Judge — February 23, 1924 — page 22: what you’re looking at

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

THE IRISH IN THE MOVIES by George Mitchell E REMEMBER, many Vears ago when a schoolboy in \ V this fair city of foreigners isked to briefly sketch the continuity of the government of New York City. We arose in our knickerhockers and said: “New York was settled by the Duteh, stolen by the English by the Irish.” for which we were requested to stand on out head in the c¢ and governed But we were right—about the Trish any- how. The Irish have a way of running things. Anything everything but themselves. You may find representatives of all the other nations in the world on the rear end of a trolley car... handlir But you'll always find an Irish motorman. He's got to run the thing he money. And here we come to the moving picture industry and find the sereen on Broadway. in one wee The Meighans, the Murrays and the Moores. ‘Thomas, Mae and Colleen waving the Irish flag and big genial Tom Geraghty, smiling behind the backs of Zukor running Famous Players in good-lumored Celtic ls edness. Meighan is typically the Ir hither smile and nothing scems mor nts than * Piper Malone,” except that it’s all in the title. and then somebody who is. in the limelight thinks that Tommy needs an original story. ‘Thus far they're right. He does: He needs it badly and why they literally overrun: with Irish actors. Every now don’t go on with it is beyond our comprehension. Not long ~ Mr. George Ade, the Charlie Chaplin of literachure, dug something up from the bottom of a | f gotten trunk, called il Home and Broke.” and itl to Tommy. But it ws enough to come any to reaching his knees. Now. Mr. Booth ton, Indiana’s other steps into the pitcher’ tosses Tommy an underly, baby one that Tommy whiffs at and misses a mile. We to see a big six-foot limmiox of aman playing peekaboo with a lot of children when he ought to be out with a club in his hands, cleaning up a gang of crooks or knocking the wadding out of the man that stole Me- Carthy’s wife. Pied Piper Malone” well enough for anybody less masculine than Tommy Mei Dut it secims like setting up Zev or My Own on a merry might horse to give this big Irishn harlo » film like “Pied Piper Malone." We suggest. now that the two gentlemen from Ine have done playing old maid with Toms missioned to write him a melodrama with an Irish kick in it. Something should be done or we'll lose one of the best bets in that Rex Beach come moving pictures. Au or this goes for Colleen Moore too—only Colleen has 4% just knocked ‘em dead with “Flaming Youth.” Colleen has come into her own and not even “Painted People” can set her back. But it’s a pretty terrible film and not even an Trish Colleen can knock the paint off that The gunman’s darling. Wt Mac Murray it's a different story. Miss Murray ean usually be depended upon to throw into her film a cert dashing brilliance of personality that makes her performanc: individual enough to stand on its own beautiful and high! accomplished legs. Her background of drama isn't alwa what it should 1 ‘ar off 1] mark set by her artistry, but she is always an outstanding Her last two or three films wei picture of scintillating vivacity—sometimes indecd too mucl so—but in “Fashion Row" she esting picture of Russian life doubling for two s ind vtskying all ove imble terpsichorean manner. We ari ‘ashion Row,” but we are certain you will share our admiration of Mae Murray. the screen in her usual quite sure you will like Pine was when the extra -as the artist who serves as a super is called in the shadowland of Holly wood—was chosen 1 looked it. He was part of a mob. His per- sonality was swallowed in the wigs, costumes and paint of man others. at random—: He was an atom in the anatomy of cinematography a hot dog in the kennels of moving picture aristocracy. For this privile it in the halls of the gods, he was barked at by the master who soothed his temperamental disturbances by taking it out on this embryonic actor. For this service he rv ceived much abuse and $7.50 a day. For this glory he shut up stand that hu might shoulder his his bootblack ny inte the making of pictures founded b his immortal ancestors who decorated the cities of is But the dusk of the gods is upon him. us. We have now what might A new era is wit! he termed the super super—thw extraordinary extra. Great hames adorn the pages of mov ing picture programs. Ton hetti has given place to Arthur Brisbane— Sadie Ghuitz the little sewing-machine girl makes way for Nell Brinkle In “The Great White Way these gigantic figures in th making of America appear is super extras. We dropped in. on Arthur Brisbane. He is “out” to all but the clect, but he saw us at once. When we asked him how he liked his new profession he cleared his throat and_ replied “T love the kleigs. There is a at deal of hokum in mov- But so is there in everything else in life When we saw Tex Rickard he said in part, “L throw myself hody : try to live the part 1 am playin Irvin Cobb shifted last vear’s « out ina big serial,” ing pictures. excepting newspapers.” id soul into my) work and r—"They want to put me Lin his native drawl (we said drawl not drool), “but Valentino is a good friend of mine and [haven't When we called on Nell Brinkley she put away the knitting needles with which sh« works out her drawings and said: “I've always felt the lure of the heart to put him out of business.” the spotlight and knew some day I would be called upon to show ny histrionic ability. But, though I love making moving pictures, they shall never come between me T shall always keep faith with my dear publ nd my art anc comicbooks.com