Judge — April 12, 1924 — page 29: what you’re looking at

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

Two New York Premiéres (Continued from page 13) these eyes have caught sight of in many amoon. About the movie, I shall remain mute, since movies are none of my busi- ness, either professionally. or privately. | I have tried my best to work up an interest in movies in this old rooster, but it can’t be done. He would trade all the movies in the world for one good glass of lager, and throw in a nickel besides. So, dis- reeable dog that he is, he will leave the profound subject to other hands and turn his attention where it belongs. O'Neill's play, then, is called “Welded.” It is a work of insight and intelligence, and it is excessively boresome. In many respects, it is one of the poorest pieces of dramatic writing that the author has negotiated and its monotony and dullness are heightened to the point of irritation by the performance of the Algonquin Sal- vini, Ben-Ami, in the leading male réle. Indeed, this Ben-Ami’s s, 2 sting is so bad that even the old gang of boosters couldn’t work up any excitement over it. (One by one, incidentally, the Algonquin genuises m to be going to pot. Within the space of a few weeks, the boosters have forsaken their erstwhile vorite, Sidney Blackmer, the quondam Bernhardt, Clare ames, and now the indubitable inheritor of the mantle of Coquelin, J. Ben-Ami.) As I say, our friend's performance was something pretty awful. To be sure, with but minor exception, all of his perform- ances to date have been something pretty awful, and have been duly reported as being such in this great department of the uplift, but this particular one, by a vote taken down in the lavatory after the second act, was conceded to be the winner of the grand prix. The most important thing in Ben-Ami’s acting is his hair. If he ever had a high fever and lost his hair, our Ben would have to resign from the Actors’ Equity Association. He lets hi hair do most of his work for him. If he is called upon to depict surly passion, he shakes his head and lets his hair fall down over his eyes. If it is defiance he would express, he simply shakes his head again and shakes his hair back into place. If it | is a mood of meditation the dramatist calls for, he pulls down his right bang over his eye, and for wild anger he waggles his head from side to side until his hair gets all mussed up. The only emotion, indeed, that Ben-Ami doesn’t express with the aid of his hair is an admiration for pinochle, and he is prob- ably working on that now. The theme of O'Neill's play is love. Not the candy-box top love of the Broad- way piffle-mills, but love as it actually blooms in the hearts and minds of human beings: a thing of hate, self-torture, beauty, misery, exaltation, degradation and iron chains all compact. 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