The educational screen (c1922-c1956])

Theatrical Film Critique 337 ROMANCE AND ARABELLA (Selz- I nick) I Again comes Constance Talmadge in a delicious chicle suited to her capacities for creating deli- ious and chuckling humor. As the romantic I. oung widow against the true hlue background [>£ gentle Aunt Effie (Gertrude Claire) and the Ldoring "Bill" (Harrison Ford), who knew "If he ould keep her from tying herself up for life, ie'd have his chance some time," Miss Talmadge days better comedy than she has had a chance o play for many a moon. The entire production, It he entire cast were scrumptious! But, these three stand out most genuinely warm with fun! {Church ind community use.) THE KENTUCKY DERBY (Univer- sal) Reginald Denny of "The Leather Pushers" made a mark for himself in the fight serial, a mark which he does not dull in this old and hack- neyed tale of races and intrigue and the round warm moon of the southland. A safe film for enjoyment providing you do not object to trite and familiar material. (Theatrical only.) EAST IS WEST (Selznick) One of the closest adaptations of a stage play we have ever witnessed. Billy Benson could have been cast with more discrimination. It is a shame that the faithful Mr. Ford did not appear in the role. But surely Constance Talmadge matched Fay Bainter with the piquant Ming Toy. (The- atrical only.) ONE WONDERFUL NIGHT (Univer- sal) More like himself in this film is Herbert Raw- linson. He goes through a series of wild adven- tures with snappy fighting. A fairly good melo- drama. (Theatrical only.) THE WOMAN WHO FOOLED HER- SELF (Associated Exhibitors) Mae Allison and Robert Ellis, in an exotic narrative, present themselves, an impressive pair. Fairly reminiscent of the old Centaur and his son in "The Four Horsemen," are this son and father of modern Spain. The honor of an Eng- lish gentleman matched against the honor of a Casablanca; the bitter fruits of the woman, who fooled herself, and loved where it was but a game to love, make a thrilling tale. The admirable cast makes it convincing. (Theatrical only.) THE HANDS OF NARA (Metro) Clara Kimball Young and Mr. Dexter do their best with a roundabout continuity and slim chance for anything worthy of comment. (Theatrical only.) SKIN DEEP (Paramount) Milton Sills is always reliable. Place him in a stirring story with the fine sincerity of Florence Vidor and the production is bound to "get by" immensely. (Theatrical only.) REVIEWED PREVIOUSLY For details of these films see respective issues IN SEPTEMBER THE STORM (Universal Jewel). Violent and old melodrama; excellent acting. (School and community if censored.) GRANDMA'S BOY (Associated Exhibitors; Pathe distribution). In which Harold Lloyd grad- uates from even Lloyd slapstick. (School and community.) A WOMAN OF NO IMPORTANCE (Select). One of the year's best. (Theatrical only.) THE CROSSROADS OF NEW YORK (First National). Very funny if you get it! (Theatrical only.) SONNY (First National). A Barthelmess film; passport enough. (High school and community.) THE BACHELOR DADDY (Famous Players- Lasky). A serious bachelor's triumph over five "banes of his life," (School, Church and com- munity.) ORPHANS OF THE STORM (United Artists Corporation). A barely even toss-up between Grif- fith talent and Griffith weakness. (High school and community.) THE DUST FLOWER (Goldwyn). In which the cold silence of the cinema takes unto itself warmth and chuckles! (School and community.) OUR LEADING CITIZEN (Famous Players- Lasky). Pretty reliable. (School and community.) THE MAN FROM HOME (Famous Players- Lasky). Fair. (Community.) DOMESTIC RELATIONS (First National). "Will pass in a crowd!" (Possible church use.) WHAT NO MAN KNOWS (Equity). Old plot, reassuring narrative. (Theatre only.) FOR THE DEFENSE (Famous Players-Lasky). Indifferently good. (Theatre only.) STOLEN MOMENTS (Silton). Good for nothing.