Wid's Filmdom (1921)

Z hil DAILW Sunday, September 4, 1921 In the Words of D’Artagnan—“Marvelous”! ! Douglas Fairbanks in “THE THREE MUSKETEERS” United Artists Be ei LO ho pees ...ee-. Fred Niblo ewe rer eevee AUTHOR ..... ae re neo +6 Alexandre Dumas MIC IGIN AL IRRCREIEN GL , cages ged sce cee Edward Knoblock CAMERAMAN ........ reese ...... Arthur Edeson AS A WHOLE......One of the biggest attractions ever offered STORY........Great—holds with thrilling episodes every minute Beite PAG LO Nae cette as fae ts. array Excellent BL OGRA EL aie Ce ce scs cence ..... Excellent PiGH TINGS ager ost Be med cet s «soars .. Excellent ESBS AAV) LSS sco, Se ..... Excellent BUR is Be gee eee ates: His finest piece of work BUEPORT 7-7 Admirable all the way down the line EXTERIORS.......Full of atmosphere; some very wonderful ENTE RIORS Ss seen es Rania ..... Splendid BETAIL foe. 2 ee Nothing overlooked CHARACTER OF STORY...... D’Artagnan wins out over the Cardinal, who plots the downfall of the Queen of France LENGTH OF PRODUCTION....About 11,700 feet Douglas Fairbanks might have done long ago that which he achieves in “The Three Musketeers’—the production of a double length picture, the commercial worth of which can only be compared with legitimate attractions of the highest order and the tremendous picture productions of the past. That he held from doing so for such a long time displays a rare business sense. It seems, indeed, that he could not have selected a more propitious time for the uncovering of his masterpiece. For New York has already given the actor-impressario and his production a tremendous, astounding tribute. Masterpiece his version.of the Dumas work is from what| ever angle one Selects to approach it. Its story is clear and progressive. The staging and costuming are marvelous. The titles are few and simple—always to the point. The dramatic clashes and suspense of the story have received such appreciative treatment that their power is nothing short of sweeping. As for the incomparable star, he is at his dashing, romantic best. His D’Artagnan is not so typically Fairbanksian as to appear out of place in a costume drama, replete with the romance and intrigue of the old world, yet there is undeniably the much sought after Fairbanks personality, set off to ideal advantage, which is what his legion admirers demand. | Fairbanks proves a brilliant swordsman and duellist, In his frequent encounters with the Cardinal’s guards, he uses his weapons like chained lightning—or rather the element unchained. And too he invests the scenes of these encounters with some typical but altogether unusual acrobatics that are sure to set packed houses a-cheering. The fight in the apothecary’s shop where he leaps from the shelves to the counter and seems fairly to fly through the air at his opponent is a striking case in point. In the romantic interludes of the story Fairbanks makes his D’Artagnan display the method of Romeo combined with the speed of a twentieth century lover. The scenes with Constance are as romantically thrilling as any ever pictured on the screen. The long thrill of the production, D’Artagnan’s furious ride from Paris to Calais and thence to England to obtain the jewel from the Duke of Buckingham that will, if returned in time, maintain the honor of the Queen before King Louis of France, is a superb work of picture building. How D’Artagnan and the three Musketeers, Athos, Porthos and Aramis, battle gallantly with the opposing guards of Cardinab Richelieu, set to block the success of the venture, forms a series of pictures matchless for their suspense and thrill. The two interviews of D’Artagnan and Richelieu are further evidence of the craft that has gone into the production. They have all the suspense that courses through them in the original Dumas. What appeals strongly as a masterly stroke of showmanship—and sacrifice—on the part of Fairbanks, is his willingness to sacrifice himself for the sake of the story. There are times when it would have been easy to alter the course of the plot sufficiently to permit more of the star. But here, it appears, is a production made with a mind clear and unsubjected to stellar prejudice. As for the production work itself it remains to be said that this contributes its share along with the other factors. Some of the long shots, notably the harbor of Calais and the view of the palace from the river, will keep the wiseacres guessing a long time “how it was done.” The cast is admirable throughout. Leon Barry, George Seigmann and Eugene Pallette have the endearing roles of the musketeers and seem to live them. The work of Nigel de Brulier as the plotting Cardinal stands out as perhaps the best sustained and dramatic performance of all. Adolphe Menjou is excellent as Louis and Mary MacLaren as the Queen shows real skill. Marguerite De La Motte makes a most attractive Constance and plays with feeling. Others in the long cast who contribute to the general worth of the production are Thomas Holding, Boyd Irwin, Sidney Franklin, Charles Belcher, Charles Stevens, Willis Robards, Lon Poff, Barbara Le Marr and Walt Whitman. Final Analysis of This Spells C-A-S-H—Loads of It! Box Office Analysis for the Exhibitor Once in a great while there comes a production that needs no analysis other than the statements “Great” and “Grab it.” “The Three Musketeers” is certainly one such. It is a magnificent achievement, artistic certainly, and unless all signs fail, it is far more than probable that it will go down in screen history as one of the three biggest money-makers of the age. Long after other pictures of today, and tomorrow, have ceased to be heard from, “The Three Musketeers” will be as great a box office attraction as it is at this moment. There are mighty few stories that would add box office value to the name of Fairbanks. “The Three Musketeers” is one of these. There are hardly any others that can be called to mind. But “The Three Musketeers” certainly accomplishes that. With the star’s name and the name of the great Dumas work, with all the possibilities that such a combination suggests, there will be no keeping the crowds away.