Motion Picture Classic (May 1921 - Dec 1927)

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WESTANGUS SHOW CARD SERVICE LIMITED Authorized Capital $1,250,000,00 74 Colborne Building, Toronto, Can. an auto down a winding mountain road — with the breaks of the car out of commission. WESTERNS never vary much in serving up their customary ingredients. If one is constructed to eliminate the obviousness as much as possible, it is certain to present something unusual —even for westerns. No one would ever accuse Harold Bell Wright as an author gifted in the art of furnishing his readers with suspense or surprise. Yet his “When a Man’s a Man” (First National) carries a surprising twist at its ultimate climax — and a creditable amount of interesting incident in its action— and the picture looms up as one of the better westerns. The central idea is a tried and true one — based on the idea that a man must make good in his sweetheart's eyes before she'll accept him. Which prompts the young idler to strike out for the cow country — where he learns to take considerable rebuffs, even so far as to be accused of rustling cattle, before he can look the setting sun and a bucking broncho in the face and declare himself a man. The romance takes a turn or two — and points a few conveniences — such as last minute rescues — and similar stuff, but it moves, and, moving, holds the attention. There is a pleasant atmosphere — and two or three natural performances by Robert Fraser, Forrest Robinson and Charles Mailes. John Bowers is woefully self-conscious as the hero — and never fits the character, while Arthur Hoyt’s comedy relief might better be lifted entirely. Shadows of paris” is merely identical to “The Humming Bird,” both sponsored by Paramount. But it is not in the same class as the adaptation of the Maude Fulton play which established Gloria Swanson as an actress of emotion and not a “clothes-horse” for the demonstration of bizarre gowns. It brings us Pola Negri, who is gradually winning back the personality and talent which she flashed under Lubitsch. She has not yet approached her work in “Passion” in any American-made picture. But since she has a former director, Buchowetszki, to direct her, we may look for the Pola of the German documents. “Shadows of Paris” never approaches the Swanson opus in its spiritual glow, nor does it carry the dramatic values. There is no lofty theme of regeneration inspired by patriotism here. It is merely a ro Street City state (Please write or print plainly) The Muscle Builder Show me the man who doesn’t want muscle, with abounding health, and I’ll show you a man who is ready to he measured for a wooden box — he's dead and he doesn’t know it. A body without muscle is like a house without foundation — a little storm, and over it goes. Get wise, fellows, X shouldn’t have to tell you these things. You can’t enjoy life with a weak, sickly body. 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Some of these came to me as pitiful weaklings, imploring me to help them. Look them over now and you will marvel at their present physiques. This hook will prove an impetus and a real inspiration to you. It will thrill you through and through. All I ask is 10 cents to cover the cost of wrapping and mailing and it is yours to keep. This will not obligate you at all. hut for the sake of your future health and happiness, do not put it off. Send today — right now, before you turn this page. EARLE E. LIEDERMAN Dept. 1805, 305 Broadway, New York City EARLE E. LIEDERMAN. Dept. 1805, 305 Broadway, New York City Dear Sir: I enclose herewith 10 cents, for which you are to send me without obligation on my part whatever, a copy of your latest book, “Muscular Development.” Name (Ninety-one)