The educational screen (c1922-c1956])

The Educational Screen THE OLD HOMESTEAD (Para- mount) Strange, this business of film reviewing. For one month an editor will tear his hair ,>vi! In unbreakable sequence of bad pro- ductions only to find the following month's allotment a series of delightfully satisfac- tory films. Among the topnotchers is "The Old Homestead," made dear to thousands by the kindly and gentle Denman Thomp- son of an elder day. Whatever Mr. Thomp- son meant to the drama, Theodore Roberts is meaning to the screen. As the genuine old gentleman of the farm he carries with splendor, his trust in his son, his fearless loyalty and fun in the face of poverty, his sterling bit in the departure, head up, from the suave New York apartment where an old chum seems to have forgotten the farm days together. No less splendid is the work of George Fawcett, the "just man" who measured justice by a twelve inch rule until it turned for his own bitter renun- ciation. Sincere and natural are the terms to describe Harrison Ford as the son. Awkward but "mighty sweet" is Fritzie Ridgeway. And lilting through all the storm and sun of a swiftly moving nar- rative is the jaunty "Happy Jack" of T. Leroy Barnes. The storm, like most movie storms, was overdone, but give us time and we will surely learn not to spoil an other- wise flawless film by this bugbear error. (School, church and community use.) THE MAN WHO SAW TOMORROW (Paramount) Thomas Meighan. Theodore Roberts, Alec B. Francis and Leatrice Joy are good to watch no matter how lame or illogical the vehicle. But surely that is all one can say for this inaccurate hodge-podge of bad psychology. We do not blame "the mob" for poo-hooing the subconscious mind if they must form their notions of it from films like "The Man Who Saw Tomorrow.' Please, please, get a better story for so glittering an array of lovable and efficient stars. (Theatrical only.) THE MAN WHO PLAYED GOD (Distinctive Pxtures) Again, a film that passes muster becausi of the presence of a man who is always a pleasure to watch, on screen or stage. Th< grace and ease of George Arliss anl not to be denied. Likewise there is ar| old-fashioned grace about Efne Shannor that delights. Although but negatively ac- ceptable, still Anne Forest's interpretatior of the disappointed wife escaped condemna- tion. Mainly, the direction is at fault. Ii too many places can one see the megaphone working; there is present throughout th< narrative an irritating stiltedness. Giv< Mr. Arliss the best in vehicles! (Sonu church and cotnmunity use.) THE HEADLESS HORSEMAN (Hod kinson) As the arrogant, inflated and cowardly Ichabod Crane of Sleepy Hollow, Wil Rogers gives to the cinema one of its fines classics. The sets, the cast, the directior are as beautifully Washington Irving a: either "Our Mutual Friend" or "Olivei Twist" were Dickens. It is such produc- tions as "The Headless Horseman" tha stamp moving pictures as an art. (School church and community use.) THE COUNTY FAIR (Maurice Tour neur Production) The screen work of Helen Jerome Edd\ has long ago become synonymous # witj those homely and time-worn adjectives- honest, sincere, beautiful, genuine, fine, e' cetera. If you are tired by the simple realisms of simple people "The Countt Fair" will bore you, but if you dream some- day of "A Little Theatre of the Screen' you know that this vehicle of Miss Eddy's will be among the first. David Butler can not hope to match Miss Eddy—it is ap- parent, however, that he gives his besi efforts. The presence of Wesley Barry ir a more unaffected and youngster-like bii of acting than we had ever hoped to set from Wesley adds to the charm of the pro duction. (School, church and community.)