Pictures and the Picturegoer (Jan-Dec 1924)

40 Pictures and Pic hj reaver OrvGu&rc Though fist fights and rough-andtumbles please many movie lovers, everyone will agree that the rapier is the most romantic weapon of all. one are the brave old days when thrust of word was followed by thrust of steel; when wits were keen as the blades that flashed out so fast and found their mark so surely. Gone, except in movies FEBRUARY 1924 Five at one blow means nothing to Mathcson Lang when he's really in form. and plays. But therein they are still very much with us. When the hero draws his weapon in defence of his fair lady, or his fair name, or to keep half-a-dozen panting enemies at a safe distance even the most blase of movie fans leans forward in his seat with an anticipatory thrill. Many costume plays are released this month, over twenty in all, and although some of them are of a later date than the powder and patch era, the lover of fencing will find plenty of his favourite sport. 7 he silhouette duet in ") ouiui Lochllivar. The " Man Without Desire " has ntany opportunities for cut and thrust. Gerald Ames comes first on the list of Britishers who are past-masters of the foils; and though Mary, Queen of Scots docs not give him so many opportunities as Rupert of Hcntzau did, he still manages to demonstrate that he lias lost none of his ability or agility. It is strange how light, lithe, and nimble most of our six-foot film favourites are, despite their height and One of the many duels in " M'Lord of the White Road." girth. Matheson Lang, for instance, and Victor McLaglen, and Owen Nares. The first and the last have a whole lot of stage experience behind them, and all stage players have to learn to fence. But Victor AIcLaglen was originally a prize-fighter and relied upon his unarmed fists for self-defence, chiefly. Still, what he doesn't know about fencing would go into one line and still leave a space for the author's name. Victor can be seen in fighting mood in several films this month ; and in enough passages-at-arms to satisfy the most bloodthirsty of his admirers. He confesses, however, that the good old fistic fashion of settling accounts with his (film) enemies holds the most charm for him. But then who wouldn't with a physique and technique like i Victor's? It's only natural ! Hugh Miller, one of the most convincingly sinister villains on the screen is also a remarkably fine fencer, witness his work in Bonnie Prince Charlie, and Claude Duval gives him fights of several kinds. Fencing, of course, is still a favourite diversion with many movie players ; but they " take it easy " in shirt sleeves when they indulge for pure sport. The hero of a costume play, on the other hand, has to leap back and forth, lunge, cut, tierce, riposte, and parry, hampered often by a heavy, if decorative costume. a cloak, and perhaps a great curled wig and plumed hat. How they all do it without getting hopelessly entangled and tied into knots is really wonderful. It needs a steady eye anil hand, perfect muscular control, and above all, knowledge of the rules to make a good fencer, but its compensations are obvious. Also, it is the most gallant fashion of all, so far as appearances go, and though the screen cannot give us the clash of steel on steel, it gives a close view and clear insight into a fascinating, if deadly occupation. M.M.