Word: passion
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Dates: during 1920-1929
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Fazil. Charles Farrell is a capable cinemactor, particularly in the role of an earnest young man. But here he is greased up like the late Rudolph Valentino and made to register Arabian passion under the erogenous name of Prince Fazil. The also warm Greta Nissen, as a Parisian blonde called Fabienne, spends many film feet in his arms and on his lips-be the place Paris or Venice or the desert sands. They get married, quarrel, make up, etc. And finally, DEATH-Prince Fazil, mortally wounded by bandits, takes off his poison ring and lovingly punctures the white finger...
...heiress, famously a beauty, jaunts over to Italy in her own yacht. Fortunately for the love interest, her entourage includes two clean-limbed Anglo-Saxons, and the scion of a noble French family. At twenty-six Janey has experienced everything but true love. Disillusioned therefore regarding the tender passion, she rejects her three seagoing suitors, and resolves to barter her wealth and her person for some prince in reduced circumstances...
...poor Janey has found in him a worthy object of long delayed grande passion, and after a week of endearing herself to his tribe she persuades her handsome bandit that he too cares terribly, terribly much. But marriage?-ah, he cannot allow her to share the dangers of his hunted existence...
...laborious tale of French colonization in Quebec, complete with bloody Indian skirmishes and pious persecution of heretics. As for love interest, 8-year-old Countess Palladine, the sole survivor of a lurid Turkish massacre, is rescued thrillingly by a young English freelancer. Her gratitude very shortly develops into precocious passion, which brings her to him years later in the New World. Author Chambers bases his tale on contemporary chronicles...
...grief was incurable and without rights and should have hidden itself. But as it was a grief without understanding, it was also a grief without inhibition, and this produced a great pain . . . the paternal heart of the professor was lacerated by this misery, by the humiliating terrors of this passion, without rights and without cure." But the "night of a child establishes so broad and deep an abyss between one day and the next" that in the morning Lorie's grief was quite forgotten...