“PEACEFUL VALLEY” (Kane-First National). Charles Ray back to the role he
can play. No real story, but none needed. Star appealing and pleasing in
rustic setting. Dramatic moments interjected here and there. A hundred
times better than “45 Minutes from Broadway.” We take our hat off to Ray
once again.
* * * * *
“BEHOLD MY WIFE” (Paramount). From Gilbert Parker story. Somewhat above
the average production. Englishman of high birth marries half-breed and
sinks to degradation. Unconvincing motive. Mabel Julienne Scott, as we
have said before, is a real find.
* * * * *
“THE BRANDING IRON” (Goldwyn). Realistic action throughout, yet rather
unconvincing. Barbara Castleton excellent in part of girl who, it is
feared, may become lady of easy virtue through heredity. Jimmie Kirkwood
makes screen bow after long absence.
* * * * *
“THE TRUANT HUSBAND” (Rockett Film). First release by this independent
concern. Very human production, and will please most audiences. Mahlon
Hamilton and Betty Blythe best known in cast.
* * * * *
“THE FURNACE” (Realart Special). One of strongest plays of the month.
Will hold any audience from start to finish. Action throughout. Special
cast. See it.
* * * * *
“THE GILDED DREAM” (Universal). The bunk. Minus plot, action, or playing
out of the ordinary. Carmel Myers featured. Let it pass by.
* * * * *
“PASSION” (First National). A German made picture. Version of “Du
Barry.” Releasing corporation said to be worried as to whether public
will stand for German made picture. Feature is spectacular and except
where anti-German feeling is still particularly strong should appeal.
Pola Negri, whose reputation is known on this side, is Countess Du
Barry.
* * * * *
“THE SONG OF THE SOUL” (Messmore Kendall-Goldwyn). Falls short in
dramatic appeal. Kendall and associates are said to be looking for an
“out” in their contract with Vivian Martin. Vivian is not a star by any
manner of means, though she does her best work in this. There is really
material for good picture, but director and cast fall short.
* * * * *
“THE LEOPARD WOMAN” (Associated Producers). Merely another opportunity
for Louise Glaum to regale the public with her limbs and other physical
attributes. There are other players whose physical appeal is far
stronger. As usual she wears many stunning costumes, and picture is
lavishly made. Falls short on entertainment.
* * * * *
“THE RIDDLE WOMAN” (Associated Producers-Pathe). What a lemon this
release is! Apparently made with the single purpose of keeping Geraldine
Farrar continually before the camera. And she does nothing that a
mechanical doll couldn’t do. Pathe much worried over picture. An awful
dent in some one’s bankroll will follow in wake of this release. Farrar
is passée as film attraction.
* * * * *
“OVER THE HILL” (Fox). Greatest human document we have seen on the
screen. Doubt if there is a player in cast drawing over two hundred a
week. Puts “star” pictures to shame. Mary Carr as Mother gives greatest
characterizations we have witnessed. Inside story of picture is that no
one in Fox organization, even Director Harry Millarde could “see” the
film when screened. Fox himself, with his showmanship instinct, alone
visioned the sensation it would create. Short-sighted release policy is
treated in a special article in this issue.
* * * * *
“THE DEVIL’S ANGEL” (Clark-Cornelius). A strong state right attraction,
depicting life of the Latin Quarter. Produced by Lejaren á Hiller. Some
parts may not get by the Board of Review unless cut.
* * * * *
“SO LONG LETTY” (Robertson-Cole). From the stage version of the play of
Morosco’s. Replete with bathing beauties. Those who like such—and there
are many—will have their fill.
* * * * *
“YOU NEVER CAN TELL” (Realart). Bebe Daniels’ first for the concern.
Good entertainment. Comedy-romance of check room girl who yearns for
riches, finally “falls” for supposed chauffeur, only to find her dream
came true and he is wealthy. Miss Daniels fulfills every demand of her
part. Pleasant evening’s entertainment.
* * * * *
“SWEET LAVENDER” (Realart). Just what title indicates. A sweet, homely
theme that appeals. Mary Miles Minter her usual capable, charming self.
* * * * *
“EVERYBODY’S SWEETHEART” (Selznick). The last appearance of Olive
Thomas. Heroine from county poor farm. Pleasing though pathetic story.
The past has evolved an axiom among film men that death of star almost
makes pictures as yet unreleased, valueless. On good authority this
picture is said to be an exception, the public crowding the house
wherever shown, and will gross more than any picture this star ever
made. Last scene made just before she sailed for Europe, and death.
* * * * *
“HELD BY THE ENEMY” (Paramount). Though this company looks forward to
big business for picture, it is doubtful if public will care for it. War
play of civil war days, well produced—but still a war play. Based on
William Gillette’s stage production.
* * * * *
“NOMADS OF THE NORTH” (First National). Strong melodrama well and
carefully produced. Ernest Shipman responsible. Sure fire anywhere.
* * * * *
“ONCE TO EVERY WOMAN” (Universal). Excellent picture, realistically
produced. Dorothy Phillips is better each time we see her. A refreshing
production in a month of rather ordinary ones.
* * * * *
“SINS OF ROSANNE” (Paramount). Better to leave this one alone. For some
reason they hand Ethel Clayton poor material all the time. Unbelievable
in theme. Pass it up.
[Open Book Decoration]
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