Word: wastrel
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...Only Woman. The old story of the girl who married the wastrel to save her father's crooked business fortunes. All the rest of the report is good news. Norma Talmadge played it in association with Eugene O'Brien. Sidney Olcott, who stands with Griffith, Lubitsch, and Cruze as one of the great directors, turned his hand to the old yarn and wove it into a bright and almost novel garment. Of late, Mr. Olcott has been directing in the East (Little Old New York, The Green Goddess, The Humming Bird) and deserted to do The Only Woman...
...sorely tempted, after preaching Hellfire and brimstone at the poor native sinners who wear their sins openly. But in this case the rain washes everyone clean. The minister who plans to leave with the woman he loves?a wife who has fled ashore from the yacht of her wastrel millionaire husband?finally sends her back to the debauchee. It seems a foolish thing to do?perhaps he was touched by the heat. But the picture is made consistently interesting through good direction, through good acting by Percy Marmont, Leatrice Joy, Adolph Menjou and particularly Laska Winter as a half-caste...
...already had won her. Her hair as black as smoke in the night, her eyes limpid and violet, her under lip full and tremulous, her bosom shallow as the chest of a growing boy, her experience that of a woman much older, she held out her arms to the wastrel Pittsburgher and he rushed into them...
Icebound. Producer De Mille has dogged the footsteps of Owen Davis's play, except at the single point where he should have stuck closer than a brother. He does not have the wastrel ex-doughboy, returned to his granite New England, set fire to a barn out of heady spite. The cinema producer has the arson committed purely by accident, obviously to keep the censor from snaking a reproving finger. What was good enough to win the Pulitzer prize for 1922 for Playwright Davis is not good enough to get past the screen Cerberus. Thus...
...this adaptation of John Galsworthy's story, The First and the Last. It is a sensitive and sensible study of the regeneration wrought in each other by two London outcasts, with only a single quotation from holy writ. A little bedraggled mill girl (Betty Compson) comes across the wastrel younger son of a wealthy family (Richard Dix) when the fortunes of both are ebbing away in their cups. Finding a new incentive in each other's love, they are about to depart to the inevitable South Africa. In a struggle with the ex-wastrel, a flashy theatrical promoter...