***************************************************************************** * T A Y L O R O L O G Y * * A Continuing Exploration of the Life and Death of William Desmond Taylor * * * * Issue 24 -- December 1994 Editor: Bruce Long bruce@asu.edu * * TAYLOROLOGY may be freely distributed * ***************************************************************************** CONTENTS OF THIS ISSUE: Contemporary Reviews of Films Directed by William Desmond Taylor Sources for More Information about Taylor's Films ***************************************************************************** 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. 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 The following is a 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. The Judge's Wife October 23, 1914 VARIETY A White Star three-reeler sent out through the Box Office Attractions Co. The film features Neva Gerber. It is devoid of much action, and runs slowly because of that. The two principal scenes are the lover (with a mustache) rescuing his fiancee from an attempted abduction, and also the same lover's discovery of the judge's wife robbing the safe in her own home. She wanted money to pay her debts. The judge was about three times her age, very wealthy, but shy on handing out coin to the family. His young and second wife was a rapid shopper. She bought half a department store from appearances, before the engine of the auto could cool off while it stood outside. But the thing that seemed to bother wifie most was $197 she lost at bridge whist one afternoon. Shortly after the game was over, one of the judge's real estate agents called to hand him "several thousands of dollars," collected after banking hours. The judge accepted the money as though it were a cigar, and jammed it in the safe. When the house was dark, the wife returned to the parlor, and unlocked the safe (although the manner in which the knob pointed showed the safe had not been locked). The mustached lover heard her descend the staircase, followed, threw on the lights, saw his employer's wife, but she turned the tables by grabbing his revolver and holding him at bay, after he had taken the money from her. Then the wife screamed for help, proclaiming the lover (the judge's secretary as well) as the thief. He stood for it, and went up stairs to pack. The wife repented, confessed, and everything was lovely. Probably also the judge loosened up when he heard of that one-ninety-seven. A couple of other mustaches were in this three reeler. It would seem that the White Star, with the exception of Miss Gerber and one or two others of the principals, needs a new stock company, for appearances, if nothing else. "The Judge's Wife," as a feature, wasn't worth while, on its scenario, in the first place. The Last Chapter February 19, 1915 VARIETY "The Last Chapter" was written by Richard Harding Davis and produced in film form by the Favorite Players with Carlyle Blackwell in the leading role...It is a good production with a capable cast. He Fell In Love With His Wife February 19, 1916 NEW YORK CLIPPER "He Fell in Love with His Wife" has been read by hundreds of thousands in book form, and has entertained theatregoers for several years as a spoken drama. While the Pallas picturization leaves a lot to be desired on the whole it contains more than sufficient merit, dramatically and photographically, to fulfill its mission as a feature film of class...Direction--Very good at times; could be improved in spots. March 10, 1916 VARIETY The Pallas-Paramount release under the above title carries Florence Rockwell in the principal role, the feature being an adaptation of the original novel of similar title credited to Harry Sheldon. The theme deals with the life story of a woman who innocently marries a bigamist...The various interiors are particularly well taken and appointed and the exteriors show a tone of naturalness. Miss Rockwell fills all the requirements of the principal role and in addition gave the story some weight with her good work. Her support was wholly good without exception and a measure of credit belongs to the producer and director for their efforts. It makes a good program feature, away from the usual run and because of this novelty. Ben Blair March 3, 1916 VARIETY Five part Pallas (Paramount) feature, starring Dustin Farnum, directed by William D. Taylor...The wild western life is admirably picturized, including desperate gun fights and cowboy riding. While a good picture in many respects, it is hardly up to the Paramount standard. April 1, 1916 NEW YORK CLIPPER "Ben Blair" is away below the usual Pallas-Dustin Farnum standard, and at best can only be rated as a second class feature. Direction--The story did not permit of anything startling in this relation. On the whole the director did well enough, considering the drawbacks of the plot. Pasquale May 26, 1916 VARIETY George Beban and Lawrence McCloskey are the authors of "Pasquale," a five- reel Paramount feature produced at the Morosco studios, that has Beban as the star. The feature is filled to the brim with heart interest and contains much sob material, not of the usual flamboyant type, but of the kind that is brought about so naturally and logically that before one knows it there is a contraction in one's throat and a tear in the eye as the scenes of the photo drama pass in revue...From a production standpoint there is nothing to be desired, for lightings, settings, direction and acting are at once adequate and perfect. "Pasquale" is a mighty good feature. May 27, 1916 NEW YORK CLIPPER ..There is plenty of genuinely appealing human interest embodied in the tale unfolded, and numerous little incidents of every day life occur here and there, which give the desired effect of naturalness. "Pasquale" not only is blessed with a clever star in the person of Beban, but has other unusual attributes to recommend it as a feature play of more than passing interest. The story is good, well acted, finely produced and embellished with several realistic battle scenes, not to mention some impressive storm effects and superior lighting throughout. The cast is exceptionally competent. No one overplays, and there is an ensemble effect in the acting worthy of mention...On the whole a classy production from every standpoint...Direction-- By W. D. Taylor. Couldn't be better. Beautiful and impressive storm effects as well as flashes of war evidence director's technique. August 1916 Julian Johnson PHOTOPLAY Among the very few pieces of the past month which have any worth at all, Morosco's "Pasquale" sticks out like a sore thumb on a pianist. It's fairly wonderful, when you come to think of it, that no one before Mr. George Beban and his collaborator dreamed of applying the war-problems of foreign born American citizens to purposes of dramatic plot. Here we have a perfectly lifelike Italian grocer and a perfectly lifelike Italian banker, both moved by a great love for the fatherland--and both setting the match to incipient domestic tragedies by their departures. Had Mr. Beban found a way out of his five-fathom suspense other than through the death of his unwanted people, "Pasquale" would have been a complete masterpiece. As it is, its humdrum, conventional ending doesn't spoil the taste of a lot of superb characterization which goes before. Not the least virtue of this effort is that it isn't a star play for anyone. Mr. Beban as the grocer, Nigel de Brullier as the banker, Helen Eddy as Margarita and Myrtle Stedman as the banker's wife all have equal roles. The American Beauty July 7, 1916 VARIETY "The American Beauty" is a Paramount and runs for about 1,500 feet before there is really any way that one can find out what the story is all about. Then the things begin to straighten themselves in one's mind the yarn goes along for another two reels before the love interest becomes apparent, and there are really about 1,500 feet left in which to carry out the story to the satisfaction of the usual movie audience. The story in itself is one that has been used in various forms all too often in feature pictures and this naturally detracts from the value of the picture as a first-class feature. It is the old story of an artist and his model. Only in this case the fifteen hundred feet used up at the opening of the picture was to plant the fact that the girl came of so-called "good" parentage and therefore, when later in the picture the artist falls in love with her after she has posed for his masterpiece, there is no reason why he shouldn't marry her without the danger of being ostracized socially. "The American Beauty" is but a fair example of a feature, although those who go for the finer details will find much to praise in the interior settings of the studios and the art gallery that are employed as the locale for the telling of the story. July 15, 1916 NEW YORK CLIPPER "The American Beauty" is a high class feature. The photography is beautiful, and real achievements have been attained in the way of artistic and unusual light effects. Technically the production is excellent. Director Wm. D. Taylor having turned out a picture he may be well proud of...First class program feature. Should draw well in any class of house. Davy Crockett July 29, 1916 NEW YORK CLIPPER "Davy Crockett" is a "costume" play. Costumes in question being of the period of the early eighteenth century. There is a wealth of romantic interest and a fine spirit of adventure woven throughout the narrative. Dustin Farnum heads a dandy cast, and on the whole "Davy Crockett" should appeal to the better and middle class houses as a first class attraction...Very fine production. August 4, 1916 VARIETY Davy Crockett is famed as a huntsman. In the Pallas (Paramount) picture of that title, Davy with Dustin Farnum starred in the title role, is more the lover. And as a lover he is made heroic, as he might have been had the Pallas, with Crockett in films, used the scope the opera gave to the subject... Crockett in name alone conjures up all outdoors, a big brave mountaineer, ready at any time for anything that could come on the ground or through the air. Mr. Farnum suits the role. There could not have been a better selection for it, and he did his two or three heroic tricks in approved style, but that was all in his favor, or the story's. For the rest he was mushy, the tale was mushy, and a side story consumed too much space in the telling...The side story drags the film, the picture does not live up to the expectations of the American youth, from the title, and although it picks up toward the finish, this "Davy Crockett" is not an A1 output. A couple of holes in direction are large enough to push the projection machine through them...The scenic surroundings were well worth looking at and were it not for the drawn-out and padded story, this "Davy Crockett" could have been a corker. With Farnum as Crockett the possibilities are there for another of the same title, and the Pallas should go after it, along more active lines. October 1916 Julian Johnson PHOTOPLAY "Davy Crockett" has thrilled all sorts of boys, from the lad who sat on the floor and read the story by the flicker of pine knots, to Mrs. Western Union's son, humped over a dog's eared volume while burrowing through upper Manhattan in a Bronx express. "Davy Crockett," via the smile and biceps of Dustin Farnum and the appliances of the Morosco company, keeps up the good work of amusement and muscle-tingling. The Parson of Panamint September 9, 1916 NEW YORK CLIPPER Dustin Farnum is always likeable in roles such as the two-handed Parson of Panamint. Lots of good, healthy action and fine scenic qualities are two worthwhile features of this production...Direction--By Wm. D. Taylor. The producer turned out a notable picture play. Several little touches evidence Director Taylor's ability as a creator of atmosphere. September 16, 1916 VARIETY This is a film adaptation of a story that appeared in the Saturday Evening Post about a year ago. It is corking material for a feature picture and Dustin Farnum in the titular role portrays the fighting parson of the wild west mining camp in truly likeable manner...The camp life is realistically reproduced and the dance hall with its gambling outfit and the other attendant features is very interesting. The picture is well produced and will hold the interest of any audience. Dustin Farnum stands as the star, but "Doc" Cannon as "Chuckawalla" shares honors with him. The feature is one of the best that has been turned out by the Pallas people in some time and well worth playing. November 1916 Julian Johnson PHOTOPLAY Morosco's shipping clerk nailed up two unusually good films for Eastern expressage last month. One of these, "The Parson of Panamint," had the advantage of Peter B. Kyne's stalwart authorship. Dustin Farnum, as the fighting minister, led the exercises, while the scheme of the novel and its characterizations, were very well preserved... The House of Lies September 22, 1916 VARIETY As an example of what a feature picture should not be this release of the Paramount, produced by the Oliver Morosco Photoplay Co., is a fairly good example. Originally the story must have had possibilities but in the manner in which the final screen presentation is worked out, the feature fails to hit the mark. The story is cheap melodrama of the type that has long since passed its day in popular appeal, and Edna Goodrich does not get over with sufficient punch as the star of this release. The Oliver Morosco Company has turned out better pictures than this, then again this is better than some others that the same company has released. The star has the role of a stepdaughter who is the beauty of the family. Her stepmother and her half sister decide that the beauty of the family must be sacrificed on the altar of mammon so that the family can maintain its social position. Stepmamma then plots with a theatrical producer to help her find a wealthy husband for the girl, but the latter before she will permit herself to be auctioned off, decides to destroy her beauty with acid. Finally when she meets the man she really loves she discloses the fact that the acid marks were nothing but grease paint and he receives her with open arms. It isn't much as a feature, at this late day in the picture producing field. September 23, 1916 NEW YORK CLIPPER "The House of Lies" tells a familiar story in interesting fashion. As far as production, sets, etc., are concerned the feature will stand comparison with the best. The story is not overstrong, but as visualized by Wm. D. Taylor, holds very well. Her Father's Son October 14, 1916 NEW YORK CLIPPER "Her Father's Son" seems to have been written with a well defined object in view. Said objective being Vivian Martin's ability to wear boys clothes and appear cute in same. The picture is absolutely devoid of anything approaching real drama, and the director fell down heavily once or twice on detail. For example, a scene depicting a general's tent in Civil war time looked exceedingly like the model camping outfits which can be purchased ready to use in any sporting goods story. The soldiers and other characters, too, had a decidedly modern appearance, and did not suggest people of Civil War days...Very light story lacking in dramatic interest. October 20, 1916 VARIETY Here is a very good little story of the days prior to the Civil War, the scenes of which are laid in Virginia. Vivian Martin is the star of "Her Father's Son," a feature production presented by the Oliver Morosco Company on the Paramount. Pictorially it is one of the best features this company has turned out in some time, and from an acting standpoint the production is excellent..."Her Father's Son" is a very charming picture that will please almost any type of an audience, there being a little dash of adventure in the war scenes, which take their place naturally in the sequence of the story. January 1917 Julian Johnson PHOTOPLAY "Her Father's Son" is the best poor picture I have ever enjoyed. This statement concerns the sunplay of that name put out by the Morosco studio, featuring Vivian Martin. Here we have a perfectly impossible make- believe, in that a young girl daughter of a Secesh Northerner who dies under a falling tree, goes to the home of her relative, a redoubtable Union Southerner, and there whoops it up for the stars and bars against the stars and stripes in boy's clothes, and until the proper moment for sweetheart revelations not even her fair cousin suspects that she's a soprano. One William Taylor directed this picture. If Mr. Taylor had been born in France it would have been, doubtless, upon Montmartre, for he is an artist who reveals such a feeling for group and line, pastel shadow and tremendous contrast, that he will carve an entirely individual niche in the directoral cliff if he sustains this pace. Believe the story or laugh at it, if you have a taste for anything beyond circus billing the mere depiction of this inconsistent tale will hold you spellbound. Miss Martin herself is a bit of Delftish color, and Herbert Standing and Helen Eddy do some excellent acting. The Happiness of Three Women February 23, 1917 VARIETY "A Picture in the Dark" could have been another title for this Morosco (Paramount) feature named "The Happiness of Three Women," with House Peters and Myrtle Stedman starred. There are many dark scenes in it where freak photography has been tried for. These effects have been fairly successful, as far as the effect tried for was obtained, but they leave the film as a whole so much in the dark that where there is a full lighted bit of photography it looks dim, and some of the early bright scenes really are dim. In a large house the picture would be confusing to many in the rear of the auditorium. And speaking of deep theatres, don't the caption writers or the insert fellows ever think there is anybody back of the third row in the orchestra who might want to read a flash? It's so supinely idiotic to flash a telegraph message with the words magnified only for the musicians, without a chance of anyone back of the tenth row being able to read it, or to show a long hand written letter that even the musicians in the pit have trouble in deciphering. Pictures come and pictures go, but some of the faults remain forever. The big spectacular effect in this feature is a bolt of lightning that strikes a tree and tangles up the plot. It resembled a lightning bolt about as much as Troy does a city. The explosion looked to be exactly that of a hut blow up in the woods...The night scenes of the automobiles on the road with their searchlights looked well, but that's about all. The picture runs along, always just missing a punch, and the players in the same fix. All played well enough, no one, not even the stars, surpassing any of the others, excepting one of the women did some cutey stuff she didn't look. A few of the close-ups of the women also proved they looked much better at a distance. An average weekly release for a service program. Out of the Wreck April 20, 1917 VARIETY ...as a whole the production may be classed as good program material, to be liked greatly by those who enjoy being unhappy. June 1917 Julian Johnson PHOTOPLAY "Out of the Wreck" compels Kathlyn Williams to swim through as heavy a tide of melodrama as we have seen, even in Foxy evenings. Our verdict on this piece is that it is a well done thing not worth doing at all. The World Apart May 30, 1917 NEW YORK CLIPPER The action is gripping. An excellent picture with an appealing human interest. June 2, 1917 EXHIBITOR'S TRADE REVIEW ...Inconsequential to the point of being thoroughly insipid...but an amount of color has been created by the settings. August 1917 Julian Johnson PHOTOPLAY "The World Apart" is the meaningless title of a pretty good Western play featuring Wallace Reid and Myrtle Stedman, and enhanced, as well, by the unfeatured work of John W. Burton and Eugene Pallette. Big Timber June 22, 1917 VARIETY From a pictorial standpoint "Big Timber," a Morosco-Paramount production, is a corker; the same can be said for the greater part of the production, with the exception of one final touch, the rainstorm. That is the one flaw, but in view of what has preceded it one is quite ready to forgive this slip...All of his timberland is burning up, due to fires set by the villain who has lost out, and as husband and wife clasp each other the rain comes pouring down, saving the day. This is the one weak touch, and brings a laugh from most audiences. But the picture is a corking feature that will pull audiences. September 1917 Julian Johnson PHOTOPLAY "Big Timber" is the best vehicle Kathlyn Williams has had in a year. It is an honest, virile story of men and women in the lumbercamps; has real suspense, and a triangular interest where justifications are left up in the air until the crises arrive. Miss Williams has the fine support of Alfred Paget and of Wallace Reid, and if you would know how very, very much one little scant moustache can change a man's personality, try to find Reid under his. The picture is convincing until its final moment--that absurd, author- sent rain, nickoftimey as ye old-fashioned reprieve. The Varmint August 10, 1917 VARIETY It was a relief to find that the fine spirit of Owen Johnson's Lawrenceville school story had been so well maintained in "The Varmint." Gardner Hunting, in the scenario, and William D. Taylor as director, gave evidence of a knowledge of school-boy tradition that put the stamp of excellence on the picture at once...The Varmint's doings are all good picture stuff, but the way they are bound together into a logical, cumulative story is especially worthy of note. A director, scenarioist and star whose boarding school traditions were defined by the life of Public School No. 63 would have made a hash of "The Varmint." The Lasky people have made a success of it, a picture of the widest appeal...Jack Pickford again puts it over as the Varmint. He is the fresh young kid to the life, and he registers a gradual development of character that is truly artistically done. Louise Huff, the only female in the piece, looks pretty enough to send the whole school daffy. Theodore Roberts contributes another splendid characterization as the Roman. The schoolboy parts are handled most effectively. Scenes show a famous Western college campus that is a close resemblance to the Eastern schools' exteriors. All in all, a worthy picture for the Pickford-Huff bow under the new Paramount booking policy. Those who have read the story will like the picture immensely. Those who haven't will like it immensely, too. August 15, 1917 NEW YORK CLIPPER With Owen Johnson's novel to work on, Gardner Hunting has turned out a thoroughly interesting picture...It is the very fact that in the scenes of "The Varmint" college student pranks are carried to the extremes of absurdity that gives the picture a realism and interest that is well nigh irresistible... August 18, 1917 EXHIBITOR'S TRADE REVIEW ...Brimming over with human interest. Clean, wholesome and entertaining... North of Fifty-Three December 1917 Randolph Bartlett PHOTOPLAY Time was when, if you had told Dustin Farnum that his acting reminded you of his brother Bill, he might have thought you were very complimentary to Bill. Those days have passed. The highest compliment that can be paid to "North of Fifty-three" is that Dustin Farnum therein reminds one of his more famous--pictorially speaking--brother. Thus does the screen transpose values that the stage establishes. The title comes from the line--quoting from memory- -"There's never a law of God or man runs north of fifty-three." However it may be with laws, they appear to have a plentiful supply of lip-sticks up there, as Miss Kingston's mouth was a perfect cupid's bow....There are many knotholes and extraneous incidents in this plot, but if you like romances of the snowfields, you won't mind. Jack and Jill November 23, 1917 VARIETY Jack and Louise do something a little different in their latest Paramount offering "Jack and Jill." Say what you will about this pair there's something about their youth and charm that gets an audience where the "getting" is good...Every attention has been paid to the staging and filming of the picture, and the direction is above par. A photoplay with action, humor, love interest, suspense, and a plot worked out excellently by two engaging youngsters and a director whose artistic ideals are not limited by any stinginess on the part of his producing company. February 1918 Randolph Bartlett PHOTOPLAY "Jack and Jill" are Jack Pickford and Jill Huff, pugilist and vendor of chewing gum respectively. It has the comedy of the New York East Side and of the Mexican border, with a finale of melodrama in the latter vicinity. Its weakness is that the two stars are not quite in sympathy with the slum-grown characters they portray. But why the title? Tom Sawyer December 7, 1917 VARIETY There are very few of us who haven't read of the mischievous adventures of Tom Sawyer and Huck Finn, hence the screen adaptation of Mark Twain's "Tom Sawyer" should be of great value as a feature attraction not only for its intrinsic value, but as a title to conjure with...One's first observation would be that so simple a tale would be insufficient entertainment to the patrons of such a house as the New York Strand, and when the picture first starts you become fearful it won't hold up for five reels. As it progresses, however, the comedy grows apace until it winds up in a blaze of glory...All very trivial to be sure, but it is class, wholesome amusement, and try to be as dignifiedly grown up as you can, you will enjoy it. Jack Pickford is the star, and looked and acted in a sufficiently youthful manner to admirably visualize the hero. The young men portraying Huck Finn and Joe Harper were equally effective in their respective roles. "Becky" was a sweet little thing, and the entire company aided in creating the proper pictures. William D. Taylor, as director, fulfilled his mission. This Morosco (Paramount) production will never grow old. It can be repeated at regular intervals by exhibitors for generations. March 1918 Randolph Bartlett PHOTOPLAY Nearly two decades removed from my last previous reading of Mark Twain's classic of American boy life, "Tom Sawyer," the Jack Pickford-Paramount reintroduction of this 100 per cent boy was a happiness not easily described. The incident of the whitewashing of the fence, the love affair with the new girl in town, the fight with the "model boy," the clandestine friendship with Huck Finn the disreputable, the first smoke, the pirate adventure, the attendance at his own funeral--to mention the incidents alone is to revive memories of pleasures that come once in a lifetime. If Hood had been blessed with the privilege of seeing such a picture, he might not have written his plaint that he was farther from heaven than when he was a boy, because he had learned that the tops of the fir trees did not touch the sky. The tops of my fir trees touched the sky again as I watched this picture. Boys and girls will enjoy it, but only men and women will truly understand. February 1918 Frederick James Smith MOTION PICTURE CLASSIC Remember how Tom Sawyer, as "the Black Avenger of the Spanish Main," ran away with Huck Finn and Joe Harper? How they floated down the Mississippi on a raft, and returned in time to upset their own funeral services and startle the inhabitants of their village? This forms a big part of "Tom Sawyer," Paramount's adaptation of Mark Twain's immortal romance of boy life. Happily, the adapter has not tried to pad, condense or adulterate...Jack Pickford isn't wholly our idea of Tom, by any means. But he is boyish, untheatrical and thoroughly likeable. Robert Gordon presents a real harum-scarum Huck Finn, who spits thru his teeth with such accuracy and skill. It will be a long time before we forget Mr. Gordon's Huck. The direction is admirable, catching the spirit and atmosphere of Twain. All in all, "Tom Sawyer" is a screenic joy. The Spirit of '17 January 25, 1917 VARIETY With a good cast, able direction by William Taylor, scenario by Julia Ivers, story by Judge Willis Brown, Jack Pickford's newest picture, "The Spirit of '17," is a Paramount production of timeliness and calculated to arouse any latent patriotism that may exist in the breast of the youth of America. While there is plenty of action, it is so divided throughout the five reels and the story so disjointedly and disconnectedly "told," that one has more or less difficulty in gathering a clear idea of what it is all about. The main plot isn't absolutely planted until practically the end of the fourth reel, and when finally it is set, it is the sort of tale usually devoured by 12-year-old boys anxious to accomplish heroic deeds...There are half a dozen subsidiary plots, all equally elemental, and while such things may be entertaining to the immature mind, it is doubtful if any but the most undeveloped mentality can see more than elemental suspensive interest in it for a feature film. A genuine working mine has been utilized for locations and the acting throughout is in the hands of competent people. The star has been very happily cast for the romantic role of the boy scout who is fortunate enough to be the direct medium for the exposing of an alien plot. It is exactly in his line, that of a winsome youth fired with the spirit of patriotism. When he affects that far-away expression he resembles more than at any time his famous sister. April 1918 Randolph Bartlett PHOTOPLAY Boy Scouts and G.A.R. men are the heroes of a patriotic story called "The Spirit of '17," in which Jack Pickford unearths and foils a German spy plot. The spirit in question is that none too old and none too young to serve his country, even if not qualified for enlistment. The story lacks distinction and the romance is rather calf-like; yet there is a certain nimble quality about this boy Pickford that keeps the fable from descending to a commonplace level. His agility is not merely physical, but of a sort that bespeaks a lively mind as well. His heroics would be a little banal, if there were not in them something of the eternal boy that he represented in Tom Sawyer. A large but rather ordinary cast surrounds the star. Helen Eddy, in the thankless role of a girl with a grouch against the world in general, wins the sole distinction in her small but effective bit. Huck and Tom March 8, 1918 VARIETY Director William D. Taylor has added another acceptable Paramount visualization of the immortal Tom Sawyer stories to the screen...The whole thing is very human and as it recalls one's early reading, carries with it just the proper "romance" for both the present and last generation of theatre- goers. There is no particular point upon which to dwell, other than to record the comedy registered strongly in the Paramount projection room, where it was screened for a bunch of hardened trade paper reviewers. June 1918 Randolph Bartlett PHOTOPLAY "There comes a time in the life of every well-constructed boy when he is overcome by a raging desire to dig for hidden treasure." This is the kernel of "Huck and Tom," a sequel to "Tom Sawyer," made from the second of the Mark Twain books of boyhood. The story is not so fascinating, being an unbelievable mixture of boyish fancy and Brady melodrama. Jack Pickford, Robert Gordon and Clara Horton bear the brunt of the task of making it seem real. His Majesty Bunker Bean April 10, 1918 NEW YORK CLIPPER As has happened before, the conversion of a stage success into a screen drama does not come up to expectations. This comedy bubbled over with laughter when it was presented on the stage, but the film affords few and far-between laughs. The story does not preserve sufficient continuity to be re-told. It is the adventure of a conscientious stenographer, who rises to wealth and marries the daughter of his boss. The credit for the success of this picture, if it does meet with success, is due to Jack Pickford and Louise Huff, for, were it not for these two amiable little comics, the picture would have no laurels on which to rest. April 12, 1918 VARIETY A corking springtime comedy is the Lasky-Paramount release, "His Majesty, Bunker Bean," with Jack Pickford Starred. There is an interesting story, well told by a capable cast, the whole evolving into a feature certain to please the majority. "His Majesty, Bunker Bean" is from the play of the same title by Harry Leon Wilson, adapted for the screen by Julia Crawford Ivers, and directed by William D. Taylor. That Louise Huff supports the star also helps to carry it along. She plays a "Flapper" with wonderful assurance and creates a distinct impression. The story of the youth who needs but the power of suggestion to make him a success is pleasingly disclosed in the film version. Pickford is the boy, and he handles the title role wonderfully well..."His Majesty, Bunker Bean" is a comedy picture that gets laughs on its action as well as its titles, and it is action all the way with a real fresh love story carried along at a speedy clip. That is enough for any picture audience. Up the Road with Sallie June 28, 1918 VARIETY Constance Talmadge in "Up the Road with Sallie" has a part which suits her admirably. It is, indeed, largely due to her charm and girlish animation that the story holds the interest. The plot is meager and improbable, the action slow...The direction of William D. Taylor was admirable, the photography, particularly some remarkable storm effects and studies in lighting, being very beautiful. July 1918 Randolph Bartlett PHOTOPLAY Constance, the sunshine child of the Talmadge family, is rapidly acquiring that deftness which alone makes comedy. In "Up the Road with Sallie" she is a delightful mischief-maker. She kidnaps a willing aunt and finds romance for two. It is well to remember that William D. Taylor directed this picture. Mr. Taylor has the real comedy sense. Norman Kerry is pleasingly perfect. Mile-a-Minute Kendall May 10, 1918 VARIETY The Pickford family is fully represented in New York this week, with Mary starred at the Strand in "M'Liss," with Brother Jack and Sister Lottie featured at the Rivoli in "Mile-a-Minute Kendall." The latter is a screen adaptation of Owen Davis' play of that name. Scenarioized by Gardner Hunting and directed by William D. Taylor for Paramount. Jack has the titular role, that of a millionaire's son with a liking for fast living and a penchant for mechanical invention. How he gets mixed up with a chorus girl adventuress and wants to marry her, escaping only by an accident, and is saved by his little country sweetheart, who believes in him when he is cast off by his father, how he invents something worth millions and marries the bucolic female, all go to make an attractive program picture, no small part of which is the excellent photography. There are some specially fine character portrayals by members of the cast, among them a "vampire" bit by Sister Lottie, that will surprise those who have been accustomed to seeing her in more respectable roles. Somehow the idea of a sister "vamping" her own brother is not exactly palatable... May 15, 1918 NEW YORK CLIPPER ...There is a spontaneity about Jack Pickford that is refreshing. His characterization of the wayward youth is excellent, and he plays the role of Kendall with a characteristic dash and vim...The film has been exceedingly well staged. It constitutes a highly diverting evening's entertainment. July 1918 Randolph Bartlett PHOTOPLAY "Mile-a-Minute Kendall"--one of the liveliest comedy dramas of the month; Jack Pickford as a wealthy scapegrace, invents a new motor and marries Louise Huff; several clever comedy characters of bucolic origin; Lottie Pickford in one of her rare visits to the screen. How Could You, Jean? June 19, 1918 NEW YORK CLIPPER Instead of asking "How Could You, Jean?" we venture to ask, "How Could You, Mary?" for in the present instance Miss Pickford has been cast for a role that is neither alluring or appealing. Her abilities could easily find wide and better scope, for she has attained much greater heights in other pictures...The story lacks continuity and is faulty in many respects. It might prove a good vehicle for a lesser artist but much more is expected of this favorite, and her reputation demands it. The fault probably rests with the powers that be, who are certainly guilty of poor judgment in choosing this story. The acting and the scenic effects are handled in a skillful manner, but not sufficiently so to redeem the picture. July 5, 1918 VARIETY William D. Taylor directed "How Could You, Jean?" for Artcraft. It will probably be some time before he secures another opportunity to direct a Mary Pickford feature. The story, by Eleanor Hoyt Brainerd, is weak enough, but the direction is altogether uninspired by even a touch of brilliancy or originality...The picture wobbles along to an inevitable ending, and despite the personal triumph of the star, the whole thing falls flat upon a half-way discriminating audience. But on Thursday afternoons when the cooks have their half holidays the picture should please in the popular priced picture houses. September 1918 Randolph Bartlett PHOTOPLAY "How Could You, Jean?" gives us Mary Pickford in an April setting. The rather slender plot winds its way cheerfully through a background of babbling brooks, young lambs and apple blossoms. It tells the story of a society girl, posing as a farm cook, who falls in love with a millionaire, masquerading as a hired man. It would be hard to imagine anything more popular than this combination of Mary Pickford and springtime. Johanna Enlists September 13, 1918 VARIETY Seen at private showing the latest Mary Pickford feature, "Johanna Enlists" (Artcraft), is as attractive, refreshing and original a picture as one would care to see...The comedy situations derived are delightful. The whole production is noteworthy, the scenario from Rupert Hughes' story, the direction of William D. Taylor and the admirable photography...It is not the plot which makes this picture interesting, but the charm of Mary Pickford, the delicate vein of comedy which runs through it all, and the excellent support form every one concerned. Outside of the principals the soldiers shown are the actual members, now gone across, of the regiment to which Miss Pickford is a godmother. Especially good are Monte Blue, Douglas MacLean and Emory Johnson, who impersonate the three soldiers most interested in Johanna. And a more attractive "kid" actor could not be found than Wesley Barry as Johanna's freckle-faced little brother. December 1918 Julian Johnson PHOTOPLAY There are several components of Mary Pickford's enduring success, not the least of which is the whole-souled enthusiasm she gives every role. In "Johanna" we find her playing a miserable little country wench upon whose two- by-four amours and kitchen delights she bestows all the abandon of a tragedy queen in an all-star Shakespearean cast. This makes for success because it makes for reality. You believe in a character that evidently believes in itself; Mary Pickford doesn't play; she lives. "Johanna Enlists" will set no creeks on fire, but it is rapid, wholesome, patriotic fun. Captain Kidd, Jr. April 25, 1919 VARIETY ...As a whole it is rather a disappointment. The story isn't there in picture form, the production is cheap and as a feature production, with Mary Pickford as the star, it fails to stand up at anytime. The only amusing touch in the entire picture was the parrot that shrieked curses on everybody, and these were the only laughs that were forthcoming...William D. Taylor directed the production and evidently handled what material he had to the best advantage...Of course with the Pickford name the picture will do business, but it isn't a production that is going to be able to play repeats anywhere. July 1919 Julian Johnson PHOTOPLAY This, the last of Mary Pickford's present Zukor enterprises, is a rollicking Frances Marion dramatization of Rida Johnson Young's play. One of the first essentials of successful comedy is that it be taken seriously by everyone concerned. If you don't think the Sennetters take their absurdities seriously you're very much mistaken. I get the impression, on viewing these reels, that le grand Mary was just as serious as ever, and just as much a good actress, but that the play suffers because its director, William D. Taylor, considered it an inconsequential trifle. While, as I have said, Miss Marion rollicks ad lib, the script is not Miss Marion at her best. If you will hark back to Mickey Neilan's "M'liss" you may recall a substance even more inconsequential than this, in which we got the very ecstasy of laughter because of the utter gravity of the performers--and the super-gravity of the director himself! The fine cast of "Captain Kidd, Jr." includes Douglas MacLean, Spottiswoode Aitken, Marcia Manon, and that too-infrequently-seen young man, Robert Gordon. July 1919 Frederick James Smith MOTION PICTURE CLASSIC There are moments in "Captain Kidd, Jr.," (Artcraft), when you wonder if you are watching a Mack Sennett farce. For the romance of a quest in search of buried treasure has been transposed into broad burlesque in the making by Director William D. Taylor. "Captain Kidd, Jr." even has its travesty sheriff in a trick Ford. Mary Pickford is her pleasing self as Mary MacTavish, Douglas MacLean is a likeable lover and Robert Gordon contributes a bright bit as the foppish Billie Carleton. After all, we liked Miss Pickford's treasure-hunting garb best of everything in "Captain Kidd, Jr." Anne of Green Gables November 14, 1919 VARIETY This is the first picture made by Mary Miles Minter for Realart. William Desmond Taylor directed, Frances Marion devised the scenario. The whole thing is based on the book of the same name by L. M. Montgomery. All these authors, so far as the film making is concerned, labored with great difficulties and came out on the whole successfully. The trouble with the picture is that it is not drama. It is a narrative, a biography, and how to work some suspense into it must have kept Taylor up nights. While he does not get suspense, he does get sympathy. The thing drags admittedly, but there's a wholesome charm to it...Miss Minter is called on merely to be a sweet young thing. Certainly she revealed nothing approaching the Pickford standard, though some have declared she was being prepared to supplant that lady. November 22, 1919 HARRISON'S REPORTS ..."Anne of Green Gables" is one of the cleanest, sweetest, most human pictures the screen can boast of. It is the personification of all that is pure and tender in life. It is one of those pictures that sink deep. Laughs and tears mingle in the situations, making the spectator sympathise intensely with the joys and sorrows, hopes, despairs, pleasures and afflications of the characters... February 1920 Julian Johnson PHOTOPLAY Mary Miles Minter is a bit of established popularity. So are L. M. Montgomery's "Anne" books. The combination, ergo, was a well-advised one for the young star's debut on a new programme. The same advised selection proceeded in the selection of Francis Marion as the person who could best weld four tales into one string for the celluloids. The result is no drama to speak of, but a more or less biographic account of a little orphan girl who was alternately pathetic and funny; and later, alternately fiercely tragic and meltingly lovely. The high spots of the picture to me were Anne's black-and- white chicken, the feeding of imprisoned Anne by the little boy, Anne's innocent encounter with the mephitic polecat while hunting the picnic, and-- later--adolescent Anne's tribulations as the disciplinarian of the village school. William D. Taylor's direction of the picture is pleasantly adequate without being in any way original, and the best work of the long cast is done by Marcia Harris, as Aunt Marilla. February 1920 Frederick James Smith MOTION PICTURE CLASSIC Mary Miles Minter's "Anne of Green Gables," (Realart), belongs to the sugar-coated Pollyanna school of realistic literature. Miss Minter portrays a young orphan who, adopted by an aged couple, softens their hearts and eventually wins her own happiness. Miss Minter is a pleasant little person, but of limited technical equipment. Hence "Anne of Green Gables," centered wholly upon her, moves along a monotonous level of conventionality. June 1920 Hazel Simpson Naylor MOTION PICTURE I have read so many adverse criticisms of this picture that I cannot resist putting in my little oar and pulling the other way. Orphan stories have perhaps had an overrun and so I can see where the first of this might have benefited by a careful cutting down. But to my mind the last two reels, where Anne grows up and carries the whole burden of the household on her slender shoulders, makes the whole worthwhile sitting through. Mary Miles Minter is lovely in this episode, which augurs well for her brilliant future. She should, however, be careful to avoid any suggestion of affection in her portrayals; her very sincerity, for Miss Minter is a very sincere little girl, may have brought up this difficulty. Huckleberry Finn February 23, 1920 NEW YORK TIMES William D. Taylor's "Huckleberry Finn" is at the Rivoli this week, and even that cautious critic, Huck himself, would probably find that it "told the truth mainly"--and what mere picture could do more? Mr. Taylor did not seek to use Mark Twain's book as material for a conventional movie of his own, and so escaped being shot. He did seek, with care and intelligence, to translate as much as possible of the book into moving pictures, and so has won the gratitude of the public. His translation, as far as it goes and can go, is remarkably, and most enjoyably, good...It is a delight to see all of these people and feel that they are genuine. Not one is an impostor...Some of the scenes might have been made under Mark Twain's own direction. If one misses some things, such as the steamboats, he can appreciate Mr. Taylor's inability to restore them and will be more than satisfied that he has brought back so much..."Huckleberry Finn" does tell "the truth mainly" and may easily win unqualified indorsement from those not too familiar with, or devoted to, the book. And no matter what its shortcomings may be it should be a joy to every one. February 27, 1920 VARIETY ...The picture is one that will have a thrill for those who have read the Twain story, whether they be boys of 8 or 80...Criticism of the story is disarmed at the opening by a leader who defies anyone "to find a reason, moral or plot." The picturization is very effective with the honors going to Lewis Sargent who plays Huck. March 1920 Burns Mantle PHOTOPLAY If I had a son I certainly should take him to see "Huckleberry Finn," the Famous Players-Lasky screening of the Mark Twain classic. Here, also, is a perfect picture for all the boys in the world to take their daddies to see; a wholesome boys' story of adventure as full of fun and atmosphere as the book itself. Fine Twain atmosphere, too, very slightly exaggerated and most wholesomely natural, once the main story is reached. I do not know much of William Taylor's work as a director, but I am going to know more on the strength of his fine showing in this picture. Huck himself tells the story to a finely visioned Mark Twain in the flesh, which is one thing that keeps it so nicely in the spirit of youth. The boys, too, are real boys. Huck being perfectly realized by Lewis Sargent, and Tom by Gordon Griffith. It is largely Sargent's picture, but he is most ably assisted by every member of the supporting cast. "Huckleberry Finn" is much the best boys' picture I have ever seen. The excellent scenario is the work of Julia Crawford Ivers. May 1920 Frederick James Smith MOTION PICTURE CLASSIC William D. Taylor's screening of Mark Twain's epic of boyhood disappointed us. The scenario attempted to crowd too much of Twain into the photoplay, with the result that the film version is episodic and jumpy. There is a sickening effort to make the freckled Huck into a sentimentalist. But, with it all, Lewis Sargent does excellent work. His Huck Finn is a spontaneous and commendable bit of playing. Judy of Rogues' Harbor February 13, 1920 VARIETY ...Miss Minter shows improvement with each new production, and her work in the present feature is by far the best she has done yet. The theme is not a particularly pleasing one; it's a sob story, but the kind of picture which is best suited to the star's talents...Some wonderful photography, including a number of picturesque outdoor scenes, helps the production along. The interiors are handsome when necessary and the lighting and close-ups particularly timely. "Judy of Rogues' Harbor" is a feature which will please those who are looking for human interest in pictures in which there are an abundance of tears and a lack of humor. February 17, 1920 HARRISON'S REPORTS I have read many a dime novel in my life, but hang it if I ever read anything to equal "Judy of Rogues' Harbor." It is about the wildest thing ever written. Imagination must have worked unrestrained to write such a conglomeration. Logic? There "hain't such an animal." Just think of it: A son is shown attempting to declare his father, Governor of a State, insane, and thus put him in an insane asylum, because the old man won't give him any money, and because he is determined to return the fortune he once stole to the rightful owners. Of course, the heroine overhears the conversation and foils the plot--as usual. That isn't all: Reds and bombs are part of the paraphernalia that have been made use of to write the story. Inconsistencies? Galore. It would take several pages to describe them. The first part of the picture is too barbarous and cruel. People will no doubt protest for showing a picture wherein a little child, a boy of about twelve, is shown treated brutally by big men. Two big brutes nearly wring the child's arms, and try to strangle him. In one scene they nearly kill him. The picture is not clean either. One of the two brutes is shown as having taken advantage of a young woman, and then refusing to marry her. He, afterwards, has an eye on the heroine. He is not slow in declaring his intentions either. Blackmail is also one of the chief features that furnish the motive power. This picture should never have been made. At least Mary Miles Minter should never have been given this sort of story. March 1, 1920 NEW YORK TIMES Mary Miles Minter and an exceptionally good cast...are at the Rialto in "Judy of Rogues Harbor"...a story of the type, which, it seems, is to become the stock in trade of Miss Minter, especially as long as William D. Taylor, specialist in child and rural subjects, is her director. And a not unpleasant type it is as done by Mr. Taylor, although it indulges a bit too much in sentiment and romance, but surely it is intended primarily for schoolgirls, children and their mothers, and might be expected therefore, to be consistently pleasant and free from offense. "Judy of Rogues Harbor," however, is by no means pleasant all of the time. Some of its scenes are as ugly in what they show and suggest as the crises of a brutally realistic work might be. In such a story as "Judy of Rogues Harbor" they are decidedly objectionable. May 1920 PHOTOPLAY Dorothy Parker says, "It is really the sagacious writers who lavish their ink on exhortations to be glad, glad, glad; for that is the way to bring in something to be glad about." How true, how true! Apparently no writer who offers the faintest excuse for some such subtitle as "Ef yuh got love in yer heart, nothin' can hurt yuh" has the slightest chance of being turned down by film producers, no matter how ridiculous the story. "Judy of Rogues' Harbor," by Grace Miller White, is one of those pictures calculated to fire you with the "glad" feeling. It does--it makes you glad, glad, glad to go home. Judy is a golden haired child brought up in inconceivably brutal surroundings, and yet she has remained so sweet and pure that she believes it wicked to kiss a nice boy she wants to, unless they are engaged. Daughters of our best families should be shamed by her example. The picture makes two points clear--that we must be on the lookout for Bolshevists, they being the one class of people, apparently, who do not succumb to the "love in yer heart" treatment, and that this is a small world after all. Grandfather, daughter, and grandchild have been living within a stone's throw of each other for years without knowing it. It is full of unintentional comedy, banalities and unnecessary cruelty. Nurse Marjorie April 3, 1920 HARRISON'S REPORTS As an entertainment, "Nurse Marjorie" is just passable. There is hardly much human interest in any of the situations. In some parts, the story is rather silly. The sight of a big, strong man, for instance, acting like a youth, just because he is in love, is unmanly and rather disgusting. This man, hero, at times acts in the same manner as a ten year old child, patient in the same hospital...The story in places, particularly at the close, is too draggy... May 28, 1920 VARIETY This Realart picture is not real art...It is not a brilliant picture. Without reservation, however, it may be said that the feature qualifies heart interest solely through the screen charm and personality of its star. Elsewhere the feature is a flop because the background of London and English manners and customs is more a picture of events in America, thus misrepresenting a good deal in atmospheric values, when that quantity would sustain it to better and efficient purpose. Directors might pay a little more attention to these minor details when filming substance with an English background. With London residences tenanted by the wealthier, and London's slums overrun with muck and filth, as are characteristically different as Fifth Avenue is from Hester and Orchard streets. Yet these scenes could not be told apart in this feature, were it not for the titles ever giving the lie to the fact...The "Nurse Marjorie" of novel repute and the picture are different in many ways, and although a comparison must be made, that comparison brands the picture as being too improbable and unreal, and that the text has been trifled with. The continuity is entirely too racy for actual fact...The picture has a great measure of comedy relief which the Rivoli audience seemed to enjoy and did not restrain its laughter as the film unfolded before them. July 1920 PHOTOPLAY We have never read the original of this Izrael Zangwill story, but it's safe to say the author of "The Wandering Jew" did not write it as the film people did put it out. Here is a light, very light comedy which serves principally to show that there is no more beautiful camera subject than Mary Miles Minter. Minter in a nurse's cap, Minter dressed up; Mary smiling and Mary sad--a lovely, soft, living portrait, but not exactly good drama. Clyde Fillmore is a new leading man who will have more than his share of feminine adulation when this picture is circulated. It's hard to believe that this little expose is life as it is lived in upper-class England. Jenny Be Good May 8, 1920 HARRISON'S REPORTS An expensive production of a poor story,--a story which is an aggregation of unrelated material forced into relation by the will of the author. Everything imaginable, from a woman dope fiend, through a burglary and a woman labor strike, down to an automobile wreck in which the hero survives, has been made use of to construct the plot. Imagination runs wild in it... July 2, 1920 VARIETY This Realart feature was adapted for the screen by Julia Crawford Ivers from the story by Wilbur Finley Fauley. William Desmond Taylor did the direction and deserves a world of credit for saving it from becoming ridiculous at times. The story covers as much ground as a circus tent, and the efforts of the entire supporting cast to wreck little Miss Minter's life's happiness by keeping her away from her sweetheart degenerate into the mellowest of mello-drama. It would take a Nazimova to do justice to the emotional opportunities that are thrust upon the little golden-haired star, and she very wisely sticks to her well-known girlish interpretation...Miss Minter succeeds in building up a wistful appeal through sheer youth and a knowledge of her own limitations...The photography is excellent, both the interiors and exteriors following in faultless visualization. The production is elaborate, a fancy ball scene being as big a thing of its kind as the screen has witnessed in many a day. The cast was totally adequate, and Miss Margaret Shelby as Jolanda Van Mater, the drug addict, gave the popular conception of a person addicted to narcotics. The exterior scenes are particularly beautiful, and it is in this kind of a background that Miss Minter shows to particular advantage. All her outdoor work had the ring of sincerity. It was only when she was forced through the scenario to accept the artificial environment of the hothouse plant that she was wrestling with problems and emotions that had not place in her sweet girlish atmosphere. October 1920 PHOTOPLAY There would seem to be no reason for telling Mary Miles Minter to be good. She is anyway. We should like to see her be very bad for once, but would Realart let her? If you like Mary, you'll find this better-than-average Minter entertainment. It's not so saccharine as some, while M. M. M. is naive and fairly natural. The Soul of Youth August 16, 1920 NEW YORK TIMES Boys, dogs, cats and other semi-domestic animals are good motion picture subjects when photographed naturally, because by nature they are endowed with free and unconscious charms which the camera can catch for the screen. If they are trained to be "smart," to do things not natural to them, they lose their charm and are interesting, when not depressing, only to the extent that their tricks excite curiosity as to the methods of their trainers. One of the motion picture directors who, apparently, does not believe in training boys and dogs and cats, but prefers to have them play naturally before his camera is William Desmond Taylor, who is chiefly and most deservedly known for his picturization of the Mark Twain stories, the last and probably best of which was "Huckleberry Finn." Another of Mr. Taylor's works, "The Soul of Youth," is at the Rivoli this week, and, despite the solemn self-importance of its title and other obtruding artificialities, it is in the main a picture of boys, about boys in their natural and irresistible state, particularly about one boy and his chum and his dog, who are the life and the only--and entirely sufficient-- reason for being of the story. The part of the principal boy is played by Lewis Sargent, Mr. Taylor's find for the role of Huck Finn, and it is earnestly to be hoped that he never learns to act--not until he is full-grown, anyhow. Lewis impresses one as a natural, attractively ugly "kid," who has not yet been spoiled by sophistication and to a large extent is unconscious of his effects. Like him, to some extent, is Ernest Butterworth, who plays the part of his chum, and the dog--no particular breed, just dog--seems delightfully free from proficiency in "shaking hands," "begging," and all the other tricks by which animals are deprived of their refreshing naturalness. For the most entertaining part of the picture the two boys and the dog are street ragamuffins, snatching a living where they may, sleeping in a "home" made of two piano boxes bulled together, and thoroughly enjoying themselves until they come into conflict with the grown-up world and have to follow its ways. Into this part of the picture is brought Judge Ben Lindsey and his Juvenile Court, and there are several scenes of the Judge and his method of dealing with recalcitrant youngsters. The appearance of Judge Lindsey increases the topical interest in the picture and in itself does not detract from the interest in the boys and their dog, but a political melodrama and a movie "romance" have been loaded on the main story and seriously interfere with it. Whenever a scene of the melodrama or "romance" suddenly comes between scenes of the boys one is a bit bewildered, and inclined to ask impatiently, "How did that get in here?" The impression is that the man in the projection room has mixed up his reels and started on the wrong photoplay. Also, although much of the sentiment of the picture is sound and wholesome, at times there is a mawkishness and insincerity about it that is repellent. However, Mr. Taylor has made many excellent scenes, his subjects, for the most part, are at their natural best, and "The Soul of Youth" succeeds in overcoming the obstacles placed in its way. Except in places quickly passed over it is thoroughly enjoyable. August 20, 1920 VARIETY This production is the first of a series of six Realart specials that are being made under the direction of William D. Taylor. While the first picture is interesting, capably directed and cleverly acted, it is still far from being of the caliber of which special productions are made. It is, however, a picture that if properly exploited will undoubtedly have the power to draw juvenile audiences at the matinees and undoubtedly bring back some memories to the older folks...Pictorially there are some very pretty shots and the production looks as though there had been some real money spent on it in spots. But it isn't a special and it won't fool any one because it is called one and played a week on Broadway. The Furnace November 28, 1920 VARIETY The final impression which William D. Taylor's production of "The Furnace" (Realart) left after a showing as the principal feature at the Rialto this week was this: The first two reels (approximately) show skill on the director's part for sustaining interest. The balance is poor judgment in cutting, imperfect continuity, unconvincing titles and a flatness. One redeeming feature is in the comedy situations interpreted by Theodore Roberts. So that no matter how much "The Furnace" glared in amber incandescents on the Rialto signs, inside it failed to command the interest of the spectator. Julia Crawford Ivers'' scenario is from the book of the same name by the anonymous "Pan," which left some supposition in the literary world after its publication as to the identity of the author. The scenario is again an example of the limitations of the novel for picture material. And thus if the fault cannot rightly be placed on the shoulders of either scenario writer or director, the point remains that the picture is padded to the limit...What is most commendable in the direction is the fact that Mr. Taylor is able to hold his audience in such a masterful degree in the opening two reels, and then the theme wanders. All of it is due, it seems, to numerous situations which do not advance the action. It appears, too, that the extravagant dance scene on which a small fortune must have been lavished is not interpolated for the story value, but to give the picture a commercial boost which producers think is necessary. The production is big in a massive and architectural sense, and in detail...The cast is uniformly good, but the characters make their appearance in more situations than is good for any of them... The Witching Hour March 4, 1921 VARIETY The William D. Taylor production of Augustus Thomas' play presented by Jesse Lasky via Paramount is not an especially happy translation from stage to screen. It is current this week at the Rialto. It is a painstaking effort in adaptation and as far as it closely follows the spoken play is understandable. But when the translator tries to interpolate touches of characteristic film comedy the effect is not good. The play managed to cover up the newspaper exposure of the vengeful district attorney by Brookfield without going into details, but the screen must be very literal about it, filming the very newspaper text, headline and all. The newspaper that printed such an item as the one Mr. Taylor shows would have its editor in jail in half an hour, and the man who wrote the headline would have been fired "pronto" or sooner...More serious was the interpolated bit of having Lew Ellinger, presumably a person of some rank in the community and a white man, engage in a game of craps with a group of darky boy ragamuffins. The film people seem to be held in no restraint by any laws of probabilities. The crap incident struck someone as a comedy point and they went to it without reserve of good sense or good taste. The story doesn't lend itself to picturization anyhow. There is too much explaining to do. That was a defect in the play. It was all argument and not much action as it was played on the stage, even with all the aids of dialogue. On the screen the task of covering the abstract subject of "mental telepathy" upon which the whole tale hangs is beyond the power of printed titles, be they ever so skillfully devised...Without the illusion of living, speaking actors the screen story is not convincing, although the players who interpret the screen version are uncommonly sincere and genuine...Added to the crap game and the newspaper passages, the filming of a negro cakewalk scarcely seemed to be in the atmosphere of the story, given as it was with such strong emphasis. Here again the director was led astray in his effort to inject comedy interludes in a story which should not for a moment be permitted to relax in its tension. They had much better have stuck to the Thomas text. That at least had consistent dramatic values, whatever may be said for its plausibility, a subject that provoked wide debate when it was presented more than a decade ago on Broadway. In a faultless stage presentation the story was not too convincing. As a silent drama, it is doubly hard to swallow. Sacred and Profane Love April 22, 1921 VARIETY "Sacred and Profane Love" is a Paramount picture, starring Elsie Ferguson, and produced by William D. Taylor. Before reaching the screen it appeared in the form of a novel, and during the season of 1919-20 was presented as a play, running for a considerable period in one of the Broadway houses...The theme is a bit broad for general picture consumption...The incidents of the story relating to Carlotta's first affair with the pianist are very plainly brought out. But that was the story, and the director had no other recourse but to place it on the screen. The picture on the whole is an average program production. Miss Ferguson gives a likable performance as Carlotta, minus any great depth, but pleasing withal. The acting honors go to Conrad Nagel, as Diaz, the pianist, his sense and interpretation of the absinthe fiend being especially good. The rest of the cast are adequate... July 1921 PHOTOPLAY ...The story of "Sacred and Profane Love" is rather muddled in the telling as it has been cut for the screen. To any unfamiliar with the real adventures of Carlotta Peel it must be extremely difficult to understand her wanderings over half the earth and the part various undeveloped romances played in her life. The opening incident of her meeting with and romantic enslavement by Diaz, the pianist, is convincing and delicately handled out of respect for the new order of censorship. But the story breaks there and the rest of the it is wobbly and uncertain... Wealth July 1, 1921 VARIETY The first thing striking you about this Lasky offering current at the Rialto is the frequency with which what story there is is advanced by inserts. It is based on an original by Cosmo Hamilton and the continuity is by Julia Crawford Ivers, William D. Taylor directed. Apparently its substance, purpose and idea can best be visualized by imagining its motto to be, "It is better to be poor than rich."...Competently handled, this might have scored, but as it stands it is dressed up to conceal its defects. There are rich and costly interiors, a cabaret scene expensive in every way, and Miss Clayton's gowns to help... Beyond September 9, 1921 VARIETY "Beyond" is from the Henry Arthur Jones' story, "The Lifted Veil." Julia Crawford Ivers provided the screen version and William D. Taylor directed. Paramount is sponsoring the production. Ethel Clayton is starred. The theme is not novel, being that of the shipwrecked wife returning to her former home after spending a year on a desolate island, only to find her husband married to another. Distinctiveness is aimed at, however, in this film by having spiritual instincts move the characters, the premise being that some are distinctly swayed by a spiritual side while others are immune because of being too material. In the reasoning out the director has lost sight of essential plausibility, causing too artificial an appeal, and making the action taut and blunt at times. This accounted for the audience at the Rivole showing Sunday giggling audibly during serious passages. It is possible, though, that originally the proper concept was achieved, with inept cutting doing the harm. "Beyond" has been mounted sumptuously, its interpretation is thoroughly in keeping, there is enough human interest to hold the spectator, and the psychic element saves it from being a "groove" affair, but the discriminating patrons will hardly display enthusiasm over it... Morals January 6, 1922 VARIETY This Realart, directed by William D. Taylor and featuring May McAvoy, is just about a perfect picture. Based on "The Morals of Marcus Ordeyne," by William J. Locke, which Famous did once before back in 1915, each scene is given its proper value. The cutting is clean and effective, and the direction satisfactory in the best sense. Miss McAvoy seems to have the happy faculty of inspiring her directors to their best, and she certainly gives of her best. The cast is right with her in that respect, too...Effective acting and cutting fairly shot this story across... The Green Temptation March 20, 1922 NEW YORK TIMES ...In some ways "The Green Temptation" is one of the most elaborate, or diversified, films Mr. Taylor ever made, and for all his scenes Mr. Taylor obtained apparently authentic backgrounds and in each case he suited the action to the setting...It is full of inconsistencies, it is too freely melodramatic at times, it becomes overly sentimental here and there, and as a whole it is loosely put together, but the separate scenes dominated by Mr. Kosloff and Miss Compson hold you nevertheless. Mr. Kosloff is especially compelling. March 24, 1922 VARIETY The best thing about this Paramount picture at the Rivoli is the work of Betty Compson, reduced to a quite miraculous slenderness and making a particularly appealing figure as the wistful waif of Paris, associate of thieves and a thief herself, who is regenerated by her sufferings and newly aroused compassions as a nurse at the front in Flanders. The story is adapted from "The Noose," a novel by Constance Lindsay Skinner, by Monte M. Katterjohn and Julia Crawford Ivers, and bears the name as director of William D. Taylor, who was murdered in Los Angeles last month..."The Green Temptation" is an interesting story, well handled and possessing a strong sentimental appeal, although it is guiltless of anything but superficial significance. It is just an intelligently managed crook melodrama with a touch of refinement and polish. It is satisfactory theatrical entertainment, a skillfully contrived illusion. The story has some of the defects innate in the adapted novel, chiefly an embarrassing abundance of material. There are moments when it is difficult to readily identify the characters, although this defect is not nearly so emphatic as usual in screened novels... HARRISON'S REPORTS A lavishly produced story of Apache life. With the exception of about two reels in the middle, where it drags a little, the interest is maintained well. Some of the situations are thrilling, and human interest is present all the way through...This is the last picture William Desmond Taylor directed before his murder; it gives unquestionable evidence that he was a director of first rank. June 1922 PHOTOPLAY Highly colored and improbable, but if you aren't too literal-minded you will get an average amount of enjoyment out of the hectic adventures of Betty Compson, a beautiful crook, Theodore Kosloff--a great actor, by the way--as a master robber, and Mahlon Hamilton as the rescuing angel. Betty reforms but Theodore doesn't, and then the fun begins. The Top of New York June 23, 1922 VARIETY The picture is a frank sentimental melodrama without pretention to anything else. The action is built up around the troubles of a working girl (a shop girl at that), and it follows in design a host of old fashioned plays and pictures that fall in the same category. It's frank, candid fiction without any subtle relation to life and so makes its appeal to the more elemental tastes of the public. It is clean straightaway romance and serves its purpose satisfactory, even if it is not particularly significant in purpose and meaning. The modern scenario writers have discussed these social problems in rather a more subtle manner than the melodrama writers of ten years ago when "Bertha the Sewing Machine Girl" was the type. Socialism and parlor Bolshevism have changed the terms and the technique somewhat but the material is much the same. In the present case the scenario writer and the director have reverted to the old style. Here we have the poor working girl struggling against the dishonorable plottings of her rich employer, trying to remain straight under the temptation of his proffered luxury. The problem remains fixed, only the medium of dramatic discussion has changed and this production comes on the screen as a rather crude and old fashioned affair. Dealing in old fashioned materials, it is only natural that Taylor made use of the old fashioned devises. For example his shop girl wears one of those short length, blonde wigs that used to be the trade mark of young beauty in distress; the heroine lives in squalor under the patronage of a drunken uncle and a bullying aunt and the surroundings are a tenement house in the slums. All the paraphernalia of the melodrama of a generation ago is present...It's all family story paper type of fiction rather than the modern effort to reflect real life. The picture has theatrical force, but it is eminently lacking in realism. It is possible that a certain element of the fan public likes its drama in more or less childish terms, but the drift has been away from the obvious to the subtly realistic. We do not take our heroines any more as altogether, inhumanly good and our villains as unqualifiedly viciously worthless. We prefer some semblance of shading between good and bad such as everyday experience has taught us is the state of the world rather than the stage creations...This picture goes back to the old technique and it comes before as raw and unconvincing... ***************************************************************************** Sources for More Information about Taylor's Films For Taylor's filmography, see WILLIAM DESMOND TAYLOR: A DOSSIER, pp. 433- 445. For synopses of Taylor's feature films see the AMERICAN FILM INSTITUTE CATALOG OF MOTION PICTURES PRODUCED IN THE UNITED STATES, 1911-1920 and 1921- 1930. For a modern review of Taylor's extant films see Richard Koszarski, "The William Desmond Taylor Mystery," in GRIFFITHIANA (October 1990), pp. 253- 256. Some fan magazines published short-story versions of films, accompanied by stills from the movies. Among Taylor's films featured in this manner were: "Davy Crockett," MOTION PICTURE (September 1916) "Big Timber," PHOTOPLAY (September 1917) "Mile-A-Minute-Kendall," PHOTOPLAY (May 1918) "Captain Kidd, Jr.," MOTION PICTURE CLASSIC (September 1918) "Johanna Enlists," PHOTOPLAY (November 1918) "Anne of Green Gables," PHOTOPLAY (January 1920) "Judy of Rogues' Harbor," MOTION PICTURE CLASSIC (April-May, 1920) "The Witching Hour," MOTION PICTURE CLASSIC (March 1921) "Sacred and Profane Love," MOTION PICTURE CLASSIC (March 1921) "Morals," MOTION PICTURE (February 1922) "The Green Temptation," MOTION PICTURE CLASSIC (April 1922) ***************************************************************************** ***************************************************************************** ***************************************************************************** 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.uno.edu/~drif/arbuckle/Taylorology/ Full text searches of back issues can be done at http://www.etext.org/Zines/ For more information about Taylor, see WILLIAM DESMOND TAYLOR: A DOSSIER (Scarecrow Press, 1991) *****************************************************************************