The educational screen (c1922-c1956])
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274 producers, granting that the general status of pic- tures is low. could take themselves seriously in presenting to a suffering public this ridiculous hodge podge of melodrama poorly acted. What- ever the "famous stage play" may have been, in pictures it is absurd. (.Good for none but theatrical ute.) HEROES AND HUSBANDS (First National) In which Miss MacDonald has but one real moment amidst her elaborate and careful series of poses (Theatrical only.) THE BONDED WOMAN (Paramount) A picture built on an old, old plot but sustain- ing something novel in the clothing of the plot. Richard Dix and John Powers made steady sup- ports for the naturalness of Miss Compson. Yet, despite these favorable comments the picture, like most productions for the month's reviews, is but fair. (Some church and community use.) THE DICTATOR (Paramount) A poor Reid picture, the poorest probably that Mr. Reid has made to date. During one solo moment on the screen Wallie not only managed to be utterly silly, but looked r.s if he felt so. It was pathetic. (Some community use.) WHILE SATAN SLEEPS (Paramount) Tc waste the talent of Jack Holt on this in- fernal mixture of fevered thinking is another of the unbelievable "wonders" that happen in film land. (For no use^ NICE PEOPLE (Paramount) This attack on the neurotic freedom of twen- tieth century youth is partly fair but certainly unfair in certain measure. Yet however one may feel about the facts of the film, the story is well adapted and well acted. Mr. Reid and Bebe Daniels are an effective pair and Conrad Nagel as the young man of wine, women and song is distinctly pleasing . (Theatrical use only.) BACK TO YELLOW JACKET (Arrow Picture) This Peter B. Kyne tale, played by Roy Stewart and Katherine Kirkham, is a weary reeling of strung out events. The cast has little talent to begin with and the continuity man spoiled what small chance it had. (For none but theatrical use.) THE SIREN CALL (Paramount) A far north tale, not new particularly in epi- sodes, yet mightily well interpreted by Miss Dal- ton and her support of Mitchell Lewis and David Powell. (Some community use.) The Educational Screen REVIEWED PREVIOUS , THE STORM (Universal Jewel). Violent ail old melodrama; excellent acting. (School am community if censored.) GRANDMA'S BOY (Associated Exhibitoil Pathe distribution). In which Harold Lloyd grad- uates from even Lloyd slapstick. (School and community.) A WOMAN OF NO IMPORTANCE (Selecj One of the year's best. (Theatrical only.) THE CROSSROADS OF NEW YORK (FiJ National). Very funny if you get it! (Theatrical only.) SONNY (First National). A Barthelmess nlJ passport enough. (High school and communitjm THE BACHELOR DADDY (Famous Playel Lasky). A serious bachelor's triumph over fm "banes of his life." (School, church and com- munity.) ORPHANS OF THE STORM (United Artist! Corporation). A barely even toss-up between Grif fith talent and Griffith weakness. (High schoo and community.) THE DUST FLOWER (Goldwyn). In whicl the cold silence of the cinema takes unto itsel: warmth and chuckles! (School and communitm OUR LEADING CITIZEN (Famous Playel Lasky). Pretty reliable. (School and community.) THE MAN FROM HOME (Famous Playeri Lasky). Fair. (Community.) DOMESTIC RELATIONS (First National) "Will pass in a crowd!" (Possible church use.] Indifferently good. (Theatre only.) WHAT NO MAN KNOWS (Equity). Oh plot, reassuring narrative. (Theatre only.) FOR THE DEFENSE (Famous Players-Lasky) STOLEN MOMENTS (Silton). Good fo nothing. HURRICANE'S GAL (First National). Re- and dashing melodrama. (Community use zvit, censorship.) THE $5 BABY (Metro). A wholesome Ghett tale. (School, church and community.) NORTH OF THE RIO GRANDE (FamJ Players-Lasky). Western yarn. (Some schoc and community use.) THE WOMAN WHO WALKED ALO# (Famous Players-Lasky). Good melodrama. (Som community use.) FASCINATION (Metro). An inexcusable fifn (Theatre only.) THE PRIMITIVE LOVER (First National Indifferently good comedy. (Some community use.) ALWAYS THE WOMAN (Goldwyn). Goo! for nothing.