Cinema: The New Pictures Sep. 7, 1925

Siegfried. It has taken the “Made in Germany” sign seven years to come back and its sway is still restricted. In motion pictures it becomes with this production an established mark of excellence. Siegfried is certainly one of the best pictures ever shown in the U. S.

It must be immediately admitted that such a sterling opinion was not passed upon it by the majority of the critics. It was called “lei-surely,” “diffuse,” and “over-decorated.” These critics evidently had some subconscious resentment of its lack of sex-appeal, of its subtly pulled punches, of its tragic ending. They seemed to miss the brilliant economy, the unfailing feeling for composition, the somewhat abstract treatment of a legendary story. Probably they are movie critics be-cause they reflect tastes of the movie public. This public will probablyreject Siegfried; but this rejection slip in no way implies lack of cinematographic merit.

The story is drawn from certain episodes in the Nibelungen legends from which Richard Wagner fashioned famous operas. The forging of the sword, the search for the princess Kremhild; the pact to trick Brunhild into marriage with Kremhild’s brother; and the death of Siegfried are chief incidents. The magic of ancient imaginations lives again in the magic of the modern camera as Siegfried wanders through the enchanted wood, slays the dragon, becomes impervious to weapon wounds, captures the web whereby he can change his shape at will.

The gorgeous brilliance of his wanderings and death were enhanced by a Wagner score, adapted from the operas and played by a large and able orchestra. What would be the effect of the film without the music is difficult to say.

The Wanderer. This American spectacle appeared for its first week in crude contrast to Siegfried. This picture is the one with which Famous Players hoped to repeat the success of The Ten Commandments. It is in the same mood—Bible teaching all tangled up with a modern allegory. But it somehow seems hollow, even beside that garish venture. The story of the Prodigal Son is the specific parable employed. The characters are chiefly impersonated by William Collier Jr. and Greta Nissen. There is plenty of sex and a practically uninterrupted killing of the fatted calf. The Wanderer will probably be popular.

Her Sister from Paris. Once more the device of inducing a husband to make love to his own wife under the impression that she is a less familiar female is in circulation. As usual it is pretty funny. This particular wife happens to have a twin sister dancing in Paris and a stupid husband. The fact that Constance Talmadge plays both of the sisters is primarily important. The Man Who Found Himself.

Booth Tarkington has written another story for Thomas Meighan; a story that looks dangerously as though he had rewritten it from an earlier Meighan film. The star plays a convict—innocent of course —who gives up his revenge because his girl suggests it. Mr. Meighan’s films of late have been just about as thin as milk can get. They are still popular.

Hell’s Highroad. Cecil B. De-Mille herewith presents his first in-dependent picture, aglitter as usual with paste brilliance of DeMille taste. Society on the loose is specifically arraigned by the example of a business man who neglects his wife. She persuades someone else to crack him in the stock market, after which he comes home hanging his head. Just as Mr. De-Mille ought to do every time he does a thing like this.

In the Name of Love. Greta Nissen and Ricardo Cortez are occupied in a harmless narrative of a French flapper who became very riche and acted very nouveau. She is finally tricked into marrying her childhood lover under the impression that he is an Italian Prince. You are supposed to believe they lived happily ever after.