Life — November 3, 1927 — page 30: what you’re looking at

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

— mee thee Life “The Magic Flame” HE strangely ill-assorted team of Ronald Colman and Vilma Banky has had its ups and downs (ef “The Dark Angel” and “The Night of Love”); their latest, “The Magic Flame,” may be listed among the ups. It is one of those pl posterous roman of a mythical kingdom, with a dual réle thrown in to make things more complicated. There is a lecherous prince and a noble circus clown, both of whom are in love with a fair trapeze performer, and both of whom, by the oddest_co- lence, look exactly like Ronald antly pre- Mr. Colman is called upon to be very versatile, but the demands of his two réles don't seem to bother him much, Miss Banky, on the other hand, is called upon to be only her own sweet self—an easy assignment which is competently fulfilled I ENRY KING has done cellent job with the direction of “The Magic Flame"—giving the pic ture color, depth and imaginative beauty. It is the type of story that ment and if Mr. King is occasionally 1 bit heavy-handed, it is because he Ethel: wiiat posrr ON THE TRAM? Disgusted Sub: out, VM aust ONY. oF PLAY VICK-PRESIDENTS has tried to stress the glamourous ro mance at the expense of the poten. tial comedy. In other words, d to make “T a good box-office undoubtedly is “We're All Gamblers” THE breaks seem to be against Thomas Meighan. In “We're All Gamblers,” he has all the elements that make for a good picture, includ ing a fine director and a story that is rich in dramatic material. picture, which it (James Cruze sequential an offerir has yet yielded. It seems ineredi- ble that Craze and Meighan be tween them could have countenanced, fet all participated thoroughly illogical, inconsistent and puny effort as this. he title, by the to do with the story in, such a , has nothing and, if you t my advice, you'll have nothing to do with it either. R. E. Sherwood. praidare Jazz Singer. Al Jolson and the itaphone score a substantial hit. The picture itself isn’t so much, but that de- ficiency is overlooked in the general ex- citement. Three’s a Crowd. A Harry Langdon comedy which is far more a matter of tears than of laughs. The Woman on Trial. Pola Negri on the rampage in a courtroom melo- drama. The Drop Kick. Another football victory in the last reel, but a far from Recent Developments thrilling one, though Richard Barthelmess tries hard. Carmen. Dolores Del Rio and Vie- tor McLaglen in a terribly strenuous and excessively amorous retelling of the cele- brated story Soft Cushions. Wisecracks in old Bagdad, with Douglas MacLean pranc- ing about and Sue Carol looking very alluring The Cat and the Canary. aura La Plante in an effective spine-chiller. Hula, There are many things that Clara Bow does well, but dancing the Hula is not one of them. Old San Francisco. tello in a melodramatic mess. Service for Ladies. A gay, flip- nant, well-bred comedy, in which Adolphe Menjou is superb. Sunrise, The Student Prince, Wings, The Garden of Allah, Sev- enth Heaven, The King of Kings, What Price Glory, The Way of All Flesh, The Patent Leather Kid and Underworld are all good — especially Sunrise. Dolores Cos- comicbooks.com