The Bismarck tribune. [volume] (Bismarck, N.D.) 1916-current, 1927-10-19

one who always has admired Crit
fith's work and considered him the
best Of our directors. Both mer
have sensitive touch for tn,
rhythm of drama and life, but Vidor
seems better able to accomplish
counter rhythms, and thus give his
drama more of the verisimilitude of
life and it's tragedies. His directing
of the march through the woods is
one of the most remarkable things
we have encountered in movies. His
tapestry was 50 comprehensive that
one could scarcely follow it all. The
surge and sweep of the mighty
drama was in it, and it was shot
through with the slender, ordinary
threads which are SO necessary in
giving the pattern it's color and life.
Scene Epitomizes Picture
Then, there was the unforgettable
picture Of the motor lorries-"The
Big Parade'-moving up to the
front. In few minutes, he man.
aged a symbol that stamped itself
Immediately on the mind, and did
it in restrained, yet vivid manner.
That one view, with it's two close
ups of the huge wheels rumbling
over the roads, epitomized the whole
struggle, its terrible cost and trag-
cdy and it's high hopes.
Mr.. Vidor got a great dearof help
from Mr.. Stallings, of course. The
author knows the World war as few
men who have written of it or used
it as material for novel and play
knows it. He was in it, as complete
~ and thoroughly as anyone could
he, and discovered what an ugly,
beastly, dirty business it was, That
is why he wrote "Plumes," a novel
crammed full Of considerable biog-
raphy, and "What Price Glory p.
and "The Big Parade" In none of
his writings has he pictured war as
the fine, sentimental, patriotic thing
it is made in so many works. The
sight of government purchasing
courage at few dollars month
disgusts him, and the utter futility
and needlessness of it sickens him.
Second Only to Latzko
"The Big Parade" is often pictured
as similar to "What Price Glory?"
There are moments when it reminds
one Of that ironic work, but only in
it's irony, its salty humor, and it's
scenes of soldier life. Some declare,
too. that it stems, in a measure,
from Kipling's SOLDIERS Three" but
that is not so. The only resemb-
lance is in the use of three pals as
the protagonists. Many critics have
declared that its roots are found in
shoulder Arms" Charlie Chaplin's
unforgettable film. That is truer
statement of the fact than any of
the others, for, like Chaplin, Sailing
knows the value Of humor, buffoon-
cry and wistful sadness in scoring
his points. But he knows, too, the
Importance Of stern reality, and,
even here, he surpasses all the writ
ers of war plays and novels-all save
Latzko, whose Men in War;" to us,
is the inspiration Of ''What Price
Glory?" and 1.-THE Big Parade"
The acting is superb. John Gilbert
does the greatest work of his career
as Jim Apperson. 1t is one Of the
most remarkable bits of pantomimic
acting the screen has known. He
manages more variety and more
depth than he has in any of his 9TH
err pictures. He must share honors,
however, with Earl Dane, whose
portrayal of Slim Jensen is crown
jewel Of character acting, and Tom
O'Brien, whose Bill O'Hara is con-
vincing and thorough in every re-
spect. Renee Adoree's Melisande
was excellent. By it, she Won her
spurs as a leading lady.