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By BURNS MANTLE
C
OXSIDER the family at the movies. And how seldom there is anything in the feature picture for every member of it. If mother and the girls are satisfied with the romance, father and the boys consider it piffle. If son likes the shooting, sister shivers. If mother raves over the gowns, father considers the diminishing pay check and grows uneasy.
But once or twice in a blue moon we have a picture the family group can gather around and applaud with a happy enthusiasm. Usually, I've found, it is an adventure picture with enough romance to justify the story and point up the love interest that makes the whole world grin with satisfaction. Marshall Xeilan is adept at pleasing the family, and his newest picture, " Bob Hampton of Placer." is one of his best. He has such a fine sense of the comradeship of men that he is the men-tolks' pal before his first reel is well started. He is so true to the best instincts of womanhood that mother approves of him from the start. He knows better than sister herself the sort of an upstanding hero she can openly worship without being called silly, and as for the boys — he keeps them teetering on the edges of their seats and tingling with the enthusiasm that makes boyhood i he finest adventure of life.
In " Hob Hampton" he also has the most thrilling of historical backgrounds — that of Custer's last stand. He handles it wonderfully. It was taken, we understand, on the site of the battle itself, which gives it added pictorial value. And he has woven into it not only a good love story but an adventure for the popular Wesley Barry that will add youthful heroworshippers by the thousand to that gifted youngster's popular following. His battle pictures are as thrilling as those that
made the Crifnth reputation in "The Birth of the Nation," with all the added value of modern lighting and artistic grouping that the pictures of today command over those of yesterday. The cast, too, is wisely chosen, with James Kirkwood playing just the sort of individual he makes most human. Marjorie Daw is an agreeable sort of heroine, Noah Beery a gloriously vicious villain, and Pat O'Malley, Priscilla Bonner and Carrie Ward Clarke help out nicely with the minor roles.
DECEPTION— Paramount'Artcraft
Al iig, solid, impressive picture, this German-made section of English history. It bulks large, as the saying is, in crowds, actors, royal palaces and royal physiques. But it bulks large, also, in art. and sets standards in the matter of the historical drama on the screen which native directors will have to consider if ever they become interested in pictures of this type. You would never know it from the title, but "Deception" deals exclusively with that period of Henry VlII's career in which he tired of Catherine and fancied Anne Boleyn; covers the incident of his establishing the church of England that he might control its divorce laws, proceeds to the fall from favor of the unhappy Anne and the suggested rise of the scheming Jane Seymour, and ends with Anne's march to the scaffold. It isn't a picture that is particularly creditable to English history, as you may easily imagine. You could hardly expect that of the late enemy. But neither is it easy to discover within it the subtle propaganda with which the more excitable have declared it to be filled. It is very much worth seeing.
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