Life — January 5, 1928 — page 26: what you’re looking at

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

‘Man, Woman and Sin” Ik “Man, Woman and Sin” were a hammer picture than it is, it would probably be able to carry such a burdensome title. But those pon- derous words—MAN, WOMAN and SIN—are too much for this unpre- tentious story and it staggers under its load. It tells of a poor boy in Washing- ton, D. C., who gets a job in a news- paper shipping department, is ele- vated to a reportorial post, becomes entangled with a blonde and beauti- ful Society editor and finally lands on the front page and in j “Man, Woman and was capably directed (also written) by Monta Bell, who is an old news- paper man himself. He has made some fine and authentic pictures of life in the composing, press and city rooms, and has even gone so far as to show newspaper reporters who do not scribble notes on their cuffs. OHN GILBERT is the guileless, bewildered youth—a distinct de- parture from his usual style and an effective one. Jeanne els, as the predatory Society editor, is excellent when she has the chance to cut loose, but obviously ill at ease and inclined to blink in her quieter moments. NCE a scenario writer told me that there was one title that would fit all the photoplays ever pro- duced. It was “Her Sacrifice.” He can add to that another one— namely, “Man, Woman and Sin.” “Get Your Man”’ HEN Dorothy Arzner was en- gaged as a director by Para- mount, it was announced that she would fill a long-felt need by making pictures that would appeal directly to women, in contrast with the ex- clusively masculine efforts of Cecil B. De Mille, George Fitzmaurice, Robert Z. Leonard and others. I have seen several of Miss Arz- ner’s pictures, and all of them con- sist principally of views of well- formed young ladies in a state as near to nudity.as General Will H. Hays will allow. This would indi cate that although Miss Arzner is undoubtedly doing the right thing by the feminist movement, she isn’t for- getting that now and then a few of the boys straggle into film parlors, too. “Get Your Man” was directed by Dorothy Arzner, and Clara Bow is its star. Supplied with that much information, you can come pretty close to guessing just what happens. Miss Bow finds herself locked up R Love. Greta Garbo and John Gilbert up to their old tricks in a dilution of “Anna Karenina.” The Spotlight. All about a humble girl who assumes an exotic personality and makes good on the stage, with Esther Ralston. The Gaucho. Douglas Fairbanks is his usual self in this one, but he has en- cumbered his story with elements of dreariness that slow up the action to a lamentable _extent. Uncle Tom’s Cabin. A real Negro as Uncle Tom and real ice as the ice— but otherwise this is just a good screen version of “Uncle Tom's Cabin.” pote hud b. overnight with young Charles Rogers. She also takes off most of her clothes, and frolics about. “Get Your Man” isn’t quite so terrible as it sounds, nor is it so good. “The Girl from Chicago” HIGH-BRED daughter of the Old South learns that her brother has been convicted of mur- der, so she promptly sheds her re- spectability, assumes an alias, in- volves herself with the crooks who are guilty of the crime—and gets what is technically known as “the dirt” on them. Such is the plot of “The Girl from Chicago." Myrna Loy is the girl, she is much more convincing when traveling under the alias than when she appears in the dignified halls of her ancestral home. Conrad Nagel does well as a friendly detec- and William Russell is splendid as the chief crook. Incidentally, the story of “The Girl from Chicago” has been done before—notably in a picture called, I think, “After Midnight”; Betty Compson was in it. It is still good melodramatic material, aided at the finish by an “Underworld” machine- gun battle. R. E. Sherwood. ecent Developments My Best Girl. Mary Pickford as a five-and-ten shopgirl who finds romance in spite of everything. A nice and fre- quently funny picture. Sorrell and Son. The story of a re- turned soldier who sacrificed his life on the battlefields of peace, directed in the best of taste by Herbert Brenon. The College Widow. Dolores Cos- tello saves the day for dear old Insert- nameof. Two Arabian Knights. A really rousing comedy about two droll dough- boys who escaped from a German prison camp and ended up in Arabia. Louis Wolheim and William Boyd are both fine. The Magic Flame. Ronald Colman as a clown and Vilma Banky as a circus princess in a Ruritania routine. The Angel of Broadway. It is sup- posed to inspire tears, but it actually in- spires smirks—except in one big scene. Quality Street. Marion Davies in a mild one. Jesse James. Fred Thomson as the evangelistic bandit whose actions were open to misinterpretation but whose mo- tives were always pure. The High School Hero, The Student Prince, Sunrise, The Patent Leather Kid, Wings and The Garden of Allah, All these are good. comicbooks.com