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Laurence Reid
Reviews
the New Photoplays
Follows then the unhappiness of Betsy as she returns to' Baltimore alone. But it is indicated that Jerome will join her, in spite of his powerful relative and the broad expanse of thej Atlantic.
The picture is easy to spot in regard to its development and there isn't so much to it. But it provides a neat setting for Miss Costello. Which is perfectly Okay with me. She needs romances and not melodramas — and Glorious Betsy lives right up her street.
Rather an Old Story Now
HThe racial-religious question capitalized by Anne Nichols as '"Abie's Irish Rose," and which told its story of hearts and
flowers and smiles and tears and hokum and dialect, reaches
the screen a little late.
Several Abies have taken their Rosies for better or for
worse since young Mr. Levy defied his orthodox parent and
married the girl friend. And so the big suspense is missing.
Which goes to show that it's the old army game — this movie
grab-bag business.' Let a stage hit become the property of a producer and it's a cinch that his rivals will beat him to the screen with imitations of the original.
"Abie's Irish Rose" is well done and follows the
THEY'VE given Dolores Costello in "Glorious Betsy" a picture which has much in common with her personality, something which could not be said about "Tenderloin." It is sheer romance and if it hasn't much imagination, at least it has feeling and is handled with fine restraint. Alan Crosland, who directed, doesn't get out of key with its theme. Some of the boys might have gone unduly sentimental and' made it sticky, but this director has kept his balance.
The setting is of an early nineteenth century pattern as it was found in Baltimore and environs. And against this background the Costello lady makes a most personable figure.
The romance builds around the efforts of Jerome Bonaparte to woo and win Xh/t woman of his choice without benefit of either plain or fancy meddling by his brother, the newly risen emperor of France, Napoleon himself. The picture ushers in a deal of pathos as Jerome takes the glorious one back to France only to lose her when the Emperor turns thumbs down on the romance.
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play in its conflicts and contrasts, though certain
bits have been added to give it more dynamite.
Scenes of the late war are introduced as a
prologue to the romance, and while they are
saturated with feeling, still the war Ju'^ks
like a side issue.
At the top are Nils Aether and LeatriceJoy, who earn/ on the romance for "Thel Blue Danube." At the left Dolores; Costello and Conrad Nagel express pathosi'l over their separation in "Glorious Betsy."' Below, Chester Conklin is doing as welly as can be expected in "The Big Noisew