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Theatrical Film Critique 239 )NNY (First National) the tale of two "buddies" who hap- led to look so much alike as to enable : poolroom boy to return to the home the rich youth in order that the lat- 's blind mother might never mourn the [s of her son, is interpreted as only Ichard Barthelmess can. It is true that I Margaret Seddon, Patterson Dial and uline Garon, Mr. Barthelmess had an tpiring and efficient support. Yet, even we think we cannot commend too ich the polished acting of this young Ln. (High school and community use.) K BEAUTIFUL LIAR (First Na- tional) [This department has grown weary of hsuring an actress it fain would praise. | her pictures of late, Katharine Mac- Lnald has lost all the quality that once ide her not only good to look at, but ilightful to feel with the many emotions ! r powerful gestures and steady eyes luld shadow. The Beautiful Liar is lother of those attempts to be farcical in tacock style. It falls flat—absurdly so. 1 are glad to remark that Miss Mac- onald was not posed in as many stilted bse-ups as in other productions. Recommended for no use whatsoever.) JUR LEADING CITIZEN (Famous Players-Lasky) With the reliable Mr. Meighan and the t arming Lois Wilson, no picture could il. A trite remark, we are beginning to [alize, but a true one nevertheless. In Idition to this advantage, there is the xellent character work of Lucien Little- bid. The film is built on a high-minded iirrative. Yet the action ambles through jid about its climaxes most disturbingly, he post-war story was sufficient; the |*e-war shots could well have been nitted. They delayed or confused, as lie case might be, the gist of the tale. For school and community use.) THE BACHELOR DADDY (Famous Players-Lasky) There has never been a picture of more genuine virtue than this amusing tale of a bachelor daddy required to get a family of live and squirming youngsters across the continent. The dominating Mr. Meighan and the well-selected cast of youngsters lifts The Bachelor Daddy up among the exceptional productions. (Distinctly for school, community and church use.) ORPHANS OF THE STORM (United Artists Corporation) This comes, as do all Griffith films, with tremendous possibilities. It is usually a gamble as to the outcome. The old French play has been excellently adapted to the screen. The sets are beautiful, the action fascinating at points, the individual work of Monte Blue and the Gish girls excellent. But the film shows the Grif- fith weaknesses. In the first place, the Gish qualities are "out-Gished"; Miss Lil- lian is never allowed to register her emo- tion completed, without the wan look of agonized innocence which first made her famous. Even the most beautiful in life can be ridden to a ridiculous death! But over and above this possibly forgivable fault was the utter trash of building up suspense by needless mob flashes and the shots of the slowly manipulated guil- lotine as the hero Danton rode to the res- cue. Such faults are the cheap and now despicable errors of the crude beginnings of the photodrama. (For high school and commuity use.) THE MAN FROM HOME (Famous Players-Lasky) James Kirkwood's presence saves this film from being an utterly bad adaptation of a much loved play. (For community use.)