Educational film magazine; (January-December 1920)

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quaint, good-natured, lovable tramp who i* the hero. The story is a simple and oft-repeated one—the making of a man. In this case the raw material is a tramp, and he comes to his better self through being confronted bv a nice question of loyalt\ . The luck\ turn of fate which helps out the di<- inherited and well-tailored son of fortune in most picture? is not vouchsafed to Jubilo—he learned to know right from wrong by nothing less than an administration of old-fash- ioned corporal punishment. But the result is far more convincing than usual. A comfortable background of country life is used, and is most excellently worked out. The characters are distinc- tive and interesting. The story, from the first moment to the last, is told with a rare skill which at once stimulates and satisfies one's curiosity. Surely all those who see motion pictures do not live in the drawing-rooms and boutloirs of palatial mansions, unac- quainted with their own back-steps. Is it not curious that the motion picture so consistently ignores the kitchen, the sewing-room, and the back porch, which mav all be very pleasant and are surely yery necessary parts of the house? Jubilo takes us into the real life of a good, honest, middle- class home, and shows that great emotions, idealism, fine- ness of motive, and fulfilment are no less the characteristics of these millions of ''average" homes than of those furnished h\ interior decorators. Just as the early Elizabethans demanded in their new drama a superabundance of emotion, tragedy and confu- sion, (typified by the wide variety of murders in the Span- ish Tragedy, lor instance I. these early days of the motion picture show a similar tendency to extravagance of setting and incident. But we are being educated to an interest in each other—the common people—and some dav we will have an Ibsen of the screen who shows us life as most of us live it. Then lecturers will explain to their college classes that pictures like Jubilo pointed the way to a wel- come age of genuineness and realism. Jubilo. Produced ami Distriimted by Goldwyn. 5 reels. •AN EQUAL CHANCE" A valuable public health film which was photographed in Dutchess County, New York, in co-operation with the New York State Department of Health is entitled "An Exjual Chance." This film, which is in two reels, presents the public health nurse and her work, and was directed by Carlyle Ellis, of Autographed Films, from a scenario by Gilbert Tucker and James Rorty. The story of the film deals with conditions in Shirley- ville Township, where during the influenza epidemic of 1918 the inhabitants find themselves with only one doctor and no public health nurse. The overworked physician applies to the nursing association in a neighboring city, and a nurse is sent to help out the situation. The nurse points out the necessity for giving all the families in the district an equal chance in the emergency. As a result of her efforts the children in the country schools are taught health habits, and are given regular examinations by a doctor. Through the efforts of one of the nurse's admirers in the district the Healthmobile. showing motion pictures cover- ing various branches of the subject, comes to Shirleyville, exhibiting the work of the public health nurse in open air schools for tuberculosis children, also work among the Shoshone and Arapahoe Indians on the Wind River reserva- tion in Wyoming, and among the negroes in Louisiana. Besides the demonstrations of bedside care, home instruc- tion, and country school nursing which are woven into the body of the story, the "film within a film" makes it possible to include accurate representations of other branches of public health nursing, such as maternity care, infant wel- fare and tuberculosis. .■in Equal Cttance. Produced by .\utographcd Films. Distributed by The Nat. Organization for PnMic Health N'ursing, 156 Fifth a\i-tiiif \>w York. •THK IMMORTAL HLCKLKBERR\ LINN' Huck Finn li\es anew. We all know his adventures and evploits, so they need not be chronicled again. But we have I TXH^r-IL icc^e^ Iroiu ' .-vii ^^aa. *^Q<iilve. a Uim uCitriuiiitj ^.v.- ■"■torially the valuable work of the public health nurse. The New York State Department of Health cooperated in the making of this picture. not all seen the round-faced, round-eyed boy who not only plays Huck Finn but seems to just naturally be Huck Finn. Huck and Tom Sawyer; the immortal pair of swindlers who staged the great tragedy of the Cameleopard: "nigger Jim," Miss Watson, and Aunt Polly—all are as much themselves as could be desired. The story, with the exception of an un- fortunately sentimental interpolation, or rather misplaced emphasis, at the end. runs along properly—we only wish there Were more of it and that there were some way of cap- turing all of the book for the screen. But of course there isn't. A serious detriment to the film is the footage given to the drunkenness and brutality of Huck's father. For an opti- 21