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Laurence Reid Reviews The New Photoplays
Above is Nancy Carroll and one of the ensembles from "Paramount on Parade." On the right Charles Farrell looks longingly and lovingly into the eyes of Janet Gaynor in "High Society Blues." Below, one of the graphic moments with Louis Wolheim and his boys in "All Quiet On The Western Front"
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The Biggest Parade
IN "Paramount on Parade" the producersthe artists — have succeeded in estabUshing t intimate touch so greatly desired in the revue type entertainment. People like Maurice Chevalier, Jj : Oakie, William Powell, Clive Brook and countl ^ others from Paramount's lengthy roster someh establish an entente cordiale with the audience, see ing to wink and smile at each individual as though t fun was meant especially for that particular custom( Chevalier is the bright particular star of the revi and gives his talent lavishly by appearing in a genero number of songs and sketches. Jack Oakie is Mast of Ceremonies; Clara Bow and Nancy Carroll ring t | entertainment bell in respective spots. The outstandiijl features are a park bench scene featuring Chevalier ar a hot boudoir number starring him and Evelyn Bren
The Gaynor-Farrell Blues
NOW in all truth there isn't anything ver great or novel in "High Society Blues. In fact, it is a pretty infantile piece of pictui work. But Janet Gaynor sings. So dot Charlie Farrell — who plays the ukulele aswel Lucien Littlefield and Louise Fazenda poke in lot of fun — and at the end there's a good tini been had by all.
The plot is a re-vamp of Shakespeare' "Romeo and Juliet" brought down to thes* days of sound business and Wall street crashes There is a feud between two families, and tht son of one loves the daughter of the other. It all ends quite merrily with everybody friends Meantime Janet and Charlie go into a clinch at the end of every reel. And they seem to enjoN it as much as the paying-guests.
Both of the stars nave improved since their initial ventures upon the song-screen, and each is sure to win greater popularity than ever in this type of thing.
The Late War— with a Vengeance
AN amazing work of blood and steel has been hammered out at the film forges of Hollywood in "All Quiet on the Western Front." Those who dare face the facts of war must acclaim it a masterpiece. But this is no opera houffe, and the truth about the trenches is far from film fare for a happy holiday.
Here is gaunt death — unglorified. Death in the muck and stench of the front line. And the soulshattering fear of it that reduces fun-loving boys to gibbering, raw-nerved, unhuman things.
The drama is superbly staged, and nobly enacted. It brings a new star to the screen in Lewis Ayres, the former Hollywood bandsman, who has the leading role. And it adds a cinema croix de guerre to those already won by Louis Wolheim, Raymond Griffith, (who gives tremendous feeling in an unforgettable dugout scene), Russell Gleason, William Bakewell and the rest.
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