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NOVEMBER 1924
enemies, twinkling through the black marble of the palace like a transparent tongue of flame.
The Ancient Law is a film that finds its way into the Honours List in spite of itself. It is rather a curiosity among German films. It seems to have drawn away, almost unconsciously, from the manner of its country, and taken on a strange, un-German volatility that is at once its weakness and its charm. The theme of the film, which is the clash between genius and religion in a young Jewish l>oy who longs to be an actor, and the corresponding clash between love and etiquette in the heart of an Archduchess who loves a commoner, is sombre enough. But this minor theme is played in a major key, played lightheartedly, in spite of its grey background of the Ghetto
Mcrures ana Kichuretyoer
Above : Rudolph Valent and Downing Clarke in "
The discrepancy lies perhaps in> the figure of " Baruoh," the hero, who is young and boyish, hardly strong enough to carry the solemnity of the drama to a climax in the grand manner. Around him the picture has fallen into a series of exquisite vignettes and charming little cameo-portraits; the quality of acting, photography, production is light as a feather, rather flitting, rather birdlike. It is altogether a light-hearted film, missing the grandeur of Germany by a hair's breadth, almost as though a French hand had touched it by the way.
The third place in our Honours List must go to the film which brings back Valentino to the screen after his two years' absence, Monsieur Beaucaire. Booth Tarkington wrote a good story about the barber-prince who set all Bath by the ears for the sake of a beautiful but stony-hearted lady and
ino, Oswald Yorke,
Monsieu r Beaucaire. her rea rose, and Sidney Olcott, the producer, has brought this sword-andred-heel story to the screen with a keenness, a sense of period and of atmosphere, only too rarely found in the costume pictures which have recently been turned out, three for a dollar, from the American studios.
This Beaucaire has a point to it as w.ell as a sparkle. It has also an unusual feeling for beauty, a love of things old and dignified, and some exteriors like a Watteau painting.
There is a love scene in an old English garden, in the moonlight, by a terrace, which is too restrained and beautiful to be quickly forgotten. Then there is Valentino himself — the old Valentino of Blood and Sand. If you like him, don't be afraid to meet Monsieur Beaucaire. He'll not disappoint you.
The Picturegoer Critic.