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CLASSIC
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different is in the absence of that convenient scene depicting the heroine wearing the colors and riding the horse to victory.
TJie director has seized the chance of dressing up the ancient hokum. In other words he has discovered that such a story can project humor. By giving it these new trimmings he has made the picture enjoyable. It contains some capital incident, -a thrill or two — and one of these cameo character
Left: Matt Moore, Dorothy Devore and player in “The Narrow Street.” Right: Colleen
Moore and John Bowers in “So Big.” Below: Clara Bow, Mary Carr, George Hackathorne and Elliott Dexter in “Capital Punishment.” Lower left: William Powell and Richard Dix in “Too Many Kisses.” Low<r right: Claire Windsor
and Lloyd Hughes in “The Dixie Handicap”
k.
clouds. And all is well. The picture is not overburdened with sentiment, nor is there any struggling to invest it with heavy theatrics. It is acted with conviction by the cast — and directed with sufficient stress upon the humanities. Directed by Svend Gade.
Excuse Me. Metro-Goldwyn. Cast: Norma Shearer, Conrad Nagel, Renee Adoree, Walter Hiers. John Boles, Bert
sketches of the Kentuckian, suh — played by Frank Roach, William V . Along, Edith Yorke, Eugene Cameron, Keenan. Directed by Reginald Barker. Fred Kelsey.
Fifth Avenue Models. Universal. Cast: Mary Philhin, Norman Kerry, Joseph Swickard, William Conklin, Rosemary Theby, Rose Dione, Robert Brower, Helen Lynch, Betty Francisco, Jean Hersliolt, Mike Donlin.
HThis is no fashion parade, much as the title may indicate 1 it. The picture has merely had one of those “boxoffice” names tacked on it to lure the customers. But once in their seats the spectators will not get an eyeful of sex appeal. It isn’t that kind of story. Instead, it tells a tale of heart interest — featuring a girl who defends her honor and whose dismissal from the shop brings tragedy upon her. Then along happens the inevitable Prince Charming or the Cinderella Man — or what you will. He scatters the
Dupert Hughes’ famous farce of the stage makes a 1 ' truly hilarious picture — one comparable to the funny contributions of Keaton and Lloyd. It travels along at top speed, releasing continuous laughs as the elopers find themselves in one tight fix after another aboard the train. From a wrecked taxi to a quarantined minister’s home they dash to have the marital knot tied until aboard the Limited they settle down in a drawing-room to thresh out their troubles. It’s a picture kept alert with bright gags — which are neatly balanced with romantic interludes. There’s a quarrel — and then there’s a kiss. A thrilling finish, the only picturey touch, brings peace. A smart group of players are assembled here — with Bert Roach stealing the honors with his portrayal of ( Continued on page 97)
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