Picture Play Magazine (Jul - Dec 1929)

104 Continued from page 94 steamer brings their idyllic existence to a close and Anna, by this time ennobled by life in the open, insists that McCarthy fulfill his mission and hand her over to the law. This he does, though he is willing to sacrifice his honor for the girl. Apparently the judge and the jury are equally willing to sacrifice legal precedent for, though Anna is convicted and no attempt is made to justify her crime, she is benevolently sent back to the island paradise to spend the rest of her days with McCarthy. All this makes for an entertaining picture, thanks to beautiful photography and excellent acting, but of course it won't bear thinking of twice. It's too absurd. The Eternal Triangle. "Wild Orchids" brings forth Greta Garbo in what is her best role, to my way of thinking, in a far more believable picture than usual. Its slowness, considered by many its chief fault, can be forgiven because the characters are impelled by adult emotions and the atmosphere of Java is magnificently reproduced. These advantages, with Nils Asther and Lewis Stone adding their quota, make the picture one of the most interesting I have seen in months. The complete absence of that commodity a fan rather cruelly termed "Gilbo-Garbage" adds to the dignity and credibility of the picture. There are but three characters in it, a husband, a wife and a friend, the latter a Europeanized Javanese prince, who meets the dull husband and his glamorous wife aboard a ship bound for the East, and at once begins his siege of Lillie Sterling. He is the host of the Americans at his semiregal palace, where they are entertained with Oriental magnificence, and whence they depart for an inspection of tea plantations in which the husband is interested. Because of the latter's dullness, his wife is virtually forced to yield to the prince's attentions against her will. Once the husband's suspicions are aroused, however, he becomes far more subtle than the Javanese in planning revenge. What that revenge is I shall not tell you, nor shall you be informed of the outcome. Enough to say that thrills are not lacking, nor does Lillie Sterling sacrifice her claim to sympathy and fidelity to the man she really loves. Miss Garbo's performance is wonderful and her appearance is equally so. As for Lewis Stone, I have never seen him play with more finesse, not even in "The Patriot," and Nils Asther will, I fear, render his fans quite hysterical from now on. That overworked and frequently The Screen in ReViev? banal word "exotic" best describes "Wild Orchids." It is truly an orchid of a picture. Be Yourself, Miss Vidor. Oh, me, oh, my! The exclamation of anguish is evoked partly by "Chinatown Nights" and partly by Florence Vidor's role in it. Or to be more definite, her voice. It is an affected drawl, neither a convincing English accent, nor yet a good imitation of one. And as she plays a society girl who falls in love and lives with a Chinatown boss, there is not excuse for affectation at all. She saw her man and pursued him till she got him. Now, if that's ladylike behavior ask me another. This is one of the defects of the picture. It is not believable. In this case the screen isn't searching enough to explain such goings on, or to justify them. Certainly the combination of Miss Vidor and the screen, with dialogue to boot, isn't enough to arouse any sympathy for Joan Pride, the lady who went slumming in a spangled wrap and gardenias, and decided to stay — not even when becoming what she calls "a real woman" after spending a night in Chinatown. Wallace Beery, as "Chuck" Riley, the leader of a warring tong, is the rough diamond who attracts her attention and is forever driving her from him until finally, after she has been reduced to the dregs, a waif brings them together and Joan induces Chuck to renounce tong wars and go "uptown." How Joan explains her long absence from the haunts of society is a mystery to me, just as the absence of a searching party is. The process of becoming a real woman is apt to arouse some curiosity among one's friends, now isn't it? Wallace Beery, though unsympathetically cast as Chuck, gives a good account of himself vocally, and Warner Oland, as an Americanized Chinaman, is very effective. The Queen's Necklace. An amusing trifle, not on any account to be taken seriously, is Victor McLaglen's "Strong Boy." It is a combination of slapstick, bitter satire, and melodrama, but it is diverting if you don't ask questions. Mr. McLaglen, as the hero, belongs to the strong-arm squad who toss trunks around, ride electric trucks in dizzy circles and make a lark out of baggage smashing in a railroad station. He is in love with Mary McGregor, who presides over the station news stand and is ambitious that her strong boy be something more than a baggage man. He is given the opportunity to fill a white-collar job, but accepts the only promotion he will consider — that of a fireman. In this capacity he foils a band of crooks, who board his train to rob the Queen of Lisonia. One is made to feel that his heroism and the applause he wins will compensate Mary for his refusal of a white collar. Needless to say Mr. McLaglen plays the muscular hero with all his accustomed vigor and humor, making one forget that the role is unworthy of him. But for that matter, so is Mary unworthy of Leatrice Joy. However, if you feel as I do about Miss Joy, you will selfishly enjoy her refreshing presence on the screen, without taking her to task for sacrificing herself. Clyde Cook, the reliable, and Slim Summerville, provide many laughs, and there is Farrel MacDonald also. Mr. Keaton Again. There are hilarious moments in Buster Keaton's "Spite Marriage," most of them occurring when Dorothy Sebastian feigns intoxication in a night club and Mr. Keaton attempts to haul her out. Why this should be funny I do not know, but audiences laugh at it, so perhaps you will, too. To my taste — which has grown rather jaded where Mr. Keaton is concerned — a more amusing episode is found in the performance of the stock company in the film. Mr. Keaton, as a pants presser, is in love with the haughty leading lady, and contrives to join the company for one night as an extra in order to be near his idol. The performance of a Civil War melodrama is burlesque of the highest order. When Mr. Keaton can hardly bear his unrequited love any longer, the leading lady forces him to marry her to spite the leading man, with whom she is in love. He falls in with a bootlegger, is later seen on a yacht and eventually wins the love of his wife. It is a rambling story, as you see, but if you enjoy Mr. Keaton's familiar characterization, I see no reason why you will find it disappointing in this picture. Edward Earle and Leila Hyams are in the cast, and sound, not dialogue, punctuates the film. In Havana. If for no other reason, "Shady Lady" is noteworthy because it marks the beginning of the end of Phyllis Haver's screen career. Except for "The Office Scandal" and Lon Chaney's "Thunder" it is indeed her last picture, because of her marriage and retirement. So a veil of sadness hangs over "Shady Lady," though it is by no means a sad story, nor is Miss Haver a pathetic figure as Lola Mantell, an American exile in the smart hotels of Havana. She