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

December 22, 1917 THE MOVING PICTURE WORLD 1771
FIRST
By Marion Howard
I must mention our new picture house, the Castle
Square, which has been done over to the queen's
taste, and with music playing an important part,
under the direction 'of Ja-rvis Jocelyn, so well known in
theatrical and musical circles. This is distinctly high class
in every detail—and such a clean program! The stage is
a delight to the eye, with no tawdry decorations (?), like
artificial flowers and the like, but done in cream, with
corinthian columns at the side and latticed panels.
Harvard red velvet makes a rich curtain. There are attractive
girl ushers, and an air of hospitality on entering the
house. I went over especially to see one of the "Country
Life Series," featuring Mrs. J. Stuart Blackton and the
•children, their location being their estate at Oyster Bay,
where they are neighbors of the only "T. R." The short
subject called "Satin and Calico," picturing both, is thoroughly
enjoyable. In the cast we get Donald Brian as a
society man and country lout in overalls. Can you picture
him? In the tennis scene I recognized Mr. Blackton, who
directed the series, and also saw the venerable Charles
Kent. Splendid offering of Greater Vitagraph. On the
program we had good comedy with "Fatty" Arbuckle, Mutt
and Jeff, and that excellent picture, "A Tar Heel Warrior,"
featuring Walt Whitman in a role suited to his dignity. A
typical southern play with music was a strong feature, as
rendered on the new choralcelo by Mr. Jocelyn.
* * *
That evening I saw "The Mark of Cain," and failed to
enjoy it, though well cast with "Tony" Moreno, J. H. Gilmour
and John Sainpolis, who all deserved better. It was
melodramatic and unconvincing. Mrs. Castle does better
work in this than in her serial efforts, and her dancing
dog gave delight to the youngsters
* * *
in front.
Commend me to pictures like "Draft 258," which was
shown at the Park Theater before many guests, including
about 500 sailors. It was a splendid gathering of young
manhood, and great discipline was displayed, for we noted
that they did not applaud in any "spread-eagle fashion"
and all kept silent during the story, well pictured and a
credit to Metro and all concerned. A feature was the
presence on the stage of the Pier Band, which rendered
selections before the program opened. I like this new
picture in every way, and it certainly doesn't do a thing
to the pacifist and spy element but show them up convincingly.
Little Taliaferro makes good, baby Ivy Ward
is most promising, and Tooker does the villain in great
shape. Splendid picture for any community.
* * *
On the same program we saw another Metro, "The
Eternal Mother," with Ethel Barrymore in a strong part,
one of the best yet seen for her. They gave Jack Johnston
some work to do as the cad of a husband, who was allowed
by the author to live. Here we get a child well worth
while in Maxine Elliott Hicks, who has a remarkable face
for the camera. Of course Frank Mills is liked by all fans,
and it was good to see the regeneration of his mind on
the child labor question. The factory scenes were unusually
good, showing up a great
There were ornate scenes as
evil
well
too frequently existing.
as degrading ones, made
so by the evil of child labor and discontent.
* * *
Not having seen "Efficiency Edgar's Courtship" I went
to the Exeter Theater Sunday evening, and how we did
laugh ! Mrs. Ayer had already shown "Two Bit Seats"
and "Fools for Luck" so we were prepared for some fun
in this the first picture done by Taylor Holmes. I saw
two pretty strong pictures there in "Indiscreet Corinne,"
with dainty Olive Thomas doing some daring things all
for fun at the outset and cleverly executed. Then we had
a chance to see her dance barefooted, too. My neighbor
nudged me and asked who she was. I said Mrs. Jack Pickford
in real life, but she would not believe me, so there
you are. Pauline Frederick has a splendid offering in "The
Hungry Heart."
* * *
Tom Forman did a good thing in writing "The Trouble
Buster" just before going to the front with the colors.
Long ago I called attention to the lad Paul Willis, and now
we get him featured along- with Vivian Martin in a
splendid picture for old and young, and natural at every
turn. Here we get the near gutter life, the villain, the
homely street rows between newsboys, a wonderful dog,
some pathetic touches around the two kids, with no place
to go except to their home in a piano box; the lure of the
crook, the rescue and incidental blow, causing blindness
of the lad defender, and all the rest with its touch of upper
class and developed genius sculpture leading to fortune.
* * *
Within a week I have seen the three first releases of
Select — "The Moth," "Magda" and "Scandal," and believe
me they are some pictures and great pace setters 1 The
Exeter Theater was filled by delighted patrons, many
coming in from Brookline, which has no picture house,
though called the richest town of its size in America. Then,
too, more and more the exclusive set in the Back Bay are
waking up to the value of this form of amusement at so
little expense. Long lines of autos are seen nightly. No
longer is there shown the "silencer slide," urging quiet, as
it is unnecessary, the pictures compelling attention and
concentration. It was a treat to see the Talmadge screen
stars in such settings, and we are glad to see Clara Kimball
Young back. Having seen all the big stage players
do Magda I wondered how it would go over on the screen.
Strikes me this is her best work, and greatly distinguishes
her. There was no "out" discernible; better still, the ending
was more satisfactory than the stage version. The
close-ups were great, and how the women raved over the
gowns I
* * *
"The Moth" had plot to burn, and was another lesson
on playing with fire. They gave Norma Talmadge great
support, notably Donald Hall. I was glad to see the location,
showing the star's lovely place on Long Island, perfect
in all its appointments. A most satisfying picture
all through.
* * *
"Scandal" went strong. Why not? It certainly had
action enough and fine scenery, picturing the Commodore
Benedict estate on the water's edge at Greenwich, Conn.,
another palatial place, to say nothing of the Benedict
yacht, in commission for the players. There were one
or two breaks on the titles, like "Allegance" and "well
spend" instead of "spent."
* * *
Why such pictures as "When a Man Sees Red"? It
certainly is red and very "yaller," points no moral and
tells a wicked story of beast vs. innocence; the sex in this
being highly offensive, and I am no prude. It is regrettable
that William Farnum is cast in such a wicked picture. Two
nrize fighting advocates near me went wild over the pugilistic
episodes—too many and too prolonged, even if the
hero did "get" the villain. There was excellent scenery
and photography, but the picture is far from wholesome
and not to be commended. * * *
I made some calls yesterday at the exchanges and found
Charles W. Perry in the Pathe office, and in an optimistic
frame of mind. J. D. Levine, of the General Film, told of
the success in booking the O. Henry pictures, and this was
gratifying to one who likes them so well. Met with much
courtesy at the Metro building, as usual; also at the
Goldwyn's new place, in charge of Manager Bradley, now
here after his fine work for this firm in Washington. Saw
one or two good pictures at run-offs, and congratulated
Manager Clark of the Kleine office on the advent of an
heir that day; told Sam Bernstein what we thought of
"The Little Princess"; looked in on Manager Roth of the
Mutual, and shook hands with Harry Asher. Some day,
that! Molly Pearson, who makes her debut with Sir Johnston
Forbes-Robertson in the screen version of "The Passing
of the Third Floor Back," is a favorite around here,
and many will turn out to see her in the forthcoming picture.
She spoke the first and last lines in the stage version
and is sure to make good before the camera.
* * *
Score another for "Our Mary" in her latest, "The Little
Princess," perfectly presented under the direction of Marshall
Neilan, and apparently flawless. I do not recall all
the Pickford pictures, only those seen the past five years;
but it strikes us over here that this ranks with her "The
Poor Little Rich Girl" and "Rebecca of Sunnybrook Farm."
These are likely to linger longer in memorv. unless it be
"Tess of the Storm Country." Watch Zazu Pitts, for she
is a coming star. This picture must be seen to be appreciated,
for words are insufficient to do it justice in its
various details. On the same program we were taken to
the "Land of Mme. Butterfly" by Burton Holmes, who has
done -his- best work right here.