Picture Play Magazine (Mar-Aug 1926)

70 A Confidential Guide to Current Releases WHAT EVERY FAN SHOULD SEE. "Big Parade, The"— Metro-Goldwyn. Most realistic war picture ever made. Story of three tired, dirty doughboys, oiu of whom is John Gilbert, who falls in love with a French girl, played remarkably well by Renee Adoree. "Don Q" — United Artists. Douglas Fairbanks, back in the Zorro type of role, is more magnetic and entertaining than he has been in years. His playing of an adventurous yoiing Spaniard is a delight. Warner Gland and Donald Crisp contribute clever performances, while Mary Astor is lovely as the girl. "Freshman, The" — Pathe. Harold Lloyd's "latest and best." College football from an uproarious angle. "Gold Rush, The"— Uniied Artists. Charley Chaplin in his new "dramatic corned}'." is in spots superbly comic, but on the whole too pathetic. Film not nearly so funny as his previous pictures. "Kiss Me Again" — Warner. Ernst Lubitsch turns out another domestic comedy that is sophisticated and very funny. Monte Blue, Marie Prevost, Clara Bow, and John Roche give excellent performances. "Little Annie Rooney"— United Artists. Mary Pickford a child again. Delightful film of New York's lower East Side, full of humor, with just enough drama to make a good plot. William Haines makes attractive hero. "Merry Widow, The"— Metro-Goldwyn. Skillful screen version of the popular old musical comedy in which Mae Murray gives one of the best performances of her career, with John Gilbert ably supporting her. A credit to its director. Y'on Stroheim. "Pony Express, The" — Paramount. Stirring Western picture of the days just preceding Civil War, witli effective riding scenes, plenty of excitement, and a splendid cast, including Ricardo Cortez, Betty Compson, Ernest Torrence, and Wallace Beery. "SaSly of the Sawdust"— United Artists. The lightest and most entertaining, picture D. W. Griffith has made in years. Carol Dempster is engaging as the circus hoyden anc W. C. Fields' screen debut as her rascally but lovable guardian is highly successful. "Shore Leave" — Inspiration. Richard Barthelmess is very funny as a gob romancing with a village dressmaker. Dorothy Mackaill as the girl helps make this great entertainment. "Siege" — Universal. A simple picture of New England prejudices, remarkable principally for its finely suggestive direction by Svend Gade and the poignant, human performances of Mary Alden. Marc McDermott, and Virginia Valli. _ "Siegfried" — Ufa. The beautiful and famous legend of the last pagan, gorgeously produced by the German company. It is a fantastic and lovely picture, which you shouldn't miss. "Stella Dallas"— United Artists. A picture in a thousand, telling with many pathetically humorous touches the heartrending story of a mother and daughter. Belle Bennett, in title role of mother, does one of finest bits of acting ever seen on screen. Lois Moran, charming as young daughter; Ronald Colman, satisfactory as father. "Unholy Three, The"— Metro-Goldwyn. An extraordinary story of the underworld that is one of the best pictures of the year. Lon Chaney and Mae Busch give perfect characterizations. "Vanishing American, The" — Paramount. Beautiful and authentic picture of the history of the American Indian, ending with a perfectly ordinary modern Western story. Richard Dix excellent as an Indian. Lois Wilson and Malcolm MacGre^or also in cast. FOR SECOND CHOICE. "Ancient Highway, The" — Paramount. Jack Holt and Billie Dove in a decidedly pleasing picture full of action and gorgeous scenery. "Are Parents People?" — Paramount. A faithful and amusing picture of married life, complicated by a modern child. Adolphe Menjou, Florence Vidor, and Betty Bronson are all excellent. "A Woman's Faith"— Universal. A good melodrama with a blinded hero whose sight is restored by a miracle. Alma Rubens does fine acting. Percy Marmont stilted. "Beautiful City, The"— First National. Richard Barthelmess as an Italian boy in a melodrama of New YTork's East Side. Dorothy Gish, delightful as his Irish sweetheart. "Beggar on Horseback"— Paramount. James Cruze let loose, on the fantastic stage play. Clever nonsense, perfectly done. "Bobbed Hair"— Warner. Thoroughly funny, fast-moving comedy, one of the best. Marie Prevost excellent in lead, Louise Fazenda a lady crook, and Kenneth Harlan a young man with money and a car. "Clash of the Wolves, The"— Warner. Rin-tin-tin at his very best in typical role of a wolf tamed by a man's kindness. Film itself and . human actors could be better. "Classified" — First National. Corinne Griffith both funny and beautiful as a poor working girl in a thoroughly delightful comedy. Jack Mulhall engaging as young mechanic. "Clothes Make the Pirate"— First National. An entertaining film of a henpecked tailor of Colonial days who unwittingly becomes a pirate chief overnight. Leon Errol's unique coined}' gifts given full play; Dorothy Gish is the shrewish wife. "Coast of Folly, The"— Paramount. Gloria Swanson, in two roles and four guises, makes good stab at character work, playing both mother and daughter in an amusing light comedy with a thin plot. "Dark Angel, The" — First National. Old story of blinded soldier. Ronald Colman at his best. Vilma Banky makes first appearance on American screen — a very beautiful woman and fine actress. "Eagle, The"— United Artists. Rudolph Valentino, as Russian lieutenant who turns bandit, gives a better performance than he has in a long while. Pleasant picture with complicated plot ; Vilma Banky beautiful and natural as heroine. "Exchange of Wives" — Metro-Goldwyn. Light, amusing comedy in which two young married couples become involved with one another, trying an exchange of husbands and wives for two weeks. Made very funny by Eleanor Boardman, Renee Adoree, Creighton Hale, and Lew Cody. "Fine Clothes" — First National. Percy Marmont, Alma Rubens, Raymond Griffith, and Lewis Stone in adaptation of Molnar's "Fashions for Men." Story of mild-mannered haberdasher whose wife elopes with head clerk, and whose cashier, whom he loves, is beset by ill-meaning earl. "Goose Woman, The" — Universal. Louise Dresser excellent as degraded former opera singer who is reformed in the end by the awakening of her love for the son she had deserted at birth. Jack Pickford makes good son. "Go Straight" — Schulberg. Entertaining crook melodrama with Gladys Hulette, Owen Moore, and Robert Edeson. "Go West"— Metro-Goldwyn. Buster Keaton and a Jersey cow called Brown Eyes, who follows him like a dog, are the center of attraction in an amusing comedy of the Western plains. "Graustark" — First National. Norma Talmadge in film of George Barr McCutcheon's novel. Great box-office hit, but may be disappointing to any one inclined to be critical. "Halfway Girl, The"— First National Doris Kenyon and Lloyd Hughes, as two derelicts thrown together in the Orient, go from bad to worse until a shipwreck shocks them out of themselves. "Her Sister from Paris"— First National. A mildly amusing domestic farce, with locale supposedly in Vienna. Constance Talmadge in dual role. Ronald Colman not so good as husband. George K. Arthur also in cast. Continued on page 116