Motion Picture Classic (1923, 1924, 1926)

NO further proof is needed that the Germans produce pictures to make people think than their supreme effort, "Variety." Like "The Last Laugh," it asks you to pay strict attention, which you unconsciously do while you find real stimulation from its drama. With no attempt at belittling the American product, the truth must prevail. It prevails in the painstaking effort to get away from the banalities, the artificialities which too often saturate our pictures. The serious minded Teuton is out to record life stripped of all its gloss. And "Variety" is typical of the FLASH race. Belongs Among the Best ^OME critics have declared it the best film **^ ever made. W ell, if it isn't, it cant be disputed that it belongs among the screen s few masterpieces. Certainly there is no room for argument that it marks the furthest advance in picture technique. Why, even a spectator who never saw over a dozen films in his life can aftfireciate the difference in the manner of its conception and execution from the standards which have been placed before him. He would aftftreciate true motion photography — the tyf>e of photography that becomes a living force. Consequently he is able to feel that the picture is sneaking right out to him in its own incomparable language. Incidentally, it is a language which can be understood in any country, since it establishes perfect pantomime brought forth from a perfect motivation of f>lot. Cinematic Art At Its Highest Peak OO "Variety" expresses *^ cinematic art at its highest development. The film audience outside of the circle of "fans" will be able to understand its top standard of technique. The intelligentsia may come to scoff but they will depart highly respectful over the depth of understanding it conveys. The picture hasn't a weakness. It is especially well handled in regard to its camera angles. It, moreover, contains an interest and appeal for every type of patron everywhere. Its difference from our mass of pictures lies in its superb construction, plus its painstakingly clever presentation, told in terms of life-like pantomime. 54 Impression of James Kirkwood by Curzon By L. R. Jannings is Present "\/TOST everyone is familiar with the name ** ■*" of Emtl Jannings. But he isn't "ballyhoo-ed'' in Germany as he is here. The advertising medium which is the backbone of selling the picture to the public, has made our star system what it is. The Germans have placed him in their picture because they knew he represented the best man for the fiart. And the Americans have capitalized his talent. So here he is giving another memorable study which contains all the emotions that a human being could possibly express and still belong on our planet. Lya de Putti ts another who contributes a most intelligent performance — a performance of a dozen moods and shadings. She is now in this country and Jannings is on his way. Truly, America may welcome them. It Was Coming to Him A TESTIMONY of the high esteem that F. "^ ^" W. Murnau is held in America was proved recently when Fox Films tendered a dinner for the director of "The Last Laugh." Highly paid editorial writers, justices, admirals, generals, professors, bankers — all fared forth to pay homage to the genius who produced one of the greatest (if not the greatest) pictures of the screen. It was a tribute to an artist and his art — that representative men from various walks of life responded with such deep regard and enthusiasm. Herr Murnau registered a humility befitting of all men who have accomplished something worth while. He paid modest tribute to the culture of Europe, but admitted that the energy, the youth and the vital freshness of America had awakened in him a keen desire to catch its indomitable spirit. The German has qualified as a thinker with real ideas. Let us hope that he continues to give them the highest expression. Unfettered, he should do it.