The educational screen (c1922-c1956])

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30 The Educational Screen sinister lust for anything normal or sub- normal, in female flesh. The continental view-point? Very well. But that is no excuse for putting into form for general consumption a narrative that belongs only in the laboratories of a psychopathic institution. Life is difficult enough to keep in balanced fashion in these days of neurotic and over stimulated activity without sitting through some dozen or so reels of the nauseating, depressing ab- normalities of the human animal running amuck. Somewhere this film has been called an insult to American life. We do not think that, for the story,might hap- pen anywhere to any race; the foolish wife might be of any nationality. That she is made an American is due, prob- ably, to the widely accepted tradition of American heiresses hunting titles, com- bined with the well known fact that our women are easily tricked because they have learned to trust men. Indirectly the picture is a favorable comment on the relation and trust between American men and women. To recapitulate, the film is a marvel technically and artistically; it is superbly acted. But let Mr. von Stroheim turn his money and marked talent as a direc- tor and actor to something more healthy and less like the odors, that emanate from the famous Bubbly Creek of Chicago's Stockyards. THEODORA Inexcusable. This film is discussed in connection with an article elsewhere in this issue. Suffice it to say here that the only acceptable phases- were the be- ginning leaders, which were beautifully worded to give the far perspective of life and love, beggars and maids and kings, down through the pages of his- tory. It then became a stupid install- ment-plan presentation of three or four narratives, introducing the characters of each at the start instead of introducing them as the action called for them. One became dizzy with names and cycles of episodes, grasping at the one strai Theodora; the whole thing involved in one way or another. Toward the there was some good plotting, but tl last hope was ruined by mob scenes i the sake of lions, to justify the advarĀ» the sake of mob scenes and lions ft the sake of lions, to justify the advaii advertisement of a two years' makirl thousands in the cast, and the horror! hungry lions at the throats of the porl lace! The lions looked lean and aimlei: the mob looked "mobbed," and in tl gaps left between, the classic-feature Rita Jolivet made her lifeless, negatij appearances. One prayed for a Far! or a Dalton to save the day. The goi preserve us from another spectacle fil that prostitutes the epic possibilities, the photodrama. Briefer Mention JUST AROUND THE CORNER If viewed from the amusing aloofness of leader, "The cold means nothing to fur-wrapp< up and me, but what about the poor just arou the corner," this film may be considered as than it actually is. The story concerns the life a family, of a city's tenements, and is prob^ entirely out of the range of the average au ence's experience whether they be fur-wrap] or not. The simple fundamentals of life, adorned with the complexities and sophisticat of the more fortunate (?) classes, form threads of the film. A cast including Le* Sargent and Margaret Seddon is bound to mi age beautifully a story, weak in character, i Just Around the Corner is much more than tl however quickly the smug urbanite may br; it sentimental. In fact, were it stuffed w sentimentalisms it would be heaven beside matchless, morbid Foolish Wives. We we recommend that Miss Marion stick to her wor intent to get across to all of us, city brecL not, the sweetness that can lie within hampering circumstances of poverty. LOVE'S REDEMPTION At last we again see Norma Talmadge V something of her old virility. She is in this of Jamaica a gentle orphan, determined to courageously and cleanly, with a ready hand those about her who need help. The out suggests a trite story. The suspicion is so what justified; yet any weakness the st