Starring Ramon Novarro and Alice Terry
December 1923

This is one of the great pictures of the year. The French Revolution is a big subject for any motion picture director to tackle. Mr. Griffith did it successfully in "Orphans of the Storm," and Rex Ingram has done it again, fully as effectively, in "Scaramouche." Mr. Ingram has rather turned the Sabatini novel upside down. The author made the French Revolution incidental to the love story. In the picture, the love story is the incidental part. As a result of this, the first half of the film, to those who have read the book, seems a bit jerky. But when Mr. Ingram swings into the scenes of the Revolution, the picture has a wonderful breadth and sweep. The scenes of mobs of half-crazed men and Amazonian women racing through the streets of Paris waving their rude weapons and singing the "Marseillaise," are marvelously done. Nothing more striking has been seen on the screen than Danton leading his terrible army to attack the Tuileries. The night scenes also, lighted by bonfires, are almost terrifying. Mr. Ingram has used all his great skill in making this picture, and it is the best thing he has done since "The Four Horsemen." Ramon Novarro, who plays the title role, has developed into an actor of power and charm. He is ideal for the role. Praise of him in this production means even more because he is playing opposite such a splendid actor as Lewis Stone. Mr. Stone, as the villainous Marquis, gives a performance that ranks with his finest. Alice Terry has little to do, but she does that little well and is always beautiful. Special commendation is due Mr. Ingram for his fidelity in casting. Danton, Robespierre, Marat, the King and Queen, and Napoleon are all true to life. Settings and photography are remarkably good.

Starring Ramon Novarro and Alice Terry
January, 1923

We wonder if anything in the world has been more thoroly dramatized than the French Revolution. Now comes Rex Ingram's worthy "Scaramouche" which gives us France in those troubled days immediately preceding the Revolution. And while the historical characters of this time have mingled frequently of late with the fictitious characters of the screen, never before have they possessed such physical accuracy.

"Scaramouche" borders perilously near the spectacle group but, after all, it is of a nobleman who joins the people under the guise of a performer. . . there, coming by his name of Scaramouche . . . in order that he may avenge the death of his friend. So you are not irritated by the import given to spectacular things. Nor are they permitted to obliterate the activities of those people in whose fortunes you are most vitally interested.

Really, the acting honors must be divided between Ramon Novarro and Lewis Stone. For while Alice Terry is beautiful to see in the white wig and brocaded satins and laces of the heroine, she is given few emotional opportunities. Lewis Stone corroborates his splendid reputation as an actor in the conniving and unpleasant role of the noble. And Ramon Novarro in the title role does finer things than he has ever done before.

All in all, Rex Ingram, has done well with "Scaramouche." It will probably stand as one of the best pictures of the year. "Scaramouche" stands out brilliantly in the procession of screen offerings; but it does not point the way to any cinematic Utopia.

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