The daily star-mirror. (Moscow, Idaho) 1911-1939, 1921-11-21
-four HORSEMEN
A MASTERPIECE
IBANEZ' FAMOUS PLAY ON THE
SCREEN AT KENWORTHY MON
DAY AND TUESDAY.

"The Four Hoursemen of the Apoc
4 Ialypse, which will be seen at tn,
Kenworthy tonight, Tuesday after
moon and Tuesday night, will bt
everything that the advertisements
claim for it, Judging from the follow
ing story published in the Spokes
man-Review, after the picture had
been shown once in Spokane:
Vincente Blasco Ibanez, Rex Ingram
and June Mathis bow hand-in-hand al
i the Auditorium theatre this week in
the production of 1.-THE Four Horse
men of the Apocalypse. Everywhere
the picture has been heaped with
praise, SO it is quite natural that the
west goes to see the Metho master
piece with 'show me- attitude.
After being entirely lost for two
hours yesterday afternoon in this
most impressive Rex Igram master
piece we are ready to be lined
up with those who agree that the pro-
duction is one of the most powerful
pictures to have ever reached the
screen.
Probably one reason that the pic
ture is a great one is that Rex In
gram recognized Ibanez as his mas
ter and tried none of the modern pro-
ducer methods of improving upon an
acknowledged great writing. The
whole thing is IbaneZ, reverently and
impressively put upon the screen.
The story, with its sweep of char
acters that are gathered together
from the four ends of the civilized
world; it's undercurrent of sacred al
legory; the vivid way in which all the
emotions Of the past years the world
has been trying to forget, focus to a
tense reality what powerful medium
the screen is.
The casting director has peopled
the picture with perfect types-Julio,
Don Marcello, Madariaga, Chici, all
the Ibanez characters, on down the
long program OF players, typify the
books characters. The fine charac-
ter delineation backs up the picture
reality in large measure. Rudolph
Valentino as Julio, besides being a
perfect Latin type, acts admirably
and fairly fires the Spanish tango
scenes in the Argentine cafe The
adamant idealism of his role that
demands sacrifice for his misspent
life symbolizes the whole picture,
and we marvel that Rex Ingram had
the courage to let us drop a tear on
his grave and refused to tamper
with the Ibanez fatalism. Alice
Terry is most beautiful, but the
emotional demands of her part seem
to ask of her more than she gives,
possibly because she is contrasted
with the Latin fire Of Rudolph Valen-
tino.
The four horsemen gallop through
The picture quite as impressiyely as
hey were described in the novel.
sometimes g1aringly horrible and
again misty and shadowlike. The
picture in its impression sums up
Ill in the haunting eyes of Tcher-
loft, the Russian, done so perfectly
~ Nigel DeBrulier. When you leave
he theatre you are still staring into
he farseeing and understanding
yes of his wonderful face
The Marine scenes are as wonder
ul an exhibition of soldier pageant
y as one can imagine. When the
lordes of soldiers sweep through
he French village and up the long
highways the whole audince moves
tself to the roadside and cheers long
nd loud. 1t takes the very end of
he picture to release the grip it
axes Of everybody, and the audience
lies out, reviving the war.