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CLASSIC
What is his method? He would us.e a red-hot branding-iron — a device which has left its mark in more than one piece of literature. The iron is allowed to cool when his love glows at sight of her beauty. Since the Duchess is unable to marry him, she retires for spiritual comfort to a convent. And Norma has some eloquent moments when she dons the veil — moments which might inspire the impressionables to wipe away a tear. Such is her art — an expression of variety and moods.
Frank Lloyd is responsible for this picture. Certainly he deserves credit for doing his job in a thoro, workmanlike manner — stressing the dramatic scenes with real intensity and balancing them with a restraining hand for sentimental and romantic moments. Yes, “The Eternal Flame" is a costume drama. There are enough costumes to drive Lucile green with envy, yet none of them indicates a desire on the part of the sponsors to declare a dressmaker’s holiday. They fit the characters with the period. Conway Tearle as the General is unduly serious. That is his way. He frowns in his customary manner and gets away with it.
We turn from these costume dramas to a modern story of dear old neglected dad, written by Rupert Hughes, It was only a question of time after he wrote “The Old Nest,” when he would use his left hand and show the other side of the family. Mother has saved t h.e home and watched over her flock in several seasons of pictures. It is time that she took a short nap so that father might be heard from. And Mr. Hughes makes him highly conspicuous in “Remembrance” (Goldwyn ) .
Call it a study in sentiment— call it the mother stuff turned around, you cannot deny that it is potent in its appeal. “The Old Nest” carried humble humanities. So does its successor. The door is opened and the spectator sees a slice of everyday life — perhaps exaggerated here and there, but withal holding your attention thru its rich incident and the eloquent acting of Claude Gillingwater, the dad of the stoiv. Here is characterization of the highest order. His mute suffering, his despair in trying to make both ends meet, his anguish over the disgrace of his sons — these very human attributes are brought forth with superb feeling.
Pop grows old and one day becomes seriously ill and in his delirium calls upon God to save him so that he can work and keep his children out of the poorhouse. The near passing of the old man brings a complete reform to every member of the family.
The story is told with a minimum of effort. Which is to say that Mr. Hughes doesn’t stop in his work to point some (Continued on page 94)
Above is Priscilla Dean as Cigarette in “Under Two Flags.” In this role she succeeds in some degree in galvanizing into life an old and commonplace story. The oval contains Mae Murray and her priceless — er — limbs which are to be seen in “Broadway Rose.” Below is Claude Gillingwater in his sympathetic performance in Rupert Hughes’ “Remembrance”