The educational screen (c1922-c1956])

Theatrical Film Critique 201 road sense, it has a story of redemption, rought about by the purging pain of war xperience, that makes it a worthy Him.) k HE BRUCE WILDERNESS TALES (Educational Films Corp.). Of the several scenics Robert Bruce has lade, we wish to comment on two. First, My Country, frankly a scenic, tied only by its title and constant refer- ence to that title in the subtitling, is a series of the most beautiful and gripping fenic effects we have ever watched. In e beauty of huge sky spaces swept with the moving glory of clouds, in the eerie effect of standing on a mountain top and watching surrounding peaks becoming isolated islands lost in the swift approach of a fog rolling in from the sea, in the strength of tall poplars reaching against the sunset, and last, in the glitter of trout streams dropping eventually over black cliffs, moving love for "My Country" is inevitable to the watcher. Second, in Women Must Weep we find all the stern reality of that old song rep- resented in the story of the fishermen who leave and "the children stand watch- ing them out of the town." The fury of the sea, the tireless energy of its creep- ing surf over its "moaning bar," the courage of fisherwomen going back to their shacks "to wait," the gathering of white-capped frenzy — these things have never been pictured as here. {Every school, church and community should make use of this series.) NE CLEAR CALL (First National). A film arraying Milton Sills and Henry r althall ought to achieve something. One lear Call is one of the few serious screen ■amas attempted. It succeeds partially, enry Walthall is again the powerful, re- rained emotionalist of his early days, bat alone makes the film an event. At no oment did Mr. Walthall make his some- hat difficult part anything but what a "eat actor would make it. To present a man who had spent his life in defying his better self so that his friend's last remark, "His soul has passed mine by," could be reality, was an achievement. Milton Sills is always reliable, although we have seen him do much better than in this film. Claire Windsor was never meant for the role she played. Miss Rich overacted; her mother grief was vulgar. The operation was amus- ing. But, despite all discrepancies, art lov- ers must welcome the old Henry Walthall genius. {Certainly not for school use. Cer- tain church communities might accept its lesson of redemption rather than punish- ment.) YELLOW MEN AND GOLD (Gold- wyn). A tale of buried treasure carried by the animated Richard Dix and the cunningly petite Wanda Hawley. The Chinese back- ground was well chosen, particularly the kindly fat and grinning Captain Chang. The transition from the novelist's room when he finds his returned script to the opening of it was clumsy, but perhaps there was no better way. We were not impressed with the picture, yet an evening's enjoyment may be possible. {Not a school possibility, we think.) THE ROPIN' FOOL (Goldwyn). Will Rogers' skill with a rope analyzed by slow motion is, in itself, enough to rec- ommend this film. In addition much of the humor is delightful; there are scraps here and there that require frank acceptance of a device, but that ought not hinder the applause. {An interesting picture for school room use, although for entertainment rather than education. Too, younger children would lose much of the humor, although they would enjoy the roping stunts.) DON'T WRITE LETTERS (First Na- tional). Gareth Hughes out-does himself in the gestures and attitudes that make him de- lightful. A good story. {Community and church possibilities.)