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The Child's Theatrical Movie BECAUSE the theatrical film for children is a distinctly different problem from that for the. adult, this department will hereafter include a section devoted to varying material of interest to and guidance for the parents who wish to protect their children from the many obvious dangers of a promiscuous viewing of films. Brief articles by authoritative students of child psychology, editorials based on the personal observations of teachers and parent correspondents, film digests of the current productions possible for the child audience, and special articles on special problems of the producing and distributing fields as related to films directly designed for juvenile consumption are some of the phases our subject matter will include. It is hoped, by the editor, that parents and teachers will read this section earnestly and, whether laymen or experts in their respective occupations, will promptly send to the editor any question, suggestion or mere observation they may care to make public for the forwarding of the general good. PENROD Enhanced by the personal presence of Wesley Barry himself this film of the American boy is drawing large and warm audiences. As a whole the film deserves its popularity. Perhaps no child prodigy of filmland has been more spoiled than Wesley Barry. What happened to Jackie Coogan in "Peck's Bad Boy" has hap- pened to Wesley in several of his latest films. A disturbing air of what in street slang amounts to "smart aleckness" char- cterized his work after the first films. Some say such a development is unavoid- able. If this were true, then, in the name of all we hold as best for Ameri- can children, keep Wesley Barry or any other out of films, not alone for his own sake but for the sake of the thousands of children who would witness his films and carry away in their subconsciousness det- rimental impressions. But we insist that this development need not be the only possibility. Jackie Coogan's return, in "My Boy," to the sweet and adorable naturalness of "The Kid" proved that Jackie's disagreea attitudes of sophistication were not but somebody else's fault. The opposition may say that one exa pie does not warrant a general cone sion. That we grant, yet Penrod, but certain gestures here and there in 1 first scenes, bears out our theory. W ley was genuine in this film. Yet wonder how he nonages to be with 1 mental associations in his mental life < pressed in some of the monologue he p sented to Chicago audiences personal Parts of it were exactly what such lad would present; but parts (and 1 audience applauded them vigorous! made us sad, depressed, bringing the action of "What is the use?" Penrod itself, as a story, represents the sophistication necessary to even ( advanced twentieth century child of p< war days. We, as critics, realize that I city child is not and must not be 1 sweet, guileless youngster of the ru community or the urban kiddie of 1 years ago. Life is too neurotic, too sw too demanding of early maturity, for 30