American Cinematographer - January 15, 1922 - 13

January 15, 1922

THE

AMERICAN

CINEMATOGRAPHER

ing of the feelings. It may remain as something of a
standard for pictures with a Charles Dickens rigor.
There were a hosts of such films as "The Great Im(Continued from Page II)
personation," ''The Child Thou Gavest Me," "No Woman
Speaking of stars, reminds me that Charles Ray's
Knows," "The Gilded Lily," "Trust Your Wife," "Blind
"The Old Swimmin' Hole" was a delight, because so
Wives," "The Woman in His House," "Too Wise Wives,"
utterly free from the usual guile and sophistication of
"The Roads of Destiny," "Outside the Law," "Moonlight
the movies-not, however, because it had no subtitles.
Follies," "Paying the Piper," "A Man's Home," "The
"Scrap Iron" is also rated highly, but I believe that perCity of Silent Men," "A Certain Rich Man," "The
sonally I like "The Old Swimmin' Hole" better.
Stealers," "The Forbidden Thing" and "Beau Revel"Norma Talmadge's nearest attainment of the real
that is a reason perhaps why such films as "The Small
thing was "The Passion Flower." The story was twisted Town Idol," with Ben Turpin; "Bunty Pulls the Strings,"
out of shape, however, for the sake of the star. Bill "Doubling for Romeo," "The Great Moment," "Lavender
Hart, Wallace Reid, Elsie Ferguson-outside
of "Footand Old Lace," "Camille," "Reputation" and "Sentilights," which was a good picture-Clara
Kimball
mental Tommy" stand out.fn the mind. Not great picYoung, Pauline Frederick, Katherine MacDonald, Mae tures these, but different pictures. "Camille," "SentiMurray and others of the bright lights have done nothing mental Tommy," "Reputation," especially, had many
to enhance their previous reputations. In fact, they have artistic defects. So, too, had the others, but they atlost ground. Priscilla Dean has gained a little in local tracted more than the ordinary amount of interest, bepopularity.
So has Tom Meighan, by virtue of his cause they broke away from the staid lines of movievirile personality.
making. Among these, the "Great Moment" was good
Reid was the only one who broke away from the because it was so foolishly bad ..
conventional and that was in his role in "Forever." It
With reference to "Sentimental Tommy," I regard
was hard to take, although it showed that there is still this as the most irritating picture artistically that I saw
an underlying force of personality that has not been during the year. Stilted, artificial, bad in the cutting
programmed out of Wallie.
and photographic values, it contained every harsh effect
that might be thrown on the screen, and yet managed to
Some of the comics had a great year. Harold Lloyd
principally.
He made lively pictures, and added sev-· be attractive.
eral cubits to his professional stature as a gag artist.
THE .FOREIGN FILMS
He manages to get away with the illusion of personality,
So far I have not considered the foreign films. To
even if he hasn't one. Buster Keaton also walloped out
a couple of two-baggers, and then muffled the ball a my mind they belong in a different classification. Their
effect on .the art and industry can hardly be measured.
couple of times.
Yet technically, and dramatically, they have so little in
Constance Talmadge, whose features are of a light
common with the majority of American pictures that
order, kept the home fires burning. But that's about all.
a new set of rules has to be laid down for judging them.
She lost a little, I take it.
(Concluded on Page 14)
Charles Chaplin came forward with the ace of comedy
films, and perhaps in its truth to picture values, the ace
of all pictures in "The Kid." So much has been said
about his one film that nothing may well be added, except to mention that it takes more than a single comedy
*to make a really real picture history. Too much adulation is causing a host of dissenters.
Mr. Hughes was probably the most important extraneous influence of the pictures. At least, he succeeded
in giving us two excellent essays-"The Old Nest" and
*
"Dangerous Curve Ahead." I personally didn't care for
ASK THE CAMERA MAN:
"The Old Nest," but it had a large vogue. "Dangerous
Curve Ahead" was life as most everybody knows it.
There was, I believe, something of this same quality in
"The Ten-Dollar Raise," Edward Sloman's production
for Frothingham.
He says: "Because it takes all the guessMr. Hughes's pictures are really great stuff. They
work out of photography, and reduces it to a
won't last more than a few seasons, because they are too
practical certainty.
I know exactly what I am
much of the present, and too superficial, but at least they
going to get when I photograph under Cooper
Hewitt's.
Whatever other troubles there may
do show surface truths and afford entertainment while
be, there's no argument about the photogthey're doing it.
raphy."
Decidedly a contrast in its artificiality was the "Connecticut Yankee." It was a conglomerate affair, but it
had value, because of its contrasts, its humor and its
action. It was a boyish conception of American ingenuity, and appealed to the youth in all people. Not
~Der:al Offices lIod Works, Eighth and Grand Streets. Hobolten, N. J.
a classic, but still highly delectable.
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"Over the Hill," also a Fox output, failed to grip
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its public here as it did in the East. Too much harrow-

1921

In the Movies

Why is the Cooper Hewitt Lamp
"Standard Equipment"
in the Studio

~'Heknows-he knows-he knows"

coope~?:~!! COmpany
IR'"",".

American Cinematographer - January 15, 1922

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