Word: mclaglen
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...strikes always swiftly, always surely, always, as such things go, with an impressive lack of fuss. The troop is winding along the desert; the lieutenant in command is shot down from ambush, and with him to the grave, go the men's orders and geographical location. Under Victor McLaglen, top sergeant, the remaining eleven find their way to an oasis. Next morning, the youthful sentry is found knifed, the horses are gone. Two are sent out to bring aid; they are returned dead, strapped to their mounts. A private climbs a palm tree to reconnoitre, and falls with a bullet...
...fast-moving musical comedy extravaganza, The Greenwich Village Follies, starring York and King and fifty entertainers, is announced as the stage show billed for the Keith-Boston Theatre, Friday, while the screen will feature "The Lost Patrol" with Victor McLaglen and a big cast...
...savage menace of the desert with its blazing sun and blinding sandstorms, and the varied emotions of eleven men facing inevitable death at the hands of unseen enemies, are woven into "The Lost Patrol", a powerful screen play with Victor McLaglen, Boris Karloff, Reginald Denny, Alan Hale and other distinguished film luminaries. The story deals with a detachment of British cavalrymen who become aimless wanderers on the Mesopotamian desert when their officer is killed by Arabs. Only the officer knew where they were, what their orders were and when and where they were to rejoin their brigade. That knowledge died...
...troop's captain. The rest reach an oasis. The first night, Arabs shoot a sentry, steal the horses. The next morning a cockney soldier climbs a palm tree to get a look at the enemy. He topples down with a bullet in his heart. The sergeant (Victor McLaglen) draws lots, sends two of his men to scout for help. They come back dead, strapped to the backs of horses. A rescue plane lands on the sand; the pilot is shot as he starts toward the trees. By this time Arab snipers, concealed by the dunes, have picked...
Fast Workers (Metro-Goldwyn-Mayer) bears a superficial resemblance to the tough comedies popularized by Edmund Lowe and Victor McLaglen; it is not really the same sort of picture. Tod Browning is a director who has always been fascinated by the macabre. John Gilbert, completing with this film an expensive contract which he signed before talkies demolished his box-office value, is determined to make his last cinema characterizations as ugly as his early ones were sleek. The story is about a steel worker (Gilbert) who humiliates a mistress (Mae Clark) whom he really loves because he thinks...