"The Bowery" is a tale of the lower castes of New York in the gay nineties. The cast gives a fair idea of the thing; since there is Jackle Cooper, there is sticky and unpleasant sentiment. Since Wallace Beery is present, there is heavy comedy; since George Raft is on the scene there is someone tough and light and virile. All these things, predicted from a reading of the east, come true. Nevertheless, the show is entertaining. Chuck Connors, a saloonkeeper, wallows about in a sea of beer and oaths, delivering beautiful blows to the jaws of his enemies, and, at one point, emitting a belch which is a classic. He is flashy and rude, with diamond horseshoes and checkered suits; he is not always convincing, but he is always amusing. George Raft shows us Steve Brodie, the Bowery's most famous character, in all the glamour and belligerency of his mad career. When he and Chuck Connors meet on a barge to settle their differences with their dukes one is treated to a really good exhibition of gory slaughter. All the variety and all the bloodlines of the actual time and scene is presented to us; it may net be altogether authentic, but it is interesting. The only really bad parts of the picture are those involving Jackie Cooper, who should surely be removed from the screen. He is disgusting sentimental, and has not a single Varity to recommend him to any except the varies old maid.
"Beauty For Sale," the other pictures is sufficiently entertaining: Many Evans and Una Merkel keep it alive.