Canadian Moving Picture Digest (Apr 1923-Apr 1924)

CTU: “ 2 nok, VE eae! Pe —,_ = nit Xen “AAS == a TORONTO, ONTARIO. | Digest ~ Revie “Ashes of Vengeance” ASSOC. FIRST NATIONAL ‘poe magnificent scale of production established by a number of the greater pictures seen in recent months has brought the fans to a point of super-sophistication; they have been so satiated with exquisite pictorial beauty that nothing now surprises them — well, hardly ever. “Ashes of Vengeance” will enjoy the unique distinction of impressing the blase, for it is truly and wonderfully a “stupendous production.” It belongs to the best of the romances which have been filmed with historical backgrounds; it is a_ remarkable portrait of the days when Sixteenth Century France, with the evil influence of the Queen Mother Catherine De Medici, engineered the unpardonable persecution of the Huguenots, culminating in the awful massacre on St. Batholomew’s Eve. | The exquisite love story which finally dispells the hatred which has existed between two noble families forgenerations is enhanced always rather than overshadowed by the fidelity of the background; and while the story as enacted by the brilliant star and her associates succeeds completely in holding the interest and enlisting the sympathies, it is unavoidable for the reviewer to dwell first upon the “atmosphere” which made this delightful romance so real and so compelling. Medieval France, street and banquet hall, was accurately reproduced. lhe whole life of the times was naturally revealed, and motives and impulses conveyed through the perfec“ion of detail with regard to settings, and costuming, reflecting unlimited research and evidenced: in the directorlal management of Frank Lloyd. The men and women in elaborate silks, Satins, and laces; elegant coiffures and exquisite manners absolutely seemed a part of the unscrupulous’ court, whose policy has succeeded in shocking students of history in later generations. § Magnificent scenes showing the nobility of ancient eae dancing the ‘stately minuet, ae scenes of dauntless riders spell ne. out the gallant Huguenots, ee rar duels, intrigue in the Rie ee of Parisian mansions ed, the §ance can hardly be describa sé and the many other unmma’ Scenes such as those in the By H. M. BALL guards’ hall make ‘‘Ashes of Vengeance’ a valuable and impressive historical spectacle, and show unmistakably the possibilities of the screen in reproducing vividly the episodes which historians have striven to impress through written records. Who can say that such pictures as this, made at such tremendous expense and with such conscientious effort are not of inestimable value to the public ? Miss Talmadge as the. exquisite -Yoland undoubtedly reaches the zenith of her screen career in this production. She wears her costumes and moves im the stately atmosphere like the blue blood she impersonates, and her moods are beautifully registered. She is a heroine ‘in the true meaning of the word. Conway Tearle, who is being generously showered with favors these days makes a splendid impression ‘in the role of Rupert De Vrieac humiliated by his sweetheart’s brother because of an ancient family feud, compelled to act as his personal servant, and later honored by all his enemies because of his undaunted courage and unshakable honour: Jeanne’ Carpenter as the little crippled sister con tributed a beautiful child character ization, while Wallace Beery as the cowardly Duc de Tours was the most convincing of villains. Would such a swagger bounder of even this generation do as much cringing, we wonder, as was displayed by Beery during the attack upon their hiding place in the tower room? This to our mind was the only bit of “faulty drawing” in the entire production which will surely rank as one of the screen’s finest achievements. You have heard this before, and you are likely to hear it again, for the historical spectacles have not all been seen by any means. * Ok Ok Ok “The Common Law” REGAL FILMS. Now, you also have something to talk about if you have been. wide awake enough to book “The Common Law.” Ordinarily it would be hard for us to enthuse over this type of story directly after a glowing tribute sincerely bestowed upon an historical spectacle; but take it from us “The Common Law” should make your box office smile right out loud. It is a handsomely produced, typically modern movie story; exquisite photography, beautiful sets, studio life, and Dagmar Godowsky. -cessful. Page Eleven’ ws Current Attractions wonderful clothes, a love affair bordering close to the irregular, any amount, of sex appeal, beauty, ‘gallantry, family pride versus love -for an artist’s model, etc. And above all else, even:above the fact that. Robert W. Chambers’ name and the title of his book mean a great deal, you — have the presence of Corinne Grif-'— fith as Valerie West, the model who will not let her .artist lover ruin.-his social standing by marrying her. The. fans will go. crazy about. Corinne Griffith unless we are very much miis taken, and they will also glory.in the presence of Conway Tearle in another highly suitable role, that of the young American aristocrat. -who paints remarkably well and falls deep; ly in love with the beautiful. girl who becomes a professional model.. _ Valerie’s entrance will be a trifle upsetting to the moral reformers but even they will warm to the lovely heroine as the story unfolds revealing the girl’s struggle in which her promise to the artist’s sister that she will not marry is almost overthrown by her desire to be with her lover. She finally determines that she will be his wife under the common law, but he will not accept. such a sacrifice. and it is when the father witnesses’ this ‘love which is so great that he puts family tradition in the ash-can and blesses the union of his son and heir with the girl who has posed in the nude. | , | A aes Ss Corinne Griffith has the most pensive mouth, and the most wistful eyes of nay matured woman we have ever seen in a motion picture cast: her appeal is one hundred per cent. She is surrounded by a cast of. stars whose names make a feature in_ itself: Conway Tearle as Louis Neville, Elliott Dexter as Jose Querida, Hobart Bosworth, Harry Myers, ‘Bryant Washburn, Doris May, Miss Du Pont, Phyllis Haver, Wally Van Dagn We. have seldom if ever seen so many lovely woinen 1n one cast. | George Archainbaud directed the production for Myron Selznick. We are very glad he did. Hold Monthly Dances To Aid Charities The girls of the film exchanges in Winnipeg are holding’ a monthly dance in aid of charities that come under their notice. The first’ two given this winter have been very suc Beto buhay ORNs Read The Digest Advertising, Rages. Gj ore Ss reaieh atest Sana, 2 L er.