The educational screen (c1922-c1956])

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Theatrical Film Critic 273 .lentino. Too, with the memory of Otis inner's dominating matador, Valentino's erpretation proved too much of a con- st. It was finer in spiritual significance, to speak, but it lost any greatness in its iximity to Miss Naldi's stilted perform- :e. Pictorially Blood and Sand was beau- ul. {Theatrical use only.) ST TONY (Fox) [Tom Mix and Claire Adams, directed by inn Reynolds, play their minor parts with fasing quietness. The main actor is Tony, [x's faithful and beautiful horse. The >ry is not startling, but the audience is irned in leaders that the significance of I film lies in its tale, not of events, but idness to animals and their returned love, any of the several pictures of this type, feel that Mr. Mix has made the best all- rand film. In no place does the action If stilted to demonstrate Tony's abilities; ; film is not cluttered up with human be- fs as was The Silent Call. The star and support are at moments quite forgotten; N appear only as they are necessary to :ry on the narration of Tony's life. A >st commendable picture. Take the chil- li once or three times, as they may wish. \~hool, church or community use.) IE FAST MAIL (Fox) rhis Lincoln J. Carter melodrama, car- d with deftness by the winning Charles nes and an efficient if not an unusual pport by Eileen Percy, will please all lov- ; of old romance and breathless episodes, is not a picture to be taken seriously in : light of our blase and commercial day, t it is good melodrama from a time when :h events were hourly occurrences more less. {Theatrical only.) IE NEW MOON (Selznick) Norma Talmadge, until the advent of nilin' Through, has not been having the Dper vehicles for her peculiar type of ap- al. The New Moon falls again into the different classification. Stuart Holmes d Theodore Kosloff play well; likewise the new foreigner Miss Talmadge has dis- covered; too there is power in the story, strength in the interpretation. But, all in all, somehow this film is but another of an unusual number of half-way good produc- tions. {Theatrical only.) HUMAN HEARTS (Universal-Jewel) A typically House Peters picture — big, crude sincerity and the courage of tradi- tions; a stern "frontiersman" father, an adoring little sister, a gentle mother and a selfish and shallow wife. An array of alarming sentimentality were it not for the excellent direction of Mr. Van Loan. {Some community uses.) CONFIDENCE (Universal) In which Mr. Herbert Rawlinson is pa- thetically funny tr)ing to be funny! Just why the gentleman should have been pre- sented with this ridiculous vehicle is a problem, but the agonized efforts at humor- ous pantomime on the part of the erstwhile able actor make the problem a Chinese rid- dle—unsolvable ! {No use whatever.) KINDRED OF THE DUST (Goldwyn) Peter B. Kyne's story on the screen gains again and again over the book form, due to beautiful direction, careful photography and an excellently chosen cast. Ralph Graves and Miriam Cooper furnish two memorable characterizations. Kindred of the Dust fulfilled all our expectations of it. {Some church and community use.) IF YOU BELIEVE IT, IT'S SO! (Paramount) Another Thomas Meighan picture enhanced by the always thoroughly funny presence of Theodore Roberts and the delicate quality of Pauline Starke. A passingly good picture for the family. {School, church and community use.) LOVES OF PHAROAH (Paramount) Another spectacle film crammed with discon- nected mob flashes and handicapped by a hero King who played in the crude old gnmaces of early pictures. (Churchf) MORE TO BE PITIED THAN SCORNED (C. B. C. Films) It is difficult to believe that enlightened film