Evening public ledger. [volume] (Philadelphia [Pa.]) 1914-1942, 1922-01-24
.K0SLOFF IS STAR IN
STANLEY FEATURE
Character Man Dominates
Lane That Had No Turning"
Other Films Shown


rather than soberly analytic or real
istic, is both fascinating and power
full
That about sums up '"The Lane That
Had No Turning" which IL Agnes
Ayres' first starring vehicle, but which
sees the final thrust to greatness of that
versatile Russian dancer, Theodore
Kosloff.
Mr.. Kosloff, who in his first few pic
lures seemed to lack hopelessly the re-
quisites Of acting before the camera,
follows up his Vivid portrayal of the
Mexican in Fools Paradise by pre-
Senting here complex, absorbing pic
ture Of Louis Racine, a French Cana
dian, ever loyal TO the tricolor rather
than British rule. whose tragic de-
formity warps both his body and his
soul and finally cause~ his death.
Sir Gilbert Parker's story makes
splendid screen material. The opening
scenes, possessing breadth and color,
are laid in n small backwoods commu-
nifty on the wedding day of Racine and
Madelinette Miss Ayres). Racine be-
comes Seigneur, though by rights the
position belongs TO another.
All the time there hangs over him the
terrible fear of n crooked spine. an in
herited ailmcnt. The blow falls while
his young wife Is making her operate
debut in Europe. In his mad desire to
maintain her love and respect he fran
tlcally usurps long forgotten powers in
his seigncury which nearly bring down
on him the wrath of the law. His wife
returns and accidentally discovers that
he is not the rightful seigncur Rca IL
ing just what such n disclosure would
mean to her proud and physically broken
husband she goes to great lengths to
keep from him the consequences. The
climax is stunning in its power, and
the hint of hope and happiness that
come at the picture end is in this case
justifiable.
Always it is KosloF who dominates
the scenes from the subtler moments
when he stands before the glass. fearful
to see the appearance of the bumped
back, up to the moment of his mad
crime at the end, when his mind teeters
on the edge Of insanity.
Miss Ayres Is charming and attrac-
tive heroine. Mahlon Hamilton is cx-
Ccllent, though very, very sober, in a
small role, and Frank Campeau gives
one Of his characteristic Williams roles.
To Victor Fleming, as director, go
second honors. He has welded cohe-
rent, consistent drama out of what
might have been q rather impossible sub
ject. He was ably assisted by the
camera man who has achieved distinc-
tion in many scenes.
An excellent comedy, attractive
scenic, interesting educational pictures
and the presence on the program of
Josef HOLMAN. v!olonccllist. and
Caesari Ncsi, tenor, make this weeks
bill one Of the best rounded seen here
in a long time. More like it would
mean the banishing of the slump.
Arcadia-Though the company and
cast are entirely different, 'Judg-
ment," the newest of the foreign I'M
portations may be classed as sequel
to Deception.
1t is a consistently told, realistically
staged story Of the reign of Mary
Tudor and, since it is taken from Victor
IIugo's drama of that name, should be
called that instead of the vague and
trifing Judgment
Somberness, 1t must be confessed, Is
heavily stressed throughout the film,
but any one who enjoys a legitimate
and dignifcd historical theme, dram8t-
ically and logically worked out, will
enjoy this story of the infatuation of
/
Fabiano Fabiani.
The sinister Star Chamber" ses-
sions are shown, and gtmpses are
given Of old London, including the pic
turesque Tower. The atmosphere is
above reproach and, while the scenes
are not as elaborate as those of some
of the preceding foreign films, they are
always entirely adequate.
Ellen Richter gives q good, although
intensely gloomy, portrayal of the
leading role, and the other parts are
satisfactorily filled.
KarltOn-Betty Compson us star and
Penrhyn Stanlaws as director make
, another appearance In The Law and
the Woman" and prove again the cx-
cellence Of the combination rs they did
not long ago in "At the End of the
World StRnlaws, who made three
pictures with Miss Compson and then
left the Western studios. has diStinc-
tive touch that Is all his own and that
makes one hope that his retirement from
films Is only temporary, for he Is heaJ
and shoulders above most of the direc.
tors of today.
The present story was based on the
we'll known stage play, THE Woman
in the Case" by Clyde Fitch. 1t re-
lates the tragic succession of events
which plunge a happily married Young
couple into troubles that try their love
and trust to the utmost. The husband
IL arrested and convicted Of the murder
Of his young ward IN quarrel over a
woman. The wife, sure Of his inuo-
ccnCe and certain that the woman per-
jured herself to obtain the conviction
of the husband, becomes the "pnl'' OF
the adventures and, en- the eve Of the
husbands execution, obtains q confess
sion that clears him.
Miss COmpSUn, one OF the most FMS
cinating young wCnen Of the screen, lg
steadily improving III her work. She is
still not yet quite satisfying in the more
tense emotional parts, but she IS ac-
Iuiring skill that Is accomplishing
wonders for her, though the lighter roles
seem to be more suited to her .empern-
ment and to her characteristic winning
smile. Cleo Ridgey, who has only re-
Gently como back 10 the films after n
long retirement, appears rs the other
woman and does notably excellent
piece OF work. She has 8 beauty thar
wins sympathy even in so unsympa-
thetic role.
CassOn Ferguson the young ward who
is murdered, again proves to be one of
the most wholesome and adequate Of the
screens younger men. His work in this
story is exceptional. William Y. Carrie.
ton, a veteran. plays the husband with
the skill and intelligence which he nuts
into all Of his characterIzations.
Victoria -- The general conception ~
Paradise Is that Of place of peace and
idYllic nuiot but thnra Is nnthinn III