Photoplay (Jul - Dec 1927)

H Photoplay Magazine — Advertising Section #500^ IN ONE MONTH DRAWING Cartful, coi i lentious training by memo OUt faculty graduates to earn up to $500 a month. The adid oupoi "inlties in tin uiusl field have never been excelled. Publish! is and commercial everywhere are m constant need of artists, it you like to draw, let your talent make your fortune. Develop it. It takes practice, but bo does anything worth while. The Federal Course is a Proven Result Getter The Federal Authors include such nationally known aitist.s aa N'eysa McMein, .Norm. mi Rockwell, Charles Livingston Bull, Clare Brlggs, Fontaine Fox, Sidney Smith, and fifty others. Exclusive, original less drawings especially prepared by these famous artists are included in the Federal Home Study. Course. No previous training is needed. Every step is clear and Simple. Students e.et personal instruction and hell), originality Is encouraged and every aid is offered for the achievement of final sue. 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Write for booklet and lestimorials THE MORLEY CO.. Dept.789.10S. 18th St. Phila. Do Your Ears Protrude? PRIMSET, a simple a...! um|. method, ■ .11 make th< m lay h;,.k to head at cn-r and imDrOTa v h ■ 1 1 r 1 1>] ■. :■ r :iu. B 1009 Mo mo. VIsrlU.K. COMFORTABLE, HARMLES3. Worn day or niiht. Uoo correct* drformity quickly •rith children: eventually with adult.,. Endorsed hv phvsieians as best kr.o»n method for atraiahtdl ..I .-ntliu etaalic ... .rs in Europe and Comnlrtr Outfit, auaranteed to do us ienl f..r s:t 00 postpaid, or .end no money and pay postman, plus postage. ThcPrimsetCo.. Dept. 11. 1658 Broadway. New York PROWLERS OF THE NIGHT— Universal.— Just a Western, built according to the same old primitive formula. (February.) RED HEADS PREFERRED— Tiffany.— Raymond Hitchcock has his own way in this one. But Raymond doesn't know his film groceries. Pretty awful. (March.) RED HOT HOOFS — F. B. O. — A Western with a real story ami a sense of humor. Tom Tyler and Frankie Darro are featured. (January.) RED HOT LEATHER— Universal.— Jack Hojcie lot of hard riding just to pay the mortgage on the old ranch. (February.) *RED MILL, THE— Metro-Goldwyn-Mayer.— Marion Davits makes a bum out of the plot of the popular musical comedy. But Marion is so genuinely funny that who cares? Not, surely, the laughing audiences. (April.) REGULAR SCOUT, A— F. B. O— A simple tale of a bad boy who would steal the widow's money. But the widow has a daughter — and that's the stuff that films are made of. (February.) ♦RESURRECTION — United Artists.— Tolstoy's powerful story made into one of the best pictures of tin season by Edwin Carewe. Intelligently and stirringly presented, it also introduces Dolores Del Rio as one of our greatest actresses. (May.) *RETURN OF PETER GRIMM, THE— Fox.— An effective translation of a charming stage success, with young Janet Gaynor contributing some fine acting. (January.) RIDING ROWDY, THE— Pathe.— A Western with horses, horses, horses! (June.) ROSE OF THE TENEMENTS— F. B. O— A war story plus the Ghetto atmosphere. But don't be frightened, because the film isn't half bad. Johnnie Harron and Shirley Mason in the leading roles. (February.) ROUGH AND READY— Universal.— Jack Hoxie is the honest cowboy who protects the gal's ranch from the villain. Ouch! (March.) ♦ROUGH RIDERS.THE— Paramount.— Thrilling history, plus authentic American backgrounds and characterizations. It is built, of course, about the exploits of Our Teddy, but it is really a complete panorama of an entire epoch. Fine acting by Charles Farrell, the late Charles Emmctt Mack, George Bancroft and Noah Beery. (May.) RUBBER TIRES— Producers Dist. Corp.— A merry comedy evolved from the adventures of pioneer motor transcontinental tourists. A good original idea. (May.) SEA TIGER, THE— First National.— It sizzles with fights and phoney action. But, basically, just a lot of nonsense. (June.) SEE YOU IN JAIL— First National.— A light but bright comedy with Jack Mulhall. (June.) SHAMEFUL BEHAVIOR— Bachman.— Shameful behavior to any audience that is coaxed into seeing this one! (January.) *SHOW, THE— Metro-Goldwyn-Mayer. — John Gilbert in a strong character study of a Hungarian side-show spieler. An interesting story — slightly too macabre for the innocents — but nevertheless fine entertainment. Oh, yes, and Renee Adoree is in it. {April.) SILENT LOVER, THE— First National.— Movie hash concocted from remnants of old plots — a little Von Stroheim, a little Foreign Legion and a few Arabs. With Milton Sills. (February.) SILENT RIDER, THE— Universal.— Hoot Gibson again goes through his paces in the conventional Western plot. (February.) SIN CARGO— Tiffany. — Not as bad as the title hut not for children. Heavy smuggling in high society. (February.) *SLIDE, KELLY, SLIDE — Metro-GoldwynMayer. — We urge you to see this honestly funny comedy of the great national game. It is the story of a conceited rookie, played shrewdly and engagingly by Bill Haines. Attaboy! (May.) SO'S YOUR OLD MAN— Paramount.— An amusing tale of a disreputable small towner who becomes the pal of a haughty visiting princess. W. C. Fields and Alice Joyce make it worth your while. (Jan.) SPANGLES— Universal. — Romance under the Big Top. Also a murder thrown in, just to make it exciting. (January.) SPUDS — Pathe. — Larry Semon tries starring in a travesty on war pictures. No wonder Larry has decided to be a director. (June.) STAGE MADNESS— Fox.— Palpitating yarn of an actress who gives up marriage for the stage, only to be confronted by her own che-ild later in life. Well, if you like this sort of thing — (March.) *STARK LOVE— Paramount.— A folk drama, made in the Carolina hills, by James Brown. Astonishingly well acted by native players. An important contribution to the American theater. (May.) STEPPING ALONG— First National.— Johnny Hines overplays in this one. The comedy is too long and the gags fail to explode. (February.) STRANDED IN PARIS — Paramount. — Bebe Daniels at her prettiest and snappiest in a comedy of a department store girl innocently masquerading as a Countess. (February.) SUMMER BACHELORS— Fox— A hotsy-totsy Warner Fabian story of cheating husbands and wily flappers. Silly material but good direction and snappy acting by Madge Bellamy and Leila Hyams. (March.) SWEET ROSE O'GRADY— Columbia.— They are all imitating "The Big Parade'' and "Abie's Iri-h Rose." This plays on the Irish-Jewish theme. (February.) SYNCOPATING SUE— First National.— Corinne Griffith breaks away from the society stuff and appears in a story of Tin Pan Alley. It's good entertainment. (January.) TARZAN AND THE GOLDEN LION— F. B. O. — The original "Tarzan" stories were good. Thi ione of the biggest pieces of nonsense ever fed to a suffering camera. (May.) TAXI DANCE. THE— Metro-Goldwyn-Mayer.— An unsavory story of an ambitious girl's adventures in Manhattan. Joan Crawford manages to triumph over inferior material. (April.) _j TAXI, TAXI— Universal.— The sort, of pleasant comedy that usually finds appreciative audiences. Edward Everett Horton and Marion Nixon are in it, (April.) TELEPHONE GIRL, THE — Paramount— An engrossing drama, directed with fine intelligence by Herbert Brenon. May Allison gives one of her best performances and Madge Bellamy, Holbrook Blynn and Warner Baxter are also excellent. See it. (June.) *TELL IT TO THE MARINES— Metro-GoldwynMayer. — The adventures of the Devil Dogs in China. Grade A entertainment, with Lon Chaney and William Haines adding further glory to their reputations. (March.) THAT MODEL FROM PARIS— Tiffany.— Showing how the office Plain Jane wins the boss's son — but not without interference from the villain. Not so bad. (January.) THERE YOU ARE— Metro-Goldwyn-Mayer.— What happens when daughter mixes in papa's business. A fair comedy. (January.) THIRD DEGREE— Warner Brothers.— Dolores Costello wasted in a dreadful mess. Dizzy camera work and poor direction only add to the confusion of the story. (March.) THREE HOURS— First National.— Underacting by Corinne Griffith; overacting by the rest of the cast. A slow and unpleasant story. Too harrowing for sensitive nerves. (May.) TIMID TERROR, THE— F. B. O.— Badly directed, badly acted and old story. Why waste space? (February.) TIN HATS— Metro-Goldwyn-Mayer.— Well, it seems there are three soldiers who get lost in Germany. And the handsomest boy wins a German Countess. A strain on the probabilities, but often genuinely funny. (February.) TOO MANY CROOKS— Paramount.— Mildred Davis tries a comeback in a silly story. It is not a success. Sorry. (June.) *TWINKLETOES— First National.— A beautiful performance by Colleen Moore in a delicate and charming story of Limehouse. Decidedly worth your kind attention. (February.) UNEASY PAYMENTS— F. B. O.— Again the, ambitious girl — this time played by Alberta Vaughn — comes to New York to knock the town for a row of filling stations. Trite but mildly funny. (April.) ♦UPSTAGE— Metro-Goldwyn-Mayer.— There is genuine originality and authentic and keenly observed comedy in this story' of vaudeville life. Norma Shearer and Oscar Shaw are excellent in the leading roles. (January.) UPSTREAM — Fox. — Not a trout fishing picture. t\ of life back-stage — human and enjoyable. Think you'll like it. (April.) VALENCIA— Metro-Goldwyn-Mayer.— Mae Murray, Lloyd Hughes and Roy D'Arcy are awfully funny, without trying. Stay home and tell your own jokes. (February.) VENUS FROM VENICE, THE— First National. — Constance Talmadge plays a light-hearted, lightfingered Italian girl. Light but agreeable. (May.) WAR HORSE, THE— Fox— Buck Jones in the adventures of a cowpuncher in France. It is his best picture. (April.) 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