Moving Picture World (Sep-Oct 1927)

6th rough the Box-Office cMndow* J ( Reviewers ' Views On feature tylms SdtbedL by C.S. Sewell “The Magic Flame” Henry King Gives Great Beauty and Conviction To Story of a Mythical King and Circus Clown T N "1HE MAGIC FLAME,” Samuel Goldwyn offers a Zenda type of story which has been produced with such sincerity by Henry King that it carries more conviction than these implausible plots usually do, and offers genuine entertainment as well as visual appeal. Generally these stories are too fantastic to carry the imagination along, but here only the concluding action taxes the credence, and by that time the interest in the characters is too firmly established to be lost. Bianca, the star of Baretti’s circus, loves Tito, the clown, and is happy in her love. Doing a parachute drop for a ballyhoo, she encounters the Prince of Illyria, posing as Count Cassati. When she turns deaf ear to his appeals, he decoys her to his hotel, but she drops from the window into the tree tops, using her gymnastic skill to make her escape. Tito conies to her rescue, and he and the Prince engage in a struggle in which the latter is cast from the window upon the rockv shore, far below. Tito, making his exit, is hailed as the new king and hustled off to his kingdom. Being a double of the Prince, he assumes the crown to evade the noose. Bianca follows him to avenge the supposed death of Tito and is about to assassinate him when he reveals his identity and together they escape to the circus. The story is told largely in and about the continental circus, which has been admirably suggested in the settings, and the novel atmosphere does much to enhance the charm of the story. Miss Banky is altogether charming in her fleshings and the doubling for the aerial work has been cleverly accomplished. Mr. Colman, in the dual role of King and Clown, adds to the atmosphere and Gustav von Seyffertiz has a few fine scenes, and the others, while unimportant, have been carefully chosen to preserve the continental air. No imported director could have done better in this respect and in his lighting and choice of shots Mr. King is equally happy. He has given a succession of charming scenes in which even the trick shots have their proper place and the story is played through with such sincerity that it holds the appeal to the end. This is in part due to the excellent development of the continuity, which is a thoroughly good piece of work. The story moves forward swiftly, forcefully and convincingly with none of the lapses which often spoil a good story through leaving rough ends unexplained. The success of the production is the happy combination of good acting, careful direction, lavish but tasteful mounting, and a good foundation story. Samuel Goldwyn. Presents Ronald Colman ami Vilma Banky in “The Magic Flame” Based on play, “King Harlequin,’’ by Rudolph Lothar A Henry King Production A United Artists Picture CAST: Clown Ronald Colman Count Konald Colman Aerial Artist Vilma Banky Ringmaster Angustino Borgato Chancellor Gustav von Seffertit* Harvey Clarke Shirley Palmer Husband Cosmo Kyrle BeUetv Utility llan George Davis Manager Andre Cheron Length — 8,308 Feet Dissolute heir to a mythical kingdom falls in love with circus gymnast who eludes his advances. Her sweetheart, the clown, kills the prince and is forced to impersonate him to avoid arrest. He is crowned. Girl seeks to kill him to avenge her sweetheart’s murder, but he reveals his identity and together they return to circus. Romantic; story of circus life. “The Girl from Rio” Carmel Myers Starred in a Dashing, Colorful Romance That Looks Like Sure Box-office Hit Sam Sax Presents Carmel Myers in “The Girl from Rio” Directed by Tom Terriss A Gotham Production CAST: Lola Carmel Myers Paul Walter Pidgeon Santos Richard Tucker Rafael Henry Herbert Helen Mildred Harris H a on 1 Edouard Raquello Length — 6,170 Feet Paul, an Englishman, becomes fascinated with Lola, a dancer, and incurs the enmity of her protector, Santos, who arranges with tiis henchman to attack Paul, who shoots back. Finally convinced that Lola really loves Paul, Santos saves him and Paul takes Lola to England as his wife. Colorful and breezy romantic drama. AFTER having scored in supporting roles in “Ben Hur” and several other productions, Carmel Myers is now being offered as the star of the Gotham picture “The Girl from Rio,” in which she has been given abundant opportunities to shine in a thoroughly congenial Tole. Miss Myer’s specialty is vamp roles and she can hold her own with anyone on the screen when it comes to portraying women who prove alluring to men. It is natural therefore that In starring her she should be presented in a character of this kind. As "The Girl from Rio” she has the reputation of a breaker of masculine hearts and her appearance and performance amply justifies this, however, scenarist and director have been careful not to alienate necessary audience sympathy by showing her deliberately pulling the siren stuff, and her eventual real love for the hero and her efforts to save him will more than overbalance the vamp angle in the spectator’s mind. At the same time, there has been no effort to get away from the inference that she is the mistress of a rich native of the Brazilian metropolis. “The Girl from Rio” has the earmarks of a fine box-office picture. With a good story to begin with, a lavish production, smooth continuity, capable direction, a fascinating star and excellent supporting cast, the result is corking good entertainment. The picture early catches the fancy. It has snap and speed and holds the interest right through to the end. Up to the final scenes the plot is thoroughly consistent and even though the other man in real life would hardly prove so maganimous as to give up the girl to his rival, it provides a solution of a difficult situation without melodramatic heroics and brings about the desirable happy ending. For this reason, audiences will generally overlook its obvious weakness. Men will find the performance given by Miss Myers fascinating and her stunning gowns will please the women, while the amorous scenes and closeups will get the flapper vote. All the various elements have been smoothly co-ordinated and blend into breezy, pleasing and apparently sure-fire audience entertainment. The story, of course, centers around the title role, a cabaret dancer who is the idol of the men and the particular protege of an exceedingly jealous millionaire. Fascinated by the girl, a young Englishman incurs the enmity of the millionaire and also the girl’s dancing partner is attacked by the latter, and shoots him in self defense. The millionaire, who is a man of influence, seems to have inspired the attack and seeks to use it to force the hero to leave the country, and the girl seeks to persuade him not to do so, but he decided to stay and face the music. Tom Terris deserves praise for the excellent direction of this picture, and Richard Tucker is admirable as the semi-villainous rich man. Walter Pidgeon fits the role of the young Englishman and gives a capable performance.