and Oland certainly knows how to turn the sympathy of the audience the other way. Jack Mower plays well opposite the heroine, while Olga Grey is one of Oland’s band—the woman who would wed the villain if he would but agree. She delineates the type in the usual manner—smokes her cigarette with a sneaking glance to one side, tosses her head about in a manner that suggests cunning and concocts evil plots. James W. Horne, who directed, has turned the material into a serial that should score a success, and William Parker is credited with writing the scenario. Just who or what “The Third Eye” is is not very apparent and will elicit many guesses. So will the ending of the first episode. The leap from the roof closing the second section is not a new idea, strictly speaking, but has been shot in fine fashion. Getting the hero before the onrushing locomotive is also an old stunt—one that they are all familiar with. It has . been*given a twist that is somewhat novel, however, so that it can get by although not with much to spare. In view of the quality of the rest of the film, they should not hold that against it. With judicious exploitation, this can be put over so as to prove a winner. It may not be a hit, but with the first three episodes used as a criterion, no reason why it should not go well is apparent. Certainly it looks like the goods. “A Simp and Satan’”—Reelcraft Story material of quality, commendable direction and a generally satisfactory production make this two reel comedy, starring Milburn Moranti, worth while. Hades, the home of Satan, is the scene of what is in the nature of a prologue, effectively staged. After that the footage is devoted to the evil one’s picturization of the future existence of a couple about to be married. The two about to undergo the matrimonial process are summoned to the regions below and after listening to Satan’s tale, in which the wife is pictured as an atrocious vampire, the groom decides to “take a chance anyhow!” What comes directly before lags a trifle perhaps, but the gag coming at the climax is a sure-fire laugh—one that will get a guffaw from almost any audience. Grover Jones is responsible for the story and direction. “The Instalment Plan’—Reelcraft Using the instalment plan is a subject from which to draw laughs, Grover Jones, who wrote and directed this two-reeler, has furnished another mirth-provoker. Milburn Moranti occupies the stellar role, which he holds down in fair fashion. An advocate of the scheme of making purchases on the dollar down and dollar when you get me plan, Moranti upon being married proceeds to live right merrily until the army of collectors grows to abnormal proportions. For a time he is able to avert the inevitable, but eventually the crash comes. The result is that his apartment is left entirely bare and only the baby remains his. Some of he material used may not be strictly new, but most of it is excellent and handled so as to keep the grins coming at a rapid rate. Miles J. Burns manipulated the camera and his end was well taken care of.