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THE RIDDLE OF THE RANGE— Pathe
^ F ROM the Western range to underground Hindu temples, Ruth Roland dashes and fights her zvay to success in her latest serial. It's, full of rights and thrills and serialesque action. It zvouldn't be a bad idea for some of our beautiful-but-dumb stars to i?7ibibe a bit of Ruth's animation. She performs feats of real athletic skill, makes her face behave and chases a good deal of melodrama out of its lair. What more could the kids zvant?
TREAT 'EM ROUGH— Metro
rose-petal life is Viola Dana's when she goes out and buys herself a guaranteed-notto-run husband for one hundred dollars. But yo.u can't expect a nice, gentle hubby, zvith the premium of a good time thrown in, for that price, and Viola finds she has bought more than she bargained for. But hubby refuses to be sold again second-hand, and tints complications enter the transaction. Not a bad little farce. Of course you know all along it's only fooling and that William Lawrence will emerge from his beard and take orders like all good husbands.
REMEMBRANCE— Goldzvyn
UPERT HUGHES' father-play is like a breath of fresh ozone after the scandal parade and misunderstood wives that have been marching across the screen lately. Here he does for Pop what he did for Mom in "The Old Nest," but with less lachrymose effects. A good story, zcell-told and without too much mawkish sentimentality. But with Claude Gillingzvatcr as Pop, how could Patsy Ruth Miller and the remainder of the cast help but shine at their best? He is one stage actor zvhom zve hope the screen zvill keep.
THE GHOST BREAKER — Paramount
HERE is neither comedy, drama nor good, red melo in this unfortunate picture. Wallie Reid, with sang froid and puckered lips, does his best to sustain a thread of interest in a deliriously scattered yarn. This is a sort of movie that makes harness menders and second maids think that they can become scenario writers.
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