The educational screen (c1922-c1956])

Theatrical Film Critique Conducted by M. F. L. Tin Educational Screen, designed to represent the best in its particular field of education, h been eager to present the theatrical film in an accurate and sincere manner. Throughout the fir six issues this department has presented frank and unbiased opinions of current films from fj artistic and technical as well as the educational view point. Whatever of worth a film held, either ; direction, acting power, cinematography, and last of all, ethical standard, the department editor soug to make it clear. With the same degree of serious intention, the undesirable was made obvious. FOR the coming school year the same policy will dominate the reviews, with the promised dirt statement added to aech review to guide the school man in his use of any film. There is, howev« »n added appeal to our readers. The department is very anxious to invite correspondence \ regard to discussion of any one film, or any phase of the theatrical film in general. All such lette will be answered personally by the department editor. It is only as such contact can be made with tl department's readers that the best results can be attained. NANOOK OF THE NORTH (Pathe) A tremendously picturesque filming of the frozen beauty of Nanook's country. To watch the perilous whirling of an actual snow blizzard enhanced by the presence of the uncouth he-man, Nanook, is an experi- ence not to be missed, but grasped several times. One might write at length about the careful and painstaking effort behind this film. Suffice it to say, that Nanook of the North, like Broken Blossoms, sets an epoch mark in moving-picture production. Let the scoffers see it and tremble! (School, church and community use.) HER GILDED CAGE (Paramount) Whatever one may say of The Gilded Cage in regard to its harking back to old stories of more or less fame, it is a desirable picture for the theatre. Beyond that it has, of course, no function. Furthermore, de- spite any cheap appeal of which it might be accused, the story of a loyalty between two sisters is sure to impress the rather senti- mental public. Yet there is more than what can be termed the sentimental in this pro- duction. The gallantry of old days, simply shadowed by the efficient Harrison Ford, the picturesque, if not great, emotional mo- ments of Miss Swanson, together with the genuine comedy of Walter Heirs present an inevitable array of real talent. The work of Charles Stevenson, David Powell and Anne Cornwall attains a like standard < value. If Miss Swanson may be accusi of apeing the svelte Petrova, at least si does so becomingly. One is constant aware of Gloria, exquisitely gowned, bi the part she plays makes that obviousnei of apparel forgiveable. An oddly elabora production that manages to leave an in pression of bigness and sincerity. (Tha trical use only.) BLOOD AND SAND (Paramount) Faithfully we reviewed this Niblo pictui three times in order to be very sure that ot disappointment was justified. We have n« changed our minds. It may be the fault < the director or it may be his own, but M Valentino is not the artist he was in 77 Four Horsemen of the Apocalypse. Whi the material of his former picture had] more cosmic appeal, this later picture h; a more intensely concentrated sex and r< mantic appeal. Yet but for one or two brif moments, Valentino is not compelling, is, it is true, handicapped by the fearful self-conscious work of Nita Naldi. He: is a woman, who by form and manner at type, can rightly expect to attain poise at strength. She fails dismally. Although si played with more apparent ability in tl later reels, the effect, on the whole, w weak enough to weaken any force of oth members in the cast. Lila Lee was betto proportionately, than either Miss Naldi 272