The educational screen (c1922-c1956])

186 The Theatrical Field The Educational Screen of faithful study. But after all, we go to the movies for entertainment. To be entertained, we must in some measure be pleased — and there is not one pleasant thing about this picture. A famous surgeon with a mania for surgicai experience that will prolong human lie, takes every opportunity to perform gruesome operations on apes and such humans as he can persuade to his purpose. Not having been able, naturally, to obtain any but inferior subjects, he has been unsuccessful in his results, and his house is filled with pitiful creatures, victims of his mad scientific gropings. The blind bargain is sealed when the doctor chances upon a boy whose mother is ill and in desperate need of help. In return for the doctor's services, he agrees to become the subject of an experimental operation "in the interests of science." Of course the thing doesn't go through, for at the last possible moment, the doctor is killed by one of his former victims, but we are spared no detail and no item of suspense. Mr. Chaney plays both the surgeon and the ape-man, and if there is any choice at all between the two, we choose the ape. Raymond McKee is the near sacrifice to science. Fontaine LaRue plays the doctor's wife, and Jacqueline Logan the girl in the case. If you must see this yourself, don't take the children. (No use) MAD LOVE (Goldwyn) One of Pola Negri's German pictures has pursued her to this country, and been released ahead of her first American-made film, for which we have all been waiting. Certainly it adds little' to her fame as an emotional actress. It is a somber thing, and runs true to German type with a tragedy-soaked ending. The story concerns Andre Lavalle, an architect, who has fallen in love with a notorious Parisienne, Liane de Surville. While she pretends great love for him. she carries on an affair with Bertaut, his employer. Andre finds them in each other's arms, and the shock drives him insane. Then from the provinces comes Pierre Chabot, to look after his unfortunate cousin, Andre. On his first night in Paris, a friend carries him off to the Odeon, to meet the reigning beauties, Fifi, and Liane. He meets Fifi first, mistakes her for Liane, and publicly denounces her, while the real Liane listens, enjoys the scene, and marks the innocent Pierre for a new conquest. He succumbs to her charms at once (less than two minutes by the clock), and Bertaut now takes his turn at being deceived. Pierre, after some mental struggling over the fact that he is really engaged to Andre's sister, marries Liane, and takes her on a honeymoon, whither the furious Bertaut follows. He explains to Pierre who Liane is, and her responsibility for Andre's condition, whereupon the horrified bridegroom leaves her and rushes gloomily ofif to the country. Almost immediately he rushes back again. A great fete is being given, and as he searches through the crowds for Liane, the insane lover appears. Into an emotional reconcilation scene, the madman stalks, and with a good deal of grinning and eye-rolling, strangles the faithless Liane. This is not a notable picture, not even an interesting picture. It is frequently over acted and the unrelieved tragedy will hardly appeal to the general American public. 'Trifling Women" was a much more effective presentation of the same type of story. (Theatrical only) (Adult) THE WHITE FLOWER (Paramount) Outside of the fact that this picture has real Hawaiian settings, it has little to recommend it, and we honestly doubt whether even this is much of a recommendation. It is possible to get such excellent Hawaiian backgrounds in California. It is the usual story — an American falling in love under the spell of the tropics, with a dark gentleman hovering jealously near. Betty Compson is starred. (Theatrical only) (Adult) THE SECRETS OF PARIS (Whitman Bennett Production) Not really as hectic as the title would indicate. Only mildly interesting light opera material, having to do with the search of a king for his lost sweetheart, and a mother for her son, — Paris being the logical place to look for missing persons. The search ends in a thieves' den. The mother finds her son dying from a knife wound, and the king, after some lively fighting and a narrow escape from drowning, finds the daughter of his long dead sweetheart. After which the story winds up in an orgy of crowns and ermine. The story makes no strenuous demands on any of the players. In the cast are two old stage favorites — Effie Shannon and Rose Coghlan, as well as Lew Cody, who plays the king very casually, Gladys Hulette,