Life — September 1, 1921 — page 31: what you’re looking at

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

The Silent Drama (Continued from page 24) every state except Pennsylvania.” “But the play” he gulped. “Oh, forget the play—everybody else has.” “But the public—will they countenance this monstrosity ?” “You bet they will! What is more, they'll pay good money to countenance it, and the local exhibitors who present the picture in their theatres will wax richer and fatter.” “Then there must be something ter- ribly wrong with the public.” “There st the story came to a close. I A id the final sub-title to him: IS SO MUCH GOOD IN THE US AND SO MUCH BAD IN THE US THAT IT ILL BEHOOVES ANY or US 10 TALK ABOUT THE REST OF US.” Or words to that general effect. My strange acquaintance emitted a croak sound. I turned and, seeing that he was in a bad way, lifted him up and walked (but did not run) to the nearest exit. “Who are you?” I asked, as I de- posited him in the street. He rolled a glazed eye in my direc- tion. “I'm Schnitzler,” he gasped. “I’m the man who is supposed to have written that play He sank in a limp heap. I telephoned the Refuse Removal Bu- reau of the Street Cleaning Department and told them to take the body away. Someone might have tripped over it. “THERE WORST OF BEST 0) Recent Developments The Great Moment. Paramount— Gloria Swanson in an Elinor Glyn story about an nh Gypsy girl who is bitten by a rat- ter, and who proceeds to get herself mixed up ina s of scandals as a result. We are what happens to the snake. Where Lights Are Low. Robertson- The expressive Sessue Hayakawa in a n ma of life_in the opium and laundry distr f San Francisco. Fairly exciting. Dempsey-Carpentier Fight. Rickard- Quin’ y—Whether you are or are not a box- ing fon, you will find that this pictorial record of the Battle of Boyles Thirty Acres con- stitutes an unusually interesting film. Thunderclap. dex file of all the t dram. in the mov Fox—A perfect card-in- known to ham melo- s Darn Funny. Metro.—Viola Dan. in an inconsequentially amusing little come ly, with an excellent title. A Virgin Paradise. Fox—Pearl White grap) les with an absurd villain and a still more absurd plot, and throws them both for a loss. icture is extremely amusing, though not always intentionally so. Holding the mirror up to nature is nothing to the way the next number of LIFE holds the mirror up to the maga- zines—the Burlesque Number. TIFFANY & Go. PEARLS JEWELRY SILVERWARE (JUALITY VARIETY AND VALU ILLUSTRATIONS WITH PRICES SENT UPON REQUEST Frti AVENUE & 3/7! STREET New YORK Experience. Paramount—An allegorical drama, with everybody symbolizing something or other. Many of the scenes are good, and Richard Barthelmess does nicely as Youth, but why not concentrate all this effort on a real story? (Answers to that question will be re- ceived in this office up to midnight, Christ- mas Eve.) Mother o’ Mine. Associated Producers. —A melodrama with a mother in it who is a refreshing innovation from the highly senti- mentalized movie creation Crazy to Marry. Paramount —A lot of Fatty Arbuckle and a’lot of innocent fun. The Sign on the Door.” First National. —Drawing-room drama of the sure-fire order, with Norma Talmadge doing most of the shooting. (Note:—The Silent Drama page will be omitted in the Burlesque Number next week. The following pictures will be reviewed in the September 15th issue: “At the End of the World,” “A Midnight Bell,” “Pilgrims of Love” and “Wedding Bells”.) Vexed Old Lady: She’s played the dirty on me, but I'll wait for her; revengeance sweet.—Tatler (London). comicbooks.com