Life, 1922-02-09 · page 33 of 34
Life — February 9, 1922 — page 33: what you’re looking at
What you’re looking at
This page from *Life* magazine contains two distinct elements: **The Silent Drama Section** reviews contemporary films (likely early 1920s based on references to Rudolph Valentino and Buster Keaton). The reviews are brief, witty critiques of popular silent movies, using sarcastic language—calling some "delirious debauch of nonsense" and noting that certain films are only worthwhile if you like their stars. **The Small Cartoon** at bottom left shows a dog-licensing joke: one dog asks another why he's getting a licensed, and the reply is simply "Why?"—playing on the absurdity of bureaucratic requirements. It's attributed to *London Opinion*. **The Main Content** is a large advertisement for The Continental and Commercial Banks of Chicago, emphasizing their international banking reach and $55 million in invested capital—typical corporate advertising of the era. The page is primarily entertainment and advertising rather than political commentary.
📄 Transcribed text from this page (OCR, searchable)
Machine-transcribed from the original scan — historical spelling and the odd misread are preserved.
vr”? ne ‘Si- afe ge. nus cid, n't eat om pa- ind THE SILENT DRAMA Recent Developments (The regular Silent ee department | vill be found on| page 22) Tol’able David. First National—A plain tale from the hills, made into a re- markal'e picture, well acted by Richard Barthe!mess and well directed by Henry King. Orphans of the Storm. United Art- ists iffith takes “The Two Orphans,” and incorporates it in a tremendous photo- play tt deals with the French revolution as effcctively as “The Birth of a Nation” dealt» ith the Civil War, or “Hearts of the \\ rid” with the late unpleasantness. The ( isters make the most of great opportsnities. Hai! the Woman. First National— \ ntional story with some excep- tional acting. The Law and the Woman. Para- moun! Strong melodrama, produced by Penrl Stanlaws, with the bright-eyed Betty Compson in the leading réle. Some, but not all, of it is exciting. Peacock Alley. Mae Murray as an- sther ded lily in a terribly weak film. The Flower of the North. litagraph. —Crude work in the North woods, made « lot |x tter than it ought to be by Pauline Stark _The Sheik. Paramount—Rudolph Valentino goes several degrees above ling point as the fascinating Arab aker whose name has become a in every girl's seminary through- land. A Sailor-Made Man. Pathé—If you like Hlarold Lloyd (and if you don’t, how do you get that way?), don’t miss this deliri debauch of nonsense. The Playhouse. First National—li you Buster Keaton (and if you don't, how you get that way?), don’t miss this delirious debauch of nonsense. The Last Payment. Paramount.—Pola segri strips down so far sthat you could most say something about Pola bare if you were sufficiently humorous. That is about all the picture is worth, anyway. The Little Minister. Paramount—A photo, lay of very great beauty, based on Barr novel, and interpreted by a splendid cast. Love's Redemption. First National— Ad lly picture, in which Norma Tal- madg led upon to portray a little wisp of a girl. For Review Next Week.—‘Star Dust, “Kindred of the Dust,” “Saturday Nigh: “The Grim Comedian” and “The Ruli Passion.” DOG LICENSE DAYS The One on the Leash: I'm off to get a dog license! The Other: Why? —London Opinion. LIFE .- 31 CONTINENTAL CONTACT ONTINENTAL contact is nation and world-wide contact, placing customers of The Continental and Commercial Banks in direct communication with centers of trade and finance wherever located. Individuals and concerns establishing Continental contact assure themselves of the close co-operation of a strong and re- sponsible banking organization — The CONTINENTAL and COMMERCIAL BANKS CHICAGO Complete Banking Service More Than $55,000,000 Invested Capital comicbooks.com