Judge — July 3, 1926 — page 22: what you’re looking at

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

HE followersof Richard Dix will find their favorite unusually amusing in “Say It Again.” The story itself is extravagant farce of the flimsiest material, but it fits the star like the union suit in the ads. An exotic uniform to look particu- larly handsome in, a princess to woo, and a gorgeous rough house, possibly a bit too prolonged, give him an ex- cellent opportunity to show his paces. He grasps it. It is becoming foolish to attempt to review a picture with Dix in it because Dix is always the same—the big, sheepish lover who extracts such engaging from his ardor; the big, sheepish scrapper who puts so much joy into a free-for- all. If you like him you will like him in anything he is likely to play in. He dominates his material to a degree unexcelled on the Perhaps this is because the material is usually so slight. If so let’s hope it will al For Rich- ard Dix is a richer, more entertaining character than any other he would be apt to impersonate. comedy own screen. remain so. SSS Fisuerman Aprirt—Give his finger another crack, Bill, I figger “The Big Parade" —First “Ben-Hur” — See it for the “Sea Beast” —Jack Barryme blubber, “The Black Bird” —Lan Chaney in rare form, “Moana of the South Seas”—The best photography in motion pictures “The Grand Duchess and the Adolphe Menjou at his best Waiter’ from Ibanez. reta Garbo and sophistication Bohime*—Lillian Gish and John Gil nact the old story rene Colleen Moore robe. The Black Pirate Douglas irbanks. First Year” sion of Frank “raven’s come The Bat” “The Unt mystery, drama. loria | Swanson she can be nd Lionel Barryime lorida boom Frontier"—Custer’s Last ized, ides" —Arthur T ston. “For Heaven's Sake" Social : Celebrity’ ion. That's My Baby" —Fi The Runaway" —Hi Skinner's Dress Suit ‘Brown of Harcard” man. “Hell Bent fer Hearen melodrama with flood, “The Greater Glory"—One long yawn. “The Wilderness Woman’—Aileen Pringle and Chester Conklin in excellent comedy. “Fascinating Youth” —Farce tryout of Para- int’s junior stars Aloma of the South Seas"”—Gilda Gray and applesauce. “The Rainmaker” —Dis) “Wet Paint’—Wet gags and Griffith. “Paris” —Apache melodram “Tram| Tramp" —Five Harry Typical movie pinted melodrama, Raymond reels of rrible. UDGING. tne MOVIES: twelve mile. OLLEEN Moore comes as near as anyone to doing in feminine réles what Richard Dix does in masculine. That is to say, she achieves a very happy combination of sex appeal and humor, and is always Colleen Moore. But I found myself thinking, after watching her in “Ella Cinders,” that I had never seen her ina really good movie, which is probably an indica- tion that she doesn’t, to the degree that Dix does, dominate her mate- rial. “Ella Cinders,” of course, is Cin- derella spelt rear end foremost. It is merely one more version of the old story. It can’t compare for charm or humor with Barrie’s “A Kiss for Cinderella,” though, other things being equal, I would prefer a Colleen Moore Cinderella to Betty Bron- son’s. She is less cloying, more resilient. But except for one scene, almost all the humor in “Ella Cin- ders” is contributed by the subtitles. Among those that remain in my memory is one describing the home of Ella’s stepmother as “‘the first in Roseville to have a bunch of wax (Continued on page 29) Ytiiay ya comicbooks.com