Life — March 13, 1924 — page 28: what you’re looking at

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

“America” ATRIOTISM has gone « erty Le le since the last Lib. f drive. The 100% American fervor which was very much in vogue during the brave days of 1917-18 ded as is now reg: ad taste. The post-war re- change, and the lease of action account Teapot Dome for the rest. In spite of this condition, it is extremely difficult to see D. W. Griffith's new picture, “America,” without experi n exalted thrill of patriotism. When you watch a by band of embattled farmers fall into line on the m, and march off to the strains of ce Doodle.” you will forget all about Harry Daugh- rank A, Vanderlip and the Ku Klux Klan—and you will not feel the necessity of apologizing when you say, main street of Lexir "Yar erty, ‘Lam an Ameri Mr. Griffith shows us the ride of Paul Revere, the battles around Boston and the fearful sufferings at V. Forge, and he presents them with extraordi The courage, the ruggedness and the indomit simplicity of these men who made the United States are magnified mightily by bluster and 1 with the present age Myhoo and bi effectiveness of these scenes is heig ntened mate Aldersor dd McGlynn, Jr. There is a fine sincerity in all the players. by the work of Neil Hamilton, Erv NFORTUNATELY, Mr. Griffith decided that the pa- triotic thrill which he inspires at the start should be developed logically into bitter enmity towards England. MARION DAVIES, HOLBROOK BLINN, LYN HARDING AND LEON ERROL IN “YOLANDA.” fills the latter portions of his picture with atrocities and general dirty work by the British soldiers, and thus gets entirely away from his main point. The spirit of “America” becomes of petty trickery, sticky love interest and heavy propaganda. From Valley Forge to the final surrender at Yorktown, the picture is involved and dull, and the first wave of excite- ment recedes. Mr. Griffith's mistake is not an uncommon one. He was misled by the ancient tradition that a man can't really love his own country without hating every other nation on earth. “Yolanda” LL the king's horses and all the king’s men are em- “y in a general muddle ployed in together. “Yolanda,” which is the latest Marion Davies sta vehicle, is a twe olanda.” But they can't put the story ring -four-cylinder affair with special body It has all the trappings and accessories that a vehicle could at it lacks sufficient motive power under the hood It can do everything but move wish, As in all the Marion Davies productions, the scenery i magnificent, the supporting cast is an all-star aggregation, and the outlay of money is overwhelming. It is a costume drama, |. in France in the fifteenth century, and there is a tremendous display of fine clothes and even finer statistics And yet, in back of it all is a supply of dramatic interest that is not large cnough for an average Punch and Judy show In short, “Yolanda jumb. t E. Sherwood. is beautiful bh Robe comicbooks.com