The New York Times
The New York Times Mordaunt Hall
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Pudge, the four-and-a-half-year-old heroine of "That's My Daddy," the pictorial attraction now decorating the Roxy Theatre screen, provokes plenty of laughter by claimng Reginald Denny as her father. She does so at the most awkward moments. Mr. Denny, as James Norton, a wealthy bachelor, is fond of the child, who has been brought up under the wing of a strangely hard fostermother.Mr. Norton plays with Pudge, and even when guests are expected he is to be seen amusing the child in a game of hide and seek. Friends of Mr. Norton hadn't even the foggiest notion that he had undertaken the duties of a father, and so when Sylvia Van Tassel and her mother enter Mr. Norton's lavishly furnished home they are somewhat dismayed to discover him on his knees with his hands covering his eyes at the far end of a long room. Realizing his awkward predicament, Mr. Norton endeavors to explain matters with hardly fluent white lies, while he also essays to keep Pudge from sight."That's my daddy," is Pudge's fondest boast, and she ejeculates this surprising information from the rail of a yacht at the moment Mr. Norton is doing his best to concentrate on the marriage service while an orchestra is playing softly the wedding march. These words in a shrill child's voice, hurled at the bride-groom-to-be before a host of people, naturally create consternation, and Pudge adds to the general excitement by falling into the water, which prompts Mr. Norton to leap to the youngster's rescue. This was not the only stretch of this picture that evoked hearty outbursts of meriment from the thousands within the Roxy's portals."That's My Daddy" is a thoroughly wholesome comedy, one that may not be overwhelmingly deep in story, but it possesses some excellently filmed incidents. It is another of those yarns that bring to mind "Helen's Babies," and while the two youngsters of that old book may have left little undone, Pudge, as a singleton, and a girl at that, gives a mighty good idea of the trouble that can be created by a cub blonde who yearns for a daddy.Norton is in a dilemma after having accepted the presence of Pudge, for when he quietly tells Pudge that he is, of course, not her daddy, she bursts into a flood of tears, which causes Mr. Norton to change his tactics; so, in order to quiet the child, he insists that she is right, that he is her daddy. Pudge cares not who sees her mouth wide open as she betrays her grief. She has found a good-looking, wealthy daddy, and she is not going to be deprived of him. Pudge even has the temerity to make a suggestion as to whom she would like for a mother.This picture is nicely produced, with a yacht to supply splendor after you have left the richly decorated rooms of Mr. Norton's home.Mr. Denny, who is credited with the authorship of the story, gives a most pleasing performance as the frequently worried adopted father. Pudge is played by a young person boasting of the name of Jane La Verne. This youngster responds amazingly to direction. She is very, very sad when she ought to be and she is the personification of joy when playing hide and seek with her newfound daddy. Lillian Rich is attractive as the snobbish girl, and Barbara Kent is charmingly sympathetic as the grown-up heroine.There are some interesting Movietone features, an artistic stage contribution called "A Study in Black and White" and an effective Lincoln "In Memoriam" offering on the program.

A Cub Blonde.THAT'S MY DADDY, with Reginald Denny, Barbara Kent, Lillian Rich, Tom O'Brien, Armand Kaliz, Jane Le Verne, Mathilde Brundage, Wilson Benge, Charles Coleman and Art Currier, written by Mr. Denny, directed by Fred Newmeyer; overture, selections from "Carmen"; "In Memoriam," with Forbes Randolph's Kentucky Jubilee choir; "A Study in Black and White"; Moyietone news reel; "Cabaret," with Frederick Fradkin and his "Fiddlers." At the Roxy Theatre.Malcolm St. Clair invariably can be counted upon for something that is really humorous in any film he undertakes to direct. He has not strained himself in Richard Dix's latest comedy, "Sporting Goods," but the result is an enjoyable entertainment. This film aroused loud waves of laughter yesterday in the Paramount Theatre, and, while the fun is furnished chiefly by Richard Dix, Ford Sterling contributes his share to some of the sequences.This picture begins on a wild country road with Richard Shelby (Mr. Dix) and Mr. and Mrs. Stanfield wondering about the depth of a pool of water. The gallant Shelby is willing to experiment with his ramshackie car, but a second after the wheels enter the water the whole automobile disappears. Shelby eventually comes to the surface, damp but smiling. He is a salesman for Elasco Sporting Clothes, and therefore soon afterward welcomes the loan of a gleaming, new and costly car. He finds himself at a hotel where the suite rental is $60 a day, and, considering that he has exactly $4, it is not surprising that he is in a quandary. He soon solves the question as to what to do with the $4 by giving it to the bell boys.Elasco must be sold, and in the course of his calls Mr. Shelby attracts the attention of a would-be good golfer, one of the millions who want suction in the cups, movable bunkers and traps and something to cure a slice.So you have a scene with Mr. Shelby looking exceptionally smart in his Elasco golf suit, going out with Mr. Jordan (Mr. Sterling). According to Shelby you can't slice if you want to if you wear an Elasco suit. They go to the first tee. Mr. Jordan wiggles and then drives, slicing into the rough. Mr. Shelby takes his stance and sends his ball whizzing down the fairway as straight as a shot from a rifle. So far, so good. Mr. Jordan decides to try Mr. Shelby's coat, and because of one of those things he drives a nice straight ball. Then it comes on to rain, and, unfortunately, Elasco, being made to stretch, also stretches when wet, and it is not long before Mr. Shelby's plus fours are down to his ankles, with the coat reaching almost as far.Mr. St. Clair and Mr. Dix get a good share of fun out of a poker game wherein the man who was to be the victim is the somewhat surprised winner. This bit is cleverly worked out.Gertrude Olmstead supplies the fair face for this film story. It turns out that she is as much interested in the success of Elasco as Mr. Shelby and, therefore, toward the end of this picture you have a strong suspicion that the good-looking pair will consent to posing before the camera in a kissing scene.

Non-Slicing Material.SPORTING GOODS, with Richard Dix, Ford Sterling, Gertrude Olstead, Philip Strange, Myrtle Stedman, Wade Boteler, Claude King and Maude Turner Gordon, screen play by Tom Crizer and Ray Harris, directed by Malcolm St. Clair; overture, "Mephisto"; Jesse Crawford, organist; "Steps and Steppers," staged by Jack Partington. At the Paramount Theatre.Filming a musical comedy narrative seldom results in any marked success, and the present transcription of "Rose-Marie," now on view at the Capitol, is no exception to the rule. The praiseworthy passages of this effort are more than offset by the muddled story, the ridiculous suspicions and the tedious and frequently absurd incidents. Rose-Marie may be a very charming girl with more than her share of good looks, but there are times when she seems to be somewhat heartless. This is particularly so when Etienne, the husband whom she is forced to marry, is presumed to be dying. Rose-Marie is about as anxious regarding his condition as if the poor chap had only a bad cold, whereas the melodramatic title writer has taken the trouble to let it be known that Etienne is suffering from a broken back. Hence one has the opportunity of perceiving Rose-Marie listening to James's protestations of love while Etienne is getting nearer and nearer his end.In this yarn of the Canadian backwoods Rose-Marie's accent makes her say "beeg," "keel" and "Jeem." The recital commences with peace, and then James, a husky trapper or voyageur, appears upon the scene and forthwith is smitten by Rose-Marie's lovely presence. He is persistent in his embraces, and soon Rose-Marie is fearful, and she says:"Kind God, protect me."Most of this picture, however, is devoted to showing how this young woman protects James, who, immediately after acknowledging that he is desperately in love with Rose- Marie, discovers that he is suspected of slaughtering an Indian. The handsome Irish Sergeant of the Royal Mounted Police, himself an ardent admirer of Rose-Marie, is therefore forced to go after his man.Lucien Hubbard, director of this subject, has some queer notions of suspense. In one spot the real murderer pops up with handcuffs locked on one wrist. Most stupidly, the Sergeant has left his revolver on a chair and the murderer shows a decided keenness to gain possession of the weapon as he looks through a window of the shack. Just as he is about to snatch at the pistol, the Sergeant takes it out of the holster to use the butt as a hammer. Then the Sergeant replaces the weapon and you have the result in a few moments—bullets flying, the murderer having the handcuffs unlocked and a number of equally impossible-happenings.Joan Crawford is most prepossesing as Rose-Marie, but she seems like a girl who flings the past quickly behind her, especially when James holds her in his arms. James Murray is fairly competent as the hero, but the best performances are delivered by Creighton Hale as Etienne and House Peters as the Sergeant.

Love and Murder.ROSE-MARIE, with Joan Crawford, James Murray, House Peters, Creighton Hale, George Cooper, Polly Moran, Gibson Gowland, Lionel Belmore, William Orlamond, Harry Gribbon and Ralph Yearsley, based on the musical comedy, directed by Lucien Hubbard; Henry B. Murtagh, organist; "The Brook," a scenic; "The Fast Mail," a Frank Cambria stage contribution. At the Capitol Theatre.Under the management of N. Brewster Morse, the Greenwich Village Theatre was reopened last Saturday evening with a mixed program, which being interpreted means that there was a singer, a one-act play and a motion picture, Rafaelo Diaz, a tenor of the Metropolitan Opera Company, acquitted himself with distinction by his rendition of several numbers. The playlet, known as "Tryst," by Garret Fort, is not an effort that is going to make an indelible impression upon many, but nevertheless through the competent acting of Claiborne Foster it held the attention of the audience. When it ended the people prepared themselves for the pictorial production called "The Whip Woman," either by drinking black coffee in the little lounge or by fresh air outside.It was not long after the film was on its way that the intelligentsia of the Latin Quarter of Manhattan decided that it was a comedy, and their mirth was first provoked when Sari, a young Hungarian woman, knocked out Count Michael Ferenzi with the butt of her famous whip to prevent him from committing suicide in a convenient river. From then on the guffaws that greeted the action of the piece hardly ever ceased, except when one or two spectators decided that the Baron, impersonated by Lowell Sherman, at least deserved a hiss or so for his evil scheming.There are blue nights and pink dawns in this peculiarly produced affair. It is reasonable to suppose that when this picture was started there was not the least intention of making it funny, but that after the titlewriter started work he perceived the impossibility of taking the actions of this lady with a whip with any great degree of seriousness. Mr. Sherman appears to have anticipated the caption writer, for he has quite a twinkle in his eye at times as he lures Sari away from Michael. It is he who eventually makes the biggest bid for laughter, by his tempting offer of a cozy little wine shop in Budapest.Another of the many episodes that tickled the audience was where Sari voices her thanks to the heavens that Michael is not a gentleman.As a parting shot Michael, realizing the obstreperous nature of the woman with whom he is in love, himself uses the handle of her whip on Sari's head. Hence, when the patrons of the little Budapest wine shop burst into the room they perceive Sari in Michael's arms, but they are not aware that this resourceful young man is clasping the unconscious form of the tempestuous creature.And so Mr. Brewster Morse is to be sympathized with in his initial film offering at the little theatre.The cast of this production (sponsored by Robert T. Kane and Allan Dwan and directed by Joseph C. Boyle) includes Estelle Taylor, who has, it is not unkind to say, given better performances, and Antonio Moreno, who, even when he is not down for the count, looks anything but interested in the various incidents. The picture patrons are indebted to Forrest Halsey and Leland Hayward for developing the original story.It is said that "The Whip Woman" was presented in Chicago, where it met with no sign of derision.Other Photoplays."Four Sons," a Fox production will be presented this afternoon at the Gaiety Theatre.Richard Barthelmess in "The Patent Leather Kid," is at the Mark Strand."Coney Island," with Lois Wilson, is to be seen at the Hippodrome."Moana" and also "Grass" are on view at the Fifth Avenue Playhouse."The Battles of Coronel and Falkland Islands," a British film, is now at the Cameo Theatre.Monte Blue in "Brass Knuckles," is at the Broadway."The Hunchback of Notre Dame," with Lon Chancy, is the feature at the Colony."The Enemy" is at the Astor; "Uncle Tom's Cabin," is at the Central; "Wings," at the Criterion; "Simba," at the Earl Carroll; "Love," at the Embassy; "Drums of Love," at the Liberty; "The Last Command," at the Rialto; "Sadie Thompson," at the Rivoli; "Sunrise," and movietone reproductions, at the Times Square, "The Jazz Singer" with Vitaphone interpolations, at Warner's; "Her Wild Oat" at the Brooklyn Strand, and "Aftermath" at the Keith-Albee Momart.