Moving Picture World (Dec 1917) - Learn About Movie Posters

December 22, 1917 THE MOVING PICTURE WORLD 1801
by the strength that innocence gives. The final leave-taking
between O'Shaughnessy and his wife, the latter being very
sweetly impersonated by Bessie Eyton, is most affecting.
But the strong character of this powerful photomelodrama is
Kate Taylor, one of the unfortunates whom circumstances and
natural waywardness have robbed of a better life and nobler
impulses. Weak where she should be strongest, and strong
where she should be most lacking, this human soul works out
her fearful destiny.
In this role of great possibilities, Fritzi Brunette positively
electrifies the spectator. She has all our sympathy when her
better woman's nature seeks the guardianship and the respect
of "Big Bill" under the name of wife, and also when she is
discarded for another. The mental and the heart agony suffered
by Kate Taylor then are lived so truly by Fritzi Brunette that
every heart is with her and every hope for her.
But what a revulsion follows as we watch the good swallowed
up in a moment by the demon spirit that take possession
of Kate Taylor! There's horror, and that is quickly followed
by loathing and hate.
And what a scene is that after Kate learns that her silence
has led to "Big Bill's'.' death in the chair! Here Miss Brunette
simulates madness with such realism that one stares and becomes
highly affected with nervousness. To see that little
woman in her frenzy throw big, solid police officers around
like straws convinces us for a moment that she is mad.
Other important characters are ably sustained by Ed. Coxen,
Harry Lonsdale, Eugenie Besserer, Al. W. Filson, and Virginia
Kirtley.
Distribution is being made on the state rights plan.
'Bucking Broadway'
Harry Carey and Molly Malone Appear in Five-Reel Number
Telling Entertaining Story of Entangled Love.
Reviewed by Robert C. McElravy.
PICTURESQUE Western locations are the first things to
catch the attention in this enjoyable feature. The tale
was written by George Hively, and deals with a stirring
heart episode in the career of "Cheyenne" Harry. Jack Ford,
who directed the production, again demonstrates his happy
faculty for getting all out-doors into the scenes. The number
is exceptionally well directed throughout, both in the opening
Western part and the contrasting Eastern scenes. The cabaret
setting, where the big hand-to-hand fight occurs, stands out
prominently in the latter.
The story itself is amusing and contains a pleasing mixture
of humor and sentiment. It opens with a unique declaration
of love on Cheyenne's part. He takes the daughter of the
ranch owner, Helen Clayton, to the new home he has built for
her, and wins her consent to the marriage. They then combine
forces to gain the father's consent, which is speedily
forthcoming.
Up to this point the course of true love runs smoothly
enough, but trouble begins with the appearance of a stock
buyer named Thornton. The latter wears "store" clothes, and
in the course of time induces Helen to elope with him to New
York on promise of marriage. Cheyenne, considering himself
beaten in the game of love, decides to take to his wild life
on the trail again, but a message comes from Helen asking
him to come to her aid. The rest of the yarn pictures
graphically the manner in which Cheyenne and his friends go
Scene from "Bucking Broadway" (Universal).
to New York and literally clean up a cabaret in which Thornton
is dining with Helen.
The plot, as outlined, does not sound particularly hew, but
there are pleasing human touches which give it fresh appeal.
The restaurant melee is relieved by some really humorous
features, which bring the feature to a close in a laughable way.
Harry Carey appears in the familiar character of Cheyenne,
Molley Malone is attractive as the girl, and Vester Pegg is
strong in the part of Thornton. L. M. Wells plays the ranch
owner.
Constance
'The Honeymoon"
Talmadge Fine Ability in Five-Part
Comedy Feature for Select Program.
Selznick
AN
Reviewed by Margaret I. Mac-Donald.
amusing story of a troublous honeymoon written by
E. Lloyd Sheldon has been converted into a thoroughly
entertaining live-part film production by Charles Giblyn,
who has given the picture capable direction, witli a cast quite
up to the mark. The singular beauty and personal Charm of
Scene from "The Honeymoon" (Select).
Constance Talmadge in the role of the jealous bride, of course,
adds much to the attractiveness of the production, but on the
other hand the story presents situations carefully presented
that will bring a laugh any time. The same style of story has
been presented before in a manner more embarrassing than
funny. This cannot be said of "The Honeymoon," for it possesses
not one objectionable point, and suggests nothing but
the comical side of the situation.
As the story runs the pretty bride becomes jealous of a
friend (Lillian Cook) who unknown to her is about to become
engaged to her brother (Harris Gordon), and as the
bridal party is about to start on its honeymoon the said brother
of the bride drags the bridegroom (Earle Foxe) into a secret
alliance on his own account extracting from him a promise to
look up a musical comedy star (Julia Bruns) whose company
happens to be playing in Niagara during his honeymoon week.
The object of his looking her up, by-the-way, is to buy her off
from a foolishly contracted engagement to the bride's brother.
What happened to the bridegroom in his endeavor to keep
faith •with his brother-in-law and with his bride is presented
in a series of truly amusing incidents in the course of which
the bride takes a room on another floor of the hotel to that
on which her husband is located after visiting the theater behind
scenes and discovering her husband with a scantily
attired stage beauty. Further complications occur through the
musical comedy star having rooms at the same hotel, and the
outcome of the affair is that a hastily gotten divorce is granted
just as the conflicting parties are making up their differences.
A clergyman guest at the hotel quickly called into service
manages to readjust matters.
This picture is not entirely free from inconsistencies, but
will be thoroughly enjoyed by the average audience. It is
well photographed, well directed, and presents many beautiful
views of the great falls of Niagara.
'The Square Deceiver'
Harold Lockwood Is the Hero and Pauline Curley Is the
Heroine and Both Are Mighty Well Adapted
to These Roles.
Reviewed .by Hanford C. Judson.
THERE was a large block of the audience who fairly reveled
in the pretty and quite romantic love story played by
Harold Lockwood and Pauline Curley in "The Square
Deceiver," a Yorke-Metro picture in five reels. It is a good, clear
story, limited in its appeal to a certain type of youthful mind,
found in grown-ups and the young alike, plentiful perhaps in
most audiences, and especially plentiful in residential neighborhood
matinees. The action is, shall we say, bolstered bymuch
comic business, not new by any means; but it often made
a laugh.
Such melodramas as this have their value. Their influence is
in part good, for they tend to elevate the heart even if there
is nothing for the mind in them at all. On this account, a
too-steady diet of them is bad. for they do not really picture
actual life at all. Of course, Harold Lockwood knows how to
make love and, when playing opposite to him is a pretty
heroine who also is good at this sort of business, it is no wonder
the people who are finding the world not full enough of