New-York tribune., 1921-04-11
original Edgar" will make personal
appearances.


appearances.
"The Oath" is playing at the Strand.
This is an Il. A. Walsh production
made from w. j. Locke's "ldols." A
long title opens the picture, and it asks
should true love unite and elevate two
hearts or should chains of religion keep
them apart. Now, the story is s6posed
TO ask the question, Can Gentle
gentleman be happily married to
Hebrew iady?' and we should say de-
cidedly the answer is, yes. But what
the story really asks is, "Can poor
man be happy married to rich girl
who has bad temper, is jealous. un-
answer seem to be, no. The first part
OF the picture is fascinating for the
way 1T is presented and for the way it
IS acted. Miriam Cooper is an artist.
lnteiiigence, keen understanding and
the power to portray what she feels are
given to her. In the scene where she
goes to the home of the Merriams to
tell OF her secret marriage, instead of
CRYING and wringing her hands as
actresses will do under similar cir
cuihstances, she nervously keeps
smoothing her hair and trying to make
1t tidy before they see her. 1t is most
eHect've. Conway Tearle as the poor
loVer Is also decidedly pleasing, and
Anna l. Nilsson and Henry Give both
do splendid work
Inc titles were, alas, terrible dis
appointment to us! They were done
by Ralph Spence, who did the titles for
"A Connecticut Yankee" and we had
looked forward to seeing them. Tho
first ones we liked, especially the one
about "the bill collectors kept the
wolves from his door by beating them
to It," But along in the middle of the
picture 1t seemed as though Mr. Spence
might nave become indisposed and had
the job.
If ever we get chance to title pic
ture--and we hope we shsll--we prom
Use not to refer to 'the abyss of his
hopes" to a wife being a cha tel" to
love being the "onlv thing in the world
worth whlie," and not to be a Dulcie Gas
George Kaufman says, "sellinr out in
Chicago"), and not to be a Poliyanna.
Ihere is wonderful courtroom
scene in "The Oath" where a woman
stands up and says, "The prisoner was
IN my arms when you believed he com
mltted the murder" In the last reel
there Is a strange cut which shows the
heroine in black velvet gown on the
inside wearing d gray chiffon gown
with strands OF pearls in her hair As
she is accompanied by a man all the
tune the circumstance might give her
husband pause.
The picture is not perfect, but it is
worth seeing. 1t is anniversary week
at the Strand, and there is a birthday
cake and all. The overture is "Mav-
time with the sweetheart song sung
by Esteile Carey. The male quartet
presents the birthday cake. The com
edy is Buster Keaton in "Neighbors."
Ne lett IN the middle of this and went
over to the Rivoli, only to find that we
hac arrived at the exact spot in the
comedy where we had left off. 1t is
playing at both theaters, so we saw it
all. We never have heard such an en-
thuslastc reception of a com edy, and
1t is rather amusing even to hardened
veteran
The feature at the Rivoli is "Proxies,"
with Zena Keefe and Norman Kerry.
The story is by Frank Adams (No: r.
r. A., and the direction by George
Baker. Even with the best intentions
IN the world you could never imagine
tnat any of the picture could be true,
but If you can forget to bother about
that you may be amused by this story
OF handsome butler who is re-
formed crook; soft-hearted financier
and romantic daughter. Only, did the
author intend daughter to be such
iool! Il he did we wanted to kill him.
II she did 1T on her own responsibility
then we shall not spare her, and we
thought we were going to like her, be-
cause at the first flash sne looked like
Alice Joyce. Kerry was very good as
the butler.
The overture is "Capriccio Italien."
Grace Fisher. violinist, plays "Indian
Lament." Lulu Dorward and Georges
du tranne sing Somewhere a Voice
Is Calling
At the Rialto "a Small Town Idol"
a hve-reel Mack Sennett comedy, is the
feature. This will be reviewed to-
morrow.