Copy Link
Add to Bookmark
Report
Taylorology Issue 78
*****************************************************************************
* T A Y L O R O L O G Y *
* A Continuing Exploration of the Life and Death of William Desmond Taylor *
* *
* Issue 78 -- June 1999 Editor: Bruce Long bruce@asu.edu *
* TAYLOROLOGY may be freely distributed *
*****************************************************************************
CONTENTS OF THIS ISSUE:
Contemporary Reviews of Films Directed by William Desmond Taylor, Part II
*****************************************************************************
What is TAYLOROLOGY?
TAYLOROLOGY is a newsletter focusing on the life and death of William Desmond
Taylor, a top Paramount film director in early Hollywood who was shot to
death on February 1, 1922. His unsolved murder was one of Hollywood's major
scandals. This newsletter will deal with: (a) The facts of Taylor's life;
(b) The facts and rumors of Taylor's murder; (c) The impact of the Taylor
murder on Hollywood and the nation; (d) Taylor's associates and the Hollywood
silent film industry in which Taylor worked. Primary emphasis will be given
toward reprinting, referencing and analyzing source material, and sifting it
for accuracy.
*****************************************************************************
William T. Sherman's web site devoted to Mabel Normand has moved to
http://www.angelfire.com/mn/hp
*****************************************************************************
*****************************************************************************
Contemporary Reviews of Films Directed by William Desmond Taylor, Part II
The following is another sampling of contemporary reviews of Taylor's
films, spanning his career as film director. Some of the reviews have been
edited to remove lengthy plot summaries, cast listings, etc. More reviews
can be found in TAYLOROLOGY 24.
* * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * *
The Criminal Code
October 31, 1914
MOTION PICTURE NEWS
A melodrama of unusual excellence. The plot possesses much more novelty
than is often found in this type of picture, besides avoiding many of the
situations which are so often present in melodrama. Besides the plot, the
general good sense which has been shown in producing the picture adds much to
its attractiveness. Anyone who will study a film of this sort can see at a
glance that many of the flagrant errors which frequently mar what might be
excellent productions can be avoided very simply. It does not require genius
so much as it requires what is commonly called horse sense. In "The Criminal
Code" it can be said that there is not a single setting which is not a good
representation of whatever is supposed to be represented. This, it need
hardly be stated, partakes almost of the nature of a triumph. Even a large
reception and dance at the home of a man of wealth and refinement is well
staged amidst surroundings indicative of fairly good taste. The exteriors
are all well handled. Full advantage has been taken of the California
sunlight and scenery. Among the particularly striking views are those which
show the hero fishing in a small stream. William D. Taylor and Neva Gerber
in the leading roles do acting which is in keeping with the other good points
of the picture, and the general result is a happy one...
* * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * *
An Eye for an Eye
January 16, 1915
MOTION PICTURE NEWS
This is a story the scenes of which are laid in the West, but which is
not essentially Western in plot, as it deals with one of the all too
frequently occurring cases of a scoundrel and an innocent and credulous girl.
The scenes depict wide extremes, some of them showing the simple wholesome
life of a big Western ranch, while others deal with the garish and artificial
existence of giddy pleasure seekers in a large city. For the most part they
are well arranged, and have a convincing atmosphere. The most important
roles are those of Elsie, the sister of the unfortunate ranch girl, and Dave
Harman, her sweetheart, and the foreman of the ranch. The first of these is
played by Neva Gerber, who invests the part with considerable charm. William
Taylor, as the foreman, plays with his customary vigor, and in the convincing
manner which he has shown on former occasions...
* * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * *
The Last Chapter
January 23, 1915
MOVING PICTURE WORLD
It seems that Richard H. Davis wrote a story of broken love and called
it "The Unfinished Story," in which he left the last chapter to the reader's
imagination. The Favorite Players, with the help of a scenario by Richard
Willis, have made this story into a five-reel picture that supplies the happy
ending. It was directed by William D. Taylor and features Carlyle Blackwell
in the leading role, a masculine, red-blooded character, ideal lover in his
combination of truth, strength and character. It is primarily a picture of
adventure in Africa; but the last part which, as we have noted, was written
directly for a picture, brings the center of attention to the love story
where it belongs. There is little dramatic quality in the girl's experiences
while the man is away on his first adventure. The early scenes, it must be
confessed, use too much film in registering merely that the man and the girl
meet; that he is not a society man, but a virile doer of things, and that the
girl, tired of her other lovers, falls in love with him. Then he is put at
the head of an expedition into Africa and the lovers sadly part. We now have
some good adventure incidents in the wilds. Many of the director's scenes in
this part of the story are full of merit, looked at for action or picturesque
effect. There are bits here that will excite enthusiasm. It is skillfully
registered that the man is reported as dead and his papers are sent to the
girl. He makes his way through the jungle and reaches London. By chance the
girl and he meet there; but they don't shake hands. We don't know what among
many possibilities causes this. He is much disappointed in her--perhaps he
thought her engaged to another man--returns to Africa. She--perhaps she had
though her love for him dead--wakes up a few weeks later and follows him
across the sea. From this point on to their meeting there is good suspense,
in spite of a few weak points, a truly fresh and interesting action, and many
good things...The photography and scene making are excellent.
* * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * *
The High Hand
March 30, 1915
MOVING PICTURE WORLD
A picture that we can safely term as better than the average has been
turned out by the Favorite Players company from Jacques Futrelle's story of
political life. Its hero is a labor leader who makes a successful fight
against entrenched graft and wins the girl of his choice from his dishonest
opponent. That he himself feeling unable to cope with the political
conditions by open-handed methods stoops to do the same kind of dirty work
that his opponents do, even with the clean purpose of doing away with bad
conditions, is the story's most hampering burden. In real life the man might
have done just that; but in this particular story our interest in him is the
less on account of it; chiefly because we must count him less worthy of
success and of the girl. It is a beautifully staged picture, and there is
very little of the acting that is not pleasing; much of it is good. The
story does not convince one as more than perhaps possible; but it is free
from foolish straining after melodramatic "effects" and, with its quite
plausible love interest, its naturally directed, straightforward narrative
holds interest. The plot is carefully constructed and builds up to the close
without failure or anticlimax. One of the beauties of the offering is its
convincing atmosphere, given by its well-chosen backgrounds and perfect sets.
The lifelike, artistic photography helps not a little in the offering's final
score of entertainment. Among its specially interesting elements are the
foundry scenes taken in some big steel plant and showing, as backgrounds for
the early life of its hero, the great machine tools at which he works, the
pouring of molten metal and the flying sparks that in the dusky shop scatter
from the whirling emory wheels biting into the steel. There is a picture, in
the later part of the story, of a millionaire's library full of dignified
taste. The mob scene near the close was taken on the stone steps of the
State Capitol at Sacramento, California. We also see glimpses of the
legislative chamber. Seaside backgrounds and bits of mountain scenery add
their bit to the whole. And all are perfectly in keeping and beautifully
taken. An acceptable feature offering.
* * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * *
The Soul of the Vase
June 19, 1915
MOVING PICTURE WORLD
An odd and somewhat mystical offering, with Beatrice Van, David Lythgoe
and Joseph Harris in the cast. The young wife, tempted by an admirer,
remains true to her husband. Her soul is seen to enter into the vase which
he has been trying to perfect. There is a certain vagueness in the closing
scenes, but the production has a pleasing imaginative touch and holds the
interest.
* * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * *
He Fell In Love With His Wife
February 26, 1916
MOVING PICTURE WORLD
Some of the old stories film well. "He Fell in Love With His Wife"
contains a situation that has been overlooked in the mad rush for something
new in the line of picture stories. It has been produced by Wm. D. Taylor,
with Florence Rockwell and Forrest Stanley in the principle roles; and in
spite of a defect or two, such as the failure of James Holcroft to unhitch
his horse and put it in the stable on the night when he dismissed Bridget
Malony, the production will be found to be an especially pleasing adaption of
the E. P. Roe novel. It might also be argued that too much film has been
expended on Holcroft's experimenting with housekeepers. One of the best
types in the play is the daughter of Mrs. Mumpson, a former housekeeper.
This backward girl, who has run away from a mother quite as eccentric as
herself, becomes a servant in the Holcroft home, and proves to be the
important link in a chain of circumstances. A splendid portrayal of the
character has been given in the Pallas production. The photographic effects
obtained in the nights scenes immediately following Alida's hurried departure
from the home of William Ostrom, whose wife she had believed herself to be,
are remarkable. The play has been dressed in modern style, but as the story
is one that might belong to any period, this can hardly be counted a
defect...
February 26, 1916
NEW YORK DRAMATIC MIRROR
Truly rural atmosphere, most realistic in every detail surrounds the
homely melodramatic plot of "He Fell in Love with His Wife." Realism is
synonymous with efficient direction and it is the keynote of this entire
production; we almost imagine that we can smell the clover and hay in the
broad sweeps of picturesque landscape. The night storm scenes just after
Alida leaves her home are fairly marvelous, so excellent are they that it
takes an expert to determine whether they have been staged or not...The plot
gives opportunity for some good thrills, but it is lacking in continuous
intensity, some parts being especially drawn out.
* * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * *
Ben Blair
March 18, 1916
MOVING PICTURE WORLD
"Ben Blair," in its original form, was a western romance written by Will
Lillibridge. The five-reel photoplay version, produced by the Pallas
Pictures Company, is a work of even merit. The opening incidents, showing
the boyhood of the hero, are novel, human and woven together with strong
dramatic effect...Up to the time that Ben lands in New York, the events
surrounding his love story are convincing and agreeable, but both the author
and his leading character are out of their element in the big city, and the
picture does not then make as favorable an impression as in the earlier
scenes. Dustin Farnum found the character of Ben Blair easily within his
grasp. He was a dashing western hero, but his playing lacked somewhat the
sincerity that made his performance of the Virginian so fine an
achievement...A mead of unstinted praise should go to young Gordon Griffith,
who played Ben in his youthful days. The lad was called upon to express the
deepest feelings of the heart, and revealed remarkable emotional powers and
equally meritorious acting ability. The producer and cameraman are to be
congratulated upon the results of their endeavors.
March 11, 1916
NEW YORK DRAMATIC MIRROR
"Ben Blair" is an entertaining picture, even though it does not carry
its opening tensity through to the finish, but it does serve to introduce to
the public a boy marvel, Gordon Griffith. This youngster, who is only about
eight years old, handles a most difficult role like a veteran star. His
facial expressions are great, and his emotions seem to come right from the
heart. This boy brings out all the pathos in the picture, as the
illegitimate child forced to bear and witness the brutal attacks of a drink-
besodden father. Without a doubt this role is the most important in the
entire production, even surpassing in effectiveness Ben Blair in manhood,
which Dustin Farnum plays. The latter part is crude in its construction and
offers Mr. Farnum little opportunity for any varied acting...At the beginning
the story gives promise of being quite intensive and unusual, but toward the
middle it evolves into commonplace society drama, and in places it is
somewhat unreal in its hypothesis. For instance the little boy, Tom Blair,
saves his life by creeping into a tunnel when his father sets fire to the
house to burn the body of his illegitimate wife. In any ordinary course of
circumstances this youngster would have been suffocated but he comes out and
is rescued by a farmer, John Rankin, who afterwards adopts him...
March 18, 1916
MOTION PICTURE NEWS
Dustin Farnum is ushered on to the Paramount program once more via "Ben
Blair." The picture possesses a number of distinct merits, such as
magnificent photography and scenes, most of which are laid in a West that is
truly wild, and the settings leave nothing at all to be desired. "Ben
Blair," taken in a dramatic way, is not what we have been accustomed to
expect from the studios of the Pallas company. "Ben Blair" is based on a
novel, and evidently the novel was of that sort which contains a number of
themes, each one just about as important as the other and each one demanding
new and distinct interest. The scenario writer has obviously pictured the
material without much change, and the result is that again we have a picture
in several episodes, quite disconnected. Some of the big moments of the
picture fail to ring true. For instance take that one in which Ben Blair, by
the sheer power of his personality forces his sweetheart to forsake her city
lover and return with him to the West. Blair proves nothing against his
rival, and why the girl should submit to his personality is not made
clear...Director William D. Taylor's work is not of the sort that we can
commend. There are a number of slips throughout the five reels that affect
the continuity of the action. In the matter of locations, however, he has
done very well indeed...
* * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * *
Pasquale
May 27, 1916
MOVING PICTURE WORLD
It is a picture to touch the heart, this five-reel offering, "Pasquale,"
with George Beban in the leading role. It is a Paramount release and was
made by the Oliver Morosco Photoplay Company. Mr. Beban, with the help of
Lawrence McCloskey, developed the story from a slight incident, one of those
he has been telling in the Italian dialect, but it has been filled with
unexpected and thoroughly delightful touches of human understanding and
sympathy, bits often times of sheer inspiration. The best thing about the
picture is that the chief characters affect you as real human beings; you
can't resist them. The best of them, by all odds, are Pasquale, by Beban,
and Margarita, by Helen Eddy, but all the others are good, too. The main
thread of the plot is slight, yet compact with emotion of the sincerest and
broadest kind. To bolster this is a secondary plot, very melodramatic and
fashioned to fit the taste of the day. These two are ably knit. The second
helps the first to its happy ending and keeps it from being truthful. We
will say no more of this secondary plot--it was written to fit the audience
and will be acceptable. The first, baring the effect of the second upon it,
is dignified, as worthy as the daylight is, and full of poetry...W. D. Taylor
directed the picture and we see an able hand at work in it...The photoplay is
excellent and the novel and artistic method of presenting the leaders is
commendable. There are some scenes showing the great war in Europe, and they
not only fit the story perfectly, but are as realistic as scenes cut from
recent topical. It is a good offering.
May 20, 1916
NEW YORK DRAMATIC MIRROR
Artistic and realistic, "Pasquale" depended much upon these qualities
for its successful picturization. With numerous shades from the sublimely
pathetic to the striking spectacular, the successful scenes have all been
handled in a most capable fashion. The realistic home-like touches
introduced by the animals, a horse and duck, have seldom been excelled. The
story, however, which deals with the life of two Italians in America, one a
wealthy banker and the other a peddler, has ended the double triangle with
four major characters; and, as it is usual in this case, the plot lacks
decided depth due to the various forces working in parallel lines with
incidents in the two families used to connect them and develops the plot
along natural lines...The story, however, well serves its purpose as a
background for Mr. Beban's artistic portrayal of the remarkable Italian
trader, Pasquale. All the trite, human incidents which would tend to make
this character realistic and sympathetic have been introduced...In the
picturization after the two Italians have left this country to go to war,
there are some remarkable battle scenes shown. A number of them were staged
for this purpose and a number were imported from Europe. War and its
gruesomeness is present, yet in the strife of the trenches the kind-hearted
Pasquale cannot find courage enough to kill a man, but boots him out of the
trench instead. There are also some marvelous scenes of the Zeppelin raids,
with shells bursting in the air above the visitors. Broken and wounded,
these men and their compatriots return home to find what were once happy
homes wrecks...The photography throughout the picture is of the highest
quality, and very pleasing effects have been obtained by introducing the sub-
titles on descriptive backgrounds. This is one of the most effective means
of introducing titles, and we are glad to see other firms utilizing it.
May 27, 1916
MOTION PICTURE NEWS
"Pasquale" is a vehicle for George Beban's sure-fire ability in the
delineation of Italian character. It will win for him increased favor with
picturegoers, because its story gives him full scope in the closely
associated regions of laughter and tears...When Beban holds the screen, there
is no doubt about the appeal of the picture, and fortunately we have enough
Beban to offset a conventional subplot which depicts a dissatisfied wife in
the toils of an affair with a young society man. The subject also suffers
from actionless introductory scenes, and repetition of incident. On the
other hand, it has some very well directed battle scenes, for Pasquale heeds
his country's call, and fights until he is disabled and returned to America.
The atmosphere is excellent, save for a single scene which attempts to
represent an Italian hospital but fails to do so...Summed up, "Pasquale" is a
distinctive film, because of the way in which it has been handled by Mr.
Beban. The direction by William D. Taylor is competent at all points.
May 30, 1916
LOS ANGELES TIMES
..."Pasquale" has a fragile spirituality and a fragrance of romance
that stamp it as something far superior to the average motion picture script.
It has a touch of light fancy and delicate beauty that is not unlike
something by Barrie. Were it not so finely enacted and so beautifully
photographed, I would think it an extravagance of art to lavish its sweetness
upon anything so fleeting as the screen. There is much in it belonging to
the permanance of letters and drama...
* * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * *
The American Beauty
July 8, 1916
MOVING PICTURE WORLD
Among the not very many basic plots there are one or two that may be
counted choice. It is dangerous to speak for that hard-to-gauge spectator...
but he has been found taking much pleasure from his earliest days in the many
variations of Cinderella, or captured princess story. Here it is again in
the Pallas five-reel film, "The American Beauty," in which the rich man's
baby is lost and brought up by a very poor family. A princess in disguise--
and we are all royal when we're young--she has the hard experiences of the
poor and the tears, yet has not only the true heart worthy of the coronet but
lives with fate always waiting the chance to bring all the world's good
things to her--including love. One will find the story more and more
interesting from first to the last due to the director's carefully
constructive approach to the climax and due to his skill in using the homely
emotions. It opens with a fire at sea and the upsetting of a boat filled
with women and children which is not realistic at all; but all the other
incidents the director has made plausible...Myrtle Stedman in the double role
of mother who loses her baby and of the grown-up daughter, puts her usual
sincerity and ability to the picture's advantage...The photography is of high
grade. William D. Taylor was the director.
July 1, 1916
NEW YORK DRAMATIC MIRROR
"The American Beauty" abounds in scenes of a most picturesque variety
enhanced by excellent perspective and good photography. The natural beauty
of the rocky coast, and the fishing boats are especially fine, while the
views of the burning ship at sea are thrillingly realistic. The interiors
are lavish in their construction and furnishings, especially those of the
Lorrimer home. If the story were not so superficial, or if the picture in
its present state were cut so that it would not drag, the production would
rank among the best, for it is artistic and beautiful. The ending is far too
obvious to create any suspense and there is little action other than that
which occurs in a few of the big situations...There are some remarkably
clever double exposures used in connection with the dual roles of Myrtle
Stedman. In one place it has been overdone as the daughter's body can be
seen through the hand of the mother. This is the only error in photography
throughout the picture.
July 8, 1916
MOTION PICTURE NEWS
There is enough of originality of plot, drama, beauty and artistry to
make this a good picture. It has been carefully scenarioized and produced,
and the cast is capable, from Myrtle Stedman down to the silent and
motionless beauties who play the heavy thinking parts of artists' models, but
certainly do embellish the screen. Although the atmosphere and story are as
old as romance itself, there are unique situations, and skillful construction
which has brought all the better part to the surface. Much credit is due
William D. Taylor for his direction. The interior sets and lighting are up
to the standard which we have recently learned to expect from these
studios...
* * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * *
Davy Crockett
July 29, 1916
MOVING PICTURE WORLD
The portrayal on the screen of "Davy Crockett," a play made famous on
the American stage more than a generation ago by Frank Mayo, results in a
successful production from the pictorial viewpoint. "Davy Crockett," as
Pallas Pictures released it on July 13, is a pretty picture. Dustin Farnum
in the role of the frontiersman is a factor in himself; and he is surrounded
by a good cast. The subject measurably interests, but with one or two
exceptions it reaches no particular dramatic heights. Mr. Farnum makes a
striking figure in his early eighteenth century border garb. He shows to no
better advantage than when mounted on a spirited horse. His physique and his
art combine to make an effective characterization. Winifred Kingston in the
role of Eleanor Vaughn, the sweetheart of Davy, is convincing in her girlish
simplicity. Herbert Standing as Hector Royston, the representative of Vaughn
and the guardian of Eleanor, gives a strong performance. Lydia Yeamans
Titus, the old favorite, is a motherly Mrs. Crockett. Page Peters is shown
as Neil Crampton, and his impersonation of the "heavy" role takes on a
pathetic and an unusual interest by reason of his recent accidental death by
drowning. The picture is staged by William Taylor. Mr. Taylor has selected
beautiful spots for his backgrounds, the full quality of which Cameraman
Scott has brought out. There are views of woods, mountains and landscape.
One of the interesting features, especially for the present showing, is a
regular snowstorm, the ground being covered knee depth. "Davy Crockett" will
make good entertainment.
July 22, 1916
NEW YORK DRAMATIC MIRROR
The majesty and grandeur of nature, the masterpiece of God's creation,
stands forth in all its beauty as if done by the hand of a master painter in
"Davy Crockett." Seldom have we seen more perfect photography and it is a
positive joy to witness the rapid succession of everchanging scenes radiant
with nature's glory. The pine forest with its shimmering mantle of snow, the
ruddy dawn on the mountain top and the vale with the majestic mountains in
the background form a series of pictures which seem to be paintings taken
from the walls of an art gallery rather than the art of a motion picture
photographer. The credit for the success of this production will not rest
upon the author or the players but upon the photographer, Homer Scott, and
the director, William Taylor, whose apparent appreciation of the beautiful
will gain him the respect of all the motion picture critics. It is such a
rare things to see the work of a director who has an eye to nature's charm
that it is possible to overlook other weaknesses in his case. In this
picture he has permitted several of his players to get a bit mechanical at
times, but this fault is none too plainly discernible...The perfection in
photography and settings is almost nullified by a mediocre story. "Davy
Crockett" may have been a fine play but it is a conventional drama without
suspense on the screen. After the first few scenes the end can be easily
foretold...Dustin Farnum is acceptable as the back-woodsman, Davy Crockett,
and Herbert Standing, Howard Davies and the remainder of the cast give him
excellent support. Winifred Kingston, while her work is pleasing, puts a
little too much affectation in her smile which gives her performance an air
of artificiality.
July 29, 1916
MOTION PICTURE NEWS
A romantic "Davy Crockett," suggesting not at all the sturdy
frontiersman who went to his death in the Alamo, is depicted here. Except
for the fact that the story is based upon a reported incident in Crockett's
life, wherein he, like Lochinvar, is said to have borne away his bride on a
dashing steed, the picture might have been built around almost any other
costume-period hero. But the atmosphere and the qualities of light romance
have been brought out in a pleasing and effective way so far as details of
production are concerned. The film is beautiful scenically. Its picturesque
backgrounds, its mountains, fields and streams are rendered through excellent
photography, with the aid of fine tinting. The most spectacular scene is a
raging snowstorm up in the mountains, and this is an unusual bit of realism,
which, for its kind, has probably never been surpassed. For these and other
evidences of painstaking direction, credit goes at once to Director William
Taylor, who had a valuable ally in his cameraman, Homer Scott. Dustin Farnum
sticks closely to the matinee-idol conception in rendering the character of
Crockett, and plays in his accustomed style. There is a lack of intensity
about him which has its reflection in a lack of intensity in the action...
* * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * *
The Parson of Panamint
September 2, 1916
MOVING PICTURE WORLD
Without casting any reflections on other productions of recent issue, it
may be confidently asserted that it is some time since exhibitors have been
offered a Pallas picture so thoroughly good in all respects as "The Parson of
Panamint," written by Peter B. Kyne and directed by William D. Taylor, with
Dustin Farnum in the title role. It scores on practically every point that
contributes to a popular photoplay. There is a very human story, easily
followed and interesting; the atmosphere of a western frontier town is caught
to perfection, the characters are deftly drawn and in the leading role, that
of a parson typifying muscular Christianity, we have Dustin Farnum, as virile
and manly an actor as the screen possesses. It will be a cold audience,
indeed, that does not applaud "The Parson of Panamint."...
* * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * *
The House of Lies
September 23, 1916
MOVING PICTURE WORLD
A picture of high romantic ideals and of that state of heart that
Tennyson said was better than Norman blood or coronets is, in the latest
Oliver Morosco production, drawn against a background of utter selfishness
and decadent folly. The film is called "The House of Lies." Its charm comes
not so much from the strength of the plot as from the beauty of its scenes
and the beautiful sentiments it expresses...
September 23, 1916
NEW YORK DRAMATIC MIRROR
A problem play based on a modern version of the old slave markets, "The
House of Lies" is one of the strongest and best pictures ever produced by
Morosco. The falsity of society, its inconsistencies, and the mockery for
appearance's sake form the basis of a well-constructed and logical plot. It
is subtly satirical in its import. The very characters show plainly the sham
of appearance but the leading character, Edna Coleman, shows what is beneath
a superficial exterior by her refusal to consent to a loveless marriage. She
is step-daughter in a wealthy family and, because of her beauty, is put up
for sale to the highest bidder. Edna Goodrich essays this role and she has
the natural beauty typical for such a part. She acts with repression and her
work is at all times convincing and pleasing. The supporting cast,
especially Herbert Standing, is quite effective in the various roles. The
production has the usual finish of Morosco productions and the camera work is
especially notable. The views are so clear, defined and even in tone that
some of them appear more like painting than the art of the motion picture
photographer. The exterior settings are unusually beautiful and the garden
party and open air theater are among the finest of their type. Artificiality
which is almost always present in these scenes is entirely lacking.
Judicious use of tinting has greatly enhanced the effectiveness of the
picture.
September 23, 1916
MOTION PICTURE NEWS
It is unfortunate that a picture so well acted and so well directed as
"The House of Lies" should have such an unreal and wholly impossible story as
a foundation. Furthermore the story is poorly constructed from a technical
standpoint. It requires four reels for the two leading characters to meet.
At the beginning of the fifth reel the meeting is brought about, and during
the last five hundred feet the man discovers the beautiful soul of the girl,
falls in love with it, and the picture closes with a wedding. This is indeed
quick work even for moving pictures...The falsity and unreality of the story
is readily apparent. The picture has been beautifully produced, however,
with a wealth of beautiful settings and locations. William D. Taylor, the
director, has accomplished a fine piece of work from a technical standpoint.
Edna Goodrich in the leading role was effective throughout, her extreme
beauty registering most effectively...The lighting and photography were most
excellent.
* * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * *
Her Father's Son
October 14, 1916
NEW YORK DRAMATIC MIRROR
A vivacious star, local color in plenty and the usual finished Morosco
settings and photography combine to make "Her Father's Son" an acceptable
picture. The settings of the Civil War period are picturesque and the
interiors among the finest examples of their type. They are accurate in
every detail, even to the stenciling on the walls. The costuming is also
pleasing to the eye, especially the hoop skirts and old fashioned dresses of
the ladies. The men also wear the clothes of the period, but modern Broadway
haircuts were not in style in the "sixties," neither do we expect to see
soldiers in time of war in spotless uniforms. The exteriors are of
considerable natural beauty, and this is greatly enhanced by the excellence
of the camera work. The action is very slow, except for the chase after the
spy and the collapse of the bridge. This is a real thriller. The plot is so
torte and unconvincing that it needs little comment. The idea of the
heroine, distinguishing herself as a boy and still retaining ladylike
characteristics, is so palpably artificial that it would not convince a
child. It is upon this that the semblance of a plot is constructed. The
cast is satisfactory...
October 21, 1916
MOTION PICTURE NEWS
...Miss Martin masquerading in boy's clothes is delightfully attractive,
although we must confess that the characters in the picture who were fooled
by her disguise should never be allowed to roam about New York. Some one
might sell them Times Square or the subway...We strongly recommend this to
the exhibitor who wants a good five-reel comedy-drama. There is little that
is gruesome or dark about it, and there is much that is extremely humorous...
* * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * *
Redeeming Love
January 6, 1917
EXHIBITOR'S TRADE REVIEW
This photo-drama, which serves to introduce Kathlyn Williams to the
Paramount program, has been well done. The story is told with the right
amount of suspense; the acting and the atmosphere are excellent. The
interior sets, showing the gambling house, are very elaborate, excellently
constructed and decorated with lavishness. Miss Williams displays marked
ability in this drama, playing the country girl with charm and sweetness, and
the gambling queen as a blase woman of the world. The contrast is quite
remarkable, and will be highly appreciated by the followers of this actress.
Thomas Holding as the minister plays a difficult part in excellent fashion,
while the balance of the cast does full justice to a good story, which has
been mighty well directed. One big thrill in this picture shows a large
touring car dash over a cliff into the sea. This has been well done, the
fight in the machine just previous to the accident and the actual fall being
realistic in the extreme.
January 13, 1917
MOVING PICTURE WORLD
Gardner Hunting, in his adaptation of the story of I. V. Jefferson, has
in "Redeeming Love," the Morosco release of December 28, given us a script
with a distinct literary quality. The titles are a thing apart. If in
reading them you note that the words remain on the screen so long that they
may be reread, you do not, as usually may be the case, give vent to a growl,
but reread them with a hearty appreciation of the literary skill of the man
who conceived them. An example in point is the remark of the gambler
libertine who has induced the young church member to elope. It is the
morning after, and the girl, fearing she has been deceived, inquired how soon
the marriage ceremony is to be performed. "Why worry over a mouthful of
words and a scrap of paper?" asks her seducer. Disregarding the ethics
involved, there is terseness, a revelation of a point of view. The
production of "Redeeming Love," which was made under the hand and eye of
William Taylor, does not depend upon the language of the titles, which as a
matter of fact also are notable for their insight into or rather reflection
of the mind of an earnest, sincere minister of the gospel. There is a real
story, finely woven and of genuine interest. The picture is elaborately
staged--the interior of the gambling house owned by the woman in the case
being remarkable for its size and appointments. The titles, too, are
excellent examples of illuminative work... "Redeeming Love" is a good all-
around picture, one that will especially appeal to a high-class clientele.
January 13, 1917
MOTION PICTURE NEWS
...The picture is a playing together of opposite types, the man of God
and the woman of the world, who is redeemed, being in startling contrast as
characters. Whether the picture will be accepted as a big offering will
depend entirely upon the character of audiences receiving it. The role of a
minister of the gospel is always a difficult one to make perfectly natural in
pictures, and one the sympathy with which will vary. That the audience will
sympathize with the heroine, which role is capitally handled by Miss
Williams, there can be no doubt. She is wronged, and rather than take the
usual way of correcting her past error, according to story books, and bearing
the woman's burden for wrong done, she takes the advice of a haggard derelict
who warns her to live fast and accumulate money, for her beauty will soon
fade. She accumulates money by her wits and beauty, and when she has framed
the lover of her girlish days into leaving unguarded a hundred thousand
dollar fund in his personal care, she repents, and uses her own ill-gotten
wealth to replace the fund stolen by her confederates. This is the redeeming
love, and she is washed of her sins by it. The story is impressive, but
except in the detail of the working out, is not new. There is hardly a
really novel idea used, so that it depends entirely on the pleasing work of
Miss Williams and Mr. Holding to get it over. It may or may not appeal to
audiences, according to the class of patronage to which it is shown. The big
theme, which of course can be used ten thousand times and not lose its
effectiveness in story or picture, is the religious one. But the "best
sellers" among novels are not those with religious theme, and we doubt if
this picture will prove a box-office success.
* * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * *
Happiness of Three Women
January 20, 1917
EXHIBITOR'S TRADE REVIEW
"The Happiness of Three Women" is a splendidly produced picture
unfolding a plot that is from a standpoint of construction an admirable
effort. The story develops its complications convincingly, and the manner in
which one incident dovetails into another is an adroit bit of story building.
But one must regret that the material so finely woven was not of a more
substantial nature. Fundamentally, "The Happiness of Three Women" is quite
insignificant. The two important characters are drawn into complications
because there is a jealous husband, who for all his threats seems incapable
of becoming really harmful, and the complication results from a night
watchman's word that the respected bank cashier is a crook. The reason that
"The Happiness of Three Women" will provide an agreeable evening's
entertainment is found in the handsome and colorful mounting given the
scenario, and the excellent photography..."The Happiness of Three Women"
proceeds seriously from premises that are ordinarily the source of light
comedy. There is little really dramatic in the play, but a remarkably pretty
setting and some flashes of night photography immeasurably enhance a thin
story which, fortunately, has well-paced action.
January 27, 1917
MOVING PICTURE WORLD
There are three heroes, as well as a trio of heroines, in the Oliver
Morosco photoplay, "The Happiness of Three Women." The theme, for this
reason, is unique, and Albert Payson Terhune, the author, has dovetailed the
different interests together very deftly. In fact, the twists and turns of
plot recall the workings of a French farce, and admiration for the neatness
with which the dramatist gets his three sets of loving hearts in and out of
trouble occasionally outweighs the human interest in the play. "The
Happiness of Three Women" is not easy to classify. It starts off,
apparently, as a comedy, an innocent enough motor ride taken by a married
woman and a former sweetheart being the first complication. A note of real
drama gets into it, however, when the husband of one of the other heroines is
accused of robbing a bank, and the auto riders, who can prove an alibi for
him, dare not speak for fear of compromising themselves. The result, which
is never very much in doubt, admits of a number of clever complications
before it is worked out to the satisfaction of all concerned and the three
sets of loving hearts once more beat in happy unison...The production is in
keeping with the demands for generous and expert settings for the scenes.
January 20, 1917
NEW YORK DRAMATIC MIRROR
In this half-serious, half-amusing and wholly entertaining drama we find
a handsome hero in the delicate predicament of having the happiness of three
women depend on his testimony. It is an ingenious arrangement of a plot
which serves to demonstrate how completely our lives are interwoven with our
neighbors, and how our most casual act may affect the destiny of the family
next door...The piece was adequately staged with a number of particularly
effective scenes in the midnight joy ride. It is unfortunate that an author
with skill enough to write a scenario of this type should permit it to appear
under such a clumsy and meaningless title. Surely it would be possible to
find another which would do justice to its really unusual and ingenious plot.
* * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * *
Out of the Wreck
March 17, 1917
EXHIBITOR'S TRADE REVIEW
In "Out of the Wreck," Kathlyn Williams, supported by an admirable
production, struggles with a part that is central in a story quite dark in
tone and ordinary in its effects. The scenario, which provides a play within
a play, develops realistically--potentially that is--a plot that never
becomes anything more than a mere plot. The author's manipulation of the
material is rather good, but all freshness has passed from these stories of a
young woman trying to be good and finally being deceived by a man, who after
the marriage reveals himself as a drinker and the possessor of other evil
traits carefully concealed during the courtship...The settings and
photography are excellent in every respect. Such a handsome production
should afford audiences pleasure of a high degree. Certainly, the pictorial
quality of the scenes help somewhat in lightening the effect of action
greatly requiring a bit of brightness.
March 17, 1917
NEW YORK DRAMATIC MIRROR
"Out of the Wreck" is supposed to present so powerful and touching a
story that it melts even the fey heart of a newspaper woman and causes a
hardened reporter to "kill" a choice scandal that was to be featured in scare-
heads in his paper. As a matter of fact, it is a sob sister melodrama of the
most tearful variety with a heroine who revels in deeper and deeper woes
until she finally weeps herself back to happiness...Kathlyn Williams did her
best with this lacrimose role and managed to infuse sincerity into the
exaggerated situations...An old-fashioned melodrama of this type seems rather
a divergence from the usual Paramount standard, but it will undoubtedly
appeal to the lover of sensationalism.
March 24, 1917
MOTION PICTURE NEWS
The first impression of this picture is that it is entirely out of the
class of other Paramount productions. It is a curious interweaving of
magnificent scenic and artistic embellishment, common to all Morosco
productions, with excellent and dignified acting by Kathlyn Williams, with
the "Ten Nights in a Bar Room" type of melodrama, and something seems to be
wrong...the story becomes commonplace and roughly melodramatic, with an
appeal that it seems to us the intelligent audience accustomed to Paramount
pictures will not get at all. We may be wrong, but the woman bullied around
by a drunken brute, with no earthly reason shown why she should not leave him
and seek protection in the resumption of an independent life, which she was
leading before he met her, does not appeal to us with real sympathy. We are
horrified, yes. We appreciate the struggle and the tense acting of Miss
Williams. We are thrilled when she finally kills him rather than be brained
by his drunken assault. With a too obvious attempt at "something different,"
the obvious plea of "self-defense" is not used, but she is acquitted by a
jury "believing in the unwritten law." Miss Williams saves the picture from
being ordinary...
* * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * *
The World Apart
June 9, 1917
MOTION PICTURE NEWS
This story, by George Middleton, gives Wallace Reid a chance to show his
physical prowess again by rescuing a dance hall girl from the too violent
attentions of the dance hall owner, and again by a fight in the dark with the
villain of the piece, who has turned burglar. These "punches" are furnished
at the beginning and the end of a well-knit heart-interest theme, using the
always available worthy young man protecting the girl from the worthless
skunk situation as its main idea...Wallace Reid does the best he can with a
colorless role. The hero can use his fists, and that saves the story from
being very flat. The villain's only variety of accomplishments as shown in
the picture are losing money at poker games and falsifying bank accounts in a
way so crude he appears to be very stupid--not even an interesting villain.
We don't mean to say this is not good entertainment. For remember there is a
punch at the beginning and the end of the five reels. And Miss Stedman is a
sweet heroine, and John Burton does all he can to make a good villain part
out of little. We like the acting and the production, but the story is weak.
Without the clever Morosco titles and big mining camp scenes and other things
that make us forget it is only an average story, we would say it was a very
ordinary offering...
June 9, 1917
MOVING PICTURE WORLD
...One detail mars the work of the producer. By some inexplicable
oversight an excessively vulgar picture has been used as a wall decoration in
one of the scenes.
* * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * *
Big Timber
July 7, 1917
EXHIBITOR'S TRADE REVIEW
"Big Timber" appeals to the spectator's eye, for the play unfolds in a
picturesque locale and photography of an exceptionally rich quality reveals
numerous scenes having pictorial beauty. The scenario is well constructed,
and while it sets forth no characters or dramatic incidents that are not
familiar to the average picture-goer, there is a continuous thread of
interest. Kathlyn Williams, who co-stars with Wallace Reid, has a vehicle
that is in every respect superior to the last two or three pictures in which
she has appeared on the Paramount program. Wallace Reid, in a part that
makes him middle-aged, is not in the least hampered by a mustache and gray
hair. A melodramatic love romance, "Big Timber" deals with characters that
look real and yet are not doers of convincing things...The forest fire is
realistic. In this portion of the play the director gave the scenes
considerable momentum and they move ahead at a fast and exciting pace. If it
is nothing else "Big Timber" is reliable. For while few will be deeply
impressed nearly all will be completely satisfied with the picture.
* * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * *
The Varmint
August 18, 1917
EXHIBITOR'S TRADE REVIEW
The many readers who have followed the doings of such characters as Doc
MacNooder, the Tennessee Shad, The Roman, and The Varmint in Owen Johnson's
serial stories in the Saturday Evening Post will more than enjoy seeing these
true-to-life principals on the screen in a production brimming over with
human interest. While this story is a typical boy's story and will have its
greatest appeal among those of college years, still many others, especially
those older heads whose school life is only a recollection, will receive this
production as an entertainment of quality. How this lad entered a school
with the express purpose of making things hum and how the professor took all
of this right out of his make-up and made a man of him forms a study in
psychology that is indeed interesting in the extreme. A most notable point
of the story is the splendidly worked in contrast consisting of the love
affair of the Varmint for the professor's daughter. Had this not been
injected the story might have become monotonous, owing to the abundance of
school life and boyish pranks, but this little sidelight acts as a seasoning
and is offered in such a pleasing way that it gives a tinge of originality to
the whole production. It is not of the "slobber" love variety but a truly
realistic and wholesome attachment between the lad and the girl. The
photography and the direction are presented in the usual style found in
Paramount offerings. The atmosphere has been well maintained with nothing
omitted that would in any way hinder the interest in the story...The types
are all carefully selected and the sets and locations nearly perfect in every
detail. "The Varmint" will undoubtedly take its place alongside many other
Paramount successes, and it will more than please those fans who are looking
for clean, wholesome and entertaining stories.
August 25, 1917
MOVING PICTURE WORLD
Readers of "The Varmint," the Owen Johnson story of college life that
first appeared in the Saturday Evening Post, will welcome it in picture form.
Gardner Hunting has made a five-part screen version, which Jesse L. Lasky has
produced, the picture being under the direction of Wm. D. Taylor. Much of
the story will appeal to the average patron of the screen. Allusions in the
class room scenes to certain advanced points in grammar may be a trifle
mystifying to those who have not known the advantages of a college education,
but everyone will understand and relish the football game in which the hero
figures, and the game fight he puts up against the entire school. The
character of "The Varmint," christened John Humperdink Stover, has been
faithfully and amusingly drawn by Owen Johnson, and the pranks of the plucky
little braggart and his companions will be recognized as part and parcel of a
college boy's experiences...The picture has been skillfully produced, but
will owe a large measure of its success to young Jack Pickford. He suits the
part of J. H. Stover, and consequently has little difficulty in bringing out
"The Varmint's" best and worst points...
* * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * *
North of Fifty-Three
October 6, 1917
EXHIBITOR'S TRADE REVIEW
Splendid snow scenes and photography, together with a story with plenty
of action and thrills, make this production a worthy attraction for the Fox
program. It is a story of the great Northwest and as such offers that quick
action and thrills that are usually found in stories of this kind. In
addition to the excitement and deep-rooted suspense, there runs through the
story an appealing vein of human interest which is very noticeable contrasted
with a trend of comedy. These four elements, namely, action, thrills, heart
appeal and comedy, are all woven into a story that will afford the majority
of picture fans with an entertainment of unquestioned value. The wide
expanse of snow scenes, the long photographic shots, and the artistic
photography certainly afford a very pleasing and valuable background to the
story. The details have been carefully looked after and the atmosphere
thoroughly consistent throughout..."North of Fifty Three" is a virile drama
of the great Northwest and can be played to almost any class of audience. It
has a good story, full of ginger and heart interest, and furthermore, it
supplies a star of exceptional box-office value. It will without a doubt be
a big boost for the Fox program.
June 9, 1917
MOVING PICTURE WORLD
The recent Fox five-reel picture, "North of Fifty-Three," has the
quality usually found in the cave man love stories and it seems to this
reviewer that it is a little franker and a little rougher than the usual film
of its kind. This is partly because the script doesn't take enough pains to
develop the character of "Roaring Bill," played by Dustin Farnum, and to make
the spectator enough of a partisan for him. The story opens with a scene in
which we see him fondling children; but that is before we know what it is
for, and the incident fails to sink deep into consciousness. He enjoys a
fight; he goes 50-50 on a gold mine with a poor lunger just because the sick
man can put up a stiff fight, and we can see that he has a bluff and hearty
way with them. Then he steals the girl right out of her room at the boarding
house and carries her off to the cabin in the mountains. The girl is taken
by Winifred Kingston, but she does too little acting and her unconvincing
attitudes rob the picture of effectiveness on her side. Yet the picture is
real to this extent that, as nitrate acid always makes nitrate of silver on
silver, so this picture will affect audiences as cave man stories are wont to
do, and will do it markedly. This is what the picture is worth to the
exhibitor who considers his audience. One of the picture's big assets is the
background characters, of which there are many kinds, and nearly all good.
Then it has some mighty fine natural backgrounds and sets. The acting, with
the exception of the leading woman, is excellent. The young actress tries
her best and is intelligent, but unimaginative. She will be better able to
act a grown woman's knowledge of life when she is a few years older--how can
she expect to do so before? The plot is clear. Its introduction scenes are
not needed, are not made use of in the plot, and are rather unconvincing, and
the same is true of the final denouement. It is a picture more apt to please
men than women, or so it seems to this reviewer, and he is not certain on
this point by any means.
* * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * *
Jack and Jill
December 1, 1917
MOVING PICTURE WORLD
It all goes to show you cannot with accuracy prejudge a picture by its
name. If the title of "Jack and Jill" does not ring any bells in the back of
your head disregard the absence of the indefinable signals which sometime
indicate to one how a certain picture is going to appeal to him. The story
is of a boy and girl native to the pavements of N'Yawk, as the pair express
it. It contains punches--two distinct kinds--the literal as well as the
figurative. Those in the former category are administered with liberality
all through the course of the story, and always where they will do the most
good, also seemingly only when they are necessary. Jack Ranney discovers
that in his good right there is a healthy wallop, and following the
revelation matters begin to brighten up for him as well as for the faithful
Jill. The action gives Jack Pickford a chance to show what he has acquired
in the way of handling his mitts. The working out is not a glorification of
the bruiser. Rather is it a demonstration of a young man starting out in
life not on the most desirable lines and shifting over to a career which
promises better for his future usefulness...The story opens in New York and
shifts to Texas. There are stirring scenes in each locale--in the prize
fight in which Jack gets the decision in the first round when its crooked
managers had not calculated to let him win until the fourth, the attempt to
ride the bucking animal, the "kidding matches" in the saloon, the attack on
the ranch, and the battle with the invaders in which Jack does remarkable
execution. The western atmosphere is full of appeal. Director William D.
Taylor gives us big fields of desert, mountain and plain, scenes that will
make for the popularity of the picture in countries other than the United
States...It is a good cast and the picture is well made.
November 24, 1917
NEW YORK DRAMATIC MIRROR
"Jack and Jill" embraces a tale that might be considered a typical
motion picture story. This is not said in any derogatory sense. Quite the
contrary, the story is of a type that lends itself especially to
visualization and has the unmistakable appearance of being written solely for
the screen. It is simple, human, rife with action and has general
appeal...The director has staged the production timely in every detail.
Where the locale of the story is situ
ated in New York slums, or the fight
club, natural atmosphere has been established and when the spectator is taken
out West a typical ranch with beautiful surrounding scenery has been chosen
for a background. The pace of the action, which is rapid, is well
maintained. Jack Pickford immediately wins the sympathy of the audience in
the role of the fighter and throughout the picture he acts with ability...
* * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * *
Tom Sawyer
December 22, 1917
MOVING PICTURE WORLD
As a photodrama "Tom Sawyer" is bound to arouse high expectations, and
it is on that very account no easy proposition, but the screen version has
been constructed with skill; the handling is in fine harmony with the mood of
the story, exquisite in some of the details, and Jack Pickford responds to
his opportunities so creditably that he completely won a large audience at
the Strand by his performance. This is saying a great deal when it is
considered that a very large number of people in the average audience are
familiar with the principal scenes in the story and have formulated some
preconceived ideas of their own how it should be presented...The atmosphere
of the story is most perfectly preserved in the scenes depicting the
gatherings of townspeople at the meeting house. The selection of church and
street; the care shown in costumes and the absence of theatrical exaggeration
completes a delightful illusion. We are not looking at a screen story--we
are transported to the time and place of an actual experience and are
participants in the events. This is truly high art, the more creditable that
it must have been difficult to preserve so perfect an atmosphere. Even
genuine sternwheel river boats are used when a search is made for the bodies
of Tom Sawyer, Huck Finn, and a boon companion, at a time they were camping
out on one of the low-lying islands of the Mississippi River. Besides
fidelity and good taste in settings and exteriors, the director has added
greatly to the general sum of values by amusing bits of psychology among the
various types. The types have been well-chosen as a rule, and Jack Pickford
carries his difficult role by sheer force of personality. He rivals the
bright subtitles in provoking laughter and is conscientious in every moment
of his impersonation. It is true that interest centers entirely on the
characterization of the lead, relegating the balance of an excellent cast to
the background, but his chances for error are correspondingly great, and he
sails serenely through them all. The entire production will prove a big
winner wherever shown and give satisfaction to those who look for a revival
of interest in what has come to be an American classic.
December 15, 1917
NEW YORK DRAMATIC MIRROR
...Jack Pickford seems to have caught the exact spirit of the part of
Tom Sawyer, and he has painted a portrait that is delightful. Little
artistic touches here and there added to a comprehensive understanding of the
difficult role and appearance that carries out the preconceived notion of how
Tom should look fairly brings the boy to life again. The supporting players
are excellent and they add a deal of enjoyment to the picture. A careful
choice of types has been made and the costumes are picturesque. "Tom Sawyer"
was photographed in natural surroundings. That is to say all the scenes were
taken in Hannibal, Mo., where Mark Twain laid the story and some of the
houses and their adjoining yards have remained the same and appear in the
picture. The atmosphere this gives can be appreciated. The director has
arranged the action at an even pace, and although the story is more or less
episodic, continuity has been established and retained. The detail work, in
the interior scenes and where it has become necessary to place some
properties in the exteriors, is an invaluable feature of the film. "Tom
Sawyer" is among the notable screen achievements of the year. That it will
draw capacity houses is certain. The manner in which the picture should be
advertised is obvious.
* * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * *
The Spirit of '17
February 2, 1918
EXHIBITOR'S TRADE REVIEW
The patriotic appeal is the dominant feature of this production and will
be the point that exhibitors will find to be its drawing factor. Whatever is
found lacking in the consistent action of the story or the lack of novelty in
the plot itself, there still exists that sympathetic touch and human interest
that supplies the proper holding power. The sympathy is derived mainly from
the use of about one hundred Civil War veterans. This in itself will excite
the sympathy of the patrons and furthermore the very sight of them still
offering their services for their country adds a touch of patriotism that
will stir an audience's emotions. Upon this fact then rests the entertaining
possibilities of the photoplay. The sets and detail work are of the typical
Paramount standard. The atmosphere has been well maintained and the
photographic work worthy of every praise. The cast likewise is
exceptional...
* * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * *
Huck and Tom
March 16, 1918
EXHIBITOR'S TRADE REVIEW
"Huck and Tom," the further adventures of Tom Sawyer, strikes a new note
for clean and wholesome entertainment. As in Tom Sawyer it is the human and
natural touches upon which the success of this story depends. It's the
adventures of a real boy and as such carries all of the necessary elements to
appeal to the better class of picture audience. It does not depend to any
great extent upon the imaginative, but offers in a simple yet interesting
manner a story that is replete throughout with pathos and action. This is
one of those stories that entertains by bringing up recollections of earlier
days, especially with the more mature patrons, and when a story is able to do
this there can be no denying the interest that it will arouse. The director
has supplied a number of quaint human touches that blend in a consistent
manner with the general appeal of the story. The details have been carefully
carried out and the atmosphere well maintained from the first to the last.
The capable direction has produced an even continuity that means much to the
value of the photodrama...The distinct humanness of this story makes it a
desirable entertainment for the better class of patronage. It has action,
suspense and thrills, and linked together with a well defined heart interest
supplies the Paramount program with an exceptional attraction and will prove
a strong box office attraction for the exhibitor.
March 16, 1918
MOTION PICTURE NEWS
"Tom Sawyer" in picture form dealt only in part with Mark Twain's story
of the same name, and so the producers saw fit to make another feature out of
the remainder of the book. So here we have "Huck and Tom," a delightful
comedy of youthful experiences, adventure and fun, breathing the atmosphere
of our former days and consequently full worthy to bear the name of its
distinguished and popular author. Its humor is so real in its reflection of
young America's life and its spirit of adventure so sustaining that the
writer is inclined to pass them by--dismiss them with the single remark,
"sure-fire," and dwell with emphasis on the perfect atmosphere which Director
William D. Taylor has injected into his picture. Mark Twain laid the scenes
of Tom Sawyer's activities in Hannibal, Missouri, on the Mississippi River,
and whether or not the picture company journeyed there to secure the desired
locations, the fact remains that more suitable ones could not have been
found. From the main street of the drowsy town to the home of the Sawyer
children, a typical home of a family in modern circumstances, from the
ghostly old grave-yard to the painted cave, from the deserted house on the
outskirts of the town to the country court room, there is never a note struck
that fails to resound with realism. This atmosphere, together with the
costumes of the former generation, serve to transport the spectator from his
theatre chair and set him down in the Hannibal of which Mark Twain wrote, in
spirit at least...If the exhibitor has shown "Tom Sawyer," his further
adventures as set down in "Huck and Tom" should certainly be served for the
further delectation of his patrons, but let it be understood that the present
picture is complete in every detail in itself--an ideal entertainment with or
without its companion piece.
* * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * *
His Majesty Bunker Bean
April 13, 1918
EXHIBITOR'S TRADE REVIEW
Those who have read and reveled in the pages of the novel which forms
the basis of this feature will be thoroughly pleased with its screen version.
And movie patrons who have not had the pleasure of perusing the story will
probably welcome its humorous situations with equal zest. There is but one
fault to be found with the picturization of this well-known tale by one of
America's most popular authors. Which is the introduction of a lot of wholly
unnecessary slapstick comedy in the scenes aboard ship, when the hero, his
bride and family are en route for Paris. Neither the book nor the stage play
which followed the publication of the story in serial form in the Saturday
Evening Post laid stress on the ocean trip, and why the continuity writer
should have seen fit to add superfluous material to the witty inspirations of
Harry Leon Wilson remains an unsolved mystery. Louise Huff, in the role of
the flapper heroine, is at all times dainty and bewitching. Jack Pickford
plays the part of Bunker Bean to the very life, and his impersonation of that
timid convert to the creed of reincarnation is a study in psychology which
ranks as one of the best roles in which he has yet appeared on the screen.
Miss Huff acts with such brilliancy and enters so thoroughly into the spirit
of her part that she is responsible for much of the picture's success...The
photography leaves nothing to be desired. Handsome interiors, clever long
shots, and fine lighting effects combine to make the feature an artistic
camera triumph. It is a bright, lively comedy.
April 20, 1918
MOVING PICTURE WORLD
Humor of an unusual and refreshing brand makes up the greater portion of
the Famous Players-Lasky production of Harry Leon Wilson's story, "His
Majesty, Bunker Bean." This five-part picture was put into scenario form by
Julia Crawford Ivers and is not above criticism as a piece of construction,
but the comic bent of the characters and their doings and the acting of Jack
Pickford and his associates conceal most of the picture's faults of play
building. The serious situation in the book where Jack discovers that he has
been cheated by the fortune teller and his mummy is stuffed with straw
becomes comedy in the picture, which is quite proper. Everyone is going to
laugh at a young noodle who sits up the night before his wedding worrying
over a mummy when he has such an attractive bride-to-be as The Flapper,
impersonated by Louise Huff...William D. Taylor has directed the picture
cleverly. Jack Pickford is a likable and humorously effective Bunker Bean.
The wistful note that makes Charlie Chaplin's comedy so human is also present
in young Mr. Pickford's work. This actor has the touch of quaint pathos that
is so valuable to the real comedian...
April 20, 1919
MOTION PICTURE NEWS
Improper subtitling has, to my mind, spoiled this picture, as it does
not give the story a proper continuity. The impression you get is that the
different scenes have no connection whatever with each other and unless you
know the story it is difficult to understand the picture. It reminded me of
old days when we had about twenty different subjects on a single reel...The
star's acting is good, Louis Huff, as usual, very good. Director William D.
Taylor did his best and with proper subtitling this picture could be classed
as one of Paramount's best. It may please as it is, but you are bound to
receive kicks. Picture is clean.
* * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * *
(More reviews next issue)
*****************************************************************************
*****************************************************************************
Back issues of Taylorology are available on the Web at any of the following:
http://www.angelfire.com/az/Taylorology/
http://www.etext.org/Zines/ASCII/Taylorology/
http://www.silent-movies.com/Taylorology/
Full text searches of back issues can be done at http://www.etext.org/Zines/
or at http://www.silent-movies.com/search.html. For more information about
Taylor, see
WILLIAM DESMOND TAYLOR: A DOSSIER (Scarecrow Press, 1991)
*****************************************************************************
