Photoplay (Jan - Jun 1926)

THE NATIONAL GUIDE STELLA MARIS— Universal MARY PHILBIN, under the guidance of Charles Brabin, has brought to the screen one of the most difficult of characterizations. The version of this famous novel by William Locke, which Mary Pickford made several years ago, was acclaimed the highest degree of artistry. This picture, on a whole, cannot compare with its predecessor, but due praise is accredited Miss Philbin for daring to sacrifice her beauty in the role of Unity, a deformed slavey, whose beauty of soul is as evident as her ugliness. However, all Mary Philbin's beauty is not wasted, for she plays a dual role — Unity and Stella Maris, a beautiful cripple. Gladys Brockwell's performance, as the wife, is notable; so also is Elliott Dexter's as the elder lover and Jason Robards as the chosen one. Be sure to sec this picture! THREE FACES EAST— Producers Dist. YES, it's about the war — but don't let that or anything else keep you away from this picture. It is not the conventional war play. There are no trenches or barbed wire Or dead soldiers. The plot deals exclusively with the inside Workings of the German and English Secret Service. It is a thrilling, fast-moving and entirely logical mystery story, with Jetta Goudal giving a superb performance of a fascinating woman of intrigue. Not until the final scene do you find out lor certain who she is. Rupert Julian directed the picture and lias done a splendid piece of work. He also appears in a scene as William HohenZoUern. Clive Brook, Henry Walthall and Robert Ames are the other actors who prove that a good story, well directed and capably acted, needs no star. TO MOTION PICTURES The Shadow (reg. D. 9. pat. orr A Review of the 7s[etf Pictures BEN-HUR— Metro-Golduyn-Mayer FOUR million dollars and several years' time and infinite patience went into making "' Ben-Hur." The finished version justifies all of it. Elsewhere in this issue is related the story of its accomplishment. "Ben-Hur" is not a flat picture upon a screen. It is a thing of beauty and a joy for ten years at least. Reverence and emotion serve as background for the undying drama of Christ interwoven with the story of Ben-Hur, the young Jew who aimed to serve Him. The screen has yet to reveal anything more exquisitely moving than the scenes at Bethlehem, the blazing of the star in the heavens, the shepherds and the Wise Men watching. The gentle, radiant Madonna of Betty Bronson's is a masterpiece. Xovarro is a perfect Ben-Hur. He gives an inspired performance. The story carries him from early boyhood, through the Roman occupation of his city, through his years as a galley slave, through shipwreck and temptation until the final great moment in the Circus Maximus when he drives his chariot to victory over Messala and wins the love of the gentle Esther. Francis X. Bushman, as Messaia, is very tine, indeed, and screens magnificently. The gore ami glory of the galleys, the thrill and beauty of the racing horses, the mobs at the Joppa gate, the desolation of the lepers among whom are the mother and sister of Hur, the furious excitement of the Circus, all these pass before the tense stillness that precedes the death of Christ. The Last Supper, the judgment of Pontius Pilate, the shadow of Calvary— all are touched with imagination and reverence. This is a truly great picture. No one, no matter what his age or religion, should miss it. And take the children.