Motion Picture Classic (May 1921 - Dec 1927)

/ Mr. Reid Goes To The Movies Our Celluloid Critic Reviews For This Issue the Following Pictures, the Best of Which Is “Peter Pan” Peter Pan, Excuse Me, Dick Turpin, Fifth Avenue Models, Miss Bluebeard , Capital Punishment, The Lady, A Thief In Paradise, The Redeeming Sin, The Dixie Handicap , The Narrow Street, So Big, The Lighthouse by the Sea, Tomorrow's Love, A Man Must Live Peter Pan. Famous Play.ersLasky. Cast: Betty Bronson, Ernest Torrence, Cyril Chadwick, Virginia Brown Fa ire, Anna May Wong, Esther Ralston, George Ali, Mary Brian, Philippe de Lacey, Jack Murphy, At last “Peter Pan” lives in '*■ the films and Sir James M. Barrie builds his castles on the screen! Peter breathes in the buoyant and captivating person of Betty Bronson, whose work here entitles her to a permanent place in the theatrical pedigree of this dainty and charming play. All that there is of boyish abandon and the bubbling spirit of youth finds expression in Miss Bronson’s eloquent yet unaffected performance. Herbert Brenon, the director, has accomplished the difficult task of making a literal translation of the Barrie play. He draws upon imagination to bring a dream to life upon the screen. The exploits of adventurous Peter in “Never, Never Land” form a tale of elusive charm for the grown-ups and a bold and stirring proxy pilgrimage for the children. It is a picture of pure delight. Directed by Herbert Brenon. So Big. First National. Cast: Colleen Moore, Ben I^yon, John Bowers, Wallace Beery, Ford Sterling, Dot Farley, Jean Hersholt, Sain DeGrasse, Gladys Brockwell, Rosemary Tlieby, Phyllis Haver, Charlotte Merriam, Henry Herbert. Dorothy Brock, Frankie Darrow. "The tragic little Selina of 1 Edna Ferber’s novel serves Colleen Moore as a part of greater dramatic pretensions than any hitherto essayed by this popular screen personality. Miss Moore seizes upon all of the concretely dramatic incidents in an assured and reassuring manner, giving evidence that her histrionic range is not restricted to “flapper roles.” The poignancy and charm of the book enlighten the film, tho some of its deeper significance has been lost. The translation is faithful to a degree. Every sincere effort has been made to accomplish a worthwhile and important screen drama and the reward to the producers is a work which is certain to evoke a warm appreciation from the discriminating picture patrons. Directed by Charles Brabin. Little Betty Bronson, the unknown quantity of the screen, proved herself an actress of unlimited possibilities by her sensitive and charming performance in “Peter Pan” The Lady. Schenck-First National. Cast: Norma Talmadge, Wallace MacDonald, Brandon Hurst, Alf Goulding, Doris Lloyd, John Fox, Jr., Paulette Duval, Emily Fitzroy, John Herd man, Margaret Seddon, Myles McCarthy, George Hackathorne, Marc McDermott, Walter I^ong. "This adaptation of Martin Brown’s play shows Norma 1 Talmadge at her best, which is a way of saying that you will not recall many performances so impressive as this moving and tender depiction of a dancer deserted by her wealthy husband and parted from her son. She is discovered in a Paris cafe and a flashback serves to visualize the past, when she married an Englishman of social rank and was eventually deserted by him because of the opposition of his snobbish father. The rich pathos and appealing tenderness of the character are superbly accented by Miss Talmadge and she achieves a sympathy which makes the reunion with her son, the climax, a moment that will long be remembered by those who witness this extraordinarily fine screen drama. The local color is admirably managed and the cast is a most distinguished and interesting one. Directed by Frank Borzage. A Man Must Live. Famous Players-Lasky. Cast: Richard Dix, Jacqueline I^ogan, George Nash, Edna Murphy, Charles Beyer, Dorothy Walters, William Ricciardi, Arthur Housman, Lucius Henderson, Jane Jennings. I N general outlines this adaptation of I. A. R. Wylie’s * “Jungle Law” resembles “Manhattan.” It stresses action and builds up to a climax of some melodramatic sweep. However, it is not so constant in its dramatic vigor and lacks some of the sparkle of “Manhattan.” But we do not believe the lack of incident sufficient to hold the action at an even pace will seriously mar the enjoyment which will be found in the offering by those who became Richard Dix fans on the strength of his earlier starring vehicle. The hero’s straitened circumstances after leaving the army force him to take employment on a scandal sheet. He finds he is being used to get copy about the brother of his own light o’ love, and then a battle royal occurs, with the hero coming off triumphant. The picture, as is all too often the case, does not measure up to the ability of the star. Directed by Paul Sloane. 47