The educational screen (c1922-c1956])

204 The Educational Screen Film Catalogue—1922 B.—This list contains all the films reviewed by The Educational Screen m the first five issifl exclusive of those listed as the best and the worst productions. It divides itself on the basisH relative merit, into three groups—good, fair and poor films. On same line with title is"indica« Dumber in which review appeared. 9. MISS LULU BETT (Famous Players) • Fell Zona Gale's novel was effectually and as fafl fully filmed as was essential for all purposes cl cerned. The cheap effects of broken china anfl happy ending (apparently the unbreakable lawB the movie!) detracted from the strength of I adaptation. 10. MY BOY (First National) Fel Not flawless but significant because Jackie Cl gan became again the natural youngster of '"■ Kid." Good Films 1. FOOL'S PARADISE (Famous Players) (Apr.) Toll was thoughtless and rough hewn but she was never vulgar." Miss Dalton plays the square- game girl of an oil town. Against the smouldering Kosloff and the gentle Conrad Nagel, this kaleido- scope of Siamese sets and tense moments makes an odd contribution to the year's work. 2. PEACOCK ALLEY (Metro) (Apr.) Doubtful as a "good" picture because of certain staring faults. Yet, to place the efficient acting of Miss Murray in a second rate listing would be unfair. 3. THE RULING PASSION (United Artists') (Apr.) A delightful bit of satire and truth at the hands of "the silken Mr. Arliss." An unusual screen story, novel in situation yet free from improb- abilities and utterly human at every point. 4. THE SHEIK (Famous Players) (Jan.) A frank sex-appeal tale made still more potent by the efficiency of its perfect direction, its mag- nificent landscape effects and the alive ardor of its leading characters. We see no reason, how- ever, why the tale in film form should not be praised as a beautiful production. 5. THE LITTLE MINISTER (Famous Players) (Jan.) In which Barrie's immortal character finds dis- tinctive shadowing by George Hackathorn. A comfortably satisfactory film. 6. OVER THE HILL (Fox) (Jan.) A bit of disconcerting realism and a mother's part, unmaudlinized, by Mary Carr. "We were pictorially aware of what sociology calls 'the mal- adjustment of the home.' " 7. CARDIGAN (American Releasing Corporation) (May) An accurate historical romance of America, en- tertaining and educational at one stroke. 8. JANE EYRE (Ballin-Hodkinson) (Feb.) But for its too swiftly moving climax a thor- oughly charming screen version of Charlotte 11. CAMILLE (Metro) Jan. A modernized Camille, perhaps distressingly* to some. Yet, because Mme. Nazimova see« "back" in a sincere portrayal, the picture rani as among the better productions of the year. 12. AMONG THOSE PRESENT and I T>(M (Rolin-Pathe) Feb. Two Lloyd comedies that seem to point to ■ best possibilities of screen comedy. 13. THE LANE THAT HAD NO TURNIM (Famous Players) i Feb. A beautiful story in its courage; also, impifl ively played. 14. THE WORLD CHAMPION ' (Famous Players) May Listed in this group because, of all the mat fight pictures, it was not absurd. 15. MUTTS (Celebrated Players) i .May A delightful comedy in which the animals! cast of dogs) do better than humans. 16. DANGEROUS CURVE AHEAD (Goldwyn) Maj A well directed film of swift action doming with the brittle quality of Richard Dix. 17. THE SILENT CALL (First National) ( May Too cluttered up with humans to deserve! first glance, a place in Group A. Its magnifi! scenic value and the unusual talents of the difl tion as betrayed in the effective presentation of high breed dog make the A listing advisable. 18. EXIT THE VAMP (Paramount) A commonplace story of a wife who vamped" the vamp with none of the cheap eff| expected in such a situation. dire