Life, 1922-10-26 · page 33 of 36
Life — October 26, 1922 — page 33: what you’re looking at
What you’re looking at
This page mixes editorial content with advertising. **"The Silent Drama"** section reviews 1922 films, with asterisks marking exceptional pictures—typical film criticism for the era when silent cinema dominated entertainment. The **cartoon "Regardless of Cost"** satirizes the "Flapper" phenomenon: a young woman boasts of expensive dating—fine dining, theater, chocolates, champagne—portraying 1920s youth culture's conspicuous consumption. Her male companion's skeptical response ("What, both of you?") suggests he doubts such extravagance or questions her honesty. The **"Sunday Silence" poem** is sentimental verse about the dreariness of Sunday afternoons, contrasting peaceful nature with melancholy mood. The **Lucky Strike advertisement** promotes cigarettes using the slogan "It's toasted"—a common early cigarette marketing claim suggesting superior quality through a special manufacturing process. The page reflects 1920s preoccupations: post-war youth rebellion, cinema's cultural prominence, and advertising's growing sophistication.
📄 Transcribed text from this page (OCR, searchable)
Machine-transcribed from the original scan — historical spelling and the odd misread are preserved.
A FULL, QUART of the most delicious non-alco- holie Cordial is made with the contents of each of these lcle boreles.. fancy, France, in 25 polars the fruit flavors for pudding sauces. 1 Dealer cannot supply Ht Des noe spel fer trial bortie and a copy of “Original Recipes” our in- teresting booklet. Meuqui Restaurant & Wine Co. 483 West Local 1 Sunday Silence Stow lapping waves in dignity ap- proach the shore, Like chubby deacons down the lake’s long aisle. Clouds, hiding flecks of sunlight in the gloom, Hang intricately gothic and too high. Oh, how I hate a Sunday afternoon ! So decorously mournful! If I swim Down to the rocky pews with sea- weed rails I'll find a godly group of sober fish— A congregation kneeling on their REGARDLESS OF COST The Flapper: Yes, 1 made him take me to dinner at the Florentine. Then we did a theatre, with ers and a huge box of chocs, wound up with champagne and oys- ters at the Valhalla and a taxi ome, hi lovely time! The Sceptic: What, both of you? Bulletin (Sydney). *) Recent Developments Gs SE SED Ee (The regular Silent Drama department will be found on page 24) NOTE The following list includes those pic- tures which, in Lirt’s opinion, are the best thai have been produced thus far in 1922, Those marked with a star are exceptionally good. *Tol’able David. First National, with Richard Barthelmess; directed by Henry King. . *Orphans of the Storm. United Artists, with Lillian and Dorothy Gish; directed by D. W. Griffith. Foolish Wives. Universal, by and | with Erich von Stroheim. One Glorious Day. Paramount, with Will Rogers; written and directed by Walter Woods and James Cruze. The Cradle Buster. Film Guild, with Glenn Hunter; directed by Frank Tuttle. - The Sin Flood. Goldwyn, with Helene Chadwick and Richard Dix; directed by Frank Lloyd. *Grandma’s Boy. Pathé, with Harold Lloyd. *The Loves of Pharaoh. Para- mount, directed by Ernest Lubitsch. The Prisoner of Zenda. Metro, with Alice Terry; directed by Rex Ingram. Sherlock Holmes. Goldwyn, with John Barrymore; directed by Albert Parker. Trouble. First National, with Jackie Coogan, : Sonny. First National, with Richard Barthelmess; directed by Henry King. Yellow Men and Gold. Goldwyn, with Helene Chadwick and Richard Dix. Watch Your Step. Goldwyn, with Cullen Landis and Patsy Ruth Miller; directed _by William Beaudine. Our Leading Citizen. Paramount, with Thomas Meighan; written by George Ade. *Nanook of the North. Pathé, di- rected by Robert J. Flaherty. Salome. First National, with Nazi- mova. The Dictator. Paramount, with Wallace Reid; written and directed by Walter Woods and James Cruze. Fools First. First National, directed by Marshall Neilan. _*The Eternal Flame. First Na- tional, with Norma Talmadge; directed by Frank Lloyd. Just Tony. Fox, with Tom Mix and his horse. Blood and Sand. Paramount, with Rodolph Valentino; directed by Fred Niblo. *When Knighthood Was in Flower. — Paramount, with Marion Davies; directed by Robert Vignola. *Oliver Twist. First National, with Jackie Coogan; directed by Frank Lloyd. Remembrance. Goldwyn, written and directed by Rupert Hughes. For Review Next Week—“The Bond Boy,” “The Old Homestead” and “Trifling Women.” Aunt Prupence: Here, Tom, you must keep awake during the sermon. “Huh-um, yeah—but that’s just what puts me to sleep.” Its toasted This one extra process gives a delightful quality that cannot be duplicated comicbooks.com