Judge — March 22, 1924 — page 24: what you’re looking at

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

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Send your, order for en gen mene. are YNEpfeavy Art Mat 15%" "iat Soc each to JUDGE ART PRINT DEPARTMENT 27 west Forty-third St New York City proofs on FOLLYWOOD AND HOLLYWOOD by George Mitchell E HAD an interesting discussion with one of our colleagues about the historic period of “*Yolanda.” Being a movie critic has its advantages. No one expects him to have a knowledge of things outside the screen—nor in- side. aid my fellow-critic: did Louey th’ weren't sure. ing nothing. “What century *Leventh reign in?” We But we never admit know- On the contrary. Said we, largely: “The Eleventh Century, of course.” He raised an enlightened eye- lash. “Oh, I see,” said he. “That’s why they called him the ‘leventh.” We nodded. Then thinking, probably for the first time in his life, he asked: Tow about George the Third?” We didn’t turn a_ hair. “The Third Century,” we answered. “I never knew that’s the way they did it,” said he. And it set us to thinking that that’s the way it should have been done and we're going to take it up with H. G. | Wells and Hendrick Van Loon while there are still a few kings left, to see if we can’t make things easier for those whose mem- ory of Burgundy is to its vintage not to their ’vantage. Nome lovelier than Marion Davies +% in “Yolanda” has been seen on the screen this year. Miss Davies sets a high standard for beauty; a high watermark which taken at the flood should lead on to prosperity. Even Urban’s beautiful set- tings and the forests of Burgundy hav nothing on Miss Davies’ sparkling loveli- | ness. It is not only her natural comeli- ness that wins your admiration but the grace and charm with which she invests the Princess Mary of Charles Major's ro- mantic story. Whether Marion Davies is the “Queen of the Screen” we leave to her press agents. That she is the prin of the films we heartily indorse. The story seems to move too languidly. It’s too long or gives one to think it is. It is ponderously overweighted with beauty. The feast of gorgeous costumes, resplen- dent regality, sumptuous scenery and the overtopping beauty of the princess her- self, like the wine of Burgundy, sit heavy We felt like the little boy who did twelve plates of ice cream; but would do it again. on one’s senses. ee | HE SonG oF Love,” is a song without wordsor rather with but few words of praise and most of them directed entirely | at the loveliness of Miss Norma Tal- as | is something very like the soothing quality madge. Asa matter of comparison, there of music in everything Miss Talmadge things we dislike in ism is banality and before we offend along that line we will dismiss the star with the choicest adjectives we can bor- row from our dictionary and try to say 22 something about the film. Speaking of dictionaries, as few of us in the films will, we were told by Duley that her husband gave her a dictionary just for fun. We seem to have seen “The Song of Love” so often that there is little that may be said of it again except that Arab sheiks and their love affairs are as numerous on the screen as the sands of the desert that give them birth and that we, for one, wouldn’t care half a whoop if we never saw another. In passing we may add that we can’t see Miss Talmadge’s wis- domin substituting Joseph Schildkraut for Conway Tearle as her leading man. We remember only Schildkraut’s performance in “The Two Orphans” to which his an Knighthood in “The Song of is but a very poor relation. But if walk a mile for a cigarette, we'd run twice the distance to see Norma. Te FLAPPER has taken possession of Jowland as she has the real thing and, unless some wise state of censorship ses a traffic hand, we are going to be wamped with flapper pictures. Not that we are opposed to flapperism, but where- as “Flaming Youth” was good, “Daugh- ters of To-day” isn’t and we shudder to think of what is to follow “Daughters of To-day” is nothing better than shoddy. Most of it was shot during the revelry of night. All of it should have been shot at sunrise. We searched its horizon for something worth- while and came away with a thirst for something better. ur Gane in “The Buccaneers,” on the contrary, is delightful comedy. Per- haps we are blithering along in our second childhood but we were only a single drop in the bucket of laughter than greeted these remarkable little filmsters. If you haven't seen Mickey Daniels and Farina and Joe Cobb and Mary Kornman, you're asleep and don’t know it. “Wu Oraxces,” Joseph Herge- shimer’s tale of a man who when he lost his wife was inclined to believe that he was through with the darling sex for the rest of his life. Foolish hombre. ‘The man who believes that he can get by without the intoxicating though devas tating influence of the perfumed sex is foo! for the squirrel. Frank Mayo, who plays the hero, might have gone at the second engagement in an environment a litth more to his comfort. Courting a girl under the everglades of Georgia, in tli face of a big burly brute whose every move gave you to understand that you were persona non garter isn’t our idea ol a good time. However, that’s the way Hergeshimer worked it out. It’s a good picture. You'll like it. comicbooks.com ge