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CRITICAL PARAGRAPHS BY THE EDITORIAL STAFF
money from the moral leper to send to her son at the front. What does he need of riches while serving the colors? Again she i mighty proud o\ him and wouldn't refrain from declaring her relationship before the whole world. Vet she carries her secret about with her for fear of losing" her wealthy friend, notwithstanding the fact that the latter is subordinate in her affections. The shots of Monte Carlo are inspiring and. the acting by Lionel Barrymore and Alma Rubens is praiseworthy. The best touch in the picture? The scene of the terrorists storming the castle and Barrymore's graphic fight for his life.
Suzanna — Allied Producers
It's hard to determine just what Mack Sennett was up to when be put over this ancient bit of hokum. The Sennett responsible for making light of timeworn material has fallen into the trap and becomes an imitator of uninspired directors. lie wrote the story — a story of a lowly peon girl who in reality is the daughter of a Spanish don. but who was exchanged in the cradle at birth for another. Ah there Mack! That's old -tuff isn't it? The atmosphere i pretty good and there is some Spanish paprika visible here and there. But for the most part it follow its familiar groove without any of Sennett characteristic kidding. Mabel Xormand is the peon and not a very colorful senorita either.
The Isle <>f Lost Ships — First Xatioxal
A fantastic cruise to the Sargasso Sea — the morgue for derelict -hip is perhaps the best way to define this exceedingly novel picture which is certain to leave itstamp upon the memory for some time. Surely nothing in many moons has even approached it for novelty of setting. Maurice Tourneur. always a stickler for picturesque effect-, has accomplished a compelling canvas from which ghosts of dead yesterdayfloat around to the accompaniment of adventurous action. A vital, he-man story of pirate and derelicts and ships that go down with their crejv^ on b A vigorous document of daring adventure and heroic incident. To mi it is to miss something out of the ordinary.
Where the Pavement
Ends — Metro
Chalk up another mark for Rex Ingram for his genius in making an old
>ry seem new and refreshing. Here is "Whei the Pavement End.-" — an alluring title, that — which carries the familiar central idea of the South Sea I -land missionary and his daughter who. voluntary exile from their native land, are thrust into highly exciting situation before they -et sail for America. You know the central situation, that of the vici white trader who would covet the girl but who i
^Suzanna'" Las some Spanish paprika vi.-ible here ami
there but. for the most part, it follow in a familial
groove. Nor is Mabel Normantl particularly colorful
as the senorita
M i ii t i (.• T 0 ii r ii c ii i gives ii ' l.mti-ii. .mil picturesque can \ i in I he I-!": of LoSl ^ X i i j » . " "" ill i
scene from the ilorj shown ii tin left are Milton "-Ml and Vnna (). Nilsson botli ttl whom are entm ted with tin prontincnl 1 files
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