Judge — October 13, 1923 — page 24: what you’re looking at

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

Dempsey vs Swanson. THE WAGES OF CINEMA o mucu has been said of the salaries of motion picture stars and their magnitude that we are beginning to understand where all the money goes that escapes us. To a man who is not in this lucrative occupation, there seem to be but two courses open for us: either we must become a star, or give up the quest of gold and ask for a key to an old gentleman’s home. Between the movies and the prize ring there isn’t enough money left in circula- tion to flip a coin to decide whether we ought to use our pass to see a movie or a prize fight. Frequently when low in purse we have thought of entering the ring. When we saw Dempsey and Firpo, we admitted to ourself that money is not everything. But when we saw the pictures of the fight we were willing to agree that both men deserved what they got financially and A dollar is always a dollar, in the eye is something else again. Curiously enough, in this prize fighting era, we have just heard that Gloria Swan- son’s salary for a year’s hard labor comes within a few cents of what Jack Dempsey knocks down of an evening on the canvas. Whether this has anything to do with the young lady’s acting lately, we are un- ified But we, who are sus- ous, believe it has. Miss Swanson in ‘aza” puts up as good a fight as any- thing Dempsey has ever done. If you are inclined to disbelieve us, see both pictures and be convinced. The only difference between them that we could observe is that whereas Jack fought only two reels for a knock out, Gloria went seven for a fade out. We are a great admirer of Dempse As a leading man he’s ambidextrous. But instead of playing him opposite Fizpo for a dull round or two, we'd like to see him in a real battle with Gloria and let the championship fall where it will. In “Zaza.” Miss Swanson went after everybody in the cast with an enthusiasm and dash that suggested the wild bull of by George Mitchell the Pampas in a china shop. Her idea of a French Ziegfeld follies girl is not ours. Temperament to her means temper. Nourished in the lap of a slaughterhouse, she seemed to have been thrown a hunk of red raw meat fresh every hour. When she fought, the Marquis of Queensberry rules were flung to the four winds of Hollywood. She went in after her woman and tore her limb from blood vessel. She ranted and danced and sprang all over the lot leaving a clutter of ruin in her wake. “Zaza” is one of the best fight pictures we have ever seen and estab- lishes Gloria as one of the gamest light- weights in the sport. The rest of the picture is only fair. H. B. Warner seems always to have his mind on his wardrobe. We can’t get away from the idea that the titles which follow his close-ups should tell us about Hart, Shaffner & Marx, Stetson and the men who have made the well-dressed man what he is to-day: a thing of beauty and a joke forever.” Mary Thurman is good and, thanks to Miss Swanson’s passion for tearing off her clothing, we saw a lot more of her than it has previ ously been our privilege to observe. Ferdinand Gotschalk, of whom we have not seen enough in’ pictures, had too little to do. On the whole if you haven't seen a good fight picture, see “Zaza.” E HAVEN'T the slightest idea of Corinne Griffith’s wage. We im- agine it is anywhere from a couple of dollars a week, all the way up to any- where at all and even beyond that. She gifted with a physical beauty that is able of rolling its own salary. In our mind’s eye we have a picture of her asking for $500,000 a week. We have also a picture of her manager refusing her, but the second picture isn’t so clear. We seem to see him struggle with her smile and a million other blandishments and we can see him, now quite clearly, run- ning around in circles trying frantically to raise the money one way and another. We confess to 2 very strong weakness for Corinne. With great frequency we have palpitated in the presence of her photograph. We have seen but little of her on the » but because she is beautiful we : ys believed that she couldn’tact. We often r this kind of We beg her pardon. In “Six * she gives a very creditable per- formance. As for Elinor Glyn, much t she h written we think rotten. But D has been well assembled and, as a fp ture, is good entertainment. We were ably disappointed. The story is artificial. You get the impression that some one is selling you a large order of hokum, but it’s handsomely done and adequately played and_ there is the beautiful Corinne and a large assort- ment of nifty photography to tickle your ision. Myrtle Steadman, Maude G nk Mayo and Claude King are in her support. covers a T" ANcEsTRY of “Duley” multitude of talented god-paren Concerned in her development are F. P. A., who has been father and mother to her for many years. Then, when she was big enough, Uncle Kauffman and Uncle Con- nolly gave her a coming out party, spon- sored by Lynn Fontanne. Having been thus properly introduced, nothing re- ned but that she break into the highest ible strata of society: The movie Sydney Franklin arranged for this and ce Talmadge is chaperoning her on what may be called the last leg of her triumphant journey. Whether she will appear in grand opera or the’Marion- wered za and Tony Sarg. We can but praise her in all that we have seen and heard and then sit back with a clear conscience. We believe that in “Duley” Miss Talmadge has found a character that fits her as comfortably as a pair of silk stock- ings. She creates a complete illusion. not only physically but mentally as a bromidic moron, comicbooks.com