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7, ^ross the Silversheet
A Trio of Costume Plays in Revie\C
By ADELE WHITELY FLETCHER
jL 1 .L things, including motion pictures, f\^ move in cycles. Of this we are / \^ quite convinced. A year ago the "^^very thought of a costume picture was anathema to any producer. All manner of fine stories were rejected as screen material because their stage and age necessitated costumes. It was vehemently declared that the exhibitors would not book costume pictures and that this definitely meant that the public did not wish them. A final argument, leaving nothing further to be said. But, if we may judge from recent re^ases, the Producing Powers have evidentially divined in some mysterious way that the Public has changed its capricious mind. For costume pictures by the score have been made and are even now in the making. And the greater portion of the big things promised for the season are in the nature of costume pictures. We shouldn't be surprised if a few, coming along at the end of the line with their costumed shadows, were
"Ashes of Vengeance" is pure romance. It is an interesting production even tho no heights are reached. And in it Norma Talmadge's portrayal varies. And "Little Old New York" proves that Marion Davies is an actress of ability and charm and succ e e d s in affording pleasant entertainment into the bargain
left holding the bag.
However, let those who revel in stories of dead days enjoy the vogue while they may ; for we venture to say that there will be another span as barren of costume pictures as this period is prolific with them.
First to center our pleased attention upon the adaptation of DuMaurier's "Trilby." It comes from a novel in which humor, charm and drama abound. And if all of these composites lose out somewhat in the transition, "Trilby" is nevertheless, a good motion picture.
All the well-known and well-loved DuMaurier characters as we know them thru the DuMaurier illustrations have come to life upon the screen. Andree Lafayette as Trilby, Creighton Hale as Little Billee, Arthur Edmund Carewe as Svengali, Philo McCullogh as Taffv, and Wilfred Lucas as The Laird . . . these people were all wisely chosen for the roles they create, and they have submerged their individual personalities, at times almost beyond recognition, in favor of the characters they portray. And we believe this, in itself, is responsible for a large part of the picture's charm and fascination.
The screen, an excellent, medium for the simple telling of tales, takes "Trilby" as its own and once more tells of Trilby, the model with the beautiful feet, who is beloved by the three artists in the Quartier Latin studio ... of Trilby who is desired by the dark Svengali and later brought to great musical triumphs thru his hypnotic prowess.
James Young has given "Trilby" an intelligent direction, which is at all times enhanced by some of the most imaginative and beautiful photography we have ever seen. And Andree Lafayette, who was imported by Richard Walton Tully from her native France to create the title role, is strangely beautiful and a perfect Trilby.
"Little Old New York" emphasizes what ( Continued on page 114 )
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