Judge — May 10, 1924 — page 22: what you’re looking at

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

THE GRAND PASH IN THE FILLUMS by George Mitchell NLess We have a natural way with girls we might just as well dust them out of our minds and keep them out once and for all. We, as a sex, are continuously successful with them: or we are not. Most of us are not, though most of us believe we are. But there is many a slip between what. we think we are and what we are, and these slips are mostly feminine. ‘There are countless ways of courting a young lady. ‘They are worked out in the secret. passages of our minds. We spend a lot of time talk- ing Lo ourselves— impersonating the lovely young thing to whom later we are going lo speak. We get down books of poetry and memorize passionate passages. ‘These we rehearse ofttimes before a mirror that we may check up on facial expression. We get a tremulous vibr we swing our arms in long and fluent ges- ture. This cuts into our time a lot but We are enjoying it hecause we look ahead a successful and happy end- h the girl blushes, stammers ‘alo in our ve and visual ing in wh an awkward though heg and. slides romantically into our out- stretched and aching arms. — It’s easy and. with three or four rehearsals there is really nothing to it but to go out and put it to the test. But for all these visions of rived successes uvenly. response happiness, all these pree there is, as we have said, many a slip— When we come to the moment of moments we either say nothing at all or we blubber in such a way as to give the young lady an idea that we have gone suddenly cuckoo. This kind of thing is delightfully done by Harold Lloyd in “Girl Shy.” Harold is a young man who works in a cheap tailor's shop. But whereas, Harold has a blind-stagger complex. with girls, he is start enough to commercialize it. He writes a book on his experiences and sells it and it helps him to win the girl he has fallen in love with. We may be wrong about Harold Lloyd, but we enjoy a tain human touch he always slips into his picture. He's a deft juggler of sentiment. He understands homely heart. interest. And he gets it into his pictures in a way that makes you feel that life isn’t as bad as it's painted. Incidentally there are two or three reels of a chase in which he must reach the church where his lady love is being married to a low-life. ‘The chase combines excitement and humor in so well balanced proportions that you are laughing your head off one minute and clawing your finger ends the next until s pleased as Harold that the you are happy ending has been reached. We |THE, DDINE INDUSTRY @ -o- CONTAINING MUCH UN NECESSARY INFORMATION Le tare. IN THE WILDS oF ue ASBESTOS MOUNTAINS DOd00009 DO70000 ToaaaoaoITITTTVZOO IURING THE SILENT WATCHES OF “HE NIGHT, THE LE THAR GIANS TReaP THe t HUNGRY SARDINE IN HIS NATIVE HAUNTS, a io HEY ARE MARCHED A- CROSS COUNTRY 106 The- CANNERY, WHERE “THEY ARE PACKED By SUBWAY. GUARDS AND sTREET- CAR CONDUCTORS INTO ™” “TINY TIN CANS DOOOO00900 GNHODG0000 Ooaqggdgoguagaagagadgagagd Dooo HE UNLUCKY ONES THar Do Not Ger CROWDED INTO CANS ARE GILDED ~ goaocgddgadd oCoouuuuUuodooodG ao é DODDDDODFODOHDDO OD DOD DODoODODODHDODOANDOOvOODDOD , * . : \wer i) OE) wa 3 hw al DDODDD uddducdddodduooucgouauuuounoaad Judge's non-educational films. think this is Llevd’s best pieture—and we want to add a word of praise for Jobyna Ralston for a sympathetic performaner ST -WHEN We've posed as being rather ned, given the impression of know omething about anything, we self. Unlike “Girl Shy Hie the Beautiful) Cloak Model.” gives Lew Cody an opportunity te reverse « lo show the world how unsuccessful aman may be if his selfassurance is complete Lew is not girl shy oon the contrary when he sees a girl he wants he is a geo. gether, Bul somehow the girl alway has something to say about being gotten and when we compare Loyd and Cod we are inclined to take pattern after Lloyd. He is subtler and ladies. if we know them, are more easily coaxed than heaten into submission Nellie the Beautiful Cloak Mod. whieh Lew Cody uses his cudgel. is founded ona belief that hokum, if artistically: pro duced, belongs on the screen. We for The story is full of tderdash but it makes for one heartily agr melodramatic dramatic action and is so well produced and thrilling! acted by a competent cast, composed of Claire Windsor, Hobart Bos- Mae Busch, Lew Cody and Ray ith, that you makenocomplaint worth mond against the obvious buncombe. Pomas MEIGHAN again appears in a picture without any reason for exist ence. “The Confidence Man” is trivial and does nothing more than offer the star an opportunity to walk slowly through six or seven reels of nothing at all, smiling the inevitable Meighan smile... . We con raising our feeble voice have gainsl this injustice to the competent ‘Thomas, but no one seems to care a whoop... . So why should we? “The Confidence Man” has destroyed our confidence in Mr. Meighan’s confidence in himself, T= indefatigable Mr. Rod La Rocque and the incomparable Miss Leatr re doubling in what, from its title, riumph,” appears to be damn grand drama, but which, to our mind, flivvers away into nothing better than second grade comedy. We are always skeptical of highfalutin’ titles. Most of them seldom make good their threats. “Tri- umph” is a case in point. “Suc another. You know what we mean. They get you all stirred up. to a high-geared expectancy and then drop you back so your haunches are all worn out sitting on them. Nothing to our way of thinking is less perfect. than the “Perfect” collar button. So it is with this film called “Triumph,” in whieh Mr. Rod and Miss Leatrice labor to their several level bests but stub their toes all over a scenario thal for sheer improbability: wins the invisible hairpin. comicbooks.com