Motion Picture Magazine (Aug 1923-Jan 1924)

Across the Silversheet {Continued from page 55) We wonder if anything in the world has been more thoroly dramatized than the French Revolution. Now comes Rex Ingram's worthy "Scaramouche," which gives us France in those troubled days immediately preceding the Revolution. And while the historical characters of this time have mingled frequently of late with the fictitious characters of the screen, never before have they possessed such physical accuracy. "Scaramouche" borders perilously near the spectacle group but, after all, it is basically the story of a spectacle. It tells of a nobleman who joins the people under the guise of a performer . . . there, coming by his name of Scaramouche ... in order that he may avenge the death of his friend. So you are not irritated by the import given to spectacular things. Nor are they permitted to obliterate the activities of those people in whose fortunes you are most vitally interested. Really, the acting honors must be divided between Ramon Novarro and Lewis Stone. For while Alice Terry is beautiful to see in the white wig and brocaded satins and laces of the heroine, she is given few emotional opportunities. Lewis Stone corroborates his splendid reputation as an actor in the conniving and unpleasant role of a noble. And Ramon Novarro in the title-role does finer things than he has ever done before. All in all, Rex Ingram has done well with "Scaramouche." It will probably stand as one of the best pictures of the year. "Scaramouche" stands out brilliantly in the procession of screen offerings ; but it does not point the way to any cinematic Utopia. We have seen Pola Negri in "The Spanish Dancer," and we admit frankly that we are captive to her flashing beauty and her fire. There has been disparaging criticism of Pola Negri, which has attempted to analyze her fascination and her subsequent popularity. It has been laid to a number of things, chiefly sex appeal. And, admitting that this is basically true, we do not grant that it makes her any the less a personality. She dominates every scene in which she appears and she is an actress, to boot. A gypsy girl who wins the King's fancy on a Carnival day . . . while, on the same day her lover merits the royal disfavor and is sentenced to be hanged . . . this is the stuff of which "The Spanish Dancer," is made. Like Mary Pickford's "Rosita," it is adapted from "Don Caesar de Bazan." We have less praise for the production of "The Spanish Dancer" itself than we had for "Rosita." Ernst Lubitsch knows more about Kings and their retinues and European people than our American directors. That is natural. He was born a European and for years he knew the sophistication of the Continent. We doubt his directorial dexterity in producing a drama of our Middle West. Antonio Moreno is the dashing Don Caesar and he is good to look upon. There were several times when he called Douglas Fairbanks to our mind. The monarch, of course, is Wallace Berry. What casting director would have any other actor as a king. Not that we quarrel with them on this score. However, Wallace Berry is to our cinematic mind History personified. Kathlyn Williams was a regal Queen • . . Adolf he Menjou was a fascinating courtier . . . and Gareth Hughes gave poignancy to the role of the weak, adolescent apprentice in whose behalf the hero disregards the royal proclamation. tfTMOTION PICTURR Film-Coats Are Combated On a beauty's teeth One great item in beauty is beautiful teeth. That is, teeth without dingy film. You see them everywhere today. Millions now use a new teeth cleaning method. They constantly fight the film. Make this test we offer. Learn how much this new way means to people who are dainty. That cloud is film You feel on teeth a viscous film. Under old brushing methods, much of it clings and stays. Soon that film discolors to form dingy coats. Then teeth lose their luster. 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