Picture-Play Magazine (Sep 1928 - Feb 1929)

69 Lon Lau° A critical eye is turned on the new films, with the result that some excellent pictures are discovered and some brilliant performances are praised. and clown become friends, united in the desire to be of help to each other. In the end Tito, aware that he is standing in the way of Simonetta's happiness, performs for the last time the stunt that has brought him fame, with intentionally fatal results, as a group of children look on, laughing gleefully at what they think is their idol's comic simulation of death. The above is scarcely more than an inkling of the story, but it is enough for the imaginative reader to realize that Mr. Chaney and Herbert Brenon, the director, find in it material to inspire them to do their best — which past performances testify is. superlative. Mr. Chaney's performance is tender, true, and appealing. His Tito is a real Italian, which means that he does not resort to gestural excesses or grimaces to make him so, and the inherent simplicity of the character is never lost sight of. Loretta Young, who I am told is but fifteen years old, plays Simonctta with a heartbreaking quality which could only come from an actress unconsciousof her youth, and never from one who tried .to achieve adolescence by any expedient of the actor's craft. Perhaps even more surprising. is .Nils Asther, as Luigi, especially to those who have not seen him in "The Blue Danube." Here is a young man who is quite alone in playing young aristocrats with sinister or cynical overtones, but who contrives to awaken and hold one's sympathy nevertheless. To me his Luigi is arresting, perfect. Nor must Bernard Siegel, as old Simon, be dismissed with slight praise. He, too, is a perfect gem in a perfect cast. The Vitaphone Improves. The future of the sound or talking picture is so great, that the latest example must be considered more seriously than if it were but a stray experiment. "The Lion and the Mouse," then, though far from an artistic milestone, or satisfying entertainment, is the best picture with dialogue yet screened. Yet it is neither a good picture, nor anything but an inkling of the part sound will eventually play in the production of films. But it is important, in view of improvements yet to come. For one thing, there is more dialogue than in any previous attempt, and the material is in better taste and is more credible. So far as I am concerned, dramatic interest slumps when in long sequences the characters stand still and talk ; whereas it is my contention that the drama of Shirley Rossmore's conflict with John Ryder, and their counteraccusations, would have been far more dynamic had they acted only to the accompaniment of the usual subtitles. But the elements of curiosity and novelty hold the spectator in spite of this, even though the reappearance of the old-time soliloquy causes one to fear if this long-outmoded means of setting forth the plot is to become a permanent feature of the "talkies." Let us pray not. "The Lion and the Mouse" is a rather old-fashioned story of a great, grasping capitalist, who brings financial ruin to others for the sheer joy of it. One of his Chaney has one of his most effective roles in "Laugh, Clown, h," and Loretta Young is established as a newcomer of distinction. victims is Judge Rossmorc, whose daughter, Shirley, falls in love with the capitalist's son without being aware of his identity, and who becomes a member of Ryder's household — she is, conveniently enough, a sculptress — for the purpose of possessing the inevitable papers which shall prove Judge Rossmorc guiltless of unlawful stock manipulations. Out of this come Ryder's discovery not only of her identity, but of what he calls her thievery, his pact with her to give up his son if he will withdraw his charges against her father, and so on until the collapse of all in the face of the happy ending. Lionel Barrymore, as Ryder, gives the outstanding performance, and his is the voice most interesting to listen to. Though not always distinct, it has "color," range, and eloquence, which is more than can be said of May McAvoy and William Collier, Jr. The latter's voice as recorded does not coincide with his sensitive, "fine" personality, and Miss McAvoy's tones are flat, commonplace, and uncultivated — a complete disillusionment. Alec B. Francis, as the Judge, is as effective in speech as in silence. There's no denying it, a revolution impends in Hollywood, and players must somehow acquire a voice that harmonizes with their visual presentment, in order to keep their places — or any place at all — in the new technique of acting, and the new screen personality, which is about to supplant the old. Better Than "Underworld." For a rattling, gatling melodrama of the underworld, "The Dragnet" is recommended with enthusiasm. It moves swiftly, its characters are interesting, and it holds the spectator tense. Perhaps it is not so unusual as its predecessor, "Underworld," but by any count it is far from ordinary and should be seen, if you have a flair for the gang pictures which are now popular. This time George Bancroft stands for the law instead of