Motion Picture Classic (Jul-Dec 1928)

Are the Children of the Screen Stans Normal? {Coiiliiiiicd fioin p,i(/r R\ ) it is for yoIlI1g^ter^ In riiii aii'l play withoul worrying ahoiil ihcii ' apptaramc, \'\r notirerl that it's the play snapsliots of them, digging in sanH piles, dirty and tonseled. freckled and hnnied. whirh arc enlarged for framing on the living-room mantel. It is not the photograph of them in their hesl rlothes and elahoratel\ enrlcfl. Movie parents have heantiftil children because they insist on hcaiily. It is a primary object in their profession." Children of happy marriages — love children, as the saying goes -arc traditionally more favored than other <hildren. And the cynical might say that movie children are all fortnnate ii\ that way, because, when love Ries on( of the window in a movie bouseh(>ld, hnsband and wife walk out of the front door to the nearest di\orce court I Therefore, when the stars refuse to publicize their children, it does not mean that they are cross-eyed or luiw-legged or stutter! The i)robahilities — take it from Hr. Karl Tarr are that these are as sturdy, good tempered, good looking boys and girls shut away behind the high garden walls of movie stars' palatial homes as there are outside these walls. The Celluloid Critic (Contiiiiird jiow pui/c 5.V) man's box ofHce than a Hock of films which have mas(|ucradefl as top-notchers. I-I cf)ntains a first -rate idea, though the Tolstoi mental processes are missin<;, naturally. I find it woven around the theme of a youth who overcomes his inferiority complex. He is goaded into action by the ( os.sacks. To establish bis birthright he slays several Turks and wins the girl. The scenes are iiuncfuated with an assortment of thrills, one in particular showing a mountain slide which carries a kick. There are plenty of fights, which together with the horsemanship of the Cos.sacks and the vehement love-making of the (iilbert will keep one from looking around for that nearest exit. The star is wide awake again after his innings of passion in "Love." And Renee Adoree, Ernest Torrencc and Nils Asther lit right into the scheme of things. This sua'-hbuckling yarn looks like a tip off of a tlock of imitations in the offing. Take Thai, and That and Thut. AN old-timer in theme and characteriza^^ tion bobs up in "The Michigan Kid." With every clement running true to form — with the figures neatly pigeonholed in the plot of the picture, I can only give it a fair mark. It'.s a story that has been taken to the movie well too often and exploits an ojien-hearted gambler, another who's not built that way — and the girl. The men are in the Klondike, and both are ignorant of each other's identity though they spent their boyhood together. It all climaxes toward the moment when the s(|uare-shooting gambler wins over his rival. To accomplish the romantic ending the lovers escape from Mother Nature's villainy when they ride to safety over a waterfall and emerge from a forest fire. 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