Screenland (Oct 1924–Apr 1925)

The Last Laugh By Myron Zobel I AST night we saw and applauded "The Last Laugh," and we agree with the rest of you who have seen it ■^*that it is a wonderful film. The director of the picture was F. W. Murnau, the chief actor was Emil Jannings, and the film we understand was made in Germany. But before you let your not unnatural antagonism against a late enemy spoil your point of view, let us correct this statement. This picture was not made in Germany ; it was made in the realm of art. It is the work of an earnest student, a director who was willing to study the masters. For example, — the stereoptic effect first obtained in Italy and shown in "Cabiria." The misty effect Mr. Griffith employed in "Broken Blossoms.'7 The delicacy and thread-like plot of the Russian Chekhov. An 0. Henry twist in taking pity on the character at the last. In fact, from Pathe in France to our own deMille/ many influences can be seen in this film. And why not? The story makes American audiences and German audiences laugh alike at the old man whose greatest pride is in his uniform, and the German audience to weep with us at the tragedy of the old man who has lost his uniform. What better evidence is there that audiences all over the world are brothers, that Tolstoy said truly, "Art is a means of union among men"? If Woodrow Wilson had lived to view "The Last Laugh" would he not have felt that his efforts toward universal brotherhood had not been in vain, that the cooperative spirit of these motion picture artists is a definite step forward toward that idea of the league of all men, of all nations, for which he sacrificed his life?