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SINGED WINGS— Paramount
*I A. screen fairy tale has been woven from the modern cloth of present-day San Francisco, with Bebe Daniels and Conrad Nagel in the principal roles — and who doesn't enjoy fairy talcs? Love of them has lingered in every grown-up since the day when Santa Clans left a copy of Hans Andersen.
Being a Penrhyn Stanlaws production, artistic treatment is apparent in many scenes, but a slightly vague and disjointed assembling of the story occasionally jars one from pleasant reverie. A picture that is out of the ordinary and a few steps above the level of "just movie"
AN OLD SWEETHEART OF MINE — Harry Garson Production
[|T HE fragrance of mignonette and old, musty valentines is found in this film version of the beloved James Whitcomb Riley poem. The unfortunate introduction of a bogus oil well that suddenly becomes valuable detracts from the romantic flavor of the picture, to some dectree. Elliott Dexter as the hero and Helen Jerome Eddy as The Old Sweetheart give performances that approach the ideal in screen portrayal. The old folks will love this memorial of the days when Romance was young.
ONE EXCITING NIGHT— Griffith <I MYSTERIOUS murders at midnight, smothered screams, groping white arms in the darkness, all combine to make One Exciting Night live up to its title. Except for the Big Thrill, in this case a superb storm scene, the picture bears no mark of Griffith's personality. Excellent work by a well-chosen cast, headed by Carol Dempster and Henry Hull, manage to put the picture across with a bang, in spite of incongruous situations and medicore subtitles. Porter Strong offers welcome comedy relief as Romeo, the young negro lover.
THE QUEEN OF THE MOULIN ROUGE — Pyramid
A VAPID story of Montmartre life, starring Martha Mansfield. Miss Man field is edifying on magazine covers, but fails to register when dramatic interpretation is called for. An excellent insomnia remedy.
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