New-York tribune., 1922-02-07
On The Screen
''tour IIorscmcn of the Apoca-
lypsc" Il, the Capitol aud
''Eoomcrang Bill" at Rialto
By Harricttc UnderhiIl

By Harriettc UnderhiIl
II we hal seen "The Four Horsrmen
Of the Apocalypse" when it ~as first
produced we should not have rnarvcled
so greatly at the iatcr works of Rex
Ingram, such as "1he Conqucring Pow
or and "Turn to the Right When
we visited the Capitol yesterday IL was
ou' first viewing OF Mr. Tngrams first
Bug success and surely it is greas
picture and Mr.. Ingram is n great d-
rector 1t is. OF course, too late in the
day for n review of "Thc Four Horse
men, but ono cannot refrain from
speaking Of the excellence Of the adap-
tatlon which June Mathis has made
from Vicente Basco Tbanezs novel
and tho excellence Of tho accng. Ru.
dolph Valentino is so lovablc az the
tango king, Julio Desnovcrs, tnat you
can't help hoping Miss Mathis viii degi-
atc rom the original right at the end
and let him live. Nor coQ d We oear 10
see Alice Terry, as the beautiful Mar
gncrltc, doomed to a life Of martyrdom
with John Sainpolis. 1t is one thing to
read about such things and quite diff
'erent matter to see them enacted by
fascinating people whOm you know
inc picture runs for two hours and is
the only feature on the program.
Straight from the final hcartbreahing
scenes at the Capitol we went down to
the Riato and saw Lionel Barrymore
IN "Boomerang Bill" Here is another
story with an unhappy ending, and you
know 1T as soon as the picture opens
because Boomerang Bill wanders past
two men seated on bench in the park
and one policeman. tells his story
TO the other. potential lawbTeaher
3'ii is old and bent and is pcddlng
shoclaccs, so you know before you start
that the end is unhappy. This picture
would be much stronger f the police
man and the potential awbrcaker were
left out for ut the end the policeman
explains why it is that Bill is so un-
happy in language that no policeman
ever uscd. He winds up by saying,
"He tried to build a house Of love on a
foundation Of crime" Very pretty,
but not cxnctly the way one Of our own
traffic cops would put it. However,
perhaps he was from Boston, and one
has ceased to expect anything human
from title writer's, anyway.
There is mother in the picture
who is responsible for all the trouble
Of Bill, and also of his sweetheart
Annie. She was always getting i'll
and to more her to the country in the
first place Bill robbed bank after
he had made vow to travel straight
II was to be his last job, but. of course.
he was caught at it and sent to Sing
Sing. Bill and Annie swore to be true
and they we're almost happy fer a
year, looking forward to the time when
Bill should be released, and then
mother got i'll again and another man
wanted to marry Annie. She SAID She
hated him, but would marry him 30
that his money might save mother
NOW, what could be more immoral.
We ask? Why not the gr0atest good
for the greatest number? Wasn't Bill's
future at stake, and also Annie's happl-
ness? How tired one becomes of the
eternal spirit of self-sacrfice which
is so prevalent among heroes and
heroincs of the screen.
Mr.. Barrymore gives q splendid and
convincing performance of Boomerang
Bill He is ably assisted by Mar
gucrite Marsh as Annie and Margaret
Seddon as the ever ailng mother. The
story is bv Jack Boyle, the adaptation
by Doty Hobart and the direction by
Tom Tcrris
Inc overture is L!szt's LES Prcl-
udes"; May Fabian sings the Bird
Song" from "Pagliacc." The comedy
is called 'Blow En- Up" and features
Snub Pollard.
At The Rivoli Moran Of the Lady
Lefty" is the feature The woman next
to us kept calling it "Moron CT tie
Lady Lefty" and we were more than
half afraid that this might prove to be
true. However, our fears were quite