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C[A super-film — a great, big overstuffed picture
~Hoatis ^Ark
THIS is a spectacle. And you know what a spectacle is. No — not what grandmother wears on her nose, silly. But an epic — a super-film — a great, big over-stuffed cinema. Considered as a spectacle "Noah's Ark" is all wet. Now I don't mean what you think 1 mean. Just that there are more gallons of water spilled in this film than ever before on one screen. The effect is amazing and aweinspiring and a lot of other expensive adjectives. In fact, you'll be impressed.
Michael Curtiz has done a notable job in directing this picture. Especially since he had so little in the way of story structure to build on. The premise is that the great war performed the same service in wiping out the sins of the world that the flood did in Noah's time — or something like that. Those two charming young people, Dolores Costello and George O'Brien, with a good supporting cast, are the protagonists. In spite of yourself you are thrilled with the sweep of the thing and even carried away a little by the improbable adventures of the heroine and her boy friend. And when, in the second half of the show, the screen is enlarged and the flood comes, and Noah's Ark is filled with its good folk and its animals two by two, while the poor wicked wretches struggle in the waves outside, you will be glad you've come.
The spectacular scenes equal in size and impressiveness anything recorded by the camera. Dolores Costello's scenes are sheer beauty — and her voice has improved. George O'Brien is wholesome and hearty as the first hero to snore for the talkies.
<C Dolores Costello and George O'Brien as the young lovers in the Biblical episode of "T^oah's Ar\."
One of those whimsical pictures
Christina
(\ln Dutch!
C[ Janet Gaynor is the little Dutch heroine of "Christina," played against the picturesque background of Mar\en.
-sj~0. I don't mean it is a talking picture in a foreign language. Just a story laid in Holland, that's all — or the Isle of Marken, to be explicit — and do let's. It's one of those whimsies, a delicate, sentimental little thing with Janet Gaynor as a dream-girl. Now I like Janet just as much as you do; I loved "Seventh Heaven"; but once or twice during the unreeling of "Christina" I did catch myself wishing that Janet wouldn't be quite so whimsical, so dream-like, so dear. There! I suppose it wasn't her fault; she had to play the part as it was written. Miss Gaynor can do such grand things, why let her languish in a role so soft it squushes? If I'm just an old meanie looking for trouble I'll get it. But I like to see a girl like Janet in a part worthy of her talents. She is a vision in her Dutch costume, particularly the bridal gown which is now gracing the Screenland reader who won the Gaynor contest. And she has a grand leading man, Charles Morton. In fact, "Christina" is always lovely to look at. Janet, as the devoted daughter of an old toymaker, Rudolph Schildkraut, dreams of a rrince who will one day come riding on a white horse. When a circus comes to town she sees in the parade the knight of her dreams; and they fall in love. The mean manageress of the circus, Lucy Dorraine, plots to part them and darn near succeeds. But the ending is all love and kisses.
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