The educational screen (c1922-c1956])

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The Educational Screen Washington Irving (Hodkinson)— The reel begins with a characteristic quota- tion, Followed by views of "Sunny-side" on the Hudson, the author's home during his later years. Characters from the Sketch Hook come to life before us—Rip \ .m Winkle first, and then Ichabod Crane. The former is a fairly adequate portrayal of old Rip as he awakens from his long sleep—although in comparison with Jefferson's playing of the part in the longer "Rip Van Winkle" it suffers. Ichabod Crane is a good character study, though hardly fantastic enough in ap- pearance to suit the hero of the Legend of Sleepy Hollow. The encounter with the Headless Horseman in the "en- chanted region" is well done, although the retreating figure of Ichabod disappearing down the road takes some of the eery mystery away from the closing lines: "And the ploughboy, loitering home- ward of a still summer evening, fancies his voice at a distance, chanting a melan- choly psalm tune among the tranquil solitudes of Sleepy Hollow." Henry Wadsworth Longfellow (Hod- kinson)—Another of the American Au- thor series, published by the Kineto Company of America. The reel opens with a quotation as characteristic of the author's thought: "Were half the power that fills the world with terror, Were half the wealth bestowed on camps and courts, Given to redeem the human mind from error, There were no need of arsenals and forts." The reel follows the customary plan of the series: several scenes show the poet's birthplace and his early home in Port- land, followed by views of Bowdoin Col- lege, so closely bound up with Longfel- low, as student and professor, and "Craigie House" in Cambridge where Longfellow lived while he was teaching at Harvard. These views are well prJ tographed, although the titling is not, some cases, all that could be desired. I Longfellow is most popularly kno\J perhaps, by The Village Blacksmith, ai it is a dramatization of this poem to whij the remainder of the reel is devoted, HI the scenes shown only the interior of tl blacksmith's shop, the anvil, the smi] at work, and the little children "* * * coming home from school, Looking in at the open door," it would have been a fine contribution j an understanding of the atmosphere at background of the poem. Here agaj how r ever,—as in some other reels of tj series—a too literal picturing of every 19 is attempted, and the whole is mam by the introduction of a touch for whit the poet is not responsible. TRAVEL AND SCENIC The Blanket Stiff (Educational Fit Corporation)—One of the Bruce Wilde ness Tales—the story (to scenic accoc paniment) of a bookkeeper "chained 1 his desk" in the time of spring, who looj out over the city to the river beyond, ar goes roaming, blanket roll on his bad He becomes an itinerant harvest hal first in the berry fields—where he prow an unprofitable helper because he eij more than he picks—and finally Aug! finds him in the wheat fields of eastei Oregon. What follows is the only justificatic for the reel, from an educational stall point. The scenes of the waving whes fields, the harvesting of the grain, clos ups of the caterpillar tractor, the con bined harvester and thresher, and evt the final sewing of the filled bags, i splendid. Would that this subject h? filled the entire reel. As it stands the picture is marred 1 least for the best school use) by an omh dose of slangy titles, and the effort 1 weave a story into a scenic and industfl subject.