***************************************************************************** * 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 * ***************************************************************************** CONTENTS OF THIS ISSUE: Contemporary Reviews of Films Directed by William Desmond Taylor, Part III ***************************************************************************** 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. ***************************************************************************** ***************************************************************************** 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. ***************************************************************************** ***************************************************************************** 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) *****************************************************************************