Judge — August 14, 1926 — page 20: what you’re looking at

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

JUDGE UDGING, the MOVILS™ ICTUREs out of Hollywood, to Poss most of the movie theaters themselves, suffer from a lack of ventilation. Instead of frankly admitting their preoccupa- tion with sex, they affect a cheap per- fume, compounded of hypocrisy and rank sentimentality, in a vain at- tempt to disguise it. The result is what one would expect. Even the best of them, like “The Big Parade,” beara slight taint of this. The worst reek with it. “Nell Gwyn” is not an important picture except in the one respect that it utterly lacks this odor. It sets forth the romance between the orange girl of Drury Lane and the convivial King Charles with a deli- cacy and a candor that blow through the movie world like a fresh breeze from the sea—literally from the sea, since the picture comes to us from the British National Pictures, Ltd. Ab- sent are the attempts at rape with which Hollywood loves to stress the purity of its virgins. Absent are the ravenous kissing and hugging, with hints of the wedding ring to lend them sanctity. Instead, a weary king finds refreshment in the audacious by WVilliom Morris The Big Parade" —Go! “Ben-Hur Huge biblical melodram2 a Beast"—Moby Dick burlesqued “Moana of the South Seas”—Almost perfect photography. “The Grand Duchess and the Waiter — Excellent comedy with Menjou. “Mare Nostrum”—Ibanez outdone. “La Bokéme”—Lillian Gish. “The Black Pirate”—Doug struts his stuff “The Bat"—Humor and the creeps mixed “The Crown of Lies”—Pola Negri as a Balkan queen. “The Flaming Frontier" —Custer'd 7 Heaven's Sake"—Harold Lloyd farce. “Kiki” —Bowdlerized with Norma. “Brown of Harrard’—College life burles- ued. “Hell Bent fer Heaven —Melodrama with flood. “The Greater Glory”=One long ya=n. “The Wilderness Woman"=Plenty of comedy with Chester Conklin. “‘Aloma of the South Seas” —Gilda Gray “Wet Paint’—Poor gag farce. “Paris”—Les apaches | “Tramp, Tramp, Tramp"—Harry Langdon. “Say It Again”—For Richard Dix fans. | “Ella Cinders""—Colleen Moore. “Good and Naughty”—Clever farce with Pola. “The Volga Boatman"—Red romance. “The Brown Derby”—Johnny Hines. pejlh Palm Beach Girl"—Roughing it with | “Lorey Mary"—Genteel classic made safe for the movies. “Puppets” —Little Italy and Milton Sills. “The Road to Mandalay”—Lon Chaney strains himself. “Variety”—Emil Jannings lives up to his reputation. “Silence” Melodrama which begins with pompadours in the nineties “It's the Old Army Game" —W. C. Fields. 'p in Mahel's Room"—Bedroom farce. “Mantrap”—Sinclair Lewis slings a little | slush. \ __| -NINE TKOUSAN aN’ FI” NINE THOUS N SIZ N° TRON’ Zap wit and contagious laugh of a pretty waif. She wins his heart, and pres- ently he installs her at the palace. “And you will be kind to me?” he asks. She pauses, and then with an arch Igok and a bright smile she nods her head. Rather charming, isn’t it? Dorothy Gish, evidently lent by Inspiration Pictures, Inc., to the British company, makes a delightful Nell Gwyn, vital, piquant, affec- tionately loyal. But the croir de screen with palms should go to Randle Ayrton, whose King Charles is a cameo. He is the first really engaging sinner I have seen in the silent drama. But here I am praising a British film! For headlines in the press, therefore, I suggest the following: “How Great Britain Won the Award,” “Colossal Impudence of New Film,” “They have our money and now they want our glory,” “It is doubtful if any other nation than Great Britain would have had the impudence or the bad taste to pro- duce ‘Nell Gwyn.’ ” (Continued on page 27) Every fall the sheepman tries to get the boys to count his flock. comicbooks.com