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The Screen in Review
65
The important thing about that
it works out exactly as it did in Sliakespeare's day. The heroine is not only tamed, but fascinated by the firm hand and by her master's voice. It seems an odd plot for this day and age, but perhaps there is something to be said for the brute-man hero when he has material like this to deal with. Miss Davies succeeds fairly well in her fits of temper, and as usual looked charming in a series of frilly frocks. No stretch of imagination could call this sort of thing acting.
"Two Minutes to Go."
Won't Charles Ray please stop being a director and take to acting again? His earlier comedies with Jerome Storm and Julian Josephson have never been surpassed. But directly he took up the megaphone and started to direct his own work his magic vanished. There are moments of the old Charles Ray, but not enough of them. In this matter he has heen his own worst enemy.
This football picture, for instance, doesn't give him half a chance. Moreover, he is surrounded with portly, middle-aged college freshmen shouting "Wow !" and "Rah!" and pretty things who act like chorus girls for coeds and all the other misfits that romp about film university scenes. We have never seen them on any real campus, and we don't believe Mr. Ray has either. If he would only go back to "The Clodhopper" style again we would start a celebration to welcome home the screen's best juvenile comedian.
"Conflict."
Not so very long ago Mr. Griffith captured an ice jam. It was probably the most exciting and convincing ice jam ever held in captivity, and its thrills shared honors with the acting of Lillian Gish in the many attractions of " 'Way Down East." But ever since that day we have been greeted by a deluge of ice jams, snow jams, and every conceivable other type of jam in any picture that would hold one. Now comes "Conflict" with a log jam.
It is almost as breath taking as Mr. Griffith's and quite as elaborately planned. But it hasn't the force of the " 'Way Down East" incident because it has not the benefit of contrast as in the Griffith rural romance. In following the plot you become so bewildered by wicked old uncles and murderous housekeepers that you don't care how much the logs do jam. Priscilla Dean does
"The Wonderful Thing" is that it features Norma Talmadge, and she is radiant in her own April-day manner.
her best with the tale as its heroine. I have always thought that this young woman had possibilities as an emotional actress. Of course the only emotion she can feel in this sort of thing is the fear of falling oi¥ a log. Herbert Rawlinson plays the dauntless hero and thoroughly enjoys the melodrama, although there is always a wink behind his heroic deed, as if he were sharing the joke of the prepostei'ous events with the audience.
"What Do Men Want.'"
Women have been
In their more quiet moments Mae Murray and Monte Blue give some sympathetic bits in ''Peacock Allev"