We use Optical Character Recognition (OCR) during our scanning and processing workflow to make the content of each page searchable. You can view the automatically generated text below as well as copy and paste individual pieces of text to quote in your own work.
Text recognition is never 100% accurate. Many parts of the scanned page may not be reflected in the OCR text output, including: images, page layout, certain fonts or handwriting.
By Our Board
/^^ >^
iisft - f
L" , Jf^^^ .
THE JAZZ AGE
SILENT 'f" which Marceline Day shows Metro-GoldwynMayer just the sort of picture they ought to have had her in all these years. Marceline steps out as an entirely shameless, but altogether attractive red-hot momma, who makes much whoopee with Douglas Fairbanks, Jr., but is not above rallying around to help him through a tough situation at the end of the picture. Doug Fairbanks, the second, is better than ever in a Modern Youth characterization which rings entirely true. Henry B. Walthall is suitably pathetic as Doug's father. For once, here is a note of genuineness in a Flaming Youth picture. Neither the point of view of youth nor that of age is exaggerated; Lynn Shores has directed it with sympathy toward the whole Jazz Age shooting-match between parents and their gin-absorbing progeny.
SQUARE SHOULDERS
This is an unpretentious honest little picture of the SILENT classification "Wholesome," which is not — as some people seem to think — a dirty dig. Most of the United States likes wholesomeness. Junior Coghlan, as the sturdy, freckled son of an Unknown Soldier, longs to go to Military School. A dirty tramp (Louis Wolheim) plays benefactor, steals his tuition money and gets himself hired as stableman atthe academy to watch over the boy who is, as any well-trained movie fan will have guessed, his own son. Wolheim's face covers a heart of gold — and it is no shame to anyone to be a little gulpy over that final scene when Junior plays Taps over his "bum." There are three other talented kids in the picture besides Junior, golden-haired Anita Louise, Phillipe De Lacey and Eric von Stroheim, Junior, a blase re-issue of his papa.
ALL AT SEA
SILENT "f y°" '^°^'^ think that titles can make a picture, just go and see this Karl Dane-George K. Arthur rib-tickler. There's not a dull moment in a carload, principally because of the pen pushers who aided the actors. The title puns may not be the highest form of wit but they are good for many chuckles. "I'm going to walk the calves of your legs into contented cows" — "Love is like a photograph; it takes a dark room to develop it," are mere samples. The two boys, gobs in our illustrious navy, do their best to live up to the titles. They are a bit slap-sticky in places, but funny enough to be forgiven for it. Josephine Dunn is pretty enough to upset the whole navy. George K. turns female impersonator in a few scenes and does some upsetting himself. All in all — a pretty good picture.
BLOCKADE
Anna Q. Nilsson as a mysterious hi-jacker of the sea SILENT comes back to the screen with an excellent performance, under the expert direction of George B. Seitz, who knows his mizzens, his poops and his halyards right down to the last topsail. The picture might have been a lot better than it is had they not cast two men distinctly resembling each other as the hero and villain. Walter McGrail and Wallace McDonald both carry a small mustache, both have dark, thick curly hair and are of the same height and build. The net result is that half way through the picture you are beginning to wonder who's who and what of it. When you finally discover that Walter is a tough egg and Wallace a goodhearted bozo, you have to think back all over the picture to remember who did what.