We use Optical Character Recognition (OCR) during our scanning and processing workflow to make the content of each page searchable. You can view the automatically generated text below as well as copy and paste individual pieces of text to quote in your own work.
Text recognition is never 100% accurate. Many parts of the scanned page may not be reflected in the OCR text output, including: images, page layout, certain fonts or handwriting.
ARMS
The only film made during the war that can be recalled as having any bearing on the actual conflict was about the humorous antics of the eternal "tramp” gone to war... the scene in the flooded dugout . . . the masquerade as a tree. . . the duel with a sniper all define the ridiculous aspects of combat. As to the performers' artistry, here as the soldier on K.P. the image speaks for itself.
MATA HARI
This female spy cannot be left out of any reflection upon World War I and she found a symbolic personification on the screen in the performance of Greta Garbo. The film version of her life also starred Ramon Navarro and Lionel Barrymore, but it was Garbo's own compelling image as the doomed charmer that made the film story credible.
STOP THE BLOOD! STOP THE BLOOD!
The cry of the dying Mother’s Boy, Barry Norton, left no doubt as to the antiwar attitude of "Wfiat Price Glory," made in 1926. The words of Leslie Fenton in the famous dugout scene as Quirt and Flagg bind their wounded and count their dead -"What price glory now?" -also vividly supports the theme. But it was the male antics of the two marines, Sgt. Flagg (Edmond Lowe) and Captain Quirt (Victor McLaglen), that caught the tempo of The Great War and the hearts of an audience more dedicated to life than to death.
HEY! WAIT FOR BABY
Flagg and Quirt began their adventures in the South Seas as they competed for the favors of Shanghai Mabel (Phyliss Haver). Then, with the American entry into the great conflict, they transferred their amorous warfare to France and the beauty of Dolores Del Rio. By public demand their love affairs were to be screened again in "The Cockeyed World" with Lili Damita, but it was not so much their affairs with women as it was the relationship between themselves that made
the films great. Both held a courage unintimidated by death, a humility disguised in a brassy humor and a friendship that could not be threatened by the shape of woman nor the quarrel of war. . .Wounded and with the promise of Paris before him, Lowe comes limping back to his company as it returns to the front. With a "Hey! Wait for Baby!” and the sweep of a McLaglen smile the film ends and the friendship begins again.
n
21