Wid's Filmdom (1920)

Sunday, June 13, 1920 é DAILY ‘ 1 Artistic Production Given Weak and Conventional Material Tsuru Aoki in AapoORIO: SIREN” Universal rere: . |’. Mi iol rd ome woes Norman Dwan Seu Clo PS aR 3 =e ae a a Gwendolyn Logan BemeIG eral ey ts XS ree, ree ss ines ee Doris Schroeder Ree RIVIAN (lireaaes . fails TAR Thomas Rae AS A WHOLE...... Artistic production given weak and old fashioned material. pe ty Ee eae Na 5: Entirely conventional and builds to no climax—just ends. DIRECTION... .Is responsible for fine atmosphere— all scenes marked by most pleasing artistic sense. petane Me ISA PH Y) etbganss tai. Barty ete Very good Pata ESOS IN CTY ci 9 hy eee «hs 230 ty ptt He eey aes Be Om Fine eV A GW OR Koen 6 a0. aaeaian 4a. ase Very good Se ACR 8 eee ete, Registers pleasingly in native role ee) EN Late ae Ree Pee ae eo ,5 x ely aes Me Average Pope RIORSS. ce: Beautiful and realistic Japanese scenes. BEN ARLGASIL CITC M2). epee es Uhh ald ee Very appropriate PoP AL Les 2 Evinces itself in delightful atmosphere CiARAG LDERIOUSS TORY. b..: American marries Japanese that she may escape from vulgar native suitor—they separate and remarry members of their respective races in America LENGTH OF PRODUCTION..... About 4,780 feet Director Norman Dwan certainly gave this picture an artistic production. There are some wonderful exterior street settings that look exactly like the real Japanese article; there are pretty garden shots and exquisite glimpses of the beating surf from between big branches of spreading trees, many of these latter scenes being used as backgrounds for the subtitles. And all these delightful settings are very well photographed and artistically lighted. It is to be regretted, however, that this scenic inter . story-telling end. est is entirely dominant over the story contained in “A Tokio Siren.” It could not well help but be. The story begins in a very conventional manner, but its conclusion doesn’t even possess the stereotyped force that you have a right to expect from a story containing No climax is reached, there is no sustained interest for the finale. The picture just ends without so much as raising a flicker of expectation or suspense as to its outcome. such old fashioned characters and situations. Tsuru Aoki appears as a Japanese girl about to be married to a toadish and piggish native whom she loathes. Through the connivance of John Niblock, a scientist who has been conducting investigations into Japanese ancient history, she manages to escape from the impending marriage ceremony. In order to protect her and that she may depart to America with him unmolested he marries her. Once Niblock establishes himself in his San Francisco home he is beset by the attentions of his old sweetheart. -Ilsuru, on the other hand, falls in love with Niblock’s Japanese secretary and thus matters stand for a while. Nibtock believes Tsuru’s gratitude for his kindness to her is love and hesitates about pro When, how ver, Tsuru is league with Niblock’s sweetheart, wakes curing the mutually desired separation. him up to a correct realization of things by letting him s2e her in his secretary’s arms, matters are straightened ou and the story ends happily for all four parties concerned. There is a tendency on the part of the director to hold the few closeups he uses too long a time, but otherwise the production is satisfactory from the Tsuru Aoki registers very pleasingly in the role of the Japanese girl. The support, including Jack Livingston, Peggy Pearce and Arthur Jasmine, gives average assistance. Good Production Will Bring This Some Attention Box Office Analysis for the Exhibitor It’s too bad that they didn’t have more of a story in this picture for the production given it cerainly warranted better things in the way of plot. However, this artistry which is in evidence from one end of the picture to the oher is going to appeal strongly to the eye and mayhap make up to some extent for the plot’s lack of appeal to the senses of heart and mind. In billing it lay stress on the beautiful quality of its scenes and play up its artistic side over and above the story. You haven’t got much to talk about in regard ’ What happened when they arrived in America? to the story itself, though you might take up the marriage of convenience on which to build your advertising, using some such catch line as “He made a Japanese girl his wife to free her from her persecutors! See ‘A Lokio\Siren.’ ” In billing the star you might use her married name, Mrs. Sessue Hayakawa, in parentheses below her pro fessional name in order to attract more attention.