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Silversheet
Photodramas
NAYLOR
son's distinct screen personality has a great deal to do with getting this piece across. He plays the part of a younger brother, but makes the small part stand out distinctly.
"the greatest thing in life"^. • (Griffith) .
The punch of this latest David Griffith picture seems to be in his ability to have Germans break down doors effectively, instead of using situations that brea1' down the door of a person's heart. In producing another war picture .Griffith does nothing big or unusual enough to justify our confidence in his being the greatest director. The most daring moment of this new production is when the white soldier and the negro soldier seek refuge in the same shell hole, showing the kindness of the negro and the breaking down of the white's prejudice. Little Lillian Gish is shown to beautiful advantage in three or four close-ups of a new type which idealize her expression. The rest of the time she jumps "ingenuishly" all over the place. The charm of Lillian is a very poignant thing and should not be tampered with in this manner, no matter how great the di
rector. _ Fortunately we still have memories of her sanity and dignity in "The Lily and the Rose."
BRANDING BROADWAY" (ARTCRAFT)
Bill Hart scores, and scores big, in this new play of his. The variety of emotions which play across Bill's countenance in this piece prove that Hart has a ristrionic ability which will carry him to a zenith greater even than he has yet reached. The story is that of a Western e r who, °r raged at a "eform crowd in an Arizona town, invades New York. The scenes in New York, where he gets a job taking care of a millionaire's son who likes the bright lights of Broadway, are especially interesting because of a
Mitchell Lewis becomes a Select star in "Code of the Yukon"
"Too Many. Millions" (Paramount) features W a 1 1 y ; Reid's qualities' as a comedian