Word: ufa
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Hungarian Rhapsody (UFA). This German picture contains no dialog but its fiddles playing Magyar melodies are well recorded. Manufactured for the U. S. box office and released through Paramount, it tells about a middle-class girl who sacrifices herself for an impoverished and roguish nobleman because she respects his class. Stock characters of continental drama photographed with fine craftsmanship against their native background seem no more credible than in Hollywood pictures where this background has been artificially reproduced...
...Rather an effective contralto phonograph record than a moving picture, the film follows the construction of Somerset Maugham's short story, a successful legitimate play last year, about the temptations of white people in Singapore. Best shot: A battle between a mongoose and a cobra. (Originally released by Ufa as a short feature this interjection was bought by Paramount and spliced into the plot for atmosphere...
...which patriots and students kept during the War, marking on maps with little pins the lines of the combatants. It was hard to remember which pins stood for which side or what the irregular graph of a strategy meant in terms of life and death. In this picture, which UFA began to make in 1915, the lines of the diagrams move themselves, like animated cartoons. Neither a newsreel nor a story, it is a history of the War, seen from the German side, but impartially; most of the battle scenes were taken in battle and the captions are excerpts from...
...flaring hatreds, their gestures toward heroism, renunciation, their final acceptance of themselves, all these are real, surviving buoyantly the inadequacies of mechanics. Director Joe May, Actor Lars Hanson, maintain the fact, recently put to question by shoddy productions, that Hollywood may have bought most of the talent of the UFA company but has not yet bought all the brains. Dita Parlo 13 the girl to whom the soldiers return; she has both brains and beauty...
...Woman Disputed. In its first scenes this picture gave promise of becoming one of those compact, dreary dramas of the European underworld that have been done so effectively by UFA and Sovkino. Instead, the drama of its one genuine situation-a harlot (Norma Talmadge) suspected of the murder of a suicide-is ignored in favor of a series of patently unreal and cinematic developments in which the lady, reformed, is called upon to perform for the sake of her country an act which patriotism unconvincingly transforms from a two-rouble incident to a Holy Sacrifice...