The New York herald., 1922-05-01

RIVOLI.--"Tbe Man from Home," a
George Fltzmaurice production for
Paramount, adapted from the play by
Booth Harrington and Harry Leon VIII
son. Scenario by Ouida Bergere.
Like Across the Continent at an
other of Dr. Hugo Riesenfeld's theaters
this week, "The Man from Home" glori-
fies the flivver by indicating that Fords
rush In where other makes fear to tread.
Once again does the lowly five and ten
cent style of car prove its prowess by
towing an expensive model, which has
broken down for all its appearance Of
having been constructed from the finest
materials of scrapped dreadnought.
Moreover. the lesson of the SUPER
iorisy of this distinctively American
brand of tin squirrel Is demonstrated In
Italy over a foreign machine. which
must oe as distressing in Continental
eyes as American total abstinence from
the Genoa conference. Daniel Forbes
Pike, redolent of Kokomo, Ind, aud
travelling abroad to save his American
ward. Geneuieve, from titled marriage
engineered by aristocratic fortune hunt
ers. is enabled to do a good turn to the
distinguished owner of the disabled ma
chine and to ride in triumph and in
his flivver to Naples. wagging his tow
behind him. Later this impressive per-
sonage, revealing himself as royal. is
able to do Daniel a good turn and he.p
save the ward from the mercenary no.
bility, so 1t seems to have been gasoline
well wasted
Is this subtly symbolic? Are we to
believe that a gasoline Henry gives the
entry to the highest circles abroad? At
any rate, the doughty little car is made
to appear representative during the play
Of the best qualities of Americanism. as
contrasted with machines that have high
polish, but inwardly have no more power
than sounding brass and tinkling Gym
balls.
This is only one Of the clever inno-
vations that George Fitzmaurice and his
wife, Ouida Bergere. have introduced in
their version of the dramatic discussion
by Messrs. Harrington and Wilson as to
whether the charity of American girls
in giving big marriage dowries ought to
begin at home. Other new touches in
clude reference to the peace conference
and to prohibition, and the indication
that international fame has been con-
ferred on the George M. Cohan express
sion, whats all the shooting for?"
Then there's the mystery of the ham
and eggs. 1t is puzzling to explain how
the Kokomo lawyer. who marches down
to the Neapolitan hotel kitchen to make
the great American brain food himself
after failing to explain it to the waNer,
is able to get the materials from the
feverish cooks Another mystery is how
he understands the language Of an es-
Gaping criminal through whom he later
proves that GeneUire's flance is q MUIR
derer, unless the latter learned English
by peddling Neapolitan bricks. The
original playwrights made the fugitive
a professor of languages. but then such
points can be overlooked. in n picture
that gives one excitement and fun as
well as sort of Cooks tour
The picture. almost tic last made by
Paramount in Europe. was photographed
in the actual region. and shows exquisite
views of some of the fairest spots lying
around in Europe. One catches n glimpse
of Vcsuvius having an evening smoke.
For the rest. James Kirkwood manages
to look brusauely Yankee. principally by
ruffling his hair, though one misses
the nasal twang that pucked fame
II otii titiS io't ioi w ilouEt. MISS
Anna Q. Nilsson makes the best OF the
thankless role of the snobbish girl. and
Godfrey Kerr. Miss Annette Benson.
Jose Ruben and John Miltern also stand
out, while Norman Kerry to show that
he's villain for 4 change, wears not
only mustache but a nonoclc.
Mortimer Wilson's prize overture,
New Orleans and a dance by Misses
Louise Boslet and Grace Eastman are
among the features of music week. while
a very entertaining sketchograph by
Julian Ollendorff exposes the inncrmost
secrets of the family album.