Life — November 24, 1927 — page 28: what you’re looking at

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

26 ie SILENT DRAMA “Quality Street” WO Marion Davies pictures been released in rapid succession, and the contrast between them is (IE don’t mean to imply that one of them is good and the other bad; one of them, as a matter of fact, is fair and the other simply terrible.) me] Fair Co-Ed,” which was considered in these columns last week, was as loud-mouthed and as blatantly vulgar as any movie I have seen, with the itable exception of “The Callahans and the Murphys.” On the other hand—Miss Davies's new one, “Quality Street,” is liter ally too charming, too whimsical for words. something startling. It gives its star the chance to be ever so shrinking, ever so fluttery, ever so wo y ina Maude Adams role in a Barrie comedy. If it becomes rather dull the Howed toward the end, it is bee: original p with too g y has been at fidelity THE direction of “Quality Street” is notably good—another example of the fine, intelligent work that Sidney Franklin has been doing on the sereen in the past few years. He has handled this frail little story with great delicacy and has caused it to emerge as a movie with none of the usual bruises or blemishes. That Marion Davies is not a Life SS Sa (ad. ZN J Ion, jealous or selfish star is proven by the prominence given to Helen Jerome Eddy in the cast. Miss Eddy, be it said, makes the most of her chances. Conrad Nagel is also good. “The Angel of Broadway” is one excellent situation in “The Angel of Broadway"”— a hokum situation, to be sure, but an effective one. For the rest, this film is packed with more old stuff than I believed existed even in the photo- graphic memory of a Hollywood rio writer. Furthermore, it is 1 (by the worthy Leatrice . that); it is poorly photo- graphed, and the direction — is pathetic. Lois Weber is responsible for this last defect. One gathers, from her treatment of “The Angel of Broad- way,” that she hasn't seen a single mm moving picture since the produ of her own masterpieces, “Where Are My Children?” and) “Hypo- crites,” fourteen years ago. “The High School Hero” OW for an thusiasm: “The High School Hero” idea of a thoroughly pleasing, re- freshing, honest and forthright outburst of en- is my picture. Compared with all the stic and collegiate movies with which the screen has lately been cluttered, it is an outstanding achievement, being utterly truthful, simple and sympathetic. It has no plot, no phony dra- matics and no passionate love in- terest (I don't think there is one kiss in the entire picture). Not one of its three principal players has ever been heard of before. It is the first product of a new director. Probably because of these handi- caps, “The High School Hero” possesses the quality of youthful frequently sought after and so rarely captured. sel spontaneity that is so HE director of this remarkably commendable picture is David Butler, previously known as a_re- liable, capable actor. He has done an admirable job, and he is par- ticularly to be congratulated for his discrimination in the selection of his cast. In Nick Stuart, Sally Phipps and John Darrow, Mr. Butler has Giscovered three young people of extraordinary promise, and he has developed hitherto unsuspected talents in Charles Paddock. He has also staged a basketball game that ranks as the most exciting, most convincing movie athletic con- test since Harold Lloyd scored his touchdown in “The Freshman. R. E. Sherwood. comicbooks.com