Screenland (May–Oct 1927)

(f An adult drama, very well done SINGED F^OR the grown-ups, not the kiddies. (Just try to keep them from sneaking in, just try.) "Singed" might just as well have been called "Broiled", "Burned", or "Roasted", because the title has little or nothing to do with the story — which is an adult drama, very well done. It offers Blanche Sweet her first real chance since "Anna Christie" to exercise her interesting ability. Blanche has an utterly unique personality and technique; she's always fascinating. She plays one of those western dance-hall queens with crude ways but heart of gold. You've met "the notorious Dolly Wall" before; but probably you have never seen such exciting things happen to her. She helps "her man" — in this case played by Warner Baxter — to wealth and fame, and then finds herself about to be cast off for a younger, unsinged girl. But C[ She helps her man to fame and wealth — then finds her' self about to be cast off for a younger, unsinged girl. Blanche Sweet and 'Warner Baxter. does Dolly stand for it? You know Dolly well enough to know that what she does about it is to raise a great, big row. She shows him just how it feels to be a little singed; but how she shows him you'll have to see for yourself, for that's what makes "Singed" somewhat different from all the other pictures about Maisie LaTour— I mean Dolly Wall. Of the type of drama known as gripping, sympathetic direction puts it over. In the rather innocuous role of the "society girl" who poaches on Blanche's property, you'll see Mary McAllister, who was once a child actress and is still an actress and not much more than a child. But Mary is growing up into a very smart and charming young lady. What's more, she's one of the few who can play "Society girls" without being too refined. Mary can be depended upon never, never to crook her finger in the big banquet scene. C[ fannings is the one actor in the world who can achieve characterization without the aid of ma\e-up and crutches G~7artuffe (J Moliere in the Movies ~"\7"0T a new piece of French pastry. But you'll eat it up all the same, or I don't know my Jannings. ^\ Here's the one actor in the world who' can ^ achieve characterisation without the aid of a make-up kit and a couple of crutches. All he does to put over the character of a horrible hypocrite is to build a bump on his head and cover it with a wig. He doesn't wear a false nose or black out any of his teeth. But his face is as different as the face you see in "The Way of All Flesh" as my face is different from Greta Garbo's. (And that, kiddies, is the real story of why I never went in the movies.) Moliere created a sensation when he wrote "Tartuffe, the Hypocrite". But that was quite some time ago, I understand. The screen version will not revolutionize the motion picture industry, but it will help a little to advance it artistically, if only because it is the first time any director ever dared to do Moliere. F. W. Murnau, who made "The Last Laugh" , is still laughing last. He is responsible for the screening of this tale of the loyal wife who resorts to. subterfuge, whatever that is, to cure her husband of a blind devotion to a pious scoundrel played by Herr Jannings. It's rather delightfully done with the aid of a modern prologue and epilogue. It presents the movies1 greatest character actor (name on request) in a repulsive but interesting role; and furthermore it introduces us to Lil Dagover, the loveliest and subtlest screen actress left in Europe — it must be her own fault. And I'd like another chance to gaze on one Andre Mattoni, who appears all too briefly. Andre is but a youth but he seems to have considerable possibilities. Maybe when he grows up his folks will let him come over to see us sometimes. 4>