Theatre: New Plays: Sep. 22, 1924

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The Clean Heart. It is argued by many observers that character study is the highest hurdle between the motion picture producers and the realm of Art. Character may be studied indirectly through incident, and in a small degree through subtlety. Yet without hearing what comes out of a man's mouth it is virtually impossible to tell what is inside of him. In the present picture (from A. S. M. Hutchinson's novel) a character drawing is attempted without alloy. Thanks to the immense sympathetic sincerity which Percy Marmont gives the leading role, the attempt is almost a success.

Mr. Marmont plays a writer whom overwork has steered into a nervous breakdown and mild insanity. Taking up with a philosopher tramp, he narrowly escapes death in an ocean storm, falls in love with the nurse who coaxes back his health. When they are examining the cottage where they expect to live, his mind slips a cog, he calls the girl a common little nobody, whereupon she rushes out to fall over a cliff. The realization of her death crystallizes his love. The girl recovers.

Only slightly less accomplished a piece of acting than Mr. Marmont's was Marguerite de la Motte's in the part of the girl. Otis Harlan as Pud- dlebox, the tramp, made an amiable, Bible-wise drunkard.

The Alaskan. There was considerable agitation among the cinemillions prior to the opening of this film. Thomas Meighan had gone all the way to Alaska to make it. Men, guns and money had accompanied him without stint. It ought to be good. But it isn't.

The story details the efforts of a band of unscrupulous capitalists to steal Alaska from the Pioneers. Dynamite and daggers contribute to the suspense.

Probably the most instantly absorbing feature of the film is the fact that Estelle Taylor plays the girl. Her qualifications include two huge dark eyes.