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Theatrical Film Critique 203 is are rare occurrences in the present Id! POLLY OF THE FOLLIES (First National) (Mar.) Constance Talmadge has never had a )re distinctly funny vehicle in which to ray her beautiful assortment of delicious imaces and ridiculous gesticulations. A m for all who retain the gift of a sense humor! C. Unclassified LITTLE LORD FAUNTLEROY (United Artists) (Jan.) We did not include this film in Group A cause of its primary appeal for children, ary Pickford has given to the screen any a characterization, humorous and rious, but in no film has she had the op- irtunity to demonstrate how she can blend | two,—first, in the gallant little Lord .untleroy and second, in the wistful, vely "Dearest". We do not hesitate to say that Little Lord '■untleroy in company with The Four Horsemen of the Apocalypse present the two best American films of this or any other year so far. 2. THE QUEEN OF SHEBA (Fox) (Apr.) The best spectacle film since Griffith's Birth of a Nation. But for an over empha- sis of the Tower of David scenes, this story of Solomon (Fritz Lieber) and the Queen of Sheba (Betty Blythe) grips in an appeal essentially epic in emotional scope. Men- tion should be made of little Pat Moore. 3. FOOLISH WIVES (Universal) (Mar.) A picture that remains as unclassified be- cause of its strangely dual aspect. Foolish Wives was a great picture, carefully di- rected, perhaps one of the best in motion picture history. But, in our minds, it could not be listed without this reservation,—its material was unfit for general public con- sumption ; it belonged in psychopathic rec- ords. Ten Worst Productions (Jan.) DREAM STREET (D. W. Griffith) Mawkish in its over-symbolism. EXPERIENCE (Paramount) (Jan.) Symbolism maudlinized and one of the reen's steadiest stars directed into cheap imace. THEODORA (Goldwyn) (Mar.) An inexcusably poor spectacle film that ostitutes the epic possibilities of the reen. A DOLL'S HOUSE (United Artists) (Apr.) Faithful in settings but absurd in every her respect. Mme. Nazimova gives us a ries of ugly grimacing close-ups. MORAN OF THE LADY LETTY (Paramount) (Apr.) Not aggressively but rather indifferently or. A clumsy vehicle for the talents of jrothy Dalton and Rodolph Valentino. (of those reviewed so far) Despite some scattered points of redemp- tion a poor production for Charles Ray to present. 7. THE BARNSTORMERS (First National) (Apr.) So utterly bad that a first run theatre in America's second largest city had to change the announced program after the public had suffered for two days. 8. THE BLACK PANTHER'S CUB (Equity) (May) An excellent story portrayed by the re- liable Florence Reed made impossible by poor and cluttered continuity. 9. THE IDLE CLASS (First National) (Jan.) No plot where plot was intended. Rather dismal slapstick. to. THE NIGHT ROSE (Goldwyn) (Apr.) Poorly written melodrama. Purposeless. R. S. V. P. (First National) (Apr.) Distinctly immoral.