Cinefórum-Clásico

Life and logic, those twin qualities that are so frequently neglected by film producers, persist throughout "Homecoming," the Ufa picture now decorating the Paramount Theatre screen. This gripping study is an adaptation of Leonhard Frank's novel "Karl und Anna." It may not have the advantage of the glittering and sparkling scenic effects of "Variety," but as a cinematic effort it is something equally fine and perhaps far more inspiring. It may seem to be a trifle slow, but on thinking this over one is inclined to be thankful that it has not been filmed with the reckless speed of most photoplays.

Its well-worked out, simple plot is all the stronger for not being stuffed with extraneous incidents. If levity arises it comes naturally from two of the three characters. It is a tale that is infinitely finer for its silence. In fact, as the action grinds along, usually in dismal surroundings, it often brings to mind the writings of Jack London. In the exciting dramatic sequences there is no popping of eyes or rigid poses; everything is performed with an appreciation of the power of restraint. It is very different from the ordinary run of pictures and except possibly for the appearance of the girl, Anna, there are no concessions to the box office.

In the opening chapters there are two German soldiers, Richard and Karl, who have been captured by the Russians and have been set to work running a primitive type of ferry. Richard is a glum but imaginative man, who is constantly bemoaning having had to leave his young wife to go to war. He counts the days since he saw her—729 days at the outset—and eventually he declares his intention of risking the lead mines by making a bolt for freedom. Karl would rather wait, but he decides to take chances with his friend.

There follow some impressive scenes supposed to be in the Siberian desert. Richard is exhausted through lack of water, and Karl carries him on his shoulders, staggering along hopefully. Finally he puts down his pal to go scouting for water, which he finds. In the meantime Cossacks are perceived approaching, and one of them with remarkable ease slips from the stirrups to standing in the saddle, to look around. It is he who first notices the prostrate figure of the German soldier, and Richard is carried away by these horsemen. After searching for Richard, Karl continues alone with a filled water bottle.

Having lived with these stretches of the picture, it is with some relief that one perceives the buildings of a city. It is like going back from the war zone to a thickly populated district and enjoying every face after having been away for weeks. Karl goes to Anna's abode, and he hopes to find Richard there, but Anna has not heard a word for months of her husband. Here the story lacks a title and perhaps a few scenes, for apparently little is done by either Karl or Anna to ascertain what has happened to Richard. This may have been inadvertently dropped out in editing the film for this country. But it should be said that Julian Johnson has done clever work in giving this picture calm and suitable English captions.

The cheery platonic existence of Karl and Anna is filmed in good taste and with a true appreciation for the natures of the two people. Karl wants to be true to his friend, but there are moments when his thoughts of Anna, the woman, are disturbing. Then his imagination flies to an idea of Richard in the lead mines. And so one comes to Russia throwing down the sponge and liberating the prisoners, among whom is Richard.

The hardships of travel are vividly filmed as Richard is perceived first making his way across Russia, then through Germany until he eventually turns up at his home. Richard, incidentally, had been the first mate on a ship before he was married and he willingly went to work at a more humble job to enjoy life with his bride.

Richard pops his head through the door and sees Anna in Karl's arms. Richard calls Karl a rat and then both Karl and Anna assure Richard that nothing has happened between them. It was, they explain, their first kiss. Anna, however, has learned to love the smiling Karl and she rebuffs her husband when they are alone. This results in a shrewdly filmed scene: Richard, believing Karl to be asleep, goes to his coat and brings forth a revolver. Karl understands that Richard is going to shoot him and, believing that it is the best way out, he pretends to be asleep, even when Richard slowly puts the revolver close to Karl's head. Then Richard's thoughts go back to the time when Karl carried him hour after hour on his back and he slips the pistol into his pocket.

It is Richard who decides the ending of the story, which it can be said, concludes without a tragedy and yet with true psychology.

Dita Parlo, who recently arrived in this country to act for Famous Players-Lasky, gives a fine performance as Anna. Her hair is perhaps rather carefully attended to, but that is a minor matter when one considers the adroit manner in which she handles her part. Lars Hansen, who figured as the Rev. Dimmesdale in the picturization of "The Scarlet Letter" and was also seen in other Hollywood pictures, including, "Flesh and the Devil" and "Captain Salvation" does excellent work as Richard. He gives a real human portrait. Gustav Froelich is wonderfully successful in presenting Karl, the true-blue, with a spirited, cheery and wholesome nature.

This picture was directed by Joe May, but its greatness, without detracting in the least from Mr. May's work, is probably the result of Erich Pommer's supervision. Yet Mr. Pommer went to Hollywood and the producers there could not see eye to eye with him and it was for that reason that he returned to his native land. He has, at least in this instance, succeeded in bolstering up the Ufa product as he did in the past, for he was in no small measure responsible for the imaginative sequences in "Variety." The New York Times Company