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in dreams of snaring a monied Casanova, and on that point the writer has practically no information at all. But he can produce statistics showing millions of unattached females with that certain healthy sparkle in their eyes, that feeling of well-being in their gait; millions of women, who, though scrappily married, wouldn't trade their men in on the best looking guy that ever brought in a gusher ; millions of stenographers who think the sun rises and sets in their boy friends, whether they have jobs or not; more statistics showing that the number of Goldwyn lookers and Warner Golddiggers who married bond-clippers just about equals the number of stenographers, maids and waitresses who have married guys who can afford chauffeurs and valets. And if there is no particular point in such observations perhaps the fact that Cinderella and Prince Charming have been consistently snubbed at the annual awardings may carry some weight. As for Santa Claus, the following critique by one of Variety's scanners gives a pretty fair idea of Kris Kringle's operations within the field.
"Again it is Christmas Eve (there are three Christmas Eves in the story) and the girl is alone in a barn with only a kerosene lamp. It's snowing and there's money hidden in the barn. One of the crooks is an exdoctor and he officiates as obstetrician at the birth of the girl's child. Then the revenge-eager tough guy goes Santa Claus and returns $20,000 in bonds in order that the rich man's son jailed under an alias can be cleared. It's all on the Santa Claus motif and the pretty little tongue-in-cheek fadeout has one of the crooks going wistful about Teace on earth, good will to men' and winding up asking "what town are we in, anyhow?" Camera then picks up sign: 'You are now leaving Bethlehem'. That's being subtle with a sledgehammer. Outline of the story gives a pretty good idea why some of the cast could not shine very lustrously." (Land).
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