Life — May 5, 1921 — page 30: what you’re looking at

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

Associated Producers Tue Last or tHe Monrcans.—Indian massacres, in which everyone is scalped, in- cluding Cooper’s novel. Exccedingly welldone. A Perrect Crime.—Monte Blue wears a cutaway in an amusing crook comedy. Love, Honor ano Bentave.—A Mack Sen- nett comedy which goes on and on and on. Broadly funny at times, but much too long. A Saati Town Ipot.—Another long Sen- nett comedy, in which an occasionally suc- cessful attempt is made to burlesque the movies. Lyixe Lirs.—Melodrama which involves all sorts of natural phenomena and much that is quite unnatural. Extremely effective from a pictorial point of view, and consist- ently dramatic. First National Passion.—The French Revolution pro- vides the background for a remarkable pro- duction, beautifully set, and exceptionally well acted. Tue Kio.—If any of our readers hear of a friend who has not seen this Chaplin classic, they should send in his name to us and we shall see that he is reported to the proper authorities. Man-Woman-Marartace.—Watch for an- nouncements of this stupendous production at your local theatre, and when it arrives, seize the opportunity to stay home and catch up with your reading. Tue Oro Swiss’ Hore. —Charles Ray in a delightful picturization of “the days of real made notable by the total absence of sub-titles. Scramatep Wives.—The complications of a divorced couple who wish to forget the past, amusingly interpreted by Marguerite Clark and Ralph Bunker. My Lapy’s Latcukey.—Katherine Mac- Donald in a story of international crooks and intrigue. Not very good. Tue Oatn.—An unusually dramatic situa- tion developed along effective if lines by a fine cast. Tur Scorrer.—Terribly sordid story, told in very bad taste. An excellent picture to stay away from. Jim tHe Pexstan.—Lionel Barrymore in what should have been a good movie, but isn't. The scenario writer is to blame. Tue Passion Frower.—Norma Talmadge as a little Spanish Pollyanna who falls in love with her step-father. Herbert Brenon has made a good production of Benavente’s play, but the theme is not one that lends itself to treatment in celluloid. sport. illogical A Review of Reviews Fox Ovex tie Hitt.—William Fox converts the poorhouse into an excellent box-office attraction. Bare Knucktes.—There are bloody noses, black eyes and cauliflower ears galore in this virile drama, of which William Russell is star. Kxow Your Men.—Pearl White attempts some heavily emotional acting in a movie which reminds one of the dark ages. Tue One-Man Trait.—Buck Jones tracks the villain to his lair. Tne Lasrticntex—Nice little Shirley Mason in a nice little story. Che First Of the many pictures produced so far in 1921 and reviewed in this department, these rank as the best: Ten Passion The Last of the Mohicans Outside the Law The Kid Straight Is the Way A Connecticut Yankee in King Arthur's Court The Four Horsemen of the Apocalypse Sentimental Tommy The Cabinet of Dr. Caligari Deception Tne Koap Destox.—Tom Mix shows that he is just as much at home in the driver's seat of a racing car as in the saddle of a wild cayuse. A Coxsecttcut Artuvur’s Court.—A_ spectacular comedy which is a long way from Mark Twain novel—but a long way in the right direction. Yanke ty Kine Goldwyn Bunty Putts tite Strincs—Excellent adaptation of a light Scotch comedy Prisoners or Love.—Betty Compson’s ca- reer as an individual star began and ended with this unpleasant and badly acted movie. Tue Concert.—Herman Bahr’e delightful comedy made into one of the dullest pictures on record. Hotv Your Horses.—Tom Moore as an Irish street cleaner whose rise to: fame—by dint of fist fighting and crooked pol an inspiring example to our youth. Guite of Women.—The morose expres. sion on Will Rogers’ face is mirrored on the countenances of the audience. Roaps or Destiny.—O. Henry's fine story is mangled beyond recognition in an inar- tistic production, of which Pauline Fred- erick is star. Don’t Nectect Your Wire.—Gertrude Atherton makes a rather unhappy combina- tion with the films in this stodgy triangle drama. A Tare or Two Wortps.—San Francisco’s Chinatown provides the locale for one more story which, although conventional plot, is well presented and exciting. Wuat Harrexeo to Rosa.—Mabel Nor- mand makes a terrific but unsuccessful effort to save a silly picture. Tue Casinet or Dr. Caticant.—A weird, fantastic mystery story, set forth with tre- mendous effect by means of futuristic set- tings. The most original movie ever made, and well worth seeing for that reason alone. Hodkinson East Lyxne—A sad attempt by Hugo Ballin to make an artistic production of one of the world’s most inartistic plays. Partnexs oF Tie Tipe.—The hero and the villain are both deep sea divers; they meet at the bottom of the ocean; and—well, it’s almost as thrilling as it sounds. Metro A Messace rrom Mars.—Bert Lytell in a heavy-handed attempt at satiric comedy. Witnovt Listit—Absorbing and well. acted melodrama about roulette wheels and ics—is as to roués. ExtRavacance.—May Allison as a spead thrift. wife in a picture which preaches economy, and which causes one to wonder why producers throw away their money o& truck like this. Purrers ov Fate—Incredibly bad story about an Italian couple who have all sorts of hard luck, and deserve it. Viola Dam is the star. Tne Four Horsemen or rie ArocaLyrst —If we ever get started talking on this sub- ject we shall use up all the space allotted to us for commenting on the lesser productions listed herewith. It is closer to the ultimate dream of perfection than any motion picture yet made. Paramount RBIDDEN Frurt,—Sumptuous production by Cecil B. De Mille of a Cinderella story— (Continued on page 662) comicbooks.com