Canadian Moving Picture Digest (May 1926-Apr 1927)

Page Twelve CANADIAN MOVING PICTURE DIGES1 TORONTO THEATRES REGENT — “Don Juan,” with John Barrymore—Warner. John Barrymore, as the great lover, will not find a more glamourous or histrionic setting. The production is magnificently mounted; and the Warners have certainly made it easy for Barrymore to make love, which he does upon every occasion. For instance there is the virginal beauty of Mary Astor as “Adriana,” the best beloved, Estelle Taylor who looks ravishing enough to woo, as “Lucretia Borgia;” and who does a bit of work equal to her looks. Myrna Loy, as “Marie,” maid to Lucretia,” is another good looker, as is also the little torch-lighter whose charms outrival her mistress in the desires of “Don Juan.” There is Phyllis Haver as “Imperia” and Hedda Hopper as the “Marquise Rinaldo,” both competitors in the race for “Don Juan’s” heart; and both enticing enough to win favour. Jane Winton as “Beatrice,” might be easily tempted, so lovely are her charms. She does some splendid work in the introductory scenes as the unfaithful wife of “Jose.” June Marlowe as “Trusia,” another beloved, was very “hugable;” and Helene D’Algy was also a triking type and did a bit of effective work as the murderess of “Jose.” “Jose,” father of “Don Juan,” by John Barrymore, made an_ impressive picture; and here Barrymore is at his best. Willard Louis as “Pedrillo” gives a real Falstaffian characterization. John Roche is equally good as Beatrice’s lover, “Leondro.” Joseph Swickard as the father of “Adriana” does good work. Don Juan at the age of five, as played by Yvonne Day, was adorable. Again at ten, the juvenile Don Juan as played by Phillipe de Lacy, proved the youngster a fine little artist. Warner Oland as “Caesare Borgia,” presented an outstanding characterization. He looked the part and his excellent poise and restraint showed the cruelty and lust of power the name of Borgia conjures up. Montagu Love as “Donati,” made a most agreeable villian, rival for the love of “Adriana.” Such a cast of artists helped considerably to colour this picture with atmosphere and surround the character of ‘Don Juan” with interest. Adult food, a bit poisonous as one might expect from the theme in the time of the Borgias, but certainly most interesting; and most lavishingly produced. Alan Crossland director. Google UPTOWN — “Flesh and the Devil,” with John Gilbert and Greta Garbo —Metro-Goldwyn-Mayer. Class B plus. Is a magnificent interpretation of the struggle between the spirit and the flesh, modernized and interpreted so that ‘““He who runs may read.” Greta, symbolical of the flesh, looks almost like a feminine Satan. “Flesh and the Devil,” not that she looks “like the devil,” but the peculiar line of the eyebrows, the contour of her face, the slant of the eyes and the worldwise expression make her face satanically beautiful. Greta is a distinct type of beauty on our screen; and she can act, which makes her a most desirable asset. John Gilbert as “Leo,” lover of ‘“Felicitas,” played by Greta, does good work, but the work of Lars Hanson as “Ulrich,” is magnificent. What an artist this man is; and what a type! God bless his country for sending us some real personalities, both as players and directors. George Fawcett as the “pastor,” is such a dependable artist, give him a bit to do; and he makes it a big hit. I only know of one other dean of the screen as well beloved as he is. Barbara Kent, as “Hertha,” did some good work and it was no stretch of imagination to see her as the child. She is petite and has a ravishing profile. Splendid ability also. The direction by Clarence Brown was a distinct success. The death of “Felicitas’ was so unexpected and so tragic, that it contained the very elements of a poignant tragedy. The European atmosphere was excellent; and since this is perhaps the first time since the war that the screen has presented German titles and atmosphere, away from the war element, and in a friendly spirit, this picture should attract in addition to a regular patronage, a German element, and should do a great deal towards the establishment of a pre-war German status. Here we have the Germans as many of us knew them, the spirit which built up their popularity before the God of War blew his devastating breath upon the peoples of the world. The story deals with an unfaithful wife; and the wages of her sin, is death. It is an adaptation of Sudermann’s powerful drama, “The Undying Past,” and is a distinct relief from some of the regular story diet. PANTAGES — “New York,” with Ricardo Cortez, Lois Wilson and Estelle Taylor and al all-star cast— Paramount. Class B. A melodrama of the city of New York with all its thrills. LOEW’S — “Winners of the Wilderness,” with Tim McCoy — Metro-Goldwyn-Mayer. Class B plus. Tim McCoy registers as an Irish officer in a historical picture which should prove a treat to young and old. Here is a picture to which I say “take your children.” ‘There is a French girl who considerably helps the interest. The story deals with Washington, Braddock and those English and French generals, the Indian forces who were all involved in fighting episodes leading up to the American Revolution. The title does not nearly suggest the fascination of this film. TIVOLI — “Pardise For ‘T'wo,” with Richard Dix and Betty Bronson— Paramount. Class B. Dix does excellent work, perhaps an outstanding bit of good work in this particular picture, but it may be that the work of this artist keeps gradually becoming more and more artistic. The humourous fngle of marriage furnishes plenty of comedy and gives the two stars some very amusing as well as delightful scenes of which they take full advantage. Neighborhood Theatres PALACE — “The Canadian,” with Thomas Meighan—Paramount. A purely Canadian picture, well acted and well produced. Class A. “The Blonde Saint,” with Lewis Stone and Doris Kenyon—First National. Class B. Entertaining. ST. CLAIR — “Tin Hats,” with Conrad Nagel and Claire Windsor — Good attraction, splendid work by leads and supporting cast. Class B. “God Gave Me Twenty Cents,” with Lois Moran—Paramount. The picture that opened the Paramount Theatre, New York. This will give you an idea of what its producers thought of it. BEACH — “Take It From Me,” with Reginald Denny — Universal. Good entertainment. Class B. “The Eagle of the Sea,” with Ricardo Cortez—Paramount. Ricardo as a pirate in a colorful picture with a bit of the “Sea Hawk” about it. Class B. COLLEGE — “The Flaming Forest” with Antonio Moreno and Renee Adoree — Metro-Goldwyn-Mayer. A good picture, of real value to (Continued on Page 13)