New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1922-07-10
On the Screen
ALWAYS the Woman" at Capt.
tol, Is New Style Problem
Play-Plot Ia a Secret
By Harriettc Underhill

DI IldIilCilC SliQCilhh
A mad. mad picture called always
tho Woman" is at the Capitol Theater.
II only they would call Il always the
Lady" and add q few facetious titles
IL would be an excellent burlesque on
screen melodrama. a form Of entertain
ment which is growing ir popularity
every day. II is sort Of cross be-
tween "The Sheik," "1he Undying
Flame" and "The Green Temptation"
Whenever Doris Pawn Is in the scene
you think II must be "The Sheik' be-
cause she looks so much like Agnes
Ayres; and Macy Harlan, as Kelim
Pasha, is quite as fascinating and al
most as handsome a. Rodolph Valentino
as the Sheik. We doubt very much IL
any one knows what the story Is all
about, but we shall set down such parts
Of il as we grasped 70 help those who
will 20 70 sec the picture later. After
FIVE years OF intensive training at mo-
tion picture theaters even Perley Poorc
Sheehan cannot coneoct a plot which
will absolutely elude US; so we have a
pretty fair idea Of what the author, or
perhaps il was the director, was trying
TO conceal from the spectators.
Dozens of characters are introduced
before the plot is even allowed 10 peep,
but you should watch closely or IL will
spring out suddenly and get away TO
a flying start without you. II that
happens you arc lost and you can only
Al a L
ond time. Betty Compson, the star, IS
Celia Thaxter, a vaudeville entertainer,
who has lived before when she was the
mud tells her Of her Egyptian past
and the picture flashes back 10 prove
10, we think Of our manicurist who
used 10 turn her funny little face up
20 us and lisp: "I'm sure was once an
Egyptian courtesan." Her name was
Celia, too, and this memory, II nothing
else, would have made ii impossible for
US 20 regard Celia Thaxter's past seTi-
ously. But whenever Celia visualized
the past she saw there all OF the people
who were around her in the twentieth
century, so she really knew just which
man to choose and which to avoid.
millionaire made love TO her, but il
turned out later that he was only
doing IL at the instigation of the
Pasha so that he could lead her into
the desert and then get her in his
"pow-er-rrr." But old Egyptian gods,
outraged at being disturbed on their
own premises after centuries Of rest,
killed of all the bad men by having
them fall in q pit, and the wife Of the
man who was in love with the heroine
fell in, too, so that the husband was
free TO marry the woman he loved. In
the movies nothing is ever settled in
the divorce courts. II is considered
extremely declasse, and then the cen
sors do not like II.
Emory johnson is the man who mar
ries the heroine, though why he
wanted 10 do so Is more than we can
understand. If we we're a man we
never should marry a woman who did
not know how TO wear hat and make
IL look chic. No woman, VIC feel sure,
ever would make a good helpmeet who
sets her hat we'll back of her fore
head and has fuzzy bangs showing.
Gerald Pring Is the faithless mil
lionsire and Richard Rosson is the
hizh priest who started the whole
thing. Macy Harlan is far better
than any one in the cast. Arthur Kos
son directed the picture.
There is a sport review presented
by Jack Eaton and edited by Grant
land Rice called Building Up" 1t Is
on exceedingly interesting picture.
There is also on the program a hy
Mayer travelaugh, "Such Is Life 'Mong
the Idlers Of Paris"
The overture is Wagner's "Rienzi,"
With Augusta Lensks, from the Metro
polltan Opera, singing Adriano's aria.
Mile Gambarelli dances 'Une Taba-
there q Musique," and an the
shadows" is played for the silhouette
dance done by Doris Niles, ITALIA
Zanou, James Parker and Oumansky.
Yaseha Bunchuk, cellist, plays a
scherzo and Schumann's "Traumerei."
Gandria's "Pourquoi Pas" Is played by
the orchestra as an interlude.
Perley Poore Sheehan has another
picture at the Rivoli, but, oh, what a
differencel "Tf You Believe 1t, It's