The Indianapolis times. [volume] (Indianapolis [Ind.]) 1922-1965, 1926-09-20

standing in line to see 1t. And
when 1 can not get into a theater
there must be flood or a fire So
I decided to wait until yesterday
when the Apollo opened its presenta-
ton Of Variety" The camera work,
meaning the strange placing of the
camera, helps to make Variety" the
sensation that it is. Why can not
the eye of the camera be placed as
the eye of an aerilist when he leaves
one trapeze for another? Why can't
the eye of the camera become an.
electric light looking down upon the
heads OF an audience? y Why can't
the camera reflect what the artist
sees when he is doing his stuff? All
this is answered in Variety" in the
affirmative. 1t is this strange but
practical handling of the position
of the camera which causes this
photoplay not only to be a novelty
but an advance step forward in the
industry.
The story is one of criminal jeal-
ousy-the selfish and self-consuming,
love of a carnival trapeze artist by
the name Of Boss for his wife and
trapeze companion, Bertha. Jeal-
ousy is caused when Artinelli, the
worlds greatest trapeze artist, takes
In Boss and his wife as partners.
OF course both Bertha and Arti.
nelli are cheats. but the interesting
effect OF such acts is the way the
eye OF the camera registers it upon
the brain and personality of Boss.
The natural ending of course, is
murder and even this act is so skill
fully suggested that it is not neces-
sary to photograph the act. There
was lot of real creative brains
back of this picture.
In Variety" you will find Jan.
nings Just as great an artist as he
was in THE Last Laugh" but in an
entirely different kind Of part. You
first see Jannings as Number 2Sv.
serving his sentence for murder. The
reasons for the crime are presented
as a fash back story, really giving
Jannings two roles, or rather the
presenting a character at various
ages.
Jannings is such an artist that he
is able to permit the eye of the
camera to reflect the very soul Of
Boss, his every mood and at times
even his thoughts. Probably as gi-
gantic a piece of soul" acting az
the screen has ever reflected.
Jannings has a mighty powerful
dramatic opportunity in this picture
and he mounts to these scenes as
only a great artist can. Here is
more than satisfactory work-it is
a compliment to the screen.
Am sure that you will be vitality
iterested in the work of Lye de
Putt, who plays the part Of Bertha,
who on Broadway would be a gold
digger. Bertha is just weak, com.
mon clay in her private life. She
played her husband for a boob, but
she found out that honest love can
not be tri1ed with. At times she
gives one the impression that she is
keeping back her emotional side and
then suddenly she let's 1t out in all
of his fury.
Warwick Ward as the cheating |
Artinelli as a correct Initiation of
such a critter. Powerful although |
unpleasant acting. A little theatri- !
cal at times, but Artinellis emotions
were theatrical.
Variety" slapped me all over the
lot. so to speak. So much so that
I want to see it again. so I can de-
vote more time to study of the
method used to photograph this mas
terpiece.
Don't let anybody talk you out of |
seeing Variety" this week. The bill
includes Lester Huff in a pleasing
arrangement of melodies on the or
gan; music by Emil Seidel and his
orchestra and screen events.
AT the Apollo this week.