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Silversheet
SIMPSON NAYLOR
both of whom are ambitious for fame. Like so many, the man thinks that love can wait, and altho it hurts his conscience to leave the girl, he seizes his opportunity to study art in Paris at the expense of another woman. The girl deprived of her great love, finds her solace in work and gains tame as a singer. But fame does not satisfy those of great hearts: and so one day the man comes back and finds the girl . . . even as he had left her . . . waiting for him. Frankly, Eugene O'Brien startled me with the reality of his interpretation of this artist's role. He made no effort to portray the man . . . all hero : but he showed his human weaknesses, his vain endeavor to overcome them, his egoism which would not be stifled and in the end the emptiness of his success with an understanding subtlety and power that was little less than startling. Did I once consider Eugene merely a handsome picture ? Let me be the first to admit my error. Lucy Cotton is not only likeable but shows a commendable power for expressing true-to-life emotion as the girl, while Corinne Barker is a positive delight with her human interpretation of the rich woman who wanted Eugene for her own amusement.
OX WITH THE DAXCE
PARAMOUNT
In my opinion "On With the Dance" strikes closer to real life, that is Xew York life, and real motives than any picture has yet dared show. My sympathies, however, were entirely with the little wild-cat wife who rebelled at her street-car existence . . . when she had been fashioned for limousines . . . and not for her smug husband who smugly loved another girl who could help him more with his career. The 1< which the picture teaches very clearly, namely, that there is a mate who will bring out the best in us, is most satisfactory . . . and quite believable. Mae Murray perfectly irre-i-tible to me. She was the most delightfully enticing little vixen I have ever seen on the screen. Compared to her delicious "devilishness" I found the goody-goody interpretation of the cold Alma Tell irritating, to