Cinema: The New Pictures Dec. 14, 1925

Clothes Make the Pirate. Leon Errol, bald comedian with a bad leg, made his screen debut in Sally and has followed with a starring farce. He plays a weak-spined little tailor, who pines for romance and gets it through the medium of being kidnaped by pirates. A good deal of the comedy is based on Mr. Errol's noted knee, which gives out suddenly and often. Those in the smaller centres who have never seen this knee go wrong will be particularly amused.

The Road to Yesterday. Cecil De Mille, the prophet of midnight bathing parties and purple society dramas, has suddenly turned serious and to ill-effect. He has produced a drama in which the modern craze for psychology and complexes is the inspiration. It is a strange hybrid and smacks of Hollywood. Joseph Schildkraut is the star. His personality and appeal, so valuable in the legitimate box office, do not screen particularly impressively.

The Masked Bride. Another of those hideous paintings of Paris— Apaches and Manhattan millionaires and virtuous ladies—is provided for Mae Murray. She plays a feminine crook whom love lures away from the treacherous paths of wickedness.

The Best Bad Man. Tom Mix

is one of the chronic stars with whom you cannot quarrel. He always does the same, does it well and to the complete satisfaction of the millions. If it is stereotyped and unimportant it does not matter. This cinema is a Western rouser with a dynamited dam and flood at the climax.