The Washington times., 1923-10-08

we go 100 years
sosesssepsI.s.v.,s.S4 OF our great
NaARIoNp AW<S into the times
granddaddles, when Gotham was a
mere village, comparatively speak
ing, and yet somehow we feel
at home as we watch strutting
across the screen. the great men
whose names are familiar to
every school pupil.
ut will reach into the heart
of every man and woman in the
u. s. A., whether they live in
hamlet or in metropolis. It
will show them how a; great city
looked in the old days.
ut will interest those ! who
live in London, Paris or any
European center, as its appeal
is universal, just as a similar
story Of any other capital would
interest us on this side Of the
water.
That's the historical anglo
and a valuable one, when you
come to consider the box-office
slant.
because. Mr.. Exhibitor. there's
always q lowering bunch Of
highbrows in the background
demanding to know what, in the
name of what General Sherman
called war, the screen is doing
for the public from q strictly
educational standpoint.
"Well, here's the answer:
Little Old New York replies by
outlining the big town as it APP
peared in the days when Aston
was building up his fortune, VAN
derbilt running q ferry and try
ing to borrow money, Halleck
and Washington Irving patroniz-
ing Delmonico's eating house and
kicking because the bill comes to
20 cents.
''And, greatest of all histori-
cal 'punchea.' Robert Fulton's
steamboat making its initial
cruise up the Hudson.
That's one side Of the picture.
Now let's get down to the en-
tertainment values outside Of the
teacher view.
"Say, Mr.. Exhibitor, here's a
film that gives you everything
that the most exacting patron
could desire. The story. like all
great stories with a universal APP
peal, hits the high spots Of pathos
and humor.
Comedy! Well, the man or.
woman, child or adult who would
fail to respond to its delicious
huTnor belongs in the hopelessly
dead, petrified mummy class.
And that's no gossip.
"But, say you, my patrons
want plenty Of heart stuff All
right, old dear, Little Old New
York throws that sob material
out in huge gobs. And. mind
you, it isn't strained melo.
Eve defy the most hardened
cynic to refrain from shedding a
tear during the scenes where
Marion Davies cries in wild aban-
don over her dead father or
shrieks out a confession OF her
sex when dashed to the whipping
post. Pathos? Why, say-the
film fairly palpitates with bosom
ache, even in its most comical
moods.
"And right here seems the time
to pay respectful tribute to the
star. The writer has watched
Marion Davies work from her
first appearance in silent drama.
In the beginning she flashed
across the screen horizon as a
pretty creature whose physical
charms were undeniable. A per-
son of huge possibilities!
with each succeeding picture
Miss Davies dramatic talent de-
veloped. She established herself
as a really great actress in When
Knighthood Was in Flower but
in Little Old New York she
reaches the zenith of her screen
career.
There's no use trying to de-
scribe in detail the work of
Marion Davies and her associate
players. Space doesn't permit,
and anyway, you've got to see
the picture yourself in order to
appreciate its wonderful appeal
to all classes Of movie fans.
This film has everything It
runs for over two hours, but
the small exhibitor needn't get
scared over it's length. Because
it fills his program with all the
most exacting patron could de.
sire.
"a cracking good love story,
clean, wholesome sentiment, an
Irish touch which will catch
every Celt in the United States,
fun unlimited-Director Sid Olcott
only too well took care of that;
the prize fight scene alone is
worth the price of admission.
Exploit is as a de luxe picture,
a genuine screen classic.
'It's a pleasure to write about
such a picture. The bigger and
better film slogan comes pretty
close to realization in the debut
of Little Old New York."