The educational screen (c1922-c1956])

November, 1923 The Theatrical Field 447 much that is physical on the screen. Pictures are very obvious; the screen is not subtle — "Not yet," he adds with Irish optimism. Who does not remember Madariaga, the old centaur of "The Four Horsemen?" Ingram hunted the book through for a description of him, but could not find it. Then he sketched him. Ibaiiez, to whom he afterward sent the sketch, wrote that Ingram's Madariaga was exactly the man as he himself had visualized him when he wrote the book. But Ingram didn't seem to think it unusual. "As I say," he repated, "I've had a special training in this, just as some other director is who wants to do things. If you concentrate too hard on your particular line, you grow onesided. I heard a famus artist say only recently that if you are to amount to anything at all as How Rex Ingram explains his ideas for settings and costumes. trained in some other thing. But this — " he indicated a graceful sculptured head that stood on the desk amid a scramble of papers, sketches, and hooVs— "this is what I'm going back to." A hobby is a most vital necessity to the man an artist, you must have a fad. I wonder whether Rex Ingram is a motion picture director whose fad is sculpture, or a sculptor whose fad is motion pictures. I should think it might work both ways. Theatrical Film Reviews for November ASHES OF VENGEANCE (First National) Aside from the fact that this picture gives us a vivid and beautiful picture of the France of Catherine de Medici as well as a swiftly moving romance, it has a further significance not to be overlooked. Because Norma Talmadge has long since reached the status of a star, we expect, naturally, to see her starred, but we find her here playing leading lady to Conway Tearle, who is practically the whole "show." That the story did not of¥er a true starring role for her, seems not to have mattered to Miss Talmadge so long as she could produce a good picture. Contrasted with the method producers so frequently employ— that of bolstering up a weak story with the presence of a star, or distorting the story to fit the star— this appears as a most heartening sign. May we see more like it! The story, briefly, is of an old feud between two families. The count de Roche, played by Courtenay Foote saves, the life of his enemy, Rupert de Vrieac (Mr. Tearle), and in return exacts Rupert's promise to become his servant for five years. Rupert is detailed to the service of the Count's sister, Yoeland, who loses no chance to remind him of his lowly position. But by fighting chivalrously in her defense, Rupert wins first her admiration, and then her love, whereupon de Roche is constrained to release him from his oath, to prevent the possibility of his ever liking a de Vrieac! Miss Talmadge as the haughty Yoeland is lovely, but has no emotional opportunities. Mr.