The educational screen (c1922-c1956])

Theatrical Film Critique :;o: f Broadway to the quiet tenderness of a ountry mother and a iarm-house fire- ide. No one but Mae Murray could put cross this film, but she is not to be de- ied. Monte Blue makes a strong back- round for her crushed beauty. (Theatri- al only.) MANSLAUGHTER (Paramount) This lengthy production, somewhat >ropagandic in nature, is impressive as veil as entertaining. But for the absurd nserts of elder-day debauch and reck- essness, the continuity was splendid, sus- aining tension to the last reel. Thomas ^eighan, as always, was steadily the re- trained actor but the great fulfillment of nany earlier promises was Leatrice Joy. The silver sheet has achieved another jroung woman of fine intelligence. (Church, school and community use, with caution.) TO HAVE AND TO HOLD (Para- mount) An old, old favorite resurrected and re- dressed for the baby among the arts! An Entirely worthy picture with the dashing and competent Bert Lytell, the erratic and colorful villain, Theodore Kosloff, and the pretty and common-sense Betty [Compson. (Theatrical only.) THE VALLEY OF SILENT MEN i (Cosmopolitan) . A thoroughly Mounted-Police-cold-north tale with thrills in action and scenes. But for the unconvincing tremors of Miss Ruhens (and you forget them under the spell of her black-eyed beauty) you will find this enjoyable melodrama. ".(Theatrical only.) WHITE SHOULDERS (First National) I There seems to be no recourse but to stop re- viewing Katherine MacDonald's pictures, if we con- tinue to be hurt by seeing a beautiful and intelli- gent actress slip farther and farther away from ller promising work of earlier films. (A r o use whatsoever.) BURNING SANDS (Paramount) "An answer to 'The Sheik'!" say the advertise- ments. We would say, an echo and a poor one. But for the fine acting of Milton Sills and Wanda Hawley this is a tiresome desert film. {Theatrical THE BONDBOY (First National) It is a disturbing irritation to sit through a poor Barthelniess picture, yet such is the mumbling, drawn out Bond Boy film with its over-effects in the cell. Richard Barthelmess himself is the same wistful, sensitive actor; likewise Mary Thurman performs creditably. The star, however, is the splendid characterization by Mary Alden,—the shrinking, broken- spirited wreck of a once imperious woman. Miss Alden as the mother of the bond boy brings the agony of the poor house, the ruthless stress of circum- stances, mightily near. We hope that Mr. Barthelmess will find worthier vehicles. (Some church and community use.) REMEMBRANCE (Goldwyn) Some may like this film despite its many over- drawn moments and its maudlin sentimentality. It should have been an excellent film, and, in spots, is, but the continual occurrence of poor acting and over-drawn effects ruins it. (Some church and community use.) THE GHOST BREAKER (Paramount) Wallace Reid has stood for efficiently entertain- ing comedy, but "The Ghost Breaker" falls far short of his usual standard. (Theatrical only.) LOVE IS AN AWFUL THING (Selz- nick) A thoroughly funny Owen Moore story. Mar- jorie Daw is a cunning support. (Theatrical and some community use.) SOUTH OF SUVA (Faramount) A poor and bizarre tale with nothing to redeem it unless the charm of Miss Minter is sufficient unto that end. (For no use.) PINK GODS (Paramount) A film of romance and adventure encircling the brilliantly alert Miss Daniels. Mr. Kirkwood is occasionally sentimental. (Theatrical only.) THE KICK BACK (R. C. Pictures) A tiresome tale of the up-to-date prohibition western town, just this side of the Mexican bor- der. Harry Carey is careful but that is all to be said for his acting. Miss Terry is wooden. A poor picture. (For no use.) MOONSHINE VALLEY (Fox) In which the heavy William Farnum is heavier and more nauseatingly sweet than ever. We wonder what the gentleman would do to register love, anger, dismay or whatnot, if he could not protrude his eyeballs as he so faithfully does. (Good for no use.)