The educational screen (c1922-c1956])

School Department 297 how little Heidi, becoming a burden her aunt, is taken to the Aim Uncle liye. Here develops a childhood at- chment for Peter, the shepherd boy. fter a time Heidi goes to live in a ealthy city home as a companion to ara, the little crippled girl, but she longs r her mountains, and is finally allowed return, taking Clara with her. Heidi ts out to prove to the little cripple that things are wished for hard enough, the wishing true" will accomplish the seem- gly impossible. Heidi's philosophy oves true, for in the end Clara walks ithout her crutches. A film well adapted for child audiences, is not without interest for adults, adge Evans does the part of Heidi ap- alingly, and Aim Uncle and Peter are ell suited to their roles. Moongold (Warren) 2 reels—The old ory of Pierrot and Pierrette, in a ghtly different version this time, how- r er. Pierrette's head is turned by the wels she is offered by the Rich Man, and )or Pierrot is commanded to "go out id earn more." He wanders to a tmbling palace, a theft is committed, id the blame falls upon him. He is ought before the judge and sentenced. The Rich Man soon tires of Pierrette, id Pierrot, his sentence up, starts to arch for her. As she leaves the home the Rich Man, she comes upon Pierrot :ad—and awakens from her dream. "Better one red apple and contentment an many pearls with tears." Not a film for juvenile audiences, upon horn much of its subtle suggestion ould be lost. For a general program, jwever, it is a delightful subject. In ie manner of making, it is decidedly hre\ —the costumes in white against a ickground of dark plush giving a sil- mette effect. The Song of the Lark (Pathe) 2 reels As the lark's song is the inspiration to Hubert for his "Hark, Hark the Lark," and to Jules Breton for his famous paint- ing, so to Marie of the film story, a girl- ish figure halting in her steps that she may better hear the notes, the lark's song is symbolic of her own precious freedom, which Pierre in his dominating way threatens to overshadow. The story in- volves Jean, the artist in a nearby cot- tage, who looks to the girl for his in- spiration, and whom Pierre regards as a serious rival. He tempts Jean to go to a nearby city to follow his career, and to taunt Marie, he brings her a caged lark. Finally, after much unhappiness on the part of the principal characters Pierre proves his better self by risking his life in a fire, to save the bird. The loss of his sight is threatened, but at last, with returning vision, comes a new appreciation of the real values of life. A loose thread of story serves to bind together much that is charming in pho- tography. Quaint peasant homes and primitive surroundings are responsible for much of the appeal of the reels. Hope (Hodkinson)—Another of the beautiful Triart series—several of which have been reviewed previously in these pages. George Frederick Watts' painting is the background of the picture. The story which inspired him is told by the artist to one of his models, who is weary of the world, and can portray only sor- row. It concerns the daughter of a light- house keeper on the Breton coast, and her sailor lover, who set sail soon after their marriage, and for whom she waits and longs, only to see his ship returning in flames. The rescuing party come back with no trace of him among the surviv- ors. She waits beside a cradle, never giv- ing up hope, until finally he comes. Done with a finesse in acting, and re- markably beautiful photography char- acteristic of these subjects, the reels are to be most highly recommended wherever something unusually good is in demand.