Word: plotting
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This brief plot is motivated, behind its glitter of extravagant romance, by true and human emotions. Lionel Barrymore, onetime stage actor, is able to indicate the burly pathos of the hunchback who loves his brother as much as he does his wife but can forgive neither of them for their sin. Mary Philbin, garbed in tight and tenuous garments, is almost equally competent to express her perplexity in the choice between loyalty and passion. The younger brother to the hunchback is a handsome cinemactor of Valentinoesque appearance; his name is Don Alvarado...
...good farce, rarely overacted, and better than "The Ghost Train". The first act, a medley of devices for stalling for time, is ideally suited to the risibilities of any audience, including the Elizabethan. Harvard men will be interested in an attempt to put on the stage in musical comedy plot two characters of embarrassing resemblance to prominent members of the English Department...
...plot of the picture goes back to what he remembers, sitting in the cinema dressing room over a makeup table. He remembers himself as General Dolgorucki, a gaudy young officer, commander-in-chief of the Tsar's army. Two revolutionists come to this young officer to have their passports examined; a beautiful actress and her friend, a young theatre manager. The Tsar's cousin sends the man to prison for an impertinence and asks the girl to have dinner with...
...inhabitants, with the exception of one beautiful girl, find their presence highly disagreeable. Wallace Beery becomes an Alpine guide, a profession in which his efforts are ludicrously insufficient. As Now We're in the Air at one point descended to extraordinarily vulgar farce, so Wife Savers allows its plot to depend upon a somewhat ribald interpretation of a note, written by the heroine, in which she informs the hero that he will have to marry her because she is in trouble. Wallace Beery also confesses in a subtitle that he is not to blame for having been born a month...
...irreverent and eminently amusing Taming of the Shrew in modern clothes there has been no long run of the Bard's shows. Therefore, George Arliss was strategically situated to seize serious theatregoers by the ears and drag them toward his Shylock. He may still do so. No one can plot the perversities of theatregoers. Yet it was the feeling of many authorities that his Shylock was indifferent...