The Picture Show Annual (1929)

120 Picture Show Annual There is dignity in the countenance of Nigel de Brulier, and the acme of aggressiveness in that of Louis Wolheim. Bynunsky Hyman’s speciality is registering terror, the terror that makes you laugh. Two instances of this in recent films were when knives were thrown at him in “ Son of the Sheik ” and when he was ignominiously shaken upside down in “ The Night of Love.” This also applies to that much-filmed darkey, Raymond Turner of the rolling eyeballs. And one mustn’t forget Babe London, whose maxim in life is “ Laugh and grow fat,” and Babe has something to laugh at, too— her salary is as “ fat as she Also, when we think of these faces we can’t forget, us remember that often, if not mostly, they belong to players who can act. E.W. William Austin, aliuays immaculate and usually brainless on the screen, with Lucien Littlefield, a well-knoum character actor, in “ The Small Bachelor.” Nigel de Brulier, whose ascetic cast oj countenance singles him out for priestly roles, such as that in ” Ra- mona.” Babe London, whose face recalls girth and mirth. Her films include “ All Aboard,” with Johtmy Hines. Edgar Norton, portrayer «/ men whose chief charac- teristic is meekness, such as valets and much-married husbands. John George, the dwarf who played in ” Where the Pavement Ends,” ” The Night of Love,” and, more recently, “The Unknown,” in which Lon Chaney starred.