Judge — August 7, 1926 — page 20: what you’re looking at

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

LAIR Lewis's latest book, Mantrap,” has been out hardly more than a month. Yet already we may view the picture by the same name, taken from the book. This indeed is En- terprise, and so far as I know estab- lishes a record for the works of any author above the rank of Zane Grey. But “there is a reason.” ““Mantrap, for all its pedigreed authorship, is merely a sentimental melodrama of the great open spaces. The report is current that Mr. Lewis began it as a burlesque of just this sort of thing, but became interested in the plot and decided to play it straight. In any event, it is perfect movie mate- rial, so much so that one may be excused for believing that it was written with one eye, or possibly an eye and a half, on the movie rights. Certainly, its availability for the screen must have been made known to the paragons of Paramount while still the story was in manuscript, and plans laid then to synchronize as nearly as might be picture with publication. The picture follows the story with hardly an alteration until close to the end. Then, it seems to me, it improves on it for the space of one Mana “The Big Parade"—Haven't you been yet? | “Ben-Hur"—Prodigious spectacle. “Sea Beast"—A truly big flop. “Moana of the South Seas"—Part of your education. “The Grand Duchess and the Waiter"— Excellent comedy with Menjou. “Mare Nostrum"—Too much Ibanez. “La Bokéme"—Lillian Gish. “Irene”—Colleen Moore and a wardrobe “The Black Pirate"—Doug struts his stuf. “The Bat"—Exciting mystery drama. “The Barrier"—Ice and Lionel Barrymore. “The Crown of Lies"—Pola Negri in the queen business. “The Flaming Frontier"—Poot Custer! ‘or Heaven's Sake”—Harold Lloyd farce. “4° Social Celebrity"—Adolphe Menjou makes it worth secing. “Kiki"—Bowdlerized with Norma Tal- madge. “Browa of Hareard"—Yale man fecit. “Hell Bent fer Hearen"”—Melodrama with flood. “The Greater Glory"—One long yawn. | “The Wilderness Wi len! comedy with Chester C “Aloma of the South Seas"—Gilda Gray. “Wet Paint”—Don't touch it! “Paris"—Apache melodrama. “Tramp, Tramp, Tramp"—Harry Langdon “Say It Again”—For Richard Dix fans. la Cinders”—Colleen Moore. “Good and Naughty” —Clever farce with Pola. he Volga Roatman”—Florid de Mille. he Brown Derby" —Johnny Hit “The Palm Beach Girl —Roughing it with be. “Lovey Mary"—Genteel classic jazzed Puppets” —Little Italy and Milton Sills. “The Road to Mandalay*—Lon Chaney overdoes. “Variety”"—In_ which up to his reputation, nil Jannings lives “Silence” —Melodrama which begins with pompadours in the nineties. “It's the Old Army Game"—W. C. Fields lost in a jungle of gags. “Up in Mabel’s Room"—Bedroom farce. ER—Listen, kid. L__ = —__J episode. Joe Easter and Ralph Pres- cott are debating what shall be done with Alverna, Joc’s little flapper wife, who has run away with Prescott. Alverna listens just long enough to get the full flavor of their pater- nalism and then Icts them know in picturesque flapperese exactly where they get off, presuming to settle her affairs for her. The three are seated at the edge of alake in the Northern Canadian wilderness. In the book they wrangle for days until finally, at Winnipeg, she leaves them for Minneapolis. But in the picture she “cuts the comedy” by jumping into Joe Easter’s power canoe and, before they can divine her purpose, making off down the lake for civilization and freedom. “Come back here,” yells Joe, to which she responds with an impudent laugh. ‘Remember, you still bear my name,” he calls after her. “So does your old man,” she screams back at him, and dis- appears. If only both hook and_ picture might have ended here, with husband and lover looking dumfounded after the departing woman whose owner- ship they had been disputing. But the book goes on to an anti-climax, elaborating Joe Easter’s god-like All that bird knows about fightin’? you could put in your eye! comicbooks.com