We use Optical Character Recognition (OCR) during our scanning and processing workflow to make the content of each page searchable. You can view the automatically generated text below as well as copy and paste individual pieces of text to quote in your own work.
Text recognition is never 100% accurate. Many parts of the scanned page may not be reflected in the OCR text output, including: images, page layout, certain fonts or handwriting.
70
Anthony Bushell, George Arliss, and Joan Bennett shine in "Disraeli," the month's most "legitimate" hit.
creetv « E>g\?ieur
g£ JSforbertHtxsk
The passing parade of new films frequently glitters with beauty and distinction
this month.
THE charm of adroit acting and the beauty of a tasteful production make "Disraeli" an outstanding dialogue picture which every one should see, because it hrings to the screen intact one of the great performances of the stage. I refer, of course, to George Arliss in the title role.
He makes Queen Victoria's prime minister a fascinating character, whose political maneuvers for the glory of the empire are combined with sentimental understanding of young lovers. In fact, it is rather amazing that a story — and a costume story at that — depending on the acquisition of the Suez Canal in 1874 should yield interest to-day, when tinkling musical comedy and the heartbreak of vaudeville performers represent the poles of dramatic expression in the talkies. But make no mistake about it — "Disraeli" will interest you because, first of all, it is well-knit melodrama ; its characters are human beings and their emotions are quite as real in bustles and beavers as they would be in sports clothes and berets. And over all is the brilliant characterization of Mr. Arliss.
The play opens with Benjamin Disraeli, Lord Beaconsfield, nearing the height of his power as England's primate. Without the sanction of parliament, he determines to checkmate Russia in her desire for the Suez Canal, and with the help of a private banker, buy it for England and thus place in the hands of his sovereign control of the East. But all is not smooth sailing, for among his staff is the husband of a spy who, masquerading as Lady Travcrs, is a friend and frequent guest of
Lady Beaconsfield. How "Dizzy" traps her and nearly loses the Canal by the failure of the banker, as well as his resourcefulness in forcing victory — all this makes for exciting and legitimate entertainment, not forgetting a charming love story which is far from being merely incidental.
I liked greatly Joan Bennett's heroine, not alone for her beauty and grace in wearing old-fashioned dresses, but for the humor behind her lines. And Anthony Bushell, as her serious, well-meaning suitor, is exactly as he should be. Nor must we overlook Doris Lloyd, as Mrs. Travcrs, her first audible role. Her success is particularly gratifying, because of her long service in silent roles of less importance.
A Singing Actress Who Sings. For once the hue and cry over the discovery of a singing voice in the hitherto silent larynx of a wellknown actress is justified in the case of Bebe Daniels, in "Rio Rita." Her music is real and not piffle composed for any one to croon, and her singing of that music is truly a revelation. Her voice is warm and flexible, her use of it smooth and easy and best of all, her skill is apparent in making her songs the spontaneous expression of her mood rather than the set pieces of a prima donna. Altogether Miss Daniels establishes herself as a first-rate singing actress, a far higher form of talent than the songstress who advances to the foreground, performs her exercise and then lapses into negligibility It is the singing actress who is needed on the screen more