Wid's Filmdom (1920)

al +e-aes PRI RI —. rote! ao. a Some Short Reels Another Issue of the New Screen Magazine—Universal Beavers are discussed in the opening part of this Universal New Screen Magazine reel. The rodents are taken up in a manner that should instruct and entertain. Following is a part showing how the three shell game, three card monte and one-hand cut are manipulated. These methods of gathering superfluous change are explained so as to hold attention nicely, but the material which follows does not maintain the same degree of interest. A bit of a mechanical contrivance is used to depict what is alluded to as the baseball germ and moves about in a manner which may keep them watching but the ““Mickey Sez” remarks closing rank with much similar stuff. “Run ‘Em Ragged’—Pathe Two highly humorous gags make their appearance in this Snub Pollard one reeler, in which Marie Mosquini is featured in a role of little importance. Sammy, the diminutive colored darkey, also is seen, but only for about three seconds, no additional opportunity being given him to display his wares. As a matter of fact, the little fellow is as capable an entertainer as any other performer that has been appearing in these pictures and much funnier than some of them, Keeping him out of the foreground is a mistake. The opening scene in which a number of characters step forth from a garbage can has been used before in similar form, but has not been overdone, and should provoke mirth. In the hold-up scene, wherein the two whiskered gentlemen of Hebrew persuasion face a gun in the hands of Pollard, there is a great laugh. One of the two owes the other a debt and hestitates about paying it until the pistol appears. He immediately hands his compatriot the sum. As a matter of fact, the situation is one that was used successfully in vaudeville for a number of years in slightly different form, but is probably not familiar to most picture fans, so that it can be depended upon to get over. As a whole, a satisfactory picce of its length. Pathe Review, No. 63 Swiss scenes make up the colored section of another Pathe Review and although that part is somewhat hazy in places, it forms a highly satisfactory bit of its kind. The slow-motion study this time is devoted to wrestling, the slowing-up process serving to illustrate in good style the different holds employed. As usual, Dr. Ditmars discusses a few animals while to close, Chong and Rose Hoey present the Chinese Love Dance. “Back to the Farm’—Hall Room Boys Photoplays Farm life as experienced by Percy and Ferdie, the Hall Room Boys, is dealt with in this two reeler, which has more knockabout comedy in it than most of those that have preceded. There are several bits in it that are quite funny, the greater part of it being highly commendable. The very finish, however, is not nearly as good as the greater part of what comes before and the offering seems to peter out. The longest scene in the production, that in which the villagers celebrate, is incidentally the one with the greatest amount of slapstick comedy in it. Undoubtedly, there is much in the piece that will make most audiences laugh. Whether they will welcome the added amount of riotous material remains to be seen. “The Hold-Up Man”—Graphilm-Pathe Thematically, this two reel western in which Philip Yale Drew as usual occupies the principal role, with Elsie La Cour, again appearing as the leading woman, is not much different from some other dramas of this type witnessed not so long ago. Somehow or other, in spite of a fair-sized quantity of action, there do not seem to be very many real thrills in the offering. The piece lacks a really powerful climax—a fault that appears to have found its way into more than one issue of the series. “The Invisible Ray”—Froham—Joan Film Sales There is always a peculiar sort of fascination for the unknown— an awe that affects followers of the drawn-out type of drama especially. Invariably, serials which have a sufficient amount of the occult, enough footage devoted to the beyond, attract large audiences. This production has evidently been built up in accordance with this knowledge, for with what is referred to as “The Invisible Ray,” a light force strong enough to cause tremendous damage and entirely the product of the author’s imagination they have inserted a sort of trump card which is practically certain to insure patronage. One predominating fault seems to stand out in the piece and that is the extent to which it is complicated. There are nuimerous characters introduced rather quickly and it requires a great deal of concentration to follow the tale. In addition, the fact that the action is rapid throughout, serves to make the story all the more difficult to understand. While fast motion is undoubtedly a help to an offering of this variety, it cannot be denied that in places it makes this just a bit too confusing. Technically, the piece is satisfactory, although nothing to enthuse about. As for its spectacular qualities, the material is of the sort that can be calculated to hold the eye. There are many thrills, physical battles and, above all, an underlying romantic motive and many-angled mystery. Jack Sherrill and Ruth Clifford, who play the principal roles, are well enough supported by Edward Davis, Sidney Bracy and Corinne Uzzell. While Sherrill is not a really capable emotional performer, he does his stunts in good style. Ruth Clifford registers unusually well throughout, presenting an attractive appearance at all times. Should you book this, you will have some excellent angles to play upon in the light-ray, the mystery and romance. Bill it as a tale of love, the unknown, etc. If they don’t lose track of the plot at the start, they'll follow it up with enthusiasm. Wid’s Daily } Binders’ Invaluable for reference purposes. *3.00