Motion Picture Classic (1923, 1924, 1926)

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Laurence Reid Reviews the New Photoplays The marital episodes are richly amusing and contain a deal of subtle touches Rejected bj the bride, the bus band starts cutting up didoes with a fair Viennese who plays the violin. Which, of course, piques the In hie In order to win him l>.u-k she ferrets cut the blond fiddler ami takes lessons in deportment. In the end the princess stlOWS her Consort that she can stand out in any crowd. Well Staged and Acted The Germans have Wept the spirit of Vienna intactthe atmosphere and incident being thoroly tn character. A.S for the acting weH there are other troupers in the Rhine country besides Emil Tannings. Will) Fritsch, as the Viennese, gives a performance that fairly rkles. It is one of the most adaptable and easy character studies that has ever graced the screen. Something tells me that Fritsch will soon display his talents out Hollywood l/ay. He is sorely needed in this country. I can think of no one who could have handled the sequence of the wine festival and the suhsequent marital episodes with more grace, abandon and polish. All in all. "The Waltz Dream" spells a most pleasant hour in anyone's nickelodion. \\ omen I i whk h shows something nevn in phot phj l ike "\ ai let) ' il tells a of the theatei . tho the plot d i .u i \ tin ame direct tn ment, nor i iund in its construction. Whi "Variety" prog lightforwara to it in« A drama of one of America's greatest industries presents Milton Sills as a steel worker. "Men of Steel" was photographed at the Ensley Mills in Birmingham, Alabama The German Influence The German influence in so far as camera technique is concerned is reflected in "You Never Know Rudolph Valentino returns to his favorite role in "Son of the Sheik" — and reaps new laurels. The woman responding to his ardent advances is Vilma Banky Ufa A pleasant and amusing romance is "The Waltz Dream" — from the UFA workshop. Here are Willy Fritsch and Mady Christians showing how they make love at a wine garden in Vienna evitable climax, "You Never Know Women" loses its strength before it is half over and the finish is saturated with hokum. What merits it has rests with its camera work and the acting by Florence Vidor (her first starring film), Lowell Sherman. El Brendel (who contributes an excellent sample of pantomime) and Clive Brook. It has been said that Director Wellman had not seen "Variety." If not, he has seen other German pictures His camera never misses a thing and catches the story from all kinds of angles. A Weak Plot [NFORTUNATELY the film is burdened with a plot which has gone to the movie mill many, many times. It presents the theme of unrequited love — with the central characters the principal performers in a Russian ballet — a ballet modeled after the lines of the Cluntvc Souris which created a sensation when touring America. The heroine is swept off her feet by the ardent attentions of a monocled American (played by Lowell Sherman in his best monocled fashion). The Russian lover with a movieish impulse of self-sacrifice is willing to step out of her life via the suicide route. This is a weak gesture which is anything but convincing. But the most unconvincing touch enters when he returns from his watery grave to chase the American bounder all over a theater and torture him with knives which he hurls with deadly accuracy. The spectator must find the appeal of the picture in (Continued on page 80) 51