Screenland (Nov 1925–Apr 1926)

C[ A fashion show of the very newest things in gentlemen' s wear. The Grand Duchess d> //^Waiter hen an actor can spill cream down his lead' ing lady's neck and make it look like the sort of thing society is doing this season, he's a gentleman. As a lady behind us remarked: "Adolphe Menjou is so refined!" He is at his gentlemanly best in "The Grand Duchess and the Waiter". It is Adolphe's favorite part and ours, too. It's a welcome change from the heavy, leering roles they have been handing him lately. As the masquerading man-about-Paris who becomes a waiter to be near his heart's desire, I You jealous girls who have gazed long on pictured profiles of Natacha Rambova, sneering, "I declare I don't see what he ever saw in her!" may now find out. For Mrs. Rudy's first picture has burst upon the world. Originally designated as "Clothes Ma\e the 'Woman", it was changed to "When Love Grows Cold", for some reason or other, probably some. Natacha plays a devoted wife who wins her husband back from a designing woman. She wears her celebrated classic coiffure, some interesting Paris gowns, M. Menjou discards . his clubman manner at times and becomes as playful as a puppy. Mai St. Claire seems to exert that influence on all his players. Florence Vidor, with a new bob and a completely new set of expressions, makes the Grand Duchess a believable being. There is Andre de Beranger, entirely disguised in another clever characterization "The Grand Duchess and the Waiter" is just the thing for the young man to see. It is a fashion show of the very newest things in gentlemen's wear. Wait till you see that dressing gown! and a cold expression. She has plenty of poise — plenty. But somehow she does not look like the kind of woman who would answer a fan letter. There is a kiddy in it who helps to bring the parents together — a great broth of a boy who looks capable of licking mama and papa with one hand tied behind him. He comes downstairs to the grown-ups' party in his little nighty and gets away with it. But if he made a personal appearance, he wouldn't — not if his audience had its strength. G[ Mrs. Rudy's first picture bursts upon the world. When £ove Qrows Cold (\Meet the Wife C[ "Dance Madness" is amusing — unless you recall "Her Sister from Paris", which was amusing, in much the same way, first. DANCE ^MADNESS (\Re-introducing an Old Boy Friend It's a small world after all. Who'd have expected to run across Conrad again — and in Paris, of all places! My, how he's changed. I wouldn't have known him in that get-up. It's just what he needed, though; it's done wonders for him already. "Dance Madness", I beg to tell you, introduces a new Nagel to the screen. I have known about him for years — hiding away somewhere under a heap of commonplace parts; but I never really thought he'd emerge as a firstrate comedian. He scatters shocks right and left as a neglectful husband — Conrad, erstwhile champion of chivalry; our Sir Galahad — leaves pretty Claire Windsor at home alone while he visits the cafes! But the transforma tion takes; and he is very funny while it's going on. Thanks to him, "Dance Madness" is amusing, unless you recall "Her Sister from Paris", which was amusing, in much the same way, first. Wife masquerades as dancer to win husband back — ■ remember? Claire Windsor in a becoming new bob; Hedda Hopper, gorgeous as a masked dancer— -and without the mask, too, smarties! — and Conrad. The trouble with him is, he plays so many parts so well that he never stands out in any one of them. Old Doc Film should prescribe a regime of regular roles for him to be increased to larger doses according to popular demand. 57