Motion Picture Magazine (Feb-Jul 1925)

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A ... JB? My old original Three Part Treatment, )3 «, vr W^ standby of women for 21 years, has made thouy^ sands hanpv. Only tested one that gives FULL f\aS • // DEVELOPMENT without bathing, massage, ex JHZ. *€53v. ercises, pumps or dangerous appliances. Send 10c for 14-Day Demonstration — to cover postage. Why pay more when I give .„, big proof treatment FREE to all except mere IJ curiosity seekers. Dime back if not satisfied. Madame Williams Ok 16 Buffalo, N. Y. What Is the Most Popular Picture? {Continued from page 103) in "Big Brother" so splendidly as to make me consider it the best movie I have ever seen. It is szvift-moving in its actions, sympathetic and tender, without being harrowing or over-sentimental. It is natural and true to life. The hero of the play is not changed from a sinner to an angel. He is very human, even as you and I. When they take "Micky" from him, he says just what you would expect him to say and goes out to show them just hozv defiant and lazvless he can be. The character of the fatherly priest, who sees the virtues of his friends on the East Side rather than their faults, adds much to the play. Mickey Bennett is a real little boy in the story and acts much like other neglected seven-year-olds we have seen. A well written story by one of the best authors of the time, combined with skilful acting, make it my idea of a perfect picture. \\Tiule this review is ably done, some ' will perhaps object to the expression "The best movie I have ever seen," particularly when they recall to mind dozens of masterpieces of the past. A reviewer must be emotional, it is true, but he or she must weigh words carefully and not be carried away for the moment. Possibly Miss Toepp will not have changed her mind six months from now, yet perhaps when she has had time to get all the great pictures of the past into proper perspective she will not be so enthusiastic about Big Brother. Did she weigh all the points that go to make a great picture, or did she place too much stress on emotional interest and morals? A. E. Gartner, San Quentin, California, reviews The Ten Commandments quite differently than do most critics. The majority of critics, we believe, have placed this picture among the first _ ten great pictures of all time, yet here is a dissenting vote. He dares to disagree, and we admire his independence even if we cannot agree. MUCH stress has been laid on the prologue of Cecil B. De Mile's "Ten Commandments," the magnificent scenes, immense spectacles, and splendid acting. But to my mind there is nothing extraordinary in this film, if one is to discount the usual De Mille skill for planning gigantic scenes and handling vast "mobs." Theodore Roberts is superb in the role of Moses, the lawgiver. He gives Moses the flesh and blood, fire-flashing personality that is so lacking in the Bible. The 'script for this part of the story was lifted bodily from the Great Book; this perhaps accounts for its jerkiness and lack of cohesion, altho the constant shifting from the usual black-and-ivhite to colors has much to do with the general air of unreality of the prologue. The pyrotechnic display on the occasion of Moses receiving the Commandments was to be expected in a De Mille production, altho it did produce a thrill for the first time or so. Altho the modem end of the story is done in black-and-zvhite and there are no spectacles, it packs a gripping story that drives hdme thru splendid acting and sheer strength of motive. The theme of this part is old — written by Moses on Sinai — "that whosoever that breakest the law shall surely be broken." However, never before has its relation to the world of today been so clearly portrayed. In the "Tour Horsemen" the directors took but one Commandment; De Mille has incorporated all into one massive, szviftmoving story. TJere is one from an admirer of Gloria Swanson — a first attempt at reviewing a picture, from Miss Gladys Repicker, 180 Fernwood Avenue, Rochester, New York. We are not printing this as an example of how it should be done, but to encourage those who are just learning the art. 'T'O begin this written conversation I shall give my opinion of Gloria Swanson. I have never seen a person who can change her actions as zvell as personality as Gloria Szvanson. In "Manhandled" in the role of a gum-chezving clerk she is too darling for words. Again we see her as a Countess from Russia who is in despair when a real Russian comes up and speaks to her in Russian. Gloria y delightful. And last, but not least, when Gloria becomes Manhandled once more by ■ none other than Tom Moore, her rich husband-to-be. y | 'he following review of Abraham Lincoln looks quite professional and is well done, but the author, Theodore A. Baxt, 1015 Longfellow Avenue, N. Y., perhaps does not create in our minds a clear impression of what the picture is. While his opinions are scholarly, possibly he should have said more about the nature of the play. A review should tell us something that will create a picture in our minds. It is not necessary to say that the play is a drama, melodrama, comedy, farce, scenic, historic, etc., but the reader wants to know if it is a love story, a Western, a costume play, a spectacle, a fantasy, and so on, and if it is thrilling, or sad, or funny, or grewsome, etc. Here is Mr. Baxt's review : JN filming Abraham Lincoln's life of *■ altruism and tragedy, Al and Ray Rockett have contributed to the elevation of the cinema a drama that will serve as an influence for the achievement of "better pictures." George Billings' characterization of Abraham Lincoln was revealing in its humanness and sincerity. The unique similitude and subtle consummation of the almost legendary mannerisms were unstinted by the artificialities of "movie" technique. Piloted by Phil Rosen's unquestionable competency, the story echoes a responsive note of appreciation and emotion in the hearts of the audience. There are the dark moments and the lighter strains all coherently linked and compelling in their processional. Lincoln's romance with Anne Rutledge is pictured in all its rural tenderness. And words are futile in the effort to paint the dramatic intensity of the Lincoln-Douglas debate; the dark days of the war; the Gettysburg sequence; and finally the assassination. The cast is to be congratulated on its sincere intentness. Ruth Clifford was appealing as Anne Rutledge. The roles of Stephen Douglas, Lee, and Grant were depicted strikingly exact, and finely interpreted. Frances Marion, always dependable, is to be thanked for the perfect script. Phil Rosen has proven himself a keen advertisement in MOTION PICTURE MAGAZINE is guaranteed.