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.
«
%
The Newest Photoplays in Review
By
LAURENCE REID
Above, Wallace Reid holds up the wrong person, Lila Lee, in “The Ghost Breaker.” Below, Bebe Daniels and James Kirkwood in the well-known Cynthia Stockley story “Pink Gods”
entrances and exits thru Urban’s impressive settings— settings which dazzle the eye with their size and beauty, yet are never out of "harmony with the story itself. v
But what of Robert G. Vignola, the director? Isn’t he responsible for the artistic effort of the cast and the dramatic construction of the story ? Didn’t he animate the entire play? Give him credit for putting forth one of the finest touches of the picture — the scene showing Marion Davies at prayer as her beloved is about to be executed.
Miss Davies, incidentally, gives a surprisingly good performance as Mary. She has seemingly caught the spirit of the role — playing at all times with feeling and assurance. She is especially delightful in her scenes with her rascally brother,
Harry. The other members of the cast played flawlessly — a cast comprising names which read like a blue book of stage and screen. Lynn Harding as Henry has stepped right out of a Holbein. His resemblance is marvelous.
And he is the king to the life as Shakespeare and history have drawn him — bluff, jovial, brutal, relentless and autocratic. An unforgetable portrait. William Norris’ Louis XII is a joyful study — a truly comic King — played with a keen sense of satire and subtle buffoonery. We mention these three because they dominate the picture, but the work of Pedro de Cordoba, Forrest Stanley, Arthur Forrest, Ruth Shepley and William H. Powell is especially noteworthy.
And while you are feasting your eye and stimulating the romance in your make-up on “When Knighthood Was In Flower,’’ dont forget that Norma Talmadge has a distinctive drama in “The Eternal Flame” (First National). A producer can err with a costume play and still be able to show something of merit. And when you see this picturization of a Balzac novel, “La Duchesse de Langeais,” you will remark, possibly loud enough for your neighbor to hear, that it is a fine picture — one that presents the always competent Miss Talmadge with opportunities to scale new emotional heights.
On the pictorial side the effort nearly approaches “When Knighthood Was In Flower." The eighteenth century Parisian atmosphere is faithfully reproduced — the sponsors sparing no expense to create an authentic background of the voluptuous and sumptuous Empire period. The picture is more consistent in its plot than “Smilin’ Through” ; and if you dont think it has several intense scenes, watch for the moment when General de Montriveau seeks to destroy the beauty of the woman who has played with his heart.
*-T' Site:
t^S
Above, George Arliss in “The Man Who Played God.” Below, to the right, Thomas Meighan and Leatrice Joy in “Manslaughter”
( Fortyfive)
u.
\
d * afA.