Photoplay (Jul-Dec 1925)

THE NATIONAL GUIDE TO MOTION PICTURES HE'S A PRINCE— Paramount RAYMOND GRIFFITH takes his bag of tricks, ideas and gags and gives us another of his side-splitting comedies. This is Griffith's first starring picture, and it's a wow. Now that he is started, we'll wager it will not be long before he is in a class by himself, as are Chaplin and Lloyd. Taken from the story by Reginald Morris and Joseph Mitchell, this film deals with the life of a young European prince who is tired of the usual formalities of the palace — such as laying corner stones of buildings, dedicating monuments, judging baby shows, etc. He decides to end it all by playing hookey. We won't relate any more of the story — it will take the spice out of the picture. Mary Brian is the girl that enters the prince's life and she is just as charming as ever. Edward Sutherland directed. Our advice is, take the whole family. — M. B. HER SISTER FROM PARIS— First National E'S a bad, naughty story by Hans Kraly of a dull wife who ins back her indifferent husband by posing as her dashing twin sister. Not exactly new but so funny and so charmingly acted that you forgive all its waywardness. The dual role is wonderfully handled by Constance Talmadge. We usually object to dual roles, but Constance is skillful enough to get away with it. And Ronald Colman distinguishes himself in a comedy part. Any fellow can be handsome, with Nature's help, but it takes brains to be amusing. George \'. Arthur is great as the "keeper of the monocles and marmalade at the British Embassy." It's all around entertainment, which you must be 'sure to see, but also be sure that the children stay home and do their home work. — A. S. J^8 The Shadow Stage A Review of the 7\[eu; Pictures THE PONY EXPRESS— Paramount W THEN James Cruze starts shaking the dust from W .\merican history, then you have a picture that makes you sit up and take notice. For this director can resurrect our picturesque past with so much vividness and imagination that one of his films is better than a hundred orations on patriotism. "The Pony Express" is not another "Covered Wagon"; it runs on its own legs. Henry James Forman's story is so crowded with history, so dramatic in its outlines and so rich in incident that it is more a pacemaker than a follower. It tells how California, by a slim thread of cross-country messengers, was saved for the Union. Most of the action is laid in Sacramento and at the station in Julesburg, Colo., at the time of Lincoln's election. It's a story of Indian fights, of gun duels and of deeds of daring. It is animated by the figures of the tenderfoot Mark Twain and of the young Bin Cody. The cast is composed almost entirely of players who are well-known "picture stealers." The hits are about evenly divided with Wallace Beery and Ernest Torrence tying for first place and with George Bancroft as a close second. Then there is Ricardo Cortez who, wonder of wonders, makes the hero a really interesting person instead of just the fellow who gets the girl. Betty Compson has but few important moments, but at least the picture fades on the finest close-up Miss Compson ever had taken. Now as long as Mr. Cruze seems to have a gift for this sort of thing, wlU he please tell us about Columbus and the Nina, the Pinta and the Santa Maria? If necessary for a good movie, he can have Columbus marrj' Queen Isabella. — A. S.