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Laurence Reid Reviews The New Photoplays
Confetti Time in N 'Orleans IXIANA" has its good points. And some nicJ
curves, too. The latter are contributed bj
Mrs. Ben Lyon — Bebe Daniels to you. The former inl elude some colorful ensembles, a handsome production! a few pleasing songs, the presence of those "cuckoos,*! Bert Wheeler and Robert Woolsey, a show-stopping interpolation by the tap-dancing Bill Robinson, and _ hip-hip-hurrah performance by Ralph Harolde, one olj the most up-'n'-coming menaces in movieland.
The film is obviously designed to follow in the foot-^ steps of " Rio Rita." But it fails to attain the excellence of that picture. And, moreover, it is a year later.!
Bebe is cast as a song-and-dance girl in a Louisiana^ carnival. Love comes. And also conflict. Thenj finally there is a spectacular sequence in the colorful( New Orleans gambling resort of the villain, lots of Mardi Gras stuflF, a duel and a final clinch.
Another Cameo for Arliss T'YT'HEN it comes to exquisite character Vy etchings, Mr. George Arliss is undoubtedly the finest artist yet to give his talents to the screen. In "Old English" this first gentleman of the cinema bestows upon his ever-mcreasing public another boon in his conception of the doughty ageling whom he created in the theater.
"Old English," be it known, is the nickname of a British octogenarian who has known his wild oats during the reign preceding that of the dear late Queen. Yes, he has had his moments. And as a result is equipped with a fine set of grandchildren whose 'scutcheons are crossed with the bar sinister. The film deals with his guileful plan to provide for these illegitimate darlings before departing this world on the final great adventure. There is a villain in the piece.
The tale is somewhat outmoded if judged by current cinema standards. There is a dearth of action, and just the suggestion of the usual ''young love interest." Betty Lawford and the young woman who is socharming as the Irish maid stamp themselves with the hall-mark of talent.
The Great American Film "PTS producers call it "the most important picture in fifteen years." But the mighty film drama, "Abrafiam Lincoln," is more than this. It is the outstanding contribution of the cinema to the great collection of Americana preserved by camera and celluloid for future generations. And it is the magnum opus of the "Old Master," David Wark Griffith.
There is inspiration in every chapter of the film story which traces "The Emancipator" from the lowly cabin of his birth to the high places of world fame and universal recognition. In telhng his tale, Griffith has stressed the humanity of his hero. His theme is Lincoln, the Man — rather than Lincoln, the Legend.
It is perfectly cast, with Walter Huston making himself immortal in the title rfile, and Una Merkel, as the tragic Ann Rutledge whom Lincoln loved and lost.
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