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Taylorology Issue 79
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* T A Y L O R O L O G Y *
* A Continuing Exploration of the Life and Death of William Desmond Taylor *
* *
* Issue 79 -- July 1999 Editor: Bruce Long bruce@asu.edu *
* TAYLOROLOGY may be freely distributed *
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CONTENTS OF THIS ISSUE:
Contemporary Reviews of Films Directed by William Desmond Taylor, Part III
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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.
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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 and 78.
* * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * *
Up the Road with Sallie
April 20, 1918
EXHIBITOR'S TRADE REVIEW
"Up the Road with Sallie" is a bright, breezy comedy exactly suited in
every particular to the talents of winsome, pretty Constance Talmadge, and
rejoices in the presentation of unique situations, each following hard upon
the heels of the former, and each adding to the fun and mystery which make
the plot a wonderfully complicated thing, preserving its interest to the last
reel. The comedy that can keep the suspense quality in evidence from
beginning to end, is always a screen winner, and here is one of the few which
succeeds in so doing...Miss Talmadge has probably excelled all her previous
screen successes in her portrayal of the madcap Sallie, who coaxes her staid
aunt into the outer world of adventure. Daintily alluring, whether clad in
the oilskin automobile costume warranted to defy rough weather, or in
tailored gown or robe de nuit, her graceful figure and personal charm is
exhibited to the best advantage. But it is the snap and energy she puts into
her work that is principally responsible for the play's success...The
photography furnishes a succession of beautiful views of winding highways and
rustic surroundings. A number of deep sets and artistic lighting add much to
the feature's appeal, and the closeups are perfectly posed and filmed. The
picture as a whole is a distinct triumph for the Select studios.
April 27, 1918
MOVING PICTURE WORLD
Nothing but a guilty conscience or a bad case of indigestion will
prevent anyone from enjoying the trip "Up the Road with Sallie." This five-
part Select picture was adapted by Julia Crawford Ivers from the novel by
Francis Sterrett, and was directed by William D. Taylor. It belongs to the
list of never-did-happen stories, but that doesn't detract from its amusing
qualities. It is all breezy, good fun, thanks to the vivacity and youthful
charm of the star and the clever way in which the story has been put
together. Constance Talmadge is seen at her best as Sallie Waters, and there
is an air of wholesomeness about the entire picture that gives it a most
agreeable atmosphere...One situation is a bit risque, but Constance Talmadge
carries it off daintily and without the slightest trace of offense.
Personality is a great asset on the screen...
April 27, 1918
MOTION PICTURE NEWS
"Up the Road with Sallie," adapted by Julia Crawford Ivers from a novel
by Francis Sterrett and featuring that ravishing comedienne, Constance
Talmadge, makes a farce comedy, the sum and light fluffy substance of which
is excellent. Its complications contain an abundant supply of humor and the
author has shown a keen knowledge of human nature in his four principal
characterizations that makes them beings of flesh and blood instead of rather
impossible puppets; often the incumberances of a farce. The romance of
Sallie and Cabot is fetching and pretty but the various love passages between
Aunt Martha and Henderson with their petty jealousies and awkward
protestations of affection are a rare combination of the human and the
humorous. This mixture, not the least of the picture's many merits and which
is apparent throughout the story, brings "Up the Road with Sallie" to the top-
notch of picture comedy. The plot center around the various misconceptions
of the four principals. Sallie and her Aunt Martha motoring in search of
adventure take refuge in an empty but warmly furnished house during a rain
storm. Other guests desiring shelter are Cabot and Henderson and
circumstances and fragments of conversation supplemented by vivid
imaginations result in each pair believing the other robbers. The rain goes
on for four days and the romances start. An admirable supply of appropriate
subtitles and funny twists galore keep the flow of comedy steady during this
long episode, the main one of the picture. It has been treated expertly both
by adaptor and Director William D. Taylor. Mr. Taylor, whose forte seems to
lie in the production of the comedy picture has carefully restrained his
subject from stepping on the offensive side of the line. Even when Sallie
discovers she has climbed back into the wrong bed and that Cabot is also
wound up in the covers, the effect is genuinely funny and so realistic is the
surprise expressed by each of them that response to it will be multiplied.
The rainstorm is excellent and the photographic effects achieved by Frank E.
Garbutt are to be commended...
* * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * *
Mile-A-Minute Kendall
May 11, 1918
EXHIBITOR'S TRADE REVIEW
There is plenty of snap and dash in this bright comedy-drama which
abounds in amusing situations and runs from start to finish without a break
in the continuity. Also a pretty vein of sentiment is in evidence which
balances the humorous phases of the play nicely, and taken on the whole it
can be listed as an extremely desirable attraction. Jack Pickford gives an
energetic and pleasing performance in the role of the impetuous young
spendthrift--Jack Kendall--and Louise Huff's grace and beauty are strikingly
manifested in her portrayal of the faithful Joan, to whose love and gentle
influence the madcap hero owes his final success and reformation...The
photography includes many handsome interiors, the scene of the banquet given
by young Kendall to his chorus girl friends being especially ornate in its
settings, and the country views present remarkably well filmed specimens of
rustic scenery. There are a number of excellently posed close-ups and the
lighting effects could not be improved upon.
May 18, 1918
MOTION PICTURE NEWS
The prodigal son of Owen Davis' play, "Mile-a-Minute Kendall," provides
another human comedy role for Jack Pickford. He is a realistic and likable
prodigal. The part is in itself natural in conception and treatment and
Mr. Pickford's handling of it is a skilled piece of acting from first to
last. Even while seen as the thoughtless waster of his father's fortune, he
is pleasing. He is thoroughly human when he imagines himself in love with
the alluring Rosalynde d'Aubre of Lottie Pickford, and genuine to the last
when success comes to him because of the love of Louise Huff's appealing
Joan..."Mile-a-Minute Kendall" is the faithful picture of the rich, young and
citified man of today. In mirroring this slice of life it is possessed of as
much color and appeal as are the Tom Sawyer productions in which Mr. Pickford
has appeared. Its space is about equally divided between human interest and
comedy touches, a combination which always pleases. Gardner Hunting adapted
and William D. Taylor directed. This team seems sure-fire.
May 18, 1918
MOVING PICTURE WORLD
..."Mile-a-Minute Kendall" has none of the keen observation of life that
made Booth Tarkington's "Seventeen" so satisfactory. Its fun is innocent,
however, and the soiled dove lady is not at all dreadful. The production is
never slighted. Louise Huff as Joan Evans and Lottie Pickford as Rosalynde
could hardly be improved. Two of the parts are not well played. Jane Wolff
is too tearful and depressed as Mrs. Kendall, and Jack McDonald burlesques
the character of the country landlord to a painful degree.
* * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * *
How Could You, Jean?
June 29, 1918
EXHIBITOR'S TRADE REVIEW
Mary Pickford--That's All! A Marvel of youthful grace and heroine of a
delightfully nonsensical comedy replete with light touches of sentiment,
alive with wit, and a sure money winner wherever flashed upon the screen.
As regards the plot, why there isn't any worth speaking of, and really none
is needed. Because, after one has watched little Mary flitting to and fro,
whether accompanied by cows, pigs, geese or their human equivalent--the only
verdict is that the curly-haired little darling of filmland still reigns
supreme upon her celluloid throne. The winsome leading lady is herself all
through the picture. 'Nuff said! Because the chief charm of the film lies
in the wonderful acting of Miss Pickford, as shown in the play of her
expressive feature, the sly glances, the alluring wink, the shadowy change
from grave to gay mood which in an instant works a lightning metamorphosis in
a situation. This is not to say that the story is utterly devoid of purpose.
It carries no complications that would burden the brain of an infant with
unnecessary striving, but, nevertheless, adult as well as juvenile movie
patrons are sure to yield to its lure...The little star fits her present
vehicle like the proverbial glove and is well supported by a very competent
cast...The photography includes a number of exceedingly beautiful rustic
scenes, artistically tinted views of meadow, forest and stream, and cleverly
executed long shots.
June 29, 1918
MOTION PICTURE NEWS
Mary Pickford's "Stella Maris" showed her at her acting best. And there
have been many others that earned her nothing but praise. Generally
speaking, her pictures have steadily increased in merit and while her public
seems certainly glad to see her in such productions as "Amarilly of
Clothesline Alley," which is typical of the majority she has appeared in, and
does not demand more like the Locke picturization, it seems reasonably
certain that it will be dissatisfied with "How Could You, Jean?" In general
getup this, her latest offering, resembles an elongated Mack Sennett farce,
handled by a director acquainted with the mechanics and gags of knockabout
comedy and tempering his scenes by beautiful backgrounds, camera work of the
rarest kind, and a certain show of artistry in the more pensive moments of
the picture...Certainly we never expected to see the dainty Mary attacked
from the rear by a rushing ram and propelled over a cow pasture like a shot.
This will register as a laugh, no doubt, but to our mind it immediately
suggested Ben Turpin and Chester Conklin. Miss Pickford is a clever
comedienne and needs not the indignified assistance of a battering ram...We
do not mean to imply that "How Could You, Jean?" is by any means a dreary or
boresome affair. When Jean, the aristocrat, enters the kitchen as cook,
becomes acquainted with in awkward Swedish farm hand, is teased by the
kiddies from next door and when she discovers herself falling in love with
Ted, whom she believes of the same ilk as the Swede, there are chances for
comedy of the tried and true Pickford type. Miss Marion's subtitles also
assist the picture in no small measure. But after all something possessed
with a slight trace of drama, something a little more polite is expected when
we see Miss Pickford's name on the screen. And it is expected because she
has given us something dramatic and politely comical in the past...
June 29, 1918
MOVING PICTURE WORLD
...The construction of the story could be vastly improved, but the
spirit is good clean fun and the production reveals country scenes of quiet
beauty that are refreshing to the soul. Mary Pickford's arch wink, radiant
smile and deft comic methods are given full play in the character of Jean...
* * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * *
Johanna Enlists
September 14, 1918
MOVING PICTURE WORLD
That there is no necessity for sombre mood in stories of present-day
military atmosphere is delightfully illustrated in "Johanna Enlists," and she
actually does enlist as Mary Pickford in the American Artillery regiment
which gave her support in the play. The regimental action and encampment
near the house of Johanna of the story is real and is cleverly incorporated
in the movement of the play at every stage of its developments. This
realism, some humorous sub-titles and Miss Pickford's artistic interpretation
constitute the main values, but they are winning enough to please almost any
American audience. The story is a very frail fabric...Most of the sub-titles
are bright and humorous, but those which get outside of the action into
narrative could be eliminated without serious loss to story interest.
"Johanna Enlists" should please every Pickford audience, and many more
besides.
* * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * *
Captain Kidd, Jr.
June 1919
PHOTO-PLAY WORLD
The charming personality of Mary Pickford is given full scope for a
display of itself in this new little play, which was written from the stage
piece by Rida Johnson Young. While Miss Pickford may have done bigger
pictures, she has done few more engaging ones, for the humor and the pathos
and the love element are very cleverly distributed, and the scenes are
managed with a view to making the most of the slight dramatic attributes and
the rather more pronounced comedy phases...
May 3, 1919
MOTION PICTURE NEWS
"Captain Kidd, Jr.," may be summed up as a lightweight drama and
paperweight comedy, which fact makes it hardly substantial enough for feature
length. That the piece holds together remarkably well is sufficient evidence
that it has been entrusted to skillful hands. What it lacks in dramatic
substance is counterbalanced by the spontaneity of the action, the humanness
of the characterizations, the artistic quality of the production, and above
all, the measure of admirable acting turned in by the star and her players.
The offering is a reminder of some of Mary Pickford's first pictures in that
it exacts no demands on her personality other than to appear bewitchingly
feminine, nor does it tax the imagination of the spectator. All one has to
sit back in his seat and watch the players nurse the anaemic thing along and
give it a breath of life...A bit of the action is grossly exaggerated,
particularly in the representation of small town life. One rube character,
the "constabule," nearly spoils the story in his ridiculousness and almost
makes us think that he might have been loaned by Mack Sennett. Otherwise
everything is in its favor. The picture may be brittle, but its thin
properties are mildly amusing...
May 3, 1919
MOVING PICTURE WORLD
Let no possible laugh escape, was the rule governing the making of
"Captain Kidd, Jr.," the latest Artcraft picture with Mary Pickford as the
magnet...Opening in the second-hand book store of a quaint old Scotchman
whose granddaughter is the guiding spirit of the place, the first third of
the picture is human, brisk of action and sufficiently novel of situation to
entertain all classes of Pickford fans. With the shifting of the locale to a
small town in New England a greater change takes place in the classification
of the characters and the humorous nature of the picture. Keystone comedy of
the get-the-laugh-at-any-price sort supplies the fun from then on, a
burlesque constable of the broadest type and the longest, thinnest legs being
the chief comic cutup...Some spectators will vote the constable a huge
success, others will find him too much in evidence, while still other devoted
admirers of the star will wish he had been left out completely...Victor Potel
as the comic supplement constable is always true to type and will be heartily
relished by those who are willing to laugh and ask no questions. The
production is up to standard.
* * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * *
Anne of Green Gables
November 22, 1919
EXHIBITOR'S TRADE REVIEW
Somebody described Mary Miles Minter as "a ray of sunshine shot with
sapphire," which seems a pretty and fitting way of putting it. At any rate
Miss Minter is a beaming, radiant "eyeful" of youthful charm, and "Anne of
Green Gables," her newest photoplay, a Realart offering, is by all means an
attractive setting. For sentiment "Anne of Green Gables" has something
almost as pretty as the heroine of the proceedings. There is little beside
sentiment in the play and at times it becomes a bit sticky and perhaps the
story receives a somewhat attenuated telling, but for all around purposes
this offering is splendid in design and execution. It should be hailed as a
bit of fresh and charming entertainment and serve as pleasant relief from the
tense tone and mood of the highly melodramatic feature pictures of the
current market. Miss Minter is, of course, the whole show. The beginning,
middle and end of "Anne of Green Gables" depends upon her for whatever appeal
there is contained in the play...
November 22, 1919
MOVING PICTURE WORLD
...The whole story is sweet and wholesome--even Anne's adventure with
the striped "pussy"--and the different stages of her development from
pigtails and knee dresses to young womanhood are followed with every
attention to beauty and truthfulness of background and the genuine New
England atmosphere called for by the story. William D. Taylor, the director,
chose a wonderful old place for the home where Anne finds love and happiness,
and many of the locations are rare examples of rural landscape effects...
A simple, clean story which is just what it claims to be, the merit of "Anne
of Green Gables" is the fidelity with which it brings out the better side of
humanity and enables its lovable heroine to enlarge greatly her circle of
great admirers. Mary Miles Minter has the youth and personal charm required
for the part of Anne, and responds quickly and convincingly to the
character's varying moods...
November 29, 1919
MOTION PICTURE NEWS
There are some very good characterizations in this picture and it is
this array of excellent types that registered best with the reviewer. The
continuity, the mountings, and the photography are all up to present day
standards but after an auspicious opening the director evidently believed he
should inject the so-called "punch" in the action and possibly "forced" his
performers to "act" and thus destroyed some of the naturalness of the later
scenes. To those who like the "Anne" series of stories by L. M. Montgomery,
and their names must be legion as these stories enjoyed a wide vogue, this
picture should suitably entertain. It is a simple theme and will undoubtedly
afford the keenest enjoyment to those who like the sort of entertainment
provided by Chautauquas and Lyceum courses. For a blase and confirmed
picture fan this picture will not register so heavily, although it should
satisfy all classes. But its strongest appeal will be in the smaller towns
and the neighborhood houses in a nice community...
* * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * *
Huckleberry Finn
February 28, 1920
NEW YORK DRAMATIC MIRROR
It is a glad day indeed when we can renew our old chumminess with Huck
Finn and Tom Sawyer, kings of adventure, explorers, pirates, and adepts in
all the arts of boyhood. To be sure this is not the screen debut of either
of the young heroes of the Mississippi Valley, but there is more of the
spirit of the genial Mark Twain and more of the breathlessness of high
romance in this particular narrative of their careers than in either of their
preceding film ventures...To William D. Taylor must be given unreserved
praise for the way he has caught and transferred to the screen the mood of
the original story. The Mississippi country itself, or something very much
like it, furnishes a background that is both authentic and picturesque, and
through the whole play Mark Twain lives and breathes again...It is with real
joy, then, that one is able to proclaim that the film versions of these
cherished stories are worthy to take their places beside their printed
originals...
* * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * *
Judy of Rogues' Harbor
March 6, 1920
NEW YORK DRAMATIC MIRROR
Despite the hard work that Mary Miles Minter does in "Judy of Rogues'
Harbor,' this hectic melodrama fails to convince, as was shown at the Rialto
by the snickering of the audience that was heard in absurd situations. There
is too much display of brutality that does not suit the personality of Miss
Minter. However, a notable cast helps to create a little interest in the
weird conglomeration of incidents that are brought forth on the screen...It
is hard to believe that William D. Taylor is responsible for the direction.
Most of the time it is merely bad and never does it rise above mediocrity.
The story recalls the early days of the motion picture when nothing was
supposed to be logical or interesting so long as it was a picture that moved.
Nowadays, however, heavier demands are made on photoplays.
February 14, 1920
MOTION PICTURE NEWS
Imagination has not been a governing factor in Mary Miles Minter's
latest production, "Judy of Rogues' Harbor." Having not read Grace Miller
White's book, from which the adaptation is made, we are not in a position to
state how closely it follows the original, but it looks to us that either the
author has been unduly theatrical or else the director has not used his
imagination. The picture takes a long time in getting started, due
principally to establishing a wealth of characters. And they are brought
forward in four different sequences. Mr. Taylor has wasted an enormous
amount of good and inoffensive film by having his players go through scene
after scene to establish relations and conditions that could have been shown
in a few episodes with a few well chosen subtitles. And speaking of
subtitles, many of these are crude and bewildering, with the result that the
action is often hindered. There is too much concentrated effort expended in
showing every little incident in the relations of the characters. The
picture is hectic melodrama with a vengeance and it capitalizes as its
dominant idea the theme of happiness. Yet its thought is completely
subordinated by a prominent display of brutality and lust. There is no
central character in the accepted sense since the other figures seem quite as
important as Judy. The plot becomes involved so that every melodramatic
ingredient is utilized. And when the story is finished one cannot say that
truth is a vital factor. Weird touches are discernible throughout the
action. Coincidences and conveniences are worked overtime. One can ask a
deal of perplexing questions concerning the development of the picture. Miss
Minter succeeds in making herself appealing in the title role, but hectic
melodrama is not her forte. Theodore Roberts stands out in a character
study.
February 14, 1920
MOVING PICTURE WORLD
Admirers of the stories written by Grace Miller White will be delighted
with the screen production of "Judy of Rogues' Harbor," made by Realart with
Mary Miles Minter as the persecuted heroine. Like "Tess of the Storm
Country" it is filled with melodramatic happenings, the good folk being very,
very good and the bad folk very, very bad...There are two features of the
production that will satisfy the most ardent lover of the beautiful: certain
of the exterior long shorts, and several of the close-ups of Mary Miles
Minter. In the language of the circus poster: These features alone are worth
the price of admission. The character of Judy is well within the star's best
line of endeavor and she brings to it the youthful charm so essential to its
success...William Desmond Taylor has shown good judgment in his selection of
local color. The scenario is rather overcrowded with incident owing to the
necessity of compressing the novel into six reels, but there is heart
interest in every foot of the six reels.
* * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * *
Nurse Marjorie
April 3, 1920
MOTION PICTURE NEWS
Realart has chosen an English story in this one for Mary Miles Minter.
Whether it will amuse an American audience with its "lord and lady, duke and
duchess," atmosphere remains to be seen. But we will say this for it and for
the benefit of those who do not understand these well written English
classical stories, it is one of the best of its kind ever produced, being
written by Israel Zangwill, a skilled portrayer of English life. There's one
great fault with pictures of this kind, however, and it is the same in stage
productions, they're liable to be a bit slow and draggy, caused no doubt on
account of the characters, whose life and surroundings are give more to
quietness and dignity than to activity. Still, we have seen American
audiences, especially of the elite class, sit through and enjoy pictures of
this type profoundly. This feature offsets the monotony by the introduction
of two characters whose love affair adds plenty of action and interest to the
production. The picture might be a little draggy in the hospital scenes but
makes up for this in the many comedy situations introduced between the lovers
and again in the last two reels between the hero and Marjorie's supposed
mother, who does not hesitate to smoke a pipe and offer another to the
dejected lover. All told it is a classical story, well written, with a
pretty star, who plays her part well and a supporting cast which could not
have been selected with better judgment. It should interest, especially
among the elite.
April 3, 1920
MOVING PICTURE WORLD
The clean, wholesome quality of the Realart production, "Nurse
Marjorie," cannot be denied. Its star, Mary Miles Minter, as pretty as ever,
is still the prey of a desire on the part of both director and scenaroist to
play up her winning personality without sufficient concern for the dramatic
values of the story The picture has a good opening, presenting an amusing
group of English and Irish types, whose relationship provides a comic
situation. Miss Minter's work is attractive by force of her beauty and
youth, but she still adheres to mannerisms which are not a mark of
professional proficiency. The picture is much at fault in construction, and
is padded with unimportant details, which detract from the strength of the
production. The scenes in the fish emporium are worked hard for comedy
effects, some of which get over individually. Whether or not it is in
accordance with Israel Zangwill's intention the matching of a member of the
House of Commons with the supposed daughter of a fish dealer, as presented in
the unsavory fish kitchen of the picture, fails to be convincing. The scenes
in the lame boy's room in the nurse's home, are sure to please, and Frankie
Lee is a clever little actor. On the other hand one grows out of patience
with superficial attempts at comedy in the room of the "blind man," otherwise
John Danbury who has had an operation to eliminate a squint. The production
would be improved by cutting. Lydia Yeamans Titus, Arthur Hoyt and Frank
Leigh do conspicuously good work.
* * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * *
Jenny Be Good
May 15, 1920
MOTION PICTURE NEWS
If this picture were cut to five reels--it now runs six--and some of the
unnecessary scenes "chopped out," and many of the sub-titles changes so as to
give more expression to their meaning, Realart would have a pleasing Mary
Miles Minter feature which should interest and amuse the patrons and bring
satisfactory results to the box-office. As the production stands, there are
too many scenes introduced, many of which could easily be eliminated, as they
are not of vital importance and tend rather to detract than add to the
interest of the story. And again these scenes are introduced in a way that
might cause confusion to the average person, for they seem to jump ahead of
the story and then back to it again, instead of finishing with one sequence
before going into the other. The star is her usual self in appearance and
action and the direction is up to standard and shows a carefulness in the
handling of the star and attention to detail especially in regard to the
sets, some of which were lavish, and the exteriors, many of which were
beautiful, that could not be excelled...
May 15, 1920
MOVING PICTURE WORLD
If individual scenes from "Jenny Be Good," a Realart production, based
on a story by Wilbur Fauley, were culled for criticism, there would be found
many that would live up to an artist's idea of the beautiful. Unfortunately,
however, the dramatic qualities of the picture are weak; and if the
production had been made in four reels instead of six, the result would have
been much better--condensing of the story interest would have added punch to
the drama, and livened up the interest generally. The dope interest in the
picture should be eliminated. Mary Miles Minter continues to present a
pretty picture, and it is not her fault that sickly sentimental sub-titles
are allowed to mar the seriousness of the drama. Her director is still
inclined to centralize the star to the general detriment of the picture...
* * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * *
The Soul of Youth
August 28, 1920
MOVING PICTURE WORLD
The spirit of Oliver Optic and Horatio Alger has fallen upon the author
of "The Soul of Youth," and the William D. Taylor production is full of the
simple expedients of these celebrated writers of juvenile fiction. There is
the same struggle with an adverse fate and the same rise to fame and fortune
that always marked the path of the earlier heroes. Naturally none of the
delightful humor and deep understanding of boyhood to be found in the Mark
Twain stories directed by Mr. Taylor appear in the present story. Its
incidents are of the kind most easily understood by the youthful mind and are
cleverly calculated to awaken sympathy for the homeless hero and the half
starved mongrel that is his closest companion...The picture is practically
the first recognition of a demand for original juvenile fiction in the
movies, and its reception by the general public will be watched with a good
deal of interest by the industry in general. Lewis Sargent vindicates his
selection as the featured player of the cast. He is natural and human at al
points of his performance and presents a character at once likable and
appealing...
August 28, 1920
MOTION PICTURE NEWS
...The picture opens with all the tenseness and dramatic action of "The
Man Who Came Back" and closes with all the boyish realizations of Booth
Tarkington's "Clarence." The first five-hundred feet or more gives us some
of the best melodrama seen on the screen for some time. Swinging from the
scenes of Pete Moran and his "woman" to the orphanage; to the court of Judge
Ben Lindsey and then to the home of the Hamiltons, where The Boy finds the
only real home he has ever known, the cameraman has caught some excellent
drama and placed the youthful Sargent in a way to give a good account of his
stewardship as a screen luminary...
* * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * *
The Furnace
November 20, 1920
MOVING PICTURE WORLD
...The story is not essentially original, yet there are some new twists
and moments of suspense that score heavily. The sub-titles are clever and
some of them give good food for thought. The settings are good--the wedding
scene at the church being exceptionally beautiful. The lawn party is very
pretty, and the wind-storm that arises when the party is at its height is
very realistic. The carnival scenes in the ballroom are spectacular..."The
Furnace" is a good dramatic photoplay for people who think, and probably will
enjoy its greatest success in the highest class houses.
December 4, 1920
MOTION PICTURE NEWS
Whatever merit the original story contained certainly hasn't been taken
advantage of in the screen adaptation. There is very little plot material
present, the idea being based upon a honeymoon quarrel which is such an
inconsequential matter that it is amazing how it ever appealed to the
sponsors as picture entertainment. A word or two by the parties involved in
the quarrel would have brought peace, but for five reels their foolish
conflict is forced with nothing tangible in the way of logic or argument or
drama or anything else than a grand spread. William D. Taylor has been given
a good sized check-book and he has gone the limit in staging the picture.
He has designed some massive sets and others which are thoroughly in harmony.
In fact the one redeeming thing about the offering is its production.
No expense has been spared to make it lavish. If as much money had been
spent for a good story the result would have been different. The characters
move about like so many puppets entirely at the whim of the director. Some
of their actions and arguments have very little sense about them. For
instance, the wife who walks around in an amazing variety of gowns asks a
masculine friend to lend her some money. Her husband is rich enough to
provide her with funds. There is no foundation for many other scenes and
situations. The figures are moved about from London to Monte Carlo to
Scotland to Canada and one has difficulty in keeping track of them. They
flit around from one room to another with equal speed. There is really no
head nor tail to the thing. Inconsequential as the quarrel between the
honeymooners is, the development of their "spat" is even more lacking in
substance. The title is meaningless unless one is led to believe that the
married couple must be purged of their selfish whims in the crucible. The
characters extract no sympathy from the spectator. Mr. Taylor has piled on
the detail and given stress to every little incident. And drama is missing;
likewise reality and truth. Agnes Ayres doesn't get beneath the surface in
her characterization, although she commands considerable attention with her
beauty and distinctive costumes. Theodore Roberts is good as usual in a
crotchety role. Milton Sills and Jerome Patrick are rather wooden in their
portrayals--which is not to be wondered at considering the spineless plot.
There is a good church scene representing the marriage ceremony. It is the
only true touch in the picture.
* * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * *
The Witching Hour
March 12, 1921
MOTION PICTURE NEWS
Probably no stage play of the last twenty years has offered the picture
producer richer or more spectacular opportunities than Augustus Thomas' "The
Witching Hour." This drama, one of the first to make use of the latent
dramatic possibilities in that mysterious fact of hypnotism--a fact which
still to some remains a theory and is therefore the more fascinating--seems
to have been molded in the exact form or mold so dear to the scenario writer
and director. Considering the essentials of the play, its theme, its
involved but always gripping plot (a plot certainly possessing a murder
puzzle, the solution of which is beyond the average patron), its dual love
interest and its powerful melodramatic highlights, it is peculiar that a
director of the skill of William D. Taylor did not make more of it. What
strikes us as the most obvious flaw of the production is the too abundant use
of subtitles. Subtitle writing is an art only as long as the author of the
printed words seeks to clarify or emphasize the pictured action. When the
author of the subtitle finds it convenient to supplant the action with
references to important complementary scenes, the result is a give-away to
the spectator that the scenario writer or director has not done his business
in the way of picturing the drama itself. In other words, "The Witching
Hour" is poorly adapted for the screen. It seems hurried, careless--the
possibilities of the original have not been grasped--not even suggested. The
psychology of characterization, the rich and vital action, the tense
situations and climaxes--these are missing. The picture carries some fine
lighting and some extravagant settings. These cannot compensate for the lack
of drama. Elliot Dexter heads a cast composed of many of the most reliable
members of the Lasky stock company. But even Dexter seems to be wandering a
bit. Even in the famous dramatic scene, when he tells the villain to drop
the gun, that he "can't pull the trigger," he seems more inclined to
emphasize the attractiveness of his own profile than the actual force of the
situation itself. "The Witching Hour" will attract patronage--that is
certain what with its various advertising accessories of the production. The
question whether it will please its large houses is another matter, however.
The original material is so well known that it seems exceedingly difficult to
judge the picture on its own merits--the ghosts of the play and the initial
picture production made from it stalk about and are inclined to mock the
various scenes and sequences in the present adaptation.
March 12, 1921
MOVING PICTURE WORLD
Splendor of treatment characterizes this production of "The Witching
Hour" from the magnificent scene of grand opera at the start through other
notable ensembles. The director is obviously in sympathy with the mood of
the play, for it is handled with that quiet and effective realism
characteristic of the author's finest work for stage performance. Whether or
not the telepathic and hypnotic premises are sound, there is preserved
convincing probability of incident and character, and this is strengthened by
a cast admirably chose...As show at the Rialto Theatre to a large audience,
"The Witching Hour" held close attention and provided fine entertainment.
* * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * *
Sacred and Profane Love
April 30, 1921
MOTION PICTURE NEWS
Elsie Ferguson has in "Sacred and Profane Love" an adaptation of her
stage play which was adapted in turn from Arnold Bennett's novel, "The Book
of Carlotte." Not being familiar with either the book or the play we cannot
say whether the screen version is faithful or not. But it never seems to get
beneath the surface. Somehow the plot and characterization appear
artificial, which is probably due to the inability of the sponsors to catch
the psychology of the theme. If one criticizes the title one will be forced
to criticize the play too, for it does not carry two versions of love, but
does show the length at which a heroine will go to regenerate a man through
the call of romance...The scenes are mostly transitional and the action jumps
around at the convenience of the scenarist and title writer. In fact what
would be real dramatic situations are glossed over, with the result that no
deep note is sounded. The heroine is charmed over the pianist's
interpretations and her love is depicted as profane when she gives herself up
to him. Such a love is never painted in this fashion by the majority of
screen writers...The best sequence in the picture is the awakening of love in
his apartment when they play a duet together. The subsequent episodes
detailing the triangle note strike an artificial discord, principally because
of the heavy and wooden performance of Thomas Holding. Some may criticize
the elaborate furnishings and costumes of the heroine as inconsistent with
the characterization. It is a picture which seldom moves with vital action.
It is often wordy and dull. Mr. Taylor has contributed some good individual
scenes, but these seldom score because there is no motive behind them. Miss
Ferguson has very few moments to display any emotional talent.
April 30, 1921
MOVING PICTURE WORLD
...On its artistic side this episode is flawlessly acted and produced.
There is not one touch of vulgarity about any of the incidents.
Mr. Bennett's psychology is never at fault. As a truthful picture of well-
bred profane love it is without a blemish. The heroine of this adventure
secretly fed her mind upon "Mademoiselle De Maupin" and Darwin's "Origin of
Species," an injudicious combination, to say the least...Elsie Ferguson is
easily equal to the part of Carlotta. The complicated emotions of the young
English girl who learns the difference between sacred and profane love by
practical experience are portrayed by Miss Ferguson with rare sympathy.
Conrad Nagel makes the pianist a living personality, and the rest of the cast
is of good quality. The production is excellent in every detail.
* * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * *
Wealth
July 9, 1921
MOTION PICTURE NEWS
Cosmo Hamilton has stopped, temporarily, skating on thin ice with his
screen essays. His latest contribution, "Wealth," has nothing in common with
the eternal triangle and the trespassing figure of the moral leper. Instead
he has used an ordinary theme based upon the curse of money and has dressed
it up with obvious, though fairly interesting dramatic situations. Hamilton
becomes a trifle tedious in presenting the lesson to be learned from the idea-
-since his characters and plot and incident are stilted and they are placed
in well grooved scenes. The picture does serve however, in presenting Ethel
Clayton, in a role which enables her to express her well grounded talent for
emotional expression. It is a sympathetic drawing which is offered here--
that of the poor, struggling artist who marries a wealthy "playboy" and
discovers that money cannot buy happiness. William D. Taylor has given the
picture a splendid production, as well as seeing to it that the action
progresses with very little recourse to dialogue. The discriminating
spectator will notice, however, that the latter sequences are forced--that
what takes placed is introduced for dramatic effect rather than for any
regard for logical climaxes. Particularly is this true when the husband and
wife are separated for a brief time. The introduction of the baby and the
subsequent death has no reason to be incorporated except to stress the
conflict engendered by a dominant mother-in-law. The infant's death is
certainly not pleasant and will invite criticism from feminine patrons...The
director has failed to touch upon the human touches which are noticeable in
an elusive way. An instance is given when the young father fails to look in
on his child before his departure. There is very little intimate incident--
the director following the author's idea to stress the conflict and the
lesson. It is not a picture which will live in the memory, it being simply
an average program release.
July 9, 1921
MOVING PICTURE WORLD
...At times the tale is irritating rather than entertaining..."Wealth"
is a smart but superficial analysis of American life. The acting and the
production go a long way toward rendering the theme and its deductions
acceptable...
* * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * *
Beyond
September 17, 1921
MOTION PICTURE NEWS
"Beyond" is a very eccentric series of episodic scenes in which
spiritualistic propaganda and a temperance lecture are added to a feminine
"Enoch Arden" in a way that can scarcely fail to appear ludicrous to the
average fan. The authorship of this weird concoction is laid at the door of
one of England's greatest playwrights, Henry Arthur Jones, a man famous for
his skill at dramatic construction and his ability to write plays in which
wholesome lessons are presented entertainingly. Either Mr. Jones has little
respect for the intelligence of picture audiences or he has absorbed too much
English spiritualism. At any rate the material he has provided for "Beyond"
is neither skillfully constructed, convincing in plot or well written in
titles, although some of the latter are unmistakably original and not the
work of staff writers...Ethel Clayton and a capable cast appear in
innumerable scenes which require titles to explain what is going on and which
never show any continuous action or interesting incident. The "ghost" of
Ethel's mother shows up ever so often to explain that everything will come
out all right, but she never tells her anything that will aid in bringing
this about. All in all it is a very unsatisfactory picture unless one is
uncharitable enough to view it as a comedy and about the only place it may be
expected to go over is at a spiritualistic camp meeting, for unlike
"Earthbound" it has no theme worthy of respect nor technical construction
unusual enough to command interest.
September 17, 1921
MOVING PICTURE WORLD
...The material for the story is generally interesting but the big
dramatic points seem to miss fire and the death of the second wife a trick of
the dramatist's to bring about a happy ending. Through the fault of either
the director or the actors, the news that Geoffrey Southerne's wife has been
lost at sea does not drive home as it should, and there is a feeling of
perfunctoriness about most of the complications...
* * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * *
Morals
February 4, 1922
EXHIBITOR'S TRADE REVIEW
Heart interest predominates in this picture, which is beautifully
photographed, well directed and ably presented by an excellent cast of
players. Possessing a powerful melodramatic value, the melodramatic
sentiment is never overdone, its sentiment is clean and wholesome and
suspense holds sway throughout the whole production. As a stage attraction
this adaptation of Locke's popular novel made a great hit, and we miss our
guess completely if the film version doesn't make the patrons of the silent
screen sit up and take notice. Director Taylor has performed his task with
admirable judgment, bringing out the strong points of the story exactly where
they are needed, without making the too frequent mistake of his
contemporaries of slopping into excess sentimentality. Exhibitors in general
should find this feature an excellent drawing card. The helplessness of the
heroine, abandoned to the cold mercies of a great city, makes a powerful bid
for the audience's sympathy, which holds good to the end...The continuity is
unbroken and the action moves rapidly.
January 7, 1922
MOVING PICTURE WORLD
"Morals" is an especially fine picture from any angle that interests you
most, but from the standpoint of the exhibitor it can be said that its chief
feature is its real human appeal. It embodies this quality to such a strong
degree that it is no snap judgment nor over emphasis to state unqualifiedly
that "Morals" will meet with success wherever shown. It is the sort of
picture that meets with general response...The entertainment value of the
present adaptation is sure fire. The qualities that go to make up this last
fact embrace every department from the story all through the entire course of
production to the editing. The plot resembles a silk thread, thin but
thoroughly strong enough to hold up the interest: but it is the manner of
treatment that has enhanced its power, just as it was in the original novel.
It contains genuine sentiment without being sentimental. William D. Taylor
has staged the production with extreme good taste and an eye for all the
possibilities to bring out the human appeal...
January 14, 1922
MOTION PICTURE NEWS
...A better selection could not have been made than that of May McAvoy
to appear in the charming role of Carlotta--the girl raised in a Turkish
harem but who escapes to the Occident and is befriended by a bachelor who
possesses an indifference to women. One may appreciate the subtle quality of
romance in this situation. And trust Miss McAvoy to discover every whim and
impulse in the drawing. The role is similar to her Grizel in "Sentimental
Tommy" in its wistfulness and appeal. Or perhaps it is the manner of the
star's interpretation. Whatever it is, she makes the part wholly lovable and
endows it with an appeal that is irresistible...It is a picture that is
finely adapted. There is much of Locke's charm of situation about it. Also
the characterization is well established. The director has brought out all
the little details besides giving substance to the broader scenes.
Pictorially the offering is a gem. The interiors are well conceived and
executed with fitting harmony. "Morals" possesses considerable human
interest. It may be light in the general aspect of its theme but there is no
denying its power to please anyone in search of innocent entertainment...
* * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * *
The Green Temptation
April 1, 1922
EXHIBITOR'S TRADE REVIEW
Admirers of underworld drama will find much to please them in this
picture which provides pretty Betty Compson with numerous opportunities of
demonstrating her ability to play a triple role, in which she appears as a
member of an Apache gang, a dancer par excellence and finally a Red Cross
nurse. There are thrills galore, plenty of rapid-fire action, an interesting
love story and a finale in which hero and heroine conquer all obstacles to
their union and presumably live happy ever afterward. No expense has been
spared in the filming of this production, which is remarkable for its
luxurious settings and beautifully photographed. Despite its numerous
complications, the plot is easy to follow, the continuity being well
preserved and the feature, which was given a hearty reception when shown at
the Rivoli Theatre, New York, gives every indication of winning popularity.
The Apache den scenes are very realistic and the regeneration of the heroine
is brought about in a manner which is bound to secure plenty of sympathy for
that resourceful young lady...There are many handsomely filmed interiors, the
long shots are skillfully executed and superb lighting effects distinguish
the entire picture.
April 1, 1922
MOVING PICTURE WORLD
...While the story will not bear too close scrutiny as to probability
nor profit by a very close examination from the coincidence angle, it is
interesting. For one thing it provides a rapid shift of scene, embracing
views of several stratas of life, principally in Paris. Also it makes for
variety of action. The continuity is chunky at times, but it is as closely
knit together as possible, taking into consideration the extended time of
action and the many changes in locale called for by the story. William D.
Taylor, who directed the picture, grasped the many opportunities for a
producer to display his versatility, with the result that he has injected 100
per cent atmosphere in each divergent locale. And the action staged within
these interesting scenes is staged in a way that leaves nothing to be
desired.
April 1, 1922
MOTION PICTURE NEWS
For about the first half of this picture, nothing of recent release can
eclipse it in atmosphere, incident, action or acting. Afterward there is a
slump that brings the average down to just a good picture that gives Betty
Compson wonderful acting opportunities and Theodore Kosloff a fine role as an
international crook. The principal fault of the tag of the story seems to be
that its perfect continuity of the first three reels becomes episodic and
involved. You see the heroine, an Apache thief, join the Red Cross in France
to escape arrest and then you are told that her experiences have purified her
soul. So far excellent. Then come detached sequences that have to be
explained by titles in which all the principal characters are brought
together again in America by dint of much dovetailing and with considerable
melodrama in connection with the theft of a certain emerald that has first
figured in the story when the local was in Paris. Miss Compson is the
dominant figure of the first part of the story and never has she appeared to
better advantage and never has her particular type of beauty been so
appealing. There has been a most painstaking attempt to make a really big
picture. Nothing in the way of sets, costuming, atmosphere has been stinted.
There is a fine cast of types playing even the bits. The camera work and
lightings are exceptional. The direction, William D. Taylor's last work, is
above reproach...
* * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * *
The Top of New York
July 1, 1922
EXHIBITOR'S TRADE REVIEW
There is nothing extraordinarily original about the plot of this
picture, which offers the "poor but honest and beautiful working girl pursued
by a wealthy chap with evil intentions" for its heroine, a type with which
movie fans are extremely familiar. But the subject matter is so well handled
by the director, the late William D. Taylor, and cleverly acted by a capable
cast of players, that there is no hitch in the action and one's interest in
the fortunes and misfortunes of pretty Hilda O'Shaunnessey doesn't peter out
before her final triumph over adverse fate and snaring of a perfectly good
husband. "The Top of New York" is likely to win favor with that large class
of film patrons who are keen on sentiment served up in generous measure, with
villainy defeated and virtue properly victorious...The camera work throughout
is of the best quality, the roof and tenement views are realistic and good
lighting prevails. The action moves swiftly and the continuity is unbroken.
June 25, 1922
NEW YORK TELEGRAPH
Sonya Levien, from whose story "The Top of New York" was made, and the
people who made it must be steadfast believers in the tried and true. "The
Top of New York," which was the featured attraction at the Rivoli last week,
has been assembled like a Ford car out of standardized parts. Watching the
picture, one feels that if any part broke down the chauffeur of the
projecting machine would have no trouble getting another part of fit--a few
feet of film from any picture showing around the corner could be dropped into
place without anybody knowing the difference. All the elements that have
gone into photoplays from the very beginning are in "The Top of New York"--
the poor-but-honest shop girl with the invalid brother for whose sake she is
almost willing to be less poor and far less honest; the low comedy aunt with
the sharp tongue and the heart of gold; the predatory shop owner who tries to
buy the P. but H. S. G.; and the noble artist who paints in a silken jacket
and a most romantic lack of faith in women. Add to these one drunken husband
for the low comedy aunt, one spinster saleswoman, Santa Claus, the tenements
and several shots of Christmas in the stores, and you have pretty nearly all
the parts required for any picture of this type. As a reflection of life, it
is utterly and completely false, but as an entertainment for those people
who, if they do not believe in fairies, have never ceased to believe in
Bertha M. Clay, it is well nigh perfect. There is no doubt that there is a
public for "The Top of New York" and that this public will enjoy the film
very much indeed. George Hopkins, the scenario writer, and the late William
Desmond Taylor, who directed the film, did their best to minimize its
conventionality, but what a pity that the Lasky organization should so
persistently waste May McAvoy on such trivial material. The leading role of
Miss Levine's story calls for no ability to act--so why hand it to May
McAvoy, who can--that is, when she's given a chance? The only consolation
about the picture is the thought of what it might have been had it issued
from less expert hands. And this is rather sorry comfort!
July 1, 1922
MOVING PICTURE WORLD
"The Top of New York" relates a sob story in such a way that what might
have been made maudlin is deflected into direct sympathy, human appeal and
genuine sentiment. Many things have contributed to this result but the most
outstanding are the manner in which the picture has been directed and
atmospherically mounted and the selection of an able cast comprised of
players that give fine performances, and in each instance seem just the right
person for the role. With the pathos is intermingled a generous supply of
comedy that comes as welcome relief considering the story is laid in sordid
surroundings...
July 1, 1922
MOTION PICTURE NEWS
Cinderella has returned again disguised as a New York shop girl who
meets her Prince Charming on the roof of her squalid home. There is nothing
new or novel in this
story. It is entirely too long and filled with
stereotyped characters and situations. And the director has stressed the
sticky sentiment to the point where reality never has a chance. You look
upon this poor, but sweet, Irish girl whose chief interest in life is
centered upon her little crippled brother. For company she has a garrulous
aunt, the latter's besodden husband, an employer who would bring her to
shame, and a struggling artist bereft of his wife. This group strut through
a series of scenes filled with the moss-covered stock situations...You can
see the happiness building from the first reel, though the suffering figures
must experience severe trials before good fortune smiles upon them. As it is
made in California the snow storm never appears genuine. However, it adds in
suggesting pathos for the youngster during a "blizzard" and he is forced to
find shelter. The subtitles are many, which, of course, makes the picture
look padded. The chief fault of the offering is in burying May McAvoy's
talents. The star who played Grizel never has a chance to ring a true note.
A blonde wig covers her attractive dark hair--presumably to keep in character
with the idea that all shop girls are blonde. It is an old-fashioned picture
in every department and only the sentimentalists will appreciate it.
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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)
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