Sylvia Breamer Movies

A man who believes he is a murderer travels the world to escape his past in this often confusing crime drama. Richard Dix stars in a double role of twin brothers Paul and Arthur Ellison. Arthur flees New York for South America for help from his brother Paul, an engineer by trade. Paul feels partially responsible for Arthur's behavior after he accidentally shot him in a childhood mishap. Arthur assumed his brother's identity and travels to the Orient. Sylvia (Elsa Chetwood) meets him five years later and assumes he is Paul. Romance between the two lead to marriage plans, but an oily gambler named Craig (Herbert Prior) is on board the ship bound for America. Prior tries to kill Arthur and collect the reward money to cover his debts. Arthur holds a diamond given to him by a grateful native prince after saving people from a plague. A final showdown between Arthur and the gambler reveals Prior was the one who committed the murder that has tormented Arthur the last five years. ~ Dan Pavlides, All Movie Guide

In spite of many attempts to bring Will Rogers superstardom in silent films (he was already one on Broadway), it wasn't until sound came in that he found his niche. Here, he and director Clarence G. Badger flounder as they try for pathos a la Charles Chaplin's The Kid. Rogers plays Noah Vale, a penniless inventor who is struggling along trying to support himself and a pair of cute orphans. He toils night and day on an invention that he hopes will make him enough money so that he will be worthy of Miss Fay (Sylvia Breamer, who is wasted here), the daughter of a wealthy man (George Williams). Vale has a relative who's well off, but won't have anything to do with him or his invention; the machine, however, is stolen by the relative's partner. It turns out that the invention is utterly worthless, but Vale winds up ahead anyhow -- he has a few stories, and his relation's secretary markets them. Thus Vale and the kids still manage to become financially solvent. ~ Janiss Garza, All Movie Guide

Stage star George Arliss had been a huge success in the 1906 stage play on which this film was based. Other versions had already been filmed, but nothing could compare to Arliss when he decided to reprise his role on screen. His character, Dr. Mueller, is the devil incarnate, determined to ruin the lives of four young lovers -- Georges, a banker (Roland Bottomly), Marie, his fiancée (Lucy Cotton), Georges' artist friend, Paul (Edmund Lowe), and Mimi, his model (Sylvia Breamer). When Marie insists that truth will always win out over evil, Mueller puts her assertion to the test. He sees that Marie and Paul are thrown together so that they fall in love with each other. Then he encourages Mimi to seduce Paul, who is guilty about betraying Georges. Just as Marie and Paul have decided to be together, Mueller convinces her that Paul is still seeing Mimi. Mueller plays with the young lovers as if they were puppets on a string, and nearly wins out. But Mimi figures out his evil lies and machinations. Before he will admit defeat, Mueller makes an unsuccessful stab at abducting Marie, but he is held at bay by a ghostly cross. The last we see of Mueller, he is smilingly engulfed in hellish flames, waiting for a new opportunity. Though new to screen technique, Arliss is delightful in this -- he turns the role into high camp as only an old ham can do. At 53, this strange looking but charismatic actor became as popular on screen as he was on stage. His wife, Florence Arliss, appears as Marie's mother. Also billed is a certain Frederick Bickel, who would later become more well known as Frederic March. ~ Janiss Garza, All Movie Guide

We Can't Have Everything was at once a typical Cecil B. DeMille marital comedy and also a satire of the whole genre. Aware that her wealthy husband Peter (Thurston Hall) is cheating on her, socialite Charity Cheever (Kathlyn Williams) nonetheless remains faithful to him, spurning the affections of her former suitor Jim Dyckman (Elliot Dexter). Advised by Charity to find a "nice girl" for himself, Jim ignores her and goes ga-ga over mercenary movie starlet Kedzie Thropp (Wanda Hawley). Meanwhile, Charity finally divorces her husband, only to discover that Jim is now beyond her reach. Fortunately for Charity, Kedzie grows weary of her marriage to Jim and sets her sights for a British nobleman (Raymond Hatton). Kedzie sues Jim for divorce, citing Charity as co-respondent. The result is a happy ending for Charity and Jim, and a deliciously ironic denouement for the scheming Kedzie. The highlight of We Can't Have Everything was the scene in which Kedzie's movie studio catches fire, an episode reportedly inspired by a real-life blaze which occurred on the Paramount lot. Also worth noting was the performance of Tully Marshall as a pompous movie director -- a sly takeoff of the film's actual director, C.B. DeMille. ~ Hal Erickson, All Movie Guide

In this light comedy, Charles Ray does a typical turn as a country bumpkin who makes good. Ray plays Joel Parker, who is sent to college by his crabby farmer father (Joseph J. Dowling) only because it was his mother's dying wish that he get an education. At college, he's immediately pegged as a chump and is constantly victimized by the other students, headed by Jimmie Slater (Jerome Storm). Only Abbie Nettleton (Sylvia Bremer), who works at the campus bakery, has any sympathy for him. Joel does become mascot of the baseball team, but only because Coach Nolan (Louis Durham) believes that such a nincompoop will bring the team luck. The ending is easily guessed -- that's right, Joel winds up being thrown into the big game at the last minute, hits a homer, and wins both the game and the girl. Ray's charisma, however, made such predictability easy to swallow. ~ Janiss Garza, All Movie Guide