Judge — March 13, 1926 — page 20: what you’re looking at

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

JUDGING. ‘ee MOVIES* “The Big Parade"—Still the best movie © ONE needs to be told that N Potash and Perlmutter are funny. Put them in almost any situation and their passionate commercialism and quaint racial humor, as reproduced in dialogue by Montague Glass, provide rich enter- tainment. Why, then, should they be put through such extravagant and incredible antics as in “Partners Again”? Is it necessary that they should break their necks in runaway automobiles or fall out of airplanes togetalaugh? Here are two charac- ters that need only a gentle poke to give off coruscating comedy, of a kind that ought to be conspicuously wel- come to movie audiences. But so avid are the movie producers for effects that “knock ’em cold” that they all but murder these geese that lay the golden egg. ‘Partners Again,” therefore, is not particularly funny; it’s merely silly. tattooed countess visits } “Time, the Comedian"”—Ma’s sweetie returns to woo her daughter. “Sieafried"—With a good orchestra it beats “Tumbleweeds"—Bill Hart back with a “Lady Windermere's Fan’ “4 Riss for Cinderella’ “Bluebeard's Secen Wives" —The sheik busi- “Womanhandled"—The wide-open spaces idded. “Soul Mates"—Elinor Glyn piffle. g Hurst's 850,000 prize melodrama. Not worth it. “That Royle Girl'~-Another “Mannequin” with a cyclone to boot, “The Splendid Road” —Deep in slush. “Ben-Hur"—The chariot race is worth the “Sea Beast"—A literary shambles only partly redeemed by John Barrymore's acting. ig Black Bird”—Lon Chaney in a good “The Reckless Lady"—See comment on “Time, the Comedian.” “Memory Lane” —Mush. “Moana of the South Seas"—Charming “The Grane Duchess and the Waiter"—First I Y LITERARY value I suppose Ibanez is to Spanish letters what Zane Grey is to American. But Ibanez is much more robust emotionally than our Zanie, and so is his audience than Mr. Grey’s admirers. Nothing shows this better than his frank acceptance of tragedy. Ibanez can wipe out his heroes and heroines in as neat and swift a manner as he launches them; he can be as ruthless as a surgeon, with correspondingly beneficial re- sults. This may be the effect of the bull ring on the national character. If it is, then bring on your bulls. “Mare Nostrum” is one of his tragedies and in this respect the Metro-Goldwyn movie carpenters have not altered it. They might have done so rather easily, since the gaudy sentimentality of the Ibanez method lends itself to almost any plot. But they chose otherwise, and if not the movie public, then God, will reward them. And yet, for all MoonsH1nER—Jest move over a leetle to the left so I kin git thet rabbit with the same shot. comicbooks.com