Judge — April 24, 1926 — page 20: what you’re looking at

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

s HE Devin’s Circus” differs | from all other movie melo- dramas, so far as my ob- servation goes, in that the villain of the piece actually works his evil pur- pose on the fair heroine. The hero doesn’t arrive, as heroes should—in the nick of time—he can’t because he’s in jail. And there’s no friendly cyclone nor flood nor ice jam nor avalanche to pinch hit for him. So there’s tragedy, not only moral but physical. For the former mistress of the villain in a jealous fury throws the switch that controls her rival's high-swinging trapeze and plunges her to the tanbark, a cripple for life. I ought to add, though the fact is quite irrelevant, that she falls into the midst of a group of performing clever adaptation of “The Tattooed Countess on the Wild | JUDGING. ‘ne MOVIES* | “The Big Parade” “4 Woman of the ‘tablishes a standard. rorld"”—Pola Negri in “Tumbleweeds”—Bill Hart comes back “Lady Windermere's Fan"—Oscar Wilde wouldn't recognize it “4 Kiss for Cinderella”—Quite worthy of Barrie. “Blucbeard's Seven Wires"—A good laugh at the expense of the movies. “Womanhandled”—Richard Dix in a satire ul Mat jinor Glyn piffte. annequin”—Fanny Hurst's prize story igho! That Royle Gir ¢ it for the ch lack tion of “Moby Dic “The Black Bird*—Lon Chaney leads a double life. “Moana ‘of the South Seas*—Charming travelogue. “The Grand Duchess and the Waiter"— Adolphe Menjou in excellent comedy. “Partners Again"”—Potash and Perlmutter. “Mare Nostrum” —War tragedy from Ibanez. “Dancing Mothers"—A feeble sermon. “Torrent'—Greta Garbo gives a finished performance of a sophisticated réle. Mannequins, crooks, race. rrymore in a mutila “La Bohéme"—Lillian Gish makes a touch- | ing Mi Married"—Richard Dix in an €, rene"—Colleen Moore in farce and fashion show. “The Care Man"—A libel on truck drivers. , “The Black Pirate''—Splendid Fairbanks arc. “First Year"—Frank Craven's comedy marred with slapstick. “Miss Brewster's prised to learn that the picture is a product of the Metro-Goldwyn- Mayer factory which has been turn- ing out most of the less conventional pictures. But in this case they have simply chosen an uncommon fram: work on which to hang the familiar Hollywood trappings. Mary, in the person of Norma Shearer, is an innocent country-come- to-town, with a trick dog and a trust- ful eye, who is looking for a job in the circus. The first acquaintance sh makes is that of a professional thief (Charles Emmett Mack). This hard- boiled young man, true to cinema traditions, is so impressed with her sweet innocence that he straightway falls deeply in love with her and overnight is transformed from a — > . . "e °, Milli re . : . lions which with difficulty are “The Bat'—Exeitin pats raffish ex-convict into a knight whipped back into their cages while an Lt HLL ccoor plies Gloria Swanson as errant. Still, he is tempted to try the audience stampedes for the exits. Except for its spectacularity, this is hardly conventional movie mate- rial, you'll say. And you're not sur- L “My Own Pal’—Tom Mix jumps his horse into an open box car. “The Barrier” nel Barrymore. aert Gold Sappy Western. “The New Klondike—Florida boom farce. one last “job” that he may remove his girl from the circus and from the evil designs of the wicked lion tamer. . He is caught, of course, and goes to (Continued on page 30) etic melodrama with Trout—Well, I guess the season has opened on me. 18 comicbooks.com