Wid's Filmdom (1920)

rae Some Short Reels “The Count,’ Clark-Cornelius In its re-issued form, this Charles Chaplin two reeler ranks with the better slap-stick comedies being produced to-day. There are two valuable assets in the production—Chaplin and some very clever business which he puts over in his original manner. Throwing of semi-liquid matter does take place in one part and there is some stuff that is usually avoided now-a-days, but the manner in which the material has been handled enables the offering to get over in good shape. Beyond doubt many fans have seen this before, and while they may not laugh at it as heartily as they did the first time, they will certainly find a goodly amount of amusement in it. Bray Pictograph, No. 428, Goldwyn Diagrams explaining the theoretical part of the wireless telephone, comprise the opening part of this Bray Pictograph. They deal with sound and electric waves, and then the manner in which they are combined. ‘‘Flirtation in Zooland” as the part that follows is called shows several peculiar animals, going through rather grotesque gestures. One resembling an ape protrudes its tongue, a second grins, a third rolls its eyes, while another winks. Marcus M. Baldwin is shown at work engraving a portrait of Lincoln to be used on paper currency, and in the closing part, Jerry is on the job in an animated cartoon called ‘The Wrong Track.’ It includes much funny stuff, one bit in which the diminutive railroad employee is seen taking coal out of a safe being particularly clever as worked into the offering. “His Master’s Voice,’’ Christie Rube comedy of the polite sort is the key-note of a highly commendable Christie one reeler. Bobby Vernon, who is featured together with Alma Bennett gives an excellent exhibition in a role somewhat unusual for him— that of a rural juvenile. Eddie Barry, as Vernon’s rival also performs well and the other characters hold up their ends efficiently enough. W. Scott Darling who wrote the story furnished an excellent manuscript, that includes several truly laughable situations. In the church scene, in which Bobby, the girl he loves and her parents are seated, together with a hound, there is a sure-fire bit when Vernon, upon perceiving that Barry’s singing is making an impression on Miss Bennett, urges his dog to join in. Later, his pathetic efforts to give a vocal exhibition aided by a phonograph,—pathetic because Barry discovers the ruse and spoils the plan will also provoke mirth. There is enough comedy material in the remaining footage to keep this going at a satisfactory rate of speed. It is easily as good as any of the recent Christie productions, with the dog adding some appealing touches. ‘ “Finger Prints,’? Universal Fresh from his experiences in Universal’s lengthy serial, “The Great Radium Mystery,’’ Bob Reeves appears before the fan in a two reel western which has a serious plot, around which they have woven several humorous incidents that almost make it a comedy. ‘“Tonsorial Love’’ would not have been such a bad title for the production, in which hero Reeves becomes a barber for a short while in order that he may be in close proximity to the fair manicurist whom he adores. There are several laughs in that section, the light part of this being fully as great as the dramatic portion. Edward Sowders directed acceptably and Gwendolyn Logan, credited with the story did reasonably well, although she might have worked towards a stronger climax. “The Lion Man,’ Universal Episode eighteen of this serial, “In the Nick of Time” has a copious quantity of action. It starts with the heroine facing her finish, tied to an old-fashioned cannon, that a Mexican bandit is about to fire. She manages to escape, is followed by another of the gentlemen from across the border and is then rescued by a band of American troopers. Meanwhile, ‘‘The Lion Man,’’ hero Westcott and the wicked woman who has hitherto been with the villainous crowd, but is reforming, fight the entire crew of rowdies. And there is nothing more shocking to the esthetic senses than the spectacle of the woman with her back to the wall, slugging away with the men that surround her. At the finish one couple is reunited and the other newly joinea. An average ending to an average serial. Review, No. 39, Pathe Lourdes, a French town which is the object of numerous pilgrimages, is seen in the opening section of this Pathe review that has following the colored scenic, an industrial portion devoted to the production of cement, referred to as “The Dust that Builds Cities.’ Handball is taken up in a slow motion study which is as unique and entertaining as most of those that have preceded it. Dr. Ditmars’ discussion of the mason wasp is interesting and Princess White Deer wiggles all over the silver sheet in an interpretative Hawaiian dance to close this meritorious offering. “The Beauty of Nature,’ Post-Famous Continuity is not very much in evidence in a scenic that has been made up at random apparently, but is in spite of that remarkably effective and possesses numerous startling shots. Some of it is unusual in that there is no motion at all, the result on the spectator being an impressive one. One shot in which dark trees are seen before a pink sky is rather sombre, yet appealing. The portion, wherein waterfalls drop on either side of some tall trees, tinted in a dark shade of green certainly holds attention, and two scenes, in which the reflection of vegetation against the horizon is reflected in the glassy, mirror-like water will more than hold the eye. Considering the excellence of its various bits, the fact that no particular order has been followed may readily be overlooked and the reel given the amount of booking it really deserves. “Good Morning Nurse,’’ Gaiety Comedies Lacking spontaneous laughs, this single reel comedy which features George Ovey, will not get over any too easily. There is nothing especially novel about either the theme or the various bits connected with it and it lags in a number of places. Briefly, it concerns a troupe, which upon being thrown out of temporary quarters in a small town start to attempt to convert a health resort into a paying proposition. Two customers are removed of their capital and after some slap-stick material, the entire band, Ovey, Lillian Biron and several girls depart in an auto truck. “Jerry’s Gentle Humor,” Film Specials—State Rights Just fair, tells in a nut-shell the story of this single reel comedy in which George Ovey is featured. A real story is lacking, nor is there anything very much out of the ordinary, but there is enough humor in the various incidents to keep it going. From the beginning to end, this consists almost entirely of chase stuff or knock-about bits. When Ovey in a policeman’s uniform frightens off the burglar, there is a laugh, and the scene in which he is apprehended by a detective has been screened so as to make it funny. Some of the stuff in the jail is clever also, with Ovey’s personality and generally good work getting it over. Insufficient novelty is the greatest weakness of the production.