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Theatrical Film Critique WHEN KNIGHTHOOD FLOWER (Cosmopolitan) This gay fiction of a clay that has al- ways carried, over and above its rotten- ness, a glamour of love and castle bars, night rides and reckless gallantry, has been one of the most widely read of any best seller that ever found its way to "the public's" table. To screen Charles Major's novel must have been a task for the scenario writer but that it? was done is obvious from the first footage. Beau- tiful sets, careful continuity, excellent photography and an efficiently" directed cast describe "When Knighthood Was in Flower." Marion Davies contributes her first real work. She is delightful. For- rest Stanley is the courteous and daring Brandon, direct from Major's pages. Johnny Dooley as the Jester and Lyn Harding as Henry VIII are remarkable character roles. Any slip in this film would have been unforgiveable; certainly the slightest undesirable quality would have stood out brazenly for the story is a too-familiar one to escape the severe observation it will receive. Cosmopoli- tan's production was a thorough satisfac- tion. (School and church use, properly censored. Any community use, we should judge.) THE FACE IN THE FOG (Cosmopoli- tan) There is nothing more completely com- fortable than an evening of good melo- drama,—enough but not extravagant sus- pense; keen, hushed action and a corking story. "The Face in the Fog" affords such an evening. Lionel Barrymore dom- inates his excellent supports, Lowell Sherman, Mary McLaren and Seena Owen. A safe family film. (Community use.) Conducted by M. F. L. WAS IN THE PRISONER OF ZENDA (Metrd Undoubtedly one of the greatest pic tures ever produced. Rex Ingram hi gathered about his romantic tale a cast 1 splendid actors. The Prisoner himsJ and his British relative are two of ti screen's finest characterizations. Cel tainly there has been no finer love threap more stirringly played unless perhafj those unforgettable moments of "T| Four Horsemen of the Apocalypse." Ti passing of the British lover to leave Zel da's Queen was not the public's idea of; happy ending. But from the lowest loJ brow to the highest highbrow there coul be no other objection but that, and tha to the intelligent artist stamped "Th Prisoner of Zenda" as tremendous. W wonder if the screen will ever knoi more effective acting than that of Mis Terry. As a frivolous and hasty aside w would whisper "Watch the blackeye 'find' of Mr. Ingram's. He hasn't the deli cate seriousness of Valentino; he coul never give us Julio, but he sparkles! (Theatrical; some church and communil use.) THE ETERNAL FLAME (Selznick) ] Gowned with all the splendour c Gloria Swanson, Norma Talmadge passe through a story of exotic passions. Ther are many accusations to be made, ex travagances of acting and setting, bn Miss Talmadge was never stronger thai in this particular melodrama. Yet, eve: Miss Talmadge could not save the pro duction from a general and tiresome un worthiness. (Theatrical only.) BROADWAY ROSE (Tiffany) Despite over-posing on Miss Murray' part this film is a creditable Murray film We say "Murray film" because it is th dual-role woman that Miss Murray love to play,—one leap from the gay madnes! 304