Judge — September 29, 1923 — page 23: what you’re looking at

Machine-transcribed from the original scan — historical spelling and the odd misread are preserved.

iene BECAUSE so many people have been B sneering at the films, we are fast becoming a snub-nose republic. ‘To every year a thousand new highbrows are added by men who would have you know that they never see a picture. To these and sundry we address ourselves: ‘There has recently occurred in moving picture cireles what might be termed a renaissance. Somebody has broken loose in the gardens of Hollywood and sowed the seed of intelligence with a heavy hand. Asa result the harvest is at your service. You've but to pick up a rake and haul it in. This summer's crop of peachy pictures is the surprise of an unbelieving public. In the bright lexicon of the cinema there seems to be no such thing as a failure this: ‘There are enough ve vod pic- tures on the screen to keep you in the dark for weeks to come. ‘The business of seeing opening nights has all but closed our eyes. Screen stars: are shooting all over the filmament. Santa Claus with all his naive prodigality is a miser compared to the M. P. producer. ‘There are in New York as we tango to press, in addition to the regular first- class moving picture theaters, no less than six speaky houses disporting filins to over- crowded audiences. The overflow outside makes some of them look like bargain day at the big store on Main street. Mary Pickford in “Rosita”; the stu- pendous “Hunchback of Notre Dame, (which a friend of ours said he didn’t care to see because he didn’t like big college season. pictures), Lillian in “The White Sister,” George / in “The Green Goddess,” Marion Davies in “Little Old New York” and “If Winter Comes” are all playing at the theaters. If any of these doesn’t please you you're r than you think, Anc¢ if they weren't enough to tickle your fancy, there is Harold Lloyd in “‘Why Worry?” his latest bid for your laughter; Mae Murray in “The French Doll” and Pola Negri in “The Cheat” holding down THE SILENT DRAMA IS GOLDEN by George Mitchell capacity houses and spilling out on the sidewalks. Of the new offerings we have thus far seen we liked Mary Pickford’s new pic- ture. We can’t say we like it better than anything she has done before. We admit that we can’t like Mary much more than we do, “Rosita” is a Don Cuwsar-Tosca- Romeo and Juliet romance full of double crosses, the first half of which is slow and would have bored us but for the superb playing of Holbrook Blinn and Mary. Blinn, we understand, is new to the screen, We don’t remember having seen him before. He's a distinct acquisition. His playing of the king is a fine perform- ance. The whole thing is good enter- tainment. Much better than some of the plays we've seen this season. Don't be silly about pictures. See “Rosita.” We couldn't stand much of Harold Mary dances along in the lead. 21 Lloyd and not be ill, 1 new tricks in “Why Worry? you unawares and, if you haven't k lown a bet that you won't laugh, sweeps you off your chair. We would rather do what Lloyd does for humanity than be the — greatest chiropractor in the business. Our ac- quaintance with society precludes pessi- mist We will have nothing to do with the breed; but if you happen to know one. take him to see “Why Worry?” and make aman of him. Make him listen to the roars of the packed house and then if he doesn’t laugh himself, turn on him point- blank and ask him whatinhell’s the matter with him. HE ONE BLOT in the ‘seutcheon has been “Ruggles of Red Gap.” For us it’s a poor picture. One that might better not have been made. Not even Emest Torrence and Lois Wilson could put it together again. We're sorry we saw it. It spoiled our week. We came away from it wondering whether we were right in thinking pic- tures were on the improve. We drew a deep breath and staked our faith on what we believe was our one best bet, “The Hunchback of Notre Dame.” Our faith in pictures is restored. We wish we could say, as some of the other reviewers have, that we'd like to see it i in, but we don’t think we could, a wreck at the end, Our emotions! Is, they were torn to shreds and sent to the tailor’s for re- pairs. We galloped and) danced and shook and squirmed all over our chairs trying to keep up to the p For Lon Chaney admiration. His up and geners characterization excellent. Hide- ously fine is this portrait of Hugo's strik- ing character. He's a fine artist and has at last found a part that fits him like a peach skin. Patsy Ruth Miller was never lovelier. (Continued on page 32 comicbooks.com