Word: girls
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Dates: during 1920-1929
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...Christs in the dialogue, and he apologized in the playbill. . . . Mr. Arthur Krock, who is an editorial companion of the authors on the staff of The New York World, describes their play as a barrack-room ballad. . . .1 thought that Miss Leyla Georgie's characterization of a, frail French girl, skipping gracefully from marine to marine, was a little masterpiece...
...affianced Violet Deering. Chapelle has suc ceeded Dunton in her heedlessly wavering affections. They quarrel. In the attack the following day, Dunton gives Chapelle false orders. He returns blinded. Overcome with the vicious cowardice at his act, Dunton shoots himself. Chapelle, sightless, returns to London, to find that the girl has engaged herself to a luxuriously wealthy peer...
...emerged as such an inexpert contrivance that the critics quite lost their tempers. The story discusses a young aviator with a bad heart and too much imagination who went to War, funked his duty, was driven to it, crippled himself for life getting his Boche. There is also a girl who decided with difficulty between him and the vigorous captain of the squadron. The second act of the play brings the drama of war on the lines into intense, if slightly conventional, relief. The locale of the other acts is on Long Island. College men bandy injudiciously selected slang...
Sinners In Heaven. The capacity of the population for absorbing desert island stories is truly tremendous. There are probably a dozen a year; and each one set on the same founda tion. It is always a question whether or not the girl and the man should live together on the island. Sometimes they wait till they get home again. This time they did not. Back in England, the villagers were not so nice about it when the girl returned. Therefore, in the interests of general contentment, back came the hero, too, and married her. Those chiefly concerned are Bebe Daniels...
Open All Night reiterated the old truth that subtlety and character study are impossible on the screen. The play of character between a cultured lightweight (female) and a six-day bicycle-rider, and between the lightweight's husband and the rider's street girl is unsatisfying because their faces, not their wits, are in the focus. The scenes are at the Cirque d'Hiver in Paris during the closing hours of a six-day bicycle race. Adolphe Menjou, Jetta Goudal and Raymond Griffith offer three of the best performances ever concentrated in one film...