The educational screen (c1922-c1956])

2G The Educational Screen the Ibbetson manor. It savored too much of the faintly ironical young man of "Don't Tell Everything." But what- ever of distinct self consciousness he be- trayed in the beginning he lost as the film proceeded. By the time he had left his uncle's house, and even in the brief moment he faced his uncle, Reid was an- other man, a new and forceful actor. Whether it was a happen-so or not, I can not say, but after Miss Ferguson's appearance in the story, Gogo rose to real heights. It would be difficult not to rise to the sincerity of Elsie Fergu- son in a role peculiarly adapted to her qualities as a woman. I am not sure that the experiment means anything in a future sense but certainly Wallace Reid overcame the handicap he worked under. He was best when he held his face in a sterner repose; two of his closeups gripped as did that unforgettable Chaplin close-up in "The Kid," mentioned in this department before. It was pain sha- dowed perfectly. There was a closing flaw, however, that came near to ruining the whole. The final embrace of Mimsey and Gogo, as the spirit of the latter left the body, was lovely. "The foolish world will call you dead, but you have just begun to live." Then the perspective changed; the figures enlarged, at the same time moving upward considerably before the fade-out was finished. That was a touch of the maudlin spirit stuff that has made such a theme almost impossible to picture forcefully. Why could we not have seen the reunion of those lovers without any such cheap suggestion? It was a fatal misstep. On the whole I advise those interested in the various possibilities this film illus- trates to see "Forever." Also, this de- partment wishes to congratulate Mr. Reid on some very significant promise if he will be wise enough to patiently watch himself through any similar efforts. MISS LULU BETT A film drama of the commonplj which might have been photographed any one of a thousand homes, where! there is a master of the family whi favorite weapon is sarcasm, an easy-l ing wife, a rebellious elder daughter ] whom home has no attraction, a pee>| grandmother given to tantrums, and family "beast of burden"—an uncoj plaining, tired drudge. It is not, perhaps, necessary that I film "adaptation" of Zona Gale's noi should be faithful in all details. "J village music store keeper of the std (for some reason known only to t scenario writer) becomes in the film 1 v'llage schoolteacher. We suspect it n| be because it furnishes an opportunity i the usual ending common in schoolrod scenes—a touch which could easily ha been spared, considering its frequen in former productions. In the first few scenes, Lois Wilson' Lulu rather overdoes the part, but s becomes convincing with her pathe little clutch at romance when the scliai master calls upon her—only to find tfl he came to ask her to cook for the schfl festival. Lulu's marriage to Ninian Deacon- burlesque ceremony which the chan presence of a justice of the peace mak a civil ceremony in that state—turns o tragically, but not before Lulu, uni) the spell of romance, and the example, the ladies in the hotel in Savanna Georgia, becomes transformed and bl<| soms into charm. Her return to the drudgery of h former position in her sister's househo is not without its touch of tragedy—| realistic and genuinely human it is. \ chance for a consistent finish—but Li} is made to revolt in an ugly mood ai furnish a cheap touch calculated to a peal to the discriminating public whS