Wid's Filmdom (1921)

, Sunday, July 17, 1921 J pe bi DAILY 5 Charming Star Makes Up For Highly Improbable Story Elaine Hammerstein in “THE GIRL FROM NOWHERE” Selznick—Select DIRE CUG aes ome. George Archainbaud AUTHOR Merge ieee eo Bradley King SCE NARI Gpb Mae: 55.655 ee eee Sarah Y. Mason CAMERA Mei oes eee eee eee William Wagner AS A WHOLE...... Pleasing personality of star makes up for absurdly impossible story STORY.,....Very aggravating in construction and builds complications that are so implausible DIRECTION:..... Satisfactory for the most part; leaves a few unexplained incidents PHOLOGMEDLY 22.0600 eee some All right LIGHTING were... -... Sets frequently badly lighted CAME RAMMIIRS 2.5... 000 5... 1s eee Average SLAR:..c:ouemeie cs -s-Unaffected and very charming SUPPORT gees 3 No one has especially noteworthy part; include Warren Cooke, Huntley Gordon, and William Davidson LONGI Rt ee Sc ws se ee Few Qha key 5 So. I oto Good PID URE. |. eR eS gr ar Suffices CHARACTER OF, STORY...... Girl marries man she does not know for the sake of protection his name affords her LENGTH OF PRODUCTION...... About 5,000 feet To be perfectly frank this is the kind of story that “sets your goat.” It consists of a series of complications in which a girl’s happiness and reputation are involved, and all because she doesn’t talk. Bradley King’s theme is one of those aggravating affairs that make you want to argue with the heroine for not speaking up and clearing herself when she has the chance, and particularly in this case, because she is happened. But regardless, the role calls for Miss Hammerstein re not trying to shield a brother or sweetheart. maining silent and being threatened with great un happiness, until of course something happens to establish her innocence. Hence the failure to arouse the audience’s smypathy, and the half-hearted interest which you feel for the entire thing. Director Archainbaud has given the story an adequate production, and the delightful personality of the star will likely get it by, though without her it would be minus any interest at all. It isn’t difficult to follow the various sequences, nor are you kept in any suspense as to the outcome. You're quite sure that the heroine will fall in love A few minor bits are left unexplained, such as her recogniYou are with her husband at “Finis,” and she does. tion of the crook whom she calls “Steve.” ‘not told how she knew him nor can the spectator understand why she dreads explaining the whole affair to her husband. Cole against her grandfather’s wishes. Bert Whitman On their way to their machine is wrecked, and Marion Marion decides to marry be married, learns that Whitman is a thief, because when the police arrive and find jewels on his person he escapes. Marion also gets away and seeks refuge in a cabin owned by Jimmy Ryder. When traced there she says she is Mrs. Ryder. Jimmy arrives and bears out her statement, later offering to marry her. She accepts his name for protection, without explaining what has Later Whitman annoys her with his attentions and finally tries to brand her as a thief, but his partner double-crosses him, tells the police Whitman is the real thief, and then Marion is free to love her husband. Will Please Miss Hammerstein’s Admirers Box Office Analysis for the Exhibitor Regardless of the fact that some folks will be annoyed with the heroine’s stubborn silence, “The Girl From Nowhere” has a certain appeal that still goes big with some audiences. Particularly if the star is a favorite with your patrons, you will not find it difficult to please them with her latest picture. She,is always very charming and plays with manner of ease and naturalness that makes her probably one of the most pleasing of the ingenue stars. The title might prove attractive if used in connection with catchlines such as: “He offered his name for protection after she had used it without his consent, This odd situation occurs in ‘The Girl From Nowhere, Elaine Hammerstein’s latest production.” Or, “If you have something to tell your husband, make him listen and you'll have nothing to be sorry for afterwards, as proven in “The Girl From Nowhere.’ ”