The educational screen (c1922-c1956])
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348
The Theatrical Field
The Educational Screen
the "girl." Sylvia Breamer is attractive, but she is not the aggressive and superbly alive mistress of the Polka saloon. J. Warren Kerrigan as Ramerrez, the road agent, and Russell Simpson as sheriff Jack Ranee are adequate. The story is slightly diluted to suit the demands of censorship, but the production is on the whole, satisfactory. (Theatrical only) (Adult, high school) ONLY THIRTY-EIGHT (Paramount)
Walter Prichard Eaton's story of a belated romance, deftly handled by William DeMille and a good cast. A mother, after twenty years of suppression under the strong will of a "good" husband, upon finding herself a widow, asserts her natural self, gratifies her artistic desires, and horrifies her sedate eighteen-year-old twins by eventually falling in love with one of their college professors. Its delicate humor is a pleasant relief. Lois Wilson realizes the quiet wistfulness of the woman who is "only" thirty-eight; Elliot Dexter is comfortable as the elderly lover ; and May McAvoy and Robert Agnew give delightful performances as the twins, whose one thought is, "What would father think !" (Adult, high school) (Community use)
TEA WITH A KICK (Victor Halperin Production) Farce— foolish, but occasionally amusing. Doris May, Creighton Hale, Louise Fazenda, Stuart Holmes, Rosemary Theby, and others make an imposing list of characters. (Theatrical only) (Adult)
THE EXCITERS (Paramount)
Bebe Daniels in search of excitement furnishes a fair amount of amusement in the course of her quest. An airplane crash, a chivalrous housebreaker, played by Antonio Moreno, and a villainous assortment of crooks, add suspense. Not the best of its kind, but fair enough. (Theatrical only) (Adult)
HUMAN WRECKAGE (Film Booking Offices)
Mrs. Wallace Reid's anti-narcotic propaganda picture at least indicates sincerity of purpose. There are a number of excellent actors in the supporting cast, including James Kirkwood, Bessie Love and George Hackathorne, and in several instances they do good work. The story is, naturally enough, depressing, and logic is occasionally sacrificed to point a moral. This film may do some good, yet it seems a doubtful method of attacking the problem (Possibly community use) (Strictly a-dult)
FOG BOUND (Paramount)
Another of those stories in which the hero is suspected of having murdered the heroine's father. The mystery is smothered by the fog. Dorothy Dalton and David Powell waste their time on this. So does the audience. (Theatrical only) (Adult)
THE LOVE TRAP (Grand-Asher)
An ordinary picture, undistinguished by any brilliancy of story or direction. Just a fluffy tale of a girl who is driven by a socially ambitious mother, into a run-away match with the wrong man, but realizes the mistake in time to end things happily with the right man. Bryant Washburn, Mabel Forrest, and Wheeler Oakman head the cast. (Theatrical only) (Adult)
LEGALLY DEAD (Universal)
A rambling story, unskilfully built around the idea of the restoration of life to the human organism by means of the recently exploited drug, adrenalin. Alilton Sills in the part of a man wrongfully accused of murder, convicted on circumstantial evidence, and executed, after which he is restored to life by a scientific friend.
Mr. Sills can usually hold his own against poor picture material, but this time he is decidedly worsted. The rest of the cast is equally unconvincing. (Theatrical only) (Adult)
WHERE THE NORTH BEGINS (Warner Bros.) This is a typical story of the far north, distinguished from the usual by the interesting performance of the featured actor, Rin-tin-tin, a police dog. The humans in the cast, though somewhat overshadowed, furnish adequate support. Children especially will like it. (Community, possibly church use) (Family)
THE COMMON LAW (Selznick)
A line-up of stars headed by Corinne Griffith, Conway Tearle, and Elliot Dexter give this story a rather higher rating than it should receive on the basis of story or direction. It rambles a good deal, in getting to the point, and certainly has lost much of the Robert W. Chambers flavor. The production is heavily overdressed as to costumes and settings, there are too many lengthy titles, and for a picture with so little real action, there are far too many long shots for comfort. You can't tell what a man is thinking when he is a mile away. The actors are as good as they are permitted by the limitations of the story to be, but at best it's slow entertainment. (Theatrical only) V (Adult) )