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The Celluloid Critic
Above is Marion Davies in “When Knighthood Was In Flower,” in which she scores a personal triumph. Below, are Norma Talmadge and Irving Cummings in “The Eternal Flame”
IT doesn’t take a particularly keen sense of discrimination to select “When Knighthood Was In Flower” (Cosmopolitan) as the most magnificent screen spectacle of the season. Look back into yesterday and you will fail to remember any picture which eclipses this film version of Charles Major’s stirring and richly colored story for sheer loveliness of settings, costumes and lighting effects.
Dr. LTrban has unlocked his Cabinet and brought forth some tapestries and colors of almost unbelievable beauty. His backgrounds have never been excelled. With one sweep of the brush he does away with the argument that artistic pictures based upon
historical romance cannot be done on this side of the Atlantic. So much for the pictorial appeal.
In this day, when the ghosts of the dear departed are stalking abroad, it is quite likely that Henry the Eighth and his Tudor kin have looked unseen upon the achievement. It is quite likely that he asked his relatives — “So this is Hampton Court ?” And he possibly expressed the wish that he could live forever in such opulent surroundings.
It doesn’t matter whether the present generation is familiar with the story or not. The point is, it is a picturesque drama of English romance which is vivid and compelling — told in an admirable and dignified way and sticking closely to its main argument that Bluff King Hal did not care to have his rebellious little sister, Mary, associating with a mere captain of the guards when she could fiecome queen of France by merely exposing her seductive charm to Louis XII, that ancient and decrepit romancer. Do you blame her for being disobedient to the royal command ? Can you blame her for liking Charlie Brandon, the commoner — with youth, virility and romantic fervor on his side?
It was a hazardous job protecting him from her brother’s hatred. Drastic measures were employed by both — and Mary, being a Tudor, fought Harry with all the combative traditions of the family name. Feminine wiles were useless in making success of her cause. If you know history, Major, Shakespeare and Harry, you will remember that this autocratic ruler had the last word. Wives appeared and disappeared like the pitchers on the Giants’ ball team. So, at the price of saving Brandon's head from dropping into the basket, Mary consented to marry Louis, tho with the stipulation that she should be allowed to choose her second husband for herself. The King of France didn’t remain long a benedict.
These figures, with a whole galaxy of others, make their
Above is Wes Barry in “Rags To Riches,” and below, to the left, is Alice Calhoun in “The Little Wild Cat”
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