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By
Laurence Reid
The Picture Parade
The Big Parade Romantic Drama
THE romance of the Great War has finally been screened. We become quite inarticulate in expressing ourselves over the tremendous scope of this picture — which shows comedy marching with
tragedy. The conflict becomes a might}-, surging canvas
— one that shows more of the drama enacted Over There
than all the documents written about it combined.
It has been written and directed and played as if seen
thru the eyes of the doughboy z^'ho went forth for the
glory of adventure. Which
levels it for the kindred understanding of us all. The
entire scope of the soldier's
life is shown — first the hectic
days of enlistment, then the
joyous days as lie becomes
billeted in French towns. It
is human — it is honest. It
doesn't glorify war, nor sing a
song of patriotism. And very
seldom does it indulge in
heroics. It is nothing but a
simple, but terribly frank account of the doughboy in
France — done with fine imagination and sympathy. We see the social life of the
soldiers, then the Big Parade
starts and carries them in
motor lorries to the front —
lorries ,",?Cpi stretch out so
far s< * jve can see. Then the 'waai',."1";'-t'aks loose. And the doughl.r' W is baptized in
Every month Laurence Reid will select the sixteen most noteworthypictures of the month and review them for your guidance. He will choose these pictures not only for their merit but for the variety of their interest. The MOTION PICTURE MAGAZINE'S selection of pictures offers you a well-balanced program of entertainment. On the opposite page you will find a picture record of the most interesting performances of the month. Save the photographs and the reviews for your convenience in selecting your film entertainment.
fire. The advance thru the woods, which might be the Argonne, is as awe-inspiring and terrifying a scene as has ever been caught by a camera.
There is a simple romance interwoven thru it. On the intimate side the central figure is one of three musketeers who take the war as a great frolic. He meets a French girl and their love develops thru the language of pantomime. The climax to the first part is tremendously sweeping, thrilling and poignant. The lovers have become separated. The girl rushes frantically up and down the road to find her boy. And he searches for her. Time is short. The lorries are tearing by in endless procession. When they find one another, their pent-up emotion gives way to a wonderful expression of love.
John Gilbert is the doughboy. Rcncc Adoree is the girl. And what magnificent acting they contribute ! Miss Adoree will go far as the result of her emotional zvork here. Her affection for the youth is a treat for tlie eye and the heart. The quick glance into his face, the sympathy which she expresses — well, it is sheer pantomime which carries the utmost feeling behind it.
John Gilbert makes his character a straightforward, human chap — and his buddies are played with cameo fineness by Tom O'Brien and Karl Dane. The acting of the p 47 (■' PA£U