Judge — May 17, 1924 — page 22: what you’re looking at

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

MOVING PICTURES THAT DON'T MOVE 8 WE SIT in our idiotorialeasy-chair, A rocking back and forth in quest of copy, our nose riveted to the page of the daily newspaper, we are sud- denly brought face to face with the as- tounding fact that moving pictures do not move as much as they used to. What is more, if bigger and better pictures are made, they won't move at all. We are brought to say this when we take into account such pictures as “The Covered Wagon,” which after standing still for over a year at the Criterion, has at last yoked up its oxen and departed on its way to other way stations, becoming for the first time in its history a moving picture in every sense of the word. Another moving picture that mov- ing picture in name only is “The Ten Commandments,” which has been stand- ing still for several months at the George Cohan, a “regular” theater in New York, playing to crowded houses by reason of its. general excellence. This picture, however, still as it may remain at the same old stand, is one that will move you. The first half is perhaps the largest bit of pageantry that has ever been filmed. If you haven't seen it, you have neglected a large gob of your education. W. Grirritn has made a picture called “America” that is so worth your while that there isn’t any doubt that You will see it when you get around to it. This is also a picture that will not move for some time to come. It is playing at the Forty-fourth Street Theater, a house usually devoted to the legit. As a matter of fact, you will be surprised, if you cast your eyes down the columns of the advertising pages of the theater, to see the number of legitimate plays that are sandwiched in between the moving pictures that are playing at the regular playhouses. We repeat, if bigger and better pictures are to be made, there will have to be built many more theaters to house the legit. “America” is a picture that the moving picture producers have reason to be proud of. Then there is Douglas rbanks in “The Thief of Bagdad,” playing to capac- ity, fourteen performances a week, at the Liberty and promising to run on till the cows come home. “The Thief of Bag- dad” is enthusiastically proclaimed as one of the finest achievements of filmdom. Fairbanks has put all he has in this pic- ture—time, money and brains, to the end that nothing finer has been done since the camera was invented. Fairbanks him- self told us that he left no stone unturned that he might make a picture that would be perfect. The greatest thing he did, to our mind. is that he stepped aside and OUR OWN TRAVELOGUE BEAUTIFUL, PICTURESQUE ve AMERICA DHoapD Typos WY by George Mitchell Gr MAJESTIC GRANDEUR. OF MT. WASHINGTON HOLDS ONE SPELL- BOUND, AVING FIELDS OF SHREDDED WHEAT ON THE BROAD SUN-BATHED PRAIRIES OF DAKOTA OLD FASHIONED RoucE|/ 4 7, keep Tar ‘ud SCHOOL GIRL ComPLexiont UNLIGHT AND SHADOW IN THE SYLVAN SOLITUDES OF The DELLS OF OLD WISCONSIN. AWE - INSPIRING YELLOWSTONE nai | OLD FAITHFUL, 4 APPLE BUTTER. PREVENTS ENITZELH EMER’ ERS CHOPPED. Up CHEESE MADE Rom THe = MILK OF i we” DISCONTENTED “folks made himself secondary to the picture that it might dominate him and thus stand out as a work of art. Norma Talmadge is at the Astor. She’s been there for a month or more. She will be the have the theater. is perhaps the best thing she has done. It is beautifully photographed and shows the star in many moods and tenses, all of which show her at her inimitable best. for as long as she may The picture, “Secrets,” Avs other pictures that have come and gone during the past month but have lingered as long as they might, owing to the pressure behind them, is “Girl S Time was when Harold Lloyd was good for a couple of reels for a couple of days in the suburbs. But, bless your heart, Harold has so blossomed in his powers that we wonder he doesn’t build a theater for himself so his pictures may not have to move out for others to come in. “Girl Shy” is built on the usual Lloyd formula, that includes honest, simple fun, clean, » and a gencral uplift that sends you away with a happy giggle that runs through your entire framework. Never before in the history of the Strand, where this picture is being shown, has a film been run for three successive weeks. This is a feather in th » of Mr. Lloyd that ought to tickle him to death. After playing for months at a Forty- second street theater Lillian Gish was forced to move into the Capitol, where “The White Sister” enjoyed longer than the customary one-week run. “The White Sister” is well worth your attention. Other pictures that do not move be- cause they must wait for your attention are “Three Weeks,” which played two weeks at the Capitol, “The Enchanted Cottage,” which stayed on at the Strand for an extra week, and “Beau Brummel” with the statuesque John Barrymore. And _ so, film fans, hold up your chins or double chins, as the avoirdupois may wholesome lc be, when you hear people sling slurs at your darling indoor sport. The moving picture finger writes and, having writ, moves on. Lines To THE CENSOR 7 ov clip with cruel hands and strong ‘The tender wings of movie love, No kiss that’s over four feet long Can Cupid have the filming of. But, Mr. Censor, don’t you know That’s not the way real lovers kiss? You may not be a Romeo But are you quite as green as this? Lucia Trent. comicbooks.com