Judge — December 29, 1928 — page 23: what you’re looking at

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

—oo JUDGE re of the hter, in the © Cop” and “Three Wee I what has politely become known as program movies, and as it approaches the audit season of the year T shall admit that they might serve as fit pr grain fare for a Christmas entertainment at a home for deaf and dumb subway guards, movies presented during the It has been the annual custom to classify the ten best movies, but under the circumstances I consider that an extravagance. I recall four pictures that stand head and shoulders above the several hundred exhibits released during the past twelve months: “The Patriot’; “The Cro “The End of St. Petersburg’; “The Racket None of these shows any radical advance in tech nique, and in ed tirely respe and review the ur, ch case the director was almost en sible for the merit of the production There has been no talking picture as yet which could qualify for a second plac “The Patriot” represents a magnificent and pol- ished work of art. Written by a German playwright, interpreted by a German director and a German actor, it never faltered in following its dramatic director, Ernst Lubitsch, proved that he pos- sesses the cye, the story sense, and the technique to brilliantly bolt together the most mechanical medium in the artist’s workshop; Emil Jannings responded by working every pound of his clastic carcass to an understanding interpretation. It was tho: satisfying, and has been a box office suce: much for the platitude that the masses don’t appre- ciate good movies. The Crowd" was conceived and directed by King Vidor, the best of the American directors, and repre- sented a graphic dramatization of the city robot's life. It was as dramatic as any literary treatment of the same theme ever turned out by the Main Street group, and much more discerning und gracious. There were several endings tacked to ‘the conclusion of this movie, the theory being that the provinces would not stand for a frustrated hero. If you saw the original version you can better appreciate the worth of this very moving and great movie. “The Racket” was a scenarization of a sue cessful stage play, by Bartlett Cormack, that had natural movie material in it. The author adapted the play and did not so much as a single gesture, with the result that the movie was as sincere and moving in its own right as the play. Beautifully directed by Lewis Milestone, it) was one hun- dred percent American, both in theme and interpre- tation. Wh ne of the quartet that needs aq dof St. Petersburg” must rank with the headliners for the year simply because it was the most thrilling and beautiful dramatization f the war that h rt been shown in this country. All Russian, and with oceasional childish interludes of nda, it reflected the grim and sombre bea ar in every sequence. I hope a second review of these pictures has not bored you, and while they do vigorously refute any claim that the movie is an emasculated art they seem a pitiful few when you consider the millions of dollars and the collective talent employed in manufacturing movies. One German (employed by an Amer company), one Russian, and two Americans, it would seem that a movie can be made in any climate pro- viding it has the right man handling the camera. I list several movies which fail to come up to the (Continued on page 27) The Movie Guide (Twp prtermanens daly shows, Cemslt papers tor theatre changes.) Ades Jimmy Valentin Very amusing for the m “The Barker" (Central) —Robust story and hammy acting. “4 Devils (Gaicty)—The producers have taken away Murnau’s ame and given him pop-gun. Very weak etufl “My Man” (Warnet's)—Fanny Brice. Reviewed nett. werk “The Singing Fost” ( And certainly that is tru Al Jolson, sounding in good voiee “The Viking” ( (Continuous Shows) “Ale Cireus"—Mother Love. “The Cameraman’ lyn)—So lone aa movies, reviewing w bad job. et Garten’ (Astor) — rt. nbassy)—Nest werk Atlantic, Brook- York" (Variety)— The Patriet” (Ouleon) —Emil Jannings ome gorgeous pho- in the greatest picture of the year. See it by all means. tography in “Show People” (Sc. George Playhous “Excess Baggage” Brooklyn)—Marion Davies and William 148th fd stall, but Ja Haines being & makes William Haines do Worth while. “The Wedding March” (Lore's Amer- iean)— “The Magnificent Flirt”—Th amusing light comedy made this “Wings"*—If you're interested in fying pictures, this is still the best one to see comicbooks.com