Judge — October 6, 1923 — page 20: what you’re looking at

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

Photo by ce Y MAILLARD KESSLERE. Lillian Gish— A Girl to Gush Over ee nat’s the matter with your eyes, dearie?” "This from our manicuris' she looked up into our soulful orbs and saw a dewy drop poised on our long lashes. Tears, my dear,” said we, snatching our hand from her to dash back a fresh onrush. “Had something on the first race?” queried sympathetically. “No,” we sobbed. the cinema.” “Serves you right,” curiosity of her s front: “Whadidja s We cleared our throat, nose and eyes and told her as follows: We thought when we heard that Fox was going to produce “If Winter Comes, that the other producers weren’t doing right by Hutchinson. . . . They should have moved concertedly to stop Fox, head him off, for we felt that he’d mal mess of it. Well, he hasn’t done that exactly, but it’s a pretty doleful picture. It’s all right if you enjoy a good cry. It never seemed to us, as we read the book, that it was weepy. We also felt that the first three-quarters of the book would make slow footage. It And done by Fox it is almost stupidly sentimental. The pathos is dragged out to the heartbreaking point. And, it scemed to us, for no better reason than it might cause a few more bucket- fuls of tears, The cast, with the exception of Sabre, High and Low Jinks and Mabel, is nothing better than mediocre. Percy Marmont quite visualizes our idea of Marko. His work throughout is splendidly convincing. We were sorry his confréres were, to our mind, so little in character. But we probably fall into the error of picturizing the heroes and heroines of our favorite novels, and when they do not she “We've been to said she. ‘Then the oming to the fore- does. They say the movies are mak- ing us emotional! THOSE GLYCERIN by synchronize with what is shown us on the screen we are upset. What is thoroughly delightful in the film is the lovely shots of rural England. ‘The quaint cottages, high hedges and long shots of villages were charming. But we were bored notwithstanding. The picture is too long and too dull and too sentimental and we are sorry it because we with what we feel is a fine nov Ww a cast almost wholly composed of Ital vi Vesuvi ans, and with Vesuvius sput- tering in the background, it was expected that Henry King would make a filmiza- tion of F, Marion Crawford i cal romance, “The White Sister, would at least bear out the traditions and reek of the garlic of Italy. This he has done in a remarkable de- gree; in addition he has made a picture of great photographic beauty. The film is worth seeing alone for the grandeur of its natural settings. We have long been taught to understand that Italy is the land of the picturesque. If you have any doubt on that score see “The White Sis rot after shot of crooked streets, cypress-treed terraces, white plastered monasteries and the > of which they are woven are It’s a masterpiece of beauty, “The White Sister.” For the rest of it, the story is clearly gotten over, the action tense and the actors more than compe- tent. Lillian Gish does the same little pa- thetic figure she is by nature cast to play We are not particularly fond of this type. We don’t respond to suffering. We quail in the of pathos. It annoys us, and when the Gish pulls that woe-begone, gee, if I only could die look—we for one, are for letting her die. When she begins to twitch with her long fingers at her mouth we could slap them but when we TEARS George Mitchell hear the house begin to sniffle and the woman next to us slips her hand into our pocket for her handkerchief and we need it ourself, we bow our head, glad that we can snuffle, that our fellow-movie fans may get a flood of tears off their chests and feel the better for it. The Gish does it beau- tifully. She’s all alone in her class. Asa weep provoker she’s the world’s greatest glycerin tear-dropper. Ronald Colman pl fine, manly way. He also is well cast. The production is dignified and an orna- ment to the screen, EK ERY now and then we hit the nail with ourhammer. We don’t set our- Anybody ean -s opposite her in a Gail Kane self up as a marksman. shoot straight if he persi Golf is like that, too. If you play the game long enough you'll hit the ball. Most people that we've seen play share our faults. They putt on the tees and drive on the greens. Throwing baseballs at the ebony domes of colored gentlemen for seegars is also a sport that brings to it ultimately a moment of success if one’s arm holds out. Some day you'll let loose a heave that will go wild on you and you'll be surprised to see that you've won a cigar the quality of which demands that it be smoked out- doors and alone. Thus it is with prediction. For years we'll go on telling the public that Sadie Soandso is a coming star only to see her make flivver after flivver. Then denly after Sadie has established us as a false prophet, she'll get a picture that fits her like a bathing suit and we'll come into our own. We've been talking ourself blue in the face to Hope Hampton’s management. The knees of our trousers are worn thread- bare praying that she be allowed to play comedy. And at last we have made good. If you don’t believe that we are a gre: prophet go sce her in “The Gold Diggers.” comicbooks.com