Visual Education (Jan 1923-Dec 1924)

April, 19 2 3 131 chickens, and the woman-tamer turns into an adoring lover. If this picture were funny there might be some excuse for its banalities and improbabilities. It's a weak-tea form of drama, perfectly harmless. {Associated Exhibitors.) Glimpses of the Moon Edith Wharton's novel has made an interesting picture, but on the screen it is merely a story and not a careful study of an artificial social environment. Bebe Daniels, though always charming in the title role, does not begin to recognize its possibilities. David Powell likewise seems rather halfhearted about his work. Too much frou-frou, perhaps! Nita Naldi is there as a wicked charmer. Not a children's picture. (Famous Players-Lasky.) Grumpy There is probably no character actor on the screen today more dear to the heart of the American populace than Theodore Roberts. His little facial contortions and irascible ways are irresistibly funny. In "Grumpy" he excels himself and brings down upon his gray head new honors. He is not built by nature to be the quiet, subtle Grumpy of the stage ; consequently he creates a new Grumpy, one that is essentially Theodore Roberts. He delighted his audience immensely and he will please you and the children. (Famous PlayersLasky. ) Mad Love Sometimes one rather questions the validity of a beautiful star's claim upon public interest. In Pola Negri's case, however, the reason is crystal-clear. She is a great actress with a personality that is dominating and vivid. In "Mad Love," her last foreign picture, she gives a pantherish sort of characterization. Her Liane of the Boulevards is a passionate, wayward creature, very real ' and convincing. The film is extremely continental in flavor, so much so as to be perhaps unintelligible to the average American. There is a magnificent carnival scene, but the photography and general scenic effects do not stand comparison with American productions. This picture is not for children. (Goldwyn.) A Midnight Guest A beauteous but incorrigible waif of the streets is caught stealing in the home of a wealthy and very impressionable bachelor. Moved by her touching lies and eyes, he adopts her, gives her beautiful clothes, and makes a perfect lady out of her. She is so perfect that she is inhuman. Before the kind gentleman can marry her, however, there enters a friend, a traveler from Africa, and the plot thickens. Although the picture is filmed with care and boasts scenes of revelry by night which no doubt should insure its success, the sad fact remains that the situations are cheap and unconvincing and that the actors seem utterly bored. Not for boys and girls. (Universal.) My American Wife The American wife in this case is no other than the well-known Gloria Swanson whom Antonio Moreno, a South American gentleman of renown, attains only after various vicissitudes, including a duel, a quarrel, and an extremely sensational and impossible ballroom denouement. Like all pictures featuring Miss Swanson, this drama is well filmed but ultra-sophisticated and dreadfully superficial. It is the lightest kind of dramatic froth. Josef Swickard's fine features are entirely out of place in a film of this type. Leave the children at home and make it an at-home evening all round. (Famous Players-Lasky.) Nobody's Money Jack Holt proceeds deftly and debonairly through the amusing but not intricate complications of this plot. Since the actors do not seem to take seriously the political corruption and graft in which they are embroiled, the audience need not worry. • Instead of having the hero rescue a heroine in distress, the scenarist has him save her father — quite an irregular proceeding. This picture is all right for boys and girls. (Famous Players-Lasky. ) Peg O' My Heart The filming of this popular stage drama marked the debut of Laurette Taylor on the screen. It is gratifying to report that she filmed well and that her performance, although somewhat hoydenish, was on the whole satisfactory. The picture is staged with the care and suavity habitually bestowed upon pretentious productions. Children will enjoy the Cinderella plot. (Metro.) . Quincy Adams Sawyer One of the most interesting things about this picture is the collection of distinguished actors, gathered from all walks of the drama. Lon Chaney, Blanche Sweet, John Bowers and Barbara La Marr rub elbows with Hank Mann, Gail Kane, Louise Fazenda and Elmo Lincoln. It was so much fun to see Lon Chaney at a country party that one almost forgot to notice whether or not the picture was a good one. It is, however, a very fine dramatization of the novel by the same name, and ends with a thrilling rescue scene which outGriffiths' that famous director's finales and makes you squirm in your seat. Children's nerves are very strong nowadays when it comes to screen matters ; they might see this picture without harm. (Metro.) Second Fiddle A picture, intended to be a realistic portrayal of simple home life, which somehow misses fire in spite of the earnest efforts of Glenn Hunter and the lovely Mary Astor. This may be because the selfish brother theme is too much exaggerated. The real wallop comes in the middle of the picture with the murder of the recluse's daughter. There are some unpleasant scenes in the picture which it may be as well for children not to see. (Hodkinson.). The Shriek of Araby The only funny thing about this picture is its title. The situations lack spontaneity and the gags are ineffective if one may gauge their success by the feeble reactions of the audience. Ben . Turpin, comedian of the East-is-West eyes, works hard enough to achieve better results than he does. Your time will be more profitably employed in reading the newspaper than in seeing this picture. (United Artists.) Singed Wings While the plot of this picture is undeniably melodramatic, the production is so admirably directed, so beautifully photographed, and so finely acted as to be distinctive. The story has to do with a little Spanish dancer in a water-front cafe in San Francisco. Her beauty and charm bring her unwelcome attentions, which are ended only by a tragedy. She is warned of this tragedy in a dream, and it is in the visualization of this quaint, fantastic dream that Penrhyn Stanlaws particularly demonstrates his genius as an artist. It is exquisitely conceived and delicately executed, and it provides atmosphere for the subsequent action. The Pierrot — the crazy, devoted clown — and the . doddering grandfather are two extraordinary characters, so realistically and effectively interpreted as to deserve special comment. The manner in which events in the plot are made to coincide with the fantasy of the dream provides a startling climax. The director never lets his desire for effect obscure his sense of proper dramatic tempo and proportion. Consequently, the plot is built firmly and coherently. This picture is too worldly for the young child. (Famous Players-Lasky.) A Tailor-Made Man Time was when Charles Ray's name was one with which to conjure in the box-office. Then came a series of pictures written and directed by himself. Simultaneously came a partial eclipse. "A Tailor-Made Man," however, sees the old, ingratiating Charles Ray with his awkward, boyish mannerisms back with us again. The film is a pleasing little story about a lad who climbed right out of a tailor shop into an astonishing success, with no other visible asset than what must be called pure nerve. Let the children see this picture. (United Artists.)