Screenland (Oct 1923-Mar 1924)

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in REVIEW By Frederick fames' Smith Illustrated by Covarrubias of Mr. Chaplin's treatise on Paris apartment That is, unfortunate for Scararnouche. life. F, or the new Ingram super-valentine is the ultimate in the blind alley film progress just referred to. It lies pretty close to perfection in its photography, its grouping and its mass direction. It is orchidarious technique plus. In other words, it has everything but a heart and a punch. Scararnouche is a pretty little story, based upon one of those Rafael Sabatini novels, with the well known French revolution as its climax. We have grown a bit tired of this period of history. Far be it from me to say whether or not Ingram's revolution is better than Mr. Griffith's. (I still think that Herr Lubitsch's is better than either.) Someone ought to tell the Hollywood folks that only some 4,000 lost their lives in this "bloody era," as the caption writers put it. H. G. Wells has pointed out, for instance, that this is less than the number of lives wasted by the British generals alone on one day of the Somme offensive in the world war. Anent the French Revolution The French revolution had a lot to do with the spread of the republican form of government — but I'm -just paying up some back income tax and hardly care to express myself on this point. Maybe Max Beerbohm is right when he says the French revolution did just one lasting thing: it stopped the wealthy from putting powder on their hair. Scararnouche is the story of a young Frenchman who espouses the republican cause, has many narrow escapes, wins a pretty royalist maid and saves her when the revolution breaks. It is told very ornately but the acting is pretty palid. Ramon Novarro is the hero and Alice Terry is the Watteau heroine — and they're both about as powerful as your radio batteries after little Willie has monkeyed with them. I've lost the faith Novarro aroused in me with his playing of the pagan lad in Where the Pavement Ends. The real acting honors of Scararnouche go to Lewis Stone, who does a blood thirsty royalist in workman-like fashion. Be it a Royal Northwestern Mounted or a courtier, Stone is always adequate. eoVARRUBMf; mThe Month's Best Performances d,Edna Purviance %n A Woman of Pans d,Adolphe Menjou in A Woman of Pans {^Franklin Fairchild: The Ladies' Man. ' {^Alias Monsieur Ben Turpin. version of the same thing under the title of Rosita — and, well, comparisons, are interesting. Besides, The Spanish Dancer was directed by Herbert Brenon — and I have always considered him one of our most efficient directors. The result disappointed me all around. True, the Negri displays a little more vitality than in either of her previous American efforts. But her abandon is calculated and the old spark isn't there. Yet her Maritana in The Spanish Dancer isn't as immature as Miss Pickford's Rosita. The Brenon version doesn't stand up with Lubitsch's Rosita. The film I saw in New York seemed badly cut. It do not know whether this cutting was done in the theater (as is frequently the case) or whether this is the way the film will be shown everywhere. Anyway, The Spanish Dancer jumped and skidded with the rush of a Sennett comedy. There is entirely too much of the merry carnival populace — and enough confetti is used to get out an entire week's publicity from the Los Angeles press offices. I Mediocre Support for Pola I Spanish Dancer Disappointing had looked forward to The Spanish Dancer, the Pola Negri version of the old Adolph D'Ennery-P. S. Dumanoir roystering play, Don Caesar de Bazan. Mary Pickford recently did a N Pola's support is Antonio Moreno in the role of Don Caesar. This is just a fifty-fifty performance. Wallace Berry's king is pretty inferior when compared to Holbrook Blinn's splendid royal rogue in Rosita. Beery never suggests royalty to us. Somehow I always fancy him calling up the dumbwaiter shaft, "Any ice today, Mrs. Jones?" Speaking of Beery, as I have, reminds me of the first Associated Authors' film, Richard the Lion Hearted, in which Wallie plays the name part. Adapted, according to the program, from 51