Film Spectator (1927-1928)

April 16, 1927 Page Nineteen Governor for Elkin’s body. The play is improbable but that is never important. It has a little propaganda against prohibition but that is not long enough to be tiresome. “The Noose’’ is entertaining, sustaining the interest until the end and it can boast of at least three actors of the first rank. 4c ^ ifc ^ The Firebrand, by Edwin Justice Mayer, presents also the pleasures of murder, but in the romatic spirit and in the distant haze of the golden days of Florence. A paradox begins the comedy, that of charming, swaggering Ian Keith impersonating the robust artist Benvenuto Cellini. Though the play has no Florentine quality, the voices being strongly flavored by the great open spaces of America, the performance overcomes such details, rocking an enthusiastic audience in laughter. Apparent is the sure touch of Frank Reicher revealed in the lightness of tempo, the artistic covering of the stage, in that subtle aliveness that the artist-director alone knows how to draw out of his players. * * * Some authorities consider it unfortunate to open a play, particularly a comedy, with a dialogue between minor characters. If the hero must have his way prepared, a group will start the bail rolling more briskly than can the love-making of obscure actors. It is gratifying and exacting to have the theatre crowded with old friends who are ecstatic over seeing an actor in red tights, but it makes his first entrance difficult if he has more than doublet and hose to bring to his part, and Ian Keith has. Leaning against the door, his slim red length punctuated by his expressive face, he was as arresting as was the gleeful applause of a crowded house, largely sprinkled with movie stars and directors. ♦ • ♦ Benvenuto appears fresh from sporting with the gentle art of murder. But this time the Duke Allisandro De Medici, no doubt jealous of his subject’s pleasures, is hot on his heels. Though Cellini, like the modern killer, has no taste for paying the penalty of such revels and is perturbed by the possibility that he may be forced to do so, yet he has time for love. His love-making, though set in the sixteenth century is quite modern, a brand particularly well known about Hollywood. Of course, today, one must dress love up in romantic terms, especially if one has anything to do with movies. That’s imperative. Cellini’s love is unmasked and the au4 dience greatly enjoys this frankness about fundamentals. It is like this: Cellini buys his sweetheart, but wriggles out of the payment of the ducats. He is not concerned with anything inside of his adored one, — ^ideas, morals, inner 'beauty, but with externals, such as hair, eyes and form, — in short, the artist Cellini chooses for his sweetheart that most popular type that the Southern negro so aptly calls “a walkoff,’’ This is a much more elegant expression than that of “dumbell.” 4* ♦ The negro explained his expression thus: “When Gawd made de people he made dem out of de clay down by de rivah and stood dem up by de wall to dry. But befo’ he could put de brains in some of dem, dey jus’ done walk off,’’ Elsie Bartlett played well the part of a young walk-off with an American accent. William Farnum as De Medici was altogether delightful, never slipping out of his part and having a deliciously light and sprightly touch. He revealed how little man has changed since the old Florentine days: that even the boldest quails when it comes to his relationship with a wife who can say with authority, “You thought I was the Duchess, I am the Duke.’’ Ethel Clayton does not put this over. Perhaps she has done too much silent work on the screen; for the sort of woman she is supposed to portray always possesses an arresting and very clear voice. 4« The first act went a little too heavily in the manner of melodrama rather than of comedy. But perhaps that was because the audience did so much acting that the stage could not get an even chance. But the second act clicked mirthfully and was altogether successful. The Duke has carried away the walk-off Angela to the summer palace where his wife has unexpectedly arrived bringing with her Cellini, commanded by the Duke to stay in his own house until De Medici gets around to hanging him. The Duke is nervously enthusiastic about Angela. Cellini indulges in another murder, after which he scales the balcony of the Duchess and with his arms about her amusingly keeps his ear cocked for his pursuers. For is not self-preservation stronger than love? And be sides, he does not love the Duchess, but Angela, who at this moment is in the Duke’s bedroom which is adjacent to that of the Duchess. The wife, who is “the Duke” goes to investigate her husband’s state of sleepiness before leading her lover into the darkness of her chamber, Cellini waits uneasily, listening for the approach of the soldiers who are whipping the bushes for him. The Duke’s window opens and he and Angela emerge. Cellini hides. With well-acted comedy the husband hears the Duchess knocking and shutting Angela out on the balcony goes into his room to disarm suspicion — a very modern play, you see! Cellini abducts the “walk-off” and in the last act after having spent a blissful night with Angela disillusionment sets in according to the general pattern. He narrowly escapes hanging by using his wits and by again deceiving the Duchess into thinking he is her lover. He bestowes Angela upon the graceful Duke who takes her away. The play ends satisfactorily by the coming of a little page to give Cellini again the key to the bedroom of the Duchess. Dickson Morgan is to be congratulated on the effectiveness of his settings. — — H. TIPTON STECK WRITER My Original Story “WOMAN’S LAW” A Dallas FitzGerald Special Just Completed TITLED “BARBED WIRE” Famous Players-Lasky ambassador’ HOTEL THE 5hrich Qalleries ‘‘Old (Masters*’ The Metropolitan has just purchased a portrait by Henry Williams from The Ehrich Galleries — the 278th painting sold by this Gallery to American Museums. 36 East 57th Street NEW YORK