Motion Picture Classic (Jul-Dec 1928)

THIS iMONTH (rltic >triicted and contains a fair amount of human interest. Gangster Love TRUST a gangster's girl to stick hy him — and thus point a lesson in loyalty to her more strait-laced sisters. This is the idea hehind , Clara Bow's newest opus, "Ladies of the Mob," which is not only a neat melodrama with the stamp of reality upon it, but which also gives Clara Bow a chance to demonstrate emotions away from Itty circles. The picture serves a moral in its theme of regeneration. The girl's father burned in the chair, and to save her boy friend from following her old man she deliberately plugs him so that he will give up the "gat" and reform. It is charged with fine atmosphere and speaks right out with action that carries a snaj) to it. What particularly pleased me was the different note suggested in the process of regenerating a crook. Most film crooks reform by meeting a girl who doesn't talk their language. Here is one whose frail is a product of his own underworld. Richard .Xrlen is not up to the Bow in vitalizing the role. His personality is cut from too re fined a pattern. At top. John Gilbert ha» an interest in "The Cossacks." am] Renee .\Horee the romantir appeal. In the oval Cnnra and Renee Adoree rlimb to a mountain-top to talk things over in "The Michigan Kid." Below, Charles Farrell demonstrates pasfion a la Grand Duke for Dolores del Rio in **The Red The Red Dance The Cossacks Ladies of the Mob The '^Tieel of Chance The Michigan Kid White Shadows of the South Seas But the Cocoanuts Fall In >o far as collecting an as*■ sortment of l)eautiful shots which show how life is lived South Seaward, the picture version of Frederick O'Brien's lxx)k. "White Shadows of the South Seas." is not so hot. Much license has l^een taken with the original — and much more could have been taken that might have i:>epi>ed up this jiroduction. For instance, they could have jtaged a lively fight among the tribesmen— with the fair native as the pawn. The white man would then ha\e an opixirtunity to prove his superiority. While this is an ancient idea, it would have livened uj) the proceedings. As it is. one waits in vain for something to hapj^en. It is nothing but a travelogue of the maimers and customs of the South Seas, with Monte Blue playing a derelict who is made the white god when he ajjplies first-aid treatment to the brown-skinned poobah's little boy. This not only wins him the undying gratitude of the father, but the' love of the kid's sister as well. And that's all there is to it. The jiicture was actually .shot in the South Seas and the native life is interesting. But the story is very weak — a poor prop to hang soine striking scenes over. The hula dances must have been trimmed. Fast Work on Hollywood's Steppes OHN Gilbert has a good number in "The Cossacks," and it seems like old times to find him reunited to Renee Adoree, who was his sweetheart in "Tlie Big Parade." Not so much fuss has been made over this contribution to celluloid art, but it is easily a better bet at any (0"!/ni''.-.' " '■ f^i'-or 91 "> 53 J