Motion Picture Classic (1923, 1924, 1926)

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Simply send me the exact date of your birth in your own handwriting. To cover cost of this notice and postage, inclose twelve cents in any form and your exact name and address. Your astrological interpretation will be written in plain language and sent to you securely sealed and postpaid. A great surprise awaits you ! Do not fail to send birthdate and to inclose 12 cents. Print correct name and address to avoid delay in mailing. Write now— TODAY— to the ASTA STUDIO, 309 Fifth Ave., Dept. 133, New York which would certainly be out of place in such a harrowing experience as lived thru by the romancers. The plot is heavy-handed dimenovel material — thrilling in its exposure of the will to live by these figures in the dugouts left by the Germans. It's a picture of landslides which entomb the priest and the lovers — a picture of grim and ghastly situations which terminate when the girl tells her mother she cannot marry the wealthy Englishman since she is already married to the man who was lost to her while making love in the bosom of the earth. Of course he eventually bobs up safe and sound. The picture carries a certain spiritual quality which makes the pettingparty episodes in the dugouts very much out of order. The most impressive touch to us is Corinne Griffith's portrayal — in reality her first big opportunity. She endows the role with sincerity and charm and plays with vital feeling. Heavy melodrama that it is, it somehow lingers in the memory. PERHAPS Gloria Swanson thought she could not be a convincing French personage of the theater unless she resorted to extremes, but it seems to us that with half the expenditure of physical energ)' in playing the title-role of "Zaza" (Paramount) she could have achieved much better results. She is a combination of Nazimova, Mae Murray and Leonore Ulric — and makes a frantic effort to be temperamental. Such outbursts are wearing upon one's composure. In her tranquil moments— which are few — she succeeds in being real. On the other hand H. B. Warner is too subdued. It is a frigid performance indeed, for a character supposedly French The picture is staged with undue lavishness and really proves interesting in a majority of its scenes — particularly when Zaza is swinging in a ballet number over the heads of the audience. It's a story of a dancer's romance and a broken heart which is mended when the good Frenchman's wife conveniently dies, releasing him to fan the embers of a previous passionate love into a quick and vivid flame. Miss Swanson may not be at her best here, but her clientele is so secure that we can hear the box-office cracking; under the strain. A CURIOUS composition is "Red Lights" (Goldwyn) which is offered as a mystery melodrama, biit which before it develops its powers takes on the form (Continued on page 96) (Ninety-four)