Judge — December 25, 1926 — page 23: what you’re looking at

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

JUDGE ALL it a blind spot or a touch of creeping paralysis, anything you please, but I can’t see the seductiveness or the genius of Lya de Putti. In size, in appearance, in ex- pression she seems curiously doll- like, which may make her the ideal subject for a big man’s pet, as in “Variety,” but I'm not a big man. To appeal to weaklings like me there should be more woman and _ less marionette. She does infinitely better in “Manon Lescaut” than in the “Sor- tows of Satan” (as who wouldn’t?) but even as Manon, her most famous role, she seems to me to lack s thing of the human clasticity of a real temptress. As the pampered mistress dropping a tear for her absent lover and yet beguiled by a pretty pair of shoes she is perfect. But as the ardent woman seducing her lover from the threshold of a monastery she is unconvincing. Her charm is too impersonal and her “restraint” seems rather to mark the Patient—You see we was havin’ a couple of highballs when one of the bunch pushed me and slopped more’n a spoonful on my hand. G the | MOVILS* Big Parade” —Still playing its “two-a- “Ben Hur"—Mammoth spectacle. “Moana of the South Seas"—Idyllic. “The Black Pirate"”—Doug in color. “For Hearen’s Sake"—Harold Lloyd laugh: ter. “Aloma of the Sowh Seas""—Gilda Squirms. | “The Road to Mandalay"—Lon Chaney slops over. ‘The Emil Jannings classic. North Woods stuff. Nell Gwyn"—Good British film. fling Butler" —Buster Keaton in rare romance. “So This Is Paris’ “The Scarlet Lett “The Stri Langdon ditto. Pickford, “One Minute to Play""—The Galloping Ghost. “The Campus Flirt"—Bebe the race. “Tin Gods"—Renée Adorée jumps off a bridge. “The Trearure”—Properly named. “You'd Be Surprised” —You would. “The Temptress" —Greta Garbo is good. “Rid Boots" —Eddie Cantor is, too. “The Ace of Cads"—Mediocre Menjou. “The Better ‘Ole”—Old Bill himself. “The Magician” —Well photographed bosh. “London” —Echo of “Nell Gwyn.” “The Sorroucs of Satan"—Florid Corelli. “Bardelys the Magnificent"—Jobn Gilbert “Exerybody's Acting” “Forerer Afte if Va “The Eagle of the Se | “Potemkin"—A, | “What Price Glory ¥4 limit of her emotional capabilities. “Manon,” however, is a splendid picture, a credit to the UFA organi- zation and to Arthur Robison, its director. The photography and set- tings are quite up to the UFA stand- ard and the acting on the whole s perb. In criticizing Miss de Put performance I am not trying to measure her against her sisters in Hollywood but against her own repu- tation. Otherwise I should cry, “Magnificent!” I saw “Manon Lescaut” in the Cameo Theater, avery small play- house of comparatively simple ap- pointments, leased by the Film Arts Guild for the showing of pictures of genuine artistic merit. And then I crossed the Square to the new Para- mount Theater. instructive. If there is anything missing from this Grand Cinema Terminal that money can buy or the vanity of man The contrast was (Continued on page 2 L/. Lil LY comicbooks.com