Word: filming
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Dates: during 1920-1929
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...boat would put to sea to see ankles like hers. The producers of "That's My Baby" knew that too well. They counted the row boats and called for Douglas MacLean to take command. But ankles are after all, especially Miss Morris' very slender supports for a feature film. Aud thus cometh comedy in the guise of a child who attaches himself to Douglas on land, on sea, on foam, and makes comedy stalk beside the ankles...
...have much in common. Ahab, through the treachery of his half-brother, loses a leg to Moby Dick, the whale, who has cost the life of more than one boat's crew. The same brother alienates Ahab's sweetheart, and makes him bitter against all mankind, and as the film unrolls, we see Ahab's character changing before our eyes much the same way as in the dual role of Stevenson's character...
There is much in this film to be praised. The whaling scenes and the inevitable typhoon are done in a manner unusual to the screen in their realism. The direction, that of Millard Webb, is not at all in evidence, which after all is the highest praise that can be accorded. The acting throughout is admirable; the Chinamen, cannibals, and maniacs that make up the wild crew of Captain Ceeley's vessel do not depend entirely upon their make-up to show how wild they are; and Dolores Castello is demurely passionate as the heroine a missionary's daughter...
...study in contrasts is Cecil B. DeMille's "The Volga Boatman," now showing at the Fenway. In this, and in many other respects, the film is typical of De Mille's technique as a director. His scene is Russia in 1917, his theme the strife between the blue-blooded aristocrats and the Russian Reds. It is a film showing all of DeMille's excellences and all his defects. The scenario was written by a Rumanian, Konrad Bercovici, and its original motive is the song of the same name, made famous in this country by the Chauve Souris. Incidently the song...
...only fair to say that no sides are taken by the director in the presentation of the revolution. At the Fenway, it is true, the balcony clapped the Reds, and the orchestra applauded the Whites, but the film painted both sides equally black at times, equally white at others. The hero, William Boyd, is a Red, the heroine, Elinor Fair, a White. What could be more fair...