Evening star. [volume] (Washington, D.C.) 1854-1972, 1926-01-17

| TINS Characterization securely upon
its normal level of prominence, must
be credited with one of the most
noteworthy achievements of her ca
| reer. 1t is All assemblage of reputa-
| tons fortified by ability-Margaret
Lawrence. Bruce McRae, Godfrey
Kerr. Frederick Waller. Any one OF
the names would be considered in an
ordinary star" production quite suf
hcient TO monopolize two-thirds OF
the space available for big type.
Another impressive assemblage of
names is offered in the motion pic
lures. Leon Enrol. already a favorite
in musical entertainment, sets an
absolutely new pace for himself as a
comedian in films with such dis
tinguished company as James Kenny,
George Marion. Frank LAWYER, Tully
Marshall. Dorothy Gish, Edna Muir
ray and Nita Naldi. For the sales
manship OF this film it should hardly
be necessary to do more than show
the catalogue. 1t Is. however, a reve-
lation OF clcverne>> III all its phases
from story making 10 mechanical
detail. A Whirlwind OF fantastic fun
with that good old standby. the bur
| leSque buccaneer, as its inspiration.
reflects rare credit upon some con-
StruCtive and supervising mind that
remains, in extraordinary modesty,
unidentified.
The film. while accomplishing mar
vciS. may find 1t Impossible to reduce
Sync to the inhnitesimal
point Of accuracy that will make the
use OF the human voice possible.
Neither has any way been found OF
combining music with scenes which
show dancing. Even when 80 simple
d rhythm as that OF marching in pa
rade is established tho musical in
strument so habitual to the films,
which suggests an effort to reform
the steam piano of circus days. usu-
ally subsSes temporarily into mute
Subordinatior. An advantage the
films enjoy over the speaking stage
is the opportunity for close study OF
facial play Mr.. Enrol was regarded
rather as an acrobat-a 'glorihed
acrobat, it is true. but still an aero
bat-as he appeared in musical com
edy. II remained for the films to
present him as a typical artist III fun
making. as irresistible in his way as
any OF the comic opera comedians.
who amused us with the anXieties
disclosed by a glance or a gesture as
they found themselves i'll some pre-
Iposterous predicament Chaplin him
self could scarcely have utilized
more thoroughly the resources of
~ a So 81
If any one in the list of dramatic
stars so boldly grouped occasioned
a trace of disappointment, it was
Bruce McRae. who contributed his
Chara cteristically fine work to the
role OF an uncompromising aristo-
crat who insists on proprIeties. even
though he has to spoil romantic
wedding. We have learned TO identi-
~ McRae always with the gentle
! man who brings a touch of suave
serenity into a difficult situation and
assists in making affairs go a little
I smoother He has the gift of GER
tain whimsical assumption of irasci-
bility which betrays itself at once as
an affectation intended to defend a
possibly too susceptible heart Nc
! Rae is still the polished gentleman.
but this time merciless and exacting.
He plays the part, of course. with
polish and distinction But it doesn't
seem bit like him.
X x
The Japanese actor Hayakawa
contributed the type of play de
signed to exploit a star. 1t is richly
mounted. but does not attempt to
reflect the really poetic thought and
history that the Orient so abund-
antly provides. 1t seems rather to
consider the popular impressions of
underworld weirdness, which have
been so long in attention, that famil-
iarity has robbed them OF their ter
rorS.
X X
Earl Carroll continues in a streak
OF bad luck and has the satisfaction.
if he is cynically disposed, of mental
comment on the athletic enthusiasm
with which he is being jumped on by
d number OF people who were