Picture-Play Magazine (Mar-Aug 1926)

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72 Hollywood High Lights tate, for all of those who are hrave enough to venture near its splashing. Keaton is adding something new to the diversions provided by stars for their guests — he will have an archery course on his place. Miss Barbara Worth. There is one newcomer who considers herself exceedingly fortunate, and that is Marceline Da}-, who has been awarded a chance to make herself popularly celebrated by being given the title role in "The Winning of Barbara Worth." the film being made from Harold Bell Wright's novel. The role is considered one of the plums of the season, and was coveted by many film stars. Harold Bell Wright's novels on the screen don't mean very much to some of us, but then there are a lot of people who like 'em. Honors for Colleen. If "Sally" meant a whole lot for Colleen Moore's growing fame, her latest musical-comedy adaptation, "Irene," is going to mean even more for this amazingly successful star's future. This new film of hers may not be as uproariously funny as "Sally," because it misses the presence of Leon Errol with his collapsible legs, but it is funny enough, and what with a fashion show marvelously done in colors, is far more classy and pretentious. Some of Colleen's comedy, particularly her pantomime in imitation of a mouse, is as clever as anything she has ever done, while Charlie Murray and Kate Price, as her Irish father and mother, are a riot. We saw "Irene" not long ago at a preview, and enjoyed every minute of it. Every seat in the theater was taken, and the audience even filled up as much of the aisles as the fire ordinance would permit and perhaps even broke a few of the stricter civic rules. They applauded, too, frequently, especially during the color portion showing the fashion revue, which is as exquisitely photographed, with a delicacy of pastel shading, as anything we have looked at, outside of the rushes of Fairbanks' production of "The Black Pirate." Because of the expense of this fashion revue, "Irene" is to be released for a run in a great many cities, and will probably show at higher prices than the usual Colleen Moore starring pictures. This, of course, means another step forward for a girl whose progress during the past few years, following as it did a long apprenticeship, has won as much attention as anything that has happened of late in Hollywood. La Tragique Lillian. Another picture that we have looked at lately is "La Boheme," with Lillian Gish and Jack Gilbert. King Vidor, who made "The Big Parade," was the director. It looks as though he will make nothing but the bigger type of feature from now on. "La Boheme" we liked, because of the acting of Miss Gish, particularly in the death scene, and because of its remarkable pictorial beauty. There are many scenes in this film that are so like paintings that they are delightful. It is incidentally the kind of pic ture that necessitates the borrowing of an extra large handkerchief from dad — the kind of picture, in fact, that makes for a fine, weepy afternoon or evening, and that may be rendered magical through the further emotion stirred up by a musical accompaniment arranged, from the opera. It is not exactly the sort of film, however, that will appeal to the male contingent of the family, unless they happen to be of a very artistic frame of mind, and capable of appreciating beauty in the abstract. "La Boheme" cannot be said to possess sturdy entertainment values, but its high qualities of beauty make it a production well worth every fan's time. Gilbert's portrayal is not one of his most striking, but he is, as always, a flashing personality, and some of his acting, as when during the celebration of his success he longs for the return of Mimi, is very effective. The story has been properly purified to pass the censors, but manages to follow with very fair loyalty the original opera. We meant to mention, in speaking of these two pictures, that George K. Arthur does a characterization of almost unrivaled sincerity as the celebrated modiste. Madame Lucy — yes, she's a man — in "Irene," and that Renee Adoree, in her very brief opportunity as Musctta in "La Boheme," is truly fascinating. This girl has a great chance to be the one and only favorite in roles that are French-accented. Arthur, who was The Boy of the now historic, but not to be forgotten, five-thousand-dollar "Salvation Hunters." is rapidlv coming to be one of the film's most efficient young character players. He could have made a wretched burlesque of Madame Lucy in "Irene." but he plays this role so much as if he believed in it that he does not run the least risk — and there was a danger of that— of giving offense to those who happen to be a little discriminating about the sort of types that they see in pictures. A Right Smart Boy. We have discovered a title writer who deserves a nice diamond-studded typewriter case for his courage in being original. His name is George Marion, Jr., the son of the chap who played the hard-boiled old skipper in "Anna Christie" and who did the first mate of the pirate ship in "Clothes Make the Pirate." Young Marion was an dramatic critic on one of Angeles papers until two assistant the Los or three Would you recognize the quiet and reserved Norma Talmadge in her bizarre KiKl costume? years ago, and then he found employment with Metro-Goldwyn-Mayer in the scenario department, making translations of foreign books and plays. He not only speaks several European languages, but can converse also in Chinese, and has acted as interpreter at court trials in which Orientals were involved. Nobodv would have suspected that all these accomplishments would have qualified him also to be a film humorist. But such appears to be the case, as any one can see with half an eye, or even a quarter of one, who happens to read his smart, gay. sparkling line of repartee as printed on the screen in "Irene." Continued on page 110