Visual Education (Jan 1923-Dec 1924)

.1/ arch, 192 3 ;7 She films excellently, proving herself past-mistress of the great art of pantomime. The clever subtitles do their best to supply her with the brogue which was so charming on the stage, while her director supplies her with instructions. One is conscious throughout of continual listening for a directing voice; otherwise she is a convincing little hoyden. She treats us to a delightful mixture of comedy and pathos, with a merry Irish wink ever lurking in the offing when said pathos holds the screen. Sometimes one marvels just how these crude, lovable little ingenues without any manners or educational background manage to get away with all the dukes and millionaires, but inasmuch as they have been doing it from time immemorial there must be a natural law operating somewhere. Released by Metro. THE COUNT OF MONTE CRISTO ONE might search far and wide before he found a novel more eminently fitted for screen adaptation than "The Count of Monte Cristo." Alexandre Dumas has filled his pages with adventure and suspense and with all the paraphernalia of melodrama. Even the emotions his characters portray are almost invariably natural and elemental and thus easily intelligible when transplanted to the screen. It would indeed be surprising if such a film were not successful. The picture has on the whole followed the facts of the novel very closely, with the exception of the ending, which the scenarist has seen fit to alter in order to suit the fastidiousness of American audiences. With swiftness and dramatic concentration the story moves from one salient event to another. You are compelled to follow with breathless interest the vicissitudes of Edmond Dantes, from the time he falls a victim to petty intrigue and jealousy until he emerges from oblivion as the Count of Monte Cristo, executing grim vengeance upon those who wronged him. John Gilbert as the unfortunate hero is capable throughout, but he is particularly to be praised for his portrayal of the count. Beneath the ruffles and insouciance of the supporting cast one recognizes such familiar actors as Robert McKim and Estelle Taylor, whose work is of proved quality. The atmosphere is faithfully continental and has been carefully maintained at all times. One realizes that the backgrounds are impressive, but one's attention is focused on the action — which is as it should be. While the highest art of the screen is not manifested in a picture of this type, it is nevertheless a very gratifying exhibition of what the cinema can do to PEG O' MY HEART Trust pretty Irish Peg not to be at a loss when it comes to adopting the aristocrats' practice of carrying a pet. And Peg's Michael, minus pedigree, proves a far more interesting and lovable doggie than the society canine. popularize and visualize a familiar classic. Released by Fox. OMAR THE TENTMAKER THIS picture, featuring Guy Bates Post and based on the stage success of the same 'name, in which he likewise starred, tells the story of Omar Khayyam, the Persian poet who suffered and sang so many centuries ago. Although the film incorporates such facts as are known about the poetphilosopher-astronomer who revised the Persian calendar and preferred to be Omar the tentmaker rather than a favorite at court, it must be regarded as an imaginative romance rather than an historical drama. MONTE CRISTO One of the red-letter days in Edmond Dantes' life arrived when his long, patient scraping at the stone finally brought its reward — communication with the old priest just beyond the wall. Yet of all that that companionship was to mean to him in the years to come, he had no faintest glimmer.