The daily worker. [volume] (Chicago, Ill.) 1924-1958, 1926-06-19
"THE GREATER GLORY"

ley" is largely background for the
brilliant blonde loneliness of Anna O.
Missionaries removed, by the way,
from the simpering Christmas-card
angel blondeness of Americas Sweet
heart" But the film also attempts
portrayal of the play of social forces
in wartime Europe that is a new and
welcome departure for the movies of
this country. The personal theme CEN
tering about Anna Nilsson as the
daughter of a wealthy Viennese fam
ily who is driven from home when
she is involved in a scandal-inno-
Gently, of course-and becomes the
center of the wild night life of vi
enna's "schiebert," or war-profiteers,
is banal enough. 1t is the Swedish
actresses vitality and charm alone that
save it from actual stupidity. But the
picture of the swift decline Of mem
bers of Vienna's aristocracy from
propertied security to the poverty and
insecurity that they had always trust
ingly believed to be reserved by
wise upper-class Providence exclu-
sively for the proletariat, is not at all
badly done.
The family about which the action
centers is first shown in the Spring OF
1914-well-dressed well-fed, with all
the quiet self-assurance and poise OF
position and wealth of long standing.
Then comes the war, the krone drop
ping daily, government bonds and in
yestments becoming worthless, prices
mounting to fabulous heights, and
finally the bread-line, food riots, and
the last belongings pawned at govern
ment pawnshops.
The effect on the various members
of the family group is really cleVerly
shown. Particularly on the old aunt
who is the head of the family. AT
first a dainty, imperious, petted little
old lady, and then a terribly fright
ened old woman with no earning
power at all, who knows that she is
burden to the rest of the family and
daily sees starvation staring her IN
the face.
This process of the impoverishment
of the wealthy bourgeoisie in Central
Europe has formed the theme OF
numerous books and articles since the
war. It is interesting to observe how
the tragedy of insecurity and uncer-
tainty which is the daily and familiar
companion of the great mass OF the
workers in all capitalist countries be-
comes visible to the eyes of the bour-
geoisie only when it touches their
own class.
The war-profteer side of the picture
lis not so well done. The types would
be more effective if their brutality
and hoggishness were not so crudely
and conventionally drawn. AS it is,
the moral seems to be that if rich
man gorges himself in an ungentle-
manly manner while starving people
look on and occasionally kicks a char
woman, he is wicked; but if he OBJ
serves the rules of etiquette and eats
politely where the people that ne is
helping to starve are out of sight,
| and DOESN'T KIN n1o CA1BASJN ~ -
merely exploits and enslaves them' ne
is alright.
The film would be vastly improved
| if the producer would cut out the ride
Iulous helmeted figures on horseback
lifted from the -Four Horsemen OF the
Apocalypse" that ramp across pink
and-white sky to the accompaniment
of something that sounds Like the tin
tray call for dinner in country hotel
every time that war or rioting or reVo'
luton are mentioned, and the night
gowned ones that appear when gen
eral impression of uplift is to be con
veyed. On the other hand, number
of scenes might be added with ad'
vantage to remove a certain feeling
Of abruptness and dificulty in follow
ing the action OF the story, frequently
present in film adapted from novel
especially from one with plot that is
well somewhat subtly worked out, as
that Of the "viennese Medley" IL
| oafd ~ ha