Picture Play Magazine, March 1925
The Screen in Review
Critical Comment on Current Releases
By Agnes Smith
Caricature by John Decker
Recommended as An Antidote.
“Romola” came to New York about the same time that “Greed” opened. It is Lillian Gish’s latest picture but it is Miss Gish’s picture in name only. The movies are a foolish business and “Romola” proves it. Here we have a girl who is rightly considered one of the greatest actresses on the screen. Instead of choosing a story that gives her an opportunity for all of us to enjoy her great gifts, her advisers drag out a slice of insomnia by George Eliot which gives Miss Gish nothing to do but dress in a fifteenth century Florentine gown and lug great big heavy books around a handsome set. It seems plain foolishness to me and all the more incredible because it must have been consummated with the consent of Miss Gish herself.
As George Jean Nathan has told the world, Miss Gish is hot stuff at suggesting emotions rather than acting them out. The trouble with “Romola” is that she has no emotions to suggest. She has a few scenes of great acting but most of these scenes are done without the aid of any close-ups. It is great art but it is awfully rough on literal-minded audiences. They feel cheated, baffled, and enraged. “Romola” is the story of a girl of a noble Florentine house who is married by her father to a handsome young adventurer who has wormed his way into the blind man’s affections. The father dies and the husband becomes involved in Florentine politics, which were as shady then as they are now. The girl is neglected and the husband sets up a left-hand household with a pretty little half-wit.
The little half-wit is played by Dorothy Gish, who gives a performance that is sometimes excellent and occasionally perfectly trite. The main glory of the acting goes to William Powell, who has the only real part in the picture. Mr. Powell plays the role of the unscrupulous scoundrel but he plays it so lightly, so easily, and so zestfully that he runs away with all your interest and most of your sympathy. Ronald Colman is the hero who has nothing to do but sit in a corner and wait for Fate to kill off the villain. Mr. Colman grew a lovely head of bobbed hair for the part, while Mr. Powell wears a very obvious wig.
Nevertheless, Mr. Colman doesn’t even ‘get a chance to wave his hair in the breezes, so Mr. Powell romps off with the glory, wig or no wig. The direction by Henry King has moments of being great but the story is clumsily told and the characters rather muddled. However, much of this can be blamed on the difficulties of making pictures in Italy and on the hash that was wrought in this country when the right place.