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Comments On Other Productions
The Galloping Fish
EVERYTHING in the way of broad comedy that has succeeded in the theater has been incorporated here — and the picture as well as the individual performers score heavily in the majority of their many efforts to amuse the spectators. It is a swift comedy — this latest strip of celluloid from the Ince factory — and it ap . pears to have been designed primarily for novelty and freedom of individualistic work by an accomplished cast of comedians. Mr. Ince has not stinted on production. He has lavished money in dressing up these old accepted stunts — and has refurbished and worked up the gags and incidents in such thoro fashion that they fairly sizzle with sparks and energy. A studio capable of putting out "The Hottentot" is capa
The title of "Bluff" gives you a comprehensive idea of this frail story which moves in an artificial way against New York and its idle rich. Agnes Ayres is hardly acceptable in this role, which asks too much of her
58 Gt
"The Galloping Fish" has everything in the way of broad comedy that has ever been done before. There is a laugh most of the way because the action is left in the hands of those fun-makers, Louise Fazenda, Chester Conklin, Ford Sterling and Sidney Chaplin. "Listen Lester," on the other hand, aside from the work of Louise Fazenda, was too slim in plot and characterization to make a good picture. It was originally a musical comedy, you know
"Borrowed Husbands," as might be expected, deals with domestic complications in the upper strata of society. It is a story well told and presented. And Florence Vidor and Rockcliffe Fellowes enact their roles with authority
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ble of projecting this comedy. But it isn't within several cuts of the former. To acquaint you with the story — would be to try and describe the events of a three-ring circus. It offers a mere skeleton plot upon which to thread the incidents together. It concerns the adventures of a married youth who quite unwillingly becomes the guardian of a sea lion who assists a diving girl. It is packed with amusing complications. And there is a laugh most of the way. The f unmakers ? Look you toward Louise Fazenda, Chester Conklin, Ford Sterling, Sidney Chaplin — and a few others whose names have decorated comedies — and we will tell you that they are thoroly schooled in the art of making fun.
Listen Lester
Once in a while a musical comedy adaptation carries enough substance of plot and characterization to make it comparable with the original in entertainment values. Such a picture was "The Yankee Consul," and "Oh Lady, Lady." Here we have a piece which can be called only mildly