***************************************************************************** * 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 situated 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) *****************************************************************************