Wid's Filmdom (1920)

Short “The Little Dears,’’ National—Goldwyn Well photographed and produced in good fashion, “The Little Dears,” a two-reel comedy which features Mr. and Mrs. Carter De Haven, lacks a strong story. Although seyeral incidents in it are funny, it is not up to the mark set in some of the other Carter De Haven subjects. The principals did their usually good work and William Seiter who directed held up his end efficiently, but it is doubtful whether that will be enough to get this over. Incidentally, stories similar to this one have been used before, the idea of bluffing the boss to go out on a hot day, and then being caught, not being very novel. ““African Lions and American Beauties,’’ Universal Jimmy Austin and Esther Woods are announced as the featured performers in this two-reel Century comedy which has some novelty in that three lions prowl about and act in a tame manner. Austin has very little to do in the production and the leading woman is also out of the foreground for a considerable part of the time. Fred C. Fishback is credited with writing this, but it is difficult to see just what he wrote, for there is hardly any story at all—in fact, what little plot was begun, was left unfinished. This is nothing but a number of bits of business joined together into a sort of patchquilt. “Looking for Trouble,” Pathe Fistic battles in which the hero first takes a beating, and then suddenly shoots over the sleep-producing blow, are not unusual in films, but in this, Snub Pollard, who has just that to do, puts over what is likely to prove a hit. The manner in which the reel has been put on, the various bits and all else combine in making it a most satisfactory offering. Ending in a novel manner, this will please in spite of the fact that some of it is not new. It’s good stuff. ““A Woman in Grey,’ Serico 3eginning in a most mysterious manner, ‘‘A Woman in Grey,‘‘ which stars Arline Pretty and features Henry G. Sell, becomes somewhat more complicated for a few reels, but after that evolves itself into a string of events that prolong the affair and furnish the material for the 15 episodes. The camera work is very good most of the time. As far as the manner in which the different episodes end is concerned, there is little to be desired. After the first few reels, however, but one thing is really left to be cleared up —the identity of Ruth Hope, the ‘‘Woman in Grey,’’ played by Arline Pretty. The mystery attached to her will probably serve to keep the spectator in suspense, especially as the solution is promised again and again, but cleverly delayed. C. N. and A. M. Williamson wrote the story while Walter Richard Hall furnished the scenario and James Vincent directed. Included in the cast are James Heenan, Margaret Fielding, Fred Jones, Ann Brody, Jack Newton, Jack Manning, Walter Chapin and others. The first five episodes are called, respectively, ‘‘The House of Mystery,’’ “The Dagger of Death,” “The Trap of Steel,’ ‘The Strangle Knot” and “The Chasm of Fear.’’ “It’s a Hard Life,’’ Pathe Possessing a wealth of humorous incidents, “It’s a Hard Life,” starring Snub Pollard, in spite of the fact that it does not have a very strong plot, is more than likely to provoke mirth. Pollard is quite funny in this and the court’ scene, the barber shop portion and one or two others can be depended upon to cause your crowd to laugh heartily. The photography is good and the production one that ean fit in on most any bill. “Dawning an Uprising,’ Universal Lee Moran steps out of his usual character in ‘‘Dawning an Uprising,’ an offering in which Bolshevism has become a society craze and Eddie Lyons is instrumental in eliminating the fad from the home of his sweetheart. Lyons hires a troupe of hobos, led by Moran the chief tramp, introducing them as Bolsheviki. Soon the shabby gentry completely disgust the ladies present but refuse to leave. At the sugges tion of a bath, however, they quickly depart. A good onereeler. Reels “Stop That Wedding,” Universal You will be perfectly safe in booking this single reel comedy, for it is one of the best Lyons and Moran have done in a long while. It is well acted, finely produced and possesses several laughs. Eddie Lyons is about to be married as the picture starts, and while he is facing the altar with his prospective bride} Charlotte Merriam, Lee Moran, the rejected suitor bursts into a fit of weeping. He is ejected, but returns and time and time again attempts to break up the ceremony so that he makes the girl his wife. After being tossed out for attempting in different ways to put an end to the wedding, Lyons, Moran, Charlotte Merriam and the preacher are escorted to jail. Lee has to look on while the matrimonial knot is tied. “No Coma in Acoma,” Chester-Outing For a current release, subject, C. L. Chester has selected an Indian village in New Mexico, and has screened it finely together with. its inhabitants. Unlike the ‘“Injuns’” usually seen on the screen, those in this production, except for their dark skins, bear quite a resemblance to white men. There are bits showing the children at play, at school, and then the people who reside in Acoma performing parts of the daily routine. Closing is a bit showing a little girl rolling her eyes, a la Theda Bara. Screenics No. 1, Chester Remarks of a light nature, touching on current subjects, are rather common in films at present, there being several organizations turning out reels devoted exclusively to material of this nature. In conjunction with the Field and Stream Magazine, C. L. Chester is turning out a new one reeler, which consists of about 50 per cent. of these comments, but he has gained a march on the others by securing the services, for the first issue at any rate, of Don Marquis. The latter is a humorist whose wit is of the subtle sort, and comments on prohibition in the portion styled ‘‘Is Prohibition a Dry Subject?” ‘Hattie’s Hoodoo,’ ’a part dealing with one of the elephants in Central park, is of merit, several scenes of the animals in Africa adding novelty. “The Moon Riders,’ Universal Usually, some mystery furnishes the plot for a_ serial. If there is no mystery, it is built about some sort of a search for hidden valuables. Almost always it includes some unknown quantity, that causes the person who sees it to ponder over the identity of him, her or it, or the rendezvous of said quantity. However, ‘‘The Moon Riders,” featuring Art Acord, possesses no such element. It is a western of the type usually handled in five reels, and dealing with the struggle of a group of homesteaders against an unscrupulous band that desires to profit through obsolete Spanish land grants. It should score with serial patrons. At least, “The Death Stampede,’ and ‘‘The Masked Maurauders,’’ the first two episodes, give that impression. “A Lady’s Tailor,’’ Sennett—Famous There may have been just cause to feel a little bit disappointed at some of Mack Sennett’s recent comedy releases. He has seemed, recently, to have fallen out of his stride. “A Lady’s Tailor,’ however, brings him back sprinting again and constantly throughout its considerable footage there is flash after flash of the comedy incident, both spectacular and minor, that brought him the fame he enjoys today. The picture is divided into various sequences, each quite able to stand alone, and each one has some prominent element that makes for comedy success. The first sequence in the modiste establishment run by Ford Sterling reveals a number of pretty models. There is some excellent trick photography showing Sterling draping his models by throwing strips of velvet, chiffon, etc., at them from a distance. Of course, they magically assume the proportions of gowns. 3en Turpin as a spectator to these scenes brings a lot of laughs. Then there is a cabaret dancing scene, an auto. chase and some manipulation of a search light-on dark park benches, all of which are exceedingly well handled and bring many laughs. 7