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1 THE THEATRICAL FIELD 1
« CONDUCTED BY MARGUERITE ORNDORFF *
Theatrical Film Reviews for January
[49] MARE ISOSTRVM (Metro-Goldwyn-Mayer) Rex Ingram has made Blasco Ibanez' story of war and the sea into a picture that at times moves swiftly and flashes brilliantly, at others becomes interminably dull and slow. The story is that of an Italian whose destiny is inextricably bound with the sea — the Mediterranean, traditionally known in his sailor family as Mare Nostrum, "Our Sea." His ship is named for it, and the woman he loves is to him the embodiment of an old picture which he saw as a child in his grandfather's house, of Amphitrite, goddess of the sea. Torn from his roving life by his wife's entreaties, he turns for comfort to another woman who is, unknown to him, an agent of the Austrian secret service. Through love of the beautiful Austrian he is induced to use his ship to carry fuel to enemy submarines in the Mediterranean, and by so doing he is indirectly responsible for the death of his own son in a torpedoed ship. The spy ; is arrested by French authorities and shot, i and Ulysses, the sailor, is lost at sea, a victim ' of the submarines he had served.
Mr. Ingram's chief players, Antonio Moreno as Ulysses, captain of the "Mare Nos
"The Triton", head of fl lea faring family
trum," and Alice Terry as the Austrian woman, give clean-cut portrayals, Mr. Moreno's being especially notable, and the minor characters are, as is ever the case in Ingram pictures, miracles of type casting. The story is steeped in old world surroundings. There are scenes in Naples and Pompeii, and French ports, among them Marseilles, that not only are beautiful in themselves, but set the picture wholly apart from our American-made fi 1 m s. There is frequently a cameo-like clarity of detail that is reminiscent of The Four Horsemen, and occasionally a scene of strangely poignant beauty, such as that at the end, when Ulysses, finished with the world, slips down through the embrace of his beloved sea into the arms of Am
phitrite. {See film Estimates for November.)
[50] THE GREAT GATSBY (Paramount)
A baffling story that seems to lack a good many of the essentials of real movie material, but that holds attention and somehow lingers awhile in the memory. This chiefly I should say because of fine work by the cast, for the story is far too illogical in its conclusions for general satisfaction. The pivotal character,
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